HYDERABAD : The Telugu action drama film, HanuMan helmed by Prasanth Varma, has been steady at the global box office. The film starring Teja Sajja, Varalaxmi Sarathkumar, Amritha Aiyer and Vinay Rai, had been the talk of the town due to its amazing visual effects. Udaikrishna Pandamaneti, the VFX director, is the creative mind behind this success. In a conversation with CE, he provides insights of his journey and reveals his future projects.
Tell us about your decades-long journey in the movie industry.
My professional journey has spanned 25 years, commencing in Hyderabad where I initially focused on Telugu films and later transitioned to working on Bollywood productions. Seeking to broaden my horizons as a technician, I relocated to Chennai, Bangalore, and eventually Mumbai, where I contributed my skills to various multinational companies within the Animation and Visual Effects sector. Mumbai became a pivotal point in my career, and I collaborated with esteemed companies such as UTV and Eroes International.
My portfolio expanded to include projects with Disney and Hollywood, alongside my continued involvement in regional and Bollywood films. Noteworthy milestones in my career include my pivotal role as a technician in ‘Arjun the Warrior Prince,’ an acclaimed 3D animated film in India. Additionally, I contributed to the VFX work of ‘Aladdin,’ featuring Amitabh Bachchan and Ritesh Deshmukh, which garnered accolades despite the film’s overall performance. Following my tenure in Mumbai, I returned to Hyderabad, embracing entrepreneurship by establishing multiple companies and undertaking diverse projects.
My involvement extended to prominent films like ‘Padmaavat’ and ‘Jodhaa Akbar.’ A significant turning point occurred with the production of Baahubali, marking a milestone for my company despite its relatively smaller role in the project. However, it was the film ‘HanuMan’ that truly catapulted me into the spotlight, earning widespread acclaim for my contributions. This recognition underscores the industry’s growing acknowledgment of the vital role VFX plays, even in smaller-scale films.
How did your journey with HanuMan team began?
As the founder of a small start-up, I was actively seeking a compelling portfolio project to showcase our skills. When the HanuMan team approached me, I was unaware of the hero or director, and they presented a modest concept for a teaser with a limited budget. Despite the financial constraints, I recognised the project’s potential and decided to take it on.
With 25 to 27 years of industry experience, I understood the importance of resource optimisation. We passionately worked on the teaser while simultaneously developing additional scenes for the movie. The outcome exceeded expectations —the teaser became a game-changer, garnering widespread acclaim and elevating expectations for the entire film.
Initially unfamiliar with the broader context of the movie, I found myself becoming partially responsible for its production and characters as a technician. However, the challenge arose when we realised the budget constraints post-teaser release. In response, we made the strategic decision to scale up the budget, particularly focusing on enhancing critical scenes. For instance, despite having completed 50% of the work on the underwater sequence, the overwhelmingly positive response to the teaser prompted us to rework and elevate its quality.
What were the technically challenging shots from the movie?
The first song in the movie, depicting Hanuman’s birth, initially had a 2D animation plan due to budget considerations. However, driven by my passion and inspired by the title sequence of Baahubali 2, I embraced the challenge and transformed it into a stunning 3D animation. Despite the film’s smaller scale, the dedication of the director and technicians shone through, resulting in an exceptionally well-executed sequence.
Another noteworthy aspect is the Anjanadri establishment shot, a technically challenging scene lasting over two minutes. To achieve this, extensive research and the utilisation of Hollywood software, coupled with an intelligent pipeline, were employed. From a technician’s perspective, the result is strikingly photorealistic, with vibrant colours capturing the essence of Hanuman.
The pinnacle of our technical achievements, however, lies in the climax song. This particular song stands out for its impeccable execution, especially in rendering the 3D photorealistic character of Lord Hanuman. The culmination of our efforts in this sequence truly showcases the capabilities and dedication of the entire team.
What do you think is important to consider in terms of VFX irrespective of budget?
Effective pre-production and post-production, along with meticulous planning and design, are crucial elements for a successful project. While having the necessary technology is essential, it is equally important for the director to have a clear vision and communicate their expectations to the technicians. Teamwork plays a pivotal role in realising the director’s vision, as ultimately, the responsibility falls on their shoulders.
In the case of this movie, securing support from the director in terms of both budget and time was paramount. Fortunately, the director comprehended our requirements and provided the necessary resources. Additionally, to meet the project’s demands, I collaborated with numerous talented artists sourced from outside. The seamless collaboration and coordination within the team were instrumental in overcoming challenges and achieving success in both pre-production and post-production phases. The collective effort and teamwork played a significant role in bringing the director’s vision to life.
Future projects?
I am embarking on a new venture in Hyderabad called Beast Bells, aimed at revolutionising the production of high-quality VFX on a reduced budget and condensed schedule. Unlike my previous experience with a traditional VFX studio, Beast Bells will leverage cutting-edge technologies such as artificial intelligence, machine learning, and virtual studios.