Vikram Veturi’s love affair with cartoon characters began as a child. After he graduated, it was a natural decision to make a career in the animation space. And thus his journey began
While I was studying, I was chosen to work as a 2D animator on a TV commercial called Y-Snore for Mudra Communications. This was my first project. It won a Gold award for Best Commercial in the category of consumer Non-Durables.
Krishna Aur Kans
Krishna is our greatest character icon and connects not only with millions of Indians but also Indians living abroad and the international audience as well. That’s why we chose Krishna aur Kans as our subject. It took four years of research to finalise the story. This is the first real family entertainer as an Indian animated film.
Convincing A Producer
It was rather the other way round. It was Ashish SK, CEO, Reliance Animation and the executive producer of the film who started it all with his conviction that Krishna is the strongest character brand in animation from India, one that has a national and a global connect. I am glad that he chose me and gave me the opportunity to direct the film.
There is so much that happened in the first ten years of Krishna’s life. All the stories were so interesting that it was a struggle to sum it up in two hours. Kamlesh Pandey, the scriptwriter of the film, managed to narrate the story immaculately in a way that had a universal appeal. It took around 20 drafts before the script was finalised. The language was refreshingly pure and the dialogue has high recall value.
The key factor that prompted us to produce the film in digital 2D was that 2D helped us reduce the cost of production significantly vis-a-vis 3D.
Animation Films In 3D And 2D formats
There’s a better connect with the characters. 3D is the stunning illusion of depth perception in using what would commonly be seen as traditional two-dimensional visual media. We decided to make Krishna Aur Kans in 2D but the decision to turn the film into stereoscopic 3D was taken once the production was complete. It created a unique advantage, the fact that the film is releasing in both digital 2D and stereoscopic 3D formats.
The action sequences were both challenging and exciting. Elaborate aerial shots were devised for Krishna’s fights with the tornado demon Trinavart and the crane demon Bakasur. Similarly, Krishna fought extensively on the ground with the other demons and with Kans in the climax. Various natural elements like smoke, clouds, dust, air and water interact with the characters and stunning special effects to give those sequences a larger-than-life feel.
One of the toughest aspects was to position Krishna against natural elements like the sky and water. Since Krishna is blue, our art director had to take utmost care to make sure the shades never merged and that Krishna emerges vibrant and heroic in every frame. It was also challenging to juxtapose Krishna against demons who were, in some cases, 50 times his size but to retain the focus on Krishna. Shot divisions and camera placements had to be dynamic enough to ensure that those sequences emerge as electrifying visual treats.
We are currently working on the Shaktiman TV series. After that, there are a few projects lined up.