 Hey, hello everyone, so I am Vajan, Vajan Chamundi. I have come all the way from India to here To show off. Yeah. Yeah. Thank you. Thank you So I've come all the way here to show off some of the work we do with Blender at our studio and Just take it to a small story. I guess of how we use Blender in all aspects of filmmaking So let's let's begin So who all here are from the film industry like work. Oh, okay. Yeah, so so yeah, so So we are two companies do and rumble so Do is our film production house and rumble is our post house So do does all the shooting and the set and everything and then they give it to us and then we You know make it all pretty and give it back to them. So This is film production. I guess you must have seen this kind of basic breakdown of what film production is There's a pre-production phase a production phase and a post-production phase. So We're gonna see how we use Blender in all these aspects to solve issues that just come from How filmmaking generally is like, you know, it's it's it's like such a massive It's like a massive event like everyone has to come together to make this film happen and When people come together sometimes problems come here and there and we try to figure out how to fix it. So So let's just start with how we got into Blender the first place. So That is in pre-production. So making of a set. So for ads and some short films we tend to use you we make sets obviously and This is some of our team working on our sets. You can see some of them here right here. So Whenever we used to make these sets we it was like it was a vague process where there was a lot going on between before We see the final set happening and it was kind of hard to convey the message like hey This is how the set is gonna look in the end. So we decided like Why don't we just do this in 3d? Like why don't we why don't we visualize it in 3d and show it to the clients? So they don't have to go through the mental process of a okay. Is this how it's gonna look What's the color gonna be? How's the light gonna be? So This is what we used to have before so we would have a color palette and then we would have hey These are the props a look that's a cat drawing Hey, maybe it'll look like this the lighting and then you're trying to explain all of this and it suddenly looks like a YouTube thumbnail. That's like all click baity and so We came with a simple solution. So what we do is we get these cat drawings from our set designers and We take them into Blender and do the thing extrude and all that beautiful stuff And so I'll just show you some of the process So here we can see that you know, we can play on with the colors see how it looks right before you know it Before we make it and then we use the acid browser and we put We put the essence in place just to see how the blocking and everything's gonna be So that that is quite a fun process and especially with de-noising and all these days. It's like super fast. So Yeah, and this is always fun like you know, you can you can just see how things are gonna be right before they're made So, yeah, I will move on to a more complete version of this So you can see here you do a little fancy bounce animation and just try to impress the clients So we have the set here and just show you a final render Yeah, so we have these renders so we can go directly to the set designer and look Hey, this is what I want and it's simple as that and they do their magic and they make it. So this was the final set Can see here so Next and I'll just show you a couple of this Yeah, this was an ad film we did So yeah, we have the final set. So it's pretty simple like that This is another film we did called EIA where it's like a fake news channel and we have a set that is for news and so It's crazy these days because me and the set designers have gotten so used to working with each other that whatever I make It's like they give me the exact same thing So you can see I just got the exact same thing and it's funny because I'm sitting there working and I'm like, hey That thing looks nice I'll just copy paste it down and you know Hey, this I just duplicated and then they do the hard work of sitting and building it based on my Just mental thoughts. So that's always nice and and the deadlines and the timelines for these are crazy They're we make the set render and two three days later. The set is done So it's it's awesome because I'm like rendering and go to sleep and then two days later I walk in and I'm like, hey, I'm sitting in my render. Yeah, nice So so yeah, that's fun. I mean that's always fun to just walk there and be like, hey, that's that's my render I can I can sit in them now. So yeah So this is how we got into blender in the first place just trying it with pre-production just trying to show renders for people and stuff and then We decided to push it a bit further get into the VFX sides of things. So Which we'll get into production. So you must be thinking of VFX in production. So You must have heard of the phrase fix it in post a lot. Yeah So this is some scenarios where we had to fix it in post And how blender helps us a lot with that. So there was a shoot once where We had a prop that was just missing like someone in taken to uncount I guess that with the property to be there and You know, there's a hassle on set and they're like, well, what do we do? That's the bomb bomb. Sorry. There's supposed to be a bomb there Okay, he's tied up to a bomb and you are roaming around like hey that's the bomb and you I'm maybe not the best idea to do when you're, you know in the street, but So yeah, there was supposed to be a bomb there and so What I what do we what what what what what I did was? Went and put the tracking markers not knowing. Okay, maybe it can do object tracking later. So So this this is like a rough drawing like, okay, maybe I can put the bomb there so yeah, you go to textures.com and you start pulling these things and You just put the wires duplicate and You know do your object tracking and And then there you just put it there and it looks you match the lighting and you can see there's this flashing lighting on them That's about policies next to them So you just go ahead and do the same thing you can see my painfully key-framed every frame of the light going up and down So yeah, and then we have it No worries we fixed it So just show you a final shot. There you go. Got the bomb. No worries. I guess we don't have to pay money anyway Thank you This was another scenario, so the director wanted a wall here and the wall that was supposed to be here was a little far away So what we did was we build this thing Wait, let's just come back up again. Yeah, so We had this wall that we were built and So and then again good old textures.com Just go in and make make these cubes. I guess cuboids and then Just go ahead and then you know images explains just projection map it and Solve your camera and there we have the wall So It's a sometimes it's like it's amazing what you can do, you know With the tools these days So here's another breakdown Yeah, so in little garbage bags here and there and then we have the wall So yeah, this was about like there was like 15 shots like this I'm not gonna show you all of that. So yeah So a missing shot. So this happened during one of our productions where we completely omitted to take a shot Just just it was nobody. I don't know somehow through the hierarchy people just forgot that a very important shot is missing So let's just watch this here So this kid he's trying to he's trying to turn on a fan He's too lazy to get out of the bed and he's trying to turn on the fan by you know using a chip and a catapult But I don't know if you noticed the There's no the shot of it hitting the switch is not there And that was the one of the clients request like hey, where's the shot of the chip hitting the the switch that's important to the story and we're like, oh, yeah, it is so So So the director comes to me and he's like hey, I took this picture of the switch. Can you do something with it? I'm like, I don't even need the picture. It's fine so just went into blender and I'll play that and model this very simple just some cubes and Circles and some mapping and then you try to light it how it was lit in onset. You can see the the blinds and you animate the chip flying and Hitting the switch and then those assets are from poly heaven. I bet I believe they're here today So, yeah Really helpful and this was done in matter of minutes saved a lot of money on Having to make a switch lighting and all that so just show you the final. I'll just show you a breakdown. Yeah Okay, and So now we can complete the story done Yeah Thank you. Thank you So now I'm missing location so You see it's getting bigger and bigger the problems so We are obviously located in south of India and we were trying to do a parody of the Exorcist Pretty sure you guys have I mean everyone seen this movie, right? Believe. Yeah Yeah, okay so there's this iconic shot of the man standing in front of the haunted house and I will I was yeah, okay the man standing in front of the haunted house and We want to recreate that but as you know, it might be hard to find a western looking building in south of India So, what do we do when we want to make a one-to-one parody? So So I found this image online of the house Before they shot it and I'm like hey, let's let's do the f spy thing. Okay, so We shot this plate Of a character walking in front and someone had to painfully roll to the parts where he's not on the green screen so But yeah, and he walks in front Yeah, and so now we have to turn this into the location. So Here we have a model that one of my colleagues graciously did so Couple of roads and we Start using these collection instances that are like they're so great because you can edit you can see here you can edit the collection and Yeah, so and it updates on all the windows, but yeah, probably won't need it for need something weird like that so So you just start building out the scene you you put in you can see here It's textured with object mapping. So this is great for big because it just nicely does the flow for you You don't have to break your head with the UV unwrapping and we put the fence and Then this this great thing where this IV which is a geometry node setup And I love this thing because you can you can just draw your curves on the wall And you can add that like the IV to go anywhere you want and this is just fantastic So there's a little geometry node set up there. Yeah, and then we move on to just adding more detail and Put some trees and then you look up and you're like, oh my god but yeah, that's just purely for our direction and Yeah, you move on to lighting from then and Yeah, so the lighting for this is pretty simple because it's just a dark background So I'm just gonna turn on it's like, okay, it's all black and then yeah, and you're like, oh shit Well, where's the why is it all like this and then you put the volumetrics in? Thing I'm gonna try doing that. Yeah Yeah, and boom instantly. We're very close to you know what the image looks like and you add some more volumetrics with noise and You can see here. It's like a simple It's a simple Volume shader with noise attached to it and you just make it move a little bit so that there's some dynamics Yeah, and then the final step good old images planes Just drop him in and this is great because he'll interact with the fog He'll interact with the lighting. He'll cast a shadow onto the floor. You know to worry about all that in post So and we knew it's gonna be exposed in a dark way So and we knew how the lighting is gonna look beforehand. So we lit him up appropriately Yeah, and then there you go. We are very close there and this is this is absolutely scary because Working on a scene like this late at night and all these denoising artifacts are starting to look like faces and you're like, oh, no and then the file gets cut up for a few times and you're like, okay, I think I should Get this over with quickly so yeah, and it's absolutely gorgeous what you can get done and I'll just show you the final shot here With a little bit of combusting there you go We have a location So yeah, that's it. That's how we got a location So into the sky. So now we're going to post production. I just want to show you some fun things we do with our post work some things I believe only blender can do Let's just say so we had this music video we did for the Amazon Prime a while back where this couple is flying through this imaginary world and It's supposed to be all cute and fluffy and The again, it's a wait. Let's get this So this is how it looked before production Before post production sorry So yeah again key it out put it as images planes and this is where I guess blender shines because with Evie You can have the bloom the depth of field everything you need Instantly and you know you like we were gonna do this initially in a traditional combustion software And I'm I just realized hey I have to put depth of field for this I put depth of field for that I have to put glow for this and I'm like why bother. I'll just drop it into Evie You'll just do all the magic for me make it look good, especially with short timelines. So and Then you get the music video. So yeah and finally to the moon so We had a project recently where we had to make the surface of the moon where two guys will be dancing and So at this point we have become very familiar with blender. We know what blender can do and We are like, okay Let's just make this small surface that people can stand on and dance and then we'll blend it with the CG background. So This is how it looked before shooting um Moving on and So I guess this is where the blender coming is so great because you can do something as simple as how to make a moon in Blender and and the the key is not to get not not to know the tutorial for that The key is that you might get assets from them You might get some nice friend who will just post it like you know Hey, here's a free 16k displacement map like thank you. I guess his name is a mantis a I believe he's here too today Uh, maybe I'm getting that wrong, but yeah, these nice displacement maps from Him that are like moon based So you can see we have we at least from the camera point of view it looks like the surface of the moon So moving on so and then we composite that surface that we rendered and and Scale it down and then then you have to do the hard work of combusting it in which And then you get a pretty convincing guy is dancing on a moon for the music video So yeah, I mean that is that's it. So that's all that's all the stuff we do in blender So from pretty to post I just like to leave you with this Because I believe every filmmaker should maybe try getting into blender because you don't know when it might help it just Well, so I'll just end it and this off with a wheel So you guys can just see the work we do in blender 90% of it is in blender some in other surface So just check it out. Wait, do we have audio? Okay, yeah, that's it. Thank you so much for coming Hope you guys could take something away from it If you guys have any questions you can ask now or if you want to talk to me later, I'll be here for three days. So, yeah No, no, not really yeah But I'm waiting for the viewport compositor. I think that'll be a game changer. Yes There's all fusion fusion. Yeah It used to be after effects, but Fusions better. Yeah Yes colors, please Yeah, honestly like It's a little daunting to be fair, but I think right now we're using aces and I think we have a custom three to three matrices. I really don't know I think my color this helps me with that, but he converts it from the aces whatever I vendor to what the DI needs so So, yeah, I think we take it into fusion and we use the color space transforms to transform it to what we need basically, yeah Anyone yes No, right now we've been only using cycles. We do use unreal sometimes. Yeah, some of the stuff you saw unreal Usually our timelines are like really really small. So We try to stick to EV and unreal when the time comes but Cycles is getting so fast these days that it's also becoming very viable to use that. So, yeah Is that all? Yes. Yes Not yet not yet, but the hope is that we can the infrastructure is kind of poor where we are from in terms of virtual production But we are trying to we are trying to get there We're trying to build something that you know we can use because we do have we do have the what we say We do have the each individual tool. We have the displays. We have the computers We have we have everything that needs but we need someone to bring it together. So I think that is a little lacking So we are trying to Bridging that gap from our end, but it's the talks have been a little vague to say the least No one Okay, I guess that's it. Yeah. Thank you so much. Yeah