The five-day Animation Masters Summit, where Aabid Surti and Biren Ghose will be honoured by Toonz, will include sessions by a galaxy of stalwarts from diverse fields of media and entertainment across the world
Artist, writer and activist Aabid Surti, and animation industry veteran and Country Head, Technicolor Creative Studios, Biren Ghose will be honoured at the 2022 edition of Animation Masters Summit. Organised by Toonz Media Group, the virtual Summit will be held from May 23 to 27, 2022 over the Zoom platform.
Surti, 87, has made significant contributions towards popularising cartoons and graphic novels in Indian languages in a career spanning over six decades. He is the creator of several memorable characters such as Dhabbuji, Inspector Azad, Doctor Chinchu and the much-loved Indrajal comic superhero Bahadur. A prolific author, he bagged the National Award in 1993 for his short story series titled `Teesri Aankh’. Having passed out of one of India’s oldest art institutions the JJ School of Art in Mumbai, Surti is also an acclaimed painter known for experimenting and developing innovative and critically acclaimed painting techniques.
The Animation Master Summit Jury was Chaired by industry veteran Ashish SK. Announcement to the key AMS Legends Award & AMS Indian Animation Special Contribution Award was done at the Closing ceremony of GAFX 2022 at Bangalore on the 29th April 2022. At this GAFX Show in Bangalore the AMS jury Chairman declared the two prestigious awards the AMS Legend Award this year is being bestowed on veteran artist, writer and activist Aabid Surti. Mr Surti is noted for creating and popularizing cartoons and graphic novels in Indian languages through colourful characters like Dhabbuji, Bahadur, Inspector Azad, Doctor Chinchu and many more. Mr Surti has also made significant contributions to water conservation through his organization Drop Dead Foundation.
We will also be honouring a leader from the Indian AVGC industry with the Special Contribution to the Indian Animation Industry Award. And I am elated to let you all know that this year we are honouring Technicolor India chief Biren Ghose with this award. Biren is a prominent figure in the Indian AVGC scene. As a thought leader and business head of some of the most prominent entertainment companies, Biren has made invaluable contributions in the growth and development of the AVGC ecosystem in India over the years. It is our privilege to honour him with the AMS Special Contribution to the Indian Animation Industry Award. In picture P Jayakumar, Ashish SK and Biren Ghose during GAFX Valedictory
In recent years, Surti has made a mark with his activism in water conservation through his organisation Drop Dead Foundation, which was started as an initiative to provide free plumbing service for residents in suburban Mumbai. Surti personally leads his NGO in fixing an average of around 400 taps a year after visiting close to a thousand homes.
For his contributions to art and society Aabid Surti will be awarded the Legend of Indian Animation Award at Animation Masters Summit 2022.
Biren Ghose is a prominent figure in the Indian AVGC (Animation Visual Effects Gaming and Comics) scene. As a thought leader and business head of some of the most prominent entertainment companies, Ghose has made significant contributions in the growth and development of the AVGC ecosystem in India over the years. He also holds several important roles in government and quasi-government agencies, institutions and trade bodies.
Ghose will be honoured with the Special Contribution to the Indian Animation Industry Award at the Summit for his overall contributions to the industry. Both the awards will be presented at the inaugural session of Animation Masters Summit on May 23.
P Jayakumar, CEO – Toonz Media Group, said, “Animation Masters Summit is Toonz’s flagship annual event where we provide a platform for young artists and students to interact with veterans in the field of art and entertainment.
The AMS awards have been instituted to honour legends in the field of art. Mr Aabid Surti is a true legend in this regard, having made his mark in multiple streams of art from painting to cartoon, to writing. After a scintillating career of more than 60 years, he continues to work tirelessly focusing more on social and environmental issues now. He is an inspiration for not just artists but for everyone. It is a privilege for us to present this year’s Legend Award to Mr Surti.”
He added: “Mr Biren Ghose, who is being awarded the Special Contribution Award, has helped build the AVGC ecosystem in India with his visionary leadership. As a mentor and industry spokesperson he also played a significant role in fostering a strong and cohesive animation and VFX community in India.”
The five-day Animation Masters Summit will include sessions by a galaxy of stalwarts from diverse fields of media and entertainment across the world. Google India Country Head and Vice President Sanjay Gupta will deliver the keynote address at the inaugural session.
Master sessions in the following days will be led by renowned artists and creators including Belgian director-producer Paul Demeyer who has worked on shows like Mission Force One, The Rocketeer and the Rugrats series and movie; Emmy Award-winning composer Wendell Hanes who is best known for supervising the music for the Netflix sitcom Family Reunion; Ravishankar Venkateswaran, maker of the first ever Sanskrit animation feature Punyakoti; Chief Creative Officer at Ogilvy India Sukesh Nayak and Arjun Reddy, co-founder and CTO of India’s biggest NFT ecosystem GuardianLink.
Ravindra Velhal, Intel’s Global Content Policy Strategist and 8K lead, wants to democratise technology and make it affordable and accessible to even the novoice immersive and volumetric filmmakers in order to help transform the creative industry from Lights, Camera, Action to Lights, Compute, and Action. The man behind many revolutionary ideas and creations opens up in a candid interview with Pickle explaining how technology is pushing the boundaries of filmmaking globally
From pixels to voxels, you have been part of the digital transformation in the media. How has been the 25-year journey? Intel has been at the forefront of computing innovation for more than five decades.
It’s been a thrilling ride, to say the least. For more than five decades, Intel has been driving innovation in computing that touches every human being on the planet. We have been at the forefront of emerging technologies used by the entertainment industry worldwide to deliver rich content and provide consumers with exciting immersive digital experiences for the past 25 years. In the early 1990s, under the visionary leadership of Intel’s CEO Andy Grove, and now current CEO Pat Gelsinger (Andy’s Tech Advisor and Jeff Lawrence, Andy’s Copyright Lawyer back then), Intel began driving and establishing content/technology policy with the “Market not Mandate” principle between US Regulators, Hollywood, Consumer electronics, and Technology providers.
It all started in the 1990s with the creation of the Broadcast Flag, contributions to DMCA (Digital Millennium Copyright Act) regulation, the DVD standard, the first CDN (Content Delivery Network), and DRM for content access. A typical media format transition cycle lasts 7 years (e.g., from SD (DVD) to HD (Blu-Ray)/4K/8K). Work begun in the mid-1990s and early 2000s with a slew of associated technologies and standards (H.264/H.265, DVD, Blu-Ray, DRMUltraViolet, USB, WiFi, HDMI, Cloud, AI, now 5G) was critical in bringing high-quality media playback of Hollywood blockbusters to PCs, laptops, gaming consoles, STBs, Smart TVs, and mobile devices. Intel technology has powered the digitization initiatives in Hollywood and the global media industry for the last three decades and continues to drive the future of storytelling through 8K, immersive Cinema, and beyond by constantly engaging with global studios and innovators to bring the first ever Volumetric and immersive Cinema experiences to life.
Intel technology is used in the creation, distribution, content protection, consumption, and other stages of nearly every major Hollywood and global film. To provide the best viewing experiences for consumers, major studios, postproduction houses, virtual production and visual effects companies rely on Intel technologies such as Intel® Xeon® Scalable and Intel® CoreTM processors, memory technology, AI, 5G networking solutions to drive transformation at network-edge-cloud, and One API, development toolkits like SDV is for open source raytracing.
From the time you had landed from India to the US, you had a breezy journey. Could you share some of the most memorable moments in the convergence of tech and content?
I had a humble upbringing in Sangli, Maharashtra, India, where I completed my Engineering degrees despite numerous setbacks. We had few technical resources, but our college library had every issue of IEEE journals. During our school days, my younger brother Ajit Velhal and I developed and patented a prototype and research paper on “Genome sequencing and pattern recognition,” which received awards from the Instrument Society of America and widespread attention in 1994. This sparked my interest in imaging, which grew into a passion during my internship at Siemens Medical R&D and has taken it to a whole new level over the last 25 years with Eastman Kodak Research, Intel Research, and since 2008 with Hollywood initiatives, Immersive Cinema productions, and driving 8K live initiatives at the Olympics games in Tokyo 2020.
In 1998, I was working at Eastman Kodak Research in the outskirts of Washington, DC, on an early consumer grade flagship digital camera and “film to digital” consumer project, which was producing only thumbnail quality digital pictures. Within a year of joining Intel, I began working on the Proshare initiative, which allowed users to video conference with someone on the opposite side of the world over the internet. That was just wow. At Intel Research, I worked on several early stage media encoders technologies, media devices and phone that can consume media.
The rate of invention and convergence of “Tech Meets Story” has been exceptional, from thumbnail size digital photos in the mid 1990s to 8K quality live video and now “beyond resolution” volumetric filmmaking. From the legendary “Thousand songs in your pocket” moment to today “Million movies and TV episodes at your fingertip delivered from the cloud,” technology and the art of storytelling are revolutionising our lives on a daily basis, and I’ve been able to do my small part. Platforms are continuously multiplying and borders are blurring day by day.
What is the most ambitious global initiative in media and entertainment that you want to fulfil?
Help transform creative industry from Lights, Camera, Action to Lights, Compute, Action to drive tech meets story globally along with democratization of technology and affordable access to anyone who desires. More than 100 high resolution cameras filmed everything that light can see during the production of Grease in Volumetric at Intel Studios (the world’s largest Volumetric stage), generating and processing more than 5 Trillion pixels in less than three minutes. This is a cutting-edge technology production from Hollywood. How can this be democratised and made available to even the most inexperienced volumetric filmmaker? We did just that with the Museum of Tomorrow lab in Rio de Janeiro, Brazil, where a small but dedicated team of filmmakers and technologists used a less than $1,000 setup to capture Amazonian Tribal ritual artists in volumetric and completed a project that I presented at CannesXR. This is the power of storytelling unleashed through the use of affordable technologies, regardless of where you live.
What are your major learnings working in different continents… embracing change?
A fast pace of innovation and creativity is a global phenomenon. Working with people from various cultures, backgrounds, and walks of life broadens your mind, fosters creativity and teamwork, broadens your horizons, teaches you to appreciate their points of view, and makes you more humble. The more you work with a diverse group of people (both inside and outside of your workplace) all over the world, the more you realise how little you know. I consider myself fortunate to have worked with amazing people from all over the world, both at work and outside of work, who have had a significant impact on my life.
I was fortunate to have excellent mentors both inside and outside of Intel. Legendary chefs such as Alex Atala from Brazil provided me with a crash course in the Indo-Brazilian epicurean connection dating back to the 15th century. Virgilio Martinez, a Peruvian chef, can teach us about sustainable Panchamama heritage. One encounter with legendary Spanish chefs Adria brothers, Albert and Ferran Adria can be life-changing in terms of understanding the deep meaning of Passion and Creativity. I am a firm believer in what Albert Adria once said: “Creativity is 20% knowledge, 20% inspiration, and 60% intensity.”
Working with Randal Kleiser can provide you with more institutional knowledge about filmmaking than any textbook will ever provide. Listening to Jeff Lawrence (my boss and mentor) can provide youwith encyclopaedic knowledge of the media industry’s history since its inception. As a member of the delegation, I learned about drive, determination, hard work, and dedication from world leaders like PM Narendra Modi and former US President Obama. The world is flat; all you have to do is get out of your comfort zone, find inspiration, embrace change, and go do something amazing. “Don’t be complacent, complacency will lead to failure, and thats why only the paranoid will survive,” Andy Grove had once said.
What brought you to AR/VR and immersive cinema and where are we heading in that space? How did you get immersed in the virtual reality experience in the cinema? How do you describe the immersive revolution? What have we seen, what is to be seen…
Immersion is defined as anything that allows you to experience yourself in a completely new dimension. The industry has progressed through various stages of immersion, from the first moving picture to BW Cinema, from colour to sound, and from sensory exploration (motion, olfactory, haptics) to AR/VR/XR/Metaverse. Around 2015, I began my journey into Immersive Cinema (primarily VR Cinema and later multi-format volumetric).
During 2016-17, I had the opportunity to collaborate with AR Rahman, LeMusk Sensory Cinema VRE, Warner Bros/Christopher Nolan’s Dunkirk-Save Every Breath Cinema VRE, and Sony Picture Entertainment’s Spider-Man: Homecoming Virtual Reality, all at the same time (and many sleepless nights). Each project was unique, but they all pushed the boundaries of Cinematic Storytelling in a medium that did not exist before. It’s both exciting and terrifying at the same time. VREs, which have capitalised on successful films such as Oscar contender Dunkirk and Spider-Man: Homecoming, bring stories to life for moviegoers long after they’ve left the theatre. With the release of Le Musk, the first VR multi-sensory motion encoded, olfactory feature film on Positron VR chairs, VR is poised to become the newest film medium.
As virtual reality has changed the quation, technology has started to change the future of filmmaking. It has pushed boundaries, defined new expressions for storytellers, and provided audiences with new immersive multi-sensory experiences, allowing them to become a part of the story and explore and expand new dimensions. This is extremely powerful. According to Matthew Lewis, president of Practical Magic, and director and producer of Dunkirk VR Experience, the world Christopher Nolan created for Dunkirk played right into the strengths of VR.
While 360-degree VR videos are optimized for HD and 4K media, the production company had to stitch images 40 times that resolution for this VR experience. Using Dell blade servers and workstations that were powered by Intel Xeon processors, Practical Magic had real-time access to high-resolution media during the post-production process during Dunkirk VRE.
I humbly believe, best is yet to be experienced as creators and tech keep on pushing the boundaries of immersive storytelling.
How did volumetric production evolve in Sony Innovation Studios, and what was its impact on filmmaking?
With the creation of Intel Studios in 2018, the industry began to shift from pixels to voxel (pixel with depth information), allowing you to step into the movie from any angle because it captures everything that light can see. Grease Volumetric Cinema with Paramount Pictures set industry standards by capturing and processing more than 5 trillion pixels for a three-minute song using Intel technologies. Sony Innovation Studio collaborated with Intel, Dell Deloitte, and Sony Pictures on volumetric digital set acquisition, which enabled a whole new business model for virtual production and expanded technical possibilities. During Spider-Man: Far From Home Virtual Reality, the entire Tony Stark Jet was scanned with sub-millimeter accuracy using billions upon billions of point clouds, processed, and rendered, allowing you to step into the virtual set. Once set is digitally captured at extremely high resolution, possibilities for filmmakers are endless.
How did Le Musk happen with A R Rahman?
A strong emotional connection is the foundation of creativity, and this is the mutual bond that I share with AR Rahman. When I learned about A R Rahman’s vision to create a full-length immersive LeMusk, Sensory Cinema VRE, a romantic story with olfactory experiences, I began working with him in 2016. Nothing of this magnitude, with full Ambisonic audio immersion, high resolution stereoscopic 360 VR, and a scent-driven story on a motion chair, has ever been attempted in the world of cinema. That’s when we started experimenting and exploring new ways to push the bounds and boundaries of immersive cinema in ways that had never been done before. Motion elicits emotion in users who experience this on a PC-powered Positron VR chairs, allowing you to experience the subtle art of immersive storytelling without feeling overwhelmed. So far, the response to the Prelude to LeMusk and Scent of a Song from LeMusk has been phenomenal, and we can’t wait to bring full length LeMusk Sensory Cinema VRE soon.
We are entering the endemic phase in the aftermath of COVID-19; how do you see the change? You had 8K live streaming of the Tokyo Olympics at the height of COVID?
We’ve been working with 8K for several years and have previously live-streamed video in 8K during a live test trial this past December. What makes this project unique is that it is the first live 8K 60 fps 10-bit HDR broadcast of the Tokyo 2020 Olympics to use the Open Public Internet, with over 4.7 PetaBytes of 8K data captured, processed, and streamed over the course of 19 days of the Tokyo 2020 Olympics.
Despite the challenges, Intel and partners such as NHK, Globo, and the Olympic Broadcasting Service (OBS) wanted to try and find solutions to advance wider 8K global adoption, and the Tokyo 2020 Olympics was a great place to do so. Despite the challenges, my team and I believe it is worthwhile. We did all of this to ensure that our viewers are completely immersed in the event. We brought stadium-quality immersive TV experience in stunning 8K/60FPS/HDR to our audiences across several continents because they were not allowed to be inside the stadium to cheer on their favourite athletes and teams. We really wanted you to feel like you were there. This project was named iABM Project of the Year 2021.
You’ve brought immersive cinema and virtual reality to Marche; what’s your personal experience?
AR Rahman’s Prelude to LeMusk, Warner Bros., Christopher Nolan’s Dunkirk Save Every Breathe in Virtual Reality, and Rio Carnival VRE with GloboTVBrasil in 2018. Universal Pictures’ FirstMan VRE, LeMusk’s Scent of a Song, and Grease Volumetric Cinema in mixed reality and hologram were launched at on Positron motion VR chairs in 2018-19. Repangia, a Techno-Shamanic volumetric social VR experience from Brazilian Amazonian tribes in 2020, has previously made it to Marche du Film’s CannesXR during the Cannes Film Festival. The audience response was incredible, with long lines forming to see the future of immersive cinema at CannesXR. Over the years, I’ve given about 7 keynote speeches and producers roundtable at Cannes, as well as a fireside chat with A R Rahman. Over the years, CannesXR has evolved into a premium destination for advancing immersive cinema powered by technology.
You have made significant contributions to the advancement of India’s media sector (FICCIFRAMES)… Where do you see India going in the future?
In 2009, Yash Chopra, a legendary Indian director and FICCI appointed me as an advisor to bridge the gap between Hollywood and the Indian film and television industries. For the past 14 years, I have worked with the Indian film industry to provide early technology access and knowhow, as well as to lead media policy with FICCI at various levels. With a rich heritage and history, India is a land of storytellers and billion dreamers. Incentivizing the AVGC sector, embracing virtual production workflow for content creators, and developing a national level policy for digital preservation of cultural heritage and monuments across India for future generations will all contribute significantly to the industry’s growth.
5G is being deployed in a number of countries across the world; what effect will 5G have on computing and cinema?
According to the ‘5G Economics of Entertainment Report,’ 5G will accelerate content consumption, including mobile media, mobile advertising, home broadband, Cinema, and TV, as well as improve experiences across a wide range of new immersive and interactive technologies, thereby unleashing the full potential of augmented reality (AR), virtual reality (VR), and new media. By 2028, immersive and new media applications – applications and capabilities that currently do not exist – will reach unprecedented scale. The average monthly traffic per 5G subscriber will increase from 11.7GB in 2019 to 84.4GB in 2028, when video will account for 90% of all 5G traffic. We brought SpiderMan: Far From Home’s first ever multiplayer VRE experience over 5G during MWC 2019 with Sony Pictures to harness the power of 5G for immersive cinema.
From Eastman Kodak to Intel… what three things have completely altered the world of media today?
Fast pace of innovation, Compute Power and Transformation happening at edge-network-cloud, AI are rapidly transforming media industry from lights, camera, action to Lights, Camera, Compute and action.
What are your plans for this year’s NABShow?
I’ve been attending NAB Show since 2008 and have spoken on several occasions. In 2014, Kamal Hassan, myself, and a fellow panellist delivered a session at the NAB to commemorate the 100th anniversary of Indian cinema. The National Association of Broadcasters (NAB) is a global platform for learning about advancements in the media and entertainment industries. At the Intel booth, we showcased Prelude to LeMusk with AR Rahman in 2017, the first ever 8K encode-decode in 2017, and the first ever 16K playback in 2018. This year, I will be speaking at the “Capitalizing Hollywood
Technology” panel on April 26th with my industry colleagues from HP, Microsoft, and Verizon, moderated by Story-Tech, Chief Tech Catalyst Lori Schwartz, as well as showcasing 8K/60fps/HDR end to end Olympic games Tokyo 2020 workflow and Olympics games highlights at NAB Future Zone with 8K Association.
Ravindra Velhal has been involved with Intel’s technology policy and standards for nearly two decades and has seen technologies define new experiences for both storytellers and audiences. Here are a few projects with which he has been closely associated with that allow for new immersive multi-sensory experiences
Started as an industry consortium of 60+ Tech, Studio and Service companies [2008-2020], UltraViolet-Your Movies in the Cloud gave birth to digital movie collection to promote Buy Once Play Anywhere concept . One direct benefit of Ultraviolet™ is Convergence, giving consumer the convenience and choice of accessing media across variety of registered UltraViolet devices including PCs, laptops, Smartphone, gaming video consoles and other connected CE video devices. This brought unique distribution opportunity to monetize and gain wider acceptance for the Hollywood Movies and TVShows “Digital Download and streaming” content in many territories. More than 20,000 Hollywood (Movies+TV Shows) titles were part of UltraViolet catalogue at one point. In addition to already growing mobile penetration, services like UltraViolet permeated and propelled need for better broadband connectivity, Electronic Sell-through (EST) infrastructure, DRM harmonization and Common Media Format for enabling new ways of digital media consumption and monetization over the Internet. Ravi made significant contributions to Ultraviolet technical architecture and managed Ultraviolet from 2008-2020 as a management committee member.
“A romantic story that revolves around aroma.” LeMusk is a upcoming full length sensory Cinema Experience by two time Oscar and Grammy winner A R Rahman. Prelude to LeMusk and Scent of a Song from LeMusk launched at Cannes in 2018 and 2019 respectively on Positron motion chairs with scent emitters, giving viewers glimpse into the future of immersive Cinema like never been experienced before.
Intel Teams with Sony Pictures Virtual Reality to Create ‘Spider-Man: Homecoming’ Virtual Reality Experience
Ravi collaborated with Sony Pictures Virtual Reality to create a virtual reality experience (VRE) that complemented Columbia Pictures’ “Spider-Man: Homecoming,” the most highly anticipated movie of the summer 2017. The VRE offers users the chance to suit up as Spider-Man for the first time, hone their webshooting skills, and sling high above New York City in pursuit of the Vulture. Reduce discomfort associated with VR using pinhole view – including players seeing a mirror version of themselves as Spider-Man – is complicated to create such cinematic realism. When people walked away from this knowing what it’s like to be Spider-Man, the mission was complete. This experience received an AIS (Advanced Imaging Society) Lumiere award and was nominated for an Emmy.
SAVE EVERY BREATH
Christopher Nolan’s epic action thriller, Dunkirk, opens to hundreds of thousands of British and Allied troops surrounded by enemy forces. Trapped on the beach with their backs to the sea, they face an impossible situation as the enemy closes in. But this intense theatrical experience doesn’t end when the final credits roll. Movie goers can experience the harrowing miracle evacuation of troops by land, sea and air – all from the safety of their living room – thanks to the magic of virtual reality (VR). “The Dunkirk VR Experience will likely transform all of our expectations about what immersive entertainment means in the years to come.
RIO CARNIVAL 2018
Worldwide famous as a largest festival on the planet to celebrate spirit of humanity, Rio Carnival is a soul of Brazil. Several Samba schools participate each year to parade their magnum opus float at Rio’s Sambadrome. This is one of the first ever VR experience from Brazil, created in collaboration with GloboTV, one of the top global broadcaster. This experience allows you to experience Carnival parade better than camarotes (VIP viewing Cabins at the Carnival).
To The Moon and Back in VR
Damien Chazelle’s First Man is an unusual 1960s piece. It is apolitical. The hero, Neil Armstrong is a stoic civilian astronaut whose emotional life is the sum of Hollywood’s best pout (that of its lead actor Ryan Gosling). A daunting, yet alluring Moon landing experience by Universal Pictures, Ryot, Intel and CreateVR. The VR experience takes you right inside the Apollo 11 spacecraft, experience take off. Outside the window, you can see blanket of glittering stars and asteroids. After hovering over the hard craters, you’ll be finally landed on the moon“giant leap for mankind”. One of the finest examples of how virtual reality can be optimized for creative cinema storytelling to whole new level. “New technology has defined new expressions for storytellers, and brought new immersive multi-sensory experiences for audiences, life never before”, This was nominated for The Outstanding Original Interactive Program – Emmy’s Awards in 2019.
Grease Volumetric Cinema Experience
Based on iconic 1978 blockbuster from paramount Pictures, this is the first volumetric Hollywood Cinema experience created at Intel Studios, the world’s largest volumetric studio imagined using Intel technologies. This experience, created in collaboration with Paramount Pictures and the original Grease film director Randal Kleiser, immerses the audience in interactive song and dance to explore the possibilities of volumetric storytelling. This Volumetric Cinema experience, billed as the future of virtual cinema production, introduces you to the limitless potential of storytelling. For this three-minute iconic song, more than 5 trillion pixels were captured and processed, giving birth to “Data Powered Volumetric Cinema” and the limitless future of Immersive Cinema and virtual production-based entertainment industry.
“From pixels to voxels, the potential of volumetric capture is endless as we are moving to seeing the world through the mind-bending capabilities of new media formats that are quickly becoming a gold standard in immersive media entertainment.”
Spider-Man Far From Home Virtual Reality, first ever multiplayer over 5G at Mobile World Congress 2018
Developed by Sony Pictures, CreateVR in association with Intel and Nokia, the point of the demonstration is to illustrate 5G’s ultra-low latency, or a real-time responsiveness that current 4G networks can’t replicate and to showcase how the next-generation wireless technology will change your life. A demonstration between Intel and Nokia booth at Mobile World Congress 2018 in Barcelona of how a VR game could work with a multiplayer component running over a 5G network. As you swing through the city at Intel booth, you are racing another person in a second Oculus Rift setup 3,800 feet away at the Nokia booth.
Based on the film, Spider-Man: Far From Home, Virtual Reality is a fastswinging, thrill ride through the eyes of everyone’s favorite neighbourhood Spider-Man. In breathtaking Virtual reality, now gamers can tackle one of the coolest power fantasies around: swinging around New York at scale as Spider-Man. In Spider-Man: Far From Home Virtual Reality you get to do just that and this taste of superhero life fuels a desire for more and then find and tackle New York’s latest attacker in this thrilling, swinging adventure.
During this experience, Tony Stark’s jet was digitally acquired using volumetric set acquisition in collaboration with Intel and Sony Innovation Studios, to allow you to step into the movie.
Created in collaboration with Museum Of Tomorrow, Rio de Janerio in 2019, Repangia is a techno-shamanic social experience in virtual reality to preserve thousand year old ancestorial practice of Amazonian tribes connecting humanity and preserving nature. Recognized as a first ever volumetric experience created in Brazil. This is a result of VR bootcamp hosted in Brazil and leveraging world class production techniques at low cost. Super happy to see how “Tech meets Tradition” to preserve lost ancestorial practices and rituals from remote regions of Amazonian tribes.
INTEL’S 8K HDR INTERNET OLYMPIC GAMES TOKYO 2020 LIVESTREAMS
Last summer, as athletes broke world records at the Tokyo 2020 Olympic Games, another “one for the books” was quietly taking place. For 19 days, live coverage of many Olympic events was broadcast over the public Internet at 8K at 60 frames per second (Fps) with HDR (High Dynamic Range) to Brazil and Japan generating and processing more than 4.7 PetaBytes of data. U.S. viewing was limited to private, invitation-only Intel sites in Portland, Santa Clara, and Hollywood audiences in Los Angeles. It was believed to be the first live, broadcast quality transmission on an open IP network cloud, coming just months after a pioneering 8K/60FPSFps live stream (without HDR), also led by Intel, in December 2020.
Between those two landmark events, Intel and its partners conducted more than a dozen successful demonstrations of its prototype for Over The Top (OTT), standards-based delivery of live broadcast quality, 8K (7680×4320), 60Fps, HDR content on existing 4K infrastructure. Pioneering this efforts Ravi Velhal, global content technology strategist and 8K lead at Intel, is working full speed ahead to create a new category and market that will bring live, end-to-end 8K Internet streaming to billions across the globe. “We’re preparing the world for democratization of 8K using the open internet”. Iabm (International Association of Broadcast and Media) recognized this as a “Project Of The Year” for 2021 and Ravi’s contribution placed him as a “Technology Leader Of The Year” finalist.
Ravi and I have worked closely for more than a decade and he is both a innovator and gentleman. His constant drive and determination have propelled the industry forward and allowed us bring to life stories in ways that were only a dream a few years ago. From the early days on OTT and basic video delivery to your PC to next generation Multiplayer VR over a 5G network
Ravi’s passion for cinema and the creative arts with the vast knowledge spread over 2 decades of innovation in technology makes him the ideal “digital storyteller to the merchants of dreams”. In Ravi, Intel have found the ideal global ambassador to engage some of the biggest film, music, television and gaming projects making technology enable the magic, whilst still not taking away the limelight from the original storytellers.
He pairs technology to entertainment making them made for each other.
Ravi is an exceptional standout in the intersection of technology and entertainment, he’s been a bold, risk taking leader in pushing the limits of camera technology use cases with ultra high resolution. Not afraid to push well past 4K to 8K and 16K to show where the future heads in terms of large venue entertainment and live event coverage.
Ravi understands the importance of experimenting and exploring how creative stories can be a driving force for a large tech leader like intel, showing them the path toward what the most advanced silicon can deliver to larger and larger screens with more demands on resolution and fidelity.
As a CTO and Head of Emerging Media at Whistling Woods International, I have experienced both the visionary and mentorship aspects of Ravi. He has the unique ability to shine a light on technical research & development roads that others can only glimpse at through a haze of uncertainty. Ravi has provided us with the much needed mentorship to work efficiently and aggressively towards research in creating new workflows and new methods of application of media technologies in the education of the next generation of Indian filmmakers. Unknown to so many Indian students, he has impacted their education and their careers with his support to the Whistling Woods Emerging Media Lab and to research & development activities in the Indian industry at large.
For me as the creator of the Le Musk the cinematic sensory experience …getting into uncharted territory was made easier with an associate like Ravi Velhal. He was constantly filling us with the reality and possibilities to make this a successful project.
Ravi is a fantastic guy with a sharp focus on blending content and technology. He knows how to bring about a balance as between creative and commercial world. Ravi a true global citizen and a great friend for several countries. Ravi has been a constant supporter of Indian Animation, VFX, Gaming, Comics and XR eco-system. He layed a great foundation with us in building India’ s first AVGC awards at FICCI FRAMES- Best Animated Frames Award ( BAF Awards) and it has over last two decades recognised the who’s who of India and global heroes in the AVGC XR space. Ravi is extremely knowledgeable, talented and a humble person. He is willing to share knowledge and help global studios thru techno- creative policy making has built several successful collaborations. He has played a major role in bringing US and India closer in the media and entertainment space. I can’t imagine immersive technology interventions without Intel and Ravi presenting it to us.”
Ravi has been on the bleeding edge of technology revolution for immersive cinema for many years. He is a torch bearer on this path and is firm believer that technology is subservient to immersive cinematic experience. He is a rare breed of technology evangelist who understands storytelling and is deeply passionate about bringing immersive cinematic virtual reality experiences from the labs of Intel to the masses.
He has been a pillar of support for FICCI – AVGC-XR Committee and continues to work with many companies in India in the immersive cinema.”
VFXRio is honored to be part of Intel’s strategic initiatives since 2016 in Brazil. Ravi Velhal’s vision of the technological ecosystem is unique in supporting and fomenting global communities which blends technology and art bridging the gap between India, Hollywood and Brazil, bringing knowhow, cutting edge expertise and vision in the technological avant-garde landscape. “
Ravi Velhal’s contribution to the media and entertainment industry of India is enormous, it is because of silent contributors like him that the industry is able to march forward and conquer glorious heights . He has been providing advise, unstinted support to the FICCI media and entertainment committee as a global advisor since last 14 years now.
His vision has lead to a strong support to all initiatives of animation, gaming , VFX industry of India . He understood and stood by the work that FICCI was doing for last 18 years and instrumental in creating platform for shaping up policy. FICCI is honoured and very proud of the cutting edge technologies ( Ultraviolet, Broadcast Digitization, 4K, Immersive Cinema and now 8K) and know how that he has single handedly brought to our industry to bridge digital divide between Hollywood and Indian Film Industry
I’ve been working with Ravi for many years. He is that rare connective tissue between the tech and entertainment worlds. He is passionate about the creative arts and has quite a knack for identifying emerging tech trends which will ultimately transform either the creative process (such as his contributions to VR, Volumetric Video, and 8K live streaming) as well as the business approach (such as the early recognition that digital is the future of content distribution, when he worked with the studio community on Ultraviolet).”
Ravi and Intel have been an integral to the immersive industry, from the creation of the VR Society, which was previously a part of the Advanced Imaging Society prior to my transition to creating the Infinity Festival Hollywood (now in it’s fifth year), to bring the creative community in Hollywood together with the innovative technology groups from Silicon Valley. Ravi was amongst the first to encourage and support Infinity Festival ( where he chairs Immersive Cinema Committee), which has helped the immersive industry grow and become synonymous with entertainment and technology.
Ravi is the only person I know that has produced A-list entertainment immersive experiences with virtually all the major studios, including Infinity Festival’s Audience Choice Monolith Award winner for FirstMan VRE in 2018. Ravi is a true creative visionary that also possesses acute business acumen. There are only a handful of executives that truly understand the intersection of media and technology. Ravi has always had his finger on the pulse. Ravi was one of the first to understand that content would only flow to portable devices such as laptops and hand held devices if Hollywood trusted that their content would be protected against unauthorized widespread distribution. But that was just the beginning of Ravi’s partnership with Hollywood. He lead the charge to license Sony Pictures Ultra 4K content on every laptop and revolutionized 8K live streaming. Even in the early days of Ultraviolet, Ravi understood that rights entitlements were heading to the cloud. Ravi is always ten steps ahead of the pack.
As the Chief Strategist and Curator for the Infinity Festival, Former Governor of the Television Academy for the Interactive Media Peer Group and an M&E industry advisor, it’s always been my focus to identify and highlight thought leaders and industry evangelists who are paving the way for entertainment executives, technologists and up and coming creators. Ravi has been one of my go-to speakers and brand stewards for Intel, as he’s able to truly provide context for the disruptive nature of technologies advancements and how it will impact the future of film and television production. Ravi’s work and leadership continue to demonstrate that transformative technology solutions do not live in a silo but need to come together to lead Hollywood through its next evolution. By providing creators access to cutting edge technologies with Intel at the helm, Ravi Velhal is able to showcase what is possible.
Ravi is a rare confluence of technology & creativity… a deadly combination! Every small interaction with him (which is something one always look forward to) triggers a host of ideas that open up a sea of opportunities, with an aim to achieve the unthinkable. A truly passionate ambassador of Indian cinema and a pioneer of immersive technology, he undoubtedly is one of the visionaries who are shaping the world… as we will see it in the near future. His futuristic approach to everything is exemplary and his affable personality exudes so much positivity that his enthusiasm almost becomes addictive.
More power to you, Ravi… as you take a new bolder step every day, to change the world… with a smile on your face.
I met Ravi at a presentation of his Dunkirk VR project, which I loved. He found out I was the director of Grease and we began plotting to make an XR music video of “You’re the One That I Want”. Paramount jumped aboard and we captured 20 dancers volumetrically on the Intel stage at Manhattan Beach Studios. The experience won a Lumiere Award and was shown at Cannes and at the DGA’s Digital Day. Ravi was a delight to work with, and I hope we can do it again.
Ravi’s pioneering efforts helped jump start the immersive entertainment ecosystem in Brazil. He brought together the first professionals dedicated to immersive entertainment in Brazil to rethink production techniques thru VR boot camp, a collaboration with award winning Museum of Tomorrow. Repangia was born in 2017 introducing a trip thru human senses perception of the rain forest, the first immersive production together with a native tribe in a deep Amazon forest region. Ravi pushed the market to create the first 8K immersive Rio carnival experience in 2016 with Globo, one of the main world broadcasters. His visionary approach influenced also the first local immersive production telling the stories of the people living in the favelas.
The future of global immersive entertainment takes careful navigation through new technologies and human behavior. Ravi has a special sense for both. Thanks his decades long experienced with new technologies and how they come to market. Ravi’s deep sensitivity and extensive global exposure gives him a unique connection with his people and cultures. Ravi has proven to be a true visionary in the very tricky business of new immersive experiences.
Ravi is a pioneer. He sees the future and leads us there
Let’s take a look at Intel’s role in some of the media and entertainment initiatives over the years globally
The next gen 5G standard promises faster speeds of at least 20 times, which Intel technology leaders think will transform connectivity and mobility, and bring immersive interactive cinema to new venues and platforms
1993 Started with “Market not Mandate” principle under Intel CEO Andy Grove and collaborate with the industry to create DVD Forum since early 1990s, deployed commercially in 1995
1995 Started work on DTLA (Digital Transmission License Authority) with the Hollywood Studios for DTCP (Digital Transmission Content Protection) used for protecting Hollywood content over digital interconnects (IEEE 1394, later used for USB…) and later to internet
1995 onwards: CPTWG (Content Protection Tech Working Group) brought Studios, service providers and Tech companies together for work on all the major media content protection standards). DRM (Digital Rights Management) and content protection standards for the Hollywood DVD-CCA (Digital Video Disc-Copy Control Association), Broadcast flag, In 2005 OMA-Open Mobile Alliance/CMLA DRM- Content Management License Authority, HDCP (High Bandwidth Digital Content Protection) – world’s largest link protection crypto won two Emmy awards
1997/98 Intel contributed driving policy towards DMCA (Digital Millennium Copyright act) published in December 98. Intel started participating in H264 standard, base of video encoding format
1998 First CDN (Content Delivery Network), Project Rainer. Created technology/business framework that enabled digital streaming of Hollywood content over IP networks and ultimately the Internet (DTCP-IP)
2002 onwards: Led standardization for SD-to-HD transition (Blu-Ray) and consolidation of HD-DVD format., Engaged and drove EU DVB, Japanese Broadcast Standards.
2004 Led industry creation of U.S. regulatory framework to enable broadcast TV digitization (broadcast flag). TV digitization and modernization of the digital cable industry in the USA that served as baseline for the global TV industry.
2007-2020 UltraViolet digital Copy Hollywood initiative in major geos.
2008 Began engaging with the Indian media industry and in 2013 onwards Broadcast TV digitization efforts in India.
2010 onwards H265, AV1, AVC, HEVC V2(for 8K), VP9. Engagement with CCTV China started. 4K UHD Blu-Ray, established the 4K Std later adopted by Netflix, Amazon Prime adoption
2014 Broadcast TV digitization in Brazil (development of Ginga – Brasilian digital TV middleware of ISDB-Tb standard on Intel platforms)
2016 To Date: Started working on 8K, launched 8K encoder/decoder at NAB in 2017. 2018, 8K in France at Roland Garros with FranceTVand World’s first 16K encoder and decoder launched at NAB Show 2018 powered by Intel Xeon Processor. 2020 8K Live global partner PoC
2016 To date: Immersive Cinema Produced, collaborated, and launched dozen premium Hollywood and global Immersive Cinema VREs (LeMusk, Spider- Man VREs, Save Every Breathe Dunkirk VRE, FirstMan VRE and Volumetric Cinema Experience Grease to establish immersive Cinema category worldwide.
2021 First ever Olympic Games Tokyo 2020 delivered live in 8K/60FPS/ HDR OTT over the open internet across four continents and OTT service launch in Brazil with GloboTV
Manoj Mishra has been closely involved in the development, operations and commercialisation of many popular children’s animation titles including The Jungle Book, The Psammy Show, Robin Hood and Peter Pan
Powerkids Entertainment Private Limited, a company that focuses on children’s animation through development, management and monetisation of entertainment content, has announced the appointment of Manoj Mishra as Chief Executive Officer.
Manoj Mishra has been closely involved in the development, operations and commercialisation of many popular children’s animation titles including The Jungle Book, The Psammy Show, Robin Hood and Peter Pan, content enjoyed by millions of users.
A press note said Manoj Mishra brings decades of experience, leadership and a track record of building and growing creative and diverse teams in the media and animation space all around the world. He will lead the organisation and spearhead a number of exciting initiatives spanning the creation and monetisation of content, with a particular focus on digital initiatives such as PowerkidsTV and Powerkids World.
On the development, Teall Edds, a Founding Partner of OCP Asia said, “We are very excited that Powerkids has appointed Manoj to be CEO and lead the team. Powerkids will significantly benefit from his expertise in business operations and his leadership in creating new and exciting content. We also look forward to the many exciting new content concepts and distribution initiatives he has planned to build a digital powerhouse. We see him as a progressive leader with integrity, creativity and sincerity whose ability to deliver long term value is consistent with his strong track record and rich prior experience before joining Powerkids”.
Happy about his new role, Manoj Mishra said, “It’s an honor to join an exciting new company like Powerkids. The organization is uniquely positioned to serve a global audience through a cycle of managing and developing new, high quality children’s content whilst driving monetization of the existing catalogue. The unique digital reach directly to consumers is an area of future growth and we have some very exciting plans here.”
Powerkids champions the portfolio of intellectual property owned and managed by Powerkids Entertainment (Singapore) Pte Limited (“Powerkids Singapore”), an animation company based in Singapore. Powerkids Singapore is sponsored and managed by established investment manager OCP Asia (Singapore) Pte. Limited (“OCP Asia”). With over US$3 billion of funds under management, OCP Asia is a leading alternative manager in private markets, providing customized secured lending solutions across the Asia-Pacific region.
Manoj Mishra has over 25 years of experience in the industry and was most recently Chief Operating Officer at DQ Entertainment, prior to which he was Head of Commissioning / Co Productions / Content Acquisitions at Al Jazeera Children’s Channel. Mishra has also worked in animation and management roles for a variety of well-known brands, including Penta Four, Arena Multimedia, Wipro and NetGuru.
Technopark-based global animation major Toonz Media Group has joined hands with renowned Peruvian animation studio Tunche Films to co-produce their much-touted female-oriented animated feature Kayara through Toonz’s Spanish group company Fortoon Island. The historical CGI film set in the backdrop of the Inca civilization comes close on the heels of Tunche’s worldwide success with Ainbo – Spirit of the Amazon, also a female-led adventure.
A Spanish-Peruvian co-production Kayara follows the story of a young Inca woman who aspires to join the Chasqui Messengers – an elite, male-only league of official messengers in the Incan Empire. In her quest to be the first female Chasqui Messenger, Kayara courageously overcomes arduous obstacles, while also discovering the ancient stories of her land and her people.
Directed by César Zelada (Together It’s Possible),the movie also has on board Beverly Hills based international sales company Cinema Management Group (CMG) as Executive Producer and sales agent, who was instrumental in bringing the two producers together and who has already licensed the film extensively around the globe to blue-chip distributors.
“It is, indeed, a privilege for Toonz to partner with Tunche Films for this very ambitious project which has its roots firmly placed in ancient, indigenous wisdom and modern, progressive values at the same time. Apart from bringing on screen a strong female character, Kayara also provides us the unique opportunity to collaborate in a truly international project that brings together teams from diverse cultures across the world,” said Toonz Media Group CEO P. Jayakumar.
“After the positive experience of working with Toonz on animated feature The Canterville Ghost and the good collaboration we’ve had with Tunche Films on Ainbo, we are delighted to have brought these two exceptional teams together for an exciting new production,” says Edward Noeltner, President of Cinema Management Group. César Zelada adds: “We worked with Dutch co-producers on Ainbo and the cultural exchange between our Peruvian team and the Dutch was very helpful to our creating an indigenous story with a worldwide appeal. We are looking forward to an exciting synergy in working with the Spanish based team with Toonz.”
“Kayara is the story of a heroine who changed the role of women in many ways. Her epic journey follows situations and characters that can be easily identified by today’s audience, even though the story is set 500 years ago. We are very honored to bring it to life in our Spanish speaking animation industry, together with the award-winning Tunchestudio,” said Carlos Biern, President of Animation Production and Co-production, Toonz Media Group.
CMG has already pre-sold Kayara to 15 international distributors including Le Pacte (France), WW Entertainment (Benelux), Praesens (Switzerland), Front Row (Middle East), Rialto Distribution (Australia/New Zealand) and CDC (Latin America) among others. The CGI feature with a wide four quadrant appeal for family audiences is set to release in 2024.
Biren Ghose has been playing a crucial role for over two decades in transforming the India’s digital creative industries. Prominently featuring in all global media markets and events across the globe. Biren’s amazing professional journey and experiences give us useful insights into his incredible mind and vision for the India’s Animation, VFX, and Gaming [AVGC] industries.
Pickle chats with Biren Ghose, Country Head, Technicolor India and Vice Chairman, CII National Committee on Media & Entertainment.
India is participating at Berlinale’s European Film Market. India’s spotlight is its digital creative industries…
Berlinale and European Film Market is an established global platform for germinating and exposing the latest in audio visual content and filmmaking. In addition to critical acclaim, our films, talent and locales have achieved a premium status in the global film firmament. Even more significant is India’s rapid rise to eminence as the “digital engine room” for the world, when it comes to production of movies, episodic and short film content. That’s the emerging India edge. It is with this growing confidence and pride that we are positioning India as the “wind in the sails’ of content creators through technology enablement. As technology has democratized consumption so also has it helped to consolidate production.
What’s trending and something we bring to Berlin – is this new breed of creativity – a potent and youthful combination of talent, technology, and tenacity. These 3Ts are becoming a key force through the digital transformationof our film industries leveraging Animation, VFX, & Immersive Media.
The Government of India has identified the audio-visual services as a champion sector. This is a recognition given to industries where 3-4 X growth is a strong potential given its potential to catapult jobs and exports. With the right impetus the services sector for Animation, VFX and Games [labelled the AVGC sector] can double its growth rate and make it a Rs. 1 trillion sector by 2025-26.
The technologies and toolsets to create stories are exploding. I see this paradigm shift as we enter the ‘age of immersion’— a surreal paradigm in which people are their own heroes and participate in their own adventures! The digital world has made content a transcendental phenomenon and today’s audio-visual sciences have elevated the art of content creation to image making beyond the constraints of the camera. The chimeric possibilities in digital content creation now enables the storyteller to overcomethe stresses and travails of live action and avoid multilocation, large crews, inclement weather and other production imponderables and instead use new tools and methodologies leveraging computer graphics.
How has India transformed in the visual effects space.. Definitely it is not just the backroom or back office stuff that happens out of India…?
I’ll give you an analogy. As a big fan of the sport, in the Formula 1 race, you experience the pinnacle of global automotive technologies that make massive performance strides annually.The top teams includeMercedes, Renault,Ferrari, Aston Martin. Besides the skill of the driver – engineering the car from drawing board to split second pit stops are unbelievable feats. India’s Tata Consultancy Services for over a decade have been involved in elements of what Ferrari F1 does in that domain. This demonstrates the importance of what goes “under the hood” and that’s what animation and VFX are doing to games and movies and streamers. Companies like MPC and The Mill are in the world of films, dedicated to that same purpose – to work with the creatives in the world’s biggest studios – to design, develop and deployment a technology stack to ensure that the digital augmentation needed in those productions are like the F1 to the film world. Hence this emerging India prowess is a game changer akin to the analytics, the real time simulation and the digital assets needed to take split second decisions in a F1 race. AVGC entities demonstrate that same dynamicof making creative and technology choices that need to be managed in real time!
India has built momentum and scale and it’s not just the simple work roto work that gets sent here, the studios have been able to rise to global standards to deliverend-to-end work across full shots and sequences for the most complex productions.
As the world looks at geographical hubs for all kinds of technology facilitation to scale their businesses –India has become that hub in aerospace, automotive, retail, healthcare, finance, biotech, etc and similarly “image making”now aspires to join that group by harnessing Indian know how tobecome the #1 service provider for the global M&E industry.
India is currently deploying economic diplomacy as a strategy to reach out to the world…How do we do this in the media world…
Ultimately this question is about value creation and value addition. What is economic diplomacy as a strategy? How do we align the expectations and balance strengths across geographies for a win-win solution? We are a global participantin storytelling. Our Indian embassies in every country are constantly presenting India to the world. A lot of cultural representation of India is showcased in a very traditional manner. Contemporary storytelling is not just about what we create just for a broadcast channel. Indian storytelling must leverage every interface that takes place globally and our trade consuls can play a large role in this outreach effort. AVGC content can help demonstrate and enhance the understanding of the New Indiain a manner that captures the global psyche.
In the digital world today, film makers think globally. What AR Rahman did for music was to contemporize it. His awesome compositions fused elements of Indian classical,Western classical, Jazz, Soul and made a new popular music that has won global acclaim. That’s the magic of expanding our reach through this amalgam of a wide variety of influencesthat could make the Indian Film industry a more powerful global force.
What do we do in festivals and markets like Berlin?
We are coming to demonstrate how Indian content is a perfect test bed for the world. We have 400 million youth in India. Additionally, in our country, our national releases must cut across languages; religions; state rules; etc.There is no bigger test bed for content effectiveness! We are millions of people who speak different languages, have different traditions, different religions, different likes and dislikes and we tell different stories!We are the best case study on how to create content that has a universal appeal! We need to ensure we take those insights and mount fresh content on an international scale!
Recently, Government of India, in the Union Budget has announced formation of AVGC Taskforce…
In the same way that big movie ideas are all about the execution, similarly, making a national policy, is all about making development plans that can be translated into tangible and lasting outcomes. We are delighted that the government of India [in the Union Budget 2022] has announced a task force for AVGC. I am hopeful that the recruits to this task forcewill think about this as a missionand make it a national priority. This shall look at an industry wish list and work to achieve it in a partnership between academia, industry and government.
Where are we heading in the digital creative industries…
I am calling filmmaking as image making! Its future has already been disrupted — because of new technologies, tsunami of data and a billion pieces of content that we are all surrounded by it’s a tough task for sure.
However, just like quantum physics, came in when the classical physics failed, I’m saying that “Quantum Image Making” will turn ageold practices and art forms on its head. Look at what’s already trending in our industry! Production become “virtual production” – this means that real time technologies with game-enginelike tech willbecome popular across all forms of content creation. India is adept at embracing such technological pivotsand can aggressively lead the pack going forward.Venture monies, the spirit of innovation entrepreneurship and the experience of India’sfilmmakers for decades are all potent ingredients that will help catapult the growth of this sector.
The Indian AVGC sector shall become about 25-28% of the total Indian Media & Entertainment industry by 2025