Multimedia services

Benefits of Offshoring VR Stitching, Prep, Roto

Virtual Reality also known by Immersive multimedia,computer simulated life, virtual environment is taking the world by storm. Virtual Reality can essentially be described as a replicated environment that is brought to life through the use of highly specific software and hardware in order to provide a completely immersive sensory experience. By focusing on human senses of sight, hearing, smell, touch as well as taste, the created environments give the users an illusion of having entered a completely new world. It is now impacting different spheres of life like Health care, Retail real-estate, education, military training etc.

virtual reality

Turning all of your footage into a 360 spherical stitch. There are challenges that come up during the course of filming like removing distortion leads, strengthening edges, arranging control points, and even though there are software available to do these there is certain amount of manual artistry and work involved which might be time consuming and monotonous. This allows Control to make decisions about where seams are located, their shape and width. Choosing to favor one image over another as an actor nears the edge of frame. Furthermore it allows for additional warping to counteract the effects of parallax, and the ability to control exposure, color and stabilization in a more direct way. Shots that may be impossible to stitch using automatic solutions will need to be done by hand, for example when combining to scenes that were not shot at the same time or even different locations.

Probably one of the chief reasons to consider outsourcing a project for any project, is obviously cost reduction. Third party employment is a significantly cheaper option than hiring one’s own team looking into the fact that these artists demand large pay packages based on their experience and qualifications.. However, this is not the only decisive factor. There are various other considerations that make this practice a beneficial one for VR Production Companies and Freelancers alike. These factors include but are not limited to:

Value for money – Shifting this provides your core production team to focus only on tasks of utmost importance while all the rest is taken off their plate and shifted externally.

Adaptability & Flexibility – Employees & Software would not need to be hired, all that headache is taken care of by the third-party, and allows you to be free of all emotional or practical boundaries of having employees. What’s more, if you remain unsatisfied with the work you can easily opt for someone else.

Talent & Expertise – The biggest benefit of offshore outsourcing is the expertise it provides. They can choose a partner specific to their requirement or ask for changes suiting their needs which a lot of smaller companies would be glad to accommodate. These offshore companies can offer you very competitive rates based on process engineering techniques related to location, resources , software and technical know-how.

Misc & Overhead Cost reduction – Employers don’t have to worry about hiring and then letting go employees after every project, nor do they have to pay for all development application licenses and hardware for every employee. The vendor is responsible for providing the materials necessary for their own teams hence relieving you of any and all team management issues.

How SBL VR can be a best fit as partner

SBL VR is amongst the pioneers to crack the VR post production using ‘CARA for Nuke’ pipeline having had the good fortune of having played a part in the Post stitch and Prep for Jaunt VR in the making of the widely acclaimed “Invisible” series”

vr-invisible

With collaboration with some of the leading production houses in Virtual Reality they are looking forward to expand their aura across the globe and provide the quality services to the emerging VR domain. These include :

  • Seamlessly stitched stereo or mono VR content from commercial or custom multi-camera rigs to create a seamless immersive environment
  • Correcting exposure and white balance differences between cameras to remove distracting visual disparities
  • Stabilize shots during or after stitching to produce a more comfortable, dynamic VR experience without compromising quality
  • An experienced team that can apply Compositing techniques including paint, Roto and tracking, directly on 360° footage
  • Assembly, stitching, color/stereo correction using the latest software including CARA

If you are convinced that outsourcing Virtual Reality development is the right direction for your business to take, feel free to go ahead and get in touch with SBL today

(http://vr.sblcorp.com/). Let’s get started!!

SBL VR cracks the Nuke-CARA pipeline with Jaunt VR in the making of “INVISIBLE” Series

SBL is immensely proud and honored at having been part of “Invisible” – a scripted supernatural drama series in VR and the first major use of this technology – we are thrilled that the widely acclaimed series is now drawing acclaims from experts and audience alike.

We undertook the post processing part of synchronization, stitching together, & finishing and provided the output to the production house and the results are there for all to see. Undoubtedly a lot of credit would go to our immensely talented and imaginative team but we were supported to a great extent by the fabulous CARA pipeline which really set the output quality up quite a few notches. Our impressive production facility and the Technological & Software support that we enjoy, has helped in becoming experts in creating realistic and immersive simulation of a three-dimensional environment, created using interactive software and hardware.
vr-invisible

Having worked with different variations of camera rig, we understand what it needs to generate the kind of output you have in mind and which is cost effective. We come across many individual rigs varying in number and length and were required to sync them together for a smooth work flow. Initially we tried Autopane and experienced flexibility challenges. The point for tweaking and placement of the rig texture for additional cameras was the key problematic area with not much Prep control – so we tried it with Nuke-CARA which gave us control and user-friendly edit options to get the desired stitched quality and work stability for the paint/prep tasks to be implemented.

Groups of high end render farms made our process much stable to execute and save on production time. Burning of midnight oil was a regular feature through the project, but all the dedication, hard work and tenacity of the team paid off when the desired high standards of quality in output were delivered.

This is just the beginning and we look to much bigger achievements but as Virtual Reality goes, the sky is the limit and SBL VR is carving its niche in this rapidly developing space.

Watch “Invisible” episodes online on https://www.jauntvr.com/

How to become a good vfx artist?

vfx artist
The quint essential VFX professional is a talented artist who works magic on screen shots with his artistry, software/industry knowledge, discipline and a perfectionist to the core. Organization that you work for, the specific project(s) and the supervisor are also important factors that also have a profound influence.

Visual effects deals with visuals, so a keen and observant eye is a basic requirement. Study paintings, photographs and movies. Take photographs. Shoot video. See how composition works. Observe the effect of light and color and its effect on the the mood and provides the sense of dimension. It is unique how editing and timing present a story. Study the look of reality. Study silent movies to see how the visual language works. See how a single photograph can tell a story. If you’re a roto artists this may seem a bit much but there’s still an art to seeing even with rotoscoping. Which is the complex frame? Are the shapes moving smoothly? What areas should be grouped and segmented?

Where should the points be placed? And if you shift into other areas of visual effects all of this will be of value to you. Artistic principles like follow through for an animator – providing weight and character, colour adjustments, light wrap around objects – 2D &3D. For a lighter it could be light ratios, how to set mood and dramatic effect with lighting.

A compositor should be an expert on linear color space and what “premult” and “unmult” do. A lighter needs to be familiar with different types of CG lights and how different basic shaders work and look. These fundamentals will be of value whichever software is used and will allow you to get the most out of your software package. They will also help you problem solve. These days there are a lot of complex software tools. Most artists learn and use multiple software tools over time.

Visual effects time is precious. Saving time and avoiding wasting time can mean more profits and joy !! Obviously we can’t control things outside our control but the artist is an important cog in doing it as efficiently as possible. Avoiding common errors is a big time saver and allows you to focus on the true needs of the shot. In visual effects, time is frequently worth even more than money; it’s worth time. Given limited schedules and hard deadlines it’s the thing you can’t get back and it’s very difficult to make up for any loss. In visual effects, time is frequently worth even more than money; it’s worth time. Given limited schedules and hard deadlines it’s the thing you can’t get back and it’s very difficult to make up for any loss. In visual effects, time is frequently worth even more than money; it’s worth time. Given limited schedules and hard deadlines it’s the thing you can’t get back and it’s very difficult to make up for any loss. Speed would come automatically if you know your tools well enough, explore the various options available on the softwares and are open to experiment and get the quickest way. Finishing shots is a balancing act of time and quality.

Essential basics that might be true for other industries or professional life in general are always prime requisites, a few are listed below :

❖Be punctual and organized – Discipline is of utmost importance
❖Taking Notes in meetings and daily huddles so even bare essentials are not missed out.
❖Daily pointers for work done and scheduled ahead so the supervisor/client is updated on progress.
❖Shot changes – As requested, Changing a shot parameter so minutely that it’s impossible to see without a split screen is always a waste of time unless specifically requested.
❖Ask questions. Do not guess. Plan well.
❖Keep a checklist for ready reference.
❖Never compromise on quality – output should always reflect your best effort.
❖Always double check as we do in exams, there should be no scope left for errors.
❖Workflow management – knowing about hierarchy, procedure, organizational goals and mission, availability of internal tools/solutions.
❖Learning & Development – It is also very beneficial to keep honing your skills through practice, learning, training , discussions, attending meets and seminars, talking to other professionals and seniors
❖Be proud that you are part of the VFX family and derive satisfaction in your job.

Much of what a visual effects artist does involves problem solving of artistic or technical issues. Once we grasp the Technical and artistic fundamentals and know your tools you should be able to resolve many issues on your shots. You should be somewhat self-sufficient. However, if there is a problem that doesn’t seem to be easily solved in that case take the assistance of a specialist or supervisor. Don’t spend time trying to fix something which needed only additional input from someplace else or that might need a different shill set.

Before submitting the shot to your client, supervisor or passing an element on take a moment to play it back and review it. Are you using the correct versions and takes? Do we have the parameters and elements in sync? If you’re doing match moving and missed something many people might work on it for weeks before the critical element is detected due to which the animation may have lost a lot of time and have to redo their work simply because you didn’t take the time to do a check of your own work.Does it match the information that you are working on? Are the count sheets and the elements matching in length and size? If you were supposed to say work on a Roto element and its not present, then it has to be flagged across to production. By flagging it as missing production, you can work on the issue and decide what further steps need to be taken. You may find it was already done and just hadn’t been copied to the directory yet. Avoid losing time. Build the shot in a logical and structured way. Don’t forego that later by rushing in a lot of patches and work around.

Self Assessment & Review – It’s easy to get so focused on the details that you don’t take a moment to review and check if its fine. Does it look right? Are the basics of the shot working? Are all the shadows consistent in density, angles and color? Is your focus completely on getting the matte edges of the leaves working correctly that you might have missed on the alignment of crucial elements ? Have you focused on a small secondary action when the creature should already have moved across the room? Make sure you don’t overlook the obvious.

Do not simply keep tossing in smoky and dusty elements or putting in more key frames if that’s going to make it more of a muddled mess.. You would have to rebuild part of the shot or replace the nonconforming elements that may be working at cross-purposes. Don’t add a graded node that could darken the shot and then repeat that with a node that brightens the shot. The forest might not be visible through the trees. Usually a second ‘eye’ is what is needed. What’s working about the shot? What’s not working?

Shot in context – It’s essential to understand how the shot you’re working on fits in the sequence. It’s mandatory to have a look at how the full shot pans out, both creatively and technically. There may be an issue or it might be another chance that has to be rectified. One can leverage off of what’s already been learned for the sequence and put to use in future too.

Keeping it simple & taking changes in stride is a requirement in visual effects and has been before digital existed. No awards for having the most key frames or the most layers. Given the visual complexity of shots keeping it simple isn’t simple however making it more difficult and complex can be avoided. There may be technical issues that require a different pipeline structure or software to be used. The VFX company may require shuffling your desk to somewhere else. You have to be able to roll with these changes. If any and every change is going to make you angry then vfx is not for you. Flexibility is the operative word.

VFX is also all about teamwork. A lot of talented artists can be found working alone in their corner over long hours but they are also part of the larger team doing different aspects towards the end goal. You may be working on just one part of a shot whereas other specialists would be taking care of other core processes which might require a different skill set. You may be getting prep work from someone and then passing the buck to another person as the progression to the final shot happens. All of this interaction means you have to work and play in coordination with others. The work itself is tough, without someone in the process making it more difficult for everyone. Be a team player and not someone others avoid to be paired up with. Artists should be somewhat self-sufficient (and still team members). The amount of freedom and how far it takes you depends on the team, supervisor, project and sometimes the end client.

If you see the need to add a smoke element or put in a secondary animation move that will make the shot better. On the other hand you shouldn’t take the shot through completion without having a dailies review. More than likely a work in progress has to be reviewed by the supervisor and director. It’s usually very helpful for the director to cut in a work in progress. There’s little point in polishing and finishing the shot if the director discovers it’s not working in the sequence for some reason or requires a major change.

On the shot being first turned over we can voice our concern about the difficulty but not harping about it on every review instead useful solutions towards making it easier will be appreciated by all. The elements are what they are at that point. Usually the live action plates are the best that could be shot under adverse circumstances and blame game is never of any help. Now if you actually need help or feel the difficulty is beyond your current abilities then simply state that to your lead or supervisor. Flailing away at the shot without knowing how to do it doesn’t help you or the production. “Fake it till you make it’ is a not phrase you want to use in visual effects.

Communication is an imperative facet to avoid waste. We have to be able to be clear and straightforward with unprecedented issues or obstacles. Make sure to prep so you can show your supervisor the problem concisely and fast. Sometimes one we might have to run a example set or to capture a still picture. Since we’re dealing with visuals all of these help the communication method which enables you to do the sketches in a much better manner.

Loads of patience is required as many steps in VFX take time and focus. Time to set keyframes. Time to roto. Time to render. Time for feedback. You want to work efficiently and try to work on something else if you are waiting for a render. But in the end you need to have patience to do detailed work which is time consuming and at a lot of times you just have to sit and wait. If you’re an impatient person then visual effects may not be right for you.

Never blame your tools (or elements) – There’s an old adage which says – “It’s always a poor worker who blames his tools.” In this modern times it’s certainly possible there is a software bug or other issue that causes a problem. It might be forgotten that a blur filter had been added at one point and to blame the original element for being soft or to not render the right frames with the right settings. It can be difficult to admit that it was a mistake but identifying the actual problem will certainly help to resolve and to avoid in the future the better. This relates to the double check and problem solving points.

Sense of humor & Fun factors -Since VFX invariably involves pressure, tension and hard work, sense of humor is a must have. On occasions the absurdity of a situation could be overwhelming if you don’t have the ability to shake your head and enjoy a hearty laugh then the entire atmosphere will become a burden and uncomfortable. Take a break by just walking away from your desk, talking inconsequential things or exercise and yoga.

What you know about Stereo Rotoscopy?

stereo rotoscope
The areas of live action frames are traced by Roto artists where computer graphics will overlap or interact with live images. Mattes (clear areas) are created inside the frame in order to allow all elements of the scene to be layered convincingly. This helps the Compositors in combining all the various elements accurately.

The most complex shape that the subject is in can be found, to outline that first, to understand the maximum points required to be rotoscoped. Rotoscoping tools used in the compositing software have advanced and deep deviation or curvature that can be controlled to make detailed curved lines with least number of points – image segmentation, creation of mattes or masks, More often than not using rotoscoping. The essential surfaces should be isolated individually. The level of detail depends on the required conversion quality and budget.

In Rotoscopy one can trace an object using a set of tools within the compositing software for making a new alpha channel to a specific part of an image sequence or video. They can manually create this alpha through copying the tracing on top of elements inside the video and create different shapes around the object and provides animation to those shapes to sync with the movement on all the frames. The system automatically interpolates between keyframes to usually provide required result/output without having to create a new frame every time.

This is one of the steps in processing 2D to 3D Conversion movies (the process of transforming 2D film to 3D form). Once mattes/mask have been created through rotoscope it will move to next process called Depth map. It is only through this Depth map that the conversion of 3D form from 2D can be effected.

The use of blue and green screens can make the process of compositing varied elements inside a scene much more simple, (however not every shot can take advantage of blue or green screens) so rotoscoping even now plays a significant role in the entire process of visual effects.This can be a time consuming process, but the results of rotoscoping can be excellent. If more time and effort go into a roto job, the finer the results can be. It is really a very rewarding process! Every movie, TV show or music video that has special effects will require rotoscopy to enhance the picture quality and hence the Roto artists are and will remain an integral part in the VFX pipeline.

NUKE, Mocha, Fusion, Silhouette & AfterEffects are some of the software widely used in rotoscopy for best quality and ease in delivery of output.

2D to 3D Conversion is often necessary in ‘Native’ Shoots?

Many directors are under the mistaken impression that shooting in 3D is inherently superior to converting post production. The hardware and software professionals are in a sort of constant race to prove who has the upper hand in 3D. As comparisons were made as to whether the computers could achieve what the 3D cameras do – the machines won, proving that they could do incredible work with anything that were shot with 3D cameras.

A hurried 3D upgrade got Clash of the Titans’ a bad name, however as more and more successful conversions popped up like Harry Potter and the Deathly Hallows : Part 2, Thor and Captain America : The First Avenger, this stigma slowly subsided. As 2D to stereo 3D conversion techniques are becoming more sophisticated and are getting incorporated into films shot in 3D, more directors are resorting to a “hybrid” approach.

While dual cameras and a stereoscopic rig might produce better images, even films shot in native 3D nearly always have to rely on some post-production conversion. Directors now know that it is not always feasible to shoot films the way they do – on rollerblades, hanging from a helicopter or off the sides of cliffs – using these giant 3D rigs! The Cameron Pace Group, Burbank, California, is currently working in camera rigs capable of shooting in 5D, in which both 3D and 2D can be filmed simultaneously.

2D to 3D stereoscopic conversion saves a lot of time and headache since it makes the filming process easier as directors do not need to worry about getting a perfect shot during filming and it also avoids wastage of the actors’ time while setting up complex 3D rigs. It frees filmmakers to shoot their movie as they want.

Issues that may otherwise be difficult or even impossible to fix can be rectified using 2D to 3D conversion. Factors such as camera misalignment and lens mismatches can compromise a finished product. Even the slightest misalignment between the two cameras, can cause each frame to be captured from different points in time. In addition to this, the filmmaker will also have to consider the size and weight of the camera rigs and whether these can be mounted properly on the rig system intended for its use.

Some of the most common 3D shot problems that usually works its way into post production are Geometric Alignment errors, Colorimetric Alignment errors and exposure mismatches. Another issue that usually crops up is stereo window violations that can be very distracting for the viewers. Such uncomfortable violations need to be removed from the film and this can be very easily achieved using 2D to 3D conversion.

As time goes by, a film’s visual quality will not be decided by the source of the 3D – native 3D, 2D to stereoscopic 3D conversion or hybrid – as long as the various elements blend beautifully to create a 3D experience that swathes the viewers and leave them completely dumbfounded.

Why not shoot movies with stereoscopic 3d cameras instead?

In today’s world, where the 3D bug seems to have bitten moviegoers, especially children and the youth, 3D filmmakers are often challenged with the inevitable debate: whether to shoot the film in ‘native 3D’, shoot in 2D and convert to 3D or use a hybrid approach. More often than not, filmmakers often commit the error of opting to filming in native 3D without conducting proper research or analysis regarding the relative costs and technical considerations while filming in native 3D versus the rapidly evolving 2D to stereoscopic 3D conversion, which is currently hailed as the future of 3D cinema. What stems from this, is usually an unsatisfying and exorbitantly expensive directorial experience.

Avatar, the highest grossing movies of all times, set the wheels going for a major change-over worldwide to digital projection. This movie very deftly used a combination of motion capture technology, live environments shot with Cameron-Pace proprietary rigs and a host of computer-generated characters and sequences. According to Cameron, the film is composed of 60% computer-generated elements and 40% live action, as well as traditional miniatures (Wikipedia).

Among other top movies that were masterfully captured using this combination of ‘native’ 3D and conversion were Hugo and Life of Pi. In fact, the converted shots in these movies were woven so seamlessly throughout each film that it was practically impossible to differentiate whether the scenes were shot using a stereo camera or converted.

It’s a general notion that stereo rigs are two cameras positioned side-by-side in a manner similar to the way the human eyes are positioned. However, in reality, this configuration is appropriate for filming wide-angle shots, scenic landscapes and shots that require a focal length of more than 25ft. For any other shots, a different type of camera rig would be required, which only incurs more procurement and setting up charges.

While this configuration is normally is effective, it is nevertheless plagued with technical issues. The lenses and mirrors require constant polishing, which causes color shift between the cameras, vibration, misalignment and distortions. This often results in focus mismatches, in-field production slowdowns and most importantly, a lack of depth continuity from shot to shot which, in turn, would require significant post production processing; add to this, maintenance and operation of the rigs and additional crew to operate the shoots and one may safely rest the case against native 3D film capture.

These days, most studios and directors are steering clear from native 3D camera rigs, especially in VFX heavy films. Those who have chosen the path of conversion understand that post-fixes for conversion are quite minimal or non-existent when compared to the higher budgets, longer shooting schedules and subsequent post productive costs while using 3D camera rigs.

Though both processes have their pros and cons, constantly emerging advances in conversion technology are shifting the emphasis away from using camera rigs exclusively. 2D to 3D stereo conversion, whether full or partial, has now become an integral tool in any feature filmmaker’s arsenal to offer top quality, enhanced story telling in stereo 3D.

NATIVE 3D VERSUS 2D TO 3D CONVERSION: PROS AND CONS

There isn’t a child who isn’t fascinated by Pixar’s Toy Story series. Though mere toys, Woody and Buzz Lightyear, even today, do not fail to capture the imagination of every tiny tot. 2D to 3D stereo conversion gave a whole new dimension to Disney’s first entirely computer animated feature, Toy Story (1995) and its sequel (1999).

2D to 3D video conversion (also called 2D to stereo 3D conversion and stereo conversion) is the process of transforming 2D (“flat”) film to 3D form, which in almost all cases is stereo, so it is the process of creating imagery for each eye from one 2D image. (Wikipedia)

The realm of 3D incorporates the third dimension of depth, which can be perceived by the human vision in the form of binocular disparity. The positioning of the human eyes affects the way in which they perceive different views of the real world. A native 3D production takes advantage of this phenomenon, by which two cameras are used, positioned next to each other, shooting at the same time to mimic each human eye. Those movies not shot in this manner cannot be made into a 3D film, which is where 2D to 3D stereo conversion emerges as savior.

The extreme advances in the field of computer animation enable a second camera view to be added, thereby giving depth and volume to each and every 2D frame. The position of the “second (virtual) camera” with respect to the first determines the degree of 3D, namely in front of screen (when an object seems to be in with the viewer), at screen (regular 2D image) and behind screen (when the objects seems to be at a distance away from the screen).

Filming in native 3D involves a large number of variables and taking into account the various parameters, this could involve incredibly expensive, bulky and complicated equipment and hardware. With hardware come human errors, which includes disparity and distortion of imagery shot by the left and right cameras, complex action sequences which can only be shot with 2D monocular cameras, color shift, etc., among others. Stereo post production is another major hiatus when compared to stereo conversion, in addition to being more expensive and time consuming.

On the other hand, in a stereo conversion, stereographers can perform as many digital “retakes” as required to perfect every angle and depth in order to maximize the quality of each sequence in a movie. “I get to set the parameters on a shot-by-shot basis”, says Bob Whitehill, stereoscopic supervisor at Pixar Animation Studios, “With cameras that are computer code and not physical objects, the 3D effect can be absolutely perfect, with no visual incongruity between what the left and right eyes see.” (www.tested.com)

With the growing need for high quality stereoscopic images, the future of 2D to 3D stereo conversion looms large.

IMPORTANCE/SIGNIFICANCE OF DATA SECURITY CERTIFICATION FOR THE VIDEO POST PRODUCTION BUSINESS

One of the main challenges facing the entertainment industry is data security. This is evident from the recent American television series Game of Thrones episodes leak. HBO had mailed out DVD copies of screeners to the press for upcoming episodes and the first four episodes of season five of Game of Thrones leaked online before the first’s broadcast. Researches have shown that pre- release privacy significantly reduces a movie’s market potential and thereby revenue.

Sony Pictures Entertainment hack was another such incident where confidential data such as personal information about their employees and their families, e-mails between employees, copies of (previously) unreleased films and other information were released by hackers on November 14, 2014.

To prevent such security breaches, it is essential to manage confidential data so that it remains secure. Most organizations have a lot of information security controls. They are often implemented as solutions to some specific situations. But without an Information Security Management System these controls are disorganized.

SBL offers video post production services like Rotoscopy, Stereo Roto, Digital Paint and Rotomation and has been working with the production and corporate houses, international designers and creative directors for several years. Being an integral part of entertainment industry, SBL understands the importance of data security which is an important issue for filmmakers. So, at SBL, we have adopted ISO 27001 Information Security Management System (ISMS), which is the international best practice standard for information security.

An ISMS is a systematic approach to managing confidential or sensitive corporate information so that it remains secure and retains data integrity. ISO 27001 is a security management standard to guide the development and implementation of an ISMS. The standard was published jointly by International Security Office (ISO) and International Electrotechnical Commission (IEC).

By adopting this globally accepted control framework to underpin our approach to client projects, we deliver effective analysis of the key project risk areas, identify and document the controls needed and monitor and measure compliance. The benefit for our clients is that we can be proactive in managing and mitigating any risks from information systems and can ensure that professional standards are deployed across our design, development and testing processes.

Certification ensures that:

Valuable data and Information assets are identified.
Risk of these data and assets is analyzed in relation to threats and vulnerabilities.
Where the level of risk is identified as high, the controls are implemented to reduce the risk.
These controls are frequently audited to ensure security and best practice.
Action is taken to address any non conformances identified.
By adhering to ISO 27001 standard, we show to our global clients that we are highly committed to securing and maintaining the privacy of film makers and companies who are associated with the entertainment industry.

Why Select a Tier 3 city for Video Post Production?

video post production
Indian cities are fast catching up with the changing technology trends. The Global Entertainment industry is actively sourcing talent and is considering these small urban cities to tap the potential and avail services for the industry. Amongst the most prominent and sort-after service is video post-production. Advanced techniques of Rotoscopy, Stereo Roto, Digital Paint, keying & Rotomation have become widely used tools in Tier 3 cities. The Indian cities including Tier 3 cities are fast becoming centres for grooming professionals having exposure and expertise in video post-production services. 
 
Video post-production forms an important part of activities pursued by Production houses to make Commercials, TV Series and feature films. The intricacies, associated with post production activity, are well defined, structured and understood by specialist service providers that are blossoming in Indian cities. Professionals in Tier 3 cities, unlike earlier times, are well aware of different aspects of video post-production which includes Rotoscopy, knowledge of Stereo Roto, Digital Paint, and Rotomation technique.   
 
Tier 3 cities are fast becoming preferred choice of destination for international production houses who rely on superior quality, precision and accuracy of output and timely deliverable of services offered by providers in Indian cities. Service providers in Tier 3 cities are hiring well trained digital experts who are capable of creating better live action, CG composites and amazing visual effects with the help of rotoscoping. Service providers in Tier 3 cities are braced up with highly advanced tools and equipment that offers not just precision and accuracy to video post-production but also address specific needs and requirement of production houses across the world.
 
Indian cities especially Tier 3 cities have a distinct advantage of having economical talent pool, are well equipped with resources as well as offer a professional environment that promotes and propagate the essence of video post-production. People residing in cities, who are chasing their dreams for success, are actively taking up specialized academic courses to gear up for entertainment industry. Tier 3 cities in India offer great scope of professional growth and are becoming low cost centres for entertainment industry to avail video post-production. Besides low cost, tier 3 cities offer pool of talented people with VFX expertise and knowledge of subject that offer complete commitment and expertise of subject with deep insight and understanding of finer intricate detailing, which is a prerequisite for video post-production. Moreover, service providers related to video post-production are increasing their portfolio of services to offer an entire basket that encapsulate every specific need and requirement of entertainment sector. 
 
At a time, when metro and non-metro cities have highly paid video post-production providers, there is a greater shift in focus to Tier 3 cities that are emerging hub and hunting ground for video post production services. The development of video post-production in Tier 3 cities are ably supported by academic institutions that promote talent from Tier 3 cities to take up specialized training in video post-production. Having an eye on precision and accuracy, service providers in Tier 3 cities have enhanced quality output with timely submissions of deliverables that are matching international standards of delivering services. Production houses across the globe depending and relying for their video post-production should work with Tier 3 cities in India.