Prabhas arrives in Mahindra TUV300 TV Advt.

It's finally here!

Screen Shots :

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'Baahubali' makes record box office collection from Kerala theatre

SS Rajamouli's magnum opus "Baahubali: The Beginning" has made a roaring business in India and abroad. Now, the latest reports from Kerala suggest that the film has collected the highest box office collection in India from a theatre in Thiruvananthapuram. 

Ariesplex SL Cinemas in Kunnumpuram Road has reportedly collected Rs 2.8 crore in 75 days of the film's run in India and the Thiruvananthapuram Corporation is said to have received Rs 58 lakh as entertainment tax for "Baahubali" alone. This is the first time that the government has received such a huge amount as entertainment tax from a single film. 

"Baahubali" became the first film to make such a collection from a single theatre in India in such a short span of time. The film made with a whopping budget of Rs 250 crore has grossed more than Rs 430 crore in India and Rs 70 crore at the overseas box office after its release on 10 July. 

"Baahubali", which has Prabhas, Rana Daggubati, Tamannaah and Anushka Shetty in the lead roles, will also be released in China, South Korea, Japan and some European countries in a few months at over 5,000 screens.

Source : ibtimes.co.in

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Baahubali Making Mirchi A Super Hit

Unbelievable achievements of Baahubali has made Prabhas a superstar in South as well as Bollywood. Cashing on the super craze of Prabhas, few Malayalam producers are releasing the young rebel star's previous films in Kerala. Just few days after Baahubali release, a well-known Malayalam distributor bought dubbing rights of Mirchi, Darling and Mr Perfect for a good but unknown price. 

On September 24th, Prabhas's Malayalam dubbed version of Mirchi hit the screens and the movie opened to packed houses across the state with positive reports everywhere. As per the local trade sources, Mirchi will provide huge profits for the Malayalam distributor. Apparently, their promotions as 'Baahubali stars Is Back' are working optimistically to create box office tsunami. 

Mirchi indeed has a universal story-telling that will connect to film buffs of other regions too. The film entered 40 crore club in Telugu and Prabhas was seen in never before stylish avatar. Anushka and Richa Gangopadhyay's oomph factor was other big asset, apart from Koratala Siva's stylish making and Devi Sri Prasad's rocking music. 

Meanwhile, Prabhas will soon join the shooting of Baahubali 2 commences from November.

Credits : gulte.com

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Baahubali Readies To Topple 'PK' Global Record

Article Credits : FORBES                            Author : Rob Cain

'Baahubali' Snags China Distribution, Readies To Topple 'PK' Global Record

India’s blockbuster hit Baahubali has secured a distribution deal in the People’s Republic of China with hopes for a November, 2015 release, pending approval by the country’s film authorities. 

The film was picked up by Chinese distributor E Stars, the company that brought the smash Indian comedy hit PK to mainland theaters in May of this year. PK’s $21 million PRC total obliterated the previous record of $3.17 million for an Indian film in China that had been set by Dhoom 3 in 2014. 

At a $91 million total worldwide gross, Baahubali is currently just $19 million (135 Crore rupees) shy of PK’s record-setting global total $110 million (735 Crore). If E Stars can push Baahubali to break PK’s China record, it would also simultaneously anoint the action epic as India’s all-time global box office champion. 

As I mentioned in a previous article, the Baahubali team have ambitious plans for a second round of theatrical distribution outside of India and the traditional Indian diaspora communities. I sat down last week with Baahubali’s director SS “Raja” Rajamouli and producer Shobu Yarlagadda to discuss their global strategy. 

Shobu explained that there had been multiple offers for Baahubali from Chinese distributors, but the choice had been relatively straightforward given E Stars’ enthusiasm, its deep experience in releasing dozens of foreign films in China, and its previous success with PK. 

He also told me that together with E Stars he’s aiming to secure one of China’s 34 annual revenue sharing import quota slots, which are typically more lucrative for the filmmakers than the alternative flat fee “buyout” arrangements whereby foreign producers receive only an upfront payment but no ongoing share of the box office revenue. A revenue sharing deal would pay the Baahubali producers 25 percent of the film’s gross China revenues. But it’s unclear at this point whether they’ll receive this designation, since almost all of 2015’s quota slots have already been granted. 

Of course, China is only one of many territories where the Baahubali team intend to screen the film. They showed me the new international cut of the picture, which is nearly 30 minutes shorter than the original Indian release cut, but just as powerful. Raja told me he had handed his original cut of the film over to editor Vincent Tabaillon–the French born, Los Angeles-based editor of such blockbusters as Clash of the Titans, The Incredible Hulk and Now You See Me–giving him complete creative freedom to make whatever changes to the film that he thought appropriate. Raja was delighted with the cut that Tabaillon delivered. I’ve now seen both the Indian and international cuts, and immensely enjoyed both versions.  

Shobu also visited with buyers at the recent Toronto International Film Festival, where he initiated several additional deals to bring Baahubali to theaters in more territories around the world. He’s also exploring the possibility of releasing the film in enhanced formats. When he’s ready to announce those deals you can count on me to report them to you here.

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'Baahubali' set to invade China box office after 'HNY', 'Dhoom 3', 'PK'

Article Credits : International Business Times (http://www.ibtimes.co.in/)

SS Rajamouli's "Baahubali - the Beginning" [Bahubali] will be the next Indian movie to invade the China box office after "Happy New Year" [HNY], "Dhoom 3" and "PK". 

Indian filmmakers have successfully exploited key international markets like US, UK, UAE, Canada, Australia, New Zealand, Germany and Malaysia. But they could not venture into their neighbouring country, China, since the Chinese government had restricted foreign movie releases to safeguard the interest of local filmmakers. 

But in 2012, the Chinese government made an agreement with the World Trade Organization and its new quota system allowed 34 foreign film imports a year on a revenue-sharing basis, according toThe Hollywood Reporter. Some Hollywood filmmakers invaded the country and their movies became big hits at the box office there.

Taking a cue from them, some Indian filmmakers released their movies in the country. "Dhoom 3" and "Happy New Year" were released in around 5,000 screens each respectively on 25, July 2014 and 12, February 2015. Though both became big hits at the China box office, the makers have not revealed their collection figures. "PK" was the third Indian film to hit the screens in China. Released in 5,000 screens on 22, May, 2015, the Aamir Khan starrer opened to fantastic response and collected approximately $18.75 million [Rs 120.18 crore] in 20 days, according to Bollywood trade analyst Taran Adarsh.

#PK is nearing $ 20 million mark in China. Total after 4th Weekend [till Sun/14 June]: $ 18.75 million [₹ 120.18 cr]. ALL TIME BLOCKBUSTER.

— taran adarsh (@taran_adarsh) June 15, 2015

Now, SS Rajamouli's "Baahubali the Beginning" starring Prabhas, Rana Daggubati, Tamannaah and Anushka Shetty, is gearing up for a grand release in China. It will be the fourth Indian film to hit the theatres in the country and will become the first Indian regional movie to make it to the country. 

E Stars Films has bagged the distribution rights of the movie from Arka Mediaworks International. The deal is on the revenue sharing basis and the distribution house, which has plans to release the film in November, is eyeing a release pattern of some 5,000 screens or 18% of available theaters. 

"Baahubali the Beginning" released in Telugu, Tamil and Hindi in foreign countries got an overwhelming response everywhere and collected $10,992,455 (Rs 71.62 crore) at the overseas box office so far. It is still doing well in a few countries. 

The makers of "Baahubali the Beginning" are confident that the movie has got universal appeal and will impress the audience in China just the way it did in other international markets. The period film will surely break the records of "PK".

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Why 'Baahubali' will beat 'Bajrangi Bhaijaan' in the box office race soon!

Article Credits : dnaindia.com
After the international version of Baahubali releases in China, it will soon become the second highest grossing Indian film ever. How? Find out here...

Salman Khan's Bajrangi Bhaijaan and Prabhas' Baahubali released a week away from each other and both the films have been instrumental in giving the industry over Rs 1200 crore alone in a matter of two months. It's been over 50 days to their release but the movies are still running in some theatres worldwide. 

While Bajrangi Bhaijaan is slightly ahead, when it comes to the gross collections globally, the equations are definitely going to change soon. Why? Here's the lowdown. 

Baahubali versus Bajrangi Bhaijaan: The Battle! 

Baahubali created history by raking in Rs 50 crore from all versions on its opening day itself in the country. That's by far the highest for any Indian film. 

Lauded for its terrific visual effects and spectacular cinematography, Baahubali won millions of hearts for its stylised sequences and breathtaking VFX. Visually appealing, Baahubali raised the standards of VFX in India by notches and is definitely one of the strongest answers to 300. People lapped it up and the amount of repeat audience ensured that there was steady flow of money for the film. 

In its two month run, the film collected a little over Rs 600 crore gross at the worldwide box office. Baahubali is now the third highest grossing Indian film ever with Rs 602 crore in its kitty. 

On the contrary, Bajrangi Bhaijaan, which released a week later scored high on the Salman Khan presence. But despite having his star presence, BB was an un-Salman film. Why? It wasn't mindless and Salman was not doing what he usually does best- his trademark antics were missing. Instead, Kabir brought out the actor in him as he explored the Indo-Pakistan relationship with a lot of human emotions. Brilliant performances and with an extremely emotional backdrop, Bajrangi Bhaijaan soon became the biggest blockbuster of the year so far. 

While in India itself, it netted in more than Rs 320 crore, overall the global gross collections stand at a whopping Rs 612 crore. With that, BB has also turned out to be the second highest grossing Indian film ever. 

An International version of Baahubali? 

After bamboozling the audiences all over, director SS Rajamouli has decided to make a special international version of his magnum opus as well. The international version has been cut down by nearly half an hour from its original 2 hours 39 minutes. 

China Release! 

Baahubali, the Tamil-Telugu movie that has made more than Rs 600 crores so far, is all set to release in China. China’s E Stars Films has acquired the rights for SS Rajamouli film in China and will now release it in 5000 screens in the country. The large-scale release in China means that 18% of all theatres in the country will screen this film. The Chinese version will be 20 minutes shorter than the Indian one. 

While the film has already collected more than Rs 600 crore, if it takes off well in China, it could well rake in much more. Currently, it is PK that holds the highest gross overseas collection. Incidentally, it was E Stars that had released Aamir Khan’s PK earlier in China. 

Bajrangi Bhaijaan in trouble? 

While Baahubali is now having another international version hitting the overseas market in phases soon, BB has no plans to do the same anytime in the near future. Will this affect Bajrangi Bhaijaan's position in the collection table? Yes! 

The gap between the two films is of merely Rs 10 crore which will easily be bridged once Baahubali hits the Chinese markets. With that, Baahubali will also sail past BB in the overseas game and will emerge as the second highest grosser of all times, tailing PK which sits comfortably at the top with a humongous Rs 752 crore gross collection all over the world.

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Baahubali Telugu Version Total Collections

Baahubali Telugu Version Total Collections - Area-wise Break Up

While Baahubali is gearing up for a second thumping success in the international arena with its upcoming release in China, Baahubali Telugu version has almost come to an end of its run Worldwide. 

Baahubali Telugu version alone has collected a share of 172.14 Cr Worldwide. In the full run of the film in Andhra Pradesh and Telangana, it has collected 109.69 Cr share, which is an all time record for a Telugu film as well as a South Indian film. 

The magnum opus has exploited all the possible markets and has tremendously increased the potential of a Telugu Cinema at the box office. It has collected a total of 34.15 Cr in Karnataka and rest of India. Also, it fetched a phenomenal 28.30 Cr share overseas. 

Baahubali has rewritten all the possible records in history of Telugu cinema to its name with the first part. While the team is on a roll to deliver another blockbuster with its second installment, check out the area-wise break of total box office collections of Baahubali The Beginning below. 

Nizam               -   42      crore share

Ceeded             -   22.10 crore share

East Godavari   -   8.70   crore share

West Godavari  -   6.75   crore share

Vizag                 -   9.52  crore share

Guntur               -   9.75  crore share

Nellore               -   4.10  crore share

Krishna              -   6.77  crore share

Source : filmibeat.com

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Baahubali Completes 75 Blockbuster Days

Darling's Blockbuster Movie 'Baahubali - The Beginning' completes 75 days today. The Movie has now the record of being the Highest Grossing film in the domestic market (India). With the huge release in China slated in November in about 5000 screens, the movie might well overtake PK's record to become the Highest Grossing Indian Film! 

Congrats to Darling Prabhas and Team Baahubali for the stupendous success.

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The Making of Baahubali's Epic War Sequences

The Making of Baahubali's Epic War Sequences 
Interview with VFX Supervisor Sanath PC and VFX Producer Junaid Ullah at Firefly Creative Studio
Article Credits : TheReviewMonk 

It takes an army (pun intended) of highly skilled artists and technicians to create the movie magic that we experienced with S.S. Rajamouli’s massive blockbuster Baahubali: The Beginning. Thanks to its world-class visual effects, created almost entirely on home soil, the movie has captured the imagination of audiences and critics alike. From wondrous waterfalls with dancing nymphs to the spellbinding war between the Kalakeyas and Mahishmatis, there’s acres of beauty and splendor to behold. Some of that magic, including a significant portion of the war, was created by the talented team at Firefly Creative Studio in Hyderabad. 

We caught up with visual effects supervisor and founder at Firefly, Sanath PC and visual effects producer Junaid Ullah to get a peek into the making of the spectacular scenes. 

[TRM]: Bahubali’s VFX is unlike anything we have seen in an Indian film to date. The war scenes have been compared to the likes of 300 and Game of Thrones. What were your references? 

[Sanath]: Doing a war sequence is something that always creates excitement because of the kind of grandeur that you can bring in. Baahubali’s story provided a lot of scope for that. In the story, there’s that stake in the war that whoever kills the Kalakeya warlord, is going to be the next king of Mahishmati. The challenge was to build the action and scenes such that it makes you feel that the victor has indeed done something very heroic. 

We saw a lot of films for reference, to understand the scale and help visualize the grandeur. Today, in India too, people have seen all these movies. And we didn’t want them to say that it all looks borrowed from western films. We were really particular about that. Thankfully, Rajamouli is very good with action –both with the choreography and with driving people to make it happen. He really has that command. 

“Today, in India too, people have seen all these movies. And we didn’t want them to say that it all looks borrowed from western films.”

[TRM]: Tell us a little about the design and execution of the war sequences. 

[Junaid]: An important thing with Baahubali, which is a big change over traditional filmmaking, is that, when the director came to us with the story, we told him that instead of doing it the traditional way, which is pre-vis (pre-vizualisation), action breakdown and then going straight into shoot, we should work on “Entertainment Design”. It means building all the characters and their world as intellectual property not just for this film, but for future reference. 

So we had a lot of briefing sessions to get clarity on the story and narrative. Then we clearly defined each kingdom, character, their backstory and what kind of psychological impact they would have on the story. This way, everything felt much more integrated. For example, in the movie, you just see the Kalakeyas invading. You don’t know where they come from, but they have so much of a backstory which helped us define their characteristics. If we want to show more about them in the sequel or 5 years down the line, the groundwork is already done.

“In the movie, you just see the Kalakeyas invading. You don’t know where they come from, but they have so much of a backstory…” 

[Sanath]: In terms of war, we started with first deciding the numbers in the armies. The Kalakeyas were supposed to be in huge numbers compared to Mahishmatis. It’s not practical to shoot with 1 to 2 lakh people, so we had to have CGI. Then we had to look into the weapons –we gave a distinct look to the weapons of each army. In the Kalakeyas backstory, they could be a tribe who have fought many wars before and now they are a killing machine. Their weapons are actually tapped in from these different wars, so they look very varied and non-uniform. The Mahishmatis on the other hand are technically advanced. They are highly organized, they have a strong army with well-developed systems of war, and they constantly fight other kingdoms to keep expanding their own. Theirs is one of the most powerful kingdoms in the region. We needed to convey all that visually. If you look at Bhallala Deva (Rana Daggubati), for example, we needed to show that he’s a ruthless killer. That is why he has the chariot with the rotating blades.

Then we had to study traditional war formations and how they were employed. We looked into Arthashastra, which has a very detailed description on war formations. Finally, we had to do some training for the war scenes. When you use traditional extras, they may not move the way soldiers would move in war. When the director says “charge!”, how they run as a group is important. So we called in someone from the military to train them.

[TRM]: In a broad, generalized sense, what parts of the war were CGI and what was real? 

[Sanath]: In general, where you have the extreme wide shots with the sweeping cameras, it is entirely CGI. And when you come into the mid-shots where you really see characters fighting and falling, part of it was shot live and the rest was digitally extended. And when it comes to the ground fist-to-fist fight, which is a full-figure or a close-up, it was all live, enhanced by some effects and digital crowds in the background. With the extreme wide shots, we sometimes chose to go even wider, because we could take advantage of that scale to work with less detail on the geometry, without compromising the look. 

To be honest, when I look at the shots, I can only see the flaws there. I know that there are so many things to be addressed, so many things to be improved. It is not something that we overlooked, but it is a decision we make to go with ‘what will pass’. Because finally, visual effects is about ‘cheating’. It is not about physical accuracy. As long as the emotions are conveyed, as long as the story flows, it works. Maybe 5 years down the line, it might look outdated technologically, but it should still hold up emotionally. 

“Finally, visual effects is about ‘cheating’. It is not about physical accuracy. As long as the emotions are conveyed, as long as the story flows, it works.” 

[TRM]: What were some of the challenges during the shoot that you hadn’t planned for? 
[Sanath]: The entire shoot happened on open ground. And the biggest problem with an exterior shoot is the weather. The Light keeps changing and there was extreme heat. Putting up the huge green screens had its own problems. In terms of the shoot, we had done quite a lot of pre-vis, so things were well-planned. The fight master, cinematographer, director, VFX supervisor (Srinivas Mohan) were all on the same page because we were looking at the same setup. We did shoot a lot of backup shots so that, if some action shots didn’t work in post-production, we could use something else. But the main problem with a shoot is always the weather and dealing with a large number of people.

[TRM]: How involved is director SS Rajamouli in the VFX process? Did he come by a lot for your review sessions or did he trust your team to deliver what he was looking for? 

[Sanath]: The director was fully involved – right from story, to building each character to everything else. His involvement was 100%. For us, the advantage is that we’ve been working with him for quite a few films now. We have a grasp on his style of work and we’ve built a good relationship with him. In the end, it is about how you’re going to make the story work. And with every film, in terms of VFX, we have been able to give him more input to help with the storytelling. 

[TRM]: Firefly also worked on some of the creatures in the film and the avalanche sequence. Tell us about that. [Sanath]: From day one of starting Firefly, our excitement has always been about creating creatures. As of today, we have done all kinds of creatures for films in South India. Snakes, dog, elephants, shark, you name it. Wherever possible, we try to work on them because it is a personal excitement for us. When people say that they can’t tell that the snake in the film was CG, we get a real kick out of that. 

“When people say that they can’t tell that the snake in the film was CG, we get a real kick out of that.”

[Sanath]: When it comes to the avalanche, it is not just about the artists who worked on it. It also involves a lot of programming and physics for simulating the snow. With simulations, you try and build it a certain way, but when it renders, it could look totally different. Then you re-iterate on that. And each re-sim can cost you a number of days. That was a big challenge for us. 

The avalanche was there in the very first draft of the story. It was the first thing we did pre-vis for. But it kept getting postponed because we weren’t sure if it could be completely CGI and still look right. At one point, they even thought of removing the sequence because of its logistics. But towards the end of the film’s shoot, it came up that we need to have the avalanche because we have a story link there. The director asked us if we could manage to do it in a short time. 

At that time, we were doing another Tamil film called Kayal, which has a Tsunami sequence. We had a 10 minute long sequence that we had worked on for 8 months. Technically, it was a tremendous achievement for us because it was 100% CGI –big shots of water hitting and destroying the city. That gave us a lot of confidence about handling simulations on that scale. So we said yes, but again the shoot was delayed another month. 

Finally in December, the shoot took place in Bulgaria. It was the first time in those harsh weather conditions for most of us and it was very very stressful. So practically, we started working on it in post-production at the end of January, since we had to wait for the edited footage to arrive. And we went on till May. 

Two weeks before the release, we were still delivering the last shots of the avalanche. They were doing sound effects and editing with half-simulated, work-in-progress shots. It was very courageous on their part to go with the sequence because it was a big risk to put it on screen. There was absolutely no time to go back and fix anything, if it didn’t look right. 

“Two weeks before the release, we were still delivering the last shots of the avalanche.”

[TRM]: Worldwide, VFX companies today are operating hand-to-mouth. Most of the work is outsourced to the lowest bidder, to countries with the largest tax incentives, resulting in a lot of distress for the artists. What is it like in India? Is it thriving or is it as difficult? 

[Sanath]: It is definitely not a rosy picture. Here too, if you really count the companies which have sustained for over 5 years, there are probably only 2 or 3. That shows the difficulty of the situation. But in my perspective, it is also a characteristic of something that is getting evolved. 

Today the industry and its practices are not well set. Each time we do something new, it disrupts the process that was already in place. Bringing in stability to something that’s evolving, is a slow process. We’re talking of a film industry which took 100 years to reach the state it is at today. Imagine the first 10 years of filmmaking; what it would have been like. 

The director is trying to make something; he is cranking the camera as well. There’s no cinematographer who comes in and fills that role. To establish that standard, it would have taken a certain amount of time –many generations of cinematographers’ work to arrive at cinematography as it stands today. If you look at CGI in films, it hasn’t been around for over 20 years. People who have worked in the industry for 5 – 6 years consider themselves ‘experts’. Being so nascent, puts you in a vulnerable spot for everyone to exploit you. 

The VFX industry is full of people who got into it because of their passion. We are constantly trying to prove ourselves – “Oh you can do this, I can do it much better. Let me show you.”, and that has become a habit with us. It is preventing us, as a group, to demand what we deserve.

“We get into too many of these breakdowns and man hours which puts us more and more into trouble. When you try to do it with breakdowns, it appears too simple.” 

How does a director convince a producer to make a film when he has nothing in his hand? He says, ‘I have this previous work and I have a story and I can make you money’. The producer doesn’t ask him to prove anything else to arrive at a price. He gets paid based on his previous work. We need to start making demands in that manner. We get into too many of these breakdowns and man hours which puts us more and more into trouble. When you try to do it with breakdowns, it appears too simple. So we really need to re-evaluate how we position ourselves. And that will happen over time as the industry matures. 

After a successful stint creating effects for mythological Tamil TV serials and as supervisor for ad films, Sanath’s big break came with the song ‘Roja Roja’ from ‘Kadhalar Dhinam’ (1999, Hindi – Dil Hi Dil Mein). His team worked with renowned cinematographer PC Sreeram to create the rose garden and other effects around the Taj Mahal. Following its success, he went on to start Firefly with his classmates from National Institute of Design in 2000. Firefly Creative Studio has contributed to S.S. Rajamouli’s earlier flims like ‘Chatrapati’, ‘Magadheera’ and ‘Eega’ (Makkhi) as well as Disney’s ‘Anaganaga O Dheerudu’ (Once Upon A Warrior) and Rajnikanth starrer Enthiran (Robot). Their work on the Telugu film ‘Anji’ (2004) won them the National Film Award for Best Special Effects.

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Baahubali Wins Its First Award

After conquering the worldwide box-offices with record breaking collections in almost all the centers, India's biggest motion picture, Baahubali, has now opened its account in winning awards. Baahubali has just won the award for Best Special Effects in the NDTV Gadgets Guru Awards which concluded in Hyderabad last night. 

Baahubali won this award for the best use of technology in film category. Rana Daggubati, who played the menacing Bhallaladeva's role in the film, received the award and thanked the jury and congratulated the Baahubali team and especially the chief visual effects supervisor Srinivas Mohan and his team. 

This is only a beginning in Baahubali's run at the award functions, as many more award functions like the national awards, state Nandi awards, and other film festivals are yet to come. Currently, Baahubali, which has been lauded for its pathbreaking visual effects, is touring several film festivals around the world. 

Credits : gulte.com

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It's a high-50 for Prabhas and Salman Khan

Baahubali and Bajrangi Bhaijaan : In addition to both the films performing brilliantly at the box office, they both have managed to sustain their position in theatres by crossing the 50-day mark. Baahubali and Bajrangi Bhaijaan are the only two recent films that have played on the big screen for over 50 days. 

Superstars Prabhas and Salman Khan have lately been in the news for delivering large-scale films Baahubali and Bajrangi Bhaijaan respectively. Prabhas-starrer Baahubali, which released on July 10 this year, took the box office by storm with the business it did on the very day of its release. 

A week after its release, Indian cinema witnessed the release of Salman Khan-starrer Bajrangi Bhaijaan, which managed to set several other benchmarks. Both SS Rajamouli, who directed Baahubali and Kabir Khan, who directed Bajrangi Bhaijaan, had received applause from all territories for their films. 

In addition to both the films performing brilliantly at the box office, they both have managed to sustain their position in theatres by crossing the 50-day mark. Baahubali and Bajrangi Bhaijaan are the only two recent films that have played on the big screen for over 50 days. 

In today's time, when films have a short shelf life with audiences constantly demanding change, both these blockbusters have had their positions intact in theatres. Even more than two months after their releases, the films have managed to draw audiences to theaters.

Source : Indiatoday.com

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Baahubali - The Beginning rendered using RAYVISION

Article Credits : animationxpress.com

Being India’s top budget film, the historical Indian epic blockbuster Baahubali – The Beginning has grossed more than $90 million USD worldwide, and has set an all-time domestic box office record for opening day with $7.8 million and opening weekend box office record with $25.6 million, topping the previous record of last year’s Happy New Year. Current statistics shows that Baahubali – The Beginning is the third global highest grossing Indian film of all time, and the highest grossing Indian film of all time within India. 

This movie has been directed by renowned Indian director SS Rajamouli, co-starring Prabhas and Rana Daggubati. Baahubali is a story about two brothers vying for the throne of the kingdom of Maahismati in their own ways; one (played by Prabhas) is a noble warrior named Baahubali who believes in winning the confidence of the masses whereas the other (played by Rana Daggubati) believes in ruthlessness and a somewhat dictatorial approach. The details of which are best left unspoken.

Baahubali‘s CGI visual effects was collaborated with a local company Makuta VFX. Rayvision was tasked with the responsibility of rendering the movie. Almost entire movie were super imposed with elaborated CGI special effects of lavish landscapes and magnificent war scenes from the movie. Baahubali deserves a high praise for financing such high budget on an fictional epic. From the breathtaking waterfalls to the extreme complicated rendering of Maahismati, its clear that extreme measures was put into efforts and devoted into rendering highly complicated sets as well as the exclusive environments.

Rayvision as the rendering partner of Makuta VFX, the joint cooperation on the Baahubali project was highly satisfactory. Subhrojyoti Banerjee, the senior VFX artist of Makuta VFX mentioned that, “Rayvision have been very helpful to us during our crunch time on the feature, notably their production coordinator and technical directors. They were available 24/7 to assist in getting our renders out and solve any snags we faced during the complex file setups. The pricing structure offered to us was competitive for the quantity of work we were producing with render nodes being always available to us for use. Within around a month we rendered approx. 80,000 frames, totaling 27,000 render hours on the Rayvision render farm.” 

Rayvision as rendering expert and probably one of the world’s largest render farms are eager to work with any production houses to produce top quality special-effects as well as animations. They strive to ensure their partner’s vision is met, with their expertise and super computing power on the partner’s desktop to help the world understand the stories they wish to tell better.

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