Unlike many of the films where the concept is about seeing how bright and colourful we could make the film, David MacDonald and Director Feroz Abbas Khan worked on getting the full tonal range and a very realistic colour palette. It turned out to be a true test of the Digital Pipeline at Prasad EFX-Mumbai.
GANDHI MY FATHER (GMF) is also Prasad EFX's first Hindi feature scanned entirely at 4K. This allowed resizing on the image and maintained the maximum resolution. The negatives were very well exposed and even. In fact, it was because of this even exposure that we had the time and dynamic range to get a brilliant end product.
The Lustre's excellent windowing was used to a wonderful degree. Basically this provides the ability to bring more alteration to the characters through shading and enhancing the density in certain areas of the picture. An example of this is, when Gandhi's son is drunk and leaving his dormitory. It is a dark scene to start with. Through bringing down the lantern light sources, the moonlight lit window, the white sheets of the bed and surrounding areas, it was possible to make Gandhi's son jump out at the viewer. The viewer's eyes are drawn to him because of the subdued nature of the rest of the image. He is the most important part of the scene and this additional color timing aids in helping to tell the story. The timing windows were tracked to follow portions of the image and were dynamically changed in shape and intensity to ensure that Gandhi's son holds the viewer?s attention.
GANDHI MY FATHER was recorded on the ARRILASER, which also converted the Super 35mm spherical image to anamorphic.
In the recent past Prasad EFX, has worked on the DI and Color Grading of mega movies including x and RANG DE BASANTI and have also upgraded their Digital Intermediate facility in Mumbai.
Prasad EFX won all the prestigious awards recently for the landmark VFX in Rakesh Roshan's KRRISH. The awards included Filmfare, Screen, Zee Technical, Broadcast India, Ficci Frames Baf and IIFA.