Blog post
Sanjay Trimbakkar, FutureWorks Visualisation Director
FutureWorks By FutureWorks
15th Feb 2024

FWX Talent Spotlight

Sanjay Trimbakkar is our Visualisation Director and is in charge of the 3D graphics behind some of the most loved shows and movies we have worked on in recent years. We sat down with Sanjay to discuss his favourite projects, a typical day as a creative visualiser, and the path that led him to join our team.

Can you describe your role?

As the Visualisation Director, I am responsible for conceptualising 3D graphics. This involves developing an idea from scratch or improvising with existing assets, depending on the project's requirements. The entire process requires extensive referencing material and visual iterations to effectively communicate the ideas to clients.

What's your day-to-day like?

Typically, I receive a brief from our Creative Head and we exchange ideas, developing a preliminary visual based on our initial thoughts. Following this, I reach out for references from the internet or our internal asset library. Using tools such as Photoshop, Maya, or Blender, I prepare a rough draft of the concept.

After creating the concept, I seek input from the Creative Head, incorporating their feedback. Subsequently, I share the concept with the team for the delivery of the final version. Throughout this process, I supervise and guide the team to ensure we achieve the desired result. After all, it's a collaborative effort!

Why did you join FutureWorks?

I worked in the advertising industry for around 22 years, serving as an Art Director and Creative Illustrator. Illustrations, storyboards and TVC animatics are my specialty. Over time, I developed a strong command of these mediums and sought more challenging creative opportunities.

Fortunately, I was introduced to FutureWorks CEO, Gaurav Gupta. After reviewing FutureWorks VFX credentials, I realized it was the ideal environment to take my creative skills to the next level. Vinay Chuphal, the Creative Head of Futureworks, appreciated my portfolio and graciously welcomed me into their team.

What would you say is the most rewarding part of your job and why?

Transitioning from the advertising world to the VFX industry posed a challenge, but the support of the core team members at FutureWorks made it easier for me to quickly find my stride. Their cooperation was instrumental to my adaptation within a relatively short time. The most rewarding aspect of my job is receiving appreciation from the creative team for my work.

What's the project you are most proud of since joining FutureWorks?

When I joined FutureWorks, the CG work for ‘The Empire' series was in progress. The CG team faced a significant challenge in constructing the Fergana and Kabul palaces. My role involved providing concepts for them, specifically focusing on Mughal architectural and war set extension work. To maintain a consistent periodic look throughout the episode, I extensively studied historical references from the Mughal era. This experience proved to be a great learning opportunity.

The director was genuinely impressed with our concepts and appreciated the visuals we created, showcasing our ability to capture the essence of the historical setting.

‘The Darling' was a movie created for an OTT platform, and one of its pinnacle scenes takes place at a railway track. The entire scene was shot against a chroma background, excluding the rail tracks. We needed to extend the surroundings through digital matte painting, and my role involved overseeing the visualisation of the scene. The DMP team performed exceptionally well in developing the visuals, making it a successful team effort.

Working on Amazon Prime's ‘The Peripheral' series has given me the most satisfaction, especially in terms of true creative involvement. The VFX Supervisor, Jay Worth, presented the idea of an invisible cloaked car. Our task was to design a modern-looking concept for the uncloaking of the car. Using Blender, I developed several concepts to achieve a digital uncloak shield effect. After exploring various options, we settled on an effective idea and presented it to Jay. He not only liked the concept but also provided valuable input. In the end, the scene turned out to be truly impressive.

How long have you been in the industry?

Since childhood, I have loved drawing and painting. I always dreamed of making a career out of my passion for art. So, I went to the Sir J.J School of Applied Art to learn illustration. After I finished my studies, I started working as a Junior Assistant Art Director in the Hindi cinema industry, working with Sameer Chanda. But over time, I lost interest in the role, so I decided to switch to the exciting world of advertising.

I started my journey in advertising at JWT advertising agency, working as an illustrator. I loved facing the creative challenges that came my way as an art enthusiast. As time passed, I took on different roles, such as a creative illustrator, storyboard artist, and 2D animatic artist.

As I became more skilled in storyboarding, I decided to focus my career on the advertising animation sector. Over about 22 years, I used my creative talents at various advertising agencies, including LOW Lintas, JWT, O&M, McCann, FCB Ulka, and more. I had the opportunity to work with well-known brands like LUX, Lakme, Denim, Kellogg's, Godrej, Vaseline, Colgate, Close-up, Taj, Parachute, and more. While I initially started with 2D illustrations, I also embraced the 3D medium for animatics as my career progressed.

What do you think the future looks like?

Nowadays, AI plays a huge role in shaping the future. Even the VFX industry is not untouched by this influence. AI is set to bring about a revolution in every step of the VFX process, from coming up with ideas to the actual production.

The impact of AI in the VFX industry shouldn't be seen as purely a negative disruption; instead, it holds the potential to raise the quality and visual standards in the field. AI serves as a facilitator, streamlining processes through automation and reducing tedious tasks. Consequently, it has the potential to improve efficiency and contribute to the overall advancement of the VFX landscape.

Where do you draw inspiration from?

Inspiration is a strong feeling of enthusiasm that comes from someone or something, acting as a catalyst for a transformation in how we see our abilities. I've been lucky to find inspiration in my mentors from art school. During my academic journey, I've had inspiring teachers who played a crucial role in shaping my creative mindset.

My mentors played a key role in shifting my mindset from conventional to creative thinking. They didn't just share knowledge; they taught me to think outside the box, bringing about a significant and positive change in my life.

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