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    Directing GenAI Tools for Real-World Productions

     

    A View Conference 2025 Case Study from BOT VFX

    AI at the Director’s Table

    What if creativity had a new co-pilot? Imagine directing not just a cast and crew, but an orchestra of algorithms—responsive, adaptable, and capable of amplifying your vision frame by frame. That’s no longer a sci-fi fantasy: it’s the new frontier explored at View Conference 2025, where Srikanth S, Senior Technical Supervisor at BOT VFX, unveiled what happens when GenAI steps onto a real-world production pipeline.

    The Project: Trace of One—Fashion Meets AI

    At the heart of Srikanth’s talk was Trace of One, an experimental short film for fashion designer Mai Gidah. Here, every pixel sprang from generative AI, but every choice—from character pose to camera movement—remained in the hands of human creatives. The team set a high bar: could these new tools deliver outcomes strong enough to satisfy supervisors, clients, and brand storytellers in serious production?

    Srikanth botvfx

    Building the Workflow: Ideas to Final Frames

    Production started with big ideas, swiftly supported by GPT-powered assistants. These language models generated drafts and mapped out story structure, working like junior creative collaborators that never overstepped the human impulse for direction and editing.

    conceptual workflow

    For visuals, things got hands-on. The team conducted a real photoshoot to build a data set of fashion models and outfits, trained LoRA models to secure talent and wardrobe consistency, and validated these assets just like you would for key VFX elements—testing lighting, angles, and composition before rolling into full shots and scenes.

    Motion and pacing followed the traditions of film. The artists generated image-to-video takes for each shot, then stitched and refined them using editorial processes that made the final 4K master feel crafted, not random

    Insights from the Session: Structure, Control, Adaptability

    Attendees at View Conference saw firsthand that GenAI isn’t a magical shortcut. LLMs and generative image models are most powerful when directed with clear intent, acting more like creative partners than generic prompt machines. The excitement wasn’t in flashy outputs, but in blending real product, character design, and branded storytelling with the discipline of a production crew.

    VFX lessons

    Throughout the talk, questions circled around control and adaptability—how does a director keep narrative and style consistent when new AI tools and features arrive mid-project? Srikanth’s answer was practical: flexibility, big-picture thinking, and ongoing iteration are the real sources of competitive edge.

    Lessons for Every Audience

    The Trace of One journey drove home several essential points. GenAI needs a director, not just a button-pusher. Off-the-shelf models won’t recognize your brand story unless you invest in training and refinement. Prompts work best as detailed stage directions, guiding action, mood, and style. AI workflows demand iterative thinking, not just modular tweaks, and adaptability must become a core strength as technology evolves.

    AI BOTVFX

    Most of all, the team found that while tools might change, intent and judgment remain central. AI can expand horizons, accelerate work, and introduce new types of creativity, but only when the people behind the screen steer the process with vision and care.

    For anyone in VFX, film, fashion, or brand work, the future lies in partnerships—between humans and machines, between vision and execution. At BOT VFX, Trace of One stands as proof that with the right direction, GenAI can help create compelling stories, remarkable visuals, and original work that reflects not just possibility, but purpose.

    BOT team brings in the cold with “The Last Frontier”!

    The Last Frontier TV Series Follows Frank Remnick, a U.S. Marshal in charge of the quiet and weathered barrens of Alaska, as he needs to deal with a prison transport plane crash full of violent inmates inside his jurisdiction. Across more than 350 shots, the BOTs dug into everything from tricky paint-outs and monitor/phone comps to a steady stream of snow continuity fixes and subtle touch-ups. Whether it was scrubbing out the modern world or keeping the frost looking fresh, BOT brought a steady hand and a sharp eye to every frame.

    The last FronterTry as they might, the studio could not control the weather during shooting so BOT came in with digital flurries and snow FX to help the continuity. Sunny days with dry roads needed replacements with overcast sky, dulled car reflections, and snow flocked environments. As well as a sequence of dynamic drone shots of a running dog sled team where BOT miraculously swapped out the plowed road for fresh powder creating dog footprints and sled trails behind them.

    The show is set in a remote location of Alaska. During production, with a lot of people and vehicles going to and fro, it was often necessary to paint out the footprints and tracks left behind to restore the set to pristine condition. BOTs talented paint artists went to work, peeling back the layers of crunched show and slush, restoring the feeling of wilderness and loneliness. BOT was also called on to make sceneries more wild, removing signs of nearby villages and ski resorts.

    “Working with Edwin Rivera, the show’s VFX Supervisor, was a real pleasure”, recounts show EP Natasha Anne Francis. “He is super organized, quick to make decisions and great at being focused through the process. He’s a master class at work on supervision!” BOT’s own production team included the seasoned Supervisor Sean Pollack who led the team on weekly calls, found an easy groove with Edwin from the start and was able to bring the work to final, expertly and on time.

    David Robinson, the show’s VFX Producer had this to say at the end of the season: “We’ve said it all along, and we’ll say it again I’m sure – it has been such a pleasure working with all of you. The fantastic (and fast) work you have done for Foxtrot has been so valued not only by our VFX team, but by the filmmakers and everyone at Apple. The success of the VFX on this show is in no small part thanks to you and the rest of your talented team. Many, many thanks from all of us!!!”. We know we will be watching all the episodes and can’t wait to see what happens on The Last Frontier.

    Bad Boys, Big Win: BOT VFX Crew Ride High at VAM Awards 2025

    BOT VFX, collaborating with the talented client team led by VFX Supervisor Kris Sundberg and VFX Producer Lynzi Grant, has clinched this year’s Best VFX Feature – International award at the VAM Awards 2025 for its work on Bad Boys: Ride or Die (2024). It’s yet another high-five moment for all the BOTs – a recognition that reaffirms the hearts we’ve won and the screens we’ve lit up over the years by doing what we love most: delivering high-quality, meaningful VFX.

    “This win is yet another reminder of our ability to further our clients’ creative goals through great collaboration and excellent execution,” commented Hitesh Shah, BOT’s CEO.

    High Stakes, High Standards

    The film, starring Will Smith and Martin Lawrence, is a 2024 action-comedy rollercoaster with a massive VFX appetite. BOT VFX was entrusted with delivering a wide spectrum of shots — each packed with technical complexity and creative nuance. Our work ranged from rig and safety pad removals, skid and crash pad clean-ups, set extensions, to color correction, retimes, and day-for-night transitions.

    Our team also transformed on-location footage, swapping Georgia backdrops with vibrant Miami scenes using blue screen integration, sky replacements, and monitor inserts. These enhancements weren’t just about polish — they were about storytelling, mood-setting, and believability. From high-speed chases to a crashing helicopter’s cockpit, every shot got the BOT touch.

    Creative Collaboration and Leadership

    This win is also a reflection of the seamless collaboration with the VFX leadership at the studio side. BOT VFX is grateful to have partnered with our clients, whose trust, direction, and creative clarity helped steer the visual ambition of the project.

    With over 100 artists contributing across all departments, this project was yet another example of BOT’s ability to scale with speed while maintaining quality and finesse.

    More Than Just a Win

    This recognition is more than an award — it’s a reminder of the trust placed in us by our clients, the craftsmanship of our artists, and the culture of excellence that binds every BOT together.

    Here’s to many more frames, bold collaborations, and storytelling that goes beyond the screen.

    Let’s ride.

    VAM-AWARDS 2024 BOT VFX

    Welcoming Sriram to BOT VFX’s Creative Leadership Team

    As BOT VFX continues to deepen its creative leadership, we are excited to announce the newest addition to our leadership team: Sriram, who joins us as the Associate Creative Department Head – Compositing.

    seasoned VFX professional with an 18-year journey rooted in visual storytelling, Sriram hails from Chennai and began his career at Prasad EFX. His path led him through major industry players including Reliance MediaWorks, Rhythm & Hues, Prime Focus, and a nearly decade-long stint at Moving Picture Company (MPC)—where he contributed to large-scale, high-impact projects for global audiences.

    “Sriram joins our team at an exciting time when we are pushing the envelope in offering higher-end creative services to our clients and strategically multi-skilling our team,” shares Deepak Bohra, Co-founder, BOT VFX. “With over two decades of international project experience, he will add value to our client shows and at the same time mentor and guide our growing Creative team.”

    Sriram’s expertise spans the technical and artistic spectrum of compositing. Whether it’s the visually complex CG environments of Aquaman – The Lost Kingdom, which involved an average of 24 deep CG layers, or the precise, uninterrupted stitching of long plates in 1917, Sriram’s approach has always been grounded in thoughtful process-building. He reflects, “What I learned was to set up the right process that will give the desired results over time. The process is as important as the results.”

    His arrival at BOT is timely, as we continue our transformation into a studio known not just for its execution excellence, but for its creative leadership.

    “BOT VFX warmly welcomes Sriram as the new Creative Department Head of our Compositing department,” says Anand Rajagopal, Chief Operating Officer, BOT VFX. “His impressive track record and deep expertise in the VFX industry, including managing complex shows for large clients, promise to bring invaluable insights. He will significantly contribute to this transformational journey for BOT VFX.”

    Known for his calm, composed demeanour and team-first mindset, Sriram has always prioritized giving his artists the time and mental space to thrive. His ideal day is structured yet flexible: “Start at 9 am and let it end as and when possible.” As a Comp Supervisor, he typically organizes the day to provide six hours of uninterrupted Nuke time, complemented by review sessions spaced thoughtfully across the day.

    Shaswati Chowdhury, Head of Training & Development at BOT, adds, “Welcome to BOT VFX, where joining the team means becoming part of a vibrant creative community. Here, innovation is fueled by imagination, and every frame reflects a shared passion for storytelling. We’re thrilled to have you with us, and I can’t wait to see the magic we’ll create together.”

    Sriram believes that while technology like AI may help accelerate processes, human creativity remains unmatched. A cricket enthusiast—both on the field and off—he finds joy in simple things, whether it’s watching a game or solving a comp challenge that pushes the boundaries of what’s possible.

    As he steps into this important leadership role, we’re excited to see the knowledge he’ll share, the innovations he’ll inspire, and the creative magic he’ll help unlock.

    Welcome to BOT, Sriram!

    BOT Wins the Innovative Wellness Initiative Award at the Welcon’24 by NHRD

    At the National Wellness Conference – Welcon’24, organized by the NHRD (Chennai) on 23rd August 2024, we had the privilege of meeting the trailblazers in the world of corporate well-being. These collaborations help companies to promote holistic wellness and raise the bar for innovative wellness initiatives.

    We’re beyond excited to announce that BOT VFX India Pvt Ltd was adjudged as the winner and bagged the award for Innovative Wellness Initiative for its groundbreaking program, BOT Circles!

    Launched in January 2024, BOT Circles, an innovative initiative of BOT’s is all about creating smaller, interest-based groups where employees can tap into their passions and hobbies. With 10 vibrant circles like Fit Circle, Smile Circle, Snap Circle, Gaming Circle etc., BOT has created a space where people voluntarily engage in activities they truly love and are passionate about. The initiative’s goal? To elevate mental, emotional, physical, and social well-being while breaking down workplace barriers and believing in real connections.

    Since its launch, over 75% of BOT employees have collaboratively contributed to 75+ events held across its Delivery Centers at Chennai, Pune, Coimbatore, and Hyderabad. The impact? A more energized, engaged, and happier workforce. From fitness challenges to photography sessions, BOT Circles has transformed how employees connect with each other.

    This award is a testament to our unwavering commitment and culture of placing our employees first, proving once again that at BOT VFX, it’s all about “Art with a heart.” A big shout-out to all the BOTs and the captains who made this wellness revolution possible!

    Let’s keep pushing the boundaries and creating an even stronger, more vibrant workplace where passion, creativity, and well-being thrive!

    Industry Veteran Caine Dickinson Joins BOT

    If you’ve been in the visual effects industry for a long, chances are you’ve come across Caine Dickinson. With over 25 years of experience and a career that’s taken him across the globe, Caine has been a sought-after Supervisor. His experience includes both live-action and feature animation films. He has worked at many of the industry majors including ILM, DNEG, MPC, Dreamworks, Blue Sky Studios, Reel FX, and Image Engine and covered locations across multiple continents As BOT’s Visual Effects Supervisor, he brings a wealth of knowledge, a diverse skill set, and a unique global perspective that continues to drive our creative ambitions forward.

    Caine has worked on renowned franchises like Spider-Man, Harry Potter, Fast & Furious, X-Men, and Ice Age, demonstrating his versatility and command over a wide range of CG and VFX skills. More recently, Caine has taken on the challenge of supervising large-scale projects with crews numbering in the hundreds. His credits also include The Addams Family, Scrooge, Haunted Mansion, and Furiosa, all of which showcase his ability to manage complex projects and large teams to achieve high-end results.

    Caine’s journey into the world of visual effects began back in 1996 after earning his degree in Graphic Design from Brunel University in the U.K. His first major project happened to be Star Wars: Episode I. Caine started as a Previs artist in the Art Department at Leavesden Studios in London, where he helped lay the groundwork for one of the most iconic franchises in cinema history. He also contributed to set modeling for Industrial Light & Magic (ILM) and even got to complete the project at the legendary Skywalker Ranch.

    In 2001, Caine made his way to MPC London, where he specialized in Previs before transitioning to Lighting. It was here that he became an integral part of the team working on Harry Potter and the Chamber of Secrets, the company’s first large-scale film project. His talents didn’t go unnoticed—Caine went on to supervise the visual effects for the next two Harry Potter films, helping to bring the magical world of Hogwarts to life in ways that still captivate audiences.

    Caine’s passion for animated films led him to DreamWorks Animation in 2006, where he had the opportunity to work on some of the studio’s most beloved titles. From the epic adventures of Kung Fu Panda to the swashbuckling charm of Puss in Boots, Caine’s portfolio at DreamWorks includes seven movies that have become staples of modern animation. His ability to seamlessly blend art and technology allowed these characters and stories to resonate with audiences of all ages.

    With a career that’s spanned major cities and studios around the world, Caine brings a global perspective that’s essential in today’s interconnected industry. As BOT continues to expand its capabilities, Caine Dickinson adds the creative and leadership heft to BOT’s growth ambitions. Caine’s journey is a testament to the power of passion, creativity, and relentless pursuit of excellence.

    BOT VFX Nominated at the 76th Emmy Award For “Outstanding Special Visual Effects”

    BOT VFX is thrilled to announce its first-ever Emmy Award nomination for “Outstanding Special Visual Effects in a Single Episode” for our work on “All the Light We Cannot See.”

    A huge congratulations to our lead supe John Britto and the entire ATLWCS team for their incredible work. We are incredibly proud of this achievement and the talented individuals who made it possible. Special recognition goes to Charlie Lehmer, Swen Gilberg, Viet Luu, Tessa Roehl, and Netflix for their fantastic collaboration.

    We’d also like to extend our congratulations to all the other nominees. This is an exciting time for the industry, and we’re honoured to be part of it.

    Charlie Lehmer

    VFX Supervisor

    Swen Gillberg

    VFX Supervisor

    Viet Luu

    VFX Producer

    Tessa Roehl

    VFX Associate Producer

    Paolo Acri

    VFX Supervisor

    Harry Bardak

    VFX Supervisor

    Sylvain Theroux

    VFX Supervisor

    John Britto

    VFX Supervisor : BOTVFX

    Laurence Berkani

    VFX Producer

    Adding Momentum to BOTs Delivery Centres – Sheeba Joy joins as its Business Head

     

    The addition of Senior Executive Sheeba Joy as the new Business Head of Delivery Centres has injected fresh energy into BOT VFX’s offices in Pune and Coimbatore. Originally from the serene town Coonoor surrounded by the picturesque hills of Nilgiris, Sheeba brings with her a rich blend of knowledge in economics and technology. Her professional voyage commenced in 2007 as a Junior Economist at UBS – Hyderabad, and she distinguished herself while simultaneously pursuing a Ph.D. in Economics. Afterwards, she embarked on a new journey with UBS in Singapore for two years researching the US economy and trading dynamics.

    Her illustrious career path eventually brought her to Cognizant, where she assumed the role of General Manager and relocated to the vibrant city of Coimbatore. During her tenure, she orchestrated a groundbreaking deal that yielded a remarkable 45% benefit for clients over a span of five years. Impressive, isn’t it? But this is merely the opening chapter of her narrative. Embracing fresh opportunities, Sheeba has now ventured into the realm of VFX, driven by her passion for innovation and AI. Her thirst for knowledge and quest for limitless possibilities are a perfect match for the magic we create.

    A true inspiration, Sheeba is admired for her empathy and nurturing spirit, empowering those around her to flourish. At BOT, her values align seamlessly with our commitment to fostering growth and collaboration. Beyond her professional prowess, Sheeba enjoys Netflix binges and is a devoted reader. With two adorable cats at home and a soft spot for dogs, she’s all heart when it comes to furry companions.

    Sheeba Joy’s favourite quote, “I was born in an unjust world, and I am determined not to leave it how I found it,” echoes her unwavering determination to make a difference. Inspired by Ayn Rand’s Atlas Shrugged, She believes in taking ownership and being a catalyst for change.

    As we warmly welcome Sheeba into our creative family, we can’t wait to embark on a remarkable journey together and make magic happen at BOT VFX.

     

    BOT Brings on Industry Veteran Natasha Anne Francis as it Ups Its Game

    If you’ve been in the visual effects industry for the last several decades, it’s unlikely you’ve not come across the name Natasha Anne Francis. With a career spanning 30 years and 3 continents, much of it as a VFX producing powerhouse, Natasha has made the rounds on countless shows both from the facilities side as well as client-side. She’s credited with major shows like “Hugo”, “The Curious Case of Benjamin”, “Tron: Legacy”, “Cosmos A Space Time Odyssey”, “The Orville”, “Suicide Squad”, and the more recent “Peter Pan & Wendy” among countless others.

    On the facilities-side, she has worked with industry majors like Framestore, Digital Domain, Scanline, Pixomondo, Animal Logic, and Zoic. Natasha’s client-side experience has been with Fox, Starz and MRC, where she also built on-set experience in both television and film projects as both a VFX Producer and VFX Supervisor. She’s even had exposure to the software side of visual effects – her foray into the industry was with Softimage out of Montreal before it was purchased by Microsoft. Natasha has lived and worked in the US, Canada, Germany and Australia, giving her a global perspective that is essential to an industry that is deeply steeped in multi-geography workflows and multi-cultural collaboration.

    Beyond the roster of projects that speaks to her show-cred, she brings amazing “street-cred” as a business woman who knows how to manage complex projects, be they shows, new office openings, or infrastructure builds. In her numerous prior roles, she’s been asked to open new offices or see through an infrastructure expansion projects where she amply applied her “grab the bull by the horns” aptitude for getting the job done.

    “Adding someone as seasoned and multitalented as Natasha onto our Executive Producer ranks was central to our growth ambitions” commented Hitesh Shah, BOT’s CEO & Founder. “We couldn’t be more excited about having her on our team as BOT continues to expand in size and capabilities”.

    Natasha’s ability to block and tackle situations goes beyond the metaphorical – she is a seasoned practitioner and trainer in the Martial Arts. She also finds joy in the art of cooking, and being with her two dogs. Natasha is a native of Montreal, Quebec, where she currently resides.

    BOT VFX’s Mastery Unleashed: Extraction 2’s Director and Team Honored for Groundbreaking Work

     

    In the fast-paced world of action cinema, visual effects play a pivotal role in elevating the audience’s experience. Much-awaited Extraction 2 – starring Chris Hemsworth is no exception to this and we eagerly count down its release on 16th June 2023 on Netflix. Collaborating once again with the renowned directors Anthony and Joe Russo was constant source of inspiration for the bot artists. A team of more than 30 talented artisans, worked tirelessly on this project. With careful attention to detail, the Bot team led by Supervisor John Britto supported by our Prep Supervisor Karpagaraja contributed to over 200 shots by adding some seamless invisible effects to the film. A few of our highlights on our work involves deftly removing safety wires, rigs, and many other unwanted elements. The Bots also delicately stabilized and retimed footage to ensure a more immersive experience for the audience.

    One of the most gratifying moments during this project was the VFX Appreciation Call, where we were invited by the Russo Brothers, and the Visual Effects Production team along with the Netflix team in Los Angeles. Being recognized for our contributions to Extraction 2 was an absolute honor. The call was spearheaded by the esteemed filmmaker Joe Russo and their appreciation was a sheer testament to the dedicated efforts and craftsmanship that went into every frame.

    This accolade is another feather to the cap in BOT VFX’s journey and readiness to take on even more ambitious projects in the future. We are grateful for all the opportunities that provide us with a platform to showcase our artistry skills at a global scale.