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In what can be called a magnanimous creative task, the studio has set up 4, intellectual assets for what is currently to be showcased as a episode series. While the series that will be aired on weekdays has been dubbed in Hindi and English, only those with dual-band option on their television sets will be able to view the show in English. Creative Quotient Lack of required pre-production talent for a project of this stature in the local market saw the producers flying down Vincent Edwards, who has worked on animated series based on Godzilla, Spider-Man and Superman, to create the storyboard for the series.
Interestingly, this is one animated series where creative liberty is restricted to adding visual appeal rather than imagination.
Describing the creativity-wise intensive nature of the project, S. However, we have created multiple permutations and combinations to provide Krishna with facial expressions!
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Elements like fire and rain too reinforce the impressive quality of effects that has gone into developing the series. According to S.
In fact, the non-availability of local skills when it comes to treatment of clothing and jewellery saw the studio first getting on to train people in the areas and then assigning them on duty. With very frame having 60 to 70 layers, the project stands on massive 30 Terra Bytes of virtual space.
While a gigabyte network through RX Foundry ensured smooth work-flow process, Blue Arc is the storage system deployed for the series. Further, an End-to-End Core Studio has also been set up to store the content across three different levels - online, near- line and offline.
Her fields of research include religious, social and ecological movements. Her key topics are Krishna-believers in Hungary and Hungarian eco-villages: she studies the origin, socio-cultural background, ideology, social structure and lifestyle of these communities. Although the ecovillage-movement is a relatively new phenomenon it was first formalised in the s , the initiatives, which aim to integrate, do have a much longer history.
The author of this article has been studying ecovillages since As a cultural anthropologist, her focus lies in the socio-cultural dimensions of the ecovillage-movement. In the present paper the history and roots of the movement are covered by positioning eco-villages within both the history of the broader environmental movement and that of intentional communities; the international and Hungarian history of the ecovillage-movement is presented; and, last but not least, an interpretation is given of the Hungarian ecovillages in the context of rural migration processes.
The picture drawn up here is not intended to be an exhaustive one, since the ecovillage-phenomenon can be presented from numerous different perspectives.