From serving as an assistant director on the Tamil film Soorarai Pottru to now developing his own feature film using virtual production, Sibi Naayagam has travelled a long way in filmmaking.
He recently worked on Mufasa: The Lion King as the virtual production (VP) lead alongside the film’s director Barry Jenkins (Moonlight, Aftersun), production designer Mark Friedberg (Joker) and James Lovell; and now continues to explore this filmmaking technique.
Having worked in Hollywood as well as the Indian film industry, he elaborated on VP’s approach in both the film industries. “The primary difference lies in the type of projects utilising VP,” he pointed out. “In the USA, large studios leverage VP for linear storytelling, while individuals create small projects at home. Studios invest significant capital and often experiment with the technique for internal projects. In contrast, Indian studios seem hesitant to adopt VP, primarily due to directors’ reluctance to explore the technology or reliance on small, under-equipped setups. These setups often lack the infrastructure to meet the directors’ expectations for product quality. This gap, I believe, stems from a lack of resources and understanding of how to implement the technology effectively — a challenge even major studios face.”
But Naayagam has circumvented various challenges in experimenting the craft, discovered his forte and excelled in it. He is currently building a VP pipeline for the Russo Brothers’ company AGBO. “A virtual production pipeline enhances filmmaking by driving efficiency and emphasising the importance of pre-production. While it may or may not reduce costs depending on the director or studio, it is always guaranteed to deliver a better film than without it,” he explained. “As processes accelerate, there is more room for iteration. In the hands of a director with a clear vision, it becomes an invaluable tool that maximises creative potential.”
Apart from utilising his knowledge of The Volume in filmmaking, Naayagam is teaching the technique to students in USA’s University of Southern California (USC) School of Cinematic Arts, where he himself got his education from. The class, called CTPR 524 Virtual Production, is co-taught by Naayagam and John Brennan, the virtual production lead of The Lion King (2019). The class introduces students to motion capture, virtual cameras, VR, AR, and working with Unreal Engine. “The curriculum is designed for students eager to explore filmmaking through linear storytelling or interactive media,” highlighted Naayagam. “As this is an ever-evolving field, we ensure students are introduced to the technology gradually but steadily. We also prioritise making the learning experience engaging, so students are neither overwhelmed nor discouraged by the complexities of volumetric & virtual production.”
Even while teaching currently, he too started out in Hollywood as a student, out of a strong need to be theoretically confident in his filmmaking techniques. “While filmmaking is a creative medium, a disciplined approach to the craft and an awareness of the tools and techniques at my disposal are critical to being a consistent and efficient filmmaker,” he revealed. “Every audio launch or awards function I attended had someone proudly state that their film was of “Hollywood” standard. This motivated me to go to Hollywood to learn the craft and appreciate the differences and embrace the best of both worlds.”
In order to make this dream a reality, he moved to Los Angeles to pursue a master’s in film production at USC School of Cinematic Arts, specialising in directing and writing. He felt that the curriculum encouraged students to take on diverse roles in their first year across multiple projects before selecting a specialisation. “This approach not only helps students appreciate other specialisations but also equips them with crucial technical skills that ensure financial stability and foster better collaboration in the future.”
USC provided him with resources and opportunities to excel, particularly in the field of in-camera VFX technology. But the journey was not without its challenges. Like he highlighted, “One of the biggest struggles for any filmmaker is finding their voice and understanding their place in the industry. I wrestled with this during my first year. But over the next two years, I fell in love with VP–it opened new possibilities of storytelling that aligned with my sensibilities.”
With the mentorship of Brennan and Oscar-winning supervisor Mike Fink, Naayagam carved out his own path. “This journey led to USC’s first virtual production thesis and played a role in refining the university’s curriculum — both of which were instrumental in launching my career in VP.”
Having experienced filmmaking as a student, teacher and a professional, Naayagam has a well-rounded perspective. His advice to aspiring filmmakers? Balance theory with hands-on practice. “Go out and create your first project. Then come back, evaluate it and do it again. Keep learning and refining” he exclaimed.
He warned against perfectionism. “Don’t overwork a project in pursuit of flawlessness. More often than not, getting a film in front of an audience is more important than making it perfect.” And above all, he urges filmmakers to embrace originality. “Don’t imitate other movies! A filmmaker who chases trends won’t last long. Find your own voice in this industry.”
As for his upcoming projects, Naayagam has a lot in the pipeline – a short film and an episode of Love, Death + Robots set to release on Netflix early next year. Additionally, he is creating a feature film using The Volume, as well as a live-action feature set in 1980s Tamil Nadu.
