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MEET THE MAKERS | Aishwarya K Vishwanath, Senior Artist Lighting talks about her experience on The Boss baby

26 December 2022
Aishwarya K Vishwanath, Senior Artist Lighting

Our Meet the Makers articles are back! This time, the artists of The Boss Baby animation series, Back in the Crib, take the time to explain their work. Made in the studios of Mikros Animation in Bangalore, the series has a full season available on Netflix as well as a special Christmas episode.

Aishwarya K Vishwanath talks about the challenges she faced on the series as Senior Artist Lighting, as well as her favourite sequence:

Can you tell us about your journey in the animation industry?

I started my journey in the industry with Technicolor and I’ve been here close to 6 years now. I have worked on a range of projects over the years, including The Boss Baby, Back in Business, Dragons: Rescue Riders, Kamp Koral: SpongeBob’s Under Years, and Dragons: The Nine Realms. It’s always exciting to see the best shows brought to the studio! 

‘The Boss Baby’ franchise is well-known globally. What was your reaction when you learnt you’ll collaborate on this show?

I was a fan of the character and the concept of the boss baby. When I learnt I was going to be a part of the show I was beyond thrilled! To make it more special, this was the first project I started my career with. I felt honoured to start a career with this amazing franchise. 

What is unique about this show?

The thing which stands out the most about the show is the concept. The titular character is a baby who is in business and not just any business, he works to ensure Baby Love remains a top commodity among the community. The atrocities he commits to achieve his business goals make viewers go crazy! 

What were the main artistic and/or technical challenges you had to overcome in your department?

I am from the Lighting and Compositing Department. The main artistic challenge I would say was to show the boss baby as charming and cute in every frame. Whether he is rude, angry, fighting or crying, we need to beautify him to maintain his charm consistently. One of the main technical challenges was to deal with the semi-realistic skin look and feel on every primary character. This is heavy to work with, and it can be difficult to maintain continuity as well. Another challenge was managing the look and feel of the semi-realistic environments like the park, streets filled with houses and other elements, and various new locations, and to blend the characters with those. 

Do you have a favourite sequence? If yes, why is it your favourite?

I have a lot of sequences I love. To pick a favourite, it’s the sequence in the episode where a villain, Bootsy Calico is first introduced. He uses an army of cats to bring down the Baby Love chart so the boss baby and Timothy fight against him. Lot of scenes in this episode are hilarious and are visually stunning too.

How did it feel to learn the show was nominated for the Kidscreen Awards under the Best New Series category?

I was extremely happy and excited to learn about the nomination. It is very well-deserved, also a favourite of many kids! I feel proud to be a part of this show.

Want to join the Bangalore team to work on the next seasons of the Boss Baby, Back in the Crib? Apply here