Cancelled Dreamwork Animation, Bollywood Superstar Monkey was Inspired by the great Indian epic tale of The Ramayana – but retold through the point of view of its monkeys.Bollywood Superstar Monkey revolves around two common monkeys who become unlikely heroes in a last ditch effort to stop an ancient, thought-to-be-mythical demon from conquering the world.Directed by Kevin Lima ( A Goofy Movie , Tarzan, 102 Dalmatians, and Enchanted) .Music Composed by A. R. Rahman and written by Stephen Schwartz.

MUSICAL DEMONS

I Helped Design 17 characters for Monkeys of Mumbai . These Musical Demons were Designed further from concept Sketches done by the Amazing Kei Acedera (images by Kei towards bottom of page), i took those concept sketches and helped Design these characters Straight in 3D using only Maya and photoshop (to paint all the textures). I had about a week and a half to Design, Model, Texture each Character . Each Demon made a different sounds inspired by various Indian instruments that A R Rahman incorporated into the soundtrack of the movie.

DOG DEMON

DOG DEMON FACIAL TEST

dog_facial from Ravi on Vimeo.

SHARUTI BOX DEMON

A shruti box (sruti box or surpeti) is an instrument that traditionally works on a system of bellows. It is similar to a harmonium and is used to provide a drone in a practice session or concert of Indian classical music.It is used as an accompaniment to other instruments and notably the flute. Use of the shruti box has widened with the cross-cultural influences of world music and new-age music to provide a drone for many other instruments as well as vocalists.

SITAR DEMON

The sitar is a plucked stringed instrument used mainly in Hindustani music and Indian classical music. The instrument is believed to have been derived from the veena, an ancient Indian instrument, which was modified by a Mughal court musician to conform with the tastes of his Mughal patrons and named after a Persian instrument called the setar (meaning three strings). The sitar flourished in the 16th and 17th centuries and arrived at its present form in 18th century India. It derives its distinctive timbre and resonance from sympathetic strings, bridge design, a long hollow neck and a gourd-shaped resonance chamber. In appearance, the sitar is similar to the tanpura, except that it has frets.

GATHUM DEMON

The Ghatam is a percussion instrument used in the Carnatic music of South India. Its variant is played inPunjab and is known as gharha as is a part of Punjabi folk traditions. Its analogue in Rajasthan is known as the madga and pani mataqa ("water jug"). The ghatam is one of the most ancient percussion instruments of South India. It is a clay pot with narrow mouth. From the mouth, it slants outwards to form a ridge. Made mainly of clay backed with brass or copper filings with a small amount of iron filings, the size of the ghatam varies according to its pitch. The pitch can be slightly altered by the application of plasticize clay or water.Although the ghatam is the same shape as an ordinary Indian domestic clay pot, it is made specifically to be played as an instrument.

bollywood monkey superstar ghatum demon_Reel.jpg

TAAL DEMON

Taal , is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in the older system of rhythmic mode and its relations with the "foot" of classical poetry, or with other Asian classical systems such as the notion of usul in the theory of Ottoman/Turkish music.A tala is a regular, repeating rhythmic phrase, particularly as rendered on a percussive instrument with an ebb and flow of various intonations represented as a theka, a sequence of drum-syllables or bol.

SHEHNAI DEMON

The shehnai, is a musical instrument similar to the oboe, common in India, Pakistan, and Bangladesh. It is made out of wood, with a double reed at one end and metal or wooden flared bell at the other end.Its sound is thought to create and maintain a sense of auspiciousness and sanctity and, as a result, is widely used during marriages, processions and in temples although it is also played in concerts.

HARMONIUM DEMON

The Harmonium is a small, manually-pumped musical instrument using fixed reeds to create the basic sounds. There are two main types of harmonium: a foot-pumped version that resembles a small organ, and a hand-pumped portable version that can fold up for easy transport. The hand-pumped portable version is very popular with Kirtan Jathas along with the Tabla and these form the main type of instruments used by Ragis during the performance of Kirtan.

DHOL DEMON

The Dhol can refer to any one of a number of similar types of double-headed drum widely used, with regional variations, throughout the Indian subcontinent. Its range of distribution in India, Bangladesh and Pakistan primarily includes northern areas such as the Punjab, Haryana, Delhi, Kashmir, Sindh, Assam Valley, Gujarat, Maharashtra,Konkan and Goa, Karnataka, Rajasthan and Uttar Pradesh. The range stretches westward as far as eastern Afghanistan. The Punjabi dhol is perhaps best known abroad due to its prominent place in the rhythm of popular Punjabi bhangra music.

GOPICHAND DEMON

Gopichand is a one-string instrument most often used in traditional musicfrom Bangladesh, India, Egypt, and Pakistan. In origin the ektara was a regular string instrument of wandering bards and minstrels from India and is plucked with one finger. The ektara is a drone lute consisting of a gourd resonator covered with skin, through which a bamboo neck is inserted

TANPURA DEMON

The tanpura is a long-necked plucked string instrument found in various forms in Indian music; it does not play melody but rather supports and sustains the melody of another instrument or singer by providing a continuous harmonic bourdon or drone. A tanpura is not played in rhythm with the soloist or percussionist: as the precise timing of plucking a cycle of four strings in a continuous loop is a determinant factor in the resultant sound, it is played unchangingly during the complete performance. The repeated cycle of plucking all strings creates the sonic canvas on which the melody of the raga is drawn. The combined sound of all strings, each string a fundamental tone with its own spectrum of overtones, is a rich and vibrant, dynamic-yet-static tone-conglomerate, due to interactive harmonic resonances that will support and blend with the external tones sung or played by the soloist