 Under the leadership of computer animator Frank Foster , 350 people worked to convert the film into the digital 3D format , for which every scene had to be individually restored , colour @-@ corrected and re @-@ composited in 3D to match the depth . New set @-@ pieces , particularly those suited to the new format were also included , such as digital logs which scatter in the direction of the camera during the first half of the film when the train collides with them , the gunshot scene which frees Jai and Veeru from their handcuffs , and panoramic views of Gabbar 's hideout in the caves . 
 Under the leadership of computer animator Frank Foster , 350 people worked to convert the film into the digital 3D format , for which every scene had to be individually restored , colour @-@ corrected and <a href='uninflect' title='1'><mark>re</mark></a> @-@ composited in 3D to match the depth . New set @-@ pieces , particularly those suited to the new format <a href='uninflect' title='2'><mark>were</mark></a> also included , such as digital logs which scatter in the direction of the camera during the first half of the film when the train <a href='uninflect' title='3'><mark>collides</mark></a> with them , the gunshot scene which <a href='uninflect' title='4'><mark>frees</mark></a> Jai and Veeru from their handcuffs , and panoramic views of Gabbar <a href='null_genetive' title='5'><mark>'s</mark></a>hideout in the caves . 
Under the leadership of computer animator Frank Foster , 350 people worked to convert da film into the digital 3D format , fir which every scene had to be individually restored , colour @-@ corrected and red @-@ composited in 3D to match the depth . New set @-@ pieces , particularly those suited to the new format was also included , such as digital logs which scatter in the direction of the camera durin the first half of tdafilm when the train collide with them , the gunshot scene which free Jai and Veeru from their handcuffs , and panoramic views of Gabbar  hideout in the caves .