creative multimedia college of fine arts, Dilsukhnagar Arena

Creative Multimedia.

Creative Multimedia

We are Creative Multimedia Group, a revolutionary digital media education powerhouse with two decades of rich experience in Animation, VFX, Graphic Design and Web Design training, imparted through our institutions – ‘Dilsukhnagar Arena Animation’ and ‘Creative Multimedia College of Fine Arts’. With first-class training and top-class placements, we are widely acknowledged as the Best Digital Media Academy in India by career aspirants and recruiters alike.

We are as old as India’s multimedia industry. We established our training centre way back in the year 1998 with only a couple of students. In a short span of time, we’ve emerged as India’s largest and best digital media academy with a string of unrivalled academic achievements and placement records.

We’ve revolutionized digital media education in India with the singular focus on “Enhancing Employability”. Our inspiring campus offers a supportive learning environment with production-grade infrastructure and extensive learning resources apart from exclusive and full-fledged interview facilities for campus recruitment. With first-class training and top-class placements, we are the preferred destination in India for students seeking to build careers in Animation, VFX, Graphic Design and Web Design.

On the sheer strength of our mentoring prowess and the passion with which we own our student’s dreams, leading companies across India prefer our students and travel all the way to our global-standard campus at Dilsukhnagar-Hyderabad to conduct recruitment drives. Placements are our biggest strength. Our placement cell builds and nurtures lasting relationships with leading recruiters in the country on a continuous basis, thus affording excellent campus interview opportunities for our dear students.

In the last two decades, we have shaped the careers of 26,000+ students and afforded rewarding placements for them at leading MNCs, animation and VFX studios, web design companies, digital marketing firms and advertising agencies. Our alumni can be found at top organizations such as MPC, Technicolor, Digital Domain, Prime Focus, EA, Tata Elxsi Limited, Green Gold Animation, DQ Entertainment, Firefly, Makuta, Thomson Reuters, Infosys, Microsoft, HCL, Cognizant, Amazon, Deloitte, TCS, Tech Mahindra, Cyient and all leading TV Channels and Film studios. Many of our alumni are part of Oscar award-winning teams.

For more details visit our site:

Dilsukhnagar Arena, Short Film Awards

Meet the new romeo in town…

For all the gorgeous gals out there..Get ready to be floored by the new charming romeo in town.Alex!!!!!!!!!!.Watch him work out his magic spell on mona, an epitome of elegance and sensuality.Wait!!!!!!Did we forget to mention some one more important here??????????Of course the femme-fatale Paddu who can get a bit too mischievous if you dare to take her for granted.

RajaSekhar Buggaveeti

Dilsukhnagar Arena, Short Film Awards

Making of Bee in the Bonnet by DNA Inc

The short film “Bee In The Bonnet” was another great project for our team. The team hurried to animate the film immediately after completing “YUGAPURUSH” and it was a refreshing experience moving from semi-realistic to full-cartoon animation style. Before commencing production, the team clearly planned the animation style, especially for the BEE as the character has streaks of wickedness in contrast to BOB who is a plump and funny guy. Acting sessions at dailies time helped animators to explore the characters in-depth. Enacting and animating the Bee character was immensely enjoyable as is evident through in the film.

For finalizing the acting styles and timing of the characters, the team started animation from the third scene where BOB sees BEE coming out of the bonnet. All the shots with main poses or story telling poses of characters were blocked. After blocking approval all the main breakdowns we added and then, we took an animation lineup so that we could check the story-line, acting hookups, pose hookups etc and all the small corrections were done before starting detailed blocking. Here the detailed blocking was done with the addition of all the main breakdowns, other in-between passes, facial in-betweens and timing corrections. In the first pass, we have added some more details in body movements in smoothed curves. Second pass was done for secondary actions, follow-throughs and more facial details. After the second pass, we took one more animation line-up for viewing the entire performances of the characters once again before the final animation approvals. The team then discussed minor flaws in BEE’s expressions in order to improve upon them. The second-pass line-up helped fine-tune the actions for the final-pass animation.

Here I am adding two videos showing the process in animation from the film “BEE IN THE BONNET”. This one is a shot of BOB carrying a big rock and putting it on the bonnet for closing it.The video startes from storyboard, then layout, bloking, animation and the final output.RajaSekhar Buggaveeti

Here is one shot of BEE. One of the funniest shot of BEE making fun of BOB after comming out of the bonnet. From storyboard we did the layout.But in bloking we did a small change in timing of BEE’s second and fourth posess from layout for making it more better.

The team was thrilled to see the final output at the premiere, because the output was of exceptional quality. Considering the fact that “Bee in the Bonnet” is an intern-level project, we hope this will be an interesting and entertaining short movie done by DNA INC.

Dilsukhnagar Arena, Short Film Awards


Before setting out on animating the film, the team got into the skin of each character and physically enacted the script to get a hang of the actual person they were going to animate. The team enjoyed acting out the part of Chitraguptha. His distinct behaviour coupled with the funny lines really tested the animator’s acting skills. The acting sessions for character of was preceded by extensive preparations. Acting his role requires exceptional acting talent given his unique gestures, facial expressions and the dialogue delivery style. The role of Y.S.R was discussed intensely before enacting it to draw inputs for animation. Being a political heavyweight with immensely popular mannerisms, the character demanded extreme attention to detail. The film would lose it credibility if he was not portrayed realistically.

The team commenced production with a clear plan. Expectedly, the decision to adopt a semi-realistic animation style proved to be a double-edged sword, given the enviable task of reproducing the enthralling histrionics associated with popular characters like Yama, Chaitragptha and YSR. Realistically portraying these three central characters with diametrically opposite demeanors proved strenuous. In order to bring out good quality, the team concentrated more on detailing w.r.t the animation and lip-sync.

The team started by blocking each character with only the main pose or story telling pose and then shifted its attention to adding details to each pose and facial expression. After blocking approvals, detailed blocking was taken up where all the main breakdowns and other in-between passes and timing corrections were added. For the first pass, the team added more details in body movements with smoothened curves. Second pass was more for secondary actions, follow-throughs and lip-sync blocking. In the final pass, detailed lip-sync, polishing facial animation and body movements were executed.

Here we are adding two videos from the shot film “YUGAPURUSH” which shows all the passes in animation from storyboard or 2D-animatics to final output.The first one is the first shot of YAMA, which establishes the character and his first dialogue.RajaSekhar Buggaveeti

Next one is CHITHRAGUPTHA’s shot in which he is taking his magic wand and switching on the magic screen.Here in layout camera angle is changed slightly to side angle from story board for making the shot more better.

The decision to include live-action footage on Chitragupta’s magic screen helped save precious time and let the team devote more time to animating the characters in detail. Finally, despite the daunting task of making the audience believe they were actually witnessing a touching conversation between Lord Yama and YSR, the team was relieved and excited at having captured the script in its true spirit.