Thursday, September 27, 2012

3D Animation Courses: Are 3D Animation Courses for Me?

3D Animation Courses:  Are 3D Animation Courses for Me?

3D animation courses are taken seriously by youngsters these days because of the big opportunities it offers.  If done from an animation college of repute, after completion of the course, someone can expect to join one of the following positions:

1.    With specialization in 3D animation – you can join as a 3D animator
2.    With specialization in 3D modeling – you can join as a 3D modeler
3.    With specialization in Texturing – you can join as a texture artist
4.    With specialization in Lighting – you can join as a lighting artist
5.    With specialization in Rigging – you can join as rigging artist
6.    With specialization in basic compositing and rotoscopy – you can join the industry as a roto artist
7.    With specialization in compositing – you can join as a compositor
8.    With specialization in VFX – you can work as a visual effects artist
9.    Opportunities in gaming companies – Gaming companies recruit a lot of 3D animators (we are not talking about specialization mentioned in (1) above, but we are talking about people who are trained in 3D overall), and people passing out of 3D animation courses with some emphasis on game designing can find employment with these companies.
10.  And more . . . . . . .

Qualification:  Most of the academies enroll students who are +2 or higher secondary pass in any stream for their 3D animation course.  A lot of graduates, art college pass-outs, engineers, and master degree holders join these courses as well. Good academies have an assessment or some kind of exam where they try to understand whether the candidate will be able to study the course.  If you have the basic qualification, and if you have cleared the assessment, then you are through for the 3D course.  You will be thoroughly counseled by the counselors and admission officers so every doubt is cleared.

Are 3D Animation Courses for Me?  Do animation movies and games inspire you to think about as to how they were made or did you ever think that you would have done things a bit different way if you were the maker of the film?  Or are you creative?  Are you willing to work hard and ready to learn new things?  If your answer is yes to most of these questions, you can join a good a 3D animation course, and a shining future is waiting for you.

At RTG Animate – Animation Academy, we offer the following 3D animation courses:
1.    1-Year Diploma in Animation & Film Making
2.    3-Year B.Sc. in Animation & Film Making.
3.    6-Month Diploma in Compositing & Rotoscopy.

For Admission in the upcoming 15th batch, please contact:

RTG Animate – Animation Academy
Jindal Towers, Block A
21/1A/3, Darga Road, Kolkata 700 017
P:  +91 33 2289 2890/91
F: +91 33 2289 2891

Wednesday, April 04, 2012

Best Animation Institute in Kolkata: RTG Animate Wins the Award

When it comes to finding the best animation institute in Kolkata, RTG Animate must come on top of your mind.

RTG Animate Animation Academy has been chosen for 'Best Animation Academy in West Bengal' award by Brands Academy, New Delhi.  Dr. Sashi Tharoor (prominent writer, academician, MP, and former Central Minister) has handed over the award to RTG Animate officials in a program held in The Crown Plaza Hotel, Gurgaon, on March 31, 2012.

Some of the other organizations who won awards from Brands Academy on the same evening are:
* Management Department of IIT Delhi
* XLRI, Jamshedpur
* Narsee Monjee
* Symbiosis

RTG Animate, the best animation institute in Kolkata, will celebrate the achievement soon.  The exact date and program will be decided in a meeting in about seven days.

For More information, please call 033-22892890 / 94330 73190


Thursday, March 15, 2012

Crest Animation (Mumbai) Recruitment Drive at RTG Animate

Dear Reader:
Greetings from RTG Animate!
Are you a 3D animator?  Would you like to join Crest Animation of Mumbai soon?  Would you like to face the interview right here in Kolkata?

Crest Animation (Mumbai) is conducting a massive 3D Animation recruitment drive at RTG Animate - Animation Academy on March 16, 17, and 18, 2012. 3D freshers from any academy or 3D specialists from any production house can walk-in at RTG Animate on the designated dates.  You need to come one day only to appear for the 6-hour test and the interview.

You can get the details from the link below under 'Recruitment Classified' section: 



RTG Animate Team

Tuesday, January 17, 2012


Super Commando Dhruva one of the most popular comics hero ever in India.I grew up reading his comics he was my icon you said one word against him ...and you will be a dead man eeehahaha.....!.

lets talk about this history a little bit. (explained in
created by Anupam Sinha and published by Raj Comics. His first appearance was in Issue No 74, “Pratishodh Ki Jwala”. In the first story itself that Dhruvs parents have been murdered by a villain named Jubisco and Dhruva in his rage of fury vows to take revenge and ultimately avenges his parents death by killing Jubisco.Dhruva is a Sanskrit name which means the center or axis, and that center remains constant irrespective of things going around. Dhruva is shown as a handsome young guy having a well toned muscular body. Unlike other comic heroes he does not posses much superpower. The only special power he has is the ability to comprehend the language of birds and animals, which can be attributed to the fact that he was born and brought up in Jupiter Circus and spend a lot of time with animals. The animals and bird are his major allies as they constantly report the crimes which take place in the fictional city of Raj Nagar where Dhruva lives with his foster family.
He is proficient in all major types or martial arts and is good in hand to hand combat. He has great analytic power which helps him in looking for clues at a crime scene and following and nabbing villains. On a number of occasions it is shown that he triumphed over villains more powerful than him by using his wits. He can also breathe under water after his friend Dhananjay gifted him this ability. Dhruva has vowed not to kill anyone so he usually disarm or disable his enemies by using any object found close to him. In the stories he is paired with other heroes, he is always the one who comes with ideas to counter the villains using the powers of other heroes wisely.
To prevent crime in the fictional city of Raj Nagarj he patrols every night on his special motor cycle. Dhruva never uses disguise and is shown as wearing a yellow and blue colored dress. He heads a small team founded by himself, called Commando Force, which helps him in fighting crime in Raj Nagarj. The other members of the team are Karim, Peter, and Renu.

Shweta who is his foster-sister and a science student helps Dhruva with technical aspect of fighting crime. She has given him Star Transmitter, special boots which can become skates, and “Star Line which is a rope which helps him in moving in the style of Batman. He also has Star-Blades which are blades in shapes of stars.
Dhruva is adopted by I.G. Rajan after murder of his parents. He lives with his foster parents in Raj Nagarj and has Shweta as his foster sister. Shweta leads a life of double identity. In real life she is shown as a sweet girl with not much liking for adventures. But she has saved Dhruva life on many occasions under the disguise of Chandika (name of a Hindu goddess). Dhruva has no idea about the real identity of Chandika.
Dhruva has appeared in a number of comics along with Nagraj and the pair is very popular. His friends include Black Cat, Dhananjay, Vanputra, Samri, Lori and Commander Natasha who is also his love interest. Some of his main enemies are Grand Master Robo, Chumba, Mahamanv, Chandakaal, NastreDamus and Super Nova.

Monday, January 09, 2012


As a freelancer or a working for particular agency making commercial is always a challenge and filled with lots of fun. Most of the people finds commercial during their favorite programs on TV pretty annoying but me as a animator finds it incredibly exciting and engrossing,ogling on idiot box these days had never been so exciting because of these awesome commercials.

Have you ever wanted to do a TV commercial?

Recently Google had published a video on How to do commercial in Five easy steps.

But This instructional video was actually aimed for the commercial making specially for Google TV.
Though its quite educational i want you guys toread a bit more on how to make a commercial aimed for larger broadcast i.e cable TV you tube or commercial on web.

Some tips are here that works quite well for TV commercials are.

  1. Who are you talking to?
  2. Who are you?
  3. What is your brand personality?
  4. What is the offer?
  5. Time to make you commercial.

Who are you talking to? this is the first question you should ask your self,keeping in mind that 20% of your costumers comes out from 80% of your audience.your potential costumers can be new or old but they should be properly informed and involved with you product or service.

second comes what you are?,who are you? what makes you so special that people should go for your product or service in-spite of thousand of other similar products available to them. sometime better.Ask yourself what you are best at then ask why that is important and why that does matters.

Third Brand personalty figure out your brand personalty and convey your massage to make it compelling unforgettable.and here we comes in, creative people.this is where things like music and visual elements comes into play.

Next comes call of action. convey your offer to the costumer so that he can adept the message quite easily you have to be very specific about what you are offering. It should be memorable way to deliver it. that's why we sometime use a slogan or phrase to stick with it in such a way that its becomes the part of our brand.

And Finally comes our participation of creative people Actors directors scripts visual artists, animators  visual or cg creators.your commercial should be scripted and edited according to the Above description.
like your message,offers,brand specs etc.these simple steps can provide you a rough but deep insight of how to do commercial.

Thursday, January 05, 2012

Exclusive Interview: The Help Director Tate Taylor -

Exclusive Interview: The Help Director Tate Taylor -

Seeing so many bad movies come from great books, I have to think that any author would be hesitant to let their work fall into the hands of Hollywood. The Great Gatsby, considered by many to be the greatest book of all time, has been adapted three separate times and not a single one has been comparable. In some ways Kathryn Stockett took a similar risk when she sold the movie rights to her book, The Help, even before it came out, but she had one leg up: the man she sold it to and who would end up both adapting and directing the film is her best friend, Tate Taylor.

A couple weeks ago I had the pleasure of sitting down with the filmmaker one-on-one to discuss his newest film, which comes out this Wednesday. Check out the interview below in which Taylor talks about working with Kathryn, how he came to know and cast Octavia Spencer and filming down in Mississippi.

The first question I want to ask is, I know that you actually auctioned this book to become a movie and you had a great relationship with Kathryn. I’m curious, when did you start seeing potential in the book as a film?

Literally halfway through reading the manuscript. Kathryn gave me the manuscript, she had no agent or publisher, we were in New York and she said, “Oh I want you to read it. Just tell me what you think, no one wants it.” I started reading it on a plane to LA about somewhere over Ohio I started to get this tingle. I didn’t finish it of course, it’s only a five hour plane ride, but I called her and I was like, “Kathryn, I don’t know the publishing world, but trust me, someone’s going to wise up. It’s beautiful.” She’s like, “I know, I don’t know. I gotta get comfortable if no one’s going to make it.” I said, “Let’s talk about it,” and that’s when the dialogue began. I knew over Ohio.

She mentioned earlier that she’s not too familiar with the film world, how involved was she? Like when you were working on the script, how involved did she become with that process?

Not really involved, she didn’t want to be. She’s like, “I don’t understand movies, I don’t understand scripts.” I just told her, “When I outline the whole thing before I began writing dialogue, I want to sit with you and tell me what you think.” So we met up in Central Park about a month after that and I went over what I planned to do, what wasn’t going to be in the movie, and she’s like, “That makes sense.” Then I let her read the final copy and she really liked it. Then she came to Mississippi out of support and just wanted to watch it. There was never a monitoring situation, she just loved everybody, she can tell all just genuinely love each other.

Just listening to the cast talk, when you’re sitting in the rooms and hearing people in the hallways, you really get the sense that you established this family atmosphere.

It’s like summer camp. We all, we had the best time. We all rented houses and stuff. We would all be over someone’s house having dinner and then we’d have too much to drink, we would be talking and someone would say, “I just want to stay at your house tonight.” “Okay!” It was just crazy, it really was a family atmosphere.

Sissy Spacek mentioned that it’s actually your father that gets together with at the end.

Yeah. The nightcap. That’s my dad.

I heard that actually there were some other people that you knew too.

Oh gosh, yeah. I peppered the movie with friends and family. The woman that raised me with my mom, Carol, is in the movie. Kathryn’s daughter plays the young Skeeter in the flashback, my mom is in the movie. Remember one of the first bad dates Skeeter has, “There’s Lieutenant, let’s go say hi,” and they come over there, that’s my mom who plays the Lieutenant’s wife. And my dad was in it, yeah it was fun.

Did you find that that kind of, just that personal touch kind of added to that whole atmosphere?

Not really that, it was just fun for me, from my nostalgic point of view, to know that I can go back in time when I’m older, at the end of my days, and watch the movie. It just makes it fun to have faces in there that you can remember conversations with.

I know that, on that same kind of note, Octavia mentioned that you were her roommate. I’m curious, how did you approach her? Because I also learned that the character was based on her, but how did you approach her, or did she approach you about playing a character in the movie?

It was just understood. We really are best friends. We were both PAs together on A Time To Kill, came to Mississippi, became buddies, and moved to LA together in 96. So I don’t know, when you have someone that close in your life that you share everything with, it was just, “Oh!” It was more getting Dreamworks to let me do it. Because that was the worry, she had no big credits and everybody wanted to be in this movie. Especially when there’s not so many roles for African Americans. Then I said I’d like to see Octavia do the part, so I took her down to my casting director. She went on and did a scene, showed it to everybody, they went, “She’s amazing.”

On that same kind of note, you mention that there aren’t that many great roles for African Americans, there aren’t a lot of, for women in general. Was that kind of, did you feel it was almost an active mission? Because this film really does, it has an incredible female cast and it uses every single one so brilliantly, I’m just wondering, was that an intention?

Like a goal? It was not. I’ve always been attracted to female characters, as an audience member, so I can just tell you that I was excited to mind, you noticed, which I appreciate, the possibilities, and draw out every ounce of opportunity from each of the characters of this book into the script. I didn’t want anybody just to be a, “This person is Leeroy, Minny’s husband,” and in the book you meet him and you know what he looks like and he has scenes. You know who he is. He’s the wife, he’s drunk, and so I don’t need to know him. I’d rather have more room for these women that I like.

That actually leads me to another question. Obviously this is a four hundred-plus-page book, you’re not going to be able to put in everything, and also it comes from three different perspectives. I’m just curious, for starters, the breakdown of the point of view, in the book it’s separated into Minny, Aibileen, and Skeeter, in the film you have the narration only done by Aibileen. I’m curious, was that always the case?

I knew from the start that I wanted only one person to tell the story. I said, what made this book special to me and what makes it special, period? And I realized, it was because the subject matter was dealt with and told through the eyes of the most important person, the African-American, during this time period. And I’m like, no one has really thought to do that, and that’s what it should have been the whole time. So it was a no-brainer. It’s Aibileen’s movie. That’s why I had to add Skeeter near the end, she just kind gracefully...I didn’t need, it’s Aibileen’s story.

DYou see so many movies where you have stories about minorities that are only told through the eyes of a white person. I love that this film actively goes against that.

What I’ve loved hearing some people say, we screened for a mainly African American audience in Chicago a while back and they went, “It’s so great, usually these are about civil rights leaders, Malcolm X, Martin Luther King, but this is about normal, everyday African American women doing something.” So I think that resonated too.

There is, obviously, there are tie-ins to the real world. We have the assassination, I’m curious, how, in addition to working out the book, did you do external research about the time? How schooled in it were you before taking on the project?

I’ve went and talked to people. Only just to hear them talk. A really touching thing, and she’s since passed away, I met this woman who was a hundred, this housekeeper, a hundred years old, I interviewed her. She just told me about her whole life, she’s like, “I can’t read, I can’t write, I can tell you who I was working for, and I can tell you the year, but who was president?” It was so cool. But she shared with me a story, loosely, I put a thing in the movie about it. You know when the maid tells Skeeter about the man who bought the land so she could walk to the water tower? She told me the story. I thought that was so special. It was like, in the twenties. It was a white man. I wanted to get that in there, that there were moments of taking care of each other. So I researched that way.

All of the actresses mentioned that you basically handed out copies of Eyes on the Prize. I’m curious, what was it about that documentary that you thought was so important for them to see?

Because I included, you study this during high school, and listen, you’re just trying to get through the day. I thought the images, and having it all refreshed in our heads again, would just be powerful. It’s easy to forget history or give it a cliff notes. The cliff notes of history. But mainly, so much of what happens in Eyes on the Prize happened in Jackson, Mississippi. Jackson, Mississippi isn’t really known for any other touchstone to the movement, other than Medgar Evers being killed. There were sit-ins and riots and atrocities. I just wanted them to know so they would wear it on their skin when they went back there. I also knew that it would make it kind of eerie to go there.

It definitely was a hotspot, so I’m curious, would you have made the film if you couldn’t have made it in Mississippi?

Well, once we were green-lit, of course, I would have done it. No, but I think, it would really, I think the film would have suffered. Not what it ended up as, but what it could have been. I just knew, I knew. Again, it goes back to Dreamworks and Chris Columbus and all of those guys, if it aint broke, don’t fix it. Nobody tried to fix something that didn’t need fixing. It just didn’t. It worked, I mean I know it sounds like it’s made up. It was just a great experience.

When we were talking to Chris Columbus earlier, he was talking about when they first did a location pass, and how they were able to find the location that they wanted to use in a day and a half. So what was your reaction when you found these places that you were going to film?

Well I went and found all of the locations myself before we even had financing or a studio. I knew I wanted to film in Greenwood, I knew it was going to be a struggle to get people to come to Mississippi. So I got Mark Ricker, my production designer who wasn’t even hired yet, and I brought Brunson Green, the producer, and I said, “Guys, I think I know where we’re going to film the movie.” Mark’s like, “Who’s paying for it?” “Oh, it’s not set up! No one even knows about it. But I think we need to go here and present a look book.” So we went, and we found, I grew up among a lot of those homes, so we photographed it and Mark Ricker made a book explaining the character of Mississippi. So when I met with Steven Spielberg and he’s like, “Where do you want to film it?” I went, “Here’s the book,” and I handed it to him. He was like, “Wow.” So that’s kind of, I knew I had to do that. That was one of the things I knew. I knew I had to write a good screenplay to be taken seriously, and I knew I needed to present Mississippi on visuals instead of just saying, “Hey I wanted to film it in Mississippi.” It would seem like it was a hometown boy just wanting to be home.

Did you find that as you were filming Mississippi really bled into the film?

Oh gosh yeah. I love what Mark Ricker and [Stephen] Goldblatt, my DP did. I said, “Guys, we’ve got to make it a character.” Whenever we can, how do we put Mississippi in here. Steven came up with that amazing shot, when Skeeter goes home, with the crane pulling up and her going up the stairs. Then Mark realized he was doing the shot, and they all talked about different things to place. Yes, it was a huge character.

Just the production design, I mean obviously you’re setting the movie in a different era. Just looking at now versus the sixties, we’re in a completely different universe. Were there any, was it difficult setting that up? Or did the town actually do a lot for the work for you?

No, the town didn’t do any work. Again it goes to tireless dedication from Mark Ricker, our production designer. He designed everything. I mean, those houses were in place, but what happens with the south was, every home felt like it was a set already, but all the sets looked alike. It’s all antiques. So he had the challenge of differentiating these grandson homes to fit each character, which, in a contemporary film, you just have a lot of crazy art. Or something dark, black. But you can’t here. You have to do this very surgical, precise way of differentiating. He did an amazing job.

You go to some sets where the production design is absolutely impeccable, every single inch is covered with something. They just have little notes scribbled on a wall, it’s like a post it on a corkboard, but when you see the final film, so much of that is cut out because it’s not given any focus. When you’re given such incredible production design, which this film certainly has, do you find that you’re actually specifically trying to focus on those smaller aspects?

Well, we don’t, it was never, there’s really no inserts at all in the movie. There’s the shot of the pie when Hilly looks at it, but we were very careful not to do that. We wanted to make people go there and just be in Mississippi. I knew I loved Steven Spielberg when he was like, “Please don’t do close ups and don’t do all that close, I don’t want to because you’re gonna be great.” And he didn’t. A lot of things played wide, and then you’re seeing this home. You can just feel kind of voyeuristic instead of doing that TV, choppy, blah, blah, blah. You just go there. It’s not intrusive. Unless we try to do them, which is often if not always.

This obviously comes from the book as well, but the tone of the film, obviously there are some moments that are absolutely hysterical, but at the same time, it also has some dedrama, and it is dealing with a very serious subject matter. When you were writing the script, how, was it difficult to find the proper balance between that?

I think again, I had the upper hand because I’m a southerner. In the south, we tell stories. We tell stories if you’re in a sales position, if you’re in a retail position, you lure your customer by telling a story. You just do. If you were to bargain from a retailer, you tell a story. So we all just have this way of talking, and often for a southerner to be affected, you create highs and lows that are back to back, just to kind of have people, you don’t want to rip them. So I just kind of knew that would be important. If you have a piece of material that could potentially be message-y or medicine-y, always love a reversal in writing. Like when, and I think it works, when Mae Mobley’s on the toilet in the yard, and it’s so funny, and then in four seconds, she’s having her ass beat by her mother. The audience just went, “UGH!” That’s what you’ve got to do. I think it’s your job as a writer, to not let the audience get ahead, or feel a rhythm. So it’s kind of the way we talk as southerners, and it’s also, I think, your duty as a screenwriter.

Also, when you’re working, as you mentioned in talking about the book, there’s obviously going to be some stuff that you cut out. Was there anything that you really wanted to hold on to but you had to eventually let go of?

There were just scenes that I didn’t need. There’s a scene where Hilly kicks Skeeter out of the Junior League, that’s in the book, and I shot it. It’s a great scene, it’s one of Bryce’s strongest performances. But we knew already, once she put the toilet in the yard, you just know their friendship is over. So when I took it out, and then Skeeter eating alone in the drugstore and all of her friends come in and she’s not included, that’s so much more painful as an audience member, to imagine that conversation to have happened and to see the aftermath versus, “You’re kicked out. I can’t believe you did that to me.” And that’s a great scene, I hated to lose that one. Just because Bryce was so good, she was really upset and vulnerable. Ultimately it wasn’t efficient.

I keep saying this, and I mean to say it in the greatest way possible, but to talk about Bryce Dallas Howard's Hilly Holbrook, when it comes to characters that you really just want to punch in the face, I haven’t felt this way since Election. What’s great about it is that you never let her get too cartoony, it never gets to some stereotypical place. I’m curious, what was the relationship, how did you work with Bryce Dallas Howard’s character?

She is one of the most fearless and un-sensitive people in the world. When I met her she says, “Tate, I don’t get sensitive. Beat me up. Don’t sugarcoat anything.” So we had this great, great banter back and forth. When I’d want to try something, she’d want to try something. But really, she did so much in so many different ways. In each take, it was embarrassing to cut together. We didn’t really, she’s so smart. She has a mother from Louisiana so she has a touchstone in the world, too. I just couldn’t believe her body language, I don’t know where she went and learned it when she showed up with it. Her hands and everything, and Sissy’s so smart, she copied her. That was all, when they walk out, Sissy saw her, and it’s like Mas. They’re just great actresses, I take no credit for that.

Do you know, what are you working on now?

I’ve got some irons in the fire, I’m writing an original screenplay now, just to do it.

What’s it about?

It’s a dark comedy.

Female driven?

Actually, as usual, it is female driven.

Aliens Vs Predator