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How to Make Lighting a Booster to the Whole Picture?

Fox Renderfarm, the best render farm, is deeply committed to supporting education and wishes to contribute to the development of the CG industry. We are so proud to form cooperation with PIXL VISN Media Arts Academy and offer students an affordable pricing scheme to support educational purposes.!PIXL VISN and Fox RenderfarmAfter we’ve discussed the factors to make a character design and rigging with excellent graduates from PIXL VISN, we continue our discovery about how to make lighting a booster to the whole picture with another brilliant graduate, David Pferrer, from PIXL VISN Media Arts Academy. After graduation, he had the chance to work in Moving Picture Company, and he continues his career exploration in ArchViz now.!David Pferrer- David Pferrer- General Lookdev / Lighting Artist- Artstation: https://www.artstation.com/david_pferrerIn the exclusive interview with Fox Renderfarm, David shared his encounter with CG, how he stepped into the CG industry and how he found his passion in lighting design. Moreover, he elaborated his idea about the factors that will improve the lighting design.Student Demo Reel 2019 © David Pferrer Fox Renderfarm: Hi David, thank you so much for accepting our interview! Could you briefly introduce yourself?David: Hi Fox Renderfarm, I am David Pferrer, a 22-year-old CG artist from Cologne Germany. Fox Renderfarm: How did you encounter CG and get started in the CG industry? And how did you enrol in PIXL VISN media arts academy? Could you share with us your education and working experience in the CG industry?David: My first encounter with CG at all was actually long before I really started to pursue it in a serious manner. Like many others in the industry, I was amazed by the effects of movies like Star Wars, Transformers, Lord of the Rings, and so on. It’s sort of a cliché but I guess that this is really what makes most of us want to work in this industry – the incredible art and creativity in movies. When I finished school a few years later the CG industry was still somewhat of a mysterious and impossible-to-get-in place for me. At an orientational fair for graduates, I encountered Pixl Visn for the first time. It looked and sounded like my opportunity to learn all the things any CG artist needs to know. Pixl Visn was a great experience overall. It was not all fun and games. You have to put in the hours. You have to be willing to learn and work hard. That’s what the CG industry is all about anyways so Pixl Visn prepares you for it in that way. It is very rewarding though to learn so much and become a better artist in such a short time. One month you might have no idea about what a node even is and a few weeks later you are cruising through Nuke. Fox Renderfarm: What are the most important things you’ve learned at PIXL VISN, technically and career-vice? And what’s your most unforgettable experience in PIXL VISN?David: The most important things I learned at Pixl Visn. I feel like that would have to be the basics. The learning really starts from zero knowledge, and that’s how it should be really. So the foundation is being built strong. And a lasting foundation is the most important part of any skill I feel like. As for my most memorable experience – clearly, the time that our animation teacher came to visit. He was accompanied by two former Pixl Visn students that worked with him at Pixomondo. Afterwards, we went out for drinks and to show them the city. Fox Renderfarm: Congrats on getting the A-level certificate and getting selected in the Draft Selection on The Rookies Awards 2019, could you share more details about how you got these honors? David: Thanks. It’s really an honor to be one of the selected few. Especially if you look at all the stunning works that are put up at The Rookies. Getting selected is really about two things: Firstly, you have got to create a quality piece of art. The judges are no dummies, they recognize good works and know how much work went into it. Secondly, I would say, it can really help to have an artwork that stands out in some way. Meaning it should have something that will make it recognizable. It could be a unique color palette, a really interesting or unusual subject or topic, or even just a really good-looking cover frame to make it recognizable. Making a technically great render is one thing, elevate it with something special and it will stand out amongst the other contestant´s works. Go that extra step.!The Rookies Awards 2019!Draft Selection - The Rookies Awards 2019 Fox Renderfarm: Could you share with us your usual creative process, from forming the concept to the final rendering (it would be perfect if you can raise an example)?David: The creative process behind every project can be very different. In the artistic and the technical sense. So there is not really a standard here. Also, I don’t think you can make formulas for a creative process. For the technical aspects that are a little different. Technical aspects of any CG-related field are well documented by many others that are more knowledgeable than me though. So I am not gonna go into that. Generally speaking, I would say: Write down every idea that comes into your mind. Always have something to write with you. Ideas will come at random times. Next prepare your project. Go online and just throw your subject into Google and see what comes up, you might get even more ideas. Don’t be put off if someone else has done a similar project already, it’s a big community and everybody is creating stuff all the time. You can not reinvent the wheel. Just make art that speaks to you and that you want to create. Make something you like.!David Pferrer Fox Renderfarm: According to your online portfolio and info, we know that you are interested in and good at lighting. Do you have any unforgettable creations? And did you meet any difficulties in your creative process?David: Yes, I find myself most at home in the lighting area of the 3D spectrum. My most unforgettable creation is the lady from my demo reel. Every time I think about that project I am a little disappointed in myself. The project stretched over months and It went through tons of changes. I could have spent a quarter of the time on it, with all the things that I did and then discarded later. Also, I am really unhappy about the presentation in my reel. The lighting is just not very good. I somehow ignored the fact that she is completely symmetrical, I showed her closeup from the very front, And I covered most of my texturing work in glitter. There are so many things I would change about that project, but you are always smarter afterwards I guess. !David Pferrer© David Pferrer Fox Renderfarm: What are the key factors in lighting that will make 3D artworks natural and vivid?David: Ironically the thing that makes a render perfect is the very thing that makes it look like CG. You don’t want something perfect if you are striving for realism. In reality, everything is imperfect, from the surfaces to the camera lenses and even the movement of the camera. Achieving realism takes every aspect in the pipeline of a project. For lighting I would advise: Always use real lighting. Meaning essentially, avoid having a light in your scene without a texture in it. Try not to place your lights where they could not be in real life. It can help to look at photography sets and movie sets and analyze the lighting setups and techniques that they use. There is a lot to learn from that.!Train Station © David PferrerTrain Station © David Pferrer Fox Renderfarm: How do you feel about working at Moving Picture Company? Have you been involved in any projects that you would like to share with us?David: Working at MPC was a lot of fun. I was very fortunate to get a position at their Montreal Studio as my first job in the industry. The only project that I worked on there was Cats. There is not a lot to say about Cats. Unfortunately, 2020 was not really the best year for the 3D industry. Due to the pandemic, many studios had to lay off employees and I was one of those.!CATS Fox Renderfarm: What’s your next step? And what’s your vision for your career path?David: Currently, I am working at an ArchViz oriented company where we scan people and create 3D models of them. It’s a lot of fun and I don’t intend to quit anytime soon. Also, I am not really one to plan my career like that. Especially in the current situation, I think that’s even more difficult. There are so many factors that can determine where your path leads you. But I am definitely gonna go back to Montreal at some point, it was a really great time, even though I was only there during the winter. !Froggy © David Pferrer-1!Froggy © David Pferrer-2Froggy © David Pferrer Fox Renderfarm: How do you constantly improve yourself on 3D techniques and artistic sense?David: Improving is all about practice. I like to create some nice 3D stuff from time to time. Working in 3D all day though, I don’t spend that much of my free time on 3D anymore. Instead, I try to find other creative outlets. Recently, I have been doing photography and cooking for myself. Staying creatively active is very important to improve on artistic skills I think. Don’t limit yourself to just 3D. A lot can be learned from other art forms and it will improve your 3D game a lot.!Woman Portrait Experiment © David PferrerWoman Portrait Experiment © David Pferrer Fox Renderfarm: What do you think are the most important qualities that a 3D artist should have in his/her career? David: The best thing any 3D artist should have – and especially a lighting artist – is probably a really good understanding of photography and also an artistic eye. There will always be new programs to learn and new pipelines to understand. Learning about composition, color, mood, all that knowledge will never really change. Photography can really help with that because it uses all the same rules as any other visual art form. Apart from that, being a good team player is very, very important. In production, you never work alone on anything. It's always a team effort. !© David Pferrer © David Pferrer Fox Renderfarm: Any artworks and artists that inspire you the most?David: I find it hard to pin down an artist that inspires me. I would say that inspiration can come from anywhere. You can’t really force it. What I would advise though, is to get out of the comfort zone. Try to watch a movie that you might not usually consider, listen to music that you don’t know yet, maybe go on a walk somewhere you would not usually go. If you never experience new things it will be hard to have new ideas, at least that’s how it is for me. Fox Renderfarm: Any other things you wanna share with CG enthusiasts?David: Please keep creating. Other than that – it has been a pleasure and I hope I had some stuff to say that you found interesting or even helpful.

How to Portray a Photo-realistic Render With Powerful Storytelling in 3ds Max

FGT3D Explorer Challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, was started in March 2021 and sponsored by our amazing sponsors, including Xencelabs, Corona Renderer, TopoGun, Friendly Shade, Graswald, Raysync, Textures.com, Texturebox and iCube R&D Group. After the selection by our jury, 3 Professional artworks and 3 Student artworks were picked and would be awarded the prizes provided by our amazing sponsors. Congratulations to all the winners! And thanks to everyone for participating!!FGT3D Explorer ChallengeIn this hard time where people are finding it hard to breathe and oxygen is costlier than life, this was the only positive we never wanted. In a country of colors and love, we are seeing helplessness and deaths but we have been a fighter and this too shall pass. This picture has portrayed the helplessness people are facing, sorrow and a little hope that we can fight this too.The first-place winner of the Profession category is Deepak Jain! Congratulations! His artwork, Hard Time, stands out for its highly detailed scene, goosebumpy mood-setting, great lighting and color temperature.“This indeed is looking like a hard time for the girl in the centre of the frame. Lighting and color contrasts play nicely in this very atmospherically dense frame. The setting is visually rich, though very effective in using and reusing a limited amount of assets and geometry. You feel like you want to step into the screen and get her out of this misery.” One of our judges, Kariem Saleh said, who is an award-winning film director and animator based in Berlin, Germany.Here’s the interview between Deepak and Fox Renderfarm, in which we can find out how he created this moving render with powerful storytelling.!Hard Time © Deepak JainHard Time © Deepak Jain Fox Renderfarm: Hi, Deepak! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?Deepak: Hello Everyone, I am from New Delhi, India. I started my 3D Career 15 years back, started as a High detailed 3d automobile modeler. After spending years in that domain I moved towards the 3d architectural field meanwhile I kept working on my conceptual renderings which I love to do the most. Fox Renderfarm: Congratulations on winning 1st place in the Professional Category of the FGT3D Explorer Challenge, how do you feel about that?Deepak: Thank you so much to the Fox Renderfarm Team! It was a surprise moment for me when I got to know that I was chosen as the 1st place winner. It was one of the happiest moments of my life that my artwork got selected amongst the other beautiful artworks. Fox Renderfarm: How long did you finish the work, Hard Time?Deepak: To be honest I spend almost 4-5 hrs daily on this artwork for their in-depth Detailing and completed the final image in 2 weeks. But the most important thing in this artwork is the storytelling concept which is the most time taking thing. Fox Renderfarm: What software and plug-in did you use?Deepak: 3ds Max, Corona Renderer, Photoshop Fox Renderfarm: What’s the inspiration behind your artwork?Deepak: The inspiration behind this artwork was - In India we faced the 2nd wave of covid-19 and that was the toughest time for my country where people were finding it hard to breathe and oxygen was costlier than life. We saw helplessness and deaths, even I got affected by the coronavirus and I was in a quarantine zone at that time. It was a tough and hard time for me as well, so I decided to portray my feelings through artwork. Fox Renderfarm: The setting is visually rich, though very effective in using and reusing a limited amount of assets and geometry. How did you make it?Deepak: Planning scene development is the most important thing in any artwork. Once I finalize the story then I download some freeware models and some are self-created. Then I enhance the assets in such a way so that I can connect with my story. Hence, detailing each and every asset is the most time taking part.!Hard Time © Deepak Jain!Hard Time © Deepak Jain!Hard Time © Deepak Jain!Hard Time © Deepak Jain Fox Renderfarm: Lighting and color contrasts play nicely in this very atmospherically dense frame. How did you make it?Deepak: Lighting and color depend on the essence of the story. For example, if the story is intense then I add rich and vibrant colors and if the story is subtle then low saturated colors are used.!Lighting!Lighting!Lighting!Lighting!Lighting Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Deepak: Yes I faced a lot of difficulties while creating this artwork, like the modeling of small props for detailing and unwrapping those, finding the accurate human which completes my story and result that I wanted. Fox Renderfarm: Any artists or artworks inspired you most?Deepak: Definitely there are lots of amazing artists with their mind-blowing artworks thathave inspired me a lot. Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?Deepak: Started my career as a High Detailed Automobile Modeler. After gaining sufficient knowledge, I went on to work with another big name. I was hired as a Team Leader in 3D Archviz Renderings and Walkthroughs for Indian Clients. With never-ending growth I was promoted from Team Leader to Senior Team Leader and then to Creative Group Head and now working as a 3D Production Head, I have expanded myself in areas of Architectural Visualization - Renderings, Walkthroughs, VR 360 Renderings, Storyboarding of Conceptual Walkthroughs, Experience Center Designing, Sales Hall Designing, Archviz Digital Matte Paintings, Application Interface Designing, Research & Development of new 3D plug-ins and software. Whenever I get some spare time I always push myself to create conceptual artistic renderings. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Deepak: Observation is the most important tool in our industry. Artists should observe all the minor details and always take inspiration from real photography. The core mantra is the more you practice and work in a detailed manner the more you will enhance your artwork. Fox Renderfarm: What do you think of the FGT3D Challenge, any suggestions for us?Deepak: FGT3D is doing an amazing job, creating a platform where all the artists try to explore themselves and showing their ability of creativeness to the world. Fox Renderfarm: Do you have any advice for future participants in the competition?Deepak: The talent and creativity of the Artist are more important than software, a real artist doesn’t need any specific software to prove his ability. If he has a good visual sense and visualization power he can bring amazing artwork in any 3D software. Be passionate about your work, in the end, you will finally achieve it.

How To Show Epic Futuristic Transport By C4D Artwork

Recently, a 3D Challenge with the theme of Futuristic Transport attracted so many CG artists to participate. With climate change becoming more and more immediate, questions for the future of transport are increasingly urgent, and how will the future transport look like? CG artists give their answers through their artworks.Philip Hofmänner, a CG Artist & Filmmaker from Switzerland, won first place for his epic artwork, which was created by C4D, Corona Renderer and Photoshop.!01 Philip-Hofmanner wipFuturistic Transport © Philip Hofmänner He has been working on this picture in his free time alongside client projects, which took him around 20 hours. The work is marvellous and full of details, as Philip described, “The world is destroyed, but mankind has found a way to transport itself into the future with a portal. The idea is that nature could have recovered after a few million years. Will mankind take this second chance and do better this time?”As the sponsor and long-term partner of the competition, Fox Renderfarm is pleased to have an interview with Philip Hofmänner, who talked about how to create the work and shared his CG work experience.!Philip Hofmaenner - Philip Hofmänner- CG Artist & Filmmaker- From: Switzerland- Artsation: https://www.artstation.com/trixerWith the ambition of becoming an artist, Philip gave up his job as a carpenter in his mid-twenties and opted to attend the University of Art in Lucerne and completed his design bachelor in animation. His graduation short film Evermore had some success and was shown at countless festivals around the world and won the NIFFF award for best Swiss short film. Now he is a successful CG all-rounder, and he has founded a CGI company Trixer (trixer.ch) and worked for over 10 years mainly in advertising and architectural visualizations.Evermore - Winner Score © Philip Hofmänner Here’s the interview between Fox Renderfarm and Philip Hofmänner. Fox Renderfarm: Hi Philip! Congratulations on winning first place in the Futuristic Transport Challenge, how do you feel about it?Philip: Thanks! This is the first CG Challenge I've participated in and I'm happy and flattered that I won. Fox Renderfarm: Could you share with us your inspiration/references/mood board for the Futuristic Transport Challenge?Philip: I love dark science fiction movies such as Blade Runner and I think those influences are obvious. I also searched the internet for ideas and inspirations, but unfortunately, I can't present a mood board because I hadn't created one. !Blade Runner (1982 poster) Fox Renderfarm: The award-winning work is marvellous, could you introduce your CG pipeline?Philip: Thanks! I used Cinema 4D and Corona Render Engine for this picture. To be honest, I tend to be a lazy learner when it comes to complex CG software. That's why I've stuck with Cinema 4D and Corona Renderer for years despite the fact that there is arguably more powerful and complex software out there that go way deeper such as 3D Max, Blender or Maya. However, the simplicity of Cinema 4D and Corona Render has always appealed to me and are exactly the strengths of these programs in my opinion. Lately, I've also been using Octane sometimes when I want to render animations. Apart from a well-organized material and object library, I really don't use any third-party tools. My setup is pretty basic. I tried to approach the topic of the Futuristic Transport Challenge in a somewhat unconventional way. While thinking about it, I came up with the idea of this portal. I'll let you be the judge of how unconventional it has become. !First deisgn of the portalWhen I had the idea with the portal, it was triangular in my imagination. I started directly with the portal in 3D as the portal was the central element in the scene, without much sketching. After I had a rough model of the portal I first defined composition and then started to build everything else around it. !Philip-HofmannerLater I changed the shape of the portal to a ring and changed the camera to a central perspective because I wasn't really happy with the appearance of the image.Originally, I wanted to create a rather yellowish desert-like atmosphere. But since I wasn't really happy with the result, I changed the mood to an evening scene almost at the end of the process.I also added a lot of the atmosphere afterwards in Photoshop using the Z depth layer. Over the years I've learned that my renders don't have to look perfect and I can still get a good 30% out of them in the post, using render passes and light mixing. Fox Renderfarm: The future city is so dystopian, did you model from the scratch, could you share with us the process?Philip: Yes I modelled a lot of it from Scratch and I used some models I did in the past for a project that I never finished.Because the dystopian city in the background is not well visible, I have built the objects pretty rough and I didn't care much about topology or imperfections as you can see in this picture.!future city Fox Renderfarm: We were all impressed by the humongous details in the scene. How did you set the lighting and texture to make sure the harmonious colours and the right balance?Philip: Yes, that was probably one of the hardest parts to get the light and colors right. As I mentioned, I planned to make a yellowish desert atmosphere. But because it didn’t look that impressive, I changed the mood pretty much on the last day. The advantage of this decision is that now there is a stronger contrast between the world behind the portal and the rest of the environment. The base of the lighting was an HDRI image. But because it looked a bit boring with only the HDRI, I started to set accents with area lights around the scene. I think at the end there were about 20 additional invisible lights that I had placed. Also, I had to shield the light from the world inside the portal with a tube that only let light through the front of the portal. This created this interesting backlight and long shadows on the field with the crowd. Fox Renderfarm: In the compositing and rendering process, how did you set up to make sure the whole picture wouldn’t overwhelm the viewers? Philip: As I already mentioned I rendered a lot of light mix layers and balanced them in Photoshop. I also obscured the background a lot with dust, which greatly reduced the contrast. This, of course, helped a lot not to overwhelm the viewer's eyes. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Philip: The most difficult task with this image was to create enough detail without running out of memory. That's why I tried to work with as many render instances as possible. Many of the objects are copied countless times in the scene. And as mentioned in the previous answer, I struggled a bit to get an interesting light and atmosphere. Fox Renderfarm: You’ve got a contentful portfolio, what is your favorite commercial and personal artwork respectively?Philip: I am usually most enthusiastic about my latest work. At the moment I am working on some personal concepts inspired by the horror genre.!philip-hofmanner-masks7Subway Nightmare © Philip Hofmänner I do like my commercial work but I can't really pick a favorite.Our showreel gives a good overview of the work we did over the years (if you want to show something of Trixer)：At the end of the day, my heart is definitely with my own stuff.By the way, I always wanted to make concepts for films, which is rather difficult in Switzerland, because we don't produce many genre films, but rather classic European cinema that doesn't require that kind of concept I’m good in. That's why I ended up working for advertising industries and architectural visualizations. If by any chance, decision-makers from the film or game industry read this and like my stuff, I would be really happy about inquiries or proposals for collaborations! Fox Renderfarm: As we know, you have founded your CGI company Trixer for 10 years, could you briefly introduce Trixer? And does the pandemic have any impact on your work?Philip: We are a small CGI company from Zurich with 3 artists and we work as already mentioned mainly for the advertising industry and in the area of architectural visualizations. Yes, the pandemic has greatly reduced the volume of work.Fortunately, the Swiss government helps small companies like ours financially not to go into bankruptcy. It’s slowly getting better in the last few days but our business is still barely surviving. I hope that the economic situation will get better fast. I can only imagine what it is like for small businesses in countries where the government does not or can not provide financial relief. The only good thing about the situation is that for a long time I finally have some space to work on my own projects. It gave me some breathing space to reflect on my life and my career. As I mentioned, I'm thinking about whether I should possibly pursue a career in concept art for films after all. I’m also trying to get enough online followers to eventually find an income with my personal artwork. Unfortunately, I have neglected my social media presence completely ever since it became a thing, which is why I now also participate in such challenges.!Forest trixer!The Circle exterior Bushof rendering 1© Trixer Fox Renderfarm: As a successful CG artist and entrepreneur, what do you think are the most important factors in making a successful commercial artwork? Any unforgettable stories for you?Philip: If you want to do work for clients, the most important thing is to understand the clients and what they want. You have to learn to communicate properly.Also, as an artist, you have to learn to put your needs for artistic expression a little aside sometimes, because clients often have their own ideas. This can be a bit frustrating at times. A good way to compensate for this is to never stop working on your own projects from time to time.A pretty crazy story occurred right after I had graduated from Art school (Animation) when we accepted a job that was way too big for us back then. It was an animation with pseudo-realistic CGI animals for a commercial with a budget of $80,000 (not a lot for a commercial but way bigger than anything we had done so far). We were also supposed to finish the entire thing within 2 weeks. Looking back it was absolutely insane to take the job. We had to fly in a fur specialist from LA who had worked on several Disney movies because no one of us had the required expertise in fur back then and we couldn’t find anyone in Switzerland who could do it. I remember when he came into our tiny studio for the first time, where we had like 4 workstations with crappy monitors. He looked so confused and asked where our render farm and the other artists were and if he could speak to our TD. When we said we didn't have a farm and there was only us (3 freshly graduated guys from art school), he turned pale. I only vaguely remember the 2 weeks that followed. I remember that we bought a small farm of 10 gaming computers with expensive RenderMan licenses only to switch to Mental Ray at the last moment because there was an export problem of the fur from Maya. And I remember that we had to outsource the animation of the animals because there was no way we could do all the work in time. We burned through that 80’000 within days and had almost no profit in the end. No idea how, but somehow we managed to finish the damn thing. So if you are ever in this situation at the beginning of your career to get a big job offer, better to think twice if you are able to do it. Fox Renderfarm: Are there any new projects or new plans for you or your company recently? Philip: I’m shooting a sci-fi indie short film this summer called “Flechtwerk”. The film will be a gritty relationship drama and a metaphor for how advancing digital communication is changing humanity.Anyone who is interested in the project can follow me on Instagram where I will soon share more details about the project. We will also start a crowdfunding campaign in the next few weeks on Indiegogo. Fox Renderfarm: How do you improve your CG professional skills in your spare time? Could you give some learning advice to CG learners?Philip: I see many aspiring CG artists doing tests and small exercises all the time and never starting a real project that they are planning to share. Personally, I've found that I learned the most when I was working on bigger projects right away. The more I’ve been struggling, the more I have usually learned. I've also noticed that I try harder when I’m planning to publish the work too. Such CG challenges for example are therefore a good opportunity to push yourself!And finish what you start. I'm guilty of that sin as well of not finishing projects. But no matter how great or bad your artwork gets, try to finish most of it as good as possible (in a reasonable time frame). And set yourself Deadlines and goals. I personally realized that I learn the most when I have to struggle through the last 10% of a project (which is usually the most difficult part) and that I often find creative solutions when I'm facing deadline pressure. What I've also noticed is that many CG artists tend to be over-perfectionist. Try to invest a lot of effort where it really matters. One last important tip is, you shouldn't just do CGI in my opinion. In photography and cinematography or also in drawing and painting, you can learn a lot about composition and lighting. Or if you want to become a great animator also do body-oriented hobbies like dancing or martial arts or take an acting class. Also, look at the real world from time to time and study how things actually look or how they actually move. Fox Renderfarm: Have you used or heard of Fox Renderfarm before? If yes, how do you feel about it?Philip: I heard about it but I haven't used Fox Renderfarm yet. I have been using one of your competitors for years because it was used by a film studio I once worked at and ever since I stuck with it. But I am really excited to try your services with the render credits I have won. I have noticed that you offer a better price than the one I usually used. I could very well see myself switching to Fox Renderfarm if it turns out to work in my pipeline. Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Philip: Thanks again for this interview and the great prize. And to my fellow artists, keep up the inspiring work I see every day out there. Feel free to contact me if you want to connect or if you have proposals for collaborations!!philip-hofmanner-terminus5Terminus © Philip Hofmänner !philip-hofmanner-princess-of-skies-in-new-babylonPrincess of the skies in the port of New Babylon © Philip Hofmänner