Interview With Yi Sun, The 1st Winner In Hum3D’s Three D Gun 2 Competitio
It is our honor to have an interview with Yi Sun, the first place winner in Hum3D’s Three D Gun 2 Competition, which is also sponsored by Fox Renderfarm, a leading service provider in CG industry. Share this interview with everyone, here are the dialogue between Fox Renderfarm and Yi Sun.
Fox Renderfarm: Hi, Yi Sun, congratulations to winning the 1st place in this contest, thanks so much for taking your time to have the interview with us. Firstly, would you please give a brief introduction about yourself?
Yi Sun: Yes, my name is Yi Sun, 25 years old, from China, I had a bachelor degree in 3d animation and I’m currently studying Master of Design in Sydney.
Fox Renderfarm: How long have you been in the CG industry? And how did you make the decision to get into the CG industry?
Yi Sun: I haven't found a job in the CG industry yet, but I've been teaching myself 3D for 5 years now. I started doing silly short videos when I was a kid. back then I discovered I can make some visual effects for videos in After Effects, but soon, I realized the 2D visual effects is very limited, I want to make more sophisticated effects, especially 3D effects. so I started learning 3D software. At that time I just thought it was cool, I never thought about doing this for a career, until I visited the universal studio in Los Angles. I got a chance to listen to the Hollywood VFX artists talks about the VFX production of the blockbuster movies and it blew my mind. I've been dreaming to work on a blockbuster movie ever since that talk and I've been working very hard trying to put my first step in the CG industry. I hope my dream will come true soon.
Fox Renderfarm: It is a great experience. Wish your dream come true. About the work "Porcelain 1911", what inspired you to come out the idea of making it?
Yi Sun: The idea is very simple, combining two completely different objects together. I used to do this kind of design practice a lot when I was learning character design in 3D animation. In "Porcelain 1911", I try to combine the porcelain element I familiar with and a gun which I'm not quite familiar with. I think as a 3d artist, the biggest advantage I had is my cultural background. I've seen a lot of Chinese porcelain as I grow up, I found them very beautiful, so I feel very comfortable to work with porcelain element in my design. if this competition is about design a realistic and futuristic sci-fi gun, I believe there are millions of 3d artist who can design better sci-fi gun than me, because I never have seen or touch a real gun.
Fox Renderfarm: It is an interesting idea. How long did it take you to finish the work?
Yi Sun: I was doing a master degree while working on the "Porcelain 1911", I had 3 assignments from Uni so I barely had time to work on it, sometimes I only have 15 minutes before I got to go to sleep. It took me about 2 months, but I think the actual time I spent on it is only about 120 hours. Now I look at it, I think it could be done better, there are still many things I want to polish in this work.
Fox Renderfarm: What software, renderers, plugins did you use in this work?
Yi Sun: My main 3d software is Maya, and I used Mari (non-commercial) for texturing, and redshift for rendering and photoshop.
Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?
Yi Sun: The difficulties I faced in this project is to create the realistic hand paint graphic of the Chinese porcelain, I tried to import vector into Photoshop apply filters but the result looks very fake, I tried to download watercolour brush for photoshop, but it doesn't look good either. Then I realized it’s not possible to create realistic paint mark on the computer, so I decided to create the texture physically with watercolour. I realized even though we had so many presets, filters and plugins to helps us create digital works, but they can never replace traditional mark making techniques, as a digital artist, I should always remember to respect the physical medium.
Fox Renderfarm: Anything else you would like to share with CG enthusiasts?
Yi Sun: I think CG is the best medium for self-expression, you can create almost anything and everything, that's why there are many things to learn, too many. I spent 5 years learning CG and I still feel that I know nothing about it, that's why I think we should always be humble to learn and we should try to use our cultural background as our advantage to develop our own unique style.
Fox Renderfarm: Yes, totally agree with you. I hope you can make more wonderful works in the future, and you will be an excellent CG artist. Thanks so much for your time.
More Yi Sun's artworks:
Three D Guns 2 Competition Winners Announcement!
On June 12, 2019, Hum3D’s “Three D Guns 2” Competition, which also sponsored by the leading service provider - Fox Renderfarm, announced the final list of winners. All the works in this competition are gun-themed 3D artworks. The competition attracted a large number of game artists, character designers, and weapon fans.
Fox Renderfarm was honorable to be one of the judges, and had the chance to choose a work for the special prize - Team Choice. All the entries are creative and pluralistic, congratulations to everyone. Here are the excellent award-winning works.
First place: Porcelain 1911 by Yi Sun What the jury says:
Jeremie Noguer: “Original idea and flawless execution”.
Yurii Lebediev: “I love it! When I look at this render I remember feeling when I held porcelain mini figurines of animals of my granny. This is so nice and so good done!”
Zacharias Reinhardt: “What a combination! Combining a hard and deadly weapon with something filigree as porcelain. The shape and materials with all the painted details, totally sells it”.
Dominik Capodieci: “Interesting idea and nice shading and lighting”.
Tom Grimes: “I have a soft-spot for juxtapositions, putting two things together that would never normally be found together. A porcelain gun! With beautiful patterning just like on the fine China that only gets used on Sundays. Almost surreal!”
Remi Arquier: “I love the concept and the detailing – a lot of work went into taking this outside the box”.
Second place: Under Cover Paranoia by Nicolas Berger
What the jury says:
Yurii Lebediev: “Absolutely unique ‘gun’! Very nice render! Enormous attention to details!”
Zacharias Reinhardt: “This is probably the most disgusting weapon I have ever seen, but that is what it makes so great! The weapon design is great (in a weird way) and looks like it is straight out of an alien movie. The image is technically well executed and I especially like all the tiny realistic details. Now I know hat will haunt me in my nightmares ;)”
Remi Arquier: “You don’t see much Cronenberg fan art these days, and this one stood out in concept and execution”.
Third place: The Stopper by Kimmo Kaunela
What the jury says:
Arseniy Korablev (Teya Conceptor): “My favorite artwork in the competition. This nomination is needed at least to highlight such authors. Beautiful colors, interesting weapon. I want to pick up it and run with it :) The only thing that bothers me is a slightly blurry render, possibly due to DOF, antialiasing or image interpolation settings”.
Jeremie Noguer: “The slight stylization works well, lighting and environment are on point”.
Deuce Bennett: “I’m a sucker for post-apocalyptic, kitbash, and steampunk. This weapon tells me a story, and I love it”.
Special prize from Fox Renderfarm: Decimator MK1 by Malchus
What Fox Renderfarm says:
“Great lighting, overall atmosphere is good, warm and cool colors contrast highlights the theme, so that viewers would instantly focus on the main object at first glance. The gun is perfectly blended into the picture, but still manages to stand out. Model, texture and lighting, overall is perfect”.
Congratulations to all the award-winning artists and hope to help more 3D artists to create their masterpieces.
To check out all of the fantastic winning entries, as well as some special Team Choice mentions, visit Hum3D's blog post here.
SCAD Hong Kong's Digital Media Senior Show 2019 Supported by Fox Renderfarm
On May 31, as one of the distinguished alumni of SCAD, Ben Cheung, Deputy General Manager of Fox Renderfarm, was invited to SCAD Hong Kong’s Digital Media Senior Show 2019.
Fox Renderfarm, a leading in the CG industry, has served lots of leading special effects companies and animation studios from over 50 countries and regions, including two Oscar winners.
In the event, Fox Renderfarm offered support to digital media senior students of SCAD Hong Kong, helping more students to achieve a solid career start in the CG industry.
2019 Digital Media Senior Show discovers imaginative works and exceptional designs from the departments of Animation, Visual Effects, and Interactive Design & Game Development. It provides a fantastic opportunity for students and enterprises to engage with each other and help students deepen understanding of digital media.
Here are the animation works from 2019 digital media senior students.
My Friend Chameleyon
Chameleyon is Carly’s best toy pal. One day, as they were playing, Carly’s greatest fear, Sharketron the robot vacuum happened to join in. As she unconsciously went to hide, she leaves Chameleyon behind. When Carly realised that Sharketron was approaching Chameleyon, she had to make the decision of overcoming her fear to save her best friend.
- Director&Producer: Pamela Lai
- Sound Designer: Rian Leung
- Main-On-End: Sheryl Chan
- Concept Artist: Raven Chau, Pamela Lai
- Modeling Team: Noah Catan, Pamela Lai
- Rigging Team: Yan Chau, Pamela Lai
- Texture Artist: Rico Lee, Pamela Lai
- 3D Animator: Pamela Lai
- Lighting & Rendering: Pamela Lai
- Compositor: Noah Catan
- Special Thanks: Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
Bear and Bunny
The short is focused on a day in the life of a bear living in a city of bunnies. His office day is mundane, though the struggles of fitting in still plague him. He’s often just at the wrong place, at the wrong time, which is his office, at basically any time.
- Diector&Producer: Hugo Setyadji
- Concept Art: Hugo Setyadji
- Character Modelling: Hugo Setyadji
- Environment Modelling: Hugo Setyadji Kayla Man
- Rigging: Hugo Setyadji
- Texturing: Hugo Setyadji
- Animation: Hugo Setyadji, Ciara Maloto, Michelle Hui, Stanley Soendoro
- Lighting & Rendering: Hugo Setyadji
- Composting: Hugo Setyadji
- Music Composer: Daniel McCormick
- Special Thanks: Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
The Divine Infection
"The Divine Infection" is a dark and surreal story of a girl who was tortured by a cult in the past. She returns to the church many years later in order to reunite with her snow leopard daemon and erase the scars the cult left behind.
Director’s website: www.christinestevens.me
- Animation: Andre King, Christine Stevens
- Modelling&Texturing: Nick Levene, Leoncio Soler, Christine Stevens, Ian Tse
- Music: Ho Shan Lam
- Rigging: Hugo Setyadji, Christine Stevens
- Sound Design: Irene Chan
- Voice Acting: Elena Lorenzo
- Special Thanks: Chris de Boer, Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
Here are the artworks from junior students, including animation and visual effects.
Savannah College of Art and Design
The Savannah College of Art and Design was founded in 1978. Offering more degree programs and specializations than any other art and design university, SCAD is uniquely qualified to prepare talented students for professional, creative careers. SCAD is one university - offering degrees in Atlanta and Savannah, Georgia, Hong Kong, and online via eLearning, with additional study abroad opportunities in Lacoste, France, and other locations. Each SCAD location provides a new experience, and students can choose to study in any location, at any quarter during their education.
SCAD Hong Kong offers the area’s largest concentration of art and design degree programs in the heart of the Sham Shui Po district, where a fusion of ancient heritage and Western influence inspires visitors from around the globe. SCAD offers degrees in more than 40 areas of study, as well as minors in more than 60 disciplines.
In Hong Kong, timeless tradition merges with the high-tech. SCAD Hong Kong offers students every resource imaginable in the UNESCO award-winning former North Kowloon Magistracy building, a grand courthouse fully restored and revitalized by the university. Features of the transformation include a library, digital labs and studios, darkrooms, a green screen studio, and sound design and editing suites.
Fox Renderfarm Is Going To FMX 2019
Who is going to FMX 2019? Excited to meet you all and hear your projects’ latest development, the challenges part of the production and your favorite part. We would like to take this opportunity to share with you our new interface of , large file transfer solutions and our latest stories. See you guys from 30th April to 3rd May. Looking forward to meeting you at FMX 2019.
Please contact us for appointments
- William Zhao
- Business Director for European Market
- Director of Client Relations
- E-mail: firstname.lastname@example.org
Interview With Blow Studio, One Of The Animation Producers Of Netflix’s Love, Death & Robots
Love, Death & Robots, is an American adult animated anthology web television series on Netflix, consists of 18 stand-alone episodes, all under 20 minutes long and all produced by different casts and crews. Now, Fox Renderfarm is so happy to have an interview with Blow Studio, the animation producer of “Three Robots” in Netflix’s Love, Death & Robots, and honorable to provide services for “Three Robots”. Here is the interview regarding “Three Robots” between Blow Studio and Fox Renderfarm.
Fox Renderfarm: We noticed that you provide production services for commercials, TV shows, short films, and many other formats related to animation, so can you please give us a brief overview of Blow Studio?
Blow Studio: Blow Studio is an animation and VFX production company formed in 2011. We provide production services for commercials, series, short films, and many other formats related to animation. In addition, we are always looking for personal projects to push our limits.
We have worked on projects for brands such as: Netflix, Chanel, River Island, Johny Walker, MTV, Izze, Axe, Rdio, Sanex, Vimeo and others.
Fox Renderfarm: Which part is the most important in production of this project？
Blow Studio: All production stages are important. Every step must have an even quality so the final product is balanced. Considering the type of story, if we had to choose a fundamental area of this episode that required a greater effort from us, I think we would choose animation.
Fox Renderfarm: Can you share with us the challenges in the production of this short film?
Blow Studio: The animation was a challenge because we had to animate about 120 shots mixing styles. We had to invest a lot of effort in this area in order to take forward the project
Another challenge I would like to highlight is the making of a realistic talking cat. Modeling, shading, rig, animation, hair...everything required the highest quality to make this character credible. The cat was the most complicated character of this episode and we are very proud of the result.
Fox Renderfarm: How do you like this short film? Which part do you think is the most interesting?
Blow Studio: Three Robots is the most important project we have made at Blow Studio. We love the story, the tone and the visual design. If we had to choose one sequence, maybe it would be the abandoned house. It's a very funny part, with a delicious animation and hilarious lines. Also, here is when we meet the cat, a character that will be the key at the end of the story.
Fox Renderfarm: What do you think of Netflix's animated series Love, Death & Robots?
Blow Studio: We are fans of "Love, Death & Robots" and we are completely into adult animation. Before the series, back in 2017 we release a short film called "Alleycats", and it goes in the same tone of "Love, Death & Robots". This is a short film where we did what we wanted to: ninja cats slicing their heads through the alleys of the city with a dark vengeance background reflected in the story. So yes, this is the kind of things we love to do.
We needed someone to stand for this kind of animation, and Netflix did the bet. We just hope they continue investing in this type of content because it looks that it's something people was asking for.
Fox Renderfarm: Which episode do you like the most in season 1 of Love, Death & Robots? Why?
Blow Studio: All episodes have a very high level of quality and something to highlight, so it's very difficult to choose just one. But if we had to, we will surely choose "Three Robots" because making it was very satisfying and it is like our little baby.
Fox Renderfarm: Speaking of rendering, please tell us more about your overall experience with Fox Renderfarm?
Blow Studio: It was a pleasant surprise to work with Fox Renderfarm. We had to outsource some parts of the render in order to deliver on time and allowed us to meet our deadline. Sure we will work again with them if we need to.
Fox Renderfarm: In closing, is there any interesting behind scene story you would like to share with us?
Blow Studio: Thanks to 'Three Robots' now we are cat experts. We had to do a very laborious study of them to reach this quality, and we really don't know how much hours we had to spend watching references for animation, the hair, the anatomy, the behavior of the skin, etc.
And we just wanted to say that it has been an adventure and an honor to be part of the production team of this amazing project along with the best CG studios today.
Fox Renderfarm: Thank Blow Studio for taking time in this interview, looking forward to seeing more and more wonderful works produced by Blow Studio.
The Shipment Win Best VFX
Berlin Science-fiction film Festival is the first international festival of Science-fiction Film in Germany. It has shown about 200 independent films from over 30 countries in the past 2 years.
The 2018 Berlin Science-fiction Film festival vote has come to end of a phase, but much professional staff has anticipated the winner of the Berlin Science-fiction film. For the VFX and animation industry, the most concerned prize is the Best Visual Effects. Today let us share the film which has won the Best Visual Effects---The Shipment.
The Shipment has also been selected to Tribeca film festival which is ranked one of the top 10 film festivals in the world as well recently in New York. It is really proud to say that the render of this film is supported by Fox Renderfarm. Let us watch this film together.
- Name: The Shipment
- Country: Canada
- Language: English
- Release Date: 21 October 2018 (Australia)
- Also Known As: Cargo
- Filming Locations: Vancouver, British Columbia, Canada
The film tells the story about a widowed cargo hauler Aedin Katar and his young daughter Zohra.
Aedin Katar is an ex-slave trader struggles to live a reformed life as a lowly interplanetary cargo hauler. While transporting a shipment of alien livestock to a distant planet, their ship encounters a mechanical failure and must land at an old spaceport. Unable to afford the repairs to their ship, Stranded and broke, he faces his dark past and difficult ethical choices in a desperate attempt to provide a better life for his daughter.
Being a sci-fi film, The Shipment needs a tremendous amount of VFX and rendering. The film is entirely self financed by the director Bobby Bala, Who is also the CEO at Flying Car Productions, and it is over budget. Fox Renderfarm has provided rendering power with a significantly discounted rate for this film which is over 40,000 frames. Bobby mentioned in the interview that "Fox Renderfarm was critical to the success and completion of our film The Shipment. Their customer service was excellent and their services, we were grateful to find Fox which surpassed our expectations. Without their affordable rendering options, we would not have been able to complete our independent sci-fi film which has recently been chosen as an official selection at the prestigious Tribeca Film Festival in New York."
Here we also have an interview with Katapix Media which teamed up with Post-VFX to tackle the bulk of the Post production, Tasked with more than 390 shots for this film. Carlos Duque who is the Co-founder of Katapix Media tells us it was a Learning experience working on this project. They had short notice to put together a team and train some of the crew so they could be on par with the quality requirement, Bobby definitely has an eye for detail so they needed to beat his expectations.
Carlos also introduces some challenges of the production:
Our company (Katapix) is based in Medellin (Colombia), we’ve been in the industry for more than 15 years doing CG and VFX for tv and advertising, and started Katapix 5 years ago with a goal in mind, Feature films, The Shipment brings us closer to that goal, so this project was a welcome challenge. As every project it had its ups and downs but nevertheless was super fun and now that we see the results and all the selections and awards it’s getting, you realize it was all worth it!!
One of our biggest concerns was rendering times, since we are a small company and we knew this was going to be super render intensive, so we looked for a reliable , because their price/benefit are more important, their staff was there for us 24/7 not via email or forums, we actually had direct contact with our account manager and a group of TD’s willing to help us regardless of the hour. It was an overall great experience to work with them and we still use Fox Renderfarm as our sole render solution.
The Shipment has brought home the award for Best Visual FX from Berlin Sci-Fi Film Festival and thrilled to be a Tribeca 2019 Official Selection! At the same time, it is also Honoured to be an official selection of Idyllwild International Festival Of Cinema, Irvine International Film Festival, Fantasporto - Porto International Film Festival, Bermuda International Film Festival, The European Independent Film Festival & Irvine International Film Festival, Miami Sci-Fi Film Festival, and so on. Looking forward to its release in China.
“Upin & Ipin: Keris Siamang Tunggal” Rendered With Fox Renderfarm
“Upin & Ipin: Keris Siamang Tunggal”, produced by Les’ Copaque Production Sdn. Bhd. has been on screen in Malaysia on 21st March 2019. This film was rendered by Fox Renderfarm.
This is a 100-minute feature film of adventure, family and fantasy genre, with a very interesting story. The details of the movie are as follows.
“Upin & Ipin: Keris Siamang Tunggal” is Les’ Copaque Production Sdn. Bhd.’s third feature film.
Les’ Copaque Production Sdn. Bhd. was established in December 2005 to spearhead Malaysia’s animation industry and specialize in producing high-quality 3D animation and IP production.
Les’ Copaque Production has spent five years producing their second full-length 3D animated movie “Upin & Ipin: Keris Siamang Tunggal”.
Before this feature film, “Upin & Ipin” is the longest-running Malaysian animated series and the most popular IP in South Asia with over 12 million audience on Facebook. The series is currently on its 13th season in production.
This new adventure film tells of the adorable twin brothers Upin and Ipin together with their friends Ehsan, Fizi, Mail, Jarjit, Mei Mei, and Susanti, and their quest to save a fantastical kingdom of Inderaloka from the evil Raja Bersiong. It all begins when Upin, Ipin, and their friends stumble upon a mystical kris that leads them straight into the kingdom. While trying to find their way back home, they are suddenly burdened with the task of restoring the kingdom back to its former glory. With help from Mat Jenin and Belalang, Upin, Ipin and their friends must overcome a series of challenging obstacles in this action-packed, magical and humorous adventure film produced by Les’ Copaque Production Sdn. Bhd.
“Upin & Ipin: Keris Siamang Tunggal” is the most expensive movie in Malaysia, costing an estimate of 20 million ringgit (around US$4.92 million). The movie is 100 minutes in duration and took a production team of 140, including 12 lighting and rendering artists, and 5 years to complete.
Over 50 different species of animals were created. It is also the first time Les’ Copaque Production has had hair groomed for over 70 rigged characters. There were a lot of technical challenges that the production team has to overcome. For example, one dancing shot has a crowd of 120 characters at once, with some heavy shots that have more than 180 rendered layers, etc.
During 5-year long production, the team has had three major upgrades in regards to their hardware and software in order to deliver the complexity of the film. The longest shot in this film has 722 frames and it took 100 rendering nodes and 2 months.
As a leading provider, Fox Renderfarm’s reliable and high-efficient service helps Les’ Copaque Production in its support of the 3D feature film “Upin & Ipin: Keris Siamang Tunggal”.
The technical team of Les’ Copaque Production greatly praises the high-quality rendering service. They said: “We are very satisfied with Fox Renderfarm’s 24/7 real-time technical support, reliable download and upload speed, the user friendly webpage interface, and very simple desktop client app for our alternative option. For example, we have some frames that took 3 days to render locally, and after we submitted to Fox Renderfarm’s , it was completed in 2 hours, which greatly saved our time and budget. More importantly, the reliable and quality rendering also guarantees the quality of this film.”
“We use this mentality to the way we do our work, in giving our best in creating our own Intellectual Property (IP) with the highest quality possible.” This is the Mission of Les’ Copaque Production Sdn. Bhd.
Personally, I really like this mission statement. We look forward to the release of “Upin & Ipin: Keris Siamang Tunggal” in China and more countries in the world. It is our hope that the “Upin & Ipin” series will bring joy to more and more people, they will understand and enjoy the culture of Malaysia, and we expect nothing less than excellent work coming from Les' Copaque Production Sdn. Bhd. in the future.
With Fox Renderfarm To See The Production of Boonie Bears: Blast into the Past
Boonie Bears: Blast into the Past, produced by Fantawild Animation Inc., has been officially released in February’s Chinese New Year peak period, and currently has more than 500 million box office. The six feature films of "Boonie Bears" have more than 2.5 billion box office, which is called the classic of Chinese animation IP.
With someone who wants to protect, you will become a real warrior.
Boonie Bears: Blast into the Past tells the story of the Logger Vick, Briar and Bramble, crossing to 30,000 years ago by accident. They met the "coward" little wolf female Feifei, experienced a series of adventures, and finally helped Feifei to know herself and find courage. This conveys: When you have someone you want to guard, you will become the real warrior.
According to director Huida Lin, every movie in the Boonie Bears series will show elements such as childishness and wonders, and convey the friendship, affection, love and other emotional concepts through the role, which is close to real life and also serves as a cut-in Point, expand the theme of the film, this is one of the fundamentals of their guarantee of the vitality of the series.
"We hope that the new work will make everyone feel the realities of the original era (such as mammoths, sabre-toothed tigers, rhinos running all over the place, etc.), and can see some new and interesting things different from the past. Through the re-processing of realistic elements and Fiction, to achieve a refreshing effect."
Creativity drives technology, also the challenge and development
In order to ensure the vitality of the series of films, the Fantawild production team has made great efforts in terms of pre-production, production technology and post-performance. With the technical accumulation of the first five works, Boonie Bears: Blast into the Past can be said to have achieved a qualitative leap. What specific breakthroughs in production? Let us find out~
Interlaced picture Compared with the previous works, this year's works have greatly improved in light and shadow processing. In the early stage of production, the team has already had a deep understanding of the style and positioning of the film and improved the production skills through special training. Finally, a set of light and shadow synthesis methods was summarized for the style of the film. The team adopted the latest version of Arnold, which has a great improvement in efficiency and effect rendering. The fully automated ABC process, the ABC file generated by the lighting link can be automatically completed using the background tool to improve the efficiency of file creation and compress the rendering cost. By introducing a new lighting LightGroup layering scheme, you can output key channels such as Key_light, Filt_light, Back_light, and Fog_light, and the composition can bring out more delicate images.
Scene stereo effect
In terms of character effects and scene effects, the production team also conducted an in-depth study and research on Yeti and Houdini. Boonie Bears: Blast into the Past uses Redshift renderer instead of Arnold to render crystal effects in some scenes. It gets rid of the slow rendering problem in the past; the panoramic lighting effect is used in lighting products, which greatly restores the real environment lighting; The painting scene adopts the method of two to three, and the layered patch is made in Maya for the mid-range, especially in the three-dimensional sense.
Massive hair making
Hair styling has always been a problem in cartoon production. This year, Boonie Bears: Blast into the Past has a large number of animals, especially dozens of hundreds of wolves, as well as a variety of animal supporting hair, the production team can only It is difficult to "up". First of all, the use of the plug-in has been updated. Arnold 5's aistandardhair has better support for the texture of the hair. Secondly, they found many reference videos and pictures before production. By observing many animals as a reference, the hair is sorted out. Expressions in the environment and state. According to the project requirements, the dynamic assets of the available Yeti system and the Nhair system were used for hair dynamics calculation in the lens. They are only the main characters of the little wolf female Feifei and the wolf king's hair, they have produced more than a dozen versions, through continuous testing, to achieve the final film effect.
Role demeanour and action
Before the film production, the production team practised and copied the four-footed movements and performances that may appear in the film, looked for reference materials, and conducted an in-depth analysis of the animal's characteristics. The quality of the character binding is very important for the animation performance, so they developed a binding system for the quadruped, which not only improves the efficiency of the animation but also greatly enhances the effect rendering.
Boonie Bears: Blast into the Past production director Qiang Wang told us: “When the team gets the whole paragraph, it will first start the analysis of the character's emotions, look for similar characters for reference, and take real-time assistance in the part that can be taken. In many real shots, the acting performances are extracted, and then detailed to the specific lens to strictly control each link, so that the animation is more refined, more realistic and vivid."
Big scene production: small agent synthesis big agent
One of the headaches in the production of scenes is the production of forest plants of various shapes. In order to avoid the confusion of the picture, they rely on more reference, more understanding of the sense of line, more art communication, etc., repeatedly tried several combinations, and finally solved the problem of level confusion. Secondly, the terrain is complex, and how to embody the ground details also increases the difficulty of production. They use 4-8k scan textures, and after vector replacement, the ground details are more realistic than ever. The third is that in the overall big scene production, the amount of proxy files is too large, the files often crash, and later, by integrating small agents into large agents, the problem of crashes is greatly reduced.
In-depth study and team break-in to prepare for qualitative change
1.In-depth study, learning to use
Yanjuan Liu, executive vice president of Fantawild said, “The team is closely following the market technology front in production, in-depth study and research on new technology application and process management, to solve technical problems and promote technology improvement. It has also adopted project management. An advanced production management system to protect the project."
2.Team tacit understanding is very important
First, the asset management and division of labour between regions, Boonie Bears: Blast into the Past is produced by the teams of four bases in Wuhu, Beijing, Shenzhen and Xiamen. In collaboration, it is more in production and asset management. Shenzhen is a production centre, distributing and controlling the project as a whole, and doing a good job in the middle of the production of the film; using the special line to synchronize assets between the four places, unified audit results. The second is the synergy between the creative department and the production department. With the six years of running-in and technology accumulation, the entire team has reached a good understanding.
Large scene rendering requires a huge amount of computational support There are many large scenes such as volcanic eruptions in the film. The rendering of this part is very demanding on the amount of computer calculation. How does the team allocate the internal and external farms reasonably?
Production director Qiang Wang introduced: "There are also rendering machines inside the company. Before the scene is rendered, the technicians will avoid the repeated submission and rendering invalidation by splitting and assembling the rendering task. When the internal can't meet a large number of rendering requirements, we part of the rendering task will be submitted to Fox Renderfarm, maximizing the use of rendering resources to ensure completion in the cycle. Fox Renderfarm can provide a large number of rendering clusters, ready to provision nodes, and provide timely technical support to complete project rendering on time made a good guarantee." Looking back and looking forward, there are challenges to improve Joyful and exciting journey, an immersive audiovisual experience, fascinating production details, with the accumulation of the first six works, Boonie Bears: Blast into the Past quality upgrade, team in project process management, role modeling, big scene There is a qualitative leap in long-lens production, animated emotional performance, and colour effects.
In addition to a qualitative leap in production, Boonie Bears: Blast into the Past also created a lot of surprises for the audience in the role dubbing, character image.
Render Farm on Film and Animation Works 2018
There are still 18 days from the end of 2018. This year, Fox Renderfarm has achieved a good goal in film and animation works rendering. Below is a collection video of some of the animations and film works that we participated in.
The names of the works played in the video are:
- Detective Dee: The Four Heavenly Kings
- Legend of Fu Yao
- Detective Chinatown II
- Wolf Warrior 2
- Ten great III of peach blossom
- Baahubali: The Beginning
- L.O.R.D (Legend of Ravaging Dynasties)
- The Wind Guardians
- Monkey Magic
- Duck Duck Goose
- Boonie Bears: The Big Shrink
- Fights Break Sphere
- Boonie Bears: Entangled Worlds
The above is just a list of some of the works we have rendered until 2018. If you want to know more details, you can visit our in Asia, we are constantly being recognized by our customers. More and more users are using our render farm, which gives us a good evaluation of our services and platforms.
Here's our evaluation at SIGGRAPH Vancouver 2018, one of the interview participants who used a number of to cooperate, you can see the following video for your reference:
Fox Renderfarm has always focused on the of film and video, we are good at summing up the real needs of users, and constantly follow the footsteps of users to improve our products, in order to give users a better cloud rendering service.
Fox Renderfam's industry to support both services. At the same time, we have thousands of rendering nodes, users can upload and render in real-time. This is also the advantage that we are different from others, and one of the reasons why many users like to use us.
We know that many enterprises encounter many headaches in the transmission of large files, such as video, the transmission speed is too slow, and the file transmission process is afraid of interception, loss and other accidents. Also, it is cost a lot of time when the file transfer process be interrupted, that means you should transfer again.
In response to the above problems, we have developed a large file transfer tool for users to choose, using a second to increase the transmission speed by 100 times. Moreover, our own also has the application of this technology, which ensures that users can quickly complete the uploading of the work to be rendered and download, which greatly saves time.
SIGGRAPH ASIA 2018 | Fox Renderfarm, Not Only A Render Farm
On 4-7 December 2018, SIGGRAPH Asia 2018 are helding in Tokyo, Japan. The annual SIGGRAPH Computer Graphics and Interactive Technology Conference and Exhibition is the premier event for academia, industry and the arts. Companies from all over the world will showcase cutting-edge technologies related to the computer graphics industry.
This year's SIGGRAPH Asia will feature "Crossover" as a theme to showcase the intersection of technology, art, culture and digital industries. In addition to traditional items such as technical papers, emerging technologies, art shows, computer animation festivals, courses, papers, technical posters and conferences, new content will be launched, like Real-time Live, VR Cinema and Product Gallery for viewers. Come to a fresh experience.
As the world's leading visual technology and achieve cooperation. At the same time, Mr. Zheng Haibin, marketing director of Fox Renderfarm , was also invited to attend the SIGGRAPH ASIA sub-forum CG in China and the Student Volunteer Conference and delivered a speech.
In 2018, Fox Renderfarm participated in the rendering of the film including the movie "Detective Chinatown 2", "Monster Hunt 2", Tsui Hark's ten-year best work "Detective Dee: The Four Heavenly Kings", Zhang Yimou's ink painting movie "Shadow". The Chinese summer blockbusting TV plays "Legend of Fu Yao". The animated films including the "Boonie Bears: The Big Shrink", "Monkey Magic", "The Wind Guardians", “Duck Duck Goose”, and more.
Now, Fox Renderfarm has a computing power up to 500,000 cores per hour, ranking among the top five in the world. One million artists from more than 50 countries and regions are using Fox Renderfarm will not only show the powerful cloud computing capabilities for the participants, but also launch the Raysync, the file transfer acceleration service, with 100 times transmission speed in one second, to improve efficiency for enterprise transmission.
SIGGRAPH Asia 2018 is just around the corner, let us look forward to it! At the same time, everyone is welcome to exchange and consult at the Fox Renderfarm booth (G-10).
Zhang Yimou Won The Golden Horse Award For Best Director With Shadow
Golden Horse Award
Golden Horse Award founded in 1962, was established to promote filmmaking in Taiwan and to recognize filmmakers who have made outstanding contributions to the Chinese film culture.
Recently, the 55th Golden Horse Awards were held in Taiwan, China. "Shadow" which rendering by of Fox Renderfarm was selected for 12 nominations. Zhang Yimou was nominated for the best director by the organizing committee for the first time, and won the Golden Horse Award for Best Director by defeated many powerful opponents in one fell swoop.
"Shadow" is directed by Zhang Yimou, starring Deng Chao, Sun Li, Zheng Yi, Wang Qianyuan, Hu Jun, Wang Jingchun, Guan Xiaotong, Wu Lei. The story tells us a small person who has been secretly imprisoned since he was eight years old. He is not willing to be treated as a substitute, and after hardships, he tries to find a free humanity.
On 6th September, 2018, the film premiered at the Venice Film Festival and officially released in mainland China on 30th September of the same year. In October, the film was nominated for the No. 55 Taiwan Film Golden Horse Award for best feature film, best director, best actor, best actress and other 12 nominations. On 17th November, director Zhang Yimou won the Best Director Award in one fell swoop.
Working for film 40 years, Zhang Yimou has never stopped exploring and innovating art, even though he is 68 years old. This time, washing the lead, fading the color, and integrating the thinking of human nature into the film is very different from the past. It was praised as "the most amazing movie by Zhang Yimou so far."
"Shadow" strives to achieve the ultimate martial arts aesthetics of the East, without the gorgeous color of "Hero", without the human tactics of "Curse of the Golden Flower", and the ancient shackles of "Great Wall". No longer pursues grand and gorgeous, black and white ash as the theme color, ink-brush painting as the main picture style, "Qin, Se, Xiao" three national musical instruments created a "Chinese painting" image system with Chinese traditional aesthetics. The combination of yin and yang, soft and soft, combined with the virtual and the real, shows the balance of beauty.
In addition to the excellent ink-brush painting, the bursting of the fighting scenes in the film is also the most extreme in Zhang Yimou's movies. Some of the fierce battle scenes even make the audience seem to really feel the pain of the characters in the film, such as bamboo inserted in the back, the big knife sees See the leg bones, the dagger straight into the neck and other scenes. As the special effects producer of "Shadow", PIXOMONDO made great efforts and constantly modified and communicated in the production process to achieve the final result. Fox Renderfarm, which provides support for “Shadow”, also provides powerful technical support for the perfect visual rendering of the film.
Hoping that Zhang Yimou will bring more different works to the audience!
CSFF 9th | Fox Renderfarm & Future Goddess Are Waiting For You!
Find Resources? Find Projects? Find Cooperation? Looking for creativity, finding Bo Le, and seeking a swift horse... A variety of needs in one step!
Since 2010, China International New Media Short Film Festival has been held for eight consecutive years, providing a broad platform for creative exchange and resource exchange. The ninth short film festival will also arrive as scheduled from November 26th to December 2nd. This short film festival takes "New Media, New Technology, New Life" as the theme, and the "Future Goddess" with full of science and technology leads us to experience the progress of science and technology!
As in previous years, this year's short film festival market is still receiving much attention. In order to promote the cooperation of exhibitors' projects more effectively, the ninth short film festival trading market will be held in the form of “face-to-face meeting”. More than 50 exhibitors from 12 countries and regions will gather together with more than 100 companies, including China Film Group, Rayvision Technology, Huaqiang Group and other companies and Turkish, Kyrgyzstan, Iran, Spain, New Zealand short film institutions, to build a communication platform for enterprises to create a good atmosphere of communication.
As the world's leading visual cloud computing service platform, has participated in several short film festivals. In the 8th Short Film Festival, Fox Renderfarm not only provided support for the original works of Jin Peng's short film directors and creative short films of college students across the country, but also reached in-depth cooperation with the CSFF 8th.
After a year of unremitting efforts, Fox Renderfarm has also improved a lot in technology and services. In 2018, Fox Renderfarm splits the rendering client into two, the rendering of the film and the for the industry while speeding up the transfer speed and greatly improving the efficiency of the industry!
In CSFF 9th, Fox Renderfarm will also attend the Opening and Closing Ceremonies and the Face-to-face Meeting of the trading market (Booth No. B09). We look forward to exchanges and learning with domestic and foreign companies and exhibitors, and continue to develop for the industry. Provide assistance.
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