Interview With BoBoiBoy Movie 2,The Highest-grossing Animated Film In Malaysia
3-6 September 2019, Fox Renderfarm participated in Kre8tif! 2019, an annual digital creative content industry event in Malaysia aimed to spark innovation and exploration of major trends across the creative sector. We received a large number of CG enthusiasts and had good communications with them regarding our powerful service.
In Kre8tif! 2019, we were honored to have an interview with Mr. Kee Yong Pin, COO of Animonsta Studios in Malaysia.
Kee Yong Pin
COO of Animonsta Studios
Animated series BoBoiBoy (2011-2016)
BoBoiBoy Galaxy (2016-present)
BoBoiBoy: The Movie (2016)
BoBoiBoy Movie 2 (2019)
Animonsta Studios, a Malaysian animation company that produces creative content for the Malaysian and international market. Its second computer-animated film BoBoiBoy Movie 2, which is the new No.1 animated feature in Malaysia.
Below is Fox Renderfarm’s exclusive interview with Mr. Kee Yong Pin. Let’s check it out!
Fox Renderfarm: Can you introduce yourself?
Kee Yong Pin: My name is Kee Yong Pin, from Animonsta Studios, an animation studio from Malaysia.
Fox Renderfarm: Can you introduce BoBoiBoy?
Kee Yong Pin: BoBoiBoy is an animation created by Animonsta Studios since back in 2011. And our latest movie for BoBoiBoy, it’s just completed and released in Malaysia, Indonesia, Singapore, Brunei and Vietnam at the same time. So, we are happy to tell that our BoBoiBoy Movie 2 is currently the highest-grossing box office animation ever shown in Malaysia of all time.
Fox Renderfarm: What’s the interesting part when producing BoBoiBoy Movie 2?
Kee Yong Pin: One of the biggest, interesting things about this movie is actually the production, the whole production only takes 12 months. Most of the animated movies need to take 3 to 4 years. And then our team is actually not very big. We have only around 100 people with around 60-70 people from production.
Fox Renderfarm: Any challenges of making the movie?
Kee Yong Pin: The challenge is the time itself, so, as much as we worked very hard, there is still a lot of obstacles, for example, all the technical stuff, the rendering processes or the animation processes. So, the biggest challenge for us is actually the race against time for the rendering. For rendering it needs to be done by the computer. We need to do a very proper calculation, so that we can speed up the process without sacrificing the quality.
Fox Renderfarm: What do you think of Fox Renderfarm ?
Kee Yong Pin: In order to meet our timeline, one biggest thing that we changed is actually going into half GPU, which is using Redshift. And then we find out that even that is not enough. Throughout the movie, we can deliver according to timeline. But towards the end of the movie, that's when things become difficult, because the deadline is getting closer and then the scenes are getting very heavy towards the final part of the movie. So that's when we start to engage with Fox Renderfarm. And then we are really impressed actually, especially on the support portion of Fox Renderfarm. Because it's so easy for us to get in touch with, you know, just using WhatsApp. So everything just is direct communication, whenever we need anything and then everything is actually quite fast and, more importantly, when it comes to the last minute, it is hard for us to get the finance portion, budgeting portion to meet according to our criteria, and timeline also needs to be meeting. So, Fox Renderfarm, luckily for us, managed to meet our criteria in terms of pricing, in terms of delivery.
Fox Renderfarm: Will you distribute the movie in China?
Kee Yong Pin: We are actually trying, because China has a very small quota for foreign movies, but we are actually trying our best to get into China’s market. Good thing for us is that our animation series is already broadcasted on China's platform, which is Tencent. And it gets quite a good amount of views, which is more than 40 million views already up to date. We want to continue our footsteps into China's market if possible.
Fox Renderfarm: Any plans for next step?
Kee Yong Pin: We are doing our next animation, moving forward. And unfortunately, we cannot share anything in detail yet, but definitely I would safely, at least say that project has more challenges than BoBoiBoy Movie 2. So we want to get more market after this release in more countries and all those things, and so definitely, we need more support in terms of technology and also various partnership in the near future.
Fox Renderfarm: Any other things you want to share with the CG enthusiasts?
Kee Yong Pin: We just want to share that animation industry in Malaysia has been more than fifteen, twenty years. We might not be the most famous animation content hub in the world yet. But definitely Malaysia is going to be one of the best, not in terms of quantity, but in terms of quality, one of the best animation providers in the world. So, we really hope that the world will be able to really pick up our animation, have a look on what we can achieve in a more practical way, high quality, efficient, because we have a lot of good talents in Malaysia.
Let's look forward to the new development of Malaysian animated films.
The Behind Scene Story of the 10 Billion Legend of Fuyao
10 Billion Clicking Breakthrough Chinese domestic TV drama Legend of Fu Yao was broadcast both in Chinese and English on major video websites of Western countries such as , major video streaming platform in China.
Plot and Production
Legend of Fuyao is a martial arts fantasy saga tracing the fantastic rise of a lowly-ranked servant girl, Fuyao, to the queen of an empire in an ancient continent where five kingdoms compete for power. Along the way, she keeps running into a handsome prince who has a hidden agenda. There are plenty of secrets, intrigue, and actions in the stunning romantic drama. The story takes place in the universe of five kingdoms that is led by the Imperial City of Tianquan. Fuyao was formed from a lotus borne by the Ancient firmament. Adopted as an orphan, she served as a slave for the Xuanyuan sect from the Taiyuan Kingdom. A series of tragedies resulted in a journey across the land to gather the magical artifacts that could lift the curse that blighted her life. Along the way, she met the Crown Prince of Tianquan who was under secret missions to quell the unrest in the Five Kingdoms. The pair fell in love as they battled the complicated politics and power play between the different forces. With the help of her loyal companions, she sets out to unravel the heinous plot of the ancient firmament. She would discover her real identity of being the "Lotus princess". Fuyao would ultimately succeed in destroying the evils forces and bringing peace to the land of the Five Kingdoms. , successfully breaking through the 2018 summer season and opening a new chapter of Chinese costume inspirational TV series. The special effects help to improve the quality of the film and provides a strong guarantee for box office and high ratings. However, with the maturity of production technology and the improvement of the audience's aesthetic level, the time and funds required for special effects production have also multiplied, and the completion of high-quality rendering content in a limited time has become a major problem for film and television producers. In recent years, the emergence of cloud computing has gradually changed this situation. As early as 2009 when shooting "Avatar," Hollywood has tried global data transmission and rendering in the cloud. After 2010, cloud services began to enter the film and television rendering industry.
Nowadays, more and more box office blockbusters use service like Fox Renderfarm. The total effect time of Legend of Fuyao is nearly 1700 minutes, and the total number of special effects shots is nearly 30,000. Using cloud rendering can not only save time but also meet the higher requirements of special effects rendering for details, light, and shadow.Behind the 30000 Special Effect Scenes.
As a provider that promotes special effects rendering, Fox Renderfarm interviewed its special effects production team, ILLUMINA (聚光绘影) Fox Renderfarm Strategic Partner), to elaborate on the difficulties and difficulties in special effects production.
Q1. How is the visual effect setting of Legend of Fuyao? As the visual effect manager of this drama, what do you think of the results?ILLUMINA is fortunate to be responsible for the production and supervision of the visual effects of this summer's hot-selling dramas Legend of Fuyao. I mainly supervise the visual production plan and effect of the project Legend of Fuyao. Presenting a more textured picture experience, the producers set Legend of Fuyao as the benchmark for the realistic style, while adhering to the principle of respecting the original script. I believe the audience can also feel the same as seen in previous TV series. The CG characters and effects in the Legend of Fuyao are realistic, making the effects more physical and practical.
Q2. What are difficulties to make shots in the production of the whole drama?
There are many biological characters in the drama Legend of Fuyao, Many of these creatures do not exist in real life, so we and the producers In the preliminary preparation stage, a lot of research and development work was done in combination with the description of the original and the script.
The hardest part is to give the real existence of the created CG creatures. When creating assets, they are carefully created according to the anatomical structure, from bones to muscles to skin to hair. The relationship between the fur of the character and the bones and muscles is in accordance with the movement principle of real animals. Special protagonists such as ingots, The male and female actors have a lot of movement interactions and emotional interactions, and we will give them more emotional and soulful performances in production.
"CG+Real Person" Interaction.
There are a lot of CG characters in Legend of Fuyao that need to interact with the actors, which means that we have to solve the cumbersome problems of real shooting and CG in the whole process of making the whole drama. Before the shooting, the precise setting of the character, including the image, the size of the body, and the special effects props that are ready to interact with the actors can make the actors have the sight-seeing auxiliary performance during the shooting period, and the direction is clearer and more emotional when performing. The on-site special effects staff will collect the necessary information such as lights and camera data to ensure that the CG characters in the follow-up production are exactly the same as the light and shadow on the real person so that they can be more realistically integrated into the real shot. In order to use the production time more effectively and achieve better results, the producer will help us to send us the relevant main scene shooting clips in advance, and we will internally test the CG creatures in the actual picture.
The Sacred Creature The sacred creature of the drama is a completely fictional mouse creature. In order to create this character more realistically, we used the time of the preparatory period to first make the production of the real hamster digital character and photographed the material on the producer's workstation, which opened up the previous research and development work. With this research and development, for the latter The real performance of the ingot shows the practical experience, so that the ingot's fur, bones, and muscles are closer to the real animals in the movement, achieving better animation effects.
Q3. ILLUMINA has participated in the production of many excellent movies and TV series. What do you think is the difference between movie visual effects and TV drama visual effects?
The special effects of the series are relatively large in production. With Legend of Fuyao, the overall effect of the swaying is nearly 1,700 minutes, and the total number of shots is nearly 30,000 shots. A visual effect accounted for 50% of the film in the whole film. Take the movie Suprise(万万没想到) that we have done in 15 years. The whole film is 90 minutes, the special effect time is 45 minutes, and the special effect lens has more than 1000. Look, the amount of special effects of the drama is 36 times that of the movie, and the volume of production is very large. This is just the production volume of a project. Companies often face project parallelism, so scientific and efficient project management in visual effects management is particularly important.
At the beginning of the establishment of ILLUMINA, it attached great importance to process management and technology research and development. It completed many film projects that were important in the early stage and was familiar with the film industry process. Based on the actual situation of domestic projects, it independently developed high-efficiency and scientific process management. Software to improve coordination efficiency and schedule management. Scientific process management can improve coordination rate, and the development of visual effects technology helps us to improve production efficiency. For example, in the project of Young Detective Dee: Rise of the Sea Dragon, a real fluid simulation system was developed for marine fluids; In the "War Warriors" project, the CGI animal hair system and real dynamics solve the development of the muscle system and skeletal system for the biological animals and the open feather system of birds. Many complex technologies like this are generally developed by the product group, and then converted into specific application plug-ins by the software group, and finally put into mass production.
Q4. It is understood that a large number of special effects shots in the play use ?
As the volume of the project grows larger, the amount of rendering required will be larger and larger. After all, our internal rendering farm can carry a limited amount of rendering. When the internal rendering farm cannot meet a large number of rendering requirements, that's when Fox Renderfarm step in. The throughput and unique rendering environment to the film industry is the best choice for us to solve the huge rendering needs, reducing the investment in rendering assets, helping us save costs and improve efficiency. At the same time, the virtual assets in film and television production are relatively large, the production environment is complex, and the technical requirements for network transmission, security and confidentiality, rendering environment and fault tolerance are also extremely high. It is difficult to find a good platform.
cannot only charge on-demand according to the number of frames, duration, storage space, etc., so that small-production, low-cost movies can also get better special effects rendering, and real-time, online data transmission. And schedule management, and even achieve automatic management of budget, time and other aspects to maximize efficiency. The future is right upon us. Today's cloud computing and cloud storage are just the beginning of cloud services. I hope that the cloud computing industry will truly penetrate the film and television industry in the future and provide more technical support for the film and television industry.
Interview with Anthem Studios Regarding Making Life of Bri' n Chris
Continuous effort will always bring substantial results. So does the 3d short animation: Life of Bri’ n Chris. Although with limited human resource and budget, Anthem studios tried their best to solve the tough difficulties and finally released the 8-minutes 3d animation. Great congratulations to them. And thanks Michael Wakelam so much for offering the opportunity for the short interview between Fox Renderfarm and Anthem Studios as below.
Fox Renderfarm: Hi Michael, would you please give a brief introduction about yourself and your studio?
Anthem Studios: My name’s Michael Wakelam and I founded Anthem Studios in 2012 with a vision to bring entertaining stories and new characters to life. We’re based in London and work in a variety of styles using various software.
Fox Renderfarm: So when and how did you get into the CG industry?
Anthem Studios: I started through TV design and then got into motion design and branding. I started to develop more knowledge and interest in visual effects and animation and then as I grew in experience, I really wanted bring my love of stories and characters together with animation.
Fox Renderfarm: Wow, sounds great, then what is your most satisfied work in these years and why?
Anthem Studios: I’m most proud of Life of Bri’ n Chris, because it was so ambitious as a project. Most short films of this length have a huge crew, ours was a core crew of 7 or 8, with a bunch of other people helping out in little ways. We had no budget but had generous support of a few key partners, such as .
Fox Renderfarm: That's amazing, while since your new short film Life of Bri’ n Chris is going to be online soon, would you please share with us about what’s the story and why you come out the idea of making this film?
Anthem Studios: The film is a comedic tale of Bri’, a scottish Common Lizard, and Chris, a hapless Australian Chameleon, whose overly competitive attitude leads to a crazy accident. When I was growing up in Australia, we had these lizards called blue tongue lizards that we would catch, but when trying to outrun us kids, they would drop their tail. I found out a few years back that Chameleons are one of the only species of Lizard that can’t drop their tail in self defense. I though it could be a funny idea and developed it further.
Fox Renderfarm: Really interesting experience : ) For making the short film, what 3D software, renderers and plugins used for it? Do you have any preferred one and why?
Anthem Studios: For modeling and animation we used Maya, rendering we used Vray and for compositing we used After Effects. Maya’s main attraction was it’s robust referencing system, and Vray is an outstanding renderer. I used After Effects because I was doing the compositing myself, and that’s the tool I knew best.
Fox Renderfarm: Haha, you guys are real professionals. While what difficulties you met when making this short film?
Anthem Studios: The biggest challenge for me was learning producing and production management. The number of assets and shot was more than I’d ever handled on short form branding and advertising, so it was a steep learning curve for me. The other challenge was the technical side of render ‘render wrangling’ and file management.
Fox Renderfarm: Em, really happy that you guys solved all of the problems. So where would you plan to submit/release the video? Any interest for battling for some 3d animation awards?
Anthem Studios: We’ve already screened at a few festivals, but want to be seen by the widest audience possible, so decided to release the film online.
Fox Renderfarm: Sounds great : ) We'd like to ask why choose Fox Renderfarm as the partner and what you think about us in the rendering phase?
Anthem Studios: I had used Fox before I started this project and what always stood out to me was the service. To have people available 24/7 on skype has always been so valuable. We all know that late nights can be a regular occurrence in this industry, and often we can’t wait until the next day to solve a problem, and no one else offers the service you offer.
Fox Renderfarm: Thanks so much for your compliment : ) Do you have any thought for making the next short film?
Anthem Studios: I’ve started looking at developing Life of Bri’ n Chris into an animated sitcom. Because it’s mainly set in one room like a traditional sitcom, we could get a very high quality render, which would be unusual for TV animation. I’m also continuing to write and develop other stories, live action and animation, so stay tuned.
Fox Renderfarm: That's really a great news, we are looking forward to the next video. OK, is there anything else you would like to add or say?
Anthem Studios: I’d just like to thank Fox once again for your support throughout the project. I couldn’t have done it without you.
Fox Renderfarm: Thanks, it's our pleasure, and hope we can have more cooperations in the near future. And thanks for your time to take this interview.
Green Book VFX Veteran Raymond McIntyre Jr. Shares Production and Careers Insights
Nowadays, with the development of computer graphics technology, VFX plays an incomparable important role in sci-fi blockbusters, live-action movies or animation films. Behind these stunning VFX, there is a group of professionals & specialists. Raymond McIntyre Jr., one of the legendary VFX Supervisors, who has been working in the film industry for more than 30 years, has been involved in the production of films including Green Book, Harry Potter and the Deathly Hallows, Spider-Man, X2, Blood Diamond, Men in Black 3, The Conjuring and so on. Let's take a look at the scenes behind these Hollywood blockbusters through Ray’s story.
Raymond McIntyre Jr.
VFX Supervisor and President of Pixel Magic
VFX Supervisor and Producer for ABC, Netflix
(2010/2011) and more
2004, Visual Effects Society Award, for his work in THE LAST SAMURAI 1998, International Monitor Award, for his work in CASPER MEETS WENDY
Raymond McIntyre Jr. is a Visual Effects Society (VES) Award winning Supervisor that brings 30+ years of experience in the film industry and oversees all creative operations at Pixel Magic, an award-winning VFX & 3D animation studio with credits including: Blood Diamond, The Guardian and the films mentioned above.
An impressive production pipeline, combined with deep expertise in both visual effects and 3D stereo conversion has allowed Pixel Magic to tackle some highly visible projects. And their capabilities in 3D stereo conversion has landed them work on the Chronicles of Narnia, as well as Harry Potter and the Deathly Hallows.
As the President and VFX Supervisor of Pixel Magic, Ray brings extensive knowledge and expertise to the company. Also, he has frequently served as the primary Visual Effects Supervisor for feature film productions. In that capacity, he provides on-set supervision, plate/element photography as well as 2nd / VFX unit direction. Ray has been recognized for his achievements as Visual Effects Supervisor.
Ray and his team offers a wide array of visual effects such as compositing services, including CGI creation of objects, animals, smoke, fire, and matte paintings to many Hollywood blockbusters.
(Pixel Magic VFX breakdown reel)
In the film 22 Jump Street, Ray was called on for 2nd unit VFX supervision supporting Edwin Rivera, the film’s overall VFX supervisor. The Pixel Magic team was tapped to create all of the visual effects for the establishing action scene of the Metro City Port and other 100 VFX shots in various scenes throughout the movie, such as the CG gantry crane and CG netting that tangles up the heroes, CG windshield cracks on the 18 wheeler truck and CG octopus tentacles.
What’s more, they completed over 400 visual effects shots for the film My All American. "Production wanted the ability to move the camera all the time. This eliminated the traditional approach of locked off cameras and tiling practical people in different spots in the stadium, hence the need for CGI crowds. A full digital crowd was mixed with extras shot on green screen and composited with the few extras available on set. Shooting HDRI's on set allowed for realistic and accurate lighting for all the digital crowd and stadium shots. This is the real advantage of CG crowds, an exact match of lighting." according to Ray.
In SIGGRAPH 2019, was honored to have Mr. Ed Lantz, President/CTO for Vortex Immersion Media & Chair of Los Angeles ACM SIGGRAPH Chapter, to do an interview with Ray.
Here’s the exclusive interview with Raymond and Ed Lantz.
Hi, my name is Ed Lantz, from Vortex Immersion Media and Chair of SIGGRAPH Los Angeles. I'm here with Raymond McIntyre, and Ray why not just tell us a little about what you do.
Hi, my name is Raymond McIntyre. I'm a visual effects supervisor and visual effects producer. I usually get hired by studios and companies to do the visual effects for movies like Netflix, Warner Brothers, CBS, ABC or companies like that. I also have my own company called Pixel Magic and I am president for Pixel Magic and we are a visual effects house, a small visual effects house that's been in business for more than 30 years now. And what I do is, I create and budget and produce visual effects for features, generally, I'm known for creating photo-realistic work. Most recently, I did the movie Green Book which won Academy Award for Best Picture and Academy Award for Best Screenplay. I did the visual effects for that, and my company did as well. And visual effects we did on that movie is the actor Mahershala Ali who did not play the piano in that movie at all, so everything he did was a head replacement. So we had a piano player play the piano on set and then move the piano player out once we were happy with take, and move Mahershala Ali in, shot him in the same seat, and the computer later on composited his head onto the piano player's body. So that's the kind of work I do, we create a basically seamless visual effects that hopefully you watched, the movie like Green Book and ever saw one of the 2 or 3 hundred shots we did for that movie.
The film Green Book
That's incredible. Could you tell us a little about the process in Green Book to replace the head? Was that volumetrically scanned or you're working with 2D plates?
Sure. To replace the head or do the head replacement on Green Book, we actually get it in a more traditional approach. We did not create a 3D model of Mahershala Ali or anything like that. We actually shot him on location, either at the piano or wherever the shot or scene was and composited via rotoscope. We did not put up green screen because the green screen changes the light value on the actor pretty substantially. And so when you're looking for absolute seamless work, we decided that the green screen change the light too much to make that work. So we shot him in the scene with the exact same light that was on the piano player and then tracked and rotoscoped, and composited Mahershala's head onto the body of the piano player. So it was all done with a more traditional approach instead of either a 3D approach, or you know something like that.
Green Book VFX breakdown
I especially like the shot of the White House (in the movie LBJ). And you actually shot a caravan of cars, and you could see (White House) through the windows. How did you pull that one off?
Well, for this movie called LBJ, that was directed by Rob Reiner and it stars Woody Harrelson. Rob wanted a shot in 1960 presidential motorcade was driving out of the White House down Pennsylvania Avenue to go off and whatever their business was for that day. But you cannot get a permit to shoot in front of the White House and plus Pennsylvania Avenue is closed to all car traffic except for presidential car traffic. So it's not something you can go and do. In order to create it, the movie was being shot in New Orleans. We shot the motorcade driving on a parking lot in New Orleans, because of the camera move, the extreme scale of watching them drive out the front driveway of the White House and then panning to follow them as they drove down Pennsylvania Avenue. That was a really big camera move, so we were unable to put up a green screen for the size and scale that would have been needed for that. So the approach had to be rotoscope, and that's something we're very familiar with, fortunately. It was really the talent of the artist that put the shot together. His name is Patrick Trahan and he was responsible for all this. His ability to make us believe that as we saw through the window of the motorcade as it was driving in the Louisiana parking lot, he had to roto and create transparency and create glass basically for his own (distortion). When you go around a corner especially those curves have to be rounded pieces of glass, it would distort the image, so he actually created pieces of glass, created his own distortion. So as the car rounded the corner and you as now seen the White House background through there he distorted and created exactly. And then we generated a Matte Painting for the White House based on photography that I did at the White House today and then painted out everything that isn't period or doesn't look correct and added in movements for trees and things like.
LBJ VFX breakdown
Very impressive！Why don't you tell us a little about what software tools that you use in your work?
We used a lot of software to complete the visual effects, and a lot of different tools. First off, you usually have to match move or track your scene or your object, or whatever it is, what that means is if you have a moving camera and a person in the shot that's moving and you want to add something to the person, you need to know what that movement of that person. Let's say we want to change my badge to something else, and I'm walking and the camera is moving, so you need to know what the movement of that is in the computer. So we call it a match move, which means we're going to match the motion of what the physical object in the real world does in the computers. Then the computer can recreate its motion exactly in pixels, and in dimensions in the computer. And then we can replace the object, change the object, do whatever it is. So we use tools to do that, which is called match move. We use SynthEyes and tools like that which is our primary matchmover. And then whether you create something in 3D to change the object, you have to composite it, so we use different compositing tools. But primarily we use Adobe After Effects and Nuke for our two primary compositing tools, and they both have features and feature sets that are unique and different than the other, and both have pros and cons that the other one does or doesn't have, so we use those two. There are others that are very similar, but those are our two main tools. And then for creating 3D objects like the cars in Green Book or the creature in Rim of the world, or the snowfall in Green Book, to create those kinds of things that have to be generated in a computer, they are solely made in the computer. We use several different tools. We use LightWave 3D, we use Maya, some of our people use Houdini for certain things. Again the tool that you choose should be based on what its strength and or weakness, isn't that you don't want. So if something is really good at doing water, for example, a CG ocean or CG water, then you use that tool, not all 3 software tools sets create water equally as good as the next. So you choose a tool that's best for the project.
Green Book VFX breakdown
The film Rim Of The World
And why don’t you tell us maybe one of your most challenging projects that you're most proud of?
Well, I think the project I'm most proud of right now is Green Book, because it's a recent project that won two Academy Awards, and the actor won an Academy Award for Best Supporting Actor. A lot of People would probably say that they thought he was playing the piano, even though he did not. So that's something we are very proud of, and I'm proud of that the sense we made something that (hopefully) no one had any idea that we actually modified a change.
Certainly I didn't, that was very impressive.
I learned something I've been doing this. I've been in this business for quite a while, and I've been doing this for a very long time, but I learned something basically on every show, I learned how to improve or what I should have done better or what I can do on the next one and so there's many shows like that. Recent ones come to mind for me, Rim of the World. We had to design and create two different creatures, three or four different alien vessels and ships and things like that. And that's always fun for a different reason because when you're designing and creating something you're trying to make something that hasn't been seen or hasn't been done before, which is difficult in today's world, especially when it comes to aliens and spaceships and things like that. And then implement them in a way that they look like the real in the shot, that are realistic and photo-realistic in the shot. And so that's always fun, you need challenges, but always fun.
Any other things you want to share with the CG enthusiasts?
My work involves projecting on large domes and we're creating shows with a-list talents. We did a show with Childish Gambino, otherwise known as the Donald Glover, and a 160 foot dome out in the Joshua Tree Desert, and we had 12 video projectors covering the dome blended together and produce the whole concert. 5 shows over 3 days, 2500 people per show inside the dome. And we also did an event at the Coliseum, here for the founder of Minecraft. He invited 3000 of his closest friends to come to party and with Skrillex and Diplo and some big DJs. And that was 24 video projectors blended together to create one big image. So now there's project in Vegas, Madison Square Gardens Entertainment makes LED dome that will hold twenty thousand people. So now we will have an arena that artists can graduate to. My company is building five-hundred to twenty-five-hundred-seat venues, so we hope CG artists get into the format creates spherical not just for VR but also for dome.
As a visual effects supervisor and producer, and as a company owner, I've been doing this for a long time. It's not a good way to say is going to be, most of my exposures is US-based, but I travel all over the world for shooting and for production and things like that. The post production end of things is in the last ten or fifteen years really started to become worldwide. But I would say now that's really expanding, even more so with China and India and Australia. I'm all for the worldwide visual effects input because there's lots of reasons for that. The more brains you have figuring something out, the better it's likely to get and the result will be. So it's always nice to involve people who either look at something a little bit differently with a fresh perspective. As opposed to a perspective that I may have or colleagues may have looked at for a long period of time. When we go down one path when there is really another path that might get something done. So I actually enjoy traveling for production and I enjoy being on shows now where you know you have five, six, seven hundred, even more of those movies that have two and three thousand shots. You have to involve companies all over the world in order to get them done, and that's a challenge, but it's a good one.
As Ray said, challenge helps us to step forward. Looking forward to more possibilities of CG creations.
Interview with Junliang Zhang, Creator of the Game Scenes Project CyberNeon
At SIGGRAPH 2019, Fox Renderfarm had an interview with the talented Mr. Junliang Zhang, Creator of the Game Scenes Project CyberNeon, in UE4. He is also a 2BLACKDOT Lighting Artist, and Arts Technology Graduate Student at the University of Utah. He started from scratch and finished this incredible project all on his own. During the interview, he shared his inspiration and experience with us. Thanks to Junliang Zhang.
Fox Renderfarm: What is your inspiration for starting this project?
Mr. Junliang Zhang: The Cyberpunk Chinese city project--CyberNeon is one of my biggest individual projects. It is also a project created all by myself. The reason why I created this project is that I watched the movie Blade Runner 2049. This movie has left a great impression on me. Blade Runner is one of the first works which created a Cyberpunk scene and has thrilled me a lot. Blade Runner 2049 depicted a Cyberpunk-styled Los Angeles, so I decided to make a Chinese version, which was unprecedented in China. It seemed unique and cool.
Fox Renderfarm: How did you create CyberNeon?
Mr. Junliang Zhang: It was in October 2017, my first step was to find some references and made a Mood Board. After creating the Mood Board and collecting some references, I went outdoors to shoot some materials. Then, I tried to make a nice composition, and I spent a long period of time to create the composition. According to the composition, some Shaders were made, and the Pipeline was finished. Because without the completion of Pipeline, later things cannot be done according to standards to make other objects and other procedures. The first procedure I did is to Block-Out all the scenes and models into one Maya file and to export them respectively into UE4, in order to adjust the composition, to adjust the lighting and to design the lighting. Then I added all the fog effects and particle effects without any textures. All were white models in order to make myself clear about what I had seen at first sight. For the establishment of structures and compositions, I had modified and adjusted more than 100 times over and over again for nearly 2 to 3 months. By adding step by step, in February 2018, one building is finished--the modeling and textures. All the architectural models were made by Modular, built modulizedly like making LEGO. For the large scale of the scene, most shared things were used, art materials were created in the modulized way. After the creation of the art materials, I set about the lighting. For the lighting, I had referred to a lot of Cyberpunk style materials online, and had tried various ways of lighting. During the project, I didn't set any deadline to myself. All I did was making what I could do as perfect as possible. I didn't give myself any time limit for completion, that's why this project took a year and a half.
Fox Renderfarm: What's the most challenging part of the creation?
Mr. Junliang Zhang: The most challenging part is the lighting. It is difficult for computer performance, which is the main reason. Creating an open world with such a big scene will cause a huge performance loss. I had tried multiple techniques to improve the lighting and models. At that time, I didn't have enough knowledge about all these technologies, so I tried to find many references, continually worked on the improvement, and finally made it to FPS 60.
Fox Renderfarm: What are the things your interest leads you to persist doing?
Mr. Junliang Zhang: I've always wanted to make something really sophisticated and advanced. Because there are many advanced tools have been developed. Many of them are really powerful, like Substance, Quixel, which enable us to make the game environment photorealistic, also with the help of the powerful engines, all kinds of Real-time and all kinds of ray tracing technologies. Speaking of the things I persevere with, interest is always the best teacher. With powerful tools and strong interest, I keep on learning new things and keep on applying what I've learned into work and life.
Fox Renderfarm: What are the technological requirements to become an environment artist?
Mr. Junliang Zhang: To improve my personal capacity, I've collected many books about architecture. If you are creating a scene, you need to acquire a deep understanding of its structure first. Because the architectural styles vary at different times, I have a collection of encyclopedias on my shelves about architecture, like architectural structure which is very helpful when dealing with 3D modeling. No matter the Middle Ages ancient architectural style, the contemporary architectural style of the ancient Greek architectural style, they are all different. Nature is the best teacher. As an environment designer, the real world is the best inspiration source. If you are designing a scene, you'd better travel around, and to experience nature, which is great. You will learn a lot from it, and can also apply them to your life, apply them to your game design, apply them to the architectural visual effects and so forth. For our life is influenced by the environment.
Fox Renderfarm: Have you ever heard of Fox Renderfarm?
Mr. Junliang Zhang: Sure! The Wandering Earth is one of my favorite movies and it is rendered by Fox Renderfarm.
Fox Renderfarm: Any other things you want to share with the CG enthusiasts?
Mr. Junliang Zhang: If you are keen on something, try to do it as good as you can, and don't ever regret. It doesn't matter if there is a failure, we can start over again. Like the Kyoto Animation accident, though it's very heartbreaking to have lost so many talents. It could still be rebuilt, even though it is such a pity. Kyoto Animation is my youth, I have been deeply influenced by Japanese animation since I was little. I love watching Japanese animation and Japanese works, which have a huge impact on me. I believe that difficulties and struggles in this industry don't matter, what we need to do is, no matter how big the difficulty we are facing now, we work on the things at hand and in future step by step to bring out the best.
Mission Mangal, Bollywood’s First Ever Space Film Rendered by Fox Renderfarm
Mission Mangal, the first space film of India used provided by Fox Renderfarm, is based on true events of the Indian Space Research Organisation (ISRO) successfully launching the Mars Orbiter Mission (Mangalyaan), making it the least expensive mission to Mars.
Famulus Media & Entertainment, the VFX-producing firm of Mission Mangal, is an entertainment company delivering excellence in Creative Design, Animation and Visual Effects Development.
Fox Renderfarm is proud to partner with Famulus Media & Entertainment who was associated with Hope Productions, Cape of Good Films & Fox Star Studios, to present the first ever space film, high end, space CGI/VFX coming out of Bollywood. Famulus's VFX is top class without which the long climax would not have worked so well.
It’s our honour to have an interview with Asif Sayed, the Vice President Operations at Famulus Media & Entertainment, who share the behind-the-scenes story of filmmaking.
Here’s the interview between Asif Sayed and .
Fox Renderfarm: Hi Asif, would you please give a brief introduction about yourself and Famulus Media & Entertainment?
Asif: As Famulus we have been creating High-end CGI and VFX visuals for Movies, Games, Theme Parks, AR/ VR and Experientials. I, Asif Sayed, function as the Vice President Operations at Famulus M&E. I have a collective experience of 17 years of CG industry spanning over US, Europe, Middle East and India.
Fox Renderfarm: Mission Mangal is a significant sci-fi film, what do you think about the story? Have you ever made movies about aviation like Mission Mangal before?
Asif: This movie is a remarkable feat in the Indian Film Industry. Moreover it rings in a sense of pride and patriotism as its based on real life events which made our country the first to send a satellite to Mars in the first attempt and at 1/10 the cost of NASA.
Fox Renderfarm: How long did it take your team to finish the works?
Asif: Around 9 months, from 2D storyboarding to final Comp.
Fox Renderfarm: What's the most satisfying or unforgettable thing during the film production?
Asif: This is the first space film made out of India and we are the creators of these visuals.
Fox Renderfarm: You used GPU rendering or CPU in the film? What software, renderers and plugins are used?
Asif: We used CPU rendering. Maya software was used with Arnold shading.
Fox Renderfarm: How much of the movie uses special effects? What's the percentage of VFX shots in the entire movie length?
Asif: About 25% of the movie has used VFX and CGI.
Fox Renderfarm: Can you share with us the VFX highlights of this film?
Asif: As this movie is about the satellite launch towards Mars, all the rocketeering and the space sections were created purely in CGI. The hanger-rooms, the stations where the scientists create the Rocket, satellites and their various experiments were all created in CGI for VFX integration.
Fox Renderfarm: Did you meet any difficulties when making the film? And how did you solve it?
Asif: The nature of this job always has its set of challenges, but the team had foreseen most of the concerns that generally crop and contingency plans were in place.
Fox Renderfarm: Would you share your experience about rendering with Fox Renderfarm？
Asif: It’s been a breeze having Fox Renderfarm as render partner. The service has always been very prompt on the requirements. However I wish we were always given an average of higher number of blades.
Fox Renderfarm: And what's your expectation about Mission Mangal?
Asif: This is the first Indian movie which will be covering a rocket launch and space travel in great detail. We are expecting to showcase our talent utilizing this opportunity.
As the render partner of Famulus Media and Entertainment, Fox Renderfarm hopes Mission Mangal will be accepted wholeheartedly by the audiences and does well at the box office.
Interview With The Volunteers Of SIGGRAPH 2019
On 31 July - 1 Aug, Fox Renderfarm was exhibiting at SIGGRAPH 2019. During the exhibition, we had an interview with two passionate volunteers of SIGGRAPH 2019, Ellie Metzelaar and David Eagan. As the representatives of CG enthusiasts, they shared the experience of their CG works and the evaluation of Fox Renderfarm.
Fox Renderfarm: Have you ever heard of Fox Renderfarm?
Ellie: Yes, I have, actually. I was working with a team on a short film, and we were rendering on the personal computers, and we realized that we wouldn't finish the rendering with our own computers on time. So we actually, one of the people in my team, he used Fox Renderfarm, and we actually used it to finish the project on time for the deadline. So, thank you!
David: Fox Renderfarm provided students at SIGGRAPH with free rendering time and service, so with a few projects that I wanna use to render on their service.
Fox Renderfarm: Will you recommend Fox Renderfarm to your friends?
Ellie: Yes, if you don’t have a very expensive computer, or your expensive computers aren’t gonna finish things on time. I will definitely recommend. It’s crucial to get your renders done on time.
David: We don’t all have supercomputers or renderfarms at disposal.
Here’s the interview between Fox Renderfarm and two volunteers.
Check here and know more about them.
Tsui Hark And His Detective Dee: The For Heavenly Kings Coming Back
Numerous tags have been attached to Tsui Hark, and “Entrepreneurs" in the film industry” would be the best one to sum up all of them. This Vietnam-born Chinese film director, producer, and screenwriter has created tons of blockbusters during the past years and outstood the Hong Kong and Chinese film fields with his unique approach.
Tsui Hark has always considered the special effects as a priority in his film production. The Detective Dee film series that he participated producing demonstrate profoundly what Tsui Hark style is and no doubt represent the top level of innovative Chinese fantasy movie.
“Don't repeat with your previous work, you have to be innovative.”
This is the core concept of Tsui Hark. For decades, Tsui Hark has tried many forms of expression in his works, and the general effect is difficult to conclude. Some of the special effects shots of Detective Dee: The Four Heavenly Kings are made by South Korean and Japanese companies, which are among the best in the industry, which is a huge challenge for the UnitedPower Films. In the production, the team has encountered various difficulties, but the effect of the film also proves their strength.
In the year of 2010, Tsui Hark created the very first film of the Detective Dee series- Detective Dee And The Mystery Of The Phantom Flame, and successful received 300 Million box offices and been nominated and served as the main entrée for Venice film festival. Since then, his commercial value and aesthetic film scene received a unanimous recognition from within the film industry.
The Pre-History of Detective Dee Series
In the real world, Detective Dee was a seventh-century politician in the court of Chinese Empress Wu Zetian of the Tang Dynasty (618-907). But he has evolved into a Chinese version of Sherlock Holmes in the 18th-century novel Di Gong An by an anonymous writer. Dutch writer Robert van Gulik translated the ancient novel in the 1940s as the Celebrated Cases of Judge Dee, making Di known in the West as Dee.
Now, the famous character who has inspired a series of screen productions in recent years returned to the big screen in the period-action film-Detective Dee: The Four Heavenly Kings,a lavish fantasy set during the Tang dynasty, those dangerous people include an army of enchanters, each with their own dark-magic expertise and an impasto of sinister face paint.One of them bursts into flames a lot, while another hides in other people’s shadows. Hailing from the Jianghu underworld, they operate in service of the scheming Empress Wu (Carina Lau), who’s determined to wrest control of the imperial court away from her husband, the Emperor (Sheng Chien).
Following the events of Young Detective Dee: Rise of the Sea Dragon(2013), in which Dee successfully defeated a nasty monster, the Emperor now regards the detective so highly that he grant him tasks with safeguarding a much-coveted weapon called the Dragon-Taming Mace.
Detective Dee: The For Heavenly Kings has brought to Australia and New Zealand cinemas on 27 July 2018.
And this special effects has outstood among all of the other Detective Dee series in its visual, action and storyline. Fox Renderfarm is responsible for partial special effects production and the , along with the other members of the production team, together created a series of scenes that dazzle the audience again and again.
UnitedPower Films participated in the film production. Although only entitled to three shots, the project still contains great challenges due to the director’s high standard and time limit. To this end, the production team of UnitedPower Films has paid great attention to it from the very beginning and has done a lot of preparations from the procedure arrangement to the various processes and the performance of the technology.
“At the beginning of the meeting with the director, the director has already outlined the script and the responsive instructor has also made a version of the layout confirmed by the director. This saved us time to set the elements involved in the scene precisely. Unlike most of the previous works, "The Four Kings of Di Renjie" is not a simple packaging task, the VFX process is produced, which involves multi-sector scheduling and coordination."
——Jun Jiang, Visual Effects Supervisor of UnitedPower Films
Single Frame Concept Map Production
(1)Make a single-frame conceptual map for the existing screen, and prepare asset classes such as models of the king, the woods, the dragons, and the stones;
(2)Test the special effects screen (R&D), including the spider silk wrapped around the dragon, the cloud, the fog, the stone and the leaves;
(3)After extracting the animation in the Layout file, start the animation finishing;
(4)Confirm the concept map and assets, and start to arrange the single-frame test of the next link;
(5)Confirm single frame and output dynamic sample;
(6)Adjust the stereo effect and QC check.
“In the production process, I have to admire the director’s visual judgment. He often gives advice on some very professional details. Once there is uncertainty, immediately adjust the attempt with a layered single frame image, and then give the exact the answer: this professional and pragmatic spirit is very inspiring to us."
The "Ghost Night Fire" Scene
In the process of making "Ghost Night Fire" special effects scene, the audience has accumulated a lot of valuable experience. After interviews, when the UnitedPower Films received the production tasks with two weeks notification. After receiving the test shot, the team immediately arranged the Match Move to detect the camera and scene ratio and then matched the animation department to the "ghost night" action (not only the body movement matching but also the grooming and clothes, etc.). At the same time, Roto is quickly prepared, and the effect test is also carried out at the same time when the message is produced.
"Because we have done some fire effects before, so the progress is faster. But the fire of 'Ghost Night' must reflect the demon feeling of the 'Dark Force'. So, I used a lot of time to adjust the details."
The UnitedPower Films completed a seemingly impossible scene test in one day and was confirmed by the director. In post-production, it is only necessary to standardize the effect by standardizing the test lens. The high-efficiency lens test lays the foundation for the production of other lenses in the same field and shortens the production time.
Helps the Best Visual Effects
"We have to render nodes which can meet our daily rendering needs. But when facing some special rendering tasks, such as spiral clouds, or when in a short notice to submit the task, the internal nodes are obviously not enough. Therefore, choosing the right external to help us complete the task in time, it is extremely important to submit the film on time. Through the cooperation with Fox Renderfarm for a long time, we have experienced many advantages of Fox Renderfarm rendering service.
First of all, Fox Renderfarm can provide multi-tasking and multi-type rendering services. During the rendering process, we can select different software and renderers according to different production content. Secondly, Fox Renderfarms technicians are online 24 hours a day. When we encounter various complicated technical problems in rendering, they can help us solve them quickly and solve the problems. And in the service process, the Fox Renderfarm team is also very careful, able to timely feedback other problems appearing in the rendering, and find solutions, so that we have no obstacles to submit tasks. ”
An integral special effect is a combination of story, special effects, and techniques.
An Amazing Dragon Ball 3D Animation Project Supported By Fox Renderfarm
A group of international CG artists, who are also the fans of Dragon Ball, one of the most successful manga and anime series of all time, decided to make a project about the anime on their free time.
The nonprofit project, Dragon Ball Z Legacy, supported by , is going to be a 3D animation video clip featuring some of the best manga and animated moments. They said, if this project earns money, all the money will be donated to an international association for children with cancer.
Fox Renderfarm has been committed to supporting public welfare project, such as the Dragon Ball Z Legacy. While supporting more CG artists, we hope to make more contributions to society.
The characters of Dragon Ball Z Legacy
You can check the and know more about the characters.
It is our honor to have an interview with the team leader, Olivier Schmitt. Moreover, Olivier shares us with the making of the project and production experience.
Here's the interview between Fox RenderFarm and Olivier Schmitt.
Fox Renderfarm: Could you please introduce yourself?
Olivier Schmitt: Hello, I'm Olivier Schmitt, I'm French, I'm a CG artist for 12 years, I've studied 3D animation in Paris for 4 years, at Lisaa and Les Gobelins. I work in China in Beijing for 3 years, as a CG artist supervisor.
Fox Renderfarm: When did you begin to like Dragon Ball? And which is your favorite character?
Olivier Schmitt: I started to watch Dragon ball in 1989 when I was 8 years old. I don’t have a favorite character, each one is special and has its own specificity, for example, I like Goku when he arrived late and came to save his friends, I like Krillin when he fight with Cell for saving a mother with her daughter, or when he uses the Kienzan. Vegeta he sacrificed his life to try to kill Buu, etc..
Fox RenderFarm: Does Dragon Ball have any impact on your life and career?
Olivier Schmitt: Yes, Dragon Ball influenced me a lot. When I was a young student I drew Dragon Ball many times, step by step I tried to improve my level and push me always to be better. And I think that helped me to take the decision to start art school and do 3D animation and be here now.
Fox RenderFarm: What’s your original intention of creating the team project?
Olivier Schmitt: The original intention of me and my team, is to create a very beautiful 3D animation of Dragon Ball Z. To take big pleasure to create this Fan video, and give pleasure to the peoples who will watch it.
Fox RenderFarm: What is the story of the team project? And what do you want to express through the work? 30 Dragon Ball characters are selected, any reasons why you choose them in your work?
Olivier Schmitt: The story is to recreate between on 3 and 4 minutes a video clip with many of the best moments of the Dbz action. The thing we want to express is to have chills to do this job and give chills to the audience who will watch the video. The 30 characters selected, are all characters who have influenced the most the story of Dragon Ball Z.
The concept of Dragon Ball Z Legacy
Fox RenderFarm: As for the character modeling design, will you innovate or restore the original version?
Olivier Schmitt: For the characters, we keep the original design version with some small changes.
The character designs of Dragon Ball Z Legacy
Fox RenderFarm: Any software and plugins you use for the project?
Olivier Schmitt: For do this project we use much software: the base is Maya, and we use, Zbrush, Wrap 3, Photoshop, Substance designer, Mari, V-ray for the renders, Houdini, Nuke, Premiere, After effect.
Fox RenderFarm: Artists who are also Dragon Ball fans, how did you call them together? How many team members now? Could you introduce a bit about your team members?
Olivier Schmitt: Yes, all the artists who work on this project are all Fan of DBZ, I think we need it because it’s a big work and long project, needs to be a passion. There are around 60 artists, some of whom work to ILM or MPC, and some other big studios.
*Here’s a credit work of the peoples work on the project:
Gonza Estay: Polunga, Fat Buu
David Ruiz: Gohan ss2, Perfect Cell, Goku
Lim Philippe: goten
Jose Roa: Majin buu
Emilio Jose Dominguez Calvo: C18
Sarah Clippe Petruzzi: Trunks
Luís Figueiredo: concept character
Narupiti Harunsong: concept city war
Romain Caudron: Nappa
Melvin Okoronkwo: Krillin
Jose Carrasco: Freezer V3
André de Souza: Kid buu
Gael Roulin: concept character
Anthony Amorose: concept character
Frankino Lupo: TD hair
Laurent Merceau: Rigging
Olivier Schmitt : Director*
Fox RenderFarm: Your team members come from all over the world, so how do you communicate during the creation? Any difficulties? How to solve it?
Olivier Schmitt: I created a secret Facebook group and I included step by step all the artists who want to join the project. This is more easy to show where I wish the project takes direction and can communicate all together. And if I need to say some specific things to an artist I communicate with Facebook messenger, or by email. In fact the master word is "patience". Because all of us we do this project on us spend time, during the day we all have our jobs which take a long time of our day, and when we back home sometimes we are tired of being front a computer again. And I really understand about this, so we work all on our own speed, and can take time. But for now, we not really meet difficulty, because we are professional and we know in advance what kind of problems we will meet and we try to fix them before is coming.
Fox RenderFarm: Have you received any favorable comments or suggestions after posting your works on the Internet?
Olivier Schmitt: Yes, I posted some images of the characters on Facebook and generally more than 3/4 of peoples like what we did, and we already got an interview on a French website of 3D animation and we received a favorable reception, and even after that we had some artists join the project after reading the article.
Fox RenderFarm: When is the work expected to be completed? Do you plan to create a longer video or film in the future?
Olivier Schmitt: I hope we finish this video in around 18 months, but is not guaranteed, it will depend on each artist the time he will devote to this project. Yes, I love very much Dragon ball, and my big dream is to create 4 movies for the cinema on 3D animation. When the project is done I hope to have the opportunity the show the video to Toei animation and we can talk about this project and have the license to create it.
Fox RenderFarm: Any interesting stories happened during your project making?
Olivier Schmitt: In fact for this project I communicate a lot with all the artists, some of them every day, but I never meet them in real, some I don’t know how they look like, maybe I can cross them on the street, and don’t know them, whom I talk with every day. And this project allowed me to get in touch with many talented artists and I'm very proud of this.
Fox RenderFarm: Have you heard of Fox Renderfarm before? Where and how? Have you used our service before? How do you like it?
Olivier Schmitt: I heard Fox RenderFarm from Linkedin, and I get touch with Anthony who works on your company. It’s the first time I work with a I created by myself in the company. And the first time I use Fox Renderfarm, I find it’s so easy to use, have a tutorial which explains very clearly step by step how to use it, so is very easy.
Fox RenderFarm: Any other things you want to share with the audience from the CG industry or CG enthusiasts?
Olivier Schmitt: Yes, as I said we do this project for us because we love Dragon Ball, and we want to share with peoples this project, we really want people to take big pleasure to watch it. And we all agree that if this project brings any money, all of this money will be given to an international association for kids who have cancer. We wish that all the children of the world could have the chance like us when we were young to get up in the morning in a good mood because you knew that you would see one or two episodes of Dragon Ball on television. For my part, during the summer holidays with my cousins we woke up every morning before 9 a.m. to watch Dragon Ball, and it was magical :). And finally, I wish to say if any artist loves dragon ball like us and wish to participate in this project he is welcome to contact me. They can contact me on the Facebook page: https://www.facebook.com/dbzLegacyTeam
What's more, Olivier Schmitt also share the steps for how they made Goku for the project of Dragon Ball Z Legacy. Here we can see how Goku cone into being. 1. Firstly, Luis Figueiredo make a concept, and he designed an amazing Goku:
- When the concept was done, David Ruiz make a sculpture on Zbrush of Goku and he gave this very fast and good:
After from this sculpt who was on very high polygon around 6 million polygons we applied on him a base mesh of around 5000 polygons for be on low poly and include rigging, for put the low resolution to the high we used Wrap3:
And to create the textures we use Substance painter:
And we can extract this differents map:
This different maps we apply them on the ALshader on Maya on the Hypershade:
- For finally have this result on low poly:
And from here we can apply the Rigging, we use Advanced skeleton as a base Rigging we optimize for this project:
For the cloth we use almost the same way, we go to substance painter to do the texture and extract these maps:
And have this result:
Finally, we have the Goku with the cloth:
We all expect that Dragon Ball Legacy will be an amazing 3D animation video, especially for the Dragon Ball fans.
Cuteness Overload! Interview With The Champion Of The CG Boost Cute Warrior Challenge
On July 3, 2019, the CG Boost Cute Warrior Challenge, which sponsored by Fox Renderfarm, announced the final list of winners. There were 128 accepted submissions and so many cute, funny and also weird characters for the Cute Warrior Challenge. Congratulations to 11 entries with the most votes by the jury. Fox Renderfarm also had an interview with the Champion, Kenji Aito, a funny and creative CG artist.
First place: Teddy The Halberdier Bear by Kenji Aito What the jury says: Chris Plush: Extremely well executed idea in all aspects. Great armor and weapon design, and awesome attention to detail especially on the fur being worn down in some areas.
Aidy Burrows: Nice clear and readable character! Liking the semi-realistic super clean rendering style too. Nice design on the armor – holes for the ears for example and subtle but effective details!
Gregory Smith: This is a great entry; it hits the topic perfectly, and the technical execution is excellent. The presentation is clear and readable, whilst the attention to detail gives it that extra visual interest.
Ebrahim Umar-Khitab: The accuracy of that grim expression has done me in! Great work.
Lukas Walzer: This piece stands out as being technically incredibly well done. Modeling, fur, texturing and posing are top-notch!
Marius Iatan: his little guy checks all the boxes, down to the pin that holds the bandage. Has the right attitude, too. Very nice character!
Julien Kaspar: There clearly has been a lot of focus on polishing the character itself. This is the one I found myself looking at the most, looking at the details as well as the broader decisions of for the character model. Also, really great grooming and materials throughout!
Zacharias Reinhardt: This plushy character has probably the best technical execution I saw in this challenge. From the great looking metal, the perfect looking fur with the worn out spots, down to all the fine details, everything very well executed. A good dynamic pose and a proper lighting shows the character in fully glory. The only thing I wished here, would have been to see this little guy in an environment with a bit more storytelling context.
Here’s the interview between Fox Renderfarm and Kenji Aito. Fox Renderfarm: Hi Kenji Aito, would you please give a brief introduction about yourself?
Kenji Aito: Hi, I'm Kenji from Japan (but I'm from France originally). I started to study CG seriously one year ago during my spare time with Blender, that I fell in love with. I still have much to learn and I think it is necessary to keep learning forever in CG (because software evolution is FAST! and so much more accessible than 10 years ago!) Now I wish I can work in the CG industry and well. I'm potentially open to opportunities! Meanwhile, I will keep improving both the technical and artistic sides of CG!
Fox Renderfarm: What inspired you to come out the idea of making the work "Teddy The Halberdier Bear"?
Kenji Aito: Well.. all right... First I was re-watching from scratch Game of Thrones... preparing myself for the LAST season. So, I could see all those nice armors, helmets.. pike axes.. halberd... Then the CGBoost challenge "cute warrior" came up and I was not even sure I will try something (I also join the challenge just before this one but ended up 4th). I gave some consideration to it and... I just thought "Halberdier bear"; sounds funny... and that was it! I was on! Honestly, I was not even sure I will have time to finish my artwork!
Fox Renderfarm: How long did it take you to finish the work? And which part took the most time? Why?
Kenji Aito: Approximately half a day to a day... but it's hard to keep count. Since I have a job I can only work on CG at night, and as I said, I was watching Game of Thrones too! So I think I worked 1.5 hours per day on average, for a bunch of days. The part that took the most time is certainly the fur... I was really not sure what kind of fur will look cool. And since I wanted to be sure, I was doing test renders often... Also, I did not optimize the particles systems at first, so my GPU was too short on memory, and I was rendering on the CPU. So the whole tweaking process took time. As the armor it was fast: for example, the weapon was modeled in 15 min, and shading took something like 20 min.
Fox Renderfarm: What software, renderers, plugins did you use in this work?
Kenji Aito: Blender 3D as my main 3D package! The character was modeling with Blender sculpting mode.. retopology with Instant Meshes! Cycles as render. Everything was made without plugins in Blender actually. But for the armor shaders, I used Substance Painter.
Fox Renderfarm: The jury praises your "awesome attention to detail" in this work, how did you deal with the details?
Kenji Aito: With love! Always... I think I'm addicted to details. Maybe it's a good thing, but it could be a bad thing too... because when I focus too many details I might forget the "big picture", such as storytelling, the overall balance of shapes and color, proportions... Though, I always try to start with simple shapes down to smaller ones... My workflow is very iterative, and feels like going through the history of CGs: decades ago everything was made a few polys but people were already trying to make attractive shapes, profiles, and silhouettes. Then, as software and hardware got better, the same base ideas with more details came to life. The only issue is that it's time-consuming, so you'd better find a "smart/lazy" workflow to quickly add all those yummy details. But also, one must be careful not to saturate with extra small details, otherwise, the audience will be lost. And that, I have to work on it... I guess.
Fox Renderfarm: What has satisfied you most about this work?
Kenji Aito: Well, it was my first 3D character! so I was happy with the result. I don't think I have many skills for characters design... because I should learn to sketch/draw properly for that, study anatomy and all that... But anyway, I think I was happy with the workflow because even though it was my first character, I did not have to check online what to do... It was only me, my Blender and my Pureref (to organize my references)
Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?
Kenji Aito: Honestly, not really. And I was happy about that. Everything went smooth and only the tweaking of the fur was time-consuming. I should have probably tweaked all that in a separated scene with less fur and smaller geometry.
Fox Renderfarm: Did you use Fox Renderfarm service previously? If yes, would you share your ideas about us?
Kenji Aito: No! not yet. But I was thinking about turntables renders in the near future. For my next personal project, I want to make very photorealistic stuff... and a turntable with Cycles would be great. I know, everyone will say " why not EEVEE?!" but well, I want to try your services and I do love raytracing!!
Fox Renderfarm: How long have you been in the CG industry? Do you have any recommendable learning methods to improve professional skills？
Kenji Aito: Well, I'm not a professional but I wish to become one! and make my living with it! Learning methods: well, Blender is awesome and the community is top notch. so many resources are free and of quality... I was really surprised. There are some people making real art with Blender and I think it's great to learn from them. Also, it's always good to look at more classic art: I am very interested into painting theory.. lightning... and all those things that bring life to a piece of paper (or screen!). So I recommend to everyone not to just focus on the theory of 3D, but also go out and learn about art in general: "how to make a good composition" "the art of color matching" and so on... It takes time but I think it's worth it. If I can become a CG professional I will definitely find the time to study all that and I hope I can show it makes a real difference.
Fox Renderfarm: Anything else you would like to share with CG enthusiasts?
Kenji Aito: Contact me if you want to work with me :) My motivation is burning! Now that I start to have some tools at my disposal and know how to use them... I have so many ideas I don't know where to start!!!
You can visit Kenji Aito’s Artstation here. (https://www.artstation.com/kenji-art )
To see more entries of Cute Warrior Challenge, please check here. (https://cgboost.com/cute-warrior-challenge-winners/?tdsourcetag=s_pcqq_aiomsg)
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