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.
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 render farm 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.
Cloud Render Farm Company’s Introduction Video
Recently, Fox Renderfarm, a leading service provider, has published its company introduction video, here is the video,
Fox Renderfarm is Rayvision’s overseas service. It is one of the leading cloud render farms in the industry. Since 2009, Fox Renderfarm has earned a good reputation for its quality performance, strict security protection great customer service and flexible pricing scheme.
Fox Renderfarm, your powerful with 24 Hours support, OSCAR service team, massive render nodes, and Hollywood security. Their experienced technical team has already supported hundreds of projects around the world.
Fox Renderfarm has an outstanding team with over 20 years of CG production experience. Team members are from Disney, Lucasfilm, Dream works, Sony, etc. With professional services and industry-leading innovations, they serve leading special effects companies and animation studios from over 50 countries, including two Oscar winners.
In 2015, Fox Renderfarm has formed a global strategic partnership with Aliyun (Alibaba Cloud Computing) to provide global visual cloud computing services. Welcome to try our platform and enjoy our services.
Three Academy Awards Winning Scientist Dr. Jos Stam’s Exclusive Interview with Fox Renderfarm
On May 19th, the cloud rendering service provider Fox Renderfarm's CG Salon, The beauty of CG Technology was successfully held in Shenzhen. The event is co-organized with Shenzhen ACM SIGGRAPH and International Chinese Association of Computer-Human Interaction(ICACHI). Dr. Jos Stam, Dr. LiWei (Chair of ICACHI), and Mr. Jelo Wang (CEO of FACEGOOD) were invited to share their CG insights and experiences with the audience.
After the Salon, the render farm Fox Renderfarm had an exclusive interview with Dr. Jos Stam, who has won three technical achievement awards, respectively in 2006, 2008 and 2019 from the Academy of Motion Picture Arts and Sciences. He has published groundbreaking research in computer graphics notably at SIGGRAPH. He also received top awards, the computer graphics achievement from SIGGRAPH in 2005.
Here is the interview of Dr. Jos Stam by Fox Renderfarm.
Fox Renderfarm: As we know, this year you won your third Oscar at the Academy’s Scientific and Technical Awards. Can you share the feeling of winning the award?
Jos Stam: Very grateful, very happy of course, but I didn't quite expect it this year. This award is an upgrade from the award I got in 2006, so still surprised when I got the official email. Another Academy Award after the last one I got was 2008. It's been ten years after my last Academy Award. So it's pretty exciting.
Fox Renderfarm: This year, do you have any new plan or new target in the science of subdivision surfaces or other 3D graphics technical field?
Jos Stam: Well, I don't have any plans to work directly on subdivision, I might, but I like to work in different areas. I started to work on the subdivision work about twenty years ago. I'm sort of looking at artificial intelligence as well, not only how to apply to graphics or also how computer graphics can be applied to artificial intelligence. But in research, you can never really plan things. I usually work on many problems, some of them turn out to be effective and will get you a Technical Award. So who knows where this will lead? I can't really lay out what I'm going to work out, but hopefully cool stuff.
Fox Renderfarm: This time you come to Shenzhen, to meet and communicate with the young people who are interested in CG art, how do you feel about this? Can you give them some encouragements?
Jos Stam: I work a lot with young people and I find it’s very inspiring. And I think there's still a lot that can be done especially in Computer Graphics. And I've been in the field for thirty years and we went from pixelated games to highly photo-real games, it only in the span of thirty years. Who knows what's gonna happen in the next thirty years? And it's the young people who’re gonna make it happen, So it's really good to inspire them and not to discourage them. It's very important that they should follow their passion, don't give up and don't do it for the money. Of course, it helps, usually, these jobs are well paid, but they shouldn’t be the main factor. You should be very passionate about computer graphics, what it stands for, or other fields, you know. Like in my case, I’m sort of coming from an art background, mathematics and I like to code, so sort of perfect background for computer graphics. But you might come from another background as well, like from Biology or some of the passions for music. I know people come from music are drawn into computer graphics and coding. So, basically, don't discourage. And inspire young people. Not only in China but the rest of the world.
Fox Renderfarm: As you said in the previous interview, “If you’re an artist, you don’t care why the sky is blue. You just want to create a dramatic sky.” Creative ability is very important for artists, do you have any suggestions for young artists to enhance creativity?
Jos Stam: Usually people associate creativity with artists, but you can do math or code and be very creative. Creativity actually works if you have boundaries. And if there are no boundaries, creativity doesn't make any sense if you can just do anything. Of course, artists are supposed to be creative. But what I want to say is to everyone, try to be creative in your job. Even in your life, being creative and how to live your life, give some meaning to it.
（Paintings of Jos Stam）
Fox Renderfarm: Nowadays, Chinese CG industry is also developing rapidly and progressing continuously, will you have more co-operation with China in the future? What do you expect most about the cooperation?
Jos Stam: I think, it should be across the world, not just in China, me and everyone. It helps research that you can be open and free about problem discussion. So it’s sort of the beauty of mathematics. It is a single language. I can show an equation to a person in China, they will understand it, even if I don't know any Chinese. So an ideal world that anyone would be able to talk to anyone else openly and further technologies or science. Now I have to say about China, especially Shenzhen. Things are changing extremely rapidly and the city is growing incredibly fast. So I believe, to be in China, the time is pretty exciting.
Message from Dr. Jos Stam: Be yourself if you can. And be creative. Live your life to the fullest.
“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 service 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 platform, 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.
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Their experienced technical team has already supported hundreds of projects around the world.
Fox Renderfarm has an outstanding team with over 20 years of CG production experience. Team members are from Disney, Lucasfilm, Dream works, Sony, etc. With professional services and industry-leading innovations, they serve leading special effects companies and animation studios from over 50 countries, including two Oscar winners. In 2015, Fox Renderfarm has formed a global strategic partnership with Aliyun (Alibaba Cloud Computing) to provide global visual cloud computing services.
Powerful & Secure Render Farm Service
Fox Renderfarm is Rayvision’s overseas service. It is one of the leading cloud render farms in the industry. Since 2009, Fox Renderfarm has earned a good reputation for its quality performance, strict security protection great customer service and flexible pricing scheme.
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Parts of projects rendered with Fox Renderfarm
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SIGGRAPH 2019, Fox Renderfarm Will See You In Los Angeles!
Free Exhibits pass with our compliments.
Get a complimentary Exhibits pass with this code: SHENZHEN19. We're proud to be exhibiting at SIGGRAPH 2019, from 28 July to 1 August, in Los Angeles. To visit us at booth 1049 and see more from .
Fox Renderfarm has an outstanding team with over 20 years' experience in CG industry. Team members are from Disney, Lucasfilm, Dreamworks, Sony, etc. With professional services and industry-leading innovations, they serve leading special effects companies and animation studios from over 50 countries and regions, including two Oscar winners. In 2015, Fox Renderfarm formed a global strategic partnership with Aliyun (Alibaba Cloud Computing) to provide global visual cloud computing services.
Looking forward to meeting you！
Please contact us for appointments:
Director of Client Relations Gordon Shaw +86 185 8159 3969 gordon@fox**renderfarm**.com
Recharge and reboot at SIGGRAPH 2019, as multifaceted as you are—featuring global innovators who are changing what’s possible in computer graphics, animation, VR, Gaming, and Emerging Technologies.
The can’t-miss SIGGRAPH Computer Animation Festival presents the world’s most innovative flat screen and virtual experiences, and Production Sessions and Courses reveal the latest computer graphics techniques around. Plus, at the exhibition, you'll get to see cutting-edge software and hardware in action.
SIGGRAPH 2019 website：https://s2019.siggraph.org/
CG Tech Summit Franchise-India: Animation Outsourcing or Global IP?
With the aim to facilitate the communications between CG professionals all over the world and the successfully kicking off of CG Tech Summit franchise in Malaysia, Fox Renderfarm extent its enthusiasm to Mumbai, India. On Sep.20th, 2018, the “Technology Inspires Art”- CG Tech Summit (Animation Technology Sharing and Sino-India Cooperation Signing Ceremony) organized and hosted by Fox Renderfarm was successfully held at the Ramada Plaza Palm Grove in Mumbai. The event brought technical knowledge to the CG expert from both China and India, It also helped to boost the depth of cooperation between the two countries.
With the present rapid development of the CG production industry and the intensification of globalized labor division, international cooperation has been encouraged gradually. We all have witnessed the boosting of India film industry since 2005: tons of widely recognized films created, over 3 billion dollars annual production value in 2010, gradually improved production quality, and the diversified storyline. All of the above have set a mind-blowing example for film industry all over the world.
As one of the largest farms in the world, Fox Renderfarm serves the world's leading film and television companies’ animation production, especially with companies in India. Fox Renderfarm’s powerful cloud computing skills have provided high-quality rendering support for many well-known films, reducing costs and increasing output. In the past quarter, Fox Renderfarm’s home-made movie box office accounted for one-third of the box office of domestic cinemas in the same period, and together with SIGGRAPH CAF and its Shenzhen branch, successfully hosted the first SIGGRAPH animation tour exhibition in China.
For the starters of the summit, Fox Renderfam's Marketing Director- Mike Zheng, and Sales Director- Gordon Xiao emphasized the original intention and significance of launching the CG Tech Summit.
At the summit, Fox Renderfarm teamed up with the leading Chinese animation production company, Original Force, Bang Bang Pictures, and BaseFX, and specially invited our beloved client in India-Assemblage Entertainment and Gloden Robot Animation to bring together a series of technical expertise sharing for India industry elites. They also conducted on-site interactions, to exchange and discuss in-depth animation production techniques and experiences.
Suyi-VFX Producer of Bang Bang Pictures / Topic: VFX Production Management in China
BangBang is an entertainment company that brings breakthrough technology to Chinese filmmakers. BangBang enables filmmakers to make VFX films in China by supplying the planning, organization, and management needed to produce Hollywood Quality entertainment. Bang bang, this pronunciation has a meaning of excellence in Chinese, the VFX Producer- Suyi Liu has demonstrated how Bang Bang Pictures has dedicated in filmmaking technology and project management for years, and extend its excellence to a Hollywood standard in a lower budget and more organized workflow.
Zihua-Compositing Manager of Original Force /Topic: Showcase of Troll Hunters Founded in 1999, Original Force has established itself as one of the preeminent animation houses in the video game arena, providing top-quality content services to global clients including Microsoft, Activision, Electronic Arts, Sony, Disney, Rockstar Games, and Tencent. Zihua told that in the process of turning the script into the vivid animation performance, Original Force always adopts the iterative production method which is start from the big direction to the small details. Specifically, they go from script refinement to hand-drawn storyboard, by doing so, convert script into shot language, and then from 2D storyboard to three-dimensional layout in which they determine the camera and the position of the characters, as well as general actions and special effects, to provide a clear direction for later production; animators will create keyframe animations based on the layout to deliver the director an overall sense of what’s happening in the specific shots, and we call this stage as “the blocking stage”. After the director greenlights the blocking, the animator will continue to sculpture the acting to give life to the characters and complete the animation.
Carlos Conceicao-Global Head of DPR in BaseFX/Topic: Tech vs Art: Efficient balance in VFX
Base FX is a three-time Emmy Award-winning visual effects and animation company with production studios in China and Los Angeles, they specialize in high-end creature and character animation, fluid and dynamic effects, and photo-real 3D matte painting and set extensions, providing services to Hollywood film companies, producers and top directors in China. Carlos Conceicao elaborated on the team's pursuit of art in the production process and how to grasp the balance of technology and art.
R.K Chand-CoFounder and Business Head/Taking Indian Animation IP Global - The Chhota Bheem Story
The Indian Animation Industry has been predominantly known as an established Work For Services Hub for global Animation Production for TV, Direct to Home and Feature Projects. Over the last 20 Years, Indian Animation Studios of various Size and strengths have been formidable Production partners in numerous Animated and VFX Heavy Projects which includes some of the biggest Box Office Hits as well as award-winning TV Series globally. But over the last decade, the Original Content Development and IP Creation for both Domestic as well as global storytelling has seen steady growth. The last 5 years have seen exponential growth in the demand for Indian Stories with Original Local Characters in the domestic Broadcasters.
R.K Chand said that with the advent of Local and Global Digital Platforms like Netflix, Amazon Prime, VOOT, ALT Balaji etc, the geographical boundaries of the audience is slowly getting blurred which opens a door for Indian Studios to blend the expertise in the Craft of Animated Productions and Original Storytelling to taking Indian Animation IPs going Global. The speed at which Content is consumed driven by rapid penetration of Internet, Low Data Tariffs and Usage of Smartphones clubbed with the youngest Kids-Teen Population in the World, has resulted in India being at the Center of Attention for numerous Content Platforms. "The story is Indian-based, but global-minded.">" Max Madhavan-Founder of Assemblage Entertainment/Topic: The Animation Landscape in India: Past, Present, and Future
Max Madhavan leads the strategic and business development efforts at Assemblage Entertainment, a premium CGI animation studio working on a global slate of world-class feature films and television content. Max focuses on implementing financing, strategic and organizational best practices to develop the studio to a high international repute and also plays a key role in navigating Assemblage towards content ownership and IP development, in addition to focusing on high-end production services with global partners. Max has successfully turned his speech into a fan meetup, his inspiring speech obtained round and round of applause. The sitting audiences expressed their worship of Max and concerns on their CG journey to this "God of Animation" in India. Key points of the Question&Answer session are as below:
- How do you differentiate your competitiveness in the industry
- Choose a partner is a long-term decision with numerous elements to consider
- How do I sustain myself in the industry-passion NOT just money,
- Quality level pushing and the price increasing is the tendency of the industry
- Keep struggling: I'm 60 years old and still get energy and space to improve
About Fox Renderfarm and CG Tech Summit
As the host of the CG Tech Summit, Fox Renderfarm has always been part of sparking the imagination of CG researchers, artists and professionals who are passionately involving in creating a new generation of computer graphics and interactive techniques. The successful event holding has proved us the right decision we made. After the exploring of India-the big animation outsourcing country who gradually creating their own inspiring IP, WHO is our next stop to explore? With the close speech of our host-Junqi Li, let's expecting our next beautiful rendezvous.
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)
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 YouTube. Notably, it was viewed over 1 million times on YouTube within 48 hours of its debut. The drama is currently one of the top popular Chinese shows on viki.com, an online platform where Asian TV shows with multi-language subtitles are available. It is the fastest-ever Chinese TV series to hit 1 million views on YouTube. Until now, Legend of Fu Yao has exceeded 10 billion clicks on a single video platform-v.qq.com, 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. Cloud Rendering Boosting Your Production Process ILLUMINA(聚光绘影) is responsible for the comprehensive supervision of the whole film and the production of full-length visual effects. **Fox** **Renderfarm** provides the inspirational TV series Legend of Fuyao of the 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 cloud rendering. Can you talk about the advantages of cloud rendering? 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 cloud rendering service platform that is well connected with the film and television industry in China. In order to make cloud rendering technology better applied to the film and television industry, this year's strategic cooperation between ILLUMINA and **Fox** **Renderfarm** will jointly build a visual cloud rendering platform. Cloud rendering 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. https://v.qq.com/x/page/v0749s5qmb2.html
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 render farm 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: yisun.artstation.com
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