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    Render Farm on Film and Animation Works 2018

    Render Farm on Film and Animation Works 2018

    Global computer-generated animation and visual effects brands to gather at SIGGRAPH Asia 2019
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    Global computer-generated animation and visual effects brands to gather at SIGGRAPH Asia 2019

    Brisbane, Australia, 20 September 2019 – Some of the world’s leading brands, academic institutions and start-ups have secured their presence at the region’s foremost event for computer-generated animation and visual effects, . “We are delighted that some of the industry’s most respected brands are supporting SIGGRAPH Asia for its debut in Australia,” says Conference Chair, Tomasz Bednarz. “The Australian market for animation, games, CGI/VFX, interactive media and VR/AR, as well as research in this space, is rapidly growing, and as hosts of SIGGRAPH Asia’s 12th edition, we are excited to show the rest of the world the opportunities Australia presents.” Sponsors and exhibitors from over 20 countries at SIGGRAPH Asia 2019 include Adobe Research, AWS, Carpe Diem Solutions, Computational Visual Media, Forum8 Co., Ltd, Foundry, , HTC Corporation, Industrial Light & Magic, PIXAR, Qualisys, SideFX HOUDINI Software, Tracklab, Tsinghua University – Tencent Joint Laboratory, UBISOFT, Unity Technologies, VICON Motion Systems, Weta Digital, Xsens and ZQ Racing, to mention a few. They will showcase hardware and services in the categories of computer graphics, interactive and innovative technologies, high-performance computing, as well as education, training and research. The support of these companies underscores the importance of SIGGRAPH Asia 2019 as a learning hub and showcase for emerging technologies in the industry. "As a long-term sponsor and exhibitor, Fox Renderfarm believes that people contributing to, and attending, SIGGRAPH Asia truly thrive together. They do this by sharing the latest research and techniques, exploring advanced technologies, communicating industry insights, and envisaging a blueprint hand in hand,” commented Rachel Chen, Marketing Director, . “SIGGRAPH Asia is the place for Fox Renderfarm to showcase our fast and secure CPU & GPU rendering solutions and connect to customers from around the world." SIGGRAPH Asia 2019’s Gold Sponsor, the NVIDIA Deep Learning Institute (DLI), will also be conducting hands-on training workshops over two days on Fundamentals of Deep Learning for Computer Vision and Multiple Data Types. Aimed at developers, data scientists, and researchers, NVIDIA will help participants get started with training, optimizing, and deploying neural networks to solve real-world problems across diverse industries such as self-driving cards, healthcare, online services and robotics. These workshops are open to Platinum (PP), Full Conference (FC), Full Conference 1-day (1D) pass holders, who will be notified on how to register for the workshops. An additional component within the SIGGRAPH Asia 2019 exhibition is the , an initiative that enables small and boutique enterprises to connect with, showcase to, and scale with, brands, investors and senior creatives from around the world. Brisbane, the host city of SIGGRAPH Asia 2019, has a bourgeoning startup community in creative tech, companies that are at the forefront of technological innovation in the fields of animation, games and visual effects. Participating international academic institutions and universities include Lost Boys – School of VFX (Canada); Ritsumeikan University, College of Image Arts & and Sciences (Japan); Visual Computing Center at KAUST (Saudi Arabia); Victoria University of Wellington and the Wellington ICT Graduate School (New Zealand). Participating Australian institutions include the University New South Wales’ School of Art & Design and UQ Centre for Energy Data Innovation. 

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    Interview With BoBoiBoy Movie 2,The Highest-grossing Animated Film In Malaysia
    Hot Spots
    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 Works: 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.

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    "Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019
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    "Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019

    Upin & Ipin: The Lone Gibbon Kris (*Malay: Upin & Ipin: Keris Siamang Tunggal*) (short for Upin & Ipin), produced by Les' Copaque Production Sdn. Bhd., rendered by Fox Renderfarm, has won the Best Feature category at the Montreal International Animation Film Festival 2019 (ANIMAZE). ANIMAZE is an international film festival and conference dedicated to exploring the world of animation in all its diversity. Filmmakers from over 65 countries working in a wide range of genres and styles converge on Montreal in the summer. Proudly, the mischievous twins Upin and Ipin are now the winners of the international film award. In this fantasy film, Upin, Ipin and their friends find a magical kris which transports them into a fictional country known as Inderaloka. Here they meet various colourful characters from Malay folklore and help them battle an powerful villian. Les' Copaque, the production company of Upin & Ipin, elected to create its own unique intellectual property based on traditional Malaysian mythology, but told in an energetic, child-friendly way. The production of Upin & Ipin took 5 years to complete, and the cost is almost RM20 million, making it the most expensive Malaysian film ever made. Fox Renderfarm’s reliable and high-efficient service helped a lot in its rendering process. As a local animated film in Malaysia, Upin & Ipin’s award means a lot to the Malaysian animation industry. Here we congratulate on Upin & Ipin’s great success in gaining international recognition and sincerely look forward to working together for the next project soon again!

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    Green Book VFX Veteran Raymond McIntyre Jr. Shares Production and Careers Insights
    Fox Talk
    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 Works (2010/2011) and more Awards 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. 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. Raymond: 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 Ed Lantz: 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? Raymond: 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 Ed Lantz: 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? Raymond: 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 Ed Lantz: Very impressive!Why don't you tell us a little about what software tools that you use in your work? Raymond: 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 Ed Lantz: And why don’t you tell us maybe one of your most challenging projects that you're most proud of? Raymond: 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. Ed Lantz: Certainly I didn't, that was very impressive. Raymond: 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. Fox Renderfarm: Any other things you want to share with the CG enthusiasts? Ed Lantz: 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. MSG Sphere Raymond: 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.

    2019-08-30
    Fox Talk
    Interview with Junliang Zhang, Creator of the Game Scenes Project CyberNeon
    Fox Talk
    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.

    2019-08-29
    Fox Talk
    Mission Mangal, Bollywood’s First Ever Space Film Rendered by Fox Renderfarm
    RAYVISION Projects
    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.

    2019-08-27
    RAYVISION Projects
    Big Shots Here!Fox Renderfarm @ SIGGRAPH 2019
    RAYVISION News
    Big Shots Here!Fox Renderfarm @ SIGGRAPH 2019

    From 28 July to 1 Aug, SIGGRAPH 2019 was successfully held in Los Angeles, which appealed to researchers, artists, and professionals who live and breathe computer graphics and interactive techniques. Fox Renderfarm is honored to be one of the sponsors and would continually support the world's biggest computer graphics conference. Fox Renderfarm is one of the leading solutions and tailor-made elastic large scale render pipeline with our professional services and industry-leading innovations, serving leading special effects, animation, architectural and entertainment industry around the world. In SIGGRAPH 2019, Fox Renderfarm had great conversations with visitors from the United States, Canada, Japan, France, Brazil, China and more. Fox Renderfarm has interviewed so many cool people, from honored guest in SIGGRAPH to R&D Postdoctoral Associate in Disney Research Los Angeles, from environment artist devoted to his original project to visual effects supervisor of Green Book and so forth. Here’s the trailer of Fox Renderfarm’s exclusive interviews, please stay tuned with Fox Renderfarm, and more exclusive interviews will be released soon. Moreover, Fox Renderfarm also sponsored Shenzhen & Los Angeles Chapters Meet-up on 29 July, to initiate relationships for future opportunities and partnerships for all members. Fox Renderfarm is happy to help CG creators and scientists recharge and refuel for the year ahead. See you next year in Washington for SIGGRAPH 2020!

    2019-08-09
    RAYVISION News
    BoBoiBoy Movie 2 To Be Released In 5 Countries With Much Sensation In This Summer
    RAYVISION Projects
    BoBoiBoy Movie 2 To Be Released In 5 Countries With Much Sensation In This Summer

    BoBoiBoy Movie 2, which used service provided by Fox Renderfarm, is a 2019 Malaysian computer-animated superhero comedy film. It is Animonsta Studios second film and the sequel of BoBoiBoy: The Movie (2016). This film is about Retak'ka, an ancient being with elemental powers that intends to seize BoBoiBoy's elemental powers. With the help of his friends, BoBoiBoy needs to stop Retak'ka from taking BoBoiBoy's powers. This is the first time a Malaysian animated film will be released simultaneously in 5 countries, including Malaysia, Indonesia, Brunei, Singapore, and Vietnam on 8 August 2019. While most animation studio takes close to four years to complete a film, Animonsta Studios pushed itself to finish BoBoiBoy Movie 2 in just 12 months with a budget of RM 7 million. Animonsta Studios’s CEO Nizam Abd Razak, who is also the film’s writer, director and co-producer explained: “We did face a lot of challenges making this movie in 12 months.” “Fans can expect exciting visuals and plenty of action sequences. We’ve enhanced the animation quality with some new software, which allowed us to not only work on the product faster but animate moving water, moving trees and even add movements to hair. In the first film, we didn’t have any of this.” said Nizam. The cooperation between Animonsta Studios and Fox Renderfarm went very smoothly. As for Fox Renderfarm’s , Animonsta Studios reckoned that it’s fast and reliable. The service has successfully delivered the job within limited time frame without have to compromise the quality. BoBoiBoy will see you guys on the big screen this summer! More details: https://news.monsta.com/monsta-unveils-boboiboy-movie-2-teaser-trailer/

    2019-08-08
    RAYVISION Projects
    Interview With The Volunteers Of SIGGRAPH 2019
    Fox Talk
    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. Ellie’s demo reel: http://elliemetz.com/ David’s demo reel: https://www.youtube.com/watch?v=xQY4hv8ttSo

    2019-08-02
    Fox Talk
    The Best Cloud Rendering Service Provider
    Blog
    The Best Cloud Rendering Service Provider

    You may be always confused which can support the best cloud rendering services for you or your company? Let me introduce Fox Renderfarm to you. As the leading cloud rendering service provider in the CG industry, Fox Renderfarm has earned a good reputation for its quality performance, strict security protection, great customer service, and flexible pricing scheme. Now, we here to show part of the reviews from Fox Renderfarm’s customers and partners. We hope the reviews from others can help you to choose the best service provider for yourself. Three Robots Blow Studio “The animation was a challenge because we had to animate about 120 shots mixing styles. We had to invest a lot of effort in this area in order to take forward the project.Another challenge I would like to highlight is the making of a realistic talking cat. Everything required the highest quality to make this character credible. The cat was the most complicated character of this episode and we are very proud of the result.”Spanish animation studio Blow Studio. Upin&Ipin: Keris Siamang Tunggal Les’Copaque Production Sdn. Bhd 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." Katapix Media:Carlos Duque "One of our biggest concerns was render time, since we are a small company and we knew this was going to be super render intensive, so we looked for a reliable render service, tried a bunch, and ended up picking Fox Renderfarm, because their price/benefit are more important, their staff was there for us 24/7 not via email or forums, we actually had direct contact with our account manager and a group of TD’s willing to help us regardless of the hour. It was an overall great experience to work with them and we still use Fox Renderfarm as our sole render solution." The Shipment The director Bobby bala Fox Renderfarm has provided rendering power with significantly discounted rate for this film which is over 40,000 frames. Bobby mentioned in the interview that "Fox Renderfarm was critical to the success and completion of our film 'The Shipment'. Their customer service was excellent and their render system was very reliable and user friendly. After many unsuccessful experiences with other rendering services, we were grateful to find Fox which surpassed our expectations. Without their affordable rendering options, we would not have been able to complete our independent sci-fi film which has recently been chosen as an official selection at the prestigious Tribeca Film Festival in New York." Mr. Hublot Laurent Witz, filmmaker of short films. "As a small studio of 3D animation film in France, we need a lot of computing power to show our originality. This requires a great number of computers than those used in the studio. Computer rendering cannot be finished without external support. Finally, we find RAYVISION." Howard Lovecraft 3 ArcanaStudios:SeanPatrickO'Reilly "Sean Patrick O'Reilly said that Fox Renderfarm's flexible nodes arrangement, cost-effective product, and 24/7 online customer service perfectly complement the infrastructures and facilitate independent studios' production process, like us . It is reported that the film "Panda vs Aliens", directed by Sean Animation Studio founder Sean Patrick O'Reilly and directed by Stan Lee and Gill Champion, is now in production and is expected to be released in China in 2019. Sean Patrick O'Reilly said that he hopes to work with more Chinese production companies to provide more high-quality works for the audience." Shadow PIXOMONDO "As the special effects producer of 'Shadow', PIXOMONDO made great efforts and constantly modified and communicated in the production process to achieve the final result. Fox Renderfarm, which provides  support for 'Shadow', also provides powerful technical support for the perfect visual rendering of the film." Boonie Bears: Blast into the Past "There are also rendering machines in the company. Before the scene is rendered, the technicians will avoid the repeated submission and rendering invalidation by splitting and assembling the rendering task. When the internal can't meet a large number of rendering requirements, some parts 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, allocate nodes at any time, and provide timely technical support to complete project rendering on time." Production director Qiang Wang commented." Isotropix "We're thrilled to partner with the Fox Renderfarm team! It’s great to see that Clarisse is now part of their offer. Fox RenderFarm is a very serious company owning a large number of render nodes. It gives our customers a lot a flexibility as Fox RenderFarm provides them with a quick and easy access to a huge rendering power!" For more .

    2019-07-23
    Blog

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    Global computer-generated animation and visual effects brands to gather at SIGGRAPH Asia 2019

    Global computer-generated animation and visual effects brands to gather at SIGGRAPH Asia 2019

    2019-09-20

    Interview With BoBoiBoy Movie 2,The Highest-grossing Animated Film In Malaysia

    Interview With BoBoiBoy Movie 2,The Highest-grossing Animated Film In Malaysia

    2019-09-12

    "Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019

    "Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019

    2019-09-12

    Green Book VFX Veteran Raymond McIntyre Jr. Shares Production and Careers Insights

    Green Book VFX Veteran Raymond McIntyre Jr. Shares Production and Careers Insights

    2019-08-30

    Interview with Junliang Zhang, Creator of the Game Scenes Project CyberNeon

    Interview with Junliang Zhang, Creator of the Game Scenes Project CyberNeon

    2019-08-29

    Tutorial | Desktop Client Installation (Linux)

    Tutorial | Desktop Client Installation (Linux)

    2019-08-28

    Mission Mangal, Bollywood’s First Ever Space Film Rendered by Fox Renderfarm

    Mission Mangal, Bollywood’s First Ever Space Film Rendered by Fox Renderfarm

    2019-08-27

    Kre8tif! 2019 Fox Renderfarm will see you in Malaysia!

    Kre8tif! 2019 Fox Renderfarm will see you in Malaysia!

    2019-08-16

    Big Shots Here!Fox Renderfarm @ SIGGRAPH 2019

    Big Shots Here!Fox Renderfarm @ SIGGRAPH 2019

    2019-08-09

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