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.
Interview With Yi Sun, The 1st Winner In Hum3D’s Three D Gun 2 Competitio
It is our honor to have an interview with Yi Sun, the first place winner in Hum3D’s Three D Gun 2 Competition, which is also sponsored by Fox Renderfarm, a leading service provider in CG industry. Share this interview with everyone, here are the dialogue between Fox Renderfarm and Yi Sun.
Fox Renderfarm: Hi, Yi Sun, congratulations to winning the 1st place in this contest, thanks so much for taking your time to have the interview with us. Firstly, would you please give a brief introduction about yourself?
Yi Sun: Yes, my name is Yi Sun, 25 years old, from China, I had a bachelor degree in 3d animation and I’m currently studying Master of Design in Sydney.
Fox Renderfarm: How long have you been in the CG industry? And how did you make the decision to get into the CG industry?
Yi Sun: I haven't found a job in the CG industry yet, but I've been teaching myself 3D for 5 years now. I started doing silly short videos when I was a kid. back then I discovered I can make some visual effects for videos in After Effects, but soon, I realized the 2D visual effects is very limited, I want to make more sophisticated effects, especially 3D effects. so I started learning 3D software. At that time I just thought it was cool, I never thought about doing this for a career, until I visited the universal studio in Los Angles. I got a chance to listen to the Hollywood VFX artists talks about the VFX production of the blockbuster movies and it blew my mind. I've been dreaming to work on a blockbuster movie ever since that talk and I've been working very hard trying to put my first step in the CG industry. I hope my dream will come true soon.
Fox Renderfarm: It is a great experience. Wish your dream come true. About the work "Porcelain 1911", what inspired you to come out the idea of making it?
Yi Sun: The idea is very simple, combining two completely different objects together. I used to do this kind of design practice a lot when I was learning character design in 3D animation. In "Porcelain 1911", I try to combine the porcelain element I familiar with and a gun which I'm not quite familiar with. I think as a 3d artist, the biggest advantage I had is my cultural background. I've seen a lot of Chinese porcelain as I grow up, I found them very beautiful, so I feel very comfortable to work with porcelain element in my design. if this competition is about design a realistic and futuristic sci-fi gun, I believe there are millions of 3d artist who can design better sci-fi gun than me, because I never have seen or touch a real gun.
Fox Renderfarm: It is an interesting idea. How long did it take you to finish the work?
Yi Sun: I was doing a master degree while working on the "Porcelain 1911", I had 3 assignments from Uni so I barely had time to work on it, sometimes I only have 15 minutes before I got to go to sleep. It took me about 2 months, but I think the actual time I spent on it is only about 120 hours. Now I look at it, I think it could be done better, there are still many things I want to polish in this work.
Fox Renderfarm: What software, renderers, plugins did you use in this work?
Yi Sun: My main 3d software is Maya, and I used Mari (non-commercial) for texturing, and redshift for rendering and photoshop.
Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?
Yi Sun: The difficulties I faced in this project is to create the realistic hand paint graphic of the Chinese porcelain, I tried to import vector into Photoshop apply filters but the result looks very fake, I tried to download watercolour brush for photoshop, but it doesn't look good either. Then I realized it’s not possible to create realistic paint mark on the computer, so I decided to create the texture physically with watercolour. I realized even though we had so many presets, filters and plugins to helps us create digital works, but they can never replace traditional mark making techniques, as a digital artist, I should always remember to respect the physical medium.
Fox Renderfarm: Anything else you would like to share with CG enthusiasts?
Yi Sun: I think CG is the best medium for self-expression, you can create almost anything and everything, that's why there are many things to learn, too many. I spent 5 years learning CG and I still feel that I know nothing about it, that's why I think we should always be humble to learn and we should try to use our cultural background as our advantage to develop our own unique style.
Fox Renderfarm: Yes, totally agree with you. I hope you can make more wonderful works in the future, and you will be an excellent CG artist. Thanks so much for your time.
More Yi Sun's artworks:
Interview With Blow Studio, One Of The Animation Producers Of Netflix’s Love, Death & Robots
Love, Death & Robots, is an American adult animated anthology web television series on Netflix, consists of 18 stand-alone episodes, all under 20 minutes long and all produced by different casts and crews. Now, Fox Renderfarm is so happy to have an interview with Blow Studio, the animation producer of “Three Robots” in Netflix’s Love, Death & Robots, and honorable to provide services for “Three Robots”. Here is the interview regarding “Three Robots” between Blow Studio and Fox Renderfarm.
Fox Renderfarm: We noticed that you provide production services for commercials, TV shows, short films, and many other formats related to animation, so can you please give us a brief overview of Blow Studio?
Blow Studio: Blow Studio is an animation and VFX production company formed in 2011. We provide production services for commercials, series, short films, and many other formats related to animation. In addition, we are always looking for personal projects to push our limits.
We have worked on projects for brands such as: Netflix, Chanel, River Island, Johny Walker, MTV, Izze, Axe, Rdio, Sanex, Vimeo and others.
Fox Renderfarm: Which part is the most important in production of this project？
Blow Studio: All production stages are important. Every step must have an even quality so the final product is balanced. Considering the type of story, if we had to choose a fundamental area of this episode that required a greater effort from us, I think we would choose animation.
Fox Renderfarm: Can you share with us the challenges in the production of this short film?
Blow Studio: The animation was a challenge because we had to animate about 120 shots mixing styles. We had to invest a lot of effort in this area in order to take forward the project
Another challenge I would like to highlight is the making of a realistic talking cat. Modeling, shading, rig, animation, hair...everything required the highest quality to make this character credible. The cat was the most complicated character of this episode and we are very proud of the result.
Fox Renderfarm: How do you like this short film? Which part do you think is the most interesting?
Blow Studio: Three Robots is the most important project we have made at Blow Studio. We love the story, the tone and the visual design. If we had to choose one sequence, maybe it would be the abandoned house. It's a very funny part, with a delicious animation and hilarious lines. Also, here is when we meet the cat, a character that will be the key at the end of the story.
Fox Renderfarm: What do you think of Netflix's animated series Love, Death & Robots?
Blow Studio: We are fans of "Love, Death & Robots" and we are completely into adult animation. Before the series, back in 2017 we release a short film called "Alleycats", and it goes in the same tone of "Love, Death & Robots". This is a short film where we did what we wanted to: ninja cats slicing their heads through the alleys of the city with a dark vengeance background reflected in the story. So yes, this is the kind of things we love to do.
We needed someone to stand for this kind of animation, and Netflix did the bet. We just hope they continue investing in this type of content because it looks that it's something people was asking for.
Fox Renderfarm: Which episode do you like the most in season 1 of Love, Death & Robots? Why?
Blow Studio: All episodes have a very high level of quality and something to highlight, so it's very difficult to choose just one. But if we had to, we will surely choose "Three Robots" because making it was very satisfying and it is like our little baby.
Fox Renderfarm: Speaking of rendering, please tell us more about your overall experience with Fox Renderfarm?
Blow Studio: It was a pleasant surprise to work with Fox Renderfarm. We had to outsource some parts of the render in order to deliver on time and allowed us to meet our deadline. Sure we will work again with them if we need to.
Fox Renderfarm: In closing, is there any interesting behind scene story you would like to share with us?
Blow Studio: Thanks to 'Three Robots' now we are cat experts. We had to do a very laborious study of them to reach this quality, and we really don't know how much hours we had to spend watching references for animation, the hair, the anatomy, the behavior of the skin, etc.
And we just wanted to say that it has been an adventure and an honor to be part of the production team of this amazing project along with the best CG studios today.
Fox Renderfarm: Thank Blow Studio for taking time in this interview, looking forward to seeing more and more wonderful works produced by Blow Studio.
Arcana's New Work Howard Lovecraft 3 Is About To Be Released
Fox Renderfarm has provided efficient and convenient capability and intimate service have been highly praised by foreign customers. The Arcana Animation Studio is one of them.
Arcana Studios is a Canadian entertainment company founded in 2004 by Sean Patrick O'Reilly. Originally a graphic fiction publishing studio, Arcana is now Canada's largest comic book publisher. In 2010, Arcana opened the animation department, followed by the animated films "The Clockwork Girl", "Kagagi: The Raven" and "Pixies".
The new work "Howard Lovecraft & The Kingdom of Madness" is the third work of the Howard series after the previous "Howard Lovecraft & The Frozen Kingdom" and "Howard Lovecraft & The Undersea Kingdom". The film introduces the young Howard returned from the underwater kingdom, ushered in a familiar stranger who claimed to be his uncle to visit. In order to save Winfield Lovecraft, they must travel to Antarctica and call some old friends to help stop the awakening of the dead spirit Cthulhu.
The third work, Howard Lovecraft & The Kingdom of Madness, will be released in North America on December 4. Previously, at the SIGGRAPH 2018 show in Vancouver, Fox Renderfarm made an exclusive interview with Arca Studio founder Sean Patrick O'Reilly. According to Sean Patrick O'Reilly, the Arcana Studio, established in 2004, successfully opened an animation studio in 2010. Currently, Arcana has become the second largest in Canada, and in the animation process.
In the interview, 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.
Aziz Jindani | Studios Life Is Better with Fox Renderfarm
The much awaited and biggest Pakistan's and Talisman's first animated film - 'The Donkey King' will be released today, which will hit box office across Pakistan. Director Aziz Jindani and others attended the grand ceremony of The Donkey King. Aziz Jindani succeeded in giving a great gift to viewers and fans in shape of The Donkey King. And marketing and promotions have been unprecedented for any movie to have come out from Pakistan. Fox Renderfarm specially interviewed with him for the production story of The Donkey King.
A roller coaster comedy film for all ages with a crisp run time of 105 minutes. Language is Urdu / Hindi with subtitles in English and Arabic. This is the story of Mangu, a happy go lucky, dreamer donkey. In his quest to realize his dreams and transcend his being, Mangu accidentally ends up as the “popular choice” to be the King of Azad Nagar. Little did he know that he was a mere pawn in the machivallaious design of Ms. Fitna (a fox) who had her ulterior motives to dethrone the Lion and prevent heir apparent from succeeding him. Will Mangu rise to be the king he had promised to be or will he resign to being a puppet? Will Fitna succeed in realizing her ulterior goals? Will Azad Nagar ever recover from this chaos?
Aziz Jindani – Co-Producer & Director
A global brand builder with +17 years experience at Procter & Gamble across Pakistan, USA, Singapore, Kenya, and UAE.The architect of the Commander Safeguard animated series, a branded entertainment property designed to promote the importance of hand washing among children. This is the longest running and most popular local animated series in Pakistan and has also been re-applied across China, Philippines, Russia, Nigeria, Mexico, and the Arabian Peninsula. Commander Safeguard is featured as a case study on marketing to Low-income consumers in 5th Edition of Advertising and Integrated Brand Promotion by Chris Allen and Thomas Guinn (University of Cincinnati, Montana University and University of Wisconsin). Aziz has furthered his passion for animation by establishing Talisman Animation Studios, a storytelling company with the objective to create original Pakistani IP content. The Donkey King movie is the first property to come out of this endeavor.
Interview with Aziz Jindani
- Please tell us something about yourself, what do you do and what film projects have you participated?
I am a career brand builder with over 18 years of experience at Procter & Gamble, working across USA, Singapore, Kenya, Dubai, and Karachi. During this time I happen to lead the client team that created an animated superhero property for a leading anti-bacterial soap brand (Safeguard / sold under the trademark of Shu Fu chiya in China). This superhero character achieved cult status in Pakistan and has been reapplied in various parts of the world including China. More recently, I have given up my P&G job and set up a content creation company in Pakistan by the name of Talisman Animation Studios and our first project is this film called The Donkey King.
- Can you briefly introduce The Donkey King?
The Donkey king is an animated family comedy for children and children at heart. It's a story of Mangu, a dreamer, happy go lucky donkey. The story traces Mangu's extraordinary journey from a small town dhobhi ghat to a royal palace during which he rises, falls and then rises again to prove to the world that he may be born a donkey, but is not one. In a nutshell, Donkey King is an allegorical story of the triumph of an underdog. The core objective of the film is to inspire children and adults alike to reach their full potential, regardless of the skills and talents they are born with.The film has an ensemble voice cast including some of the top names from Pakistan film industry. These include Jan Rambo, Hina Dilpazir, Jawed Sheikh, Ghulam Mohiuddin, Ismail Tara, Shabbir Jan, Irfan Khoosat, Ahsan Rahim, Adeel Hashmi and Faisal Qureshi amongst others. The music score is done by Shani Arshad and songs are composed by Asrar, Shuja Haider and Shani. Direction, Story & Screenplay is by Aziz Jindani, former Global Business Unit head Procter & Gamble and architect of proven, successful iconic Commander Safeguard Animation Series.
- Is it your own IP? How it was generated before making it into the animated film?
Yes. 100% original IP. It was developed over a period of 12-18 months before we embarked on production with extensive and iterative concept development exercise.
- How long it took to finish the whole production? Any complicated scenes or technical barrier during the project? How you manage it?
All in all, it took us about 2.5 years to finish the film from start to finish. The climax sequence (6 mins of the thrilling chase) was the most difficult one to execute. The biggest technical barrier was the slow rendering time locally due to a fur-based character and limited render capacity in-house. That is where Fox came in.
- Before using Fox Renderfarm, how you solve your rendering? Any big differences?
As said earlier, we were rendering in-house but were constrained by available nodes and high render time/frame due to fur based characters. The biggest difference between in-house and Fox is speed and reliability. Our speed shot up almost 5 times and there were seldom any issues with the output. It was a great enabler to complete the project on time.
- How do you think of Fox Renderfarm? Any comment?
I think of Fox as a savior for small production houses with big ambitions, like us. The solution is both affordable and reliable supported by some of the most collaborative team.
- It's going to be released very soon, what do you want to say to the audience?
Well, what can I say? I'd just like each and everyone to see this film because it has a relevant story that appeals to children and children at heart and is made by a bunch of crazy people at Talisman Studios who have refused to grow up.
Fox Renderfarm at SIGGRAPH 2018
Pin-pointing the highlight of the SIGGRAPH 2018-the world’s largest, most influential annual conference in computer graphics is a pretty tricky task. Tons of research results, demos, educational sessions, screenings, hands-on interactivity, and commercial exhibits displaying the industry's latest advances in this exciting five days event no doubt attract the most talented CG people all over the world.
But >Fox Renderfarm, the world’s leading commercial with hundreds of thousands of users worldwide, is thrilled to be at Siggraph for another epic and exciting week, and most importantly observed the huge shift in how studios are using and considering the Cloud since for 3D artwork rendering.
During the exhibition, Fox Renderfarm interacted with existing and potential clients, shared the cool features of our product and exclusive behind the scenes look into this year’s biggest blockbusters. Robert Wong-the Vice President of the BC Cultural Affairs Office of Canada, Tomasz Bednarz-Chairman of SIGGRAPH Asia 2019, and June Kim-SIGGRAPH IRC manager came to our booth to communicate and give an appreciation of the achievements that Fox Renderarm has accomplished in 2018. During the exhibition, Fox Renderfarm also participated in interviews with NVIDIA and several Chinese domestic media.
In addition, Fox Renderfarm also cooperated with RaySync, our aligned company that focuses on big data transmission acceleration and network optimization services, to demonstrate the advantages of radium speed file transmission in all directions, attracting many professionals to stop by and communicate.
As a long-term partner of SIGGRAPH, Mr. Haibin Zheng-Marketing Director of Fox Renderfarm, was also invited to attend the SIGGRAPH Global Student Volunteer Launching Conference and delivered a speech with renowned animation companies such as Dreamworks.
“In addition to providing powerful , providing professional guidance, rendering offers and technical support to creative teams, individuals and animation studios around the world to help them.”Said by Haibin Zheng. At the start-up meeting, Mr. Haibin Zheng also introduced the large-scale file transmission of radium speed and compared the advantages of radium speed through contrast.
During the exhibition, Fox Renderfarm also received visits from well-known companies such as Dreamworks, MPC, DNEG, Scanline, etc., and introduced them to technology and high-speed transmission services for their recognition.
SIGGRAPH CAF Animation Exhibition and Sino-Japanese Technical Sharing Conference Was Successfully Held
The SIGGRAPH Computer Animation Festival (CAF) is the world's most innovative immersion into the latest CG and Animation technology.
Recently, Fox Renderfarm's China mainland headquarter-Rayvision, successfully held SIGGRAPH Asia 2017 CAF animation exhibition and Sino-Japanese technology sharing conference, which was co-hosted by Shenzhen ACM SIGGRAPH, Digital SilkRoad, Zhuohua Mutual Entertainment, Pixeland digital inc, Quantum Dynamics and Jaws Digital Visual Creativexv. Mingjun Xu, the president of Shenzhen ACM SIGGRAPH, showed up as a host of the event, with hundreds of CG professionalist gathered to enjoy the SIGGRAPH Asia 2017 CAF award-winning works, and communicated with the technology of the Japanese animation industry. The interaction provides a valuable opportunity for domestic computer animation industry practitioners to learn and understand the global animation development.
A Number of Award-Winning Animations Showcased
The exhibition presented a number of SIGGRAPH Asia 2017 animation festival winners, including the best student work "Garden Party", the best-animated performance "Afterwork", the best review work "Here's the Plan" and other outstanding award-winning works at SIGGRAPH Asia 2017.
Technology Sharing and Exchange
Before the sharing, one of the Senior Partners, also referred as the President of Digital SilkRoad - Mengdi Li and Chairman of SIGGRAPH Asia 2016 Special Session- Xingyu Liang delivered speeches for the event and welcomed the arrival of on-site industry professionals.
Japanese Animation Industry Development Overview- by Ken Anjyo
Ken Anjyo is the Executive R&D Advisor for OLM Digital. He has been credited as R&D supervisor for recent Pokémon and several other movies. His research focuses on the construction of mathematical and computationally tractable models. His research includes “Tour into the Picture” (a predecessor of depth from-single image methods), recent SIGGRAPH and IEEE CG&A papers on art-directable specular highlights and shadows for anime, direct manipulation blend shapes for facial animation, and early research in hair animation and natural phenomena.
He is a conference chair of SIGGRAPH Asia 2018 in Tokyo. He is a jury member of SIGGRAPH2014, 2015 Computer Animation Festival. He is the co-founder of the Digital Production Symposium (DigiPro) that started in 2012. He also (co-)chaired several SIGGRAPH events, including SCA05, NPAR08, SIGGRAPH Asia 2009 Sketches and Posters program, SIGGRAPH Asia 2015 Course programme and was a co-chair of the 2014 symposium Mathematical Progress in Expressive Image Synthesis (MEIS2014).
Japanese animation plays an important position in the global animation history. During the speech, Ken Anjyo explained the development of Japanese CG animation through some cases. According to Ken Anjyo, there are still very few companies using . However, with the development of the CG animation industry, Japan and China are expecting more opportunities for technical cooperation.
"Final Fantasy XV" AI Production Analysis-by Youcihiro Miyake
Miyake began his gaming career in 2004 after completing his Ph.D. at Tokyo University, builds AI for Square Enix’s critically acclaimed Final Fantasy series. Youichiro Miyake has been in development of video game titles while researching game AI technologies as the lead AI researcher at SQUARE ENIX. He developed the technical design of AI for the following game titles: CHROME HOUNDS, Demon's Souls, Armored Core V developed by FROM SOFTWARE, and FINAL FANTASY XIV, FINAL FANTASY XV, and Kingdom Hearts 2.8 developed by SQUARE ENIX. Furthermore, he is the chair of the SIG-AI in International Game Developers Association Japan Chapter, and also the board of Digital Game Research Association Japan and the Society of Art and Science. He is the author of the four books "Stories on Philosophy for Artificial Intelligence" "Artificial Intelligence pictures book" "Making a game AI method" (2016) and “Why can AI talk with the human?” (2017).
As we all know, the "Final Fantasy" series of games and the advent of the film is of epoch-making significance. No matter from the character image or the environmental scene, it is real life immersive experience. At the event, Youcihiro Miyake explained the development and production process of AI game technology through the project “Final Fantasy XV”, and interacted with the guests and scholars to answer the questions.
China CG industry (film and television) Development-by Haibin Zheng
This exhibition is the second series of events that hosted by Fox Renderfarm. At the exhibition, Fox Renderfarm Marketing Director-Haibin Zheng said that over the years, Fox Renderfarm has established a good relationship with SIGGRAPH and has participated in SIGGRAPH for several consecutive sessions as a sharing guest to attend the special conference. At the same time, Haibin Zheng also shared the market development of China's CG film industry, and the technology provided by Fox Renderfarm for the film and television animation industry.
SIGGRAPH CAF Animation Exhibition and Sino-Japanese Technical Sharing Conference not only brought visual impact and academic exchange opportunities to the domestic computer animation industry practitioners but also stimulated their interest and confidence in the CG industry. After the event, many people in the industry expressed their affirmation and approval. They hoped that more activities like this could be held in China, and the latest foreign technology practices will be introduced to the domestic market. The experience of CG production will be shared with the industry, and the power of the domestic computer animation industry will continue to be injected.
In addition, Ken Anjyo, Youcihiro Miyake, and others participated in the animation exhibition and theme sharing, also visited Fox Renderfarm to visit and accept an exclusive interview.
Interview with Chris Buchal Regarding Glass Cage
Glass Cage, a new film about female social issues which produced by Chris Buchal just been released (Check the Glass Cage video at bottom). Chris and his team had overcome so many difficulties and didn't give up the film even under very serious budget problem, what a tough team! And power for its VFX part. Here is the interview regarding this new film between Chris Buchal and Fox Renderfarm as below.
Fox Renderfarm: Hi Chris, would you please give a brief introduction about yourself?
Chris: Sure thing! Hi! I'm an English Major from University of Oregon. I've been making films for about 5 years now, and I am self-taught in visual effects, editing, cinematography, and post production. I've made commercials for some major brands, and have been building out my portfolio for past few years to hopefully apply for more commercial agency work, while I work on a feature script.
Fox Renderfarm: Sounds wonderful. So when and how did you get into the film industry?
Chris: It all started when I wrote to a craigslist advertisement and applied to have a job helping write the technical questions for the food safety manual that restaurant workers study before taking an exam. From there it evolved to editing videos, and from there the creative realm. My first year I made 20 pretty terrible comedy films, and then took the level up to a more professional and polished final product.
Fox Renderfarm: Haha, very interesting experiences. Then what is your most satisfied work in these years and why?
Chris: The short commercial piece "Baquon," because I made it with my best friend in my kitchen, it was a successful commercial, and it was a love poem to Bacon. It also made us some money.
Fox Renderfarm: Congratulations! OK, how did you and your team members come out the idea of making the female empowerment film?
Chris: The original concept was based on something my friend at the time, Cheree Marks, came up with. I wanted to do something with projection mapping and the female form, because at the time glass sculptures were on the table of the female form, and Cheree suggested body issues, and then agreed to work with me to help formulate a script that would enable us to tackle these social issues, and hopefully provide strength to women who struggle with them. Then the glass sculpture artist dropped out and we decided to use a mannequin of the female form, which was a blessing in disguise because it made the projection mapping more legible.
Fox Renderfarm: You guys are so much warm hearted! We highly appreciate your work for women. Would you please tell us what’s the Glass Cage about?
Chris: Glass Cage is a mother-daughter bedtime story about growing up in the world. It's a story about self-love and not giving into societies sometimes skewed expectations. It’s a movie that tackles different social constructs, and provides hope for how a woman can overcome them by being brave and staying true to themselves, and not letting the opinions of others sway themselves from the love they must have for themselves. Women are incredibly strong, they give life, and yet society oftentimes tries to take their inner light away from them.
Fox Renderfarm: That must a great inspiration for women. While how many team members for the Glass Cage and how you guys cooperate with each other?
Chris: This was a rather large and ambitious project. We had no budget, and a lot of visual effects, but luckily members of the team such as Ray Kelley, Celeste Leizer, Tim Riva, John Williamson, Shepherd Duff, Michael Mavromatis, Paul Turcott, and Andrew Williamson all were willing to dedicate their visual effects knowledge and time to help accomplish some of the more advanced CGI. I created all the projection mapping assets, and did a lot of the compositing work. This film was a labor of love, and thanks to the producers/cast, and crew who all donated 4 days of their life to make this possible. The cooperation worked the way most film sets work, a lot of phone calls, favors, and just the generosity of other people. Without them this film could not have been made.
Fox Renderfarm: We are really impressed by the effort of all the members involved. Besides, what difficulties you met when making it?
Chris: There were a lot of difficulties with this project. We had no budget. We had about $100,000 of rendering/VFX time. We wanted to finish the film in 4k (in hindsight 2k would have been smarter). At various points people dropped out or dropped the ball, which happens on projects with no budget, and we also had several random cloud server crashes and hard drive failures that thankfully were avoided by triple backups. Backup your data! There was some lack of clarity on the time commitment the project would take, and so some people had to drop out due to personal reasons, but all in all, this is par for the course with a no budget film. It was the effort of a lot of kind talented and generous people, and thanks to Fox Renderfarm, we were able to render out our films title sequence using Maya/Vray and 4k finishing.
Fox Renderfarm: Anyway, the good news is the film is finally released. So where would you plan to submit/release the film?
Chris: Ideally it will get passed along the festival circuit before being released online, and backed by some female organizations who support its message
Fox Renderfarm: Great, we sincerely hope the Glass Cage would have a perfect result. As for the rendering phase, why choose Fox Renderfarm as the partner and What you think about us?
Chris: Fox Renderfarm was an absolute lifesaver. We are a no budget, VFX heavy film. We simply don't have enough CPU power or render hours to export at 4k all the visual effects in the film. Thankfully Shelly Yu, responded to my request for a sponsorship proposal with grace, tact, and charm. Fox Renderfarm worked tirelessly, and patiently with us as we slowly compiled the work of multiple artists across the globe into the film’s final title sequence, as well as a few of the "Glass Cage" CGI shots. Without Fox Renderfarm, we wouldn't have these elements in the film. They worked with us tireless overcoming technical hurdles, and even language barrier. They were really caring and just an incredibly supportive experience. I hope to be able to employ them sometime in the next year or two on some vfx heavy commercial projects should the opportunity arise.
Fox Renderfarm: Besides the previous child abuse film “The Cycle Starts And Stops With You” and the just released female empowerment film“Glass Cage”, do you have any idea for your next film?
Chris: Yes, a female dynamic due comedy feature script is in the works, as well as maybe two more short films and proof of concepts. One involves the future of virtual reality, and the other is an alien invasion proof of concept. We also have another short film in post-production about cell phone addiction.
Fox Renderfarm: Looking forward to your next film soon. OK, anything else you would like to add or say?
Chris: Thanks again to Fox RenderFarm, and anyone who worked on or donated time to Glass Cage. Couldn't have finished the film without you guys.
Enjoy the Glass Cage video now!
Glass Cage from Illustrious Productions on Vimeo.
Interview with Anthem Studios Regarding Making Life of Bri' n Chris
Continuous effort will always bring substantial results. So does the 3d short animation: Life of Bri’ n Chris. Although with limited human resource and budget, Anthem studios tried their best to solve the tough difficulties and finally released the 8-minutes 3d animation. Great congratulations to them. And thanks Michael Wakelam so much for offering the opportunity for the short interview between Fox Renderfarm and Anthem Studios as below.
Fox Renderfarm: Hi Michael, would you please give a brief introduction about yourself and your studio?
Anthem Studios: My name’s Michael Wakelam and I founded Anthem Studios in 2012 with a vision to bring entertaining stories and new characters to life. We’re based in London and work in a variety of styles using various software.
Fox Renderfarm: So when and how did you get into the CG industry?
Anthem Studios: I started through TV design and then got into motion design and branding. I started to develop more knowledge and interest in visual effects and animation and then as I grew in experience, I really wanted bring my love of stories and characters together with animation.
Fox Renderfarm: Wow, sounds great, then what is your most satisfied work in these years and why?
Anthem Studios: I’m most proud of Life of Bri’ n Chris, because it was so ambitious as a project. Most short films of this length have a huge crew, ours was a core crew of 7 or 8, with a bunch of other people helping out in little ways. We had no budget but had generous support of a few key partners, such as .
Fox Renderfarm: That's amazing, while since your new short film Life of Bri’ n Chris is going to be online soon, would you please share with us about what’s the story and why you come out the idea of making this film?
Anthem Studios: The film is a comedic tale of Bri’, a scottish Common Lizard, and Chris, a hapless Australian Chameleon, whose overly competitive attitude leads to a crazy accident. When I was growing up in Australia, we had these lizards called blue tongue lizards that we would catch, but when trying to outrun us kids, they would drop their tail. I found out a few years back that Chameleons are one of the only species of Lizard that can’t drop their tail in self defense. I though it could be a funny idea and developed it further.
Fox Renderfarm: Really interesting experience : ) For making the short film, what 3D software, renderers and plugins used for it? Do you have any preferred one and why?
Anthem Studios: For modeling and animation we used Maya, rendering we used Vray and for compositing we used After Effects. Maya’s main attraction was it’s robust referencing system, and Vray is an outstanding renderer. I used After Effects because I was doing the compositing myself, and that’s the tool I knew best.
Fox Renderfarm: Haha, you guys are real professionals. While what difficulties you met when making this short film?
Anthem Studios: The biggest challenge for me was learning producing and production management. The number of assets and shot was more than I’d ever handled on short form branding and advertising, so it was a steep learning curve for me. The other challenge was the technical side of render ‘render wrangling’ and file management.
Fox Renderfarm: Em, really happy that you guys solved all of the problems. So where would you plan to submit/release the video? Any interest for battling for some 3d animation awards?
Anthem Studios: We’ve already screened at a few festivals, but want to be seen by the widest audience possible, so decided to release the film online.
Fox Renderfarm: Sounds great : ) We'd like to ask why choose Fox Renderfarm as the partner and what you think about us in the rendering phase?
Anthem Studios: I had used Fox before I started this project and what always stood out to me was the service. To have people available 24/7 on skype has always been so valuable. We all know that late nights can be a regular occurrence in this industry, and often we can’t wait until the next day to solve a problem, and no one else offers the service you offer.
Fox Renderfarm: Thanks so much for your compliment : ) Do you have any thought for making the next short film?
Anthem Studios: I’ve started looking at developing Life of Bri’ n Chris into an animated sitcom. Because it’s mainly set in one room like a traditional sitcom, we could get a very high quality render, which would be unusual for TV animation. I’m also continuing to write and develop other stories, live action and animation, so stay tuned.
Fox Renderfarm: That's really a great news, we are looking forward to the next video. OK, is there anything else you would like to add or say?
Anthem Studios: I’d just like to thank Fox once again for your support throughout the project. I couldn’t have done it without you.
Fox Renderfarm: Thanks, it's our pleasure, and hope we can have more cooperations in the near future. And thanks for your time to take this interview.
Fox Renderfarm in SIGGRAPH 2017, We Are More Than An Exhibitor
As the largest and most influential annual conference and exhibition in computer graphics and interactive techniques, SIGGRAPH 2017 is popularly ongoing (30th July – 3rd August). As one of the most popular is holding hands with SIGGRAPH and having several deep cooperations this time.
“CG in Asia”Speech
Benjamin Cheung, the VP of Fox Renderfarm, was invited by SIGGRAPH International Resources Committee to be a speaker for the subject of “CG in Asia”. Ben shared the development of CG industry with speakers from Digital Idea in Korea, SQUARE ENIX, CG-ARTS Society and OLM Digital in Japan. Ben focused on the topic of current situation and development of Chinese film industry, and made a point that China has huge potentials in film industry.
“SIGGRAPH Student Volunteer Program”Conference
Mike, the marketing director of Fox Renderfarm, was also invited to present in the conference of “SIGGRAPH 2017 Student Volunteer Program”, Mike introduced Fox Renderfarm and explained how powerful the rendering ability is, as well as the which aims to help potential CG students, creative small teams and charity groups to realize their dreams.
At the end of the speech, Mike even revealed an amazing news, it is about a self-developed online platform ( Vivue:
http://www.vivue.io ) which is designed to help directors, producers, artists, designers, managers and media groups to save huge time on video collaboration. The Vivue is currently available on webpage and iOS App.
Officially Authorized to Distribute SIGGRAPH Collectible Pixel Toys
Fox Renderfarm is officially authorized by SIGGRAPH to distribute the limited number of collectible bobble head Pixel toys at the SIGGRAPH 2017 conference and exhibition. These keepsakes will not be available for sale, but will be given away in a variety of ways throughout the conference and exhibition, including at Fox Renderfarm booth 243. Besides, there are a lot of other gifts available for visitors by playing the dart game on Fox Renderfarm’s booth.
The confidence of SIGGRAPH for Fox Renderfarm’s leading position in industry along with the outstanding contribution, is the most important reason that SIGGRAPH decides to start such deep cooperations with Fox Renderfarm. And Fox Renderfarm really appreciated the awesome opportunity to present themselves in front of so many international 3d animation and VFX production companies. Let’s take hand by hand to help enhance the development of CG industry.
Interview with Makuta VFX Regarding the Production of Baahubali 2: The Conclusion
As we all know, the Indian epic blockbuster ‘Baahubali: The Beginning’ made great success in 2015, it earned great reputation worldwide and set a record in Indian film industry. That’s the reason why so many people looking forward to the release of the Baahubali 2: The Conclusion, it absolutely does not let us down, which even broke the record again by earning $120 million during the first week, making it the highest grossing Indian film all around the world ever. Here comes the thunderous applause to Makuta VFX who produced it and who rendered it.
And we are so honorable to have the chance to interview Peter Draper who comes from Makuta VFX regarding the production of Baahubali 2: The Conclusion.
Fox Renderfarm: Hi Peter, May I ask what’s your biggest issue during Baahubali 1 and 2 productions?
Peter Draper: The biggest issues we had were the sheer size of the data assets that we had to work with. The environments that we needed to create were huge and kept on growing due to additional angles that needed to be achieved; from the original model designed for Baahubali 1, additional augmentation was needed to enhance angles for the second film which greatly increased the geometry and texture sizes, thus the memory overheads for not only our workstations but also the rendering aspects.
Fox Renderfarm: So what's your biggest challenge during your rendering phase before using Fox Renderfarm?
Peter Draper: Primarily the sheer size of the data assets that needed to be output in the short amount of time that we had to deal with within the production cycle. The post work, especially in the latter stages of the film’s production cycle, required some amendments and re-rendering which we didn’t have the scope to be able to do internally on our own farm, especially with the render times we were achieving in-house.
Fox Renderfarm: OK, I see, so how did Fox Renderfarm help you on Rendering? What do you feel about us and the cooperation between both companies?
Peter Draper: Fox initially approached us with an end-to-end solution for rendering, complete with back-end support. As our entire render pipeline revolved around externally referenced files and proxies due to the sheer amount of geometry, therefore we needed a mirror setting up on each node. Coupled with constant monitoring of our jobs, we needed complete back-end support to ensure that the job was maintained. Fox were on call 24/7 and helped us achieve our deadlines to the quality that was required by the client. Data transfer was fast, along with our own high-speed connection, it was like having our own tech support and farm extension!
Fox Renderfarm: We are so glad to hear that. While we've just got an international market development awards recently, as a business partner of Fox Renderfarm, what do you think about it?
Peter Draper: Congratulations! Very much deserved! Hopefully many more to come.
Fox Renderfarm: Thanks so much for your really kind words. Since Baahubali made so much success, what do you think about your company's advantage for animation and VFX production?
Peter Draper: In our short life of seven years, we’ve managed to establish ourselves as one of the highest regarded studios in India through the quality of the work that we produce and the team of artists that we have. We don’t compromise on quality and love to have the ability to work with some of the best directors, art directors and directors of photography in the industry. We absorb creativity so we look not only for the same in the talent that we hire, but also the people we work for and with.
Fox Renderfarm: That’s great. We sincerely hope Makuta VFX will produce more and more awesome films in the near future and keep work with Fox Renderfarm. Thanks so much for your time.
Interview with Seth Belanger from EnchantedMob
We are so thrilled to announce that just help finished rendering the 3D animation music video named Hard Drive which was animated by EnchantedMob. EnchantedMob is a popular YouTube channel that owns 500,000+ subscribers and mainly focus on Minecraft style 3D animation music videos. The new video Hard Drive has earned more than 1 million views within one week, how popular it is! It has become an ear worm and stuck in my head for days. Let’s have a look about this awesome video firstly.
And we did a short interview with Seth about himself and EnchantedMob as below.
Fox Renderfarm: Hi Seth, would you please give a brief introduction about yourself and EnchantedMob?
Seth: My name is Seth. Sometime in 2010, my older brothers downloaded a 2D animation program called Pivot. With the program, you could create stick figure animations very easily. We all would create whatever funny animation we could think of. It was all for fun and laughter. I was 11 at this time. Since then, I became very interested in pursuing animation. I eventually branched into clay animation and eventually Minecraft animation.
Fox Renderfarm: That’s really a good start, so when and how did you get into the CG industry?
Seth: Skipping over to December 8th of 2013, I discovered Blender. With Blender, I could create 3D animations. Shortly after, in 2014 I created a brand new channel for 3D animation specifically for Minecraft. My main motive for Minecraft animation was from the music videos produced by CaptainSparklez. Those videos still inspire me today. From December 2013 to February 2015, creating Minecraft animations on EnchantedMob was just for fun and entertainment.
Fox Renderfarm: Blender did a great job for a lot of 3D beginners. And what other 3D software, renderers and plugins you used? Any preferred one and why?
Seth: It wasn't until the summer of 2016 when I switched to Autodesk Maya. It took some time to learn, and I found the Redshift rendering engine which was referred by a fellow animator. Redshift is great and I still use it today because of how fast it renders. This year, I have been increasing the quality of each video, which has been bringing larger render times.
Fox Renderfarm: Great, so how did the idea of creating Minecraft style 3d animation music video comes out?
Seth: Like I mentioned previously, the idea of creating Minecraft style 3D animation was developed in 2011 and I began using this style of animation in 2014. This style came about because it is simple to animate box-like characters, and because of Minecraft’s popularity.
Fox Renderfarm: I see, while what is the first music video published on EnchantedMob Youtube channel? And what is the most difficult problems you met on creating it at that time?
Seth: In February of 2015, I uploaded my first music video "Survive The Night" to EnchantedMob. It was by far my most difficult video to make because of the 6 minute length of the song and the amount of characters in the video. It payed off; however, as that video is my most popular video to date, with almost 50 million views. When this video skyrocketed, I started to focus on creating more Minecraft music videos and taking my YouTube career a bit more seriously, while still enjoying animation.
Fox Renderfarm: That’s really brilliant work. Would you please share some details about your just finished work: Hard Drive? Got some new problems on it?
Seth: Recently, I discovered Fox RenderFarm. Fox allowed my channel to reach a higher level of render quality, while also keeping render times reasonable. This can be seen in how well the renders turned out in my newest Minecraft music video "Hard Drive." This video is unique in that it has already gotten over 1,000,000 views less than a week after its release, which is surprising given that I’ve never made an animation based on the game Undertale before.
Fox Renderfarm: Since you mentioned us about the GPU rendering service, what you think about us? Happy with it?
Seth: Fox Renderfarm's GPU rendering service is very good and much cheaper than lots of other out there. Personally, my favorite quality of Fox Renderfarm is their willingness to help their customers. Any question I've had about Fox Renderfarm were quickly answered, and their support team took great good care of my account and render tasks.
Fox Renderfarm: Thanks for your kindly compliment. Do you have any idea about your next work? Is that OK to have a sneak peek : )
Seth: While I normally try to keep projects secret at first, I'll go ahead and spill the beans on my next music video. This next video is returning to the ever-popular FNAF Sister Location game, and it will be animated to a song by the Content Creator "Chaotic Canine Culture." And heck, while we're at it, I may as well say that I think the video can be finished before the end of June. So, to anyone reading, stay tuned! :)
Fox Renderfarm: That’s a big news, we are so glad that we can know it here in advance. OK, so is there anything else you would like to add or say?
Seth: I recommend using Fox Renderfarm. Their support team alone is a great reason to use their company. :)
Fox Renderfarm: Haha, thanks again for your recommendation. Nice to talk with you, and we are quite look forward to your next work.
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