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Interview With BoBoiBoy Movie 2,The Highest-grossing Animated Film In Malaysia
3-6 September 2019, Fox Renderfarm participated in Kre8tif! 2019, an annual digital creative content industry event in Malaysia aimed to spark innovation and exploration of major trends across the creative sector. We received a large number of CG enthusiasts and had good communications with them regarding our powerful service.
In Kre8tif! 2019, we were honored to have an interview with Mr. Kee Yong Pin, COO of Animonsta Studios in Malaysia.
Kee Yong Pin
COO of Animonsta Studios
Animated series BoBoiBoy (2011-2016)
BoBoiBoy Galaxy (2016-present)
BoBoiBoy: The Movie (2016)
BoBoiBoy Movie 2 (2019)
Animonsta Studios, a Malaysian animation company that produces creative content for the Malaysian and international market. Its second computer-animated film BoBoiBoy Movie 2, which is the new No.1 animated feature in Malaysia.
Below is Fox Renderfarm’s exclusive interview with Mr. Kee Yong Pin. Let’s check it out!
Fox Renderfarm: Can you introduce yourself?
Kee Yong Pin: My name is Kee Yong Pin, from Animonsta Studios, an animation studio from Malaysia.
Fox Renderfarm: Can you introduce BoBoiBoy?
Kee Yong Pin: BoBoiBoy is an animation created by Animonsta Studios since back in 2011. And our latest movie for BoBoiBoy, it’s just completed and released in Malaysia, Indonesia, Singapore, Brunei and Vietnam at the same time. So, we are happy to tell that our BoBoiBoy Movie 2 is currently the highest-grossing box office animation ever shown in Malaysia of all time.
Fox Renderfarm: What’s the interesting part when producing BoBoiBoy Movie 2?
Kee Yong Pin: One of the biggest, interesting things about this movie is actually the production, the whole production only takes 12 months. Most of the animated movies need to take 3 to 4 years. And then our team is actually not very big. We have only around 100 people with around 60-70 people from production.
Fox Renderfarm: Any challenges of making the movie?
Kee Yong Pin: The challenge is the time itself, so, as much as we worked very hard, there is still a lot of obstacles, for example, all the technical stuff, the rendering processes or the animation processes. So, the biggest challenge for us is actually the race against time for the rendering. For rendering it needs to be done by the computer. We need to do a very proper calculation, so that we can speed up the process without sacrificing the quality.
Fox Renderfarm: What do you think of Fox Renderfarm ?
Kee Yong Pin: In order to meet our timeline, one biggest thing that we changed is actually going into half GPU, which is using Redshift. And then we find out that even that is not enough. Throughout the movie, we can deliver according to timeline. But towards the end of the movie, that's when things become difficult, because the deadline is getting closer and then the scenes are getting very heavy towards the final part of the movie. So that's when we start to engage with Fox Renderfarm. And then we are really impressed actually, especially on the support portion of Fox Renderfarm. Because it's so easy for us to get in touch with, you know, just using WhatsApp. So everything just is direct communication, whenever we need anything and then everything is actually quite fast and, more importantly, when it comes to the last minute, it is hard for us to get the finance portion, budgeting portion to meet according to our criteria, and timeline also needs to be meeting. So, Fox Renderfarm, luckily for us, managed to meet our criteria in terms of pricing, in terms of delivery.
Fox Renderfarm: Will you distribute the movie in China?
Kee Yong Pin: We are actually trying, because China has a very small quota for foreign movies, but we are actually trying our best to get into China’s market. Good thing for us is that our animation series is already broadcasted on China's platform, which is Tencent. And it gets quite a good amount of views, which is more than 40 million views already up to date. We want to continue our footsteps into China's market if possible.
Fox Renderfarm: Any plans for next step?
Kee Yong Pin: We are doing our next animation, moving forward. And unfortunately, we cannot share anything in detail yet, but definitely I would safely, at least say that project has more challenges than BoBoiBoy Movie 2. So we want to get more market after this release in more countries and all those things, and so definitely, we need more support in terms of technology and also various partnership in the near future.
Fox Renderfarm: Any other things you want to share with the CG enthusiasts?
Kee Yong Pin: We just want to share that animation industry in Malaysia has been more than fifteen, twenty years. We might not be the most famous animation content hub in the world yet. But definitely Malaysia is going to be one of the best, not in terms of quantity, but in terms of quality, one of the best animation providers in the world. So, we really hope that the world will be able to really pick up our animation, have a look on what we can achieve in a more practical way, high quality, efficient, because we have a lot of good talents in Malaysia.
Let's look forward to the new development of Malaysian animated films.
"Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019
Upin & Ipin
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!
Interview With Yi Sun, The 1st Winner In Hum3D’s Three D Gun 2 Competitio
It is our honor to have an interview with Yi Sun, the first place winner in Hum3D’s Three D Gun 2 Competition, which is also sponsored by Fox Renderfarm, a leading service provider in CG industry. Share this interview with everyone, here are the dialogue between Fox Renderfarm and Yi Sun.
Fox Renderfarm: Hi, Yi Sun, congratulations to winning the 1st place in this contest, thanks so much for taking your time to have the interview with us. Firstly, would you please give a brief introduction about yourself?
Yi Sun: Yes, my name is Yi Sun, 25 years old, from China, I had a bachelor degree in 3d animation and I’m currently studying Master of Design in Sydney.
Fox Renderfarm: How long have you been in the CG industry? And how did you make the decision to get into the CG industry?
Yi Sun: I haven't found a job in the CG industry yet, but I've been teaching myself 3D for 5 years now. I started doing silly short videos when I was a kid. back then I discovered I can make some visual effects for videos in After Effects, but soon, I realized the 2D visual effects is very limited, I want to make more sophisticated effects, especially 3D effects. so I started learning 3D software. At that time I just thought it was cool, I never thought about doing this for a career, until I visited the universal studio in Los Angles. I got a chance to listen to the Hollywood VFX artists talks about the VFX production of the blockbuster movies and it blew my mind. I've been dreaming to work on a blockbuster movie ever since that talk and I've been working very hard trying to put my first step in the CG industry. I hope my dream will come true soon.
Fox Renderfarm: It is a great experience. Wish your dream come true. About the work "Porcelain 1911", what inspired you to come out the idea of making it?
Yi Sun: The idea is very simple, combining two completely different objects together. I used to do this kind of design practice a lot when I was learning character design in 3D animation. In "Porcelain 1911", I try to combine the porcelain element I familiar with and a gun which I'm not quite familiar with. I think as a 3d artist, the biggest advantage I had is my cultural background. I've seen a lot of Chinese porcelain as I grow up, I found them very beautiful, so I feel very comfortable to work with porcelain element in my design. if this competition is about design a realistic and futuristic sci-fi gun, I believe there are millions of 3d artist who can design better sci-fi gun than me, because I never have seen or touch a real gun.
Fox Renderfarm: It is an interesting idea. How long did it take you to finish the work?
Yi Sun: I was doing a master degree while working on the "Porcelain 1911", I had 3 assignments from Uni so I barely had time to work on it, sometimes I only have 15 minutes before I got to go to sleep. It took me about 2 months, but I think the actual time I spent on it is only about 120 hours. Now I look at it, I think it could be done better, there are still many things I want to polish in this work.
Fox Renderfarm: What software, renderers, plugins did you use in this work?
Yi Sun: My main 3d software is Maya, and I used Mari (non-commercial) for texturing, and redshift for rendering and photoshop.
Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?
Yi Sun: The difficulties I faced in this project is to create the realistic hand paint graphic of the Chinese porcelain, I tried to import vector into Photoshop apply filters but the result looks very fake, I tried to download watercolour brush for photoshop, but it doesn't look good either. Then I realized it’s not possible to create realistic paint mark on the computer, so I decided to create the texture physically with watercolour. I realized even though we had so many presets, filters and plugins to helps us create digital works, but they can never replace traditional mark making techniques, as a digital artist, I should always remember to respect the physical medium.
Fox Renderfarm: Anything else you would like to share with CG enthusiasts?
Yi Sun: I think CG is the best medium for self-expression, you can create almost anything and everything, that's why there are many things to learn, too many. I spent 5 years learning CG and I still feel that I know nothing about it, that's why I think we should always be humble to learn and we should try to use our cultural background as our advantage to develop our own unique style.
Fox Renderfarm: Yes, totally agree with you. I hope you can make more wonderful works in the future, and you will be an excellent CG artist. Thanks so much for your time.
More Yi Sun's artworks:
Three Academy Awards Winning Scientist Dr. Jos Stam’s Exclusive Interview with Fox Renderfarm
On May 19th, the provider Fox Renderfarm's CG Salon, The beauty of CG Technology was successfully held in Shenzhen. The event is co-organized with Shenzhen ACM SIGGRAPH and International Chinese Association of Computer-Human Interaction(ICACHI). Dr. Jos Stam, Dr. LiWei (Chair of ICACHI), and Mr. Jelo Wang (CEO of FACEGOOD) were invited to share their CG insights and experiences with the audience.
After the Salon, the Fox Renderfarm had an exclusive interview with Dr. Jos Stam, who has won three technical achievement awards, respectively in 2006, 2008 and 2019 from the Academy of Motion Picture Arts and Sciences. He has published groundbreaking research in computer graphics notably at SIGGRAPH. He also received top awards, the computer graphics achievement from SIGGRAPH in 2005.
Here is the interview of Dr. Jos Stam by .
Fox Renderfarm: As we know, this year you won your third Oscar at the Academy’s Scientific and Technical Awards. Can you share the feeling of winning the award?
Jos Stam: Very grateful, very happy of course, but I didn't quite expect it this year. This award is an upgrade from the award I got in 2006, so still surprised when I got the official email. Another Academy Award after the last one I got was 2008. It's been ten years after my last Academy Award. So it's pretty exciting.
Fox Renderfarm: This year, do you have any new plan or new target in the science of subdivision surfaces or other 3D graphics technical field?
Jos Stam: Well, I don't have any plans to work directly on subdivision, I might, but I like to work in different areas. I started to work on the subdivision work about twenty years ago. I'm sort of looking at artificial intelligence as well, not only how to apply to graphics or also how computer graphics can be applied to artificial intelligence. But in research, you can never really plan things. I usually work on many problems, some of them turn out to be effective and will get you a Technical Award. So who knows where this will lead? I can't really lay out what I'm going to work out, but hopefully cool stuff.
Fox Renderfarm: This time you come to Shenzhen, to meet and communicate with the young people who are interested in CG art, how do you feel about this? Can you give them some encouragements?
Jos Stam: I work a lot with young people and I find it’s very inspiring. And I think there's still a lot that can be done especially in Computer Graphics. And I've been in the field for thirty years and we went from pixelated games to highly photo-real games, it only in the span of thirty years. Who knows what's gonna happen in the next thirty years? And it's the young people who’re gonna make it happen, So it's really good to inspire them and not to discourage them. It's very important that they should follow their passion, don't give up and don't do it for the money. Of course, it helps, usually, these jobs are well paid, but they shouldn’t be the main factor. You should be very passionate about computer graphics, what it stands for, or other fields, you know. Like in my case, I’m sort of coming from an art background, mathematics and I like to code, so sort of perfect background for computer graphics. But you might come from another background as well, like from Biology or some of the passions for music. I know people come from music are drawn into computer graphics and coding. So, basically, don't discourage. And inspire young people. Not only in China but the rest of the world.
Fox Renderfarm: As you said in the previous interview, “If you’re an artist, you don’t care why the sky is blue. You just want to create a dramatic sky.” Creative ability is very important for artists, do you have any suggestions for young artists to enhance creativity?
Jos Stam: Usually people associate creativity with artists, but you can do math or code and be very creative. Creativity actually works if you have boundaries. And if there are no boundaries, creativity doesn't make any sense if you can just do anything. Of course, artists are supposed to be creative. But what I want to say is to everyone, try to be creative in your job. Even in your life, being creative and how to live your life, give some meaning to it.
（Paintings of Jos Stam）
Fox Renderfarm: Nowadays, Chinese CG industry is also developing rapidly and progressing continuously, will you have more co-operation with China in the future? What do you expect most about the cooperation?
Jos Stam: I think, it should be across the world, not just in China, me and everyone. It helps research that you can be open and free about problem discussion. So it’s sort of the beauty of mathematics. It is a single language. I can show an equation to a person in China, they will understand it, even if I don't know any Chinese. So an ideal world that anyone would be able to talk to anyone else openly and further technologies or science. Now I have to say about China, especially Shenzhen. Things are changing extremely rapidly and the city is growing incredibly fast. So I believe, to be in China, the time is pretty exciting.
Message from Dr. Jos Stam: Be yourself if you can. And be creative. Live your life to the fullest.
Fox Renderfarm Is Going To FMX 2019
Who is going to FMX 2019? Excited to meet you all and hear your projects’ latest development, the challenges part of the production and your favorite part. We would like to take this opportunity to share with you our new interface of , large file transfer solutions and our latest stories. See you guys from 30th April to 3rd May. Looking forward to meeting you at FMX 2019.
Please contact us for appointments
- William Zhao
- Business Director for European Market
- Director of Client Relations
- E-mail: gordon@foxrenderfarm**.com
Interview With Blow Studio, One Of The Animation Producers Of Netflix’s Love, Death & Robots
Love, Death & Robots, is an American adult animated anthology web television series on Netflix, consists of 18 stand-alone episodes, all under 20 minutes long and all produced by different casts and crews. Now, Fox Renderfarm is so happy to have an interview with Blow Studio, the animation producer of “Three Robots” in Netflix’s Love, Death & Robots, and honorable to provide services for “Three Robots”. Here is the interview regarding “Three Robots” between Blow Studio and Fox Renderfarm.
Fox Renderfarm: We noticed that you provide production services for commercials, TV shows, short films, and many other formats related to animation, so can you please give us a brief overview of Blow Studio?
Blow Studio: Blow Studio is an animation and VFX production company formed in 2011. We provide production services for commercials, series, short films, and many other formats related to animation. In addition, we are always looking for personal projects to push our limits.
We have worked on projects for brands such as: Netflix, Chanel, River Island, Johny Walker, MTV, Izze, Axe, Rdio, Sanex, Vimeo and others.
Fox Renderfarm: Which part is the most important in production of this project？
Blow Studio: All production stages are important. Every step must have an even quality so the final product is balanced. Considering the type of story, if we had to choose a fundamental area of this episode that required a greater effort from us, I think we would choose animation.
Fox Renderfarm: Can you share with us the challenges in the production of this short film?
Blow Studio: The animation was a challenge because we had to animate about 120 shots mixing styles. We had to invest a lot of effort in this area in order to take forward the project
Another challenge I would like to highlight is the making of a realistic talking cat. Modeling, shading, rig, animation, hair...everything required the highest quality to make this character credible. The cat was the most complicated character of this episode and we are very proud of the result.
Fox Renderfarm: How do you like this short film? Which part do you think is the most interesting?
Blow Studio: Three Robots is the most important project we have made at Blow Studio. We love the story, the tone and the visual design. If we had to choose one sequence, maybe it would be the abandoned house. It's a very funny part, with a delicious animation and hilarious lines. Also, here is when we meet the cat, a character that will be the key at the end of the story.
Fox Renderfarm: What do you think of Netflix's animated series Love, Death & Robots?
Blow Studio: We are fans of "Love, Death & Robots" and we are completely into adult animation. Before the series, back in 2017 we release a short film called "Alleycats", and it goes in the same tone of "Love, Death & Robots". This is a short film where we did what we wanted to: ninja cats slicing their heads through the alleys of the city with a dark vengeance background reflected in the story. So yes, this is the kind of things we love to do.
We needed someone to stand for this kind of animation, and Netflix did the bet. We just hope they continue investing in this type of content because it looks that it's something people was asking for.
Fox Renderfarm: Which episode do you like the most in season 1 of Love, Death & Robots? Why?
Blow Studio: All episodes have a very high level of quality and something to highlight, so it's very difficult to choose just one. But if we had to, we will surely choose "Three Robots" because making it was very satisfying and it is like our little baby.
Fox Renderfarm: Speaking of rendering, please tell us more about your overall experience with Fox Renderfarm?
Blow Studio: It was a pleasant surprise to work with Fox Renderfarm. We had to outsource some parts of the render in order to deliver on time and allowed us to meet our deadline. Sure we will work again with them if we need to.
Fox Renderfarm: In closing, is there any interesting behind scene story you would like to share with us?
Blow Studio: Thanks to 'Three Robots' now we are cat experts. We had to do a very laborious study of them to reach this quality, and we really don't know how much hours we had to spend watching references for animation, the hair, the anatomy, the behavior of the skin, etc.
And we just wanted to say that it has been an adventure and an honor to be part of the production team of this amazing project along with the best CG studios today.
Fox Renderfarm: Thank Blow Studio for taking time in this interview, looking forward to seeing more and more wonderful works produced by Blow Studio.
The Shipment Win Best VFX
Berlin Science-fiction film Festival is the first international festival of Science-fiction Film in Germany. It has shown about 200 independent films from over 30 countries in the past 2 years.
The 2018 Berlin Science-fiction Film festival vote has come to end of a phase, but much professional staff has anticipated the winner of the Berlin Science-fiction film. For the VFX and animation industry, the most concerned prize is the Best Visual Effects. Today let us share the film which has won the Best Visual Effects---The Shipment.
The Shipment has also been selected to Tribeca film festival which is ranked one of the top 10 film festivals in the world as well recently in New York. It is really proud to say that the render of this film is supported by Fox Renderfarm. Let us watch this film together.
- Name: The Shipment
- Country: Canada
- Language: English
- Release Date: 21 October 2018 (Australia)
- Also Known As: Cargo
- Filming Locations: Vancouver, British Columbia, Canada
The film tells the story about a widowed cargo hauler Aedin Katar and his young daughter Zohra.
Aedin Katar is an ex-slave trader struggles to live a reformed life as a lowly interplanetary cargo hauler. While transporting a shipment of alien livestock to a distant planet, their ship encounters a mechanical failure and must land at an old spaceport. Unable to afford the repairs to their ship, Stranded and broke, he faces his dark past and difficult ethical choices in a desperate attempt to provide a better life for his daughter.
Being a sci-fi film, The Shipment needs a tremendous amount of VFX and rendering. The film is entirely self financed by the director Bobby Bala, Who is also the CEO at Flying Car Productions, and it is over budget. Fox Renderfarm has provided rendering power with a significantly discounted rate for this film which is over 40,000 frames. Bobby mentioned in the interview that "Fox Renderfarm was critical to the success and completion of our film The Shipment. Their customer service was excellent and their services, we were grateful to find Fox which surpassed our expectations. Without their affordable rendering options, we would not have been able to complete our independent sci-fi film which has recently been chosen as an official selection at the prestigious Tribeca Film Festival in New York."
Here we also have an interview with Katapix Media which teamed up with Post-VFX to tackle the bulk of the Post production, Tasked with more than 390 shots for this film. Carlos Duque who is the Co-founder of Katapix Media tells us it was a Learning experience working on this project. They had short notice to put together a team and train some of the crew so they could be on par with the quality requirement, Bobby definitely has an eye for detail so they needed to beat his expectations.
Carlos also introduces some challenges of the production:
Our company (Katapix) is based in Medellin (Colombia), we’ve been in the industry for more than 15 years doing CG and VFX for tv and advertising, and started Katapix 5 years ago with a goal in mind, Feature films, The Shipment brings us closer to that goal, so this project was a welcome challenge. As every project it had its ups and downs but nevertheless was super fun and now that we see the results and all the selections and awards it’s getting, you realize it was all worth it!!
One of our biggest concerns was rendering times, since we are a small company and we knew this was going to be super render intensive, so we looked for a reliable , because their price/benefit are more important, their staff was there for us 24/7 not via email or forums, we actually had direct contact with our account manager and a group of TD’s willing to help us regardless of the hour. It was an overall great experience to work with them and we still use Fox Renderfarm as our sole render solution.
The Shipment has brought home the award for Best Visual FX from Berlin Sci-Fi Film Festival and thrilled to be a Tribeca 2019 Official Selection! At the same time, it is also Honoured to be an official selection of Idyllwild International Festival Of Cinema, Irvine International Film Festival, Fantasporto - Porto International Film Festival, Bermuda International Film Festival, The European Independent Film Festival & Irvine International Film Festival, Miami Sci-Fi Film Festival, and so on. Looking forward to its release in China.
“Upin & Ipin: Keris Siamang Tunggal” Rendered With Fox Renderfarm
“Upin & Ipin: Keris Siamang Tunggal”, produced by Les’ Copaque Production Sdn. Bhd. has been on screen in Malaysia on 21st March 2019. This film was rendered by Fox Renderfarm.
This is a 100-minute feature film of adventure, family and fantasy genre, with a very interesting story. The details of the movie are as follows.
“Upin & Ipin: Keris Siamang Tunggal” is Les’ Copaque Production Sdn. Bhd.’s third feature film.
Les’ Copaque Production Sdn. Bhd. was established in December 2005 to spearhead Malaysia’s animation industry and specialize in producing high-quality 3D animation and IP production.
Les’ Copaque Production has spent five years producing their second full-length 3D animated movie “Upin & Ipin: Keris Siamang Tunggal”.
Before this feature film, “Upin & Ipin” is the longest-running Malaysian animated series and the most popular IP in South Asia with over 12 million audience on Facebook. The series is currently on its 13th season in production.
This new adventure film tells of the adorable twin brothers Upin and Ipin together with their friends Ehsan, Fizi, Mail, Jarjit, Mei Mei, and Susanti, and their quest to save a fantastical kingdom of Inderaloka from the evil Raja Bersiong. It all begins when Upin, Ipin, and their friends stumble upon a mystical kris that leads them straight into the kingdom. While trying to find their way back home, they are suddenly burdened with the task of restoring the kingdom back to its former glory. With help from Mat Jenin and Belalang, Upin, Ipin and their friends must overcome a series of challenging obstacles in this action-packed, magical and humorous adventure film produced by Les’ Copaque Production Sdn. Bhd.
“Upin & Ipin: Keris Siamang Tunggal” is the most expensive movie in Malaysia, costing an estimate of 20 million ringgit (around US$4.92 million). The movie is 100 minutes in duration and took a production team of 140, including 12 lighting and rendering artists, and 5 years to complete.
Over 50 different species of animals were created. It is also the first time Les’ Copaque Production has had hair groomed for over 70 rigged characters. There were a lot of technical challenges that the production team has to overcome. For example, one dancing shot has a crowd of 120 characters at once, with some heavy shots that have more than 180 rendered layers, etc.
During 5-year long production, the team has had three major upgrades in regards to their hardware and software in order to deliver the complexity of the film. The longest shot in this film has 722 frames and it took 100 rendering nodes and 2 months.
As a leading provider, Fox Renderfarm’s reliable and high-efficient service helps Les’ Copaque Production in its support of the 3D feature film “Upin & Ipin: Keris Siamang Tunggal”.
The technical team of Les’ Copaque Production greatly praises the high-quality rendering service. They said: “We are very satisfied with Fox Renderfarm’s 24/7 real-time technical support, reliable download and upload speed, the user friendly webpage interface, and very simple desktop client app for our alternative option. For example, we have some frames that took 3 days to render locally, and after we submitted to Fox Renderfarm’s , it was completed in 2 hours, which greatly saved our time and budget. More importantly, the reliable and quality rendering also guarantees the quality of this film.”
“We use this mentality to the way we do our work, in giving our best in creating our own Intellectual Property (IP) with the highest quality possible.” This is the Mission of Les’ Copaque Production Sdn. Bhd.
Personally, I really like this mission statement. We look forward to the release of “Upin & Ipin: Keris Siamang Tunggal” in China and more countries in the world. It is our hope that the “Upin & Ipin” series will bring joy to more and more people, they will understand and enjoy the culture of Malaysia, and we expect nothing less than excellent work coming from Les' Copaque Production Sdn. Bhd. in the future.
With Fox Renderfarm To See The Production of Boonie Bears: Blast into the Past
Boonie Bears: Blast into the Past, produced by Fantawild Animation Inc., has been officially released in February’s Chinese New Year peak period, and currently has more than 500 million box office. The six feature films of "Boonie Bears" have more than 2.5 billion box office, which is called the classic of Chinese animation IP.
With someone who wants to protect, you will become a real warrior.
Boonie Bears: Blast into the Past tells the story of the Logger Vick, Briar and Bramble, crossing to 30,000 years ago by accident. They met the "coward" little wolf female Feifei, experienced a series of adventures, and finally helped Feifei to know herself and find courage. This conveys: When you have someone you want to guard, you will become the real warrior.
According to director Huida Lin, every movie in the Boonie Bears series will show elements such as childishness and wonders, and convey the friendship, affection, love and other emotional concepts through the role, which is close to real life and also serves as a cut-in Point, expand the theme of the film, this is one of the fundamentals of their guarantee of the vitality of the series.
"We hope that the new work will make everyone feel the realities of the original era (such as mammoths, sabre-toothed tigers, rhinos running all over the place, etc.), and can see some new and interesting things different from the past. Through the re-processing of realistic elements and Fiction, to achieve a refreshing effect."
Creativity drives technology, also the challenge and development
In order to ensure the vitality of the series of films, the Fantawild production team has made great efforts in terms of pre-production, production technology and post-performance. With the technical accumulation of the first five works, Boonie Bears: Blast into the Past can be said to have achieved a qualitative leap. What specific breakthroughs in production? Let us find out~
Interlaced picture Compared with the previous works, this year's works have greatly improved in light and shadow processing. In the early stage of production, the team has already had a deep understanding of the style and positioning of the film and improved the production skills through special training. Finally, a set of light and shadow synthesis methods was summarized for the style of the film. The team adopted the latest version of Arnold, which has a great improvement in efficiency and effect rendering. The fully automated ABC process, the ABC file generated by the lighting link can be automatically completed using the background tool to improve the efficiency of file creation and compress the rendering cost. By introducing a new lighting LightGroup layering scheme, you can output key channels such as Key_light, Filt_light, Back_light, and Fog_light, and the composition can bring out more delicate images.
Scene stereo effect
In terms of character effects and scene effects, the production team also conducted an in-depth study and research on Yeti and Houdini. Boonie Bears: Blast into the Past uses Redshift renderer instead of Arnold to render crystal effects in some scenes. It gets rid of the slow rendering problem in the past; the panoramic lighting effect is used in lighting products, which greatly restores the real environment lighting; The painting scene adopts the method of two to three, and the layered patch is made in Maya for the mid-range, especially in the three-dimensional sense.
Massive hair making
Hair styling has always been a problem in cartoon production. This year, Boonie Bears: Blast into the Past has a large number of animals, especially dozens of hundreds of wolves, as well as a variety of animal supporting hair, the production team can only It is difficult to "up". First of all, the use of the plug-in has been updated. Arnold 5's aistandardhair has better support for the texture of the hair. Secondly, they found many reference videos and pictures before production. By observing many animals as a reference, the hair is sorted out. Expressions in the environment and state. According to the project requirements, the dynamic assets of the available Yeti system and the Nhair system were used for hair dynamics calculation in the lens. They are only the main characters of the little wolf female Feifei and the wolf king's hair, they have produced more than a dozen versions, through continuous testing, to achieve the final film effect.
Role demeanour and action
Before the film production, the production team practised and copied the four-footed movements and performances that may appear in the film, looked for reference materials, and conducted an in-depth analysis of the animal's characteristics. The quality of the character binding is very important for the animation performance, so they developed a binding system for the quadruped, which not only improves the efficiency of the animation but also greatly enhances the effect rendering.
Boonie Bears: Blast into the Past production director Qiang Wang told us: “When the team gets the whole paragraph, it will first start the analysis of the character's emotions, look for similar characters for reference, and take real-time assistance in the part that can be taken. In many real shots, the acting performances are extracted, and then detailed to the specific lens to strictly control each link, so that the animation is more refined, more realistic and vivid."
Big scene production: small agent synthesis big agent
One of the headaches in the production of scenes is the production of forest plants of various shapes. In order to avoid the confusion of the picture, they rely on more reference, more understanding of the sense of line, more art communication, etc., repeatedly tried several combinations, and finally solved the problem of level confusion. Secondly, the terrain is complex, and how to embody the ground details also increases the difficulty of production. They use 4-8k scan textures, and after vector replacement, the ground details are more realistic than ever. The third is that in the overall big scene production, the amount of proxy files is too large, the files often crash, and later, by integrating small agents into large agents, the problem of crashes is greatly reduced.
In-depth study and team break-in to prepare for qualitative change
1.In-depth study, learning to use
Yanjuan Liu, executive vice president of Fantawild said, “The team is closely following the market technology front in production, in-depth study and research on new technology application and process management, to solve technical problems and promote technology improvement. It has also adopted project management. An advanced production management system to protect the project."
2.Team tacit understanding is very important
First, the asset management and division of labour between regions, Boonie Bears: Blast into the Past is produced by the teams of four bases in Wuhu, Beijing, Shenzhen and Xiamen. In collaboration, it is more in production and asset management. Shenzhen is a production centre, distributing and controlling the project as a whole, and doing a good job in the middle of the production of the film; using the special line to synchronize assets between the four places, unified audit results. The second is the synergy between the creative department and the production department. With the six years of running-in and technology accumulation, the entire team has reached a good understanding.
Large scene rendering requires a huge amount of computational support There are many large scenes such as volcanic eruptions in the film. The rendering of this part is very demanding on the amount of computer calculation. How does the team allocate the internal and external farms reasonably?
Production director Qiang Wang introduced: "There are also rendering machines inside the company. Before the scene is rendered, the technicians will avoid the repeated submission and rendering invalidation by splitting and assembling the rendering task. When the internal can't meet a large number of rendering requirements, we part of the rendering task will be submitted to Fox Renderfarm, maximizing the use of rendering resources to ensure completion in the cycle. Fox Renderfarm can provide a large number of rendering clusters, ready to provision nodes, and provide timely technical support to complete project rendering on time made a good guarantee." Looking back and looking forward, there are challenges to improve Joyful and exciting journey, an immersive audiovisual experience, fascinating production details, with the accumulation of the first six works, Boonie Bears: Blast into the Past quality upgrade, team in project process management, role modeling, big scene There is a qualitative leap in long-lens production, animated emotional performance, and colour effects.
In addition to a qualitative leap in production, Boonie Bears: Blast into the Past also created a lot of surprises for the audience in the role dubbing, character image.
Interview With Mohit Sanchaniya, The 1st Winner In Evermotion Challenge 2018
Evermotion Challenge 2018
First of all, congratulations to Mohit Sanchaniya to win the 1st place in Evermotion Challenge 2018, which also sponsored by Fox Renderfarm, we just have an interview with Mohit, thanks so much for Mohit to spend his time in doing this interview, now, let’s know more about this good CG artist.
Fox Renderfarm: Hi Mohit, would you please give a brief introduction about yourself?
Mohit Sanchaniya: I am Mohit Sanchaniya, living in Stockholm, but i origin from Bengaluru, India. Academically I have graduated in Civil architecture, which during my college days I found the arch vis industry had a keen in making 3d stuff where I found my passion, then turned into a full-time profession. I am a self-taught CG artist and creative specialist. It has been a great journey even after having less exposure in India as it is still initial stages of CGI industry in archives growing in India.
Fox Renderfarm: So, are you currently working as a CG artist?
Mohit Sanchaniya: Yep I am working as Visual Designer at the TMRW studio in Stockholm, Sweden.
Fox Renderfarm: Great! How did you make the decision to step into the CG industry?
Mohit Sanchaniya: It started out all suddenly from an amazing movie transformer which I was watching in 2014, which literally amazed how the character was bought to life and so realistic. This inspired me to get into 3D that when I started out learning tools which I initially started with learning Maya and later moved to 3Ds Max, focus more on architecture.
Fox Renderfarm: It was a really good experience that leads you into the CG industry. Now, did you still remember your first CG work, how does it look like?
Mohit Sanchaniya: I still remember my first work it was super fine those days, but bad when compared now. but that result is still embedded my nerves to push furthermore.
Fox Renderfarm: How did you know the Evermotion Challenge?
Mohit Sanchaniya: I have been following Evermotion as well using their model from a long time, which I have known that they organize the challenge every year in the winter. so I followed up them in facebook that had a post up for Evermotion Challenge 2018 which excited me to check the topic a day in a city ´this brought a lot of interest to participate in the challenge.
Fox Renderfarm: What inspired you to come out the idea of making the work Misty Chicago?
Mohit Sanchaniya: It was the challenge and skills that brought out the Idea, as I always looks for a challenge in projects, So it had been a long time I had made a big cityscape with all the details, modelling etc. so then as told I saw up the Evermotion Challenge topic A day in the City´ this definitely pushed me in doing it. so I took almost 2 weeks to complete the project from scratch to the final art. I have always been making images in a different style and moddy, rather than making it a typical archviz images which I find almost every day. I started out looking for a reference in the Pinterest, Instagram, Flickr etc to find the perfect reference with had to balance of composition, lighting, colour scheme and details in it. Unfortunately, I couldn't find any so had to create out using the photo-bashing technique using photoshop. I had almost made 10-15 sketches of this topic in a different style, composition. This idea of the process involving so many different creative aspects and decision inspired me to create the work Misty Chicago.
Fox Renderfarm: What software, renderers, plugins you used in this work?
Mohit Sanchaniya: I used Autodesk 3Ds Max, Chaos Group V-Ray, Forest pack, Rail Clone, Substance Designer and Adobe Photoshop.
Fox Renderfarm: Did you meet any difficulties when creating this work? If yes, how did you solve it?
Mohit Sanchaniya: I had difficulty in the balancing and optimizing the scene in terms of details as well polycount. I had started out with the modelling the scene all from scratch taking out the reference from the google maps and google street view which was super helpful, then as the modeling in the scene was coming to end, the scene had become so heavy and difficult in managing of the props, architecture, street details etc. I converted all the heavy objects into Xref. removing the unwanted poly like the LOD - level of details which took me 2 hours to clean up and optimize the scene to flow. I figured out some models had unwanted polycount and Vray displacement MOD in it which I had to eradicate as they weren't that close or necessary to the scene, it was playing smart and optimized helped to get through the problem.
Fox Renderfarm: Did you use Fox Renderfarm service previously? If yes, would you share your ideas about us?
Mohit Sanchaniya: No, I haven't used the Fox Renderfarm service, but I am definitely looking forward to utilizing the Fox Renderfarm in future projects.
Fox Renderfarm: Thank you, hope our can make your works more and more wonderful and satisfy you. Anything else you would like to share with us?
Mohit Sanchaniya: I think it was a great opportunity in participating in the Evermotion Challenge - 2018, it pushed me and learnt so many stuff during this project. I would like to tell everyone to participate or work more in making something different and creative apart from the work routine it will definitely make you more creative and understanding when it comes to the complex projects and scene.
Also, check out my work at
Interview With Morrigan Flebotte, The 1st Winner In 3D Category Of Renderosity 2018 Holiday Contest
Last week, we had a chance to have an interview with Morrigan, the 1st place in 3D Category of 2018 Holiday Contest on Renderosity, which is sponsored by Fox Renderfarm, here is the detailed content as below.
Fox Renderfarm: Hi Morrigan, would you please give a brief introduction about yourself?
Morrigan Flebotte: I am a middle-aged mother of four school-age children living in the countryside of Alberta, Canada. Which, I suppose, shows that art can pop up just about anywhere!
Fox Renderfarm: So pride of you, are you currently working as a CG artist?
Morrigan Flebotte: No, I am a hobbyist. I have a part-time job as a bank teller, but CG art is my current creative escape, along with writing. It would be amazing if this was a job; there aren’t many around here!
Fox Renderfarm: How did you make the decision to step into the CG industry?
Morrigan Flebotte: A friend I write with said to me, “Hey, there is this program called Daz – you can make 3D art, and it’s free!” I liked the idea, because children couldn’t tip it, spill it, or rip it, and it didn’t take up much room.
Fox Renderfarm: Thanks your friend to bring you into the CG world. Did you still remember your first CG work, how does it look like?
Morrigan Flebotte: It wasn’t too bad, actually – I think if it had been really terrible, I might have been discouraged. I am always tempted to go back and ‘fix’ things once I have learned a new technique.
Fox Renderfarm: Great! How did you know the Renderosity 3D contest?
Morrigan Flebotte: Renderosity is where I put most of my art up for comments, and I like to shop there. It has a friendly, comfortable feel to the website, so I sort of settled in. I won the Christmas Contest last year... I wanted to see if it was possible to win again.
Fox Renderfarm: Wish you win it again! What inspired you to come out the idea of making most of your works?
Morrigan Flebotte: I like to tell stories, and so most of my pictures are simply a piece of the story I wanted to tell, to evoke a specific idea or feeling.
Fox Renderfarm: This is a good habit. What's your favourite 3d software, renderers, plugins? Why?
Morrigan Flebotte: I use Daz3D because it was free, which made it accessible to someone with no background in 3D graphics. I use the 3Delight renderer because I appreciate the control of lights, and because the results have a more painterly quality. I have tried reality-based renderers, and I find them very technical and cumbersome to use. Also, I don’t want to make a poor imitation of reality.
Fox Renderfarm: Did you participate in any other CG competition besides Renderosity Contest?
Morrigan Flebotte: I have participated in a few previous Renderosity Contests (Hallowe’en one year, and a Beauty Show styled one), and I have won 3 of them (Christmas 2017 and 2018, and the Valentine’s Day 2018). The Valentine’s Day one was funny – I entered just because I wanted to win a t-shirt!
Fox Renderfarm: Really Cool! Would you please share your ideas for winning the 1st place in the 2018 Holiday Contest on Renderosity?
Morrigan Flebotte: I’m sorry – do you mean how do I feel about winning, or about the picture? I was very excited to win – my husband saw the notice first, but didn’t tell me.
Fox Renderfarm: Anything else you would like to add or say?
Morrigan Flebotte: This is the most I’ve talked about myself in years, I would like to say I am very grateful that Renderosity has provided not just a store, but a platform for 3D artists. The contests have encouraged me a great deal, and having access to new services and software will hopefully aid me in growing my skills.
Fox Renderfarm: Yes, Renderosity is really a good platform, as the leading in the CG industry, Fox Renderfarm is highly appreciated in sponsor these platforms, hope it to help more and more persons to like CG industry, thanks for your time.
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