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    How to Create an Allegorical Representation of the Birth of Cinema in an Animated Short



    Fox Renderfarm Interview

    When the Seven Arts meet in a forest, what will be born of their encounter? An Italian animated short film, Le Rendez-Vous des Arts, shows us such a wonderful story full of artistic imagination, which is an allegorical representation of the birth of Cinema.

    The animated short film is directed by Walter Rastelli, a filmmaker who personally took care of the character modeling, texturing, lighting, rendering and final compositing in the project. As a freelancer artist, Walter has joined the GoCreation Program, a program provided by Fox Renderfarm to empower CG freelancers to focus more on creation, and enjoy cloud rendering privileges including rendering for up to 30% off their bills and earning up to $2,000 render coupon.

    Click here and learn more about GoCreation Program

    Scheduled to be released in 2021, the project was inspired by a word Walter accidentally heard in a sleepy class——Le Rendez-Vous des Arts (The Meeting of the Arts), which reminded him of a story about all the arts meeting and creating cinema.

    “For a long time I suffered from stuttering, and using photography before and cinema afterwards to express myself was the most important thing in my life. I owe a lot to these two arts, and this short film is my homage to them.” according to Walter.

    The character concepts for seven arts were realized in 2014 by Andrea Boatta, and the character ‘Cinema’ concept was realized this year by Simona Falzarano. We are honored to interview Walter, the Director, who gave us a detailed project introduction.


    The History of Art is based on the evolution of painting. How is it possible to enclose painting in a single character? The answer is simple: you can't. You have to make a choice.

    So Walter chose for pure personal taste: Expressionism. Vivid, bright, strong, contrasted colors. The character Painting is very lively, and so had to be the starting style. It occurs to him that her colors perfectly match Franz Marc's Blue Horse, one of the main exponents of the Expressionist movement Der Blaue Reiter (The Blue Rider).


    Based on the feeling of "non-inclusion", character Photography had to be a "black and white" character - not literally, but only on a palette level. In order to emphasize his detachment from other arts, much more colorful, he had to wear a simple black t-shirt and gray pants.

    At first his eyes were supposed to be black instead of white, just to simulate the photographic lens, but that would have been too dark. Walter emphasized that the eyes of the characters had to be white and bright, without pupils, because they are not real people, but ideas, entities, a sort of spirits, so their eyes had to radiate the light of creativity.


    Character Architecture is more sharp-edged than the others, his chin is slightly pointed and even his movements are less fluid than the others. He is a very serious and rational art, which is why he has a slightly more grumpy character - of our Seven Dwarfs, he is Grumpy indeed - with a slightly older appearance.

    The characters allowed the artist not only to characterize each character with a complete and personal palette (giving them "classic" colors killed all the vivacity of the short) but also to allow a better detachment from the completely orange background.

    Music & Dance

    Characters Music and Dance are a nice couple. Music is inspired by the great classical composers, mainly Mozart and Beethoven: he has the joy and liveliness of the former and the aggressiveness of the latter. At the beginning his hair was more rounded, similar to an eighteenth century wig, but while modelling, Walter chose a slightly more rock look, to create a little contrast between classical and modern hair too.

    Character Dance at first had to look like a ballet dancer, with a white dress, pink skirt and gathered blonde hair. But the team was looking for something more lively and varied, so Andrea relied on Brazilian dancers, while trying to keep the look simple and clean.

    Walter admitted that these two are his favourites of the whole short!


    For character Sculpture, the team chose a Greek-style. Slightly squared nose like Disney's Hercules, well outlined muscles and a dry physique. The biggest characterization with him was in the animation phase: Walter wanted a slightly more "silly" character, to make him more likable too.


    Character Literature is a completely Italian character guided by Beatrice, Laura and Fiammetta. The style of Literature is celestial and angelic, very light and candid, with a long light blue, almost white dress, long gold-coloured hair and a laurel wreath that distinguished the poets and authors at the time.


    Character Cinema, given by a small push of Italian patriotism, the team chose Federico Fellini, a director who has made the history of international cinema. At that point, the solution was simple: red scarf.

    Walter also introduced that every character has a little "power" or characterization: Painting colors everything with a simple touch, Photography takes a picture every time he blinks, Architecture can make complex construction projects, Music can play any instrument, Dance does not stand still, Literature is a factory of ideas and Sculpture molds anything with his hands. There are more stories, please find out in the movie!

    Currently, the team has reached the final phase of the animation project, the rendering phase. According to the project plan, the short should be ready for the first quarter of 2021 and plan to attend many festivals! The team now is seeking funding to finalised the project and once the fund is raised, 20% of it would be donated to the non-profit organization Stand For Trees, which is working to safeguard the natural areas at risk of the planet, such as the Amazon, Congo, Kenya, several areas of South America and more.

    If you like the story and wish to help our little planet, you can click here and support the project!

    Here’s the interview between Walter Rastelli and Fox Renderfarm, where you could know more about him and his project.

    Fox Renderfarm:Hi Walter! Could you give us a brief introduction about yourself and your team?

    Walter: Ciao! My name is Walter and I write to you from Italy, the country where I was born and raised. I studied for a long time film direction, direction of photography and editing, in various schools and universities between Rome and Naples. I am currently graduating in Film Direction at the Academy of Fine Arts in Naples.

    I've always had a passion for animation and for the expressive potential that the medium offers and, after a Autodesk certified course about Maya, I started working on this short film - although the idea was born in 2013, but we will discuss it later.

    I spent several months modeling and texturing the characters and studying every single shot. Unfortunately (and luckily) it's impossible to make any film product on your own, so I used Artella, a website (now closed, open only for companies) where you could post your projects and look for collaborators.

    Thanks to this site I was able to create a team of experienced artists and exceptional people. As I said, the idea came to me in 2013 and I had already worked on it for a while, but thanks to them I had the chance to "start over", I saw some things in a different light, we improved some steps and a lot of ideas were born. I love it when projects are alive, where the exchange and comparison of ideas allows the project to grow and evolve. I talked not only with animators, but also with riggers and concept artists, and together we created something that was only hinted at at first. Now it is well defined and I think I will thank every single person in this team forever.

    Fox Renderfarm:About the movie’s name Le Rendez-Vous Des Arts, any idea behind that?

    Walter: It all started out as a coincidence during a lecture at the university. But it was difficult to create a story based only on these words! Especially because it had to be told in absolute silence, without words. Everyone has to understand it: from the inhabitants of my town in the province of Naples to the ice deserts populated by penguins in Antarctica. Cinema is just that: narration through images. I don't want to put words into it that have to be translated to be understood. Images must speak for themselves. I tried to think only through images and the first one that came to my mind was a forest (I love woods and forests, so they are always the first thing I think about, I must admit). So I followed my instincts. "Okay, we have a forest, now let's populate it." And here was the hard part. I had to create a story that would unite all the arts, but also create conflict. Since I've always been a bit of an outsider and my pronunciation problem has always excluded me from others, I took my cue from this to create the character of Photography and use him as the central pivot of the story: as historically it happened, he was excluded from others, he was not considered a real art and he did everything he could to be accepted. From here I started to build: the first confrontation he has is with Painting, so the two of them are the first characters that appear. Then came Architecture, Music, etc... From here on I really had to think in actions and images: every gesture, every movement, every change of shot carried the story forward and so, instead of a screenplay, in the end I had a long shot list in my hands.

    Fox Renderfarm:Could you tell us about your CG pipeline?

    Walter: The pipeline we used is basically the same as any animation project. Once the story was ready, I contacted a friend of mine, Andrea Boatta, who is a very good character and concept artist, and asked her to make the concepts for the characters. In the meantime I made a storyboard.

    So far, it's all very simple. After that, I made the character models by myself, including textures, cloth dynamics and hair. I mainly do texture painting with Substance and lighting, as these are the things that come closest to my studies in the direction of photography, but these characters are quite simple - and the concepts were really very detailed - so I did it all by myself. Immediately afterwards I created a very rough editing using storyboards and we used this as the basis for the animatic. The animatic was a simple base to start from rather than a real guideline to follow.

    As I said, I like it when projects are alive, so when we realized we needed more time for a gesture or a whole shot, we had no problem changing and adjusting. That's also the beauty of independent projects, you have much more freedom. However, as the character rigs were made, I took care of the layouts. At the same time with the concept artists we were discussing the shape of the place and the forest, designing the environments such as the tree house and the stage.

    Stage concept created by Shana Pagano

    Once the concepts were ready, I made the models, put them in the layouts and sent them to the animators. Each shot had a different degree of difficulty, so we started with the simplest ones - also because this is a project carried out by freelance volunteers, many of them recently graduated from animation schools, so it was also a way to test ourselves by increasing the level as we went along.

    Since we are all people from opposite parts of the world (Italy, Indonesia, Mexico, Canada, Romania, Pakistan, etc.) we used Slack to keep in touch and SyncSketch to review the shots. Every time a shot was ready, I took care of the environment, using Quixel Megascan libraries. Once this was done, I moved on to the lighting and rendering of the shorter and simpler shots. The compositing was done with Adobe After Effects and the editing with Adobe Premiere Pro.

    I have to say that this was my first time ever to work with so many people from so many different places. For a few months I reversed my sleep cycle so that I could be available even when it was nighttime at my place. But it was beautiful. Exhausting, but beautiful. I felt really alive. It must also be said that this project started right at the same time as the Covid emergency, that is still afflicting the world. The lock-downs have been very hard for all of us, but this project has allowed us to dedicate ourselves to something, even a little bit of distraction and to move forward in such a difficult period.

    Fox Renderfarm:The movie has the stop-motion style, why do you choose this style and how do you create the effect of it?

    Walter: The stop-motion is fundamental for this short. In the beginning it was my intention to make it just like this, with puppets. But it was a waste of money and energy too big to do it alone, I didn't have the chance to create a team and... And the puppets I made were more creepy than Tim Burton's. That's why I've had this project on hold for six years. But I wanted to leave it even now that I'm making it in CGI, because it's the basis of the meaning of the short itself: 24 photographs per second that create cinema (literally).

    Making it in CGI was not difficult. We based it on the Spiderverse, so animating it in 2s, so one keyframe every two frames instead of every single one. The problem was the camera movements which, to remain fluid, have to be in 1s. Luckily one of the animators advised me to use a free script, PrattBros Screen Spacer, which allowed us to avoid the flickers in the camera - as it's obviously an effect created with characters moving every two frames while the camera every single one.

    Fox Renderfarm:Did you meet any difficulties when creating the film? And how did you solve it?

    Walter: Difficulties and unforeseen events are always the order of the day. Each shot has a different one. They can be technical difficulties related to an incorrect rig, or narrative problems related to a sequence or a single shot - the first shot we animated, I remember, seemed very simple, it was Photography coming out shyly from behind a tree, but reproducing shyness with a very limited range of expressions took us several days!

    One of the biggest problems I faced were the hair and veil simulations of Dance and Literature. About the hair, my PC is not performing enough to process the simulations with xGen, so I had to find another solution: I converted the hair into polygonal meshes and "animated" them using non-linear deformers. It’s a very unorthodox solution, I know, but it was the fastest and most efficient one I could think of. For the veils it's much more difficult. I had to use Maya's nCloth simulations here, but the simulations work in 1s, not 2s. Rigging clothes and animating them by hand would have been hell. Difficult problem, easy (but a bit boring) solution: I run the simulations on spline animations, before they are converted to 2s, I export them in Alembic format, and import them in the scene in 2s, moving the offset of 0 and 1 each frame.

    Probably some people who are reading this will be rolling around laughing at these solutions, but they work and that's what really matters!

    You never stop learning, and I still have a lot to learn along the way!

    Fox Renderfarm:As a filmmaker, when and how did you encounter CG and decide to enter this industry?

    Walter: It's a passion that I've always had, since I was a child, but that I've rediscovered in recent years. I grew up with Disney movies and the first time I used 3D Studio Max I was 9 years old. When I was 13, I made my first short film in 3D. It was the story of a superhero sandwich... When I think about it, I'm moved by it, it has a great friendship value. But that's another story. The fact is, animation has always meant a lot to me. I'm also a fan of new technologies, so every time an update or a new technique comes out, I immediately run to inform myself. Animation is a very strong expressive medium, which allows you to go beyond the "simple" image shot. There are stories that have to be told through it. Take this short film, for example. Made in live action it would be grotesque, if not even ridiculous, but through animation it acquires a much greater strength. Obviously it's a speech that also applies in reverse. Lord of the Rings in animation? No, it wasn't a great idea…

    In Italy, animation is something almost unknown. There are several studios, but mainly for children's television products or commercials. Italian animated films are only starting to arrive at the cinema in recent years (although in the past there have been some very important examples, such as "Totò Sapore and the magical story of Pizza", but I think we Italians have a long way to go. The cinema industry here is a bit stuck, the novelties are seen with doubts... But that's another story too.

    Lenore © Walter Rastelli

    Fox Renderfarm:How do you feel about Fox Renderfarm’s cloud rendering services?

    Walter: I had the opportunity to use it for a small project in the past and to have it by my side for this short film fills me with joy.

    I'm not only talking about price-quality ratio, but also about the professionalism of the team and the help they decided to give me for this project - and this interview is the proof! I have already done some test shots: the result was perfect and the timing extremely fast! It was my first choice right from the start.

    I would like to point out not only the quality of the service itself, but the kindness and availability of the people behind the Fox Renderfarm. The human relationship is something fundamental, especially when it comes to cinema. When I had problems with frames, they helped me with kindness and speed. You can't find something like that anywhere else.

    Fox Renderfarm:Any other things you want to share with the CG enthusiasts and the audience who supports you?

    Walter: Well, as far as the project goes, I have one last thing to say. This autumn a fundraising campaign will be launched to support some of the project's expenses, like software and whatnot. But there is one very important thing. The fact that the whole short takes place in a forest is crucial. Nature is the first real art. And, lately, Nature hasn't been doing very well, to put it mildly... Deforestation, fire, climate change... How can we fight that? I found a big help in Stand For Trees, a non-profit organization that deals with the protection of forests and natural areas at risk. I talked to them about my project and they decided to support it. I really want to help the Planet, that's why a part of the fundraising will be donated to them for charity, to allow the safety of many areas of our home.

    I started this process with few means, but a lot of willpower. If you care about something, a project or an idea, don't stop. Never. Always carry it on. There will be periods - even long ones - in which it will remain still, but don't abandon it. Persevere. Create. Persevere in creating. Create relationships and unions. Put yourselves on the line. Let ideas guide you and believe blindly in them.

    You can follow the project on our Facebook and Instagram socials. I renew my warmest regards.


    Fox Renderfarm sincerely calls on everyone to support this wonderful project by clicking here. Your support means a lot!

    How to Create a CG Scene in Norman Rockwell Style in Blender



    Art Competitions

    Heroes are Everywhere © Akhil Alukkaran

    FGT3D “Hero” challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, was started in June and sponsored by our awesome sponsors, including TopoGun, Friendly Shade, Graswald, Raysync, ProductionCrate,, Texturebox and Marmoset. In September, twelve finalists were received votes by our jury and three winners were picked! Thank everyone for participating!

    And the first place winner is Akhil Alukkaran. Congratulations! His artwork, Heroes are Everywhere stands out for its strong composition and amazing storytelling, conveying the concept of what makes a hero in one of the purest forms.

    Fox Renderfarm is so glad to have an interview with Akhil. What’s the story behind while creating this artwork? Let’s figure it out together!

    • Akhil Alukkaran
    • 3D Artist
    • From: Kerala, India
    • Artwork Caption: “What makes a hero? It doesn't always have to be something great, even a small act of kindness can also be considered heroic, even if it is just a good thought it shows that there is a hero in you. Heroes are everywhere, you just have to look closer.”

    Fox Renderfarm: Hi, Akhil! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?

    Akhil: I am really glad to have the opportunity given by Fox Renderfarm to share my experience, approach and vision with the making of ‘Heroes are everywhere’.

    Well... to start with, my name is Akhil. I am 25 years old and I am from Kerala, India. I am a freelance 3d artist and soon to be an Architecture graduate. It's been two years since I started working with 3d and I'm still trying to improve and learn. I used to work with sketchup and V ray, mostly Archviz. Recently I also included Blender in my workflow.

    Fox Renderfarm: Congratulations on winning 1st place in the FGT3D Hero Challenge, how do you feel about that?

    Akhil: Thank you. Actually it felt good. I was looking for opportunities to do something nice, that's when I got to know about this particular challenge, so I thought of participating. However I wasn't sure about winning this one. My knowledge was limited, so if i needed to do something great I had to learn so many things. This taught me so many things and inspired me as well.

    Fox Renderfarm: How long did you take to finish the work?

    Akhil: I took about a month and half to finish this work. I had other things to do as well so I worked whenever I got time. This work needed a lot of patience, since I was doing most of the process for the first time. But I managed to get inspiration from my friends.

    Fox Renderfarm: What software and plugins did you use to finish the artwork, Heroes are everywhere?

    Akhil: Most of the work was done in Blender, and also used photoshop for post processing. Also used ‘F spy’ addon for camera matching in the beginning stage. For the character creation I used reality capture and meshroom.

    Fox Renderfarm: This artwork conveys the concept of what makes a hero in one of the purest forms. What’s the inspiration behind?

    Akhil: When I got to know the Theme was ‘Hero’ I thought of so many things to work with. Every concept that i came up with was about doing something great and epic. Somehow I ‘wondered what makes a hero?’ Is it just about doing something great or doing something humanly impossible? We also do have a lot of real life heroes, however in the end I decided to look at it in a different perspective. That's when I decided to do something subtle but have a good story inside it and I wrote like this.

    “What makes a hero? It doesn't always have to be something great, even a small act of kindness can also be considered heroic, even if it is just a good thought it shows that there is a hero in you. Heroes are everywhere, you just have to look closer.”

    I was not confident about the concept in the beginning, but now it seems right for me.

    Fox Renderfarm: The amazing work has strong composition, and lovely lightning. How did you make them? Any references?

    Akhil: In the beginning itself i had a clear idea how the environment should be and about the main characters of the scene except the background characters which i decided to add in the final stage. So I gathered some reference images for the environment from pinterest and google and compiled it as a Concept board.

    Later I chose one particular photograph to be the base for my environment. Using F spy addon I matched the camera and exported it to blender so that i could build upon it. The buildings were just the image projected onto simple base planes which then modeled simply to have a bit of 3 dimensionality. I struggled a little with UV mapping. Since I had a clear picture about the composition in the beginning itself, I only tried to work on the area which would be seen in the final image.

    In the figure the road texture and puddles were added later in the finishing stage.

    I tried a different lighting setup in the beginning itself. Earlier it was just meant to be a night scene but later felt like doing a daytime scene and came up with a lighting which I felt was good. The lighting setup was simple. I used an hdri image as the base for the ambient light and used a simple sun lamp.

    Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?

    Akhil: I wanted this work to be as realistic as possible, but I didn't know how to do that. Especially the main characters, the boy and the dog pups. Even before working on the environment, I started to work on the dog’s 3d model. I used a low poly base mesh and tried to sculpt details and pose it in Blender. It didn’t work out, well it was fine but wasn’t that realistic. Also I wasn’t comfortable with posing it, so I left it midway and thought of doing something later. After working on the environment again I started to work on the dogs again. This time I tried something different. I chose a reference image for the dog puppies and using ‘pifuhd’ i created a base mesh and later projected the same image on the mesh and sculpted the details. It was looking decent, so I decided to use them in the final scene.

    But the main problem was to create the human characters. I thought of doing something with character creator software but it would take so much time for me to achieve a good result. So I decided to 3d scan the characters. So I took photos of my nephew and created a 3d scan with reality capture. I also used Meshroom but since my photo quality was not good, it didn’t give me a good result. However the process was a bit longer than I expected because of some error. So i had to do some experiments. After that I scanned my dad as well for the character in the background. The whole process took around one week and I was just learning. The resulted model wasn’t that great, so I sculpted the rest of the model and details later in Blender.

    The final image needed a lot of work, so the rest of the time I focused on individual props which I needed for filling up the scene.Most of them were modeled but a few of them were third-party assets.

    Finally the scene was almost done. Later it needed a little bit more tweaking. The smoke and rain added later in photoshop, since the attempt to simulate them inside Blender, took so much time.

    Fox Renderfarm: Any artists or artworks inspired you most?

    Akhil: It is hard to pick one. There are so many artists out there who are doing amazing works. I really do follow a lot of them and also learn from them. But for this particular work, I don’t know. I might have been inspired by some of them. In one of the jury comments they mentioned about ‘Norman Rockwell’. I have seen his amazing works before but that was a long time back. So really that was a good reference for me to learn from.

    Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?

    Akhil: I am a self taught cg artist (actually in the process of being one). I am almost done with my Architecture degree. It's been two years since I started doing things in 3D, before that I didn’t even know how to model in SketchUp. Earlier works were done in SketchUp and V-Ray, those were mostly Archviz works. Last year I started to work more with Blender, and I always wanted to create larger worlds and tell stories through them and I am still learning.

    Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?

    Akhil: I really don’t know how to answer that. I am still struggling to find the right method to learn. Only thing which I do is that I work hard a lot and I try to learn from my mistakes and others’ as well.

    Fox Renderfarm: Have you ever tried Fox Renderfarm’s cloud rendering services? If yes, how do you like it?

    Akhil: Yes, I have used Fox Renderfarm for some of my works. It seems quite fast and reliable. I am planning to use the service more in my workflow.

    Fox Renderfarm: Anything else you would like to share with CG enthusiasts?

    Akhil: I used to depend more on the tools which I am using. Also I limited myself with what I knew, but I realized there are plenty of ways you could achieve something. Most important thing is the idea in your mind and the passion which leads you to give that idea ‘life’. Keep learning......

    NOTE: Fox’s Got Talent campaign keeps going. Welcome to share your artwork rendered with Fox Renderfarm and be our next winner and win prizes! For more info

    Remaking the Iconic Cartoon Characters Into Life in Maya and 3ds Max



    Fox Renderfarm Interview

    Gal Yosef is a 3D artist, CG Director and the owner of Fuzion Studio based in Israel. The studio is focusing on animation and CGI still images. Gal in June was featured as the 3D artist of the month from Autodesk for remaking cartoon characters into his Iconic Series, including Mickey Mouse, Donald Duck, Winnie the Pooh, Bugs Bunny, Taz (Tasmanian Devil). So far, the Iconic Series is Gal’s proudest project among all his artworks.

    Fox Renderfarm is dedicated to providing fast and secure cloud rendering services for our clients around the world. We have over 160,000 happy customers from 50+ countries and regions. And Gal is one of them! We are glad and thankful that Gal has chosen Fox Renderfarm.

    Here‘s our exclusive interview with Gal Yosef where he shared the skills for creating excellent artworks as a 3D artist & CG Director and the secret to success as a young entrepreneur.

    Gal Yosef © Moshe Nahamovits

    Fox Renderfarm: How did you encounter CG and get started in the CG industry?

    Gal Yosef: I started 10 years ago, even more than 10 years. I started the whole process of design with illustration first. I started it. I remember that I found on the internet some cool characters that I liked and I wonder how I can do it on the computer. I mean I knew how to draw on paper, but I never realized how I should bring the illustration into the computer. Ten years ago, it was very very hard to find tutorials and guides and stuff like these. So I remember that I did a very deep search to find the right tutorials, the right guides. I remember that I even searched for books to help me. And it was very hard. When I started, I gave up on 3D, because it was too hard for me. I was very young and it was very very hard. I left the 3D for one year and then I came back. I decided that no matter what, I will not give up. I was folded really out. In the end, it was all set.

    Fox Renderfarm: You are a 3D artist but also a very good painter and illustrator, do you think 2D art skills help you a lot in 3D art developing?

    Gal Yosef: I heard a lot of this question. I mean I think this question is a question that every beginner asks himself if he needs to to learn illustration before 3D. I can say no, you don't have to know illustration to be a good video artist. But, of course, the illustration, I think it's giving you some backup, because you can paint over the characters after the render and stuff like this. But no, you don't have to be 2D artists to make good videos.

    Fox Renderfarm: What’s your pipeline of 3D art?

    Gal Yosef: All right, the pipeline for 3D art, usually the safe place for a good project is to start with a concept art. When you're starting with a concept art, it’s the most important thing, because when you get the idea from the first beginning, you won't waste time later. And in 3D, because everything takes so much time, you must have a concept art to avoid changes in the production of the 3D. So first of all, I'm usually starting with concept art. After I start with concept art and confirm with the client, I'm moving to modeling. Modeling stage and every stage in 3D must be perfect. I mean a lot of artists make a big mistake, because they make good modeling or they give up on modeling and making good texture. But you have to make each step perfect, because no matter how good the texture is, if the modeling won't be perfect like the texture, the project will never be perfect. So every step must be perfect. After I finish totally modeling, I'm starting a retopology, which is cleaning the model. Usually good retopology is for animation because of all the body movements. So it's better to use a good retopology. After the retopology, I'm doing UVs, UV maps. After the UVs maps, you're starting to texture. Usually, I texture with a Substance Painter. In the past, I used Mari. But those days Substance Painter for me, at least for me, is much better. So after the Substance Painter, there is a look development stage inside that 3D application. I'm working with a few 3D applications with 3ds Max, with Maya, with Cinema 4D. And it depends on the complex of the project and the type of the project. Usually, for 3D animation with characters I'm using Maya with Arnold. For 3D characters and still images, I'm using 3ds Max. For motion graphics, I'm using Cinema 4D with Octane. Every plugin, render plugin like Octane, Arnold, Corona, have something very unique, the speed of the render, the materials and stuff like this. So I think it's better for everyone to learn a few plugins, so they can use it for different projects. As I said for motion graphics I'm using totally different applications Cinema 4D with Octane, because it's working just better and much easier than making motion graphics in Maya. That's pretty much the pipeline, including concept art, modeling, retopology, UVs, texture, look development, including lighting of course. After finishing the render, I'm taking it to post-production. I'm making post-production usually in photoshop. And if it's animation, I'm making the compositing in After Effects. Usually it's After Effects, but sometimes I'm making it in Nuke.

    Jazz Coffee © Gal Yosef

    Fox Renderfarm: Metal elements or something crystal are mostly founded in your 3D arts which are very eye-catching, how do you like it?

    Gal Yosef: So about all the awesome face modeling and all the statues, I'm doing this because I think it's cool to balance the character because the character got a lot of fur, especially in the Iconic Series. So I'm trying to balance it with some awesome faces. But that's not the main reason. The main reason is that there is a concept and that I want to mix both characters together. For example, like Donald Duck and Mickey Mouse, I wanted to make Donald Duck very gangster and own the Disney. So I thought about how I can do it. And I was thinking it would be super cool to make Mickey Mouse's statue as a very shiny statue. What makes the statues be so eye-catching is the glooming and the shining on the statue.

    Mickey Mouse © Gal Yosef

    Fox Renderfarm: Which project do you feel proudest and why?

    Gal Yosef: I think the Iconic Series I did with Donald Duck, Mickey Mouse, Bugs Bunny. I think this is the best one I ever did. I've been working on the Iconic Series for a few months. These days, I'm working on Taz from Looney Tunes. I think it's the best project, because I have no limits. Usually when you're making a project for a client, there are limits and I don't like limits. That's usually what I'm telling my clients. If you will limit my work, I cannot promise it will be perfect. So I think it’s the Iconic Series, because I have no limits and I can do whatever I want. It's the best project. And I'm feeling really proud of those projects. It got featured in many places, many articles about it. So yeah, this is the best one I ever did.

    Iconic Series © Gal Yosef

    Fox Renderfarm: What’s the motivation of making the Iconic Series?

    Gal Yosef: My motivation, actually it's bringing me back to my childhood. That's the biggest reason that I am making this. But I'm taking my childhood into those days. And I’m showing people what will happen if those characters were alive on those days. That's why they are so funny with cigarettes and stuff like this.

    Fox Renderfarm: What’s the most enjoyable part while creating the Iconic Series and what’s the most difficult part?

    Gal Yosef: The most fun part is to make the modeling. It's the easiest part, because there are existing characters, so I know what to do without problems. The hard part of the Iconic Series is to make the grooming and the fur. Because the fur is made inside Maya with Xgen and getting exported into 3ds Max, so it's two different applications. I'm taking it from Maya into 3ds Max. When you export the fur from Maya to 3ds Max, usually you cannot put it inside 3ds Max perfectly. Always, in all the characters that I did, there is a problem when you load the fur on the character, because you switch between two applications. So this is the biggest problem in the Iconic Series to make the fur. And it's taking a lot of time according to other tasks that I have in the project. This is the hard thing in the project. As I said, the easiest part is the modeling and the most fun part is to make the post-production because it's the last part. You see everything and you enjoy seeing everything. So you adjust the lighting and the colors a little bit, but it's the end. So it's the most fun part.

    Donald Duck © Gal Yosef

    Fox Renderfarm: Would you share with us the pipeline of Jazz Coffee and which part do you like the most? Why?

    Gal Yosef: Jazz coffee is really good. It's getting twice featured by Adobe, because there is a good storyboard behind it. To make a successful project, it's not about making the character beautiful. It's not that. I mean there are a lot of artists that can make fantastic characters, but it's about to make a good idea behind it, to have a story. So when the client came to me, he wanted to show that the coffee is good and it will make you work better and feel better. I wanted to show what happened with my skills, with my comfortable place I mean characters. What happens when someone drinks the coffee, it will make me dance and it will make him awake. I took the name of the factory of the coffee factory, it's called Jazz Coffee. And I mixed everything together with the Jazz Club that I did, the good music, I even mixed the 2D illustration on the walls. I showed what happened, if you taste the coffee, everything will wake up. All the club will wake up. So the storyboard was so good, that's why the animation is good behind the good quality of the 3D.

    Jazz Coffee © Gal Yosef

    Fox Renderfarm: Regarding the mini cooper project, any challenge?

    Gal Yosef: The challenge was to make the model. Because the model to make a perfect project from a car company like Mini Cooper, they want to show something else inside the project. And it's not the totally same car as the reality. I mean if I will copy totally in 3D modeling, the car in reality, it won't look perfect inside 3D. So you need to find a unique way to make it look better. I mean, for example, the lighting in front of the car is covered in reality by plastic or glass or something like that. And I had a problem when I covered the lighting with a glass material, it made some weird reflection on the lighting. So I had to remove the cover of the glass on the lighting and paint on it in their post-production. So the cover was pretty hard for me. I think there is a good artist that knows how to make good 3D rendering of cars, but my comfort place is more organic things like characters and food and stuff like this. But it was fun. I learned a lot about the house office project and cars project.

    Mini Cooper © Gal Yosef

    Fox Renderfarm: Among all the projects you’ve done, the composition, light and color are fantastic, how do you enhance your good sense?

    Gal Yosef: Okay, so about the compositing and the lighting in the scene, usually I love to use very contrasting lighting. Because when you're using contrasting lighting, it's giving more depth to the character. It shows the beauty of the skin, the beauty of the SSS (Subsurface scattering) and stuff like this. So this is why I like to use a more contrasting lighting and not natural lighting. Because when you're using natural lighting, not always but for me usually I'm getting a flat feeling in the face and it's losing the deepness that I want to show. So I'm trying to use contrasting lighting. But as a tip, when artists use contrasting lighting, very fast it can burn the image. What I mean is, sometimes shadows can be too strong and it can make the shadows on the body turn into black colors and it's not good. Same about the highlights, if the highlights will be too strong, it will burn the skin. So it's something that's very important to pay attention to. About the compositing, if we can say camera angle, there is nothing specific that I'm using for compositing over a camera angle. It depends on the project if it's a character or an awesome face or food.

    Fox Renderfarm: How do you like Fox Renderfarm’s cloud rendering services?

    Gal Yosef: Because I'm working on so many projects, I cannot handle rendering myself or building a self-hosted render farm. It's taking too much time and there is too much of a problem. But with Fox Renderfarm, there is unlimit of things that you can do. It's super fast. When I first started working with Fox Renderfarm, I was so surprised how fast it’s rendered. Because we're connecting a lot of nodes together, and it gave me a super fast render. The first project I rendered with Fox Renderfarm was an animation called Extra Handsome with the zebra. That was the first one I made with Fox Renderfarm. I think it finished rendering after five hours or something like that. And it's crazy, because Arnold is really slow. To render the animation with so many frames in five hours, it's crazy. Besides the fast render, there is really good service at any time in any hour. You don't need to handle problems, there is always someone to help you.

    Extra Handsome © Gal Yosef

    Fox Renderfarm: Being an entrepreneur, what’s your belief?

    Gal Yosef: I believe that if you wanna keep growing and be really good, you need to work very very hard for this. I mean a lot of people that I know, a lot of artists that I know, and it's fine because this is the nature of us as humans. But it's not the right way you need to to work very hard and spend a lot of time to get your targets. This is what I believe the most work out.

    Fox Renderfarm: Your company is expanding! Congratulations! Would you like to share with us how you run your company? Any secret behind your growing business?

    Gal Yosef: I'm getting these questions a lot, too. The big secret behind growing a company is, first of all, believe in yourself. Today I'm 26 years old. I'm pretty young according to the CEO of a company. And the secret is just believe in yourself and believe in your team and believe in your clients. Doing your best with your clients, I always respect my clients. No matter how big or small they are, I always respect my clients doing my best. Because even if you're working with small clients, this small client can give you another big client. So keep good service and give the perfect project and the perfect product for the client, and believe in yourself and be good to your team. It's very important to be good to your team, because it's a team building the perfect company. Without the team, there is nothing. I mean you can be the best 3D artist, it doesn't matter. But when you are coming to animation projects and you want to make a company, you cannot do it alone. You're doing it with a team, so you need to be good to everyone. It's very important, and just believe in yourself and work out.

    Fox Renderfarm: Would you share with us your next step?

    Gal Yosef: In those days, first of all, I'm working on a lot of projects for a lot of brands around the world. What surprised me a lot, because in those days with the Corona, a lot of people were going back. So I'm going forward, I'm doing a lot of great stuff, a lot of projects coming in. My next step is actually to start selling my art pieces in one of the biggest galleries in the world. They contacted me about it. It was amazing for me. I was very surprised and the idea is to sell my art pieces as prints and as statues, most of the Iconic Series. This is my big next step. And maybe in the next year, we gonna have a new studio in L.A.. I'm waiting because of the Corona days. But this is also my next plan.

    Fox Renderfarm: Any other things you want to share with CG enthusiasts?

    Gal Yosef: I wanna give a tip, actually. Do not be afraid to use a few softwares, I mean a few applications. Usually everyone wants to be in a small place, the comfortable place I mean. To use Maya or to use ZBrush and do it. It's okay to learn more. It's important to learn more, because there are amazing tools coming out. Every time that I'm learning something new, it's just making my mind work better and better. So keep learning, don't be afraid to learn something new. It's always hard, because the 3D work is hard. So keep learning, use as much application as you can. Because you will have no limits, when you use a few applications. As I said in the start, every application gets the unique skills of the application.

    Fox’s Got Talent July Winner Revealed: How to Make a Realistic Car Render With Redshift



    Fox Renderfarm Interview

    Fox’s Got Talent (FGT) is the platform for all Fox Renderfarm users to share their artworks rendered with Fox Renderfarm and get awarded free render credits.

    We are excited to announce our Fox’s Got Talent July Winner Eleven FX, a video production company based in Auckland, New Zealand. The artwork, Audi RS7 TVC, stands out for its perfect lighting and realistic render.

    Eleven FX offers comprehensive solutions in the areas of editing, visual effects, color all with the simple goal of empowering the creators we work with. Using state-of-the-art technology, they created a streamlined, 4k workflow that meets the vision, budget, and timeline of any client.

    Here’s the interview between Deep Chahal, one of the Co Founders of Eleven FX, and Fox Renderfarm, in which we can find out how they created this wonderful video.

    Audi RS7 TVC © Eleven FX

    Fox Renderfarm: How do you feel about ELEVEN FX being the July winner of Fox’s Got Talent (FGT)?

    Deep: This is very exciting for us. We are truly honored and grateful that you chose our artwork as the July winner. As an up and coming studio, it is great exposure for us.

    Fox Renderfarm: How long did you take to finish the Audi RS7 TVC?

    Deep: The Audi RS7 TVC was a speculative project which means that this was something we created as a piece for our portfolio. It took us approximately one month to complete from the conceptual stage to the final output.

    Fox Renderfarm: Can you tell us about your pipeline?

    Deep: Our process involves working together with the client from the conceptual stage to the final output. We start with a brainstorming session and we narrow our ideas down to the top three. We then pitch this with the Client and after approval, we collate reference images and put together a stylesheet followed by the animatic which is then passed on to our animation team. With our first pre-viz, we go through another round of approval with the client and proceed to block the scene with simple Geo and animate the camera.

    Simultaneously we test the lighting and animation. After another round of pre-viz, we replace the Geo with high poly models with appropriate shaders and we finalize our lighting and animation. This process took approximately one month for the spec - Audi RS7 TVC and this varies depending on the complexity of the scene. Our last stage in the 3D pipeline is rendering and we used Redshift as our engine with Fox render service to speed up our process.

    Fox Renderfarm: What’s the most enjoyable part while creating the Audi RS7 TVC and what’s the most difficult part and how did you overcome it?

    Deep: We would say the lighting was one of the most enjoyable parts. There were a couple of major issues we had. One of the issues was rendering time. We tried a couple of render engines but most of them were very slow on our machines. In the end, we tested Redshift and it cut almost 80% of the render time.

    CGI breakdown for Audi RS7 2020 © Eleven FX

    Fox Renderfarm: The perfect lighting and realistic rendering of the Audi RS7 TVC are really eye-catching. How did you make them?

    Deep: A good reference and attention to detail are the key tools we use to attain realistic rendering. We collate a large number of reference images and put together a style sheet. For this particular project, we used Google maps as a point of reference to layout the streets and the buildings, to get a real-world scale. This goes a long way as it helps us emulate real-world lighting and reflections easily.

    Fox Renderfarm: Which features in Redshift do you find the most useful?

    Deep: We love everything about Redshift. It stands out in the industry because it is a GPU based render engine and gives faster feedback. This makes room for creative freedom, allowing us to change any setting and get instant results.

    Fox Renderfarm: Have there been any big changes you’ve noticed through using different versions of Redshift?

    Deep: This is our first time using Redshift, and we started using it from version 2.6.

    Fox Renderfarm: Would you give us a brief introduction to ELEVEN FX’s development history?

    Deep: A dream driven with passion and crafted with pure skills was the very beginning of the founding of Eleven FX - Auckland, New Zealand.

    At Eleven FX our team is our Whanau (New Zealand Native Language of “Te Reo” word for Family). We are comprised of a diverse group of artists, storytellers, dreamers, and go-getters. Every individual brings a unique set of skills and experiences to the table and it’s not uncommon for the entire team to sit in on a creative brainstorming session.

    What keeps us together is a true passion for the projects we produce and an unrelenting work ethic that enables the execution of impossible projects and constantly pushes the limits of what is possible.

    We love partnering with like-minded creators whose passion is overshadowed only by their drive to tell their stories.

    Eleven FX has the experience, flexibility, and scalability to take on any project; we are always looking for new collaborators and partners.

    Fox Renderfarm: What's the story of your Company's name, ELEVEN FX?

    Deep: The number eleven is considered to be a master number in numerology. It signifies balance, strength and purity in vision, which are the three core values that we channel to build our company. Our goal was to be a start-up VFX production house so we decided to represent us as ELEVEN FX.

    Fox Renderfarm: As a video production company, ELEVEN FX produced lots of excellent TVC and VFX projects. Which project do you feel proudest and would you share with us how you make it?

    Deep: Every opportunity we get to be creative is our proudest moment and we learn from our shortcomings and strive to apply what we learn in our next project.

    Fox Renderfarm: What’s the vision for ELEVEN FX? Could you give a brief introduction to the studio’s next step or future planning?

    Deep: Our next biggest step will be to transition into working full-time at our studio. Currently, this is challenging with the constraints of COVID-19, however, we are optimistic that we will be one of the biggest post-production studios in New Zealand in the coming years.

    Fox Renderfarm: Could you share with us the CG industry in New Zealand?

    Deep: It is a competitive market and as a growing post-production studio, it's been challenging to break into the industry. Our growth so far has been through word of mouth. We enjoy what we do and we are passionate about it.

    Fox Renderfarm: How do you like Fox Renderfarm’s cloud rendering services?

    Deep: We love using Fox Renderfarm. Setting up render jobs is easy with an intuitive, and user-friendly interface. We were also thoroughly impressed with the customer service provided by Fox Renderfarm, as we received instant advice on any queries.

    Make An Impressive Space Rover With Spherical Wheels in Maya



    Fox Renderfarm Interview

    Space invider © Yuri Kozhevnikov

    Hum3D Space Rover 3D Competition announced the winners in early June, and we are glad to see lots of creative space rovers created by talented artists all over the world.

    Fox Renderfarm, your TPN-Accredited cloud rendering service provider, is honored to interview the third-place winner Yuri Kozhevnikov, whose artwork Space Invider was appreciated by the judges because of the fantastic atmosphere and the great design of the space rover.


    Here’s the interview between Yuri Kozhevnikov and Fox Renderfarm, and he talked about the making of this artwork, including how he made his Space Invider by using Maya, Blender, Substance Painter, Quixel Mixer and Photoshop.

    Fox Renderfarm: Hi, Yuri! Could you give us a brief introduction about yourself?

    Yuri: Hi, My name is Yuri Kozhevnikov. I am 32 years old. I was born in the old small town in the north of Russia under the name Kargopol. At the moment I live with my wife Maria and a dog named Schnapps in St. Petersburg. I work as a senior 2D artist at Wargaming.

    Yuri’s battleships artworks for Wargaming

    Fox Renderfarm: How do you feel about winning third place in the Space Rover Challenge?

    Yuri: I was very happy to participate in this competition, even more, I'm glad that I was able to win a prize in the place. By profession, I am not a 3D modeler and therefore I am very flattered that I managed to take 3rd place in the 3D competition.

    Fox Renderfarm: What inspired you to come out with the idea of making the work Space Invider?

    Yuri: Nothing unusual, inspired by ArtStation and the works of other artists. I came up with the idea of round wheels from the references listed below.


    Fox Renderfarm: How long did you take to finish the work?

    Yuri: It took a little more than a month to work.


    UV mapping


    Fox Renderfarm: We are all attracted by the unusual sphere wheels you designed, could you tell us how you designed such a space rover?

    Yuri: The principle of the action of such a mechanism was immediately born in my head. In fact, it is an ordinary electric motor.

    The spherical wheel is a rotor. Magnetic locks on the wing is a stator. Between them is a magnetic field, that's all. The rotation of the wheel in any axis gives tremendous freedom in movement and maneuverability.

    Fox Renderfarm: The fantastic colors and lighting create a mysterious environment on an alien planet, could you tell us how you set the lighting and color?

    Yuri: The reference was a frame from the movie Avengers: Infinity War. There was such a planet, where the stone of the soul was stored.

    Lighting is very simple, an HDRI card (NoEmotion), one directional light and a little fog. I slightly changed the HDR map in Photoshop, added a planet with rings and a characteristic solar disk.

    In the blender, a purple hue was added through the color correction node.

    Then I made two renderings: normal and with a purple tint. The most simple processing in Photoshop. Compound 2 renders, select the rover by mask, and overlay several textures with particles.

    Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?

    Yuri: There were minor difficulties, but they are also an interesting experience - this is the study of new software. I first worked in a blender, did visualization on the Eevee engine.

    Test renders

    Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?

    Yuri: I studied everything on my own. I started about 10 years ago with Photoshop and photo manipulations. At the same time I tried in 3D, but quickly rejected this idea. Probably because I decided to study 3D with Maya. Not the easiest software for a beginner.

    For a long time, I was a graphic designer. I painted logos in CorelDRAW.

    Gradually, about 6 years ago, I began to include 3D in my pipeline. My first 3D program in which I could do something sane Cinema 4D. But in the end, I still mastered Maya. This is my main modeling software.

    Fox Renderfarm: What do you do to enhance your professional skills?

    Yuri: Workout. Just like in sports you need to train and then your skills will improve. Naturally, you need to train not only "familiar movements" but also learn new ones. On personal projects and with participation in contests, you can include new software in your workflow, learn new techniques and much more - this is my training.

    New York © Yuri Kozhevnikov

    Kalitinka © Yuri Kozhevnikov

    Creating a Realistic Moon Environment in 3ds Max and V-Ray


    Fox Talk

    Art Competitions

    Hum3D’s Space Rover 3D Competition, sponsored by the TPN-Accredited render farm, Fox Renderfarm, attracted 98 artists to take part in the competition.

    Among them, Space Walk created by Patryk Urbaniak stood out and won 1st place in the challenge because of its great composition and fantastic photo-realistic render.

    Patryk Urbaniak is a Lead Lookdev Artist at Method Studios Montreal. Some of the movies he worked on include Guardians of the Galaxy 2, Spider-Man: Homecoming, Deadpool 2, Ant-Man and the Wasp, Godzilla: King of the Monsters, and many more. Generalist background helps him to tackle 3D scenes from a simple concept to a finished product.

    Here’s the interview between Patryk Urbaniak and Fox Renderfarm, in which we can find out how he created this wonderful piece.

    Clay Render © Patryk Urbaniak

    Space Walk © Patryk Urbaniak

    Fox Renderfarm: Congratulations on winning 1st place in the Space Rover Challenge, how do you feel about it?

    Patryk: Thank you so much for your kind words. It truly feels amazing. I remember waking up, going through my emails when I read what Hum3D wrote to me and I was just speechless for a good few minutes. I really couldn't believe it as there were so many good submissions.

    Fox Renderfarm: What’s the idea behind your artwork 'Space Walk'?

    Patryk: I had an idea to do a render of a realistic moon environment and then put it into an image, behind the camera I would render a film studio and I would place the astronaut on some wires and cover everything in green screens. After some trial and error with the frame composition I found out that the image is losing a lot of impact and I couldn't properly place it in strong composition points. This time I had to revert back to the first idea I had and that was just an image of a rover on the moon surface.

    Fox Renderfarm: How long did you take to finish the work?

    Patryk: It took close to a month to create my work. I was able to put around 3-4 hours each day after work and a few weekends.

    Fox Renderfarm: The piece is extremely photo-realistic which received loads of praise from the jury. How did you make the render?

    Patryk: Thank you. I rendered everything in V-Ray and I have to say that this renderer is super intuitive. The realism is super easy to achieve when you just use the proper ranges of a PBR workflow. Right now a modern renderer does a lot for you and you can just iterate your work with such effectiveness that you are able to compare your renders to the reference much frequently.

    Fox Renderfarm: The lighting is capturing the Moon feel really well, such as the harsh sunlight and shadows. How did you make it?

    Patryk: The lighting was quite challenging because you mainly have to create a very interesting piece only with one light (I used a few additional rim lights to slightly detach the objects from the ground). What I did is I animated the sun going from left to right, and from top to bottom on a 200x200 preview. I was able to judge the shadows of each render and see exactly how much we can see and how much goes away. I picked the best scenario for my idea and I just added a few small lights here and there. But again, just because it was super fast to iterate the light, I was able to hit a few different approaches. In terms of the shadows, you might think I'm crazy but I just started to decrease the diffuse bounces. The less bounces or GI I had the more realistic it was looking. While there is no atmosphere at the moon it was easier to match the references with less bounces and I guess about 0.2x the GI.

    Fox Renderfarm: There are many nice details of the models and materials. Any references?

    Patryk: A lot of materials are fully procedural based on seamless textures and triplanars. The ground for example is a composition of 8 noises and one footprint texture with one mud texture that I created. In terms of the references I had an opportunity to visit a Boeing Factory in Seattle in order to look at a lot of space equipment that took us to the Moon so I took some pictures but in general the Internet is full with super quality images on that topic.

    Fox Renderfarm: Did you encounter any difficulties when creating the work? And how did you solve it?

    Patryk: I faced many difficulties. Let me start by saying that the whole scene was rendered on V-Ray GPU and I’m working on a 2015 laptop. Like said above, the ground itself was done procedurally by using a blend of certain nodes and 2 seamless textures. The displacement being set to the satisfying quality took almost 80% of my VRAM so it was hard for me to create an illusion of the horizon being far away from us but after some optimization, I was able to free some space for the rover itself!

    Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?

    Patryk: I don't have any graphic designer education or an art degree but I was attending a film school for 2 years and it gave me a good understanding of camera work or light. As for my experience I started in a small company as a 3d artist and I had no idea what I was doing at that time. After 4 years I joined the biggest studio in Poland, Platige Image and in 2017 I moved to Canada to work on slightly bigger productions. I have to say that I was incredibly lucky with the people I have met and friends I still have today. Being an artist is like running a marathon. It takes time and perseverance but it leads you to a whole new level of understanding the world through an observation.

    Fox Renderfarm: How do you enhance your professional skills?

    Patryk: I think I just stay with problems longer. Whenever there is an issue I always dig for days until I figure it out. I read the documentation of the tool as well as "help". It gives me a little bit more information about the broad usage of a software. And then I just give myself a task each week and I try to complete it. I fail most of the time and then after a few more tasks I learn how to do it properly.

    Fox Renderfarm: Anything else you would like to share with CG enthusiasts?

    Patryk: I would like to thank you each and one of you guys! Everyday I go to your website and it motivates me so much for the day that I can't even describe it. It is a great feeling that all of us can learn from each other and be an inspiration. Thank you so much for having me and I wish you all the best.


    How to Create an Epic Leviathan Rover in Maya and ZBrush



    Fox Renderfarm Interview

    Hum3D’s Space Rover 3D Competition, sponsored by the TPN-Accredited render farm, Fox Renderfarm, attracted 98 artists to take part in the competition.

    Among them, the artwork Leviathan Rover created by Malchus Akash, an aspiring concept artist /3D artist from Malaysia, won the Special Prize for the “Best texturing”. It is overall a solid work! We can feel the attention to details at every step of the creation process. The texturing work just feels right and really helps add life and credibility to the overall scene. Special mention to the composition and lighting which are just perfect.

    Here’s the exclusive interview between Malchus Akash and Fox Renderfarm, in which he talked about the inspiration and creating process of this excellent artwork.

    Leviathan Rover © Malchus Akash

    Fox Renderfarm: Hi, Malchus! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?

    Malchus: Thanks for the opportunity to have this little interview. My name is Malchus from Malaysia, an aspiring concept artist /3D artist. Recovering anxiety disorder artist so to say. I have been doing this for the last 8 years.

    Fox Renderfarm: Congratulations on winning the Special Prize in the Space Rover Challenge, how do you feel about that?

    Malchus: I feel very pleased about winning anything to be frank haha. On a serious note I am very thankful to have been given the chance to be noticed for the work.

    Fox Renderfarm: What’s the inspiration behind your artwork “Leviathan Rover”?

    Malchus: The inspiration behind this piece came from Dune, big truck like vehicles just because everything always is a lot more epic when it's bigger and Mars inspired movies.

    Raw Image from Maya © Malchus Akash

    Fox Renderfarm: How long did you take to finish the work?

    Malchus: I'd say it took about a month in total time not including the breaks in between.

    Fox Renderfarm: Featuring characters by lighting enhances the power of the image in storytelling. Could you tell us how you designed the lighting?

    Malchus: Cinematic lighting always gives a lot more depth to images. Even though I might have liked to push a bit more on the dark and light. I wanted to have a sunset-like feel to the overall image to give the sense that the occupants were looking for a place to set up base.

    ©Malchus Akash

    Fox Renderfarm: The amazing work has great composition. How did you make it? Any references?

    Malchus: The composition I'd say came from many many references which would make it hard to pinpoint. I tried to follow the rule of thirds mainly to get an overall shot of the rover.Tilting it ever so slightly from left bottom to top right to give that sense of progression to not over do it just a subtle change from a flat plane.

    ©Malchus Akash

    Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?

    Malchus: I think the biggest difficulty was the ground which I still am figuring out the best method to do. I did end up using for this piece multiple meshes with mixed textures to solve it but I'd say if it were to be a close up shot it might not have the clarity of it. As it was the first piece using few softwares it was just brain consuming at times to learn up all which just took a bit of time to just get through it.

    ©Malchus Akash

    Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?

    Malchus: I went to Australia and studied at QUT for a bachelor of fine arts in animation, though I can't animate to save my life haha. My work experience is a bit odd. Well with having anxiety disorder after I finished university was a big challenge at times still is. I did have a few stints in Australia and coming back to Malaysia but due to my issue it was difficult.I had to do freelance because I used to have attacks which caused me to not be able to go to work the next day. So currently I continue doing freelance.

    Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?

    Malchus: YouTube, I'd say, you want it, YouTube it and you spend the time learning it and adapting to what you want to do. That's mainly how I learnt it because the skills are all technical based which in today's environment has given us an amazing amount of resources to learn from free and paid.

    Fox Renderfarm: Anything else you would like to share with CG enthusiasts?

    Malchus: CG is not all fun and games.It does take sheer will and mental capacity to learn the many softwares, techniques and skills to produce these images. Coming from my gym mentality no pain no gain comes into this extremely. But if you're willing to put in the time and continuously work at it , the final images you produce always gives you a sense of accomplishment, joy, amazement at times thinking how you even came out to it and even peace when it's what you wanted or sometimes happy accidents. Finally I'd like to say if you want to do this know if you want to do this professionally or as a hobby set that first.

    The Refreshing Israeli Indie CG Animated Film, The Slide



    Fox Renderfarm Interview

    In recent years, more and more excellent indie animation films have sprung, so that we can see more and more the fantastic ideas and talents of CG artists all around the world.

    Recently, there's an Israeli indie CG animation film that catches the audience’s attention. The Slide, directed by Uri Lotan, and produced by The Hive Studio & Flipbook Studio, is a 9-minute animated film inspired by a single moment from the Director's childhood, a moment that forever changed his life.

    With a unique animation style mixing simple design aesthetics with real-world materials, The Slide tells Eviah’s story - a young Israeli kid sneaking in with his best friend Tsuf to the scariest water slide of all, The Black Slide. Throughout the day Eviah is filled with strange, foreboding feelings, we quickly learn that there's more to Eviah's story than meets the eye.

    © Avner Geller

    Click here, learn more about the short and support it.

    Here’s the interview between the film director Uri Lotan and Fox Renderfarm, in which Uri talked about the story behind the short film.

    Fox Renderfarm: Would you please give a brief introduction about yourself and your team?

    Uri: Hi, I’m Uri Lotan, the director of the short film “The Slide”. I am a graduate of Ringling College, since graduating I've been lucky enough to have worked in feature film, TV and commercials. After several years in the states, I returned to my hometown Tel-Aviv in Israel in the hopes of telling personal stories.

    Our team consists of a small group of artists here in Tel-Aviv, and a bunch of talented friends from all over the globe, helping us make this film.

    Fox Renderfarm: What was the inspiration for the short film?

    Uri: In the summer of 99׳, I spent a long, confusing day at the waterpark. All day long I felt something was off. Returning home that evening, I came back to a new reality- my life changed forever. As the years pass, the memory of the waterpark and that life changing evening merged into one inseparable memory, that is the inspiration for our film.

    © Noam Wiener

    © Noam Wiener

    Fox Renderfarm: Can you tell us about your CG pipeline?

    Uri: After developing our unique visual style and endlessly refining our story, we jumped into the CG world with a splash, trying to find the right technique for us, we knew we wanted to maintain the naive nature of our 2D designs in our three-dimensional reality.

    © Lily Snowden

    © Lily Snowden

    © Lily Snowden

    Set building process :

    © Ovadia Benishu

    Timelapse :

    We modeled our characters and environments in Maya. M-Gear was used to rig our characters. We found a unique feature in the latest version of Arnold, which enabled us to create a one of a kind, texture based facial rig. It lets us create these very graphic facial expressions, keeping that naive aesthetic of our drawings.

    With the help of our British Co-Production partners, Flipbook Studio, we’re texturing and shading our characters and sets in Substance Painter, this gave us the freedom to be playful and courageous with our shading decisions.

    © Yuval Turgeman

    At the very beginning of our production, we took a sequence of shots and took them all the way through our productions, from asset creation to final compositing. This helped us understand the complexities of our pipeline and where the potholes might lie. With that, as animation is on its way and we know what’s awaiting us when we get to the lighting and rendering stages of production.

    Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process?

    Uri: It was a moment of discovery, it was when we finished the very first shot in animation. Our lead animator Charles Larrieu worked on a shot where we see Eviah looking up to the Black Slide, just as he’s about to take the very first step up the stairs.

    It took some time to get it just right, but when we saw the look on Eviah’s face, it told us everything we needed to know. Who Eviah is, how he moves and behaves in his world, it gave us so much clarity for the rest of the film.

    Fox Renderfarm: Did you meet any difficulties when creating the film? And how did you solve it?

    Uri: The film isn’t quite done yet, so difficulties are around every corner. Our biggest issue has been our limited budget. Creating short films is never easy, especially CG animated films. We took the challenge of working with a limited budget, trying to focus on the essence of each element, what do we need? What can we simplify? What can we lose? This approach made the production of our film feasible, But more than that, by result it created many of the creative solutions that make the film unique.

    © Maya Shleifer

    Fox Renderfarm: Could you introduce the current progress of the project? When is the film expected to be completed?

    Uri: We’re planning to finish the film by the end of 2020, fingers crossed!

    We are right in the middle of production - animating shots, finalizing sets and soon we׳ll start lighting this baby! The short is funded by Israeli foundation and each and every team member’s personal investment and support. It couldn’t have happened without them.

    We decided to begin production knowing we don't have enough money to produce the film exactly the way we wanted to, but we had so much faith in this film, we believed that if we start it- we’ll also find a way to finish. Now, As the end seems closer than ever, a funding boost from our Kickstarter campaign will give us the opportunity to finish the film the way we always dreamed it, and to pay our wonderful team who worked so hard on this film.

    © Roy Rachamim

    Fox Renderfarm: How do you feel about Fox Renderfarm’s cloud rendering services?

    Uri: Fox Renderfarm has provided us with a breath of fresh air. We came across the service while researching different options for online render clouds. Since the very first login, the service has been on our side, the incredible support team has been solving all the problems that we have encountered.

    It took us a few moments to get the hang of it, but once we were set up, we realized how easy, comfortable and cost-effective Fox renderfarm is.

    © Avner Geller

    Fox Renderfarm: Any other things you want to share with the audience who supports you?

    Uri: I would like to thank the animation community for the unbelievable support in our Kickstarter campaign, and invite you to support Our short film. We need your help to get this film to the finish line. Check out the fun rewards we have for you, and help spread the word of the campaign.

    Fox’s Got Talent June Winner Revealed: a Surreal and Atmospheric Short Film Created in 3ds Max and V-Ray



    Fox Renderfarm Interview

    Fox’s Got Talent (FGT) is the platform for all Fox Renderfarm users to share their artwork rendered with Fox Renderfarm and get awarded free render credits.

    We are excited to announce our Fox’s Got Talent June Winner CG artist Ren Wang from Canada, a filmmaker based in Toronto. This artwork INTERSTATE is a surreal and atmospheric short film created in 3ds Max and V-Ray. Its smooth transitions and emotional scenes stand out, reminding us of the real feelings along the long trip.

    What’s the story behind while creating this artwork? Let’s figure it out together!

    INTERSTATE © Ren Wang

    Fox Renderfarm: Hi, Ren! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?

    Ren: Hi there! I'm a filmmaker based in Toronto. I used to work in architecture but recently decided to start making films in CG.

    Fox Renderfarm: Congratulations on winning the Fox’s Got Talent June winner, how do you feel about it?

    Ren: I'm very excited as Fox Renderfarm is my go-to render farm.

    Fox Renderfarm: What’s the idea behind your artwork “INTERSTATE”?

    Ren: It was from a long trip I took at the end of 2019. Last December I drove from San Francisco to Toronto across the US in seven days. I had the idea of sharing this experience through making a surreal, atmospheric film. The images you see in this film are based on what I saw and felt during the trip.

    Fox Renderfarm: How long did you take to finish the work?

    Ren: It took about four months to finish.

    Fox Renderfarm: Can you tell us about your CG pipeline?

    Ren: I mainly use 3DS Max for scene setup and V-Ray for rendering. For models and textures I utilized online resources such as Quixel Megascans.

    Fox Renderfarm: How about the challenges you faced while creating this work? How did you overcome them?

    Ren: The challenge is the design. I try to make the design reflecting my feelings during the trip as much as possible. Also each scene is designed to be played in a loop so there's more challenge in setting up the 3D scene. I managed to pull it off through rounds and rounds of iterations.

    Fox Renderfarm: Technically and visually, which is your favorite part of this short? And why?

    Ren: I love them all but my favorite would be the top down canyon shot - the third shot. It closely matched what I felt when I travelled through the desert in the midwest.

    Fox Renderfarm: Which features in V-Ray do you find the most useful?

    Ren: V-Ray is by far the renderer I've used the most. So I would say I find it very reliable.

    Fox Renderfarm: Have there been any big changes you’ve noticed through using different versions of V-Ray?

    Ren: Later in the production I tried V-Ray RT, although I only used it for rendering two shots - the second and the fourth - but I found it to be useful and fast.

    Fox Renderfarm: Your work "Waterdrop" on Vimeo is really great, which gains over 100K impressions. Can you tell us something behind the scene about this project?

    Ren: Thank you. Yes "Waterdrop" is my early attempt in films when I was still in architecture school. Although it was mostly done in 2D, I really like how it turned out. I figured out how to make infinite zoom in 2D which is the core technique and storytelling method of this film.

    INTERSTATE © Ren Wang

    Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?

    Ren: I was trained in architecture. After school I worked in architecture briefly but joined a creative agency as a 3D artist to work in archviz three years ago. I moved to Canada early this year and have since worked as a freelancer.

    Fox Renderfarm: How do you enhance your professional skills?

    Ren: I learned from my colleagues through work and also from the process of making my own stuff.

    Fox Renderfarm: What do you think about Fox Renderfarm?

    Ren: Fox Renderfarm has a very user-friendly interface both on desktop and online. It also supports a variety of software. I want to try a different CG pipeline for my next film.

    Fox Renderfarm: Anything else you would like to share with CG enthusiasts? Ren: Try out Fox Renderfarm!

    Who is our next WINNER?

    Click here Fox's Got Talent and submit your artwork rendered with Fox Renderfarm. Shine your talent now!

    Fox’s Got Talent March Winner talked about how to create a doomsday battle in C4D



    Fox Renderfarm Interview

    Last month, we have already announced Fox’s Got Talent March winner--Yaw Onyina, a 3D Generalist and Medical Doctor from Ghana. Congratulations again and let’s see how he created a doomsday battle in Cinema 4D.

    · Yaw Onyina · 3D Generalist and Medical Doctor· From: Ghana

    The Final Stand by Yaw Onyina

    After over 2 months of work, Yaw finished his biggest ever project The Final Stand, which was modeled in C4D with a few exceptions made in MoI3D. The texturing was with Substance Painter, Alchemist, Illustrator, and Photoshop, and rendering was done with Redshift for C4D. What’s more, Yaw introduced the texturing and shading processes and how to set up so many details in the scene in our exclusive interview.

    Fox Renderfarm: Hi, could you briefly introduce yourself?

    Yaw: My name is Yaw Onyina and a 27-year-old from Ghana. I work professionally as a Medical Doctor. I love design in general and so I make time to work on it.

    Fox Renderfarm: How do you feel about winning Fox’s Got Talent (FGT)?

    Yaw: Brilliant. It’s the first contest I’ve ever won in design and I’m really grateful to Fox Renderfarm for the opportunity to enter and eventually win!!

    Fox Renderfarm: What’s your inspiration for this creative artwork?

    Yaw: I call my artwork ‘The Final Stand’. It is set in a post-apocalyptic world where artificial intelligence has taken over the world and has the current goal of exterminating all human life. The hero in the shot comes against the AI drones. After an epic battle, he falls. My pieces lately are inspired by the works of Simon Stalenhag and Cornelius Dammrich. Their works are amazing!

    Details in The Final Stand by Yaw Onyina

    Artwork by Simon Stalenhag

    52HZ by Cornelius Dammrich

    Fox Renderfarm: We can see that you set up many details in the artwork, such as the telephone booth, weapon and neon lights. Which part did you spend more time on and how did you make it done?

    Yaw: Most of the time I spent on the scene was in texturing and shading processes. The scene contains over 300 separate textures so you can imagine how long it took compiling them into shaders haha.

    Telephone booth design in The Final Stand by Yaw Onyina

    Fox Renderfarm: The drone is so cool, how did you design it? Any references?

    Yaw: I spent time looking for references online. Pinterest and ArtStation are great resources which I think every artist should use. Then I went into Cinema 4D and using subdivision modeling, I made the drone. I then unwrapped the separate pieces using RizomUV and took the unwrapped model into Substance Painter for texturing. The entire drone model took about 4 hours cumulatively to make.

    Drone design in The Final Stand by Yaw Onyina

    Fox Renderfarm: Technically and visually, which is your favorite part of this work? Why?

    Yaw: My absolute favorite part of the process is texturing. Substance Painter is such a joy to use. Back in the day I hardly ever properly unwrapped and textured models however with the advent of Substance, everything’s changed. I’ll never look back!

    Texturing in The Final Stand by Yaw Onyina

    Fox Renderfarm: Have you met any difficulties? And how did you solve it?

    Yaw: My main difficulties were in rendering. I use a laptop in making most of my scenes so rendering the final images at full 8k resolution was a nightmare. I spent over 8 hours rendering a single frame only for Cinema 4D to crash, right at the end!! I’m really happy I found Fox Renderfarm. It freed my computer for other purposes.

    Fox Renderfarm: As you are a 3D Generalist and also a Medical Doctor, how do you keep yourself inspired and motivated? And what do you do to improve your CG professional skills?

    Yaw: Paradoxically, design is what keeps me motivated to work as a medical doctor. I keep Behance and ArtStation tabs open on my browser as well. So they serve as great sources of inspiration. I strive to be like the artists who inspire me and that’s what keeps me constantly trying to improve my skills. I try to stay humble and invite critique from fellow artists on several of the artist platforms (such as 3douchebags, Motion Designers Community, The Cinema 4D Subreddit, etc).

    Artworks by Yaw Onyina


    Fox Renderfarm: How do you feel about Fox Renderfarm’s cloud rendering services?

    Yaw: I absolutely love it! I’m definitely rendering all of my bigger projects on this service. Customer service is spot on too. Great service.

    Fox Renderfarm: Any other things you wanna share with CG enthusiasts?

    Yaw: I’d like to encourage all C4D artists to step out of the stereotypical “C4D daily style” of design and tackle bigger personal/client projects. That is the only way we can improve as artists.

    Will you be our next WINNER?

    Click here Fox's Got Talent and submit your artwork rendered with Fox Renderfarm, shine your talent now!

    How to Build a Realistic Character in Maya



    Fox Renderfarm Interview

    André Jukebox © Jonathan W. Rodegher

    The artwork, André Jukebox, was created by Jonathan W. Rodegher from Argentina, who is currently working in Ireland as Lead Sequence Lighter for a feature film, and rendered with Fox Renderfarm, the leading cloud rendering services provider in the CG industry.

    This video has been made as a technical test for his short film, André Jukebox. It tells a story about André, a busker, who intends to pursue a life doing music, his main passion, despite being born and raised in the marginality.

    This is the first of the last array of renders that will close this phase, reaching an important milestone in the animation project. Following this, there will be a number of updates rolled out for the character, including new skin shader/textures, eyes improved, cloth new shaders and textures, a much better-improved rigging system, etc.

    Here’s the interview between Jonathan and Fox Renderfarm, in which we can find out how he came up with the idea and created this wonderful video.

    Fox Renderfarm: Hi Jonathan, thank you so much for accepting our interview! Could you briefly introduce yourself?

    Jonathan: Hi! Thank you for interviewing me. My name is Jonathan, I’m from Argentina and currently working in Ireland as Lead Sequence Lighter for a feature film. I’m also a bit of a music nerd and lately, I’ve been going into filmmaking and storytelling.

    Fox Renderfarm: Now we can see the beautiful shot concept of André Jukebox, including a video as the technical test, could you give a brief introduction about the whole story?

    Jonathan: Well André is a busker who, despite being born and raised in the marginality, intends to pursue a life doing music, his main passion. Along with JD, a friend from childhood, they both try to survive and help each other try to build a better life, far from a drug-infested neighborhood.

    Fox Renderfarm: What’s your inspiration for the short film?

    Jonathan: The Wire is a big one, storytelling and tone wise. Narc, the movie is another one. Visually though, Seven, Pear Ciders and Cigarettes and Into the Spiderverse. Very different sources that I intend to mix somehow.

    Fox Renderfarm: In the video, we see the cloth and hair motion is realistic, how did you do that?

    Jonathan: I just did the sims and then load them up as alembics, using modifiers to apply wind-like motion. For such a short clip, these little tricks are often good enough.

    André Jukebox © Jonathan W. Rodegher

    Fox Renderfarm: When did the project start? And when will the film be released which we are looking forward to?

    Jonathan: I started building the character, from design to final model, about 2 and a half years ago. By then I already had a few written ideas. After that, it’s been iterations and iterations of improvements, be it technical or visual. I just put in some hours now and then when the inspiration hit or when new ideas came up.

    Fox Renderfarm: What’s the most interesting or unforgettable thing during the process?

    Jonathan: For sure the learning side of it is the most interesting. For example, I had to learn how to actually build cloth, and shoes. Also, how many times you think you’re done and happy with, and keep finding ways to improve your assets.

    Fox Renderfarm: Have you met any difficulty in the creation? How did you overcome it?

    Jonathan: Yeah, naturally. Many different issues during all this time. The way to overcome it is to test, test and test. Also do a lot of solid research. Taking a day or two away from the problem is a really good technique too, given you have the time. Way too many times I found myself stuck in an issue, and I just needed a fresh look into it.

    Fox Renderfarm: The video is the milestone in your project, so what’s your next step for the project?

    Jonathan: Right now there’s a teaser/proof of concept on the works. The next step is to gather all the needed assets/rigs up to pace so the animation team can start with final animation. In the meantime there’s quite a bit of pipeline and other processes being developed as we go, as well as finishing with the rigging, recording of voices, music, touching up the edit, etc.

    André Jukebox © Jonathan W. Rodegher

    Fox Renderfarm: When did you encounter CG? Could you briefly tell us the story of your educational and work experience along your CG journey?

    Jonathan: I found a VFX school in Argentina, around 2001, and that was the first time I got the idea that I could actually work on it, in a user computer. Having always had the knack for drawing and animation, and also a huge interest in computers, I found that 3d animation was quite ideal. So I started there, with a very basic and informative 6 months training. And not too long after that, I started working on tv ads. Around that time, lucky for me, 3d animation was wildly popular for ads. Not too long after that I was working on animation full time.

    Fox Renderfarm: What do you do to enhance your professional skills?

    Jonathan: I’m usually keeping an eye open for any new training material I can come across. Especially if it comes from artists I admire/respect. The other thing that’s very important is to keep working on your stuff, and be brutally honest about your results. Your instincts are pretty good at telling you what you don’t wanna hear/see.

    Fox Renderfarm: Anyone or any artwork inspires you the most in this industry?

    Jonathan: Lately, I’ve found the work from Alberto Mielgo super interesting. His stuff looks amazing. Also, Zac Rets, his art direction is pretty stunning too.

    Fox Renderfarm: How do you feel about Fox Renderfarm’s cloud rendering services?

    Jonathan: It’s been a real pleasure to work with. Everyone seems eager to make the whole thing go as smoothly as possible, not to mention how friendly the attention is. If my project can afford it, it’s a no brainer!

    Fox Renderfarm: Any other things you wanna share with CG enthusiasts?

    Jonathan: Be humble, there’s at least one very very useful thing you can learn from anyone in the team. Also, take more time learning the fundamentals, I’ve seen a lack of this over the years. A software might take a couple of weeks to get used to, fundamentals? You’ll be perfecting forever. It’s the fastest way to make your work look really good.

    How to Build A Magnificent Space Carrier in UE4



    Fox Renderfarm Interview

    If you are a science fiction fan, you must be very interested in space carriers and its adventures. In CG Boost “Space Carrier” Challenge, artists surprise us with their own interpretation of space carriers.

    As the champion of the challenge, Mateusz Szymoński, a Digital Artist and Game Developer from Poland, created an epic widescreen shot about the United Earth Federation, which looks straight out of a futuristic sci-fi movie.

    Mateusz Szymoński Digital Artist & Game Developer From: Warsaw, Poland

    United Earth Federation © Mateusz Szymoński

    Clay render

    Since it’s the first attempt for Mateusz to create in Unreal Engine, he took some time to learn the basics of its editor and he realized that the rendering features, especially height and atmospheric fog are absolutely amazing which help him to receive the great results quickly.

    Here’s the interview between Mateusz Szymoński and Fox Renderfarm, in which we can find out how he created this wonderful piece.

    Fox Renderfarm: Hey Mateusz! Could you briefly introduce yourself?

    Mateusz: Hi! My name is Mateusz Szymoński. I am from Poland. Currently studying computer science at Warsaw University of Technology. I think that “a fusion of a digital artist, game developer, gamer, game jammer, and game engine programmer” is the best description of me.

    Fox Renderfarm: How do you feel about winning the 1st Place in the CGBoost Space Carrier Challenge?

    Mateusz: Wonderful! It is always nice when a work in which you put a lot of effort gets awarded.

    However, places or prizes are not the most important things for me.

    I like to participate in such challenges since they are great sources of motivation.

    A well-defined deadline really gives me a strong productivity boost when I am working on the project.

    Fox Renderfarm: What’s the inspiration behind the nicely-done render?

    Mateusz: I usually get most of my inspirations from movies and video games. This particular project is based on the style and setting of Supreme Commander, a real-time strategy game with large-scale sci-fi battles.

    Game world is set in the far future where the human race, united as the United Earth Federation (UEF), fights an infinite war with three other factions.

    Except standard units like tanks, bots, or battleships there is a special type of unit called experimental. These are usually very expensive, heavy game-enders that can tip the scales in favor of their owner.

    I thought that making a massive UEF-style space carrier would be a great shout-out to the game I like so much.

    Moreover, I always wanted to make an open landscape scene.

    Turned out that a dominating spaceship fits ideally in such an environment.

    Fox Renderfarm: As the main part of the picture, the spaceship is strong and well-designed. How did you make it from modeling to texturing?

    Mateusz: It took me one full day to create it, from soup to nuts.

    First of all, I searched the internet for some references and took some screenshots in the game. I like to skip the designing phase in such sprint-projects. Blocking things out of simple shapes works much better for me.

    I started from a simple cube and after a couple of iterations I had base shape.

    I heavily experimented with kitbashing to add all the details.

    After a few hours I textured my model in Substance Painter which I find to be absolutely amazing software. It is hard to describe how powerful it is, especially its procedurally generated masks. They add an extreme amount of detail with minimal effort.

    Fox Renderfarm: The composition makes the artwork look balanced and beautiful. Any considerations behind the composition? And how did you make the men and grass vegetation on the foreground, and the mountains and sky on the background?

    Mateusz: I had a general idea for the landscape scenery long before the theme was even announced. Honestly I did not spend much time on compositing. This is a fairly easy scene, in fact it consists only of a ship, man, and landscape with some grass and stones on the foreground.

    Most of the final effect was achieved thanks to the camera settings. Its position, rotation, and focal length play the most important role.

    Fox Renderfarm: The color and lighting are widely praised by the judges for they strengthen the atmosphere and make the picture so touching. How did you make it happen?

    Mateusz: Fog is a crucial element of almost every render since it adds a lot of realism to the image. In an arid environment like this it is twice as important.

    I relied on my intuition, 3 hours of adjusting fog settings sliders did the job.

    Fox Renderfarm: How long did it take to finish the artwork?

    Mateusz: I like to focus on the work entirely. This project took me only 3 days to create, where half of the time I was trying to figure out how different features in Unreal editor work.

    Fox Renderfarm: What software and plugins did you use to finish the artwork?

    Mateusz: PureRef for keeping my references in one place, Blender for modeling and unwrapping, Unreal Engine for rendering, Substance Painter for texturing and creating several tiled textures, Gaea for landscape heightmap generation, Quixel Megascans for getting some materials and vegetation models.

    Additionally, I used my own Rapid PBR Material Creator addon for Blender along with several others to speed up the whole process.

    Fox Renderfarm: Why did you choose Unreal Engine to do the render? What’s the biggest difference between UE and traditional 3D software for you?

    Mateusz: Blender lacks several key features. I mean advanced atmospheric fog, tessellated landscape system, and handy foliage system (current particle system with weight painting is not as convenient for vegetation creating as the one Unreal has).

    I was trying to achieve good looking atmosphere fog in Blender for a while, but since there was not so much time left till the deadline I decided to switch to Unreal Engine and I must say that even without ray-traced renderer renders look surprisingly good.

    Also, it is worth noting that fog Unreal Engine tools give the best results I have ever seen in any software.

    Fox Renderfarm: When and how did you encounter CG?

    Mateusz: At the age of 15 I decided to create my first video game, it was complete magic for me back then. I started with creating some simple 3d models and this is moreover how my adventure with CG started. I was immediately fascinated by it so much that I abandoned my idea of making games and for a couple of next years I was trying to develop my skills as a digital artist. I realized that it is this freedom of creation, this amazing feeling of making something from scratch, what I really like in CG.

    Temple of Ylnir © Mateusz Szymoński

    Fox Renderfarm: Could you briefly tell us the story of your educational and work experience along your CG journey?

    Mateusz: It is strongly connected to my discovery of CG, While making the first game I became interested not only in graphics but also in programming and generally computer science stuff, especially the technical part of 3D art - things like how shaders and GPU work, how vertices of models are stored, how renderers process them, etc. Artistic skills in combination with programming skills give a much broader perspective and open new exciting ways of development.

    For example, I was always struggling with creating new materials in Blender as is quite a tedious and repetitive task. Thanks to coding knowledge it took me a single day to code Rapid PBR Material Creator addon for Blender that I mentioned earlier. It does everything for me. It imports all selected textures and connects them properly with one click. I realized that there are an infinite number of such small optimizations to code and it is really great to be able to do this. It is an amazing feeling to use the tools you have created yourself and see how much they help.

    I decided to study computer science and I can say that I completely do not regret this decision.

    PE-1 Reconnaissance Drone © Mateusz Szymoński

    Fox Renderfarm: How did you keep yourself inspired and motivated? What do you do to improve your professional skills?

    Mateusz: Challenges, culture, and making new projects. I think this set is a key. Challenges give motivation, culture gives inspiration, making new projects gives skill boost.

    However, it is important to keep the balance, working too much can burn out so have breaks to take a breath sometimes.

    Desoutter Drill Gun © Mateusz Szymoński

    Fox Renderfarm: Anyone or any artwork inspires you the most in the industry?

    Mateusz: I love the design of entire universes like Blade Runner or Star Wars. Not the characters but rather how the locations and small props are stylized and how they work together to tell stories.

    Here is the list of my favorite artists:

    Col Price - Urschel - Chadeisson - Jeon - Alexandrov - Enchev -örn Nord - Averkin - Develtere - Dybowski - Rozalski -

    Fox Renderfarm: Any other things you wanna share with CG enthusiasts?

    Mateusz: Stay creative and keep on amazing the world with your creations.

    Key Words

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    2 M’sian Animated Films Won National Winners at the 2020 Asian Academy Creative Awards (AAA)


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    The Korean version of the website is now available


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      글로벌 에이전트 연락처: Gordon Shaw


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