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    청강문화산업대학교의 창의적인 애니메이션 "쿠라토" 감독과의 인터뷰

    청강문화산업대학교의 창의적인 애니메이션 "쿠라토" 감독과의 인터뷰

    2024-01-19

    Fox Renderfarm Projects

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    "쿠라토"는 많은 시청자들의 마음과 상상력을 사로잡은 경이로운 단편 애니메이션 영화입니다. 청강문화산업대학교의 재능 있는 학생들로 이루어진 팀 C:GC에 의해 만들어졌습니다. 한국의 이천에서 설립된 청강문화산업대학교는 다양한 컨텐츠 분야에서 젊은 인재들을 양성하는 데 전념하여 존경받는 학교로 우뚝 섰습니다. 업계 최고의 클라우드 렌더링 서비스 제공자이자 렌더팜인 폭스 렌더팜은 프로젝트 "쿠라토"를 후원하고 박주희 감독을 인터뷰하는 영광을 누렸습니다. 저희 클라우드 렌더링 서비스를 이용해 주셔서 감사합니다! 이 인터뷰에서 청강대 애니메이션 스쿨의 예술적인 마인드를 더 깊이 들여다보면서 더 높은 수준으로 창조적인 노력을 하게 된 비결을 알아보겠습니다.CURATOR © Team C :GCFox Renderfarm: 안녕하세요 C:GC 팀! 인터뷰에 응해주셔서 감사합니다! 우선 독자들에게 본인과 학교 소개를 부탁드립니다!Team C :GC:안녕하세요! 작품 쿠라토의 감독을 맡은 박주희입니다. 이렇게 만나뵙게 되어 기쁩니다!저는 올해 졸업학년으로 청강대에 재학중입니다. 청강대는 대한민국에 있는 대학교로 애니메이션, 게임, 웹툰, 무대미술 등등 다양한 컨텐츠과가 있으며 창의적인 인재를 육성하는 학교에요. 제가 다니는 애니메이션과는 3D, 2D, 스톱모션 애니메이션 등의 폭넓은 애니메이션을 사랑하는 학생들이 모여 늘 뜨겁게 타오르고 있는 곳입니다🔥Fox Renderfarm: 학교에서 제공하는 애니메이션 교육 과정에 대해 소개도 부탁드립니다!Team C :GC:서울에서 진행한 쿠라토 졸업전시 © Chungkang저희 학교는 애니메이션을 만들기 위한 기초 수업을 중요하게 생각합니다. 그래서인지 조소, 인체드로잉, 3D 기초, 연출과 스토리 수업 등이 1학년을 주로 이루고 있어요. 이를 2학년까지 계속해서 배우고 난 뒤 2학년 2학기부터 배운 것들을 응용해 학기작품을 기획하고 만들게됩니다. 애니메이션 제작을 직접해보며 파이프라인과 팀플을 통한 협력 등을 익히게되고 완성된 결과물을 매 해 학기말마다의 과제전과 상영전, 졸업전시를 통해 공유하며, 함께 웃기도하고 울기도합니다. 학교의 마지막 해인 3학년때는 2년간 갈고 닦은 실력과 여러 팀 활동으로 다져진 노하우로 심화 수업을 병행하며, 1년간 졸업작품을 작업하게 됩니다.청강대학교 내부 졸업 상영전 CKAS 2024 © Chungkang3년이라는 짧은 시간안에 동기와 함께 작품을 만드는 과정이 쉽지않고 위태로울때도 많았지만, 완성까지 무사히 한 작품을 울먹이며 상영회에서 보던 그 날들이 생생하네요.Fox Renderfarm: 작품 'CURATOR'에 영감을 준 이야기를 들려주실 수 있나요? 어떻게 이 아이디어를 생각해냈나요?Team C :GC:초기 컨셉아트 | 컨셉아트 박주희 © Park ju-hee어렸을 적부터 자연을 좋아했습니다. 뻥 뚫린 광활한 하늘을 동경했던 것 같습니다. 또 주인공이 고난을 이기고 성장해내는 소년만화를 좋아했는데, 제 버킷리스트 중 하나가 소년 성장 애니메이션 만들기 였습니다. 이렇게 좋아하는 것들이 모여 "광활한 푸른하늘 아래 거대한 초원에서 뛰어노는 소년의 모습을 그려내고 싶다!" 라고 생각하게 되었고 하나 둘 살을 붙여 시작하게 되었어요 :)Fox Renderfarm: 시청자들이 이 영상을 보면서 무엇을 얻었으면 하고, 어떤 메시지나 느낌을 남기고 싶나요?Team C :GC:CURATOR 쿠라토"In a tribe, living with huge birds, a boy called a god 'CURATOR' meets a girl who changes his fate.""거대한 새와 공생하는 부족의 신 '쿠라토'로 모셔지는 소년은 자신의 운명을 뒤바꿀 소녀를 만난다."CURATOR © Chungkang주인공 윤타는 한 번도 자기 자신에 대해 생각해본 적이 없는 아이입니다. 자신이 누구인지 생각해 볼 겨를 없이 주어진 큰 운명에 맞춰 살아가도록 던져졌어요. 그런 윤타가 자신의 삶을 살아가는 할라를 만나고 처음으로 자신이 좋아하는게 뭔지 생각합니다. 그리고 꿈을 꾸게 된 윤타는 용기를 내서 미래를 살아가기로 결심합니다.CURATOR © Chungkang내가 좋아하는 걸 알고 나의 미래를 꿈 꾼다는 것, 굉장히 평범하지만 그게 가지는 힘은 정말 강하고 단단하다는 걸 전달하고 싶어요. 윤타의 성장을 통해 보는 분들께도 이 용기가 느껴지면 좋겠네요!Fox Renderfarm: 스토리와 캐릭터에 영감을 준 특정 영화, 책, 예술 작품 또는 실제 사건이 있습니까?Team C :GC:개인적인 경험과 자라온 과정에서 비롯된 부분이 많은거 같습니다. 가장 먼저 방황하던 어린 시절 저한테 해주고 싶은 말을 담았어요. 눈치보지말고 진정한 자신을 향해 용기내라고 말해주고 싶다는 마음으로 만들게 되었습니다.영화 아바타를 굉장히 좋아하는데 거기서도 많은 영감을 받은거 같아요!Avatar © 20th Century StudiosFox Renderfarm: 캐릭터 디자인을 하실때 어떻게 접근하셨나요? 창작 과정과 캐릭터에 생명을 불어넣기 위해 진행하시는 단계가 있다면 소개해 주실 수 있나요?Team C :GC:초기 윤타와 할라 | 컨셉아트 정다인 © Jeong Da-in초기의 윤타와 할라는 부족의 족장 자리를 두고 싸워야하는 운명에 놓인 소꿉친구 관계였어요. 부족의 신임을 받는 할라와 달리 오히려 윤타는 부족을 겉도는 캐릭터였죠. 초기 스토리라인이 수정되고, 살아있는 신이 된 윤타로 캐릭터를 바꾸고 난 뒤에는 단순히 소꿉 친구인 두 사람으로는 관계성이 많이 부족하다고 느꼈습니다. 그래서 족쇄와 목발이라는 공통점을 만들어주었고, 둘의 부족 내 위치는 매우 상반되지만 부족에서 겉돈다는 상황도 만들어주었어요. 그런 두 사람을 만나게만 해준다면 두 캐릭터는 자연스럽게 스토리를 이끌어 갈거라고 생각했습니다.윤타와 할라 | 컨셉아트 정다인 © Jeong Da-in디자인적으로는 자라온 성격에 맞춰 기본 쉐입을 크게 나누는 방향으로 택했습니다. 각지고 어딘가는 날이 선 윤타와 둥글둥글하고 쾌활한 할라로요. 부족만의 의상도 따로 디자인을 진행했습니다. 살아있는 신 쿠라토로 모셔지는 윤타만의 특별한 의상과 약간은 허름한 옷의 할라의 의상으로 차이를 주었어요.Fox Renderfarm: 작품에서 분위기를 내기 위해 색상, 재료 및 조명 설정을 어떻게 사용하셨나요?Team C :GC:자체적 문화를 가진 원시 부족을 배경으로 하고있기 때문에, 씬 별로 원색의 채도를 있는 그대로 살려서 부족의 위험하지만 신비로운 분위기를 표현하고자 했습니다.작품 씬 별 스틸 컷 © Chungkang초반 씬은 푸른색으로 어스름하고 신묘한 분위기를 표현했고, 윤타와 할라가 친해질땐 따뜻한 노란색, 제사씬에선 전반적으로 위험한 붉은색과 차가운 남색으로 표현했습니다. 마지막으로 떠나는 씬은 밝고 희망찬 분위기의 분홍색을 주로 사용해 표현했습니다. 짧은 필름이다보니 씬의 분위기별로 주요 색감을 확실히 나눈것이 스토리 전달에도 많은 도움이 된거 같습니다.Fox Renderfarm: 이 작업의 파이프라인(작업 공정)에 대한 설명과 걸린 시간에 대해 설명 부탁드립니다!Team C :GC:아기 파뮬라 | 컨셉아트 정다인 © Jeong Da-in애니메이션을 만들기 위해서는 프리(스토리보드,컨셉아트), 메인(모델링,텍스쳐링,리깅,애니메이팅,라이팅, Fx), 포스트(합성, 사운드, 편집)의 세 프로덕션을 거치게됩니다. 그중 간단히 메인 프로덕션 과정 중 모델링-텍스쳐링 파트를 보여드릴게요.작품엔 나오지 않았지만 귀여운 아기 파뮬라입니다. 파뮬라는 비늘로 이루어진 몸을 가지고 있는 거대한 새입니다. 아기때는 까무잡잡한 비늘을 가지고 있으며 성체가 되기 위해 탈피를 하고 화려한 색(푸른색, 녹색, 보라색 등)을 가지게 됩니다. 이렇게 설정을 담은 컨셉을 그려내고 완성이 되면 다음 모델링을 진행합니다.아기 파뮬라 모델링 | 모델러 양승현 © Yang Seung-hyun모델링에선 입체적인 형태감과 고른 면을 만드는 것을 중점으로 작업합니다. 모델링에서의 페이스 관리는 작품의 렌더링 시간을 결정하는 요소입니다. 이는 작품의 완성 가능성과 직결되기에 굉장히 중요하게 설계됩니다. 모델링 완료 후엔 텍스쳐링을 진행해 회색 폴리곤에 색을 입혀줍니다. 여기서는 재질표현, 색, 생활감의 디테일 등을 작업합니다. 텍스쳐가 입혀진 아기 파뮬라 | 텍스쳐링 양승현 © Yang Seung-hyun굉장히 귀여운 아기 파뮬라가 탄생했습니다! 이 과정에서 모델러와 컨셉 아티스트, 감독이 함께 작업물을 보며 성체 파뮬라와 비교해 표현하고자 하는 포인트를 점검하고 피드백 및 디벨롭을 주고받으며 작업합니다. 또한 후에 씬과 환경에 넣었을때 어떤 색이 어우러질 수 있을지에 대해 고민하며 기존과 다르게 디벨롭하기도 합니다. 모델링 - 텍스쳐링 파트 이외에도 전반적인 파트가 비슷한 작업 과정으로 진행됩니다.작품마다 가지게 되는 파이프라인에는 팀마다 조금씩 차이가 있는데, 저희팀은 창작 원시부족을 소재로 하기에 초기에는 작품의 분위기를 상상하는데 어려움이 있었습니다. 이를 위해 포스트 프로덕션의 라이팅/합성 파트가 모델링의 시작인 로우 폴리곤때부터 함께 진행하며 초기부터 분위기를 잡아갔습니다. 그리고 이 작업물을 팀 커뮤니티에 올리며 다같이 작품 분위기를 익히며 작업했습니다. 덕분에 시간이 갈 수록 점차 작품의 현장감이 높아졌고, 가위아 부족만의 분위기를 확실히 담아낼 수 있었습니다!Fox Renderfarm: 창작 과정에서 부딪힌 어려움이 있나요? 어떻게 극복하셨나요?Team C :GC:가장 오래걸리고 무거웠던 컷 - 마야 © Chungkang팀 내에서 늘 다뤄지는 문제는 시간 부족이었습니다. 11개월이라는 전체 작업 마감 기한은 정해져 있기에 1차 작업을 끝낸 뒤, 이를 디벨롭하기 위한 좋은 아이디어가 나와도 필요한 시간을 더 확보할 수 없었습니다. 3d 작품의 특성상 렌더링 시간을 늘 염두에 두고 일정을 조정해야 했기에 더욱 촉박했습니다. 그래서 렌더링 시간을 줄이기 위해 고군분투 중 폭스 렌더팜의 지원을 받게 되었고, 렌더팜에서의 렌더는 한달이라는 추가 여유시간을 만들어주었습니다! 정말 쾌거를 이뤘습니다.합성 작업 모습 - 누크 © Chungkang결과적으로 파트마다 작업에 매진하여 끝까지 도전할 수 있는 시간을 얻을 수 있었습니다. 덕분에 후회없이 멋진 작품을 완성할 수 있었습니다.Fox Renderfarm: 창작 과정에서 즐거웠던 순간이 있나요? 그리고 가장 기억에 남는 순간은 무엇이었나요?Team C :GC:생명을 얻은 윤타 © Chungkang팀원들이 직접 만든 바닥 벽화와 피규어 © Chungkang모든 순간이 즐거웠지만 특히 윤타에 리깅을 입혀 얼굴과 몸을 움직이던 때 마치 새로운 생명이 탄생한 것 같은 기분이었습니다! 정말 애니메이션을 만들고 있구나 느껴서 인상깊게 기억하고 있습니다.학교 내부에는 CCRC라는 애니메이션 스튜디오가 있습니다. 팀이 들어가 작업할 수 있는 자리가 마련되어 있는 곳입니다. 그곳에서 팀원들과 종종 밤샘 작업을 하곤 했는데 함께 아이디어를 공유하고 같이 밥을 먹고, 가끔 갑자기 춤도 추며 즐겁게 작업하던 때가 생각이 납니다. 당시에는 힘들고 지쳤었지만 돌이켜보면 다시 못 겪을 소중한 추억이 되어 기억에 남습니다.Fox Renderfarm: 기술적, 경영적 측면에서 팀 단위로 생산 프로세스의 효율성을 최적화한 방법이 있으신가요? 있으시다면 무엇인지 설명 부탁드립니다!Team C :GC:애니메이팅 피드백 현장 © Chungkang라이팅 피드백 현장 © Chungkang성우 레코딩 현장 © Chungkang저희 팀은 18명의 팀원으로 이루어져 있습니다. 매일 다양한 작업이 이루어지곤 했는데 원활한 의견 교환을 위해 매주 파트별 회의와 격주로 전체 회의를 잡아 작업 상황을 공유하는 시간을 만들었어요. 또한 작업물을 올리는 커뮤니티를 개설해 실시간으로 작업을 올리고 피드백을 나누었습니다.매 회의마다 모두가 열의를 가지고 참여했고 가끔 길을 잃을 때면 다 같이 모여 고민하던 기억이 납니다. 덕분에 작업 전체의 방향을 공고히 진행해 나갈 수 있었습니다. 특히 애니메이팅 회의 시간이 매주 평균 6 ~ 10시간으로 굉장히 길었는데 다들 지치지 않고 끝까지 해내주어 지금처럼 멋진 결과물이 나오게 되었습니다!Fox Renderfarm: 이전에 Fox Renderfarm의 서비스를 사용해 보거나 들어본 적이 있습니까? 그리고 Fox Renderfarm의 클라우드 렌더링 서비스에 대해 어떻게 생각하시나요?Team C :GC:폭스 렌더팜 사용 화면폭스렌더팜은 기획 단계에서부터 작품의 완성을 위해 사용을 염두에 두고 있던 렌더링 서비스였습니다. 저희 팀은 모두 학생들로 이루어져있어 개인 작업 컴퓨터 이외에 렌더용 컴퓨터가 넉넉하지 않았습니다. 이에 렌더팜을 사용하여 개인 컴퓨터의 성능을 유지하고 동시에 작업시간을 확보할 수 있어 큰 시간 효율을 얻을 수 있었습니다. 스케일이 큰 작품이었고 디테일하게 합성을 진행하기 위해, 각 컷마다 렌더 레이어를 많이 나눠 렌더 시간을 조정하고자 했습니다. 다만 많은 컷 수로 인해 관리의 어려움을 걱정했습니다. 하지만 폭스렌더팜에서 렌더링 구역을 나눌 수 있는 기능 덕분에 여러 레이어 여러구역에서 동시에 렌더할 수 있어 굉장히 편리했습니다!렌더링을 진행할때는 예기치 못한 여러 오류가 함께 찾아오곤 합니다. 갑자기 옷이 없어진다던지, 텍스쳐가 안보인다던지 등등 꽤 골머리를 앓게합니다. 폭스렌더에선 첫/ 중간/ 끝프레임 테스트렌더 기능을 이용해 본격적인 렌더 전에 프리뷰창을 이용한 렌더 검수가 바로 가능해서 오류를 많이 막을 수 있었습니다. 특히 재 렌더 시엔 (마야의 경우) 해당 파일을 연 뒤 프레임을 찾아 렌더해야하는 번거로움이 있는데 폭스렌더 내의 re-render 버튼을 이용해 간편하게 렌더할 수 있어 좋았습니다. 또한 작업에 있어 파일의 경로를 알맞게 설정해 주는 것이 매우 중요합니다. 모든 오류의 절반이 잘못된 경로에서 발생하기도 합니다. 하지만 폭스 렌더 앱 사용 시 파일을 올리지 않아도 자동으로 경로가 인식되는 기능들 덕분에 작업이 꽤나 편리하게 진행되었습니다.Fox Renderfarm: 현재 진행 중인 프로젝트나 향후 계획이 있으신가요? 다시 팀으로 협력하시겠습니까?Team C :GC:요즘 집에서 가만히 앉아있을때면 종종 이 시간엔 분명 작업하고 있어야하는데 쉬고 있다니!! 하고 기분이 싱숭생숭합니다. 애니메이션을 만드는 작업은 때때론 인생의 많은 시기를 쏟게 되어서 힘들때도 있지만, 그 과정이 정말 즐겁습니다. 그래서 이번엔 끝나고 정말 쉬리라! 다짐해도 어느새 새로운 재밌는 일들을 짜고 있기도 해요.XD 지금도 새로운 프로젝트를 기획하고 있습니다. 이번엔 무엇이 나올지 모르지만 또 두근거리며 달려보려합니다!쿠라토의 앞날도 기대해주세요!즐거운 관람 되시길 바라며 이 글을 보시는 여러분도 윤타와 할라처럼 비상하길 응원합니다!P.s. 작업 하느라 고생한 우리팀 C :GC ! 정말 고생 많았고 사랑해 어디서든 비상하길!Team C :GCs Social Media:Instagram: https://www.instagram.com/curator_ckas2024/


    『Swing to the Moon』: ESMAがSIGGRAPH 2023 での最優秀学生作品賞への旅

    『Swing to the Moon』: ESMAがSIGGRAPH 2023 での最優秀学生作品賞への旅

    2024-01-17

    Fox Talk

    Fox Renderfarm Interview

    『Swing to the Moon』は、世界最大級のCGの祭典SIGGRAPH 2023 で観客を魅了した、息を呑むような短編アニメーション映画です。フランスの学校 ESMA の 7 人の学生によって制作されたこの並外れた卒業作品は、決意に満ちた小さな蜘蛛が、月を捕まえるためにひょんな事から大冒険が始まりという、ほのぼのストーリーです。業界トップのクラウドレンダリングサービス プロバイダーおよび大手レンダーファームとして、Fox Renderfarm は SIGGRAPH 2023 にも参加し、この素晴らしい作品を見てきました。 ESMAの優秀な学生たちにインタビューできることを光栄に思います。『Swing to the Moon』の魅力に迫り、才能あふれるスウィングチームがSIGGRAPH 2023で最優秀学生作品賞を受賞するまでのクリエイティブなプロセスを紹介しよう。Fox Renderfarm: こんにちは! インタビューを受けていただき、誠にありがとうございます!スイングチームと学校の ESMA を読者に紹介していただけますか?スイングチーム: こんにちは! 誘ってくれてありがとうございます! 私たちは、フランスの学校 ESMA の 7 人の学生、マリー・ボルデソーレ(Marie Bordessoule)、アドリアナ・ブジー(Adriana Bouissié)、ナディーン・デ・ブール(Nadine De Boer)、エリザ・ドリク(Elisa Drique)、クロエ・ラーズ(Chloé Lauzu)、ヴァンサン・レブレーロ(Vincent Levrero)とソレンネ・モロー(Solenne Moreau)です。この学校には、3D アニメーションや視覚効果に関するものを含む、複数の芸術的な編成があります。最終学年に『Swing to the Moon』を作りました。Fox Renderfarm: SIGGRAPH 2023 で最優秀学生作品賞の受賞おめでとうございます! それについてどう思いますか?スイングチーム: ありがとうございました! SIGGRAPHに参加し、賞を受賞するなんて、この1年でこの小さな映画がここまで成長したのを見るのは本当に信じられないことです。 想像していたようなものではなかったし、世界中の人たちに見てもらえるというのは、いつも実感がわかないです。もちろん、評価されること以上に、作品をさまざまな背景を持つ多くの人たちと共有できることが嬉しく、誇りに思います!Fox Renderfarm: 『Swing to the Moon』のインスピレーションについて教えていただけますか? どのようにしてこのアイデアを思いついたのですか?スイングチーム: 3 年生のとき、みんなは翌年の映画に向けて短いピッチを書かなければなりませんでした。 最終的に、すべてのストーリーの中から、学生と教授の両方によって 6 つのストーリーが選ばれました。エリサ・ドリケ(Elisa Drique)が最初のバージョンを書き、それから私たちはグループで協力してストーリーを改良しました。小さな虫をテーマにしたフランスのアニメーション番組、ピクサーの短編映画『パイパーとミニスキュール』にインスパイアされました。Piper and Minuscule © ピクサー・アニメーション・スタジオFox Renderfarm: この作品は多くの学生が協力して作成しました。共同作業のプロセスはどうでしたか? 各メンバーはどのような役割を担当していましたか?スウィングチーム: 『Swing to the Moon』の制作には、7人のメンバーがシームレスに協力し合いました。それぞれの長所、得意分野、好みに応じて担当を分担しました。全員がプリプロダクション作業に参加しました。リグ/アニメーションとレンダリングに分かれました。リギングはアドリア(Adriana)、アニメーションはアドリアナ・ソレン(Adriana Solenne)とナディーヌ(Nadine)が担当しました。レンダリングに関しては、モデリング/サーフェシング/FX/ライティング/コンポジットはマリー(Marie)、エリサ(Elisa)、クロエ(Chloé)とヴァンサン(Vincent)が担当しました。また、音楽専攻の学生、ドリアン・レーマン(Dorian Lehmann)にも協力してもらい、映画の全楽曲を作曲してもらいました。Fox Renderfarm: ストーリーにインスピレーションを与えた具体的な映画、本、芸術作品、または現実の出来事はありましたか?スイングチーム: 特にありませんが、間接的かどうかにかかわらず、この映画のために多くのものにインスパイアされたことは確かです。 ピクサーやドリームワークスの映画のように、3Dアニメーションにおける感情の見せ方の主な参考になったものがたくさんあります。Fox Renderfarm: なぜ蜘蛛を主人公に選んだのですか? また、キャラクターデザインに影響を与えた視覚的な参考資料やインスピレーションについて教えてください。スイングチーム: この物語は、月を捕まえようとする蜘蛛のコンセプトに基づいていました。 これは非常に詩的で独創的だと思いましたので、恐怖を感じさせないように、詩に合わせて蜘蛛をかわいくすることにしました。 みんなで小さな毛玉を思い浮かべましたが、最終的なデザインはブレインストーミングの結果です。キャラクター・プリプロダクション © ESMA蜘蛛テミのルック © ESMAFox Renderfarm: なぜ蜘蛛を主人公に選んだのですか? また、キャラクターデザインに影響を与えた視覚的な参考資料やインスピレーションについて教えてください。スイングチーム: この物語は、月を捕まえようとする蜘蛛のコンセプトに基づいていました。 これは非常に詩的で独創的だと思いましたので、恐怖を感じさせないように、詩に合わせて蜘蛛をかわいくすることにしました。 みんなで小さな毛玉を思い浮かべましたが、最終的なデザインはブレインストーミングの結果です。静止フレーム © ESMAFox Renderfarm: 作品の雰囲気を出すために、色、素材、照明の設定をどのように使用しましたか?スイングチーム: この映画をマクロで、常に蜘蛛のスケールで作ろうと決めました。セットではの自然を単純化したり拡大したりしながら、視覚的には現実に近づけようとしました。照明に関しては、映画全体に多様な雰囲気を強く出したかったので、最初は夜にすべてをやり遂げるのは少し難しかったです。プリプロダクション © ESMAFox Renderfarm: この作品のパイプラインについて教えていただけますか? で、どれくらいかかりましたか?スイングチーム: 映画の管理、レビュー、フィードバックを得るために、FtrackとMaya Pipelineを使用しました。プリプロダクションに約5か月、制作に9か月かかり、開始から完成まで1年半かかりました。Making Of © ESMAFox Renderfarm: 作品のビジョンを実現するために、どのようなテクノロジーやソフトウェア・ツールが重要でしたか?スウィングチーム: すべてのモデリング、リギング、レイアウト、アニメーションに Autodesk Maya を使用しました。スカルプトには Maxon Zbrush、テクスチャリングには Adobe Substance Painter、グルーミングには Xgen を使用しました。 シェーディング、ライティング、レンダリングには、Maya の Pixar の Renderman を使用しました。 すべての Fx には SideFX Houdini と Blender を、コンポジットには Nuke を使用しました。また、特定の要素については写真測量も行いました。破れ © ESMAFox Renderfarm: 制作過程で直面した課題はありますか? もしあれば、どのように克服しましたか?スウィングチーム: 主な課題は技術的なものです。例えば、シミュレートされた毛皮、ホタルの群衆、信じられないほどのマクロと被写界深度を実現することでした。 最も難しいのは、目が 2 つだけで口がない蜘蛛の感情を表現することでした。多くの試みと研究を重ねてこれらの課題を克服しました。プリプロダクション © ESMAFox Renderfarm: 制作過程で楽しかった瞬間はありますか? そして、最も思い出に残ったことは何ですか?スウィングチーム: 1 年を通して映画に取り組むのが本当に大好きでした。最初のショットをアニメーションにしたとき、映画がどのようなものになるのかを初めて見て、みんなでとてもうれしかったのを覚えています。プリプロダクション © ESMAFox Renderfarm: Fox Renderfarm のサービスを試したことがありますか? もしそうなら、そのクラウドレンダリング サービスについてどう思いますか?スウィングチーム: 学校にはローカルのレンダーファームがありましたが、まだ試す機会がありませんでした。Fox Renderfarm: 現在進行中の新しいプロジェクトやシェアしたい将来の計画はありますか?スウィングチーム: ほとんどはスタジオワークと並行して個人的なプロジェクトに取り組んでいますが、いずれにせよ、今のところ特別な計画は何もありません。インタビューしてくれてありがとうございました!スウィングチームのソーシャル メディア:スイングムービー: https://www.instagram.com/swing.movie/マリー・ボルデスール(Marie Bordessoule): https://www.linkedin.com/in/marie-bordessoule-8b8a731a3/アドリアナ・ブイシエ(Adriana Bouissié): https://www.linkedin.com/in/adriana-bouissi%C3%A9-69552b14a/ナディーン・デ・ブール(Nadine De Boer): https://www.linkedin.com/in/nadine-de-boer-b5b3731a3/エリサ・ドリク(Elisa Drique): https://www.linkedin.com/in/elisa-drique/クロエ・ラウズ(Chloé; Lauzu): https://fr.linkedin.com/in/chlozix/ヴィンセント・レブレロ(Vincent Levrero): https://www.linkedin.com/in/vincent-levrero/ソレンヌ・モロー(Solenne Moreau): https://www.linkedin.com/in/solenne-moreau/パイプラインクレジット:Autodesk MayaAutodesk Maya XgenPixars RendermanAdobe Substance PainterMaxon ZbrushSideFX HoudiniBlenderFoundry NukeBacklight Ftrack


    2023 추석 특별 이벤트, 한국 사용자만 적용!

    2023 추석 특별 이벤트, 한국 사용자만 적용!

    2023-09-18

    Fox Renderfarm News

    Fox Renderfarm Promotion

    추석 맞이 폭스렌더팜은 모두 한국 사용자들에게 추석 특별 오퍼를 준비했습니다.시간: 2023.9.15 - 2023.10.15 (UTC+8)오퍼1: 신규 사용자는 이벤트 페이지를 통해 가입하면 바로 US$50 렌더 쿠폰을 받습니다.오퍼2: 모두 한국사용자는 이벤트 기간내 첫 충전 때 충전금액에 따라 대응한 쿠폰을 추가로 받습니다.충전금액200달러 이상 2,000달러 미만의 경우 100달러 렌더 쿠폰을 받게 됩니다.충전금액2,000달러 이상 5,000달러 미만의 경우 400달러 렌더 쿠폰을 받게 됩니다.충전금액5,000달러 이상의 경우 1,000달러 렌더 쿠폰을 받게 됩니다.자세한 규칙:이번 추석 이벤트는 한국사용자에게만 적용합니다.쿠폰은 다른 조작 필요없이 바로 렌더에 사용 가능합니다.Fox Renderfarm은 사전 통지 없이 언제든지 이벤트 조건을 변경, 수정 또는 추가할 수 있는 권한을 보유합니다.Fox Renderfarm은 클라우드 렌더링 서비스를 선도하는 업체이자 렌더팜으로서, 여러분에게 행복한 추석 축제와 즐거운 렌더링을 기원합니다!


    Quinn, Self-taught and One Year in 3D World, Won 1st Place in the Abandoned Spring Sanctuaries Challenge

    Quinn, Self-taught and One Year in 3D World, Won 1st Place in the Abandoned Spring Sanctuaries Challenge

    2023-08-17

    Trending

    Fox Renderfarm Interview

    We are glad that we invited Quinn VB for an interview, who is a photographer and a self-taught 3D artist for only one year. Quinn participated in the 3D contest, Abandoned Spring Sanctuaries, which was organized by True-VFX and won first place in the competition. Congratulations! As the industry's leading cloud rendering service provider and render farm, Fox Renderfarm was proud to be one of the sponsors of this challenge and we witnessed many outstanding entries!Let's start our interview and learn more about Quinn and his amazing works.Arriving at Paradise © Quinn VBQuinn VB’s ArtstationQuinn VB’s DeviantartFox Renderfarm: Hi Quinn! We are honored to have you here! Could you please introduce yourself first to our readers?Quinn: Hello! I’m Quinn (she/her) and I’m a 30-year-old self-taught amateur hobbyist from Canada. I’ve been a hobbyist photographer for around 10 years but I am still very new to the world of 3D. I spend my free time making things in Blender, gaming, and taking care of my fish!Fox Renderfarm: Congratulations on winning 1st Place in the Abandoned Spring Sanctuaries organized by True-VFX! How do you feel about it?Quinn: Thank you! It took me entirely by surprise. There were many absolutely stunning entries to the contest and I was confident that I wouldn’t even make the top ten. I was very shocked when first place was announced and it was my entry that won.Fox Renderfarm: How did you find out about this competition? Would you like to participate in more 3D competitions in the future?Quinn: I’ve been somewhat active in True-VFX’s community Discord for a while and I have used their products before, so I found out through them. I’m absolutely interested in more contests; it has been a ton of fun!Fox Renderfarm: Could you elaborate a bit on your workflow/pipeline of this project? And how long did it take you?Quinn: I’m still very much a student when it comes to 3D/CG artistry, so I’m sure my workflow is far from the best. I first started out by collecting various reference images in PureRef that best fit the rough idea I had in my head of what I wanted. Then, using those images, I blocked out some basic shapes in Blender (the stairs, room shape, etc) and moved them around to find a composition I was happy with. The hardest part was translating my mental image into 3D and I rebuilt the scene several times. The scene was made in Blender with some textures being done in Substance Painter while others are procedural. The True-Terrain easter egg was made in an entirely different scene by reverse-searching the font True-VFX uses and placing some text in the grass and rendering it. It’s hard to see in the scene, though.Arriving at Paradise © Quinn VBFox Renderfarm: Could you tell us the story or the idea that you want to express in this work? And what is the inspiration behind your work?Quinn: I wanted to convey the idea that the viewer wasn’t in the sanctuary yet, but it was just slightly out of frame or out of reach, that it was a destination and we (the viewers) were just about to step into it. I felt this also meshed with the idea of something being abandoned or neglected. The image is a transition in numerous ways both literal and otherwise.Fox Renderfarm: Could you please tell us a bit about your use of colors, materials, lighting, and overall composition?Quinn: I come from a background of hobby photography and one of the best things I ever learned during my photo days was “photography is painting with light”. I think this translates to any type of visual art medium, including 3D, so getting the light correct was extremely important. I spent a lot of time tweaking the light just right so the sunlight interacted with the foliage in a pleasing way. Secondly important was making the scene look adequately dirty and grungy. I really wanted to make it look like this train station hadn’t seen any servicing or cleaning in a long, long time.Fox Renderfarm: We noticed you added words in your artwork, is there any special meaning behind it?Quinn: The “Paradise” text was added in because I felt it added some character to the scene and also acted as a sign that people have been in this space before. The sign is a custom texture made in Substance Painter and I wrote over top of it with my drawing tablet.Fox Renderfarm: Did you meet any difficulties during this work? How did you tackle them?Quinn: I find the hardest part of any project is translating my vision to 3D. One thing I think helps with that is to find as many reference images as I can to help give me a visual idea to work with; something to wrap my brain around. I can think of “abandoned train station” but putting that on the screen isn’t as easy. As for the scene itself - the escalator stairs were tricky to get looking how I wanted. Also maintaining accurate scale throughout the entire creation process.Fox Renderfarm: What is the most satisfying part of your work?Quinn: The best part for me is when I hit render and see everything come together. Seeing light interact with the things I’ve created, appearing as real, physical things, is awesome to me. It never gets old!Fox Renderfarm: Do you have any favorites from previous productions that you can share with us?Quinn: One of the pieces I made before my contest entry was this one I made of a dystopian-styled cistern. I quite liked the way it turned out.Regrowth © Quinn VBFox Renderfarm: How did you encounter CG and become a CG artist? Could you share your educational or professional experience with us?Quinn: I am 100% self-taught and have been on the 3D journey for just over a year now. 3D was one of those things I considered too advanced or too difficult for me to ever attempt so I put it off for years and years. One day I decided to download Blender simply to play around with because I was both curious and highly bored. 200 tutorials later, here I am!Fox Renderfarm: Is there any artwork or artist that inspired you the most during your CG learning journey?Quinn: No specific artist, but I’ve always been fascinated by old 3D landscapes made in Terragen and the like. I remember trying my hand at making them years and years ago and being very confused as it was way beyond my skill level (and patience!).Fox Renderfarm: Do you have any plans or goals for your future CG journey?Quinn: I would really like to advance my sculpting skills and learn character creation. Most of what I do is hard-surface modeling and I’d like to branch out a little and learn some new things. I am happy to learn anything new though, and thankfully there are always new things to learn and improve on.Fox Renderfarm: Have you ever tried cloud rendering services from Fox Renderfarm? If you did, what did you think of our services?Quinn: This is my first time! I am entirely new to render farm’s services and I am excited to learn how they work and how they can speed up my rendering process.Fox Renderfarm: As a CG artist, do you have any advice for people who are still new to the CG industry?Quinn: Set goals. Always have a goal in mind for you to work towards. Even if your goal is as simple as “make a wine glass” or “make a happy face out of a sphere”. These little goals give you something to focus on, to learn from, and to get excited over as you accomplish them. And, even more importantly, don’t give up! CG art can be quite complicated and there is a lot to learn but at the same time the potential is limitless - you can create anything you want.Thank you Quinn for taking the time and wish you all the best in the future!Let's take a look at some of Quinn's other stunning and fantastic works:The Basement © Quinn VBFirefly © Quinn VBThe Gardens © Quinn VBLearn more about Quinn: Quinn’s Artstation &x26; Deviantart.


    Win-Win Cooperation between Autodesk and Rayvision Technology to Build a New Ecosystem of CG

    Win-Win Cooperation between Autodesk and Rayvision Technology to Build a New Ecosystem of CG

    2023-03-28

    Fox News

    cloud rendering

    The use of division of Fox Renderfarm in China and Autodesk for rendering is being recognized and adopted by an increasing number of users in the industry as a way to provide a better user experience at the product level. Through combining Autodesk® Maya®, Autodesk 3ds Max®, Autodesk Arnold and other professional visual solutions on the division of Fox Renderfarm in China, many enterprises in the visual industry have shortened their production cycle, reduced the production cost and optimized production process.Rayvision Technology is a company that specializes in providing vertical cloud computing services for the visual arts industry, which serves more than 200,000 users including Oscar winners, well-known films, and leading studios in television animations, visual effects, architectural visualization and games from over 50 countries and regions. One of its brand, the division of Fox Renderfarm in China, is known as the pioneer of China’s “Self-Service Cloud Render Farm”, which has rendered highest-grossing films such as Wolf Warrior 2, Nezha: I am the Destiny, and The Wandering Earth.Rayvision TechnologyR&x26;D background of division of Fox Renderfarm in ChinaThe application of computer technology in visual design and production is commonly known as CG (Computer Graphics). It integrates both technology and art, covering almost all visual art creation activities in the computer era, such as graphic design, web design, three-dimensional animation, film and television special effects, multimedia technology, and architectural design and industrial modeling design mainly based on computer-aided design. Nowadays, CG has been widely applied in forefront areas such as film and television special effects, 3D animation production and 3D game production, and will be applied to more service scenarios and fields in the future with the rise of the concept of Metaverse.Take 3D animation production as an example, the general process of 3D content production mainly includes steps of pre-production, modeling, texture mapping, binding, animation production, visual effect production, light setting, rendering and post-processing, among which rendering is a necessary and vital step.Rendering refers to the process of using Autodesk Maya, Autodesk 3ds Max and other software to create models and animations for architectural design and animation, and then using professional rendering tools such as Autodesk Arnold to create final renderings or animated videos of the designed content, which creates more artistry to 3D animation production. It can be said that rendering plays a decisive role in the final presentation of the work.Designers, artists and engineers work hard every day on creating designs, effects and experiences with strong visual impact. As users demand higher quality for film graphics and videos, new concepts of automotive and architectural design become more complex, rendering is facing unprecedented challenges. According to the statistics from an Internet survey, the ratio of production time to rendering time in China has even reached 3:1, which means that 25% of a film’s production process is spent on “waiting” - waiting for the rendering to be completed.It takes a lot of waiting time for traditional rendering, which prevents creative personnel from spending more time focusing on content creation. However, as cloud computing is applied in the visual industry, a new approach has been opened up for the visual industry with cloud rendering, which gives practitioners an opportunity in film and television animation, visual effects, architectural visualization, games and other sectors to catch up with international productions in a short period.Simply put, cloud rendering is that users upload resources through various terminals such as cell phones, pads and PCs, render them on the cloud, and then get the rendering results. Recently, there have been a lot of visually appealing special effects works, which cloud rendering took a great credit. Combined the division of Fox Renderfarm in China with professional visual solutions such as Autodesk Maya, Autodesk 3ds Max and Autodesk Arnold of Autodesk Software (China) Co., Ltd., the production cycle, cost and process all have changed dramatically.Under such a development trend, the division of Fox Renderfarm in China, the leading cloud rendering platform in Asia, is dedicated to providing professional, reliable, safe and stable, sustainable and innovative cloud rendering solutions for the visual industry so as to accelerate the development of visual industry.Division of Fox Renderfarm in China introductionThe division of Fox Renderfarm in China has a large-scale computing pool with a single cluster of 10,000 nodes, being able to provide highly flexible and customizable cloud rendering services for projects at various sizes. Since the division of Fox Renderfarm in China was established in 2010, Rayvision Technology has obtained unanimous praise in the industry depended on its patented cloud rendering platform and professional TD service team. With massive computing resources, high degree of data security measures, full-featured SDK and seamless integration of pipeline of user and 7X24 hours online technical support, the division of Fox Renderfarm in China is there at users’ service all the time. Cloud rendering on the division of Fox Renderfarm in China can greatly reduce cost, and enhance efficiency.Kenny Zou, General Manager of Rayvision TechnologyKenny Zou, General Manager of Rayvision Technology, introduced that the division of Fox Renderfarm in China includes two modes, offline rendering and real-time rendering. Offline rendering is mainly applied in film, animation, film and television special effects, architectural renderings, architectural roaming animation and urban planning, among which film animation and architectural animation have the largest application amounts at present. Real-time rendering mainly applied in virtual teaching, virtual display, virtual exhibition gallery, virtual scenic spot and other segmentations of real-time interaction.For example, users in film and television animation used offline rendering of Rayvision Technology for light rendering and other processes, which shortened the production time and improved efficiency. Meanwhile, due to cloud rendering, film and television production studios might be able to optimize their production plan, team structure and staffing, simplify inputs, improve efficiency, shorten the production cycle. Division of Fox Renderfarm in China also helps users in architecture design sector to greatly shorten the time for animation light rendering or building rendering, which enables them to quickly preview the building effect and optimizes the customer experience.Division of Fox Renderfarm in China’s key to successCloud rendering drives the digital process of multi-scene in the visual industry. Kenny revealed that when select and use cloud rendering products, users mainly concern the following two aspects:The first aspect is quality. It is a must for cloud rendering provider to accurately and unmistakably render the work in accordance with the expectation of users. As there are some differences on the cloud and local environments, such as the different CPU and GPU configurations, the effect of rendering on the could may not reach the expectations of users. In addition, various artists are different levels of rendering software operation, thus, contents created by them could have some problems in parameters. In a case of inappropriate parameter setup, the rendering cannot even be shown or the rendering effect is not right. For any potential problems in quality, Rayvision Technology, with its know-how and experience accumulated over ten years, can help users to check whether setup of common parameters in the entire scenario is reasonable. When users set up unreasonable parameters, the division of Fox Renderfarm in China will prompt an error reminder to users to help them correct the setting and ensure rendering quality.The second aspect is service. CG is highly demanding in timeliness. Sometimes, the rendering of content must be completed at midnight due to the urgent needs of users. In order to satisfy the users’ requirement, Rayvision Technology offers 7x24 hours customer service. It has a professional TD team to help users to troubleshoot and solve problems if there is any during the rending process. For some extreme complicated problems rarely seen, Rayvision Technology works with technical experts from Autodesk to solve the problems. The safeguard by such a professional technical service team is one of reasons why mainstream film and television production companies choose the division of Fox Renderfarm in China for rendering.Certainly, in addition to quality and service, whether there is a large enough computing power pool and enough server resources to save time and guarantee the delivery time are also important factors considered by users when they choose and use cloud rendering.Rayvision Technology makes products further satisfy the needs of users through years of practice and constant improvement of products, and brings low-cost, efficient and reliable cloud services through technological innovation, which makes Rayvision Technology products deeply recognized by industry users.Through its development history and solutions, it is not difficult to see that Rayvision Technology is strongly recognized by users mainly due to three factors: Firstly, with a top professional TD team and R&x26;D team, Rayvision Technology has a deep understanding and rich project experience in visual field. Secondly, specialized in visual industry for over ten years, it has engaged in products and services development, invested a lot in research and development to improve product experience, which makes it an industry benchmark. Finally, Rayvison has built up a computing resource pool specially optimized for the visual industry, which has massive visual computing power and high cost performance that greatly improves efficiency while lowering the cost.Digital entertainment content creation powerhouse--AutodeskAs set forth, film animation and architectural animation are the two biggest segmentations of applying the division of Fox Renderfarm in China. It is well known that, as the world’s experienced design software and digital content creation company, Autodesk can create the contents from detailed war scenes to surreal creatures, from complex weather effects to vast terrain....The strong technical capabilities of Autodesk’s digital entertainment creation tools help CG users and VFX artists unlock their inspiration and creative passion.Digital entertainment creation tools of Maya, 3ds Max and Arnold have been frequently adopted by designers and artists. Maya is an excellent 3D animation program from Autodesk, widely used in professional film and television advertising, character animation, film effects and so on. Maya integrates advanced animation and digital effects technology, which not only includes the general 3D and visual effects production functions, but also combines with advanced modeling, digital cloth simulation, hair rendering and motion matching technology. In addition, as a high-end film production software, Maya has complete functions, flexibility of work, high production efficiency and a strong sense of reality of rendering. 3ds Max is a 3D animation rendering and production software based on PC system. It is easy to use and efficient, which is widely applied for advertising, film and television, industrial design, architectural design, 3D animation, multimedia production, games and engineering visualization and other fields. Arnold, a ray-tracing rendering program from Autodesk, a photo-realistic and physics-based ray-tracing renderer, is designed for the needs of artists, modern animation and visual effects production. In recent years, it has become one of the most widely used rendering program in professional film production worldwide. The software products and solutions of Autodesk have been adopted by many films awarded with Academy Award for Best Visual Effects for the last 16 years.In an interview with Kenny, the author learned that given the advancement and widespread use of Autodesk products,Maya, 3ds Max and Arnold software have been used by more than 50% of offline Fox Renderfarm's China division projects and works currently. According to the long-term practice and observation of Rayvision Technology, more than 80% of companies in 3D animation use Autodesk’s digital entertainment creation software to create groundbreaking visual effects.Co-create a new experience of digital artThe success lies in win-win cooperation. Based on the fact that Autodesk and Rayvision Technology are in the same ecosystem and share a common users group, Autodesk and Rayvision Technology have reached a strategic partnership to jointly create a new experience of digital art for CG users as the industry is developing vigorously.So how do Autodesk products and Fox Renderfarm's China division work seamlessly? As Kenny introduced, “Take Maya as an example, users make an animation scene on Maya, after that, they have to go through an light rendering process before they get the final output. The rendering process takes the most of time and machine power. At present, Rayvision Technology incorporates Maya into Fox Renderfarm's China division seamlessly as an plug-in. In other words, it inserts a menu called rendering. After the users complete the animation scene, the lighting team can directly click the rendering menu to put all assets on the Rayvision Technology for cloud rendering. After processing, Fox Renderfarm's China division system will automatically download the rendered results to the user’s local storage. In addition, Fox Renderfarm's China division also provides a client-side for users who plan to submit files in batches for rendering, and supports users to directly drag dozens of to-be-rendered engineering files to the Fox Renderfarm's China division client-side at one time for submission and rendering. The rendering speed can be greatly improved when users use Maya software throughout the whole process, which is to use the computing power of supercomputers on the cloud as if they were using native computers.Users completed their rendering work through Fox Renderfarm's China division service together with Autodesk software. Such way of providing users with a better experience at product level through the combination of software is being recognized and adopted by an increasingly number of users in the industry.”Value-chained and ecology- sharedAutodesk and Rayvision Technology are leaders in their respective fields with the same target users and similar enterprise vision. Kenny said: “The value of Autodesk to Rayvision Technology mainly comes from two aspects: Firstly, a huge ecosystem in the field of 3D content production has a large number of user groups using products and solutions of Autodesk, and has enough customer needs, which provide a potential room where Rayvision Technology can provide services. Secondly, the popularity and continuity of Autodesk products are pretty good. Moreover, there are many secondary development teams constantly contribute various resources such as plug-ins and modules to the ecosystem, establishing interactions between users. The creative team, artists, TD and developers have formed a benignant development ecosystem based on Autodesk products. Rayvision Technology provides rendering services in this system to promote the sustainable development of this ecosystem with everyone, which is a focus highly valued by Rayvision Technology.”For Autodesk, Rayvision Technology has built a bridge between users and Autodesk. Rayvision deeply understands users’ needs and Autodesk technology, and is able to obtain and summarize accurate and true users’ feedback that is a valuable asset Rayvision Technology brings to the Autodesk and its R&x26;D team through this cooperation.Integration and interaction for a promising futureLooking forward to the future, Kenny indicated that Rayvision Technology hopes to further expand the scope of cooperation with Autodesk from the current Maya, 3ds Max and Arnold software to the engineering construction industry and manufacturing industry, which requires both parties work together to expand the market. Rayvision Technology strives to integrate with more Autodesk products at the product and operation levels so that more Autodesk products or functions can be accessed by users on its platform. On top of that, in terms of product iteration, it is also expected that in certain conditions the R&x26;D teams of both parties can carry out more in-depth communication and exchange to integrate more technologies, provide users with supporting or new functions.As a multinational software company with a global perspective, Autodesk has been rooted in China for nearly 30 years. Over the years, Autodesk has been committed to building a dynamic, open and interconnected local ecosystem, vigorously developing various international and domestic partners that can directly provide related resources in the Chinese market. Besides, Autodesk desires to establish an open, interconnected ecosystem. At various value dimensions on the industrial chain, the products and technologies of innovative and start-ups associated with digitalization can be well integrated into such an ecosystem. They integrates with each other and conduct valuable interactions.It is gratifying that Autodesk and Rayvision Technology are engaged in energetic and valuable interaction with each other, so as to make continuous to the ecosystem. Let’s look forward to more cooperation and development between them in the future!Kenny expressed, “The Autodesk’s products are popular, stable and continuous. The creation team, artists, TD and developers have formed a benignant development ecosystem around Autodesk products. Rayvision Technology provides rendering services in this system to promote the sustainable development of this ecosystem with everyone, which is highly valued by Rayvision Technology.”


    力を合わせて未来開拓 -Autodesk及びRayvision CG業界新形態を切り開く

    力を合わせて未来開拓 -Autodesk及びRayvision CG業界新形態を切り開く

    2023-03-20

    Fox News

    cloud rendering

    RayvisionのプラットフォームとAutodeskを組み合わせてレンダリングするというサービスは、より楽に操作できるので、業界内でもますます多くのユーザーに愛用されるようになっています。Autodesk® Maya®、Autodesk 3ds Max®、Autodesk Arnoldなどのプロフェッショナルなツールの協力を得て、Rayvisionレンダリングプラットフォームを通じて映像制作会社たちはその制作期間の短縮、コストの削減、制作プロセスの改善を実現しました。深セン市Rayvision有限会社(以下、「Rayvision」)は映像業界向けのクラウドコンピューティングサービス企業であり、20万人以上のユーザー数を抱えます。アカデミー賞受賞者、有名映画・テレビアニメ、映像効果、建物の可視化及びゲームスタジオなどを含め、50以上の国と地域に及んでいる。Rayvisionが持つクラウドレンダリングブランドであるRenderbusは、中国ではクラウドレンダリング界の先駆者として讃えられ、代表作には映画『戦狼2』、『哪吒之魔童降世』、『流浪地球』などがあります。深セン市Rayvision有限会社Rayvisionレンダリングの開発の背景コンピュータ技術で映像デザインやプロデュースする分野を、国際的には通称CG(Computer Graphicsの略)と呼びます。技術であり芸術でもあるCGにはこのコンピュータ時代のすべてのビジュアル芸術が網羅されます。印刷物デザイン、ウェブデザイン、3Dアニメ、映画とテレビのSFX、マルチメディア技術、コンピュータ補助デザインを主とする建物デザインと工業デザインなどが例としてあげられます。現在、映像SFX、3Dアニメ制作、3Dゲーム制作はCG業界の最先端であり、メタバースの概念の台頭に伴い、今後CG業界には豊富な応用シーンが想定されます。3Dアニメ制作を例にとると、通常、3Dコンテンツ制作には、プリ制作、モデリング、テクスチャマッピング、バインド、アニメーション制作、ビジュアルエフェクト制作、ライト設置、レンダリング、編集などが含まれます。レンダリングは、一連の流れを通して必要かつ重要なポイントです。レンダリングとは、Autodesk MayaやAutodesk 3ds Maxなどのソフトウェアを使って建物やアニメーションなどのモデル、もしくは制作したアニメーションをAutodesk Arnoldなどの特殊なレンダリングツールを使って最終的なイメージや動画を作成することです。レンダリングは、3Dアニメの制作をよりアート的にし、作品の最終パフォーマンスにおいて決定的な役割を持ちます。デザイナー、アーティスト、エンジニアはビジュアル的にインパクトのあるデザイン、SFXを作り出そうと日々尽力しています。映画の画質や映像に対するユーザーの期待は日々高まり、新しいコンセプトの車や建物のデザインも複雑になる傾向があります。その結果、レンダリング作業はこれまでにない課題に直面しています。あるインターネット調査によると、現在、中国内の映画・テレビの制作時間とレンダリング時間の比率は3:1という結果が出ています。つまり、1本の映画の制作時間の25%はレンダリングに費やさなければならないということです。従来のレンダリングでは待ち時間が長く、技術者たちはコンテンツ制作に専念することができませんでした。クラウドコンピューティングの映像業界への応用に伴い、映像業界に新たな可能性が切り開かれました。映画・テレビ・アニメ、SFX、建物の可視化、ゲームなどの業界に従事する業者に、諸米諸外国の大予算制作に追いつく可能性を見せてくれました。簡単に言えば、クラウドレンダリングとは、スマホやPad、PCなどさまざまな端末からファイルをアップロードし、クラウド上でレンダリングすることです。近年、ビジュアルインパクトの高い作品が続出しており、クラウドレンダリングによる映像業界への貢献が奏功しています。Autodeskソフトウェア(中国)有限会社(以下「Autodesk」)のAutodesk Maya、Autodesk 3ds Max、Autodesk Arnoldなどのソフトウェアと手を組むことで、業界全体の制作サイクル、制作コスト、制作プロセスに大きな変化をもたらしました。このような背景を基に、クラウドレンダリングの最先端を走るRayvisionは、映像業界向けにプロフェッショナルで信頼性が高く、持続可能な革新的クラウドレンダリングを提供し、映像業界の進化をサポートします。Rayvisionレンダリングプラットフォームの概要Rayvisionレンダリングプラットフォームはシングルクラスタ10000ノードの大規模コンピューティング力を所有します。様々なプロジェクトに柔軟的なレンダリングサービスを提供します。2010年に最初の製品であるRenderbusを発表して以来、Rayvisionの特許技術に基づくクラウドレンダリングとTDサービスチームは業界から高く評価されています。Renderbusは巨大なコンピューティングリソース、高度なデータセキュリティ対策を備えており、全ての機能がユーザーのPipelineとシームレスに統合できます。365日24時間で技術サポートを行います。クラウドレンダリングはコストを削減し、効率を大幅に向上させてくれます。深セン市Rayvision有限会社総経理 鄒瓊深セン市Rayvision有限会社の鄒瓊総経理によると、Rayvisionレンダリングは主にオフラインレンダリングとリアルタイムレンダリングの2つの部門に分かれます。オフラインレンダリングは主に映画、アニメーション、SFX、建物イメージ、建物ローミングアニメーションおよび都市計画などで応用されます。中でもアニメ映画と建物アニメの分野では最もよく利用しています。リアルタイムレンダリングは主にバーチャル教育、バーチャル展示、バーチャル観光地など、リアルタイムで利用する場合に応用されます。アニメ映画・テレビ業界を例にすると、Rayvisionのオフラインレンダリングによってその制作におけるライトレンダリングなどに費やされる時間が削減され、効率が向上されました。また、映画・ドラマの制作計画、チームとスタッフの構成などは、クラウドレンダリングによって簡易化になる可能性があります。それと同時に、制作期間が短縮され、効率も向上されます。建築業界でも、Rayvisionレンダリングは建物イメージや建物アニメのライトレンダリングの時間を大幅に短縮でき、建物の様子をいち早くプレビューすることができるようになります。Rayvisionがレンダリングの必殺技クラウドレンダリングは映像業界のマルチシーンのデジタル化を推進しました。鄒氏によると、クラウドレンダリングを選ぶ際、ユーザーたちは次の2点を見ているという:まずは品質です。クラウドレンダリング会社は、ユーザーの期待通りに作品をレンダリングをしなければなりません。多くの場合、クラウド環境はローカル環境と異なります。例えば、CPUやGPUがローカルと違うため、レンダリング結果は必ずしも期待通りになるわけではありません。また、アーティストによってレンダリングソフトの習熟度に差があるため、コンテンツはパラメータの値によって差が生まれます。設定を間違えると、レンダリング結果が悪かったりする可能性すらあるのです。品質上の問題に対して、Rayvisionは10年以上の業界経験と知識をベースに、コンテンツのパラメータ設定の合理性をチェックしてあげることができます。その値が合理性に欠ける場合、Rayvisionレンダリングプラットフォームから提示されたエラー情報をもとに修正し、レンダリング品質を確保することができます。次はサービスです。CG業界は時効性を重要視する業界なので、案件が大至急な時は真夜中にレンダリングしなければならないこともあります。ユーザーのニーズを満たすため、Rayvisionは365日24時間の顧客サービスを備えています。レンダリング中に問題が発生した場合、専門的なTDチームがサポートしてくれます。また、難易度が高く複雑な問題の場合、RayvisionはAutodeskなどの技術専門家と協力して、問題が解决するまでサポートしてくれます。このような専門的な技術サービスチームがあるからこそ、主な映画・テレビ制作会社はRayvisionレンダリングを選んでくれていると言えます。もちろん、上述した品質とサービスに加え、時間の短縮と期限を保障できるかという点で、十分なコンピューティング力と十分なサーバー資源もユーザーがクラウドレンダリングを利用する際に考慮する点です。長年にわたる業界での実践とサービスの改良をし続けてきたRayvisionは、ユーザーのニーズを真っ先に考え、新技術を通じて業界に低コストで高効率、信頼性の高いクラウドサービスを提供してきました。その結果、Rayvisionのサービスは業界からの高い評価に繋がったのです。Rayvisionの発展とサービスがユーザーから高評価を得られたのは、主に次の3点が考えられます。まず、映像業界に対する理解度が深く、業界トップの専門TDチームと開発チームを備え、案件経験も豊富であることです。次に、映像業界向けのサービスに10年以上に専念し、大量の研究開発により技術的にリードしたことで、業界のベンチマークと呼ばれるようになりました。最後に、映像業界に特化した究極的に調整されたコンピューティングプールを所有することにより、極めて高いコストパフォーマンス備えたと同時に、制作効率を大幅に向上させたことがあげられます。デジタル・エンターテインメント・コンテンツ制作の強者——Autodesk前述したように、現在アニメ映画と建物アニメは、Rayvisionレンダリング最も多く利用する2つの分野です。また、世界的なデザインソフトウェアおよびデジタルコンテンツ制作会社として、繊細な戦争シーンから超リアルな生物、複雑な気象効果から広大な地形に至るまで、Autodeskのデジタルエンターテインメント制作ツールは、CGユーザーやVFXアーティストのインスピレーションと情熱をパワフルな技術力で解放してくれます。Maya、3ds Max、Arnoldは、デザイナーやアーティストたちが多くよく使うデジタルエンターテインメントのツールです。MayaはAutodeskからリリースされた優秀な3Dアニメソフトで、映画やテレビ広告、アニメーション、映画SFXを対象とします。Mayaには高度なアニメやデジタルエフェクト技術が整合されており、通常の3次元やエフェクト制作機能だけでなく、高度なモデリング、デジタル布のシミュレーション、ファーレンダリングおよびモーションマッチング技術も統合されています。完備した機能、優れた柔軟性、高い制作効率、リアリティーなどを備え、映画制作で使われる高度なソフトウェアです。3ds MaxはPCシステムに基づく3Dアニメレンダリングと制作ソフトウェアであり、入門が簡単で効率も高く広告、映像、工業デザイン、建物デザイン、3Dアニメ、マルチメディア制作、ゲーム、エンジニアリングの可視化などに広く応用されています。AutodeskのレイトレーシングレンダラーArnoldは、物理ベースのレイトレーシングレンダラーであり、アーティスト、現代アニメ、ビジュアルエフェクト制作のニーズに対応するように設計されています。近年、専門的な映画制作ツールとして世界的に最も広く使用されているレンダラーの1つです。過去16年間のアカデミー賞VFX賞を受賞した多くの作品は、Autodeskのソフトウェアを使用しています。深セン市Rayvision有限会社の鄒瓊総経理とのインタビューで、Autodeskが持つ先進性と汎用性のおかげなのか、現在Rayvisionのオフラインレンダリングタスクにおいて、50%以上のコンテンツがMaya、3ds MaxおよびArnoldを使用していることを教えてくれました。また、Rayvisionのこれまで経験と3Dアニメ業界全体を俯瞰すると、80%以上の企業がAutodeskのソフトウェアを使用して画期的なSFXを生み出していることがわかります。デジタルアートの新体験をクリエイト成功は協力し合うことにあり、協力して天下を勝ち取ります。AutodeskとRayvisionは同じ生態系とユーザー層を共有します。業界が活況を呈する中、AutodeskはRayvisionと戦略的関係を結び、CG業界にデジタルアートの新たなページを共同で作り上げます。では、AutodeskとRayvisionレンダリングはどのようにしてシームレスに合体するのでしょうか。鄒氏は「Mayaを例にとると、アニメのワンシーンを作成したらライトレンダリングを経て最終結果を書き出すのですが、レンダリングは時間とパソコンのスペックが問われるので、現在、RayvisionはRayvisionレンダリングプラットフォームをプラグインの形式でMayaに統合させ、レンダリングのメニューを足したような感覚です。レンダリングメニューをクリックするだけで、作成したコンテンツをRayvisionのクラウド上でレンダリングさせることができて、タスクが完了したら、Rayvisionレンダリングのシステムは自動的にその成果をローカルストレージにダウンロードしてくれます。これがRayvisionレンダリングの一部始終となります。Rayvisionはまた、大量のレンダリングファイルを一括アップデートしたいユーザー向けにクライアントを提供します。これにより待つ時間が省けられて、一度に数十個のファイルをクライアントにドラッグ&x26;ドロップするだけで済みます。全体を通して、クラウド上のスーパーコンピュータが恰も自分のパソコンと化したかのようなので、レンダリング速度も大幅に向上するはずです。RayvisionのレンダリングとAutodeskを組み合わせたこのサービスは、ユーザーがより簡単に操作できるので、業界内でもますます多くのユーザーに愛用されるようになっています」バリューを繋ぎ合わせ、生態を共有AutodeskとRayvisionは、それぞれの分野の最先端を走りながら、同じユーザー層と似たビジネスビジョンを持ちます。鄒瓊総経理は次のように述べました「AutodeskがRayvisionにもたらす価値は、主に2つがあります。まず、3Dコンテンツ制作の分野が膨大で、Autodeskを利用するユーザーも多く、顧客ニーズも多数存在するので、そこにRayvisionのチャンスが生まれます。次に、Autodeskの普及と継続性が非常に優秀で、多くの二次制作チームがプラグインやモジュールなどさまざまなリソースを提供しており、ユーザー間の交流が確立されています。Autodeskを中心にクリエイティブチーム、アーティスト、TD、開発者などで形成された生態系において、Rayvisionはそのレンダリングサービスをもって、この生態系の持続的発展を更なる高みへと運んでいくでしょう。これはRayvisionが重要視する点でもあるのですから」一方、Autodeskにとって、RayvisionはユーザーとAutodeskの間に架け橋を作ってくれています。RayvisionはユーザーのニーズとAutodeskの両方を深く理解しており、ユーザーからの正確なフィードバックを入手することができます。これらの情報はAutodeskの開発チームにとっては貴重な情報であり、これはRayvisionがAutodeskにもたらす価値でもあります。融合と相互作用、可能性を切り開く将来の展望について「RayvisionはAutodeskと提携範囲を現在のMaya、3ds Max、Arnoldソフトウェアから建設業や製造業へと拡大させ、共同で市場を開拓することを望んでいる」と鄒氏は述べます。Rayvisionのプラットフォームは今後、ソフトウェアレベルと運用レベルでAutodeskと統合できるよう、その他のAutodesk製品や機能にアクセスできるように尽力するほか、ソフトウェアの更新において、条件の許す限り、両社の技術的な交流をさらに深めさせることで、ユーザーに豊富な新機能を提供できるように望んでいます。グローバルな視野を持つ多国籍ソフトウェア企業として、Autodeskは中国に根ざして30年近くになります。同社は長年に渡り、オープンで活力に満ちた業界環境を構築しようと、中国市場内で直接リソースを提供するさまざまな国際的および国内のパートナーを築き上げてきました。デジタル化と関連する革新的なスタートアップ企業の製品と技術は、このような生態系の中にうまく溶け込むことで、価値ある交流をすることができるようになります。うれしいことに、この生態系のために自分たちの力を貢献しようと、AutodeskとRayvisionはこのような価値のある交流をし続けています。ぜひ、私たちの今後のさらなる提携と発展にご期待あれ!深セン市Rayvision有限会社の鄒瓊総経理は、「Autodesk製品の普及度、安定性、継続性は非常に優れています。Autodeskを中心にクリエイティブチーム、アーティスト、TD、開発者などで形成された生態系において、Rayvisionはそのレンダリングサービスをもって、この生態系の持続的発展を更なる高みへと運んでいくでしょう。これはRayvisionが重要視する点でもあるのだから」と述べました。


    The Making of “Metamorphosis”, A 40-Second Slow Motion CGI Animation Created by Kay John Yim

    The Making of “Metamorphosis”, A 40-Second Slow Motion CGI Animation Created by Kay John Yim

    2023-03-13

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    animation works

    The making of “Metamorphosis” was wrote by Kay John Yim, who is an architect by day, CGI artist by night. As an architect, although he is busy with his daily work, he always carries his passion for CG and insists on self-learning in his free time, which leads to the creation of many wonderful CG artworks.Kay John YimChartered Architect & CGI ArtistKay John Yim's personal site: https://johnyim.com/ArtStation: https://www.artstation.com/johnyimAs the leading cloud rendering service provider and render farm in the CG industry, Fox Renderfarm is committed to supporting the development of CG artists. Now let's take a look at how John created this masterpiece "Metamorphosis".OPENINGProject "Metamorphosis" came into being while I was exploring more efficient ways to model existing architecture as well as faster workflows to create heavy motion graphics.It is a 40-second slow motion CGI animation that depicts a solitary figure in the grandiose setting of a Neo-Gothic rotunda; as she waves her arms and twists her legs, golden branching patterns gradually reveal themselves on her dress and on the ceiling of the rotunda, creating a harmonic spectacle of light and motion.At its core, the golden patterns that gradually appear on the dress and the ceiling symbolize the interconnectedness and interdependence of all things, akin to how "Metamorphosis" was inspired by my visit to "Tribune" at Strawberry Hill House - a Gothic Revival Villa in London constructed 3 centuries ago. It highlights my appreciation for Neo-Gothic architecture, as well as the passage of time and the fleeting nature of existence.This article is a making-of journal that details everything I discovered and learned since "Ballerina" &x26; "Kagura". While this is not meant to be a beginner-friendly tutorial, I will provide links to external tutorials or resources wherever possible.WORKFLOW OVERVIEWThe software's and workflow that I used throughout every stage of the project could be summarized as follows:1. MODELINGPolycam > Rhino > Moment of Inspiration (MOI) > Cinema4D (C4D) > Redshift2. CHARACTERCharacter Creator 4.1 (CC) > iCone 8.1 (iC) > Houdini (for retime) > C4D > Redshift3. CLOTH SIMULATIONMarvelous Designer (MD) > Houdini / C4D4. CLOAK GROWTH ANIMATIONC4D > Redshift5. DRESS GROWTH ANIMATIONHoudini > C4D > Redshift6. CEILING ANIMATIONRhino > MOI > Houdini > C4D > Redshift7. RENDERINGRedshift > Neat Video (for denoising) > Premiere Pro (Magic Bullet Looks)1. MODELINGThe scene was modeled based on the interior of Strawberry Hill House, a Gothic Revival villa in Twickenham, London built in the 1800s. I was inspired by the "Tribune" rotunda, with its elaborate decorations. Since there were limited references for modeling the space, I visited the house in person and used Polycam's Lidar mode to photoscan the rotunda. The scanned model served as a reference for my modeling in Houdini and Rhino.Processing photoscan in PolycamOnce I exported the .obj model from Polycam, I opened it up in Houdini and used "Clip" node to extract parts that I wanted to focus on at a time while modeling, which were then brought into Rhino.My modeling process could be summarized as follows:Using Polycam's "Lidar" mode to photoscan the room;clipping 1/8 of the model in Houdini with the "Clip" node;extracting the 3D silhouette of the model by manually selecting group edges and using "Edge Group to Lines";using Rhino to trace and resample curves, creating the base geometry of the room with "Loft";flattening the ceiling into a plane using "Flow Along Surface", tracing the ornaments, and using "Sweep" to create a 3D model;conforming the plane back to the ceiling 3D geometry with "Flow Along Surface";exporting the model as .3dm, importing it into MOI, and saving as .FBX;importing .FBX into C4D;duplicate and mirror the model 8 times to form the entirety of the rotunda;Houdini model clippingRhino modelingfrom Rhino to C4D The modeling process took around 4 days, but without the Polycam model as a reference, it could have taken twice as long.2. CHARACTERWhile my female character was originally created for "Ballerina" using CC3, I have since adopted CC4 and Redshift's Randomwalk Subsurface Scattering (SSS) to speed up my CG character rendering workflow. CC4's integrated "Skin-gen" allows for faster generation of realistic skin textures without using additional displacement maps from Texturing XYZ. My character texturing workflow has been simplified to a drag-and-drop process, with textures automatically exported when exporting to .FBX.While the character creation process has become a lot easier in CC4, creating a convincing character out of imagination is still very much impossible for me. I use the 2 websites below as my go-to reference while adjusting character bone structures, face silhouettes and skin textures:Stability AIDaniel BoschungThe first website generates a non-existent person's face using AI every time the page is refreshed, while the latter has a collection of high-resolution (16k+) face photographs with good lighting.The character was first posed in CC4 with a PureRef reference overlay, which I then brought over to iC and used "Edit Motion Layer" to add subtle animation to the arms and legs - essentially 2 keyed poses automatically blended together.Posing with reference in CC4iClone Edit Motion LayerI then brought the character and the textures into C4D Redshift.Redshift's Randomwalk SSS (since v3.5.06) offers a more realistic model without sacrificing rendering speed. Randomwalk SSS simplifies skin material setup and produces better results under various lighting conditions. Previously, Redshift's ray-traced SSS required multiple texture layers and manual tweaking to achieve decent skin material, which made character preparation time-consuming and required constant adjustments for animation sequences with drastic light changes. Randomwalk SSS has been available in Arnold Renderer for years, but the Redshift update makes Randomwalk SSS much more efficient and therefore more feasible for animation.I use Redshift's "Standard" material for the skin materials, applying the CC textures straightforwardly - Diffuse map goes to the diffuse slot, roughness map to the reflection roughness slot, etc. I set "Reflection Weight" to 0.5 and "Reflection IOR" to 1.38; for the "Coat", I set the "Weight" to 0.3 and the "Roughness" to 0.6.Under "Subsurface," I use the Skin Diffuse map from CC as the color and set "Radius" to a salmon color (similar to the color of one's underskin when viewed under direct illumination). I set "Scale" to 0.1 to represent the thickness of the skin, and use "Random Walk" mode with "Include Mode" set to "All Objects."Redshift material graph3. CLOTH SIMULATIONI used Marvelous Designer(MD) for garment creation and simulations. Despite improvements in C4D and Houdini's cloth simulations, MD still offers the most control and the best quality, with the downside of being prone to crashing. To prevent accidental progress loss, I follow these rules when using MD:always save the scene without the avatar (heavier scenes are more likely to crash)delete unwanted simulations before saving or exportingavoid using GPU simulation, which frequently fails (likely due to VRAM allocation) and requires relaunching MDimport only the character's body (no hair, eyes, etc.) for cloth sim, using Houdini or C4D to delete hair, eyes, limbs etc.My garment is based on fishtail wedding dresses. I gathered existing sewing patterns mostly from fashion magazines and Etsy, and placed them on the 2D plane in MD. I then traced them out, sewed them in 3D space, and altered and modified the patterns to fit my character.Throughout the garment creation process, I kept my character in either an "A" or "T" pose, which would later be replaced with the animated character exported from iC for cloth simulation.I kept most of the default simulation settings, but changed a few for better performance: I set garment's "Particle Distance" to 15, material's "Internal Damping" to 100, and material's "Friction" to 99. This eliminated jittering and improved simulation speed.MD settingsMD simThe simulated cloth was then exported as Alembic and brought into Houdini.4. CLOAK GROWTH ANIMATIONThe cloak growth animation is an improved version of the "Hakama Transformation" using "PolyFX" in C4D. I added noise to the polygon movement using "Target" and "Random Field" for a more organic aesthetic.My Mograph setup includes:making "PolyFX" a child of the cloak;applying a "Plain" effector to "PolyFX" to affect the scale of individual polygons;adding a "Random Field (1)" to the Falloff of the "Plain" effector;applying another "Plain" effector to "PolyFX" to affect the position of individual polygons, using the same "Random Field (1)" for Falloff;adding a "Target" effector and creating a new "Random Field (2)" as the target;disconnecting all polygons of the cloak and adding a Vertex Weight tag to the cloak set to using Fields, with "Random Field (1) as input;exporting as Alembic and applying Redshift material, using "RS Vertex Attribute" node with the cloak's Vertex Weight tag to drive Emission.C4D mograph setupCloak growth iterationsCineversity has a great tutorial "Dissolve Effect Using PolyFX and Mograph Tools", which goes more in-depth and explains every step to achieve the effect in great details.5. DRESS GROWTH ANIMATIONThe dress pattern is generated within Houdini with "findshortestpath" and animated with "carve", which can be broken down as follow:bringing the MD simulated dress into Houdini using "Alembic" node;using "timeshift" to freeze dress at first frame;creating a point group named "start", and selecting points where the growth path will start;creating another point group named "end", and selecting points where the growth path will end;using "findshortestpath" node and assigning the created groups above to the "Start Points" and "End Points", the dress pattern will be almost instantly generated at this point;assigning a "smooth" node after "findshortestpath" to make the pattern look more organic;assigning a "carve" node and animate "second U" - this will animate the dress patterns;assigning "ray" and "pointdeform" to project the animated dress pattern from the frozen dress back to the animated dress;using a "sweep" node to create geometry out of the dress pattern curves;using a "Transform" node to scale final geometry 10X and export as AlembicHoudini Node GraphHoudiniI highly recommend checking out Junichiro Horikawa's tutorial video on "Shortest Path Growth", where he covered everything about shortest path growth from basics to advanced:Note: Houdini's default unit is "meters" while C4D's default is "centimeters", hence exchanging geometry across the 2 DCCs has to be scaled accordingly every time; I do not recommend changing the default units since Redshift lighting and many other parameters only work correctly with the default units.6. CEILING ANIMATIONThe ceiling animation - in theory - could be achieved using C4D's "PolyFX", but C4D's inability to handle high poly meshes made it impractical. Instead, I used Houdini and MOPS to replicate "PolyFX".MOPs (Motion Operators for Houdini) is an open source Houdini toolkit that introduces a set of versatile nodes into Houdini, that allows one to quickly iterate motion graphics, much like Cinema4D's Mograph tools. For anyone who has not used MOPs I recommend watching the following introductory video:There are many ways to optimize the geometry before animating it using MOPs, the primary steps I took are detailed as follow:converting the meshes to VDBs and converting it back to meshes to get evenly distributed polygons with "polygon to VDB" and "convert VDB" respectively;using a "Divide" node to further divide the polygons into triangular or hexagonal patterns;using "Facet" after "Divide", check "unique points", turn on "rotate to template";assigning an "Attribute Wrangle" node and input the following:addpoint(0, @P);removeprim(0, @primnum, 1):this adds a point at the position of each primitive(polygon), then removes the primitive and all points connected to it;assigning a "MOPs_Shape_Falloff", which adds a falloff to control scale and position of polygons, similar to the "Plain" effector in C4D;animating the falloff;assigning a "MOPs_Noise_Modifier", which adds an additional layer of noise to the animation;assigning a "Primitive", check "Do Transformation", then plugin the first slot with geometry from "facet" node and second slot with "MOPs_Noise_Modifier".The animation is essentially complete at this point, subject to a lot of additional tweaking. I also added an "attributetransfer" to transfer the "Cd" from "MOPs_Transform_Modifier" to the animated geometry, which I used later on in Redshift with "RS Vertex Attribute" to add emission.Houdini Node GraphHoudini TimelapseI highly recommend checking Liam's "Professionally Incorrect" Youtube channel, where I learned how to create this particular effect in addition to a lot of effects that replicate C4D's Mograph tools in a more efficient manner:7. RENDERING"Metamorphosis" had the heaviest scene of all my animation projects, with the architecture model totaling 4GB and alembic files over 1TB. To reduce geometry loading times while rendering, I exported each alembic frame into RS Proxies, cutting loading time to seconds. I also used a single GI Irradiance Cache file for each sequence to further optimize rendering time. This "GI Trick" only applies to sequences with slow animation and camera movement, a common technique I use for architectural visualization:set render frame to the first frame of the sequence;set "Motion Blur" > "Transformation Steps" set to 16;set "Frame Duration" to "total number of frames in sequence X 2", for instance I would input 240 for a a 120-frame sequence;set "Start" to 0;set "Global Illumination" > Mode set to "Rebuild (Prepass Only), set to single file;render.Motion Blur settings for preparing IPCOnce the IPC is rendered following the steps above, I would then "Load" the IPC file in my "Irradiance Point Cloud" and render out the sequence with just that single IPC file.For the final renders I use all the default settings, with the exception of setting the Automatic Sampling Threshold to 0.03.This resulted in relatively noisy renders, which I then imported as sequences into Premiere Pro and used Neat Video 5 for denoising.I kept most Neat Video settings as default and "automatic", the only thing that one has to pay attention to is to right click on the Premiere Pro's viewport and to make sure that the "Playback Resolution" is set to "Full" - this would prevent Neat Video from sampling the final renders at full resolution otherwise. Neat Video's UI is fairly straightforward but I recommend everyone to check out their official tutorials to take full advantage of it.Premiere Pro "Playback Resolution"Neat VideoWith the render sequences denoised, I used Red Giant Magic Bullet Looks in Premiere Pro to add imperfections - imperfections that one would find in video footage/films - to the final animation, which included primarily chromatic aberration, Halation and digital noise/film grain. This helped make the final animation appear more “cinematic” and nostalgic.Magic Bullet LooksNote: At the time of writing, a persistent NVIDIA driver issue caused Redshift to crash on long sequence renders. One of long discussion threads around the NVIDIA driver issue linked below: https://www.facebook.com/groups/RedshiftRender/posts/1504427980006407/?mibextid=6NoCDWWhile some artists found that downgrading to NVIDIA driver 462.59 worked, the only fix for me was disabling half of my GPUs.CONCLUSION"Metamorphosis" was created amid the rise of text-to-image AI, a time when many artists, including myself, were anxious about the future of visual arts. With AI able to produce beautiful images quickly and efficiently, I questioned the value of creating art manually.This project allowed me to clear my mind and explore new techniques. It took over three months and thousands of iterations to complete, during which I developed a deeper appreciation for Neo-Gothic architecture and fashion design. Perhaps more importantly, I came to realize the value of the creative journey and my intention behind creating CG art. Unlike AI generated images, every pixel in my work - including "Metamorphosis" - was carefully considered and designed deliberately to express my passion for architecture, fashion and fantasy.I hope this project will inspire others to pursue their own artistic endeavors and express themselves with CG, despite the rise of AI. I hope it will remind them that the process of creating art is a uniquely human experience, and that the journey is often more important than the end result.


    C4D、Maya、SketchUp、Rhino対応のV-Ray 6が正式的なベータ版に

    C4D、Maya、SketchUp、Rhino対応のV-Ray 6が正式的なベータ版に

    2023-03-10

    Fox News

    3D Tool

    ChaosはCinema 4DのV-Ray 6、MayaのV-Ray 6、SketchUpのV-Ray 6、RhinoのV-Ray 6がテスト段階に入ったことを発表。公式ページ:Cinema 4D対応のV-Ray 6、ベータMaya対応のV-Ray 6、ベータSketchUpおよびRhino対応のV-Ray 6、ベータCinema 4D対応のV-Ray 6の新機能リストについては、ドキュメントページを参照してください:https://docs.chaos.com/display/VC4D/V-Ray+6Maya対応のV-Ray 6の新機能リストについては、ドキュメントページを参照してください: https://docs.chaos.com/display/VMAYA/V-Ray+6SketchUp対応のV-Ray 6の新機能リストについては、ドキュメントページを参照してください: https://docs.chaos.com/display/VSKETCHUP/V-Ray+6Rhino対応のV-Ray 6の新機能リストについては、ドキュメントページを参照してください: https://docs.chaos.com/display/VRHINO/V-Ray+6テスト期間中はベータ版を使用することでV-Ray 6を向上させることができるし、前もって新機能を体験したり、Chaosフォーラムで意見を発表することもできる。トップクラスのレンダリングサービスプロバイダーおよびレンダリングファームであるFox RenderfarmはChaosのパートナーでもある。Fox Renderfarmは新規登録者全員に25ドルの無料クーポンを提供する!ソース:Chaos


    Chaosは3ds MaxとCinema 4D対応のCorona 9を発表

    Chaosは3ds MaxとCinema 4D対応のCorona 9を発表

    2023-03-09

    Fox News

    Chaos Group

    2022年10月にChaosは3ds MaxとCinema 4D向けのCorona 9を発表した。主な新機能紹介プログラムクラウドCoronaパターンエッジトリミング(Chaos Scatter)Motion BlurのShutter Curve魚眼カメラの被写界深度フェニックス:火、煙、水などをシミュレーションすることができる。Chaos Scans:通常のマテリアルではシミュレートできないほど複雑でリアルなマテリアルにアクセス可能である。Chaos Player:画像シーケンスを後に編集することができる。Chaosの画像詳細については、以下の公式動画をご覧ください:トップクラスのレンダリングサービスプロバイダーおよびレンダリングファームのFox RenderfarmはChaosのパートナーであり、Coronaにも対応している。Fox Renderfarmは新規登録者全員向けに25ドルの無料トライアルを提供する!ソース:Chaos


    O Primeiro Episódio da Série em 3D 'Vamos Brincar com a Turma da Mônica' Está Disponível no YouTube

    O Primeiro Episódio da Série em 3D 'Vamos Brincar com a Turma da Mônica' Está Disponível no YouTube

    2023-02-21

    Fox Talk

    animation works

    Turma da Mônica, a série amada pelo povo brasileiro, já é parte da cultura brasileira, e ninguém desde crianças até adultos não conhece a adorável Mônica e seus amigos.Vamos Brincar com a Turma da Mônica é a primeira série de desenho animado em 3D da Turma da Mônica, e é produzida por Mauricio de Sousa Produções (MSP), com animação da Hype Animation e sonorização da Ultrassom Music Ideas.© Mauricio de Sousa Produções© Mauricio de Sousa ProduçõesA série foi lançada no Giga Gloob a partir de 12 de outubro de 2022, com 52 episódios no total, e o primeiro episódio está agora disponível no YouTube em 6 de fevereiro de 2023. Essa série se concentra em histórias para crianças, mas quem pode resistir ao charme da adorável Mônica?Assista ao primeiro episódio:Dicas:Fox Renderfarm é um popular oferecedor de serviços de cloud rendering e render farm na indústria de CG. Estamos oferecendo um teste grátis de $25 para os novos usuários registrados. Abraços!Fonte: Mauricio de Sousa Produções


    “Black Slide,” A Refreshing & Impressive Israeli-British Animated Short Film

    “Black Slide,” A Refreshing & Impressive Israeli-British Animated Short Film

    2023-02-20

    Trending

    Fox Renderfarm Interview

    In recent years, more and more excellent 3D animated films have sprung up, so that we can see more and more fantastic ideas and talents of CG artists all around the world.Recently, an Israeli-British 3D animated film caught the audiences attention. Black Slide, directed by Uri Lotan and produced by The Hive Studio & Flipbook Studio, is an over 10-minute animated film inspired by a real-life experience from the Director's childhood that changed his life.With a unique animation style mixing simple design aesthetics with real-world materials, Black Slide tells Eviahs 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, and we quickly learn that there's more to Eviah's story than meets the eye.© Avner GellerCheck out the trailer for Black Slide:Heres 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, Im Uri Lotan, the Director of the short film Black Slide. I am a graduate of Ringling College of Art and Design. Since graduating, I've been lucky enough to have worked in feature films, 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, which is the inspiration for our film.© Noam Wiener© Noam WienerFox 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 SnowdenSet building process:© Ovadia BenishuTimelapse: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 partner, Flipbook Studio, were 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 TurgemanAnimation test: https://vimeo.com/425810764/c472d317acAnimation: Charles LarrieuAt 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 whats awaiting us when we get to the lighting and rendering stages of production.Scene process: https://vimeo.com/435699276Animation: Charles LarrieuFox Renderfarm: Whats 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 hes 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 Eviahs face, it told us everything we needed to know. Who Eviah is, and how he moves and behaves in his world, 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: 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 ShleiferFox Renderfarm: Could you introduce the current progress of the project? When is the film expected to be completed?Uri: Were 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 an Israeli foundation and each and every team members personal investment and support. It couldnt 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- well 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 RachamimFox Renderfarm: How do you feel about Fox Renderfarms 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 GellerFox 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.


    빅뉴스: 폭스렌더팜 지금 Unreal Engine 클라우드 렌더링을 지원합니다!

    빅뉴스: 폭스렌더팜 지금 Unreal Engine 클라우드 렌더링을 지원합니다!

    2022-12-16

    Fox News

    3D Tool

    CG 업계에서 선도적인 렌더 팜으로서, 폭스 렌더 팜이 지금 공식적으로 언리얼 엔진(UE) 클라우드 렌더링을 지원하게 됩니다!1. Unreal Engine은 무엇인가?포토리얼 비주얼과 몰입감 있는 경험을 위한 세계에서 가장 진보된 실시간 3D 제작 도구인 언리얼 엔진은 에픽게임즈의 초기 제작 - 1인칭 슈팅 게임 언리얼에서 유래했다. 1999년 이후 개발자들을 위한 20년 이상의 반복적인 업그레이드를 거친 후, 물리 렌더링을 기반으로 한 핵심 상용 엔진이 되었다.언리얼 엔진은 보통 게임, 메타버스, 인공지능 등 보다 상호작용성이 높은 첨단 컴퓨팅 분야에 적용된다. 그러나 컴퓨터 하드웨어 및 소프트웨어의 지속적인 업그레이드와 최근 실시간 렌더링 기술의 향상으로 인해 언리얼 엔진의 렌더링 정확도가 향상되어 가상 제작을 매개로 한 영화 및 텔레비전 분야로 확산되고 있다.언리얼 엔진은 사실상 가상 프로덕션의 최전선에 있다. 특히 실감나는 조명과 시뮬레이션이 돋보이는 언리얼 엔진5의 출시는 영화·애니메이션 업계에 적잖은 충격을 안겼다. 많은 CG 아티스트들은 언리얼 엔진을 영화와 TV 제작에 통합하기 시작했다.CG 업계의 선도적인 클라우드 렌더링 서비스 공급자이자 렌더 팜으로서 폭스 렌더 팜은 또한 산업 발전을 위한 새로운 가능성을 적극적으로 탐색하고 언리얼 엔진에 대한 클라우드 렌더링 지원 개발을 시작한다.2. 언리얼 엔진과 클라우드 렌더 팜Epic Games을 통한 이미지언리얼 엔진이 실시간 렌더링에 집중하는데 왜 클라우드 렌더링의 도움이 필요한가?첫째, 언리얼 엔진 내에서 오프라인 시퀀스 프레임을 익스포트하여 영화 및 TV 프로젝트용 시퀀스 프레임을 가져와야 하는 경우가 있다. 예를 들어, CGI 프로젝트를 생성하려는 경우 Unreal Engine 5의 제작 프로세스는 3D 소프트웨어와 동일하지만 제작 중에 Unreal Engine 5의 실시간 렌더링 엔진이 최종 이미지를 표시할 수 있다는 점만 다르다. 그러나 영화나 TV와 같은 매우 높은 품질의 애니메이션을 제작하려는 경우 최종 고정밀 결과를 얻으려면 여전히 프레임 속도, 해상도 및 기타 관련 렌더링 매개 변수를 설정해야 한다.둘째, 렌더링 시간과 렌더링 품질의 모순은 실시간 렌더링 기술이 급속도로 발전하는 게임 엔진에서도 현재의 컴퓨터 그래픽에서는 항상 양립하기 어려웠다. 언리얼 엔진은 이미지를 실시간으로 조정하고 볼 수 있도록 하기 위해 실시간 디스플레이의 정교함을 일부 희생한다. 세부 사항을 보기 위해 Unreal Engine 5에서 모델을 확대할 때 발생하는 지연은 렌더링 엔진의 빠른 렌더링 프로세스이다. 이미지의 피사계 심도와 조명을 더 세밀하게 하려면 렌더링 출력을 설정할 때 샘플링 값을 늘려야 할 수 있고 이렇게 하면 렌더링 시간도 늘어난다.또한, 언리얼 엔진을 통해 다중 프레임 및 기타 CGI 프로젝트에 대한 렌더링 결과를 출력하기 위한 장비 요구 사항이 매우 엄격한다.이것이 폭스 렌더 팜이 언리얼 엔진 클라우드 렌더링을 지원하기 시작한 이유입니다! 폭스 렌더 팜을 통해 전 세계 언리얼 엔진 사용자들은 자신의 로컬 파일을 클라우드 렌더링 서버에 제출하고 수천 개의 렌더링 노드의 도움으로 즉시 렌더링을 수행할 수 있습니다.폭스 렌더 팜의 언리얼 엔진 웹 제출 튜토리얼팁: 언리얼 엔진 클라우드 렌더링 서비스가 필요한 경우 계정 관리자 또는 고객 서비스에 문의하십시오. 현재 언리얼 엔진 클라우드 렌더링은 웹 제출만 지원합니다.3. 폭스 렌더팜의 장점강력한 온디맨드 렌더링다중 소프트웨어 및 플러그인: 3ds Max, Maya, Arnold, V-Ray, Redshift 등CPU와 GPU 렌더링 모두 사용 가능보안 및 기밀성: TPN 인증 공급업체오스카상을 수상한 엔트리 서비스 팀24x7 실시간 고객 관리 및 기술 지원I/O 병목 현상을 해결하는 대용량 SSD 스토리지 시스템CG 학생과 교육자의 꿈 실현을 돕는 프로그램


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