How to Make a Stylish Spacecraft in Blender
Imagine if we humans, in the distant future, exploring the borders of our dimension, rediscovered ourselves in the past, thinking that it is another species.The third place winner in the Student category of the FGT3D Explorer Challenge goes to Andrey Oliver with his work, Explorers from the future. “Great combination of painterly looks and 3D rendering. who didn't ever park his ship in a no-parking spot? The cartoony and still technical design of the vehicle looks absolutely stylish. The colors of the paint finish pop out greatly surrounded by this rough and hazardous landscape.” One of our judges, Kariem Saleh said, who is an award winning film director and animator based in Berlin, Germany.Let's find out how Andrey made the amazing artwork through the exclusive interview with Fox Renderfarm.!Explorers from the future © Andrey OliverExplorers from the future © Andrey Oliver Fox Renderfarm: Hi, Andrey! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself? Andrey: Hello! Thanks for the opportunity. My name is Andrey and I have always been interested in 2D and 3D art, as it was a way I found to release my creativity and thoughts, the art world. Fox Renderfarm: Congratulations on winning 3rd place in the Student Category of the FGT3D Explorer Challenge, how do you feel about that?Andrey: I feel extremely happy to have won third place and to have competed with exceptional artists. It's great to see your art on the podium. Fox Renderfarm: How long did you finish the work, Explorers from the future?Andrey: On March 24, 2021 I found out about the contest through @tonycartoonish, a great artist, and since that day I have been thinking about what to do. It must have taken me 5 weeks to model and render all the art.!Samantha Donut @ tonycartoonishSamantha Donut @ tonycartoonish Fox Renderfarm: What software and plugins did you use?Andrey: I used Blender and Substance Painter to model the ship and scenery, and also used and modified some Quixel Bridge props to complement the naturalness of the scene with secondary elements and textures. In the end I used Photoshop for retouching. Fox Renderfarm: What’s the inspiration behind your artwork? Any references?Andrey: For the Explorers theme, I thought about making a spacecraft, after all I've always admired the Star Wars or Guardians of the Galaxy spacecraft designs, and so I made my spacecraft inspired by them but stylized.!Explorers from the future!Explorers from the future Fox Renderfarm: The believable lighting, mood setting, attention to details, even the No parking sign are rendered nicely. How did you make it?Andrey: As a 3D artist, I have always sought to add naturalness to the works, observing the real world and the behavior of nature and light. I think that the small details make the narrative of the scene more complete.!Explorers from the future-3!Explorers from the future-4 Fox Renderfarm: How did you make the great combination of painterly looks and 3D rendering?Andrey: I think a stylized modeling with a hand texture painting in Substance Painter and small touches in photoshop were essential to achieve this effect.!Explorers from the future-10!Explorers from the future-4-6!Explorers from the future-11!Explorers from the future-4-5 Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Andrey: Yes, the biggest challenge was the complexity of the shape of the spacecraft and its numerous parts, but after a long time of testing, the best way was to divide the spacecraft into several categories of parts, so I was able to have greater control in the modeling.!Explorers from the future-9!Explorers from the future-8 Fox Renderfarm: Any artists or artworks inspired you most?Andrey: @thisnorthernboy was an artist who inspired me a lot in the design of the ship.!Explorers from the future-7Deep Space Fleet II @ thisnorthernboy Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?Andrey: I am self-taught in 3D. I started studying when I was 13 years old out of curiosity, learning everything from internet videos and manuals and today I have a great experience with these programs. To complement my learning, today I also study Animation Design at college. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Andrey: If you really want something, you will get it, the beginning is always the hardest. Draw what you like, model what you like, so you will have more pleasure in what you are doing and learn better. Look at the great artists and get inspired. Fox Renderfarm: What do you think of the FGT3D Challenge, any suggestions for us?Andrey: I think FGT3D is an amazing idea, which stimulates the contact and minds of countless artists to show their potential to the world. Fox Renderfarm: Do you have any advice for future participants in the competition?Andrey: Enter the contest, do what you like, gain experience, have fun!!FGT3D Explorer ChallengeFGT3D Explorer Challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, was started in March, 2021 and sponsored by our amazing sponsors, including Xencelabs, Corona Renderer, TopoGun, Friendly Shade, Graswald, Raysync, Textures.com, Texturebox and iCube R&D Group. After the selection by our jury, 3 Professional artworks and 3 Student artworks were picked and would be awarded the prizes provided by our amazing sponsors. Congratulations to all the winners again! And thanks to everyone for participating! See you at our next FGT3D Challenge!
How to Make Lighting a Booster to the Whole Picture?
Fox Renderfarm Interview
Fox Renderfarm, the best render farm, is deeply committed to supporting education and wishes to contribute to the development of the CG industry. We are so proud to form cooperation with PIXL VISN Media Arts Academy and offer students an affordable pricing scheme to support educational purposes.!PIXL VISN and Fox RenderfarmAfter we’ve discussed the factors to make a character design and rigging with excellent graduates from PIXL VISN, we continue our discovery about how to make lighting a booster to the whole picture with another brilliant graduate, David Pferrer, from PIXL VISN Media Arts Academy. After graduation, he had the chance to work in Moving Picture Company, and he continues his career exploration in ArchViz now.!David Pferrer- David Pferrer- General Lookdev / Lighting Artist- Artstation: https://www.artstation.com/david_pferrerIn the exclusive interview with Fox Renderfarm, David shared his encounter with CG, how he stepped into the CG industry and how he found his passion in lighting design. Moreover, he elaborated his idea about the factors that will improve the lighting design.Student Demo Reel 2019 © David Pferrer Fox Renderfarm: Hi David, thank you so much for accepting our interview! Could you briefly introduce yourself?David: Hi Fox Renderfarm, I am David Pferrer, a 22-year-old CG artist from Cologne Germany. Fox Renderfarm: How did you encounter CG and get started in the CG industry? And how did you enrol in PIXL VISN media arts academy? Could you share with us your education and working experience in the CG industry?David: My first encounter with CG at all was actually long before I really started to pursue it in a serious manner. Like many others in the industry, I was amazed by the effects of movies like Star Wars, Transformers, Lord of the Rings, and so on. It’s sort of a cliché but I guess that this is really what makes most of us want to work in this industry – the incredible art and creativity in movies. When I finished school a few years later the CG industry was still somewhat of a mysterious and impossible-to-get-in place for me. At an orientational fair for graduates, I encountered Pixl Visn for the first time. It looked and sounded like my opportunity to learn all the things any CG artist needs to know. Pixl Visn was a great experience overall. It was not all fun and games. You have to put in the hours. You have to be willing to learn and work hard. That’s what the CG industry is all about anyways so Pixl Visn prepares you for it in that way. It is very rewarding though to learn so much and become a better artist in such a short time. One month you might have no idea about what a node even is and a few weeks later you are cruising through Nuke. Fox Renderfarm: What are the most important things you’ve learned at PIXL VISN, technically and career-vice? And what’s your most unforgettable experience in PIXL VISN?David: The most important things I learned at Pixl Visn. I feel like that would have to be the basics. The learning really starts from zero knowledge, and that’s how it should be really. So the foundation is being built strong. And a lasting foundation is the most important part of any skill I feel like. As for my most memorable experience – clearly, the time that our animation teacher came to visit. He was accompanied by two former Pixl Visn students that worked with him at Pixomondo. Afterwards, we went out for drinks and to show them the city. Fox Renderfarm: Congrats on getting the A-level certificate and getting selected in the Draft Selection on The Rookies Awards 2019, could you share more details about how you got these honors? David: Thanks. It’s really an honor to be one of the selected few. Especially if you look at all the stunning works that are put up at The Rookies. Getting selected is really about two things: Firstly, you have got to create a quality piece of art. The judges are no dummies, they recognize good works and know how much work went into it. Secondly, I would say, it can really help to have an artwork that stands out in some way. Meaning it should have something that will make it recognizable. It could be a unique color palette, a really interesting or unusual subject or topic, or even just a really good-looking cover frame to make it recognizable. Making a technically great render is one thing, elevate it with something special and it will stand out amongst the other contestant´s works. Go that extra step.!The Rookies Awards 2019!Draft Selection - The Rookies Awards 2019 Fox Renderfarm: Could you share with us your usual creative process, from forming the concept to the final rendering (it would be perfect if you can raise an example)?David: The creative process behind every project can be very different. In the artistic and the technical sense. So there is not really a standard here. Also, I don’t think you can make formulas for a creative process. For the technical aspects that are a little different. Technical aspects of any CG-related field are well documented by many others that are more knowledgeable than me though. So I am not gonna go into that. Generally speaking, I would say: Write down every idea that comes into your mind. Always have something to write with you. Ideas will come at random times. Next prepare your project. Go online and just throw your subject into Google and see what comes up, you might get even more ideas. Don’t be put off if someone else has done a similar project already, it’s a big community and everybody is creating stuff all the time. You can not reinvent the wheel. Just make art that speaks to you and that you want to create. Make something you like.!David Pferrer Fox Renderfarm: According to your online portfolio and info, we know that you are interested in and good at lighting. Do you have any unforgettable creations? And did you meet any difficulties in your creative process?David: Yes, I find myself most at home in the lighting area of the 3D spectrum. My most unforgettable creation is the lady from my demo reel. Every time I think about that project I am a little disappointed in myself. The project stretched over months and It went through tons of changes. I could have spent a quarter of the time on it, with all the things that I did and then discarded later. Also, I am really unhappy about the presentation in my reel. The lighting is just not very good. I somehow ignored the fact that she is completely symmetrical, I showed her closeup from the very front, And I covered most of my texturing work in glitter. There are so many things I would change about that project, but you are always smarter afterwards I guess. !David Pferrer© David Pferrer Fox Renderfarm: What are the key factors in lighting that will make 3D artworks natural and vivid?David: Ironically the thing that makes a render perfect is the very thing that makes it look like CG. You don’t want something perfect if you are striving for realism. In reality, everything is imperfect, from the surfaces to the camera lenses and even the movement of the camera. Achieving realism takes every aspect in the pipeline of a project. For lighting I would advise: Always use real lighting. Meaning essentially, avoid having a light in your scene without a texture in it. Try not to place your lights where they could not be in real life. It can help to look at photography sets and movie sets and analyze the lighting setups and techniques that they use. There is a lot to learn from that.!Train Station © David PferrerTrain Station © David Pferrer Fox Renderfarm: How do you feel about working at Moving Picture Company? Have you been involved in any projects that you would like to share with us?David: Working at MPC was a lot of fun. I was very fortunate to get a position at their Montreal Studio as my first job in the industry. The only project that I worked on there was Cats. There is not a lot to say about Cats. Unfortunately, 2020 was not really the best year for the 3D industry. Due to the pandemic, many studios had to lay off employees and I was one of those.!CATS Fox Renderfarm: What’s your next step? And what’s your vision for your career path?David: Currently, I am working at an ArchViz oriented company where we scan people and create 3D models of them. It’s a lot of fun and I don’t intend to quit anytime soon. Also, I am not really one to plan my career like that. Especially in the current situation, I think that’s even more difficult. There are so many factors that can determine where your path leads you. But I am definitely gonna go back to Montreal at some point, it was a really great time, even though I was only there during the winter. !Froggy © David Pferrer-1!Froggy © David Pferrer-2Froggy © David Pferrer Fox Renderfarm: How do you constantly improve yourself on 3D techniques and artistic sense?David: Improving is all about practice. I like to create some nice 3D stuff from time to time. Working in 3D all day though, I don’t spend that much of my free time on 3D anymore. Instead, I try to find other creative outlets. Recently, I have been doing photography and cooking for myself. Staying creatively active is very important to improve on artistic skills I think. Don’t limit yourself to just 3D. A lot can be learned from other art forms and it will improve your 3D game a lot.!Woman Portrait Experiment © David PferrerWoman Portrait Experiment © David Pferrer Fox Renderfarm: What do you think are the most important qualities that a 3D artist should have in his/her career? David: The best thing any 3D artist should have – and especially a lighting artist – is probably a really good understanding of photography and also an artistic eye. There will always be new programs to learn and new pipelines to understand. Learning about composition, color, mood, all that knowledge will never really change. Photography can really help with that because it uses all the same rules as any other visual art form. Apart from that, being a good team player is very, very important. In production, you never work alone on anything. It's always a team effort. !© David Pferrer © David Pferrer Fox Renderfarm: Any artworks and artists that inspire you the most?David: I find it hard to pin down an artist that inspires me. I would say that inspiration can come from anywhere. You can’t really force it. What I would advise though, is to get out of the comfort zone. Try to watch a movie that you might not usually consider, listen to music that you don’t know yet, maybe go on a walk somewhere you would not usually go. If you never experience new things it will be hard to have new ideas, at least that’s how it is for me. Fox Renderfarm: Any other things you wanna share with CG enthusiasts?David: Please keep creating. Other than that – it has been a pleasure and I hope I had some stuff to say that you found interesting or even helpful.
How to Portray a Photo-realistic Render With Powerful Storytelling in 3ds Max
Fox Renderfarm Interview
FGT3D Explorer Challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, was started in March 2021 and sponsored by our amazing sponsors, including Xencelabs, Corona Renderer, TopoGun, Friendly Shade, Graswald, Raysync, Textures.com, Texturebox and iCube R&D Group. After the selection by our jury, 3 Professional artworks and 3 Student artworks were picked and would be awarded the prizes provided by our amazing sponsors. Congratulations to all the winners! And thanks to everyone for participating!!FGT3D Explorer ChallengeIn this hard time where people are finding it hard to breathe and oxygen is costlier than life, this was the only positive we never wanted. In a country of colors and love, we are seeing helplessness and deaths but we have been a fighter and this too shall pass. This picture has portrayed the helplessness people are facing, sorrow and a little hope that we can fight this too.The first-place winner of the Profession category is Deepak Jain! Congratulations! His artwork, Hard Time, stands out for its highly detailed scene, goosebumpy mood-setting, great lighting and color temperature.“This indeed is looking like a hard time for the girl in the centre of the frame. Lighting and color contrasts play nicely in this very atmospherically dense frame. The setting is visually rich, though very effective in using and reusing a limited amount of assets and geometry. You feel like you want to step into the screen and get her out of this misery.” One of our judges, Kariem Saleh said, who is an award-winning film director and animator based in Berlin, Germany.Here’s the interview between Deepak and Fox Renderfarm, in which we can find out how he created this moving render with powerful storytelling.!Hard Time © Deepak JainHard Time © Deepak Jain Fox Renderfarm: Hi, Deepak! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?Deepak: Hello Everyone, I am from New Delhi, India. I started my 3D Career 15 years back, started as a High detailed 3d automobile modeler. After spending years in that domain I moved towards the 3d architectural field meanwhile I kept working on my conceptual renderings which I love to do the most. Fox Renderfarm: Congratulations on winning 1st place in the Professional Category of the FGT3D Explorer Challenge, how do you feel about that?Deepak: Thank you so much to the Fox Renderfarm Team! It was a surprise moment for me when I got to know that I was chosen as the 1st place winner. It was one of the happiest moments of my life that my artwork got selected amongst the other beautiful artworks. Fox Renderfarm: How long did you finish the work, Hard Time?Deepak: To be honest I spend almost 4-5 hrs daily on this artwork for their in-depth Detailing and completed the final image in 2 weeks. But the most important thing in this artwork is the storytelling concept which is the most time taking thing. Fox Renderfarm: What software and plug-in did you use?Deepak: 3ds Max, Corona Renderer, Photoshop Fox Renderfarm: What’s the inspiration behind your artwork?Deepak: The inspiration behind this artwork was - In India we faced the 2nd wave of covid-19 and that was the toughest time for my country where people were finding it hard to breathe and oxygen was costlier than life. We saw helplessness and deaths, even I got affected by the coronavirus and I was in a quarantine zone at that time. It was a tough and hard time for me as well, so I decided to portray my feelings through artwork. Fox Renderfarm: The setting is visually rich, though very effective in using and reusing a limited amount of assets and geometry. How did you make it?Deepak: Planning scene development is the most important thing in any artwork. Once I finalize the story then I download some freeware models and some are self-created. Then I enhance the assets in such a way so that I can connect with my story. Hence, detailing each and every asset is the most time taking part.!Hard Time © Deepak Jain!Hard Time © Deepak Jain!Hard Time © Deepak Jain!Hard Time © Deepak Jain Fox Renderfarm: Lighting and color contrasts play nicely in this very atmospherically dense frame. How did you make it?Deepak: Lighting and color depend on the essence of the story. For example, if the story is intense then I add rich and vibrant colors and if the story is subtle then low saturated colors are used.!Lighting!Lighting!Lighting!Lighting!Lighting Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Deepak: Yes I faced a lot of difficulties while creating this artwork, like the modeling of small props for detailing and unwrapping those, finding the accurate human which completes my story and result that I wanted. Fox Renderfarm: Any artists or artworks inspired you most?Deepak: Definitely there are lots of amazing artists with their mind-blowing artworks thathave inspired me a lot. Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?Deepak: Started my career as a High Detailed Automobile Modeler. After gaining sufficient knowledge, I went on to work with another big name. I was hired as a Team Leader in 3D Archviz Renderings and Walkthroughs for Indian Clients. With never-ending growth I was promoted from Team Leader to Senior Team Leader and then to Creative Group Head and now working as a 3D Production Head, I have expanded myself in areas of Architectural Visualization - Renderings, Walkthroughs, VR 360 Renderings, Storyboarding of Conceptual Walkthroughs, Experience Center Designing, Sales Hall Designing, Archviz Digital Matte Paintings, Application Interface Designing, Research & Development of new 3D plug-ins and software. Whenever I get some spare time I always push myself to create conceptual artistic renderings. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Deepak: Observation is the most important tool in our industry. Artists should observe all the minor details and always take inspiration from real photography. The core mantra is the more you practice and work in a detailed manner the more you will enhance your artwork. Fox Renderfarm: What do you think of the FGT3D Challenge, any suggestions for us?Deepak: FGT3D is doing an amazing job, creating a platform where all the artists try to explore themselves and showing their ability of creativeness to the world. Fox Renderfarm: Do you have any advice for future participants in the competition?Deepak: The talent and creativity of the Artist are more important than software, a real artist doesn’t need any specific software to prove his ability. If he has a good visual sense and visualization power he can bring amazing artwork in any 3D software. Be passionate about your work, in the end, you will finally achieve it.
How To Show Epic Futuristic Transport By C4D Artwork
Fox Renderfarm Interview
Recently, a 3D Challenge with the theme of Futuristic Transport attracted so many CG artists to participate. With climate change becoming more and more immediate, questions for the future of transport are increasingly urgent, and how will the future transport look like? CG artists give their answers through their artworks.Philip Hofmänner, a CG Artist & Filmmaker from Switzerland, won first place for his epic artwork, which was created by C4D, Corona Renderer and Photoshop.!01 Philip-Hofmanner wipFuturistic Transport © Philip Hofmänner He has been working on this picture in his free time alongside client projects, which took him around 20 hours. The work is marvellous and full of details, as Philip described, “The world is destroyed, but mankind has found a way to transport itself into the future with a portal. The idea is that nature could have recovered after a few million years. Will mankind take this second chance and do better this time?”As the sponsor and long-term partner of the competition, Fox Renderfarm is pleased to have an interview with Philip Hofmänner, who talked about how to create the work and shared his CG work experience.!Philip Hofmaenner - Philip Hofmänner- CG Artist & Filmmaker- From: Switzerland- Artsation: https://www.artstation.com/trixerWith the ambition of becoming an artist, Philip gave up his job as a carpenter in his mid-twenties and opted to attend the University of Art in Lucerne and completed his design bachelor in animation. His graduation short film Evermore had some success and was shown at countless festivals around the world and won the NIFFF award for best Swiss short film. Now he is a successful CG all-rounder, and he has founded a CGI company Trixer (trixer.ch) and worked for over 10 years mainly in advertising and architectural visualizations.Evermore - Winner Score © Philip Hofmänner Here’s the interview between Fox Renderfarm and Philip Hofmänner. Fox Renderfarm: Hi Philip! Congratulations on winning first place in the Futuristic Transport Challenge, how do you feel about it?Philip: Thanks! This is the first CG Challenge I've participated in and I'm happy and flattered that I won. Fox Renderfarm: Could you share with us your inspiration/references/mood board for the Futuristic Transport Challenge?Philip: I love dark science fiction movies such as Blade Runner and I think those influences are obvious. I also searched the internet for ideas and inspirations, but unfortunately, I can't present a mood board because I hadn't created one. !Blade Runner (1982 poster) Fox Renderfarm: The award-winning work is marvellous, could you introduce your CG pipeline?Philip: Thanks! I used Cinema 4D and Corona Render Engine for this picture. To be honest, I tend to be a lazy learner when it comes to complex CG software. That's why I've stuck with Cinema 4D and Corona Renderer for years despite the fact that there is arguably more powerful and complex software out there that go way deeper such as 3D Max, Blender or Maya. However, the simplicity of Cinema 4D and Corona Render has always appealed to me and are exactly the strengths of these programs in my opinion. Lately, I've also been using Octane sometimes when I want to render animations. Apart from a well-organized material and object library, I really don't use any third-party tools. My setup is pretty basic. I tried to approach the topic of the Futuristic Transport Challenge in a somewhat unconventional way. While thinking about it, I came up with the idea of this portal. I'll let you be the judge of how unconventional it has become. !First deisgn of the portalWhen I had the idea with the portal, it was triangular in my imagination. I started directly with the portal in 3D as the portal was the central element in the scene, without much sketching. After I had a rough model of the portal I first defined composition and then started to build everything else around it. !Philip-HofmannerLater I changed the shape of the portal to a ring and changed the camera to a central perspective because I wasn't really happy with the appearance of the image.Originally, I wanted to create a rather yellowish desert-like atmosphere. But since I wasn't really happy with the result, I changed the mood to an evening scene almost at the end of the process.I also added a lot of the atmosphere afterwards in Photoshop using the Z depth layer. Over the years I've learned that my renders don't have to look perfect and I can still get a good 30% out of them in the post, using render passes and light mixing. Fox Renderfarm: The future city is so dystopian, did you model from the scratch, could you share with us the process?Philip: Yes I modelled a lot of it from Scratch and I used some models I did in the past for a project that I never finished.Because the dystopian city in the background is not well visible, I have built the objects pretty rough and I didn't care much about topology or imperfections as you can see in this picture.!future city Fox Renderfarm: We were all impressed by the humongous details in the scene. How did you set the lighting and texture to make sure the harmonious colours and the right balance?Philip: Yes, that was probably one of the hardest parts to get the light and colors right. As I mentioned, I planned to make a yellowish desert atmosphere. But because it didn’t look that impressive, I changed the mood pretty much on the last day. The advantage of this decision is that now there is a stronger contrast between the world behind the portal and the rest of the environment. The base of the lighting was an HDRI image. But because it looked a bit boring with only the HDRI, I started to set accents with area lights around the scene. I think at the end there were about 20 additional invisible lights that I had placed. Also, I had to shield the light from the world inside the portal with a tube that only let light through the front of the portal. This created this interesting backlight and long shadows on the field with the crowd. Fox Renderfarm: In the compositing and rendering process, how did you set up to make sure the whole picture wouldn’t overwhelm the viewers? Philip: As I already mentioned I rendered a lot of light mix layers and balanced them in Photoshop. I also obscured the background a lot with dust, which greatly reduced the contrast. This, of course, helped a lot not to overwhelm the viewer's eyes. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Philip: The most difficult task with this image was to create enough detail without running out of memory. That's why I tried to work with as many render instances as possible. Many of the objects are copied countless times in the scene. And as mentioned in the previous answer, I struggled a bit to get an interesting light and atmosphere. Fox Renderfarm: You’ve got a contentful portfolio, what is your favorite commercial and personal artwork respectively?Philip: I am usually most enthusiastic about my latest work. At the moment I am working on some personal concepts inspired by the horror genre.!philip-hofmanner-masks7Subway Nightmare © Philip Hofmänner I do like my commercial work but I can't really pick a favorite.Our showreel gives a good overview of the work we did over the years (if you want to show something of Trixer)：At the end of the day, my heart is definitely with my own stuff.By the way, I always wanted to make concepts for films, which is rather difficult in Switzerland, because we don't produce many genre films, but rather classic European cinema that doesn't require that kind of concept I’m good in. That's why I ended up working for advertising industries and architectural visualizations. If by any chance, decision-makers from the film or game industry read this and like my stuff, I would be really happy about inquiries or proposals for collaborations! Fox Renderfarm: As we know, you have founded your CGI company Trixer for 10 years, could you briefly introduce Trixer? And does the pandemic have any impact on your work?Philip: We are a small CGI company from Zurich with 3 artists and we work as already mentioned mainly for the advertising industry and in the area of architectural visualizations. Yes, the pandemic has greatly reduced the volume of work.Fortunately, the Swiss government helps small companies like ours financially not to go into bankruptcy. It’s slowly getting better in the last few days but our business is still barely surviving. I hope that the economic situation will get better fast. I can only imagine what it is like for small businesses in countries where the government does not or can not provide financial relief. The only good thing about the situation is that for a long time I finally have some space to work on my own projects. It gave me some breathing space to reflect on my life and my career. As I mentioned, I'm thinking about whether I should possibly pursue a career in concept art for films after all. I’m also trying to get enough online followers to eventually find an income with my personal artwork. Unfortunately, I have neglected my social media presence completely ever since it became a thing, which is why I now also participate in such challenges.!Forest trixer!The Circle exterior Bushof rendering 1© Trixer Fox Renderfarm: As a successful CG artist and entrepreneur, what do you think are the most important factors in making a successful commercial artwork? Any unforgettable stories for you?Philip: If you want to do work for clients, the most important thing is to understand the clients and what they want. You have to learn to communicate properly.Also, as an artist, you have to learn to put your needs for artistic expression a little aside sometimes, because clients often have their own ideas. This can be a bit frustrating at times. A good way to compensate for this is to never stop working on your own projects from time to time.A pretty crazy story occurred right after I had graduated from Art school (Animation) when we accepted a job that was way too big for us back then. It was an animation with pseudo-realistic CGI animals for a commercial with a budget of $80,000 (not a lot for a commercial but way bigger than anything we had done so far). We were also supposed to finish the entire thing within 2 weeks. Looking back it was absolutely insane to take the job. We had to fly in a fur specialist from LA who had worked on several Disney movies because no one of us had the required expertise in fur back then and we couldn’t find anyone in Switzerland who could do it. I remember when he came into our tiny studio for the first time, where we had like 4 workstations with crappy monitors. He looked so confused and asked where our render farm and the other artists were and if he could speak to our TD. When we said we didn't have a farm and there was only us (3 freshly graduated guys from art school), he turned pale. I only vaguely remember the 2 weeks that followed. I remember that we bought a small farm of 10 gaming computers with expensive RenderMan licenses only to switch to Mental Ray at the last moment because there was an export problem of the fur from Maya. And I remember that we had to outsource the animation of the animals because there was no way we could do all the work in time. We burned through that 80’000 within days and had almost no profit in the end. No idea how, but somehow we managed to finish the damn thing. So if you are ever in this situation at the beginning of your career to get a big job offer, better to think twice if you are able to do it. Fox Renderfarm: Are there any new projects or new plans for you or your company recently? Philip: I’m shooting a sci-fi indie short film this summer called “Flechtwerk”. The film will be a gritty relationship drama and a metaphor for how advancing digital communication is changing humanity.Anyone who is interested in the project can follow me on Instagram where I will soon share more details about the project. We will also start a crowdfunding campaign in the next few weeks on Indiegogo. Fox Renderfarm: How do you improve your CG professional skills in your spare time? Could you give some learning advice to CG learners?Philip: I see many aspiring CG artists doing tests and small exercises all the time and never starting a real project that they are planning to share. Personally, I've found that I learned the most when I was working on bigger projects right away. The more I’ve been struggling, the more I have usually learned. I've also noticed that I try harder when I’m planning to publish the work too. Such CG challenges for example are therefore a good opportunity to push yourself!And finish what you start. I'm guilty of that sin as well of not finishing projects. But no matter how great or bad your artwork gets, try to finish most of it as good as possible (in a reasonable time frame). And set yourself Deadlines and goals. I personally realized that I learn the most when I have to struggle through the last 10% of a project (which is usually the most difficult part) and that I often find creative solutions when I'm facing deadline pressure. What I've also noticed is that many CG artists tend to be over-perfectionist. Try to invest a lot of effort where it really matters. One last important tip is, you shouldn't just do CGI in my opinion. In photography and cinematography or also in drawing and painting, you can learn a lot about composition and lighting. Or if you want to become a great animator also do body-oriented hobbies like dancing or martial arts or take an acting class. Also, look at the real world from time to time and study how things actually look or how they actually move. Fox Renderfarm: Have you used or heard of Fox Renderfarm before? If yes, how do you feel about it?Philip: I heard about it but I haven't used Fox Renderfarm yet. I have been using one of your competitors for years because it was used by a film studio I once worked at and ever since I stuck with it. But I am really excited to try your services with the render credits I have won. I have noticed that you offer a better price than the one I usually used. I could very well see myself switching to Fox Renderfarm if it turns out to work in my pipeline. Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Philip: Thanks again for this interview and the great prize. And to my fellow artists, keep up the inspiring work I see every day out there. Feel free to contact me if you want to connect or if you have proposals for collaborations!!philip-hofmanner-terminus5Terminus © Philip Hofmänner !philip-hofmanner-princess-of-skies-in-new-babylonPrincess of the skies in the port of New Babylon © Philip Hofmänner
How To Create Robot Pet In Blender: Introducing 2nd Place of Robot Pet Challenge
Fox Renderfarm Interview
Robots are normal in our daily lives, but how does it look like when robots become pets? In the Robot Pet 3D Challenge, artists created various robot pets through CG arts. Fox Renderfarm is honoured to have an interview with the 2nd place winner, Jazib Daud, a 3D artist and concept designer from Pakistan. THE LAST OF ITS KIND © Jazib Daud “After a catastrophic event on the planet, Martha lost the Dragon. Now finally the gloomy era came to an end and both of them reunite…hugging and watching the sunshine once again.” This is how he described his work. Created using Blender, ZBrush, 3D Coat and Photoshop, the award-winning artwork perfectly presents a sci-fi story, full of imagination and creativity.As a 2D and 3D artist, Jazib is good at modelling, sculpting, texturing and 2D concept design for characters, environments, games and cinematics. Here's the interview between Fox Renderfarm and Jazib Daud, in which you will know how he created the amazing artwork. Fox Renderfarm: Hi Jazib! Thank you for accepting our interview. Could you have a brief introduction about yourself?Jazib: I am Jazib and I am 19 years old, I am a CG Enthusiast and Concept Designer. I am studying Interior design. And a Sci-Fi fan.!jazib-dawood-jazib-daud-finalThe Futuristic Vehicle © Jazib Daud Fox Renderfarm: Congratulations on winning second place in the Robot Pet Challenge, how do you feel about it?Jazib: I feel really great about it because it was my favourite challenge and It was also a win.Robot pet instantly caught my attention because it was sci-fi themed. Second, it's about animals. As I am also an animal lover so creating something sci-fi and the cute animal was giving me a feeling that it will be so much fun. I am also super interested in robotics. So there was nothing holding me back. Fox Renderfarm: Did you make the model of the girl and the pet from scratch? Could you share with us the modelling process?Jazib: Girl model was made some time ago...I adjusted it to nicely fit the scenario. The robot pet model was made from scratch.!RefSceneReferences!1Progress 720!2Progress 720 SecondView!Down2!3Progress 720 Robo Fox Renderfarm: How long did it take to finish the work? Did you meet any difficulties when creating this work? And how did you solve it?Jazib: It took about 7 days because I was having exams and had to manage my time.The biggest difficulty was Time.I solved it by being consistent and keeping things simple. Fox Renderfarm: What’s the main gain from this challenge?Jazib: Main gain was that I learned scene optimization, making everything good for camera. Advancing my skills in scene optimization was the main gain. Fox Renderfarm: How do you improve your CG professional skills? Could you give some learning advice to CG learners?Jazib: I actually learned by roaming the internet for new stuff, watching tutorials. Gaining experience by actually implementing and experimenting with things I learned. Just being consistent is the key....Keep learning because there is a lot to learn.I think your internet is a really helpful tool for learning. So use it. Fox Renderfarm: Any artists or artworks inspired you most?Jazib: Yes 2 artworks inspired me for this challenge.Andrew Domachowski - A girl and her pet!Curiosita-sul-dipinto-Dama-con-l-ermellino-big-37-971Leonardo da Vinci - Lady with an Ermin Fox Renderfarm: Have you used or heard of Fox Renderfarm before? If yes, how do you feel about it?Jazib: I have heard a lot about Fox Renderfarm and I heard a lot of good stuff. I have seen so many amazing renders that artists and designers have accomplished with Fox. It makes me wanna try it and I definitely know that Fox is going to be one of the main tools in my CG arsenal. Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Jazib: Few productivity tools, like PureRef, are amazing for managing reference images on your screen.And Lightshot for fast Screen Capture.Bandicam for Screen record.Competitions are super important!**Participating in competitions like CGboost really helps to improve skills, CGboost has amazing beginner-friendly challenges. I would highly recommend any aspiring CG artists to participate there.!jazib-dawood-award-winning-cgtrader-tyriskraft-portfolio-img-01The Mask © Jazib Daud
The Journey of Creativity Exploration with Houdini: Introducing Houdini FX TD, Ben Watts
Fox Renderfarm Interview
At the end of June 2021, the world-famous game League of Legends: Wild Rift posted its flagship campaign Ruination: The End Begins on multiple social media platforms. The foggy dark night scenes with flashing thunder have drawn tons of views and discussions online.Ruination: The End Begins | VR 180 Video - League of Legends: Wild Rift Client: Riot Games- Design, Production & Post : New Holland Creative- Director: Brendan Savage- Executive Producer: Mark Millar- Producer: Martina Joison- Concept Design: Simon Cowell- Animation Lead: Chris Breeze- FX Leads : Ben Watts & Bronic Bednarek**Additional 3D: Raymond Leung- Colourist: Clement Bouchet- Sound Design: Massive MusicFox Renderfarm, as the best cloud rendering service provider in the world, is so honored to have provided cloud rendering services to Ruination: The End Begins. We really appreciate the team’s trust and support.Some of you may have already guessed that the fog and the well-made lighting design help establish the atmosphere for the whole short video. They were made by the excellent Houdini FX TD - Ben Watts. He accepted our interview and shared with us his creative process and his Houdini creation journey.Ben Watts- Freelance Houdini FX TD- From: AustraliaBen now works as a freelance Houdini FX Technical Director who specializes in creating all kinds of simulation and procedural FX - including fire, smoke, destruction, fluids, particles, etc. He also has experience in lighting, rendering, and compositing.Projects Ben involved in Mercedes Benz - Stronger Than Time Nike Presto Mid Utility Paramount Animation Logo AHS Apocalypse Teaser When talking about Houdini, most people comment that it’s very hard to learn and progress. Actually, Ben encountered Houdini for the first time in 2015. With years of trials and explorations, he became an excellent Houdini FX TD that he was invited by Hounidi to do presentations in SIGGRAPH 2018. More than that, he has been interviewed by several organizations.!Ben in SIGGRAPH 2018Ben in SIGGRAPH 2018 !Ben interviewe(Up: Ben interviewed by Murray Mallee LLEN, 2020; down: Ben interviewed by The Node, 2019) Let’s explore Ben’s Houdini journey together while appreciating his artworks.Fox Renderfarm: Hi Ben, thank you so much for accepting our interview! Could you briefly introduce yourself?Ben: I’ve been a freelance FX Artist and Technical Director for around 6 years working exclusively in Houdini.Fox Renderfarm: The video Ruination: The End Begins is so stunning, especially the amazing atmosphere with the smoke and lighting. Which part are you responsible for in this project?Ben: The project was a collaboration between the team at New Holland Creative and myself as FX lead / TD. Bronic Bednarek worked with me as the Senior Houdini FX artist. Together we handled all the FX, lighting and rendering. New Holland completed the compositing.!Ruination The End Begins!Ruination The End BeginsFox Renderfarm: Could you elaborate on your creative process in Houdini, from the concept in mind to the final rendering?Ben: Many times I’m only provided with rough boards but in this case we were supplied beautiful concept art from New Holland Creative. This made the process much more enjoyable and set the bar very high early on. From there we went straight into Houdini and began the FX build with motion in mind from day one.!Ruination The End Begins!Ruination The End BeginsFox Renderfarm: In the creative process of this project, how did you communicate and cooperate with other artists to realize your ideas and deliver on time?Ben: I did regular check-ins with the studio and Bronic to make sure things were on track. Other than the producer, the only other person I’d liaise with was New Holland’s lead animator Chris.!Ruination The End Begins!Ruination The End BeginsFox Renderfarm: How long did it take to finish the project? In this process, did you meet any difficulties? And how did you solve them?Ben: We spent 9 weeks from beginning FX RnD through to final renders. The most difficult thing is solving how to render that much volumetric data. The caches were massive, so we had to be smart about asset usage and resolution. I leveraged Redshift’s instancing to manage volume propagation throughout the scenes.!Ruination The End Begins!Ruination The End Begins!Ruination The End BeginsFox Renderfarm: You are very experienced in making FX in Houdini such as fire, smoke, destruction, fluids, particles, etc. What are your secrets of making the FX powerful and appealing while believable?Ben: For me, it’s always been about spending time studying reference material and trying to finesse things as much as time permits. Adding detail is such an important step in FX work, not only in regard to the look of something but also the motion/animation.!Paramount Animation LOGO © Ben WattsParamount Animation LOGO © Ben Watts Fox Renderfarm: Could you share with us how you encountered CG. Why did you choose to specialize in Houdini and made all your creative journey in Houdini till now?Ben: I started to move into 3D after finding myself bored just doing regular 2D motion design work, from there it was a small journey through a couple of other 3D packages before I found Houdini around early 2015. Houdini is very open and allows you to fully explore your creativity, I never felt free like that using other 3D apps.Fox Renderfarm: As a brilliant Houdini artist who has participated in multiple successful cases, which one of them is your favorite? And why?Ben: That’s easy... My short film ‘Obsidian’ mainly because there was no pressure, and no brief. Just a fun time exploring ideas and bringing them to life in 3D. Other than that, I’ve been very fortunate to work on many other cool jobsObsidian © Ben Watts Obsidian - Process © Ben Watts !Obsidian - Process © Ben Watts!Obsidian - Process © Ben WattsFox Renderfarm: In your opinion, what are the keys to be an outstanding Houdini artist? And how do you enhance your techniques and sense of art constantly?Ben: I feel like you have to be very passionate about art in order to be at your best. That’s not always easy when you’re being asked to create horrible work, or you’ve been told to implement things you know will look bad. Taking time out for personal exploration, such as a short or even just some RnD is very important and can help inspire you to push your skills to the next level.!RnD Examples © Ben Watts!RnD Examples © Ben Watts!RnD Examples © Ben Watts!RnD Examples © Ben Watts!RnD Examples © Ben Watts!RnD Examples © Ben WattsRnD Examples © Ben Watts Fox Renderfarm: Many people would say Houdini is kind of hard for beginners, so do you have any advice on learning Houdini efficiently and effectively?Ben: Houdini can feel difficult to grasp but the key is to take things slow. If you try to rush, you’ll end up very frustrated. If Houdini is what really intrigues you, keep at it and things will come together over time.Fox Renderfarm: The video RUINATION is also shown in the form of 180 VR. What possibility do you think the advanced technology such as AR, VR will bring to motion design? And do you have any plans to try some new things in the near future?Ben: AR/VR is not really something I’m interested in, maybe things will change in the future.Fox Renderfarm: What’s your next step?Ben: I’ll continue to refine my skills as a digital artist, maybe even get into directing a bit more. I’d love to do another short film soon.!Human Aid © Ben WattsHuman Aid © Ben Watts Fox Renderfarm: Any artwork or artist that inspires you the most?Ben: I love detailed abstract art, whenever I get the chance, I parooz social media in the search for something different. I’m usually drawn to artwork with dramatic lighting and a dark atmosphere. Fox Renderfarm: How do you feel about Fox Renderfarm’s cloud rendering services?Ben: Fox Renderfarm has been great. I’ve used them for a couple of heavy jobs and the service has always been excellent.
How to Achieve the Fine-balanced Composition in ArchViz: Introducing CG Generalist, Ramees Muhammed
!WITHOUT BORDERSIn early June 2021, Hum3D just ended their Without Borders 3D Visualization Challenge with the winners announced! Hum3D, as a devoted 3D models provider who has helped 3D artists from more than 80 countries to save time on 3D modeling, initiated the challenge to remind us not to set borders and restrictions to our imagination, and travel without borders by creating 3D renderings in this special period of time.!Hum3DFox Renderfarm, as the best render farm which spares no efforts spurring creation and realizing imagination, sponsored the challenge. More than that, we are really thrilled to have the chance to talk to the 1st place winner -- Ramees Muhammed. !Ramees MuhammedRamees Muhammed- CG Generalist / Forensic 3D Animation Specialist - From: India- ArtStation: https://www.artstation.com/savannahr His render, Aspire Tower (Doha, Qatar), stands out among all the excellent artworks with its fine-balanced composition and brilliant lighting. Let’s have a look at what he and the jury say about the artwork, and don’t miss out our contentful interview!!Aspire Tower - Ramees Muhammed Author’s description:“I am very excited to take part in this interesting challenge. It's a fascinating topic to root on, especially when the world is dealing with the pandemic and not everyone can travel and see around the world.I decided to enter the competition and take this as an opportunity to create this beautiful tower in Qatar - The Aspire Tower. It is also called the Torch Doha or the Sports Tower. It is a 300-meter tall skyscraper designed by architect Hadi Simaan. It was a landmark of the 2006 Asian Games held in Doha.The place is known as the Sports City of Qatar as it holds various games and the stadium behind the tower is one of the stadiums which will host the 2022 FIFA World Cup.I wanted to reimagine the way the tower will look in a dramatic manner, and intensify its beauty. The tower is a metal structure on the outer layer composed of light layers that often produces advertisements and announcements.” Comments from the Jury:Yurii Lebediev: “Symmetrical composition is boring in most cases (for me personally). But the Moon and all other elements that break this symmetry make this render special. I love the night lighting and the position of clouds in the background too”.Martin Krasemann: “Lots of work on this one, creating a nice night scene is a complex task and the tower is really well lightened. Composition works also very well. The reflection on the water looks nice also”.Alessandro Maniscalco: “Great architectural rendering with amazing modelled and detailed structure. I was shocked about the environment's crispy details. Great night atmosphere”.Agnieszka Klich: “Realistic image, nice composition, interesting lighting setup! A great way of using the contrast between cold and warm lights to balance composition and focus interest on the main subject of the image – the tower”.Fox Renderfarm: “Excellent rendering and mood-setting, especially with the moon so full and bright! Nice work!”.Calvin Bacon: “The lighting, composition, and mood that this render portrays are fantastic. The incredibly high level of detail and realism make this my top pick”.Jonathan Holmes: “Eye-catching design with beautiful lighting and a very melancholy atmosphere. Loving it!”.Jacob Norris: “Fantastic mood and the minimal use of colors really helps to highlight the shapes of this beautiful architecture”.Emanuele Serra: “This work attracted my attention, simple in its composition, but very interesting in the use of night lights, expressing the intense strength of the structure. I like how the colors and contrasts of the composition have been balanced”.Paul Roberts: “The main building is very well modelled with an atmospheric mood and detailed context. The composition is strong with the form defined by using a predominantly dark building defined against the lighter sky. Modelling is to a good standard with a good amount of information communicated in the surrounding site without it distracting from the main focus”.Nicolas Wirrmann: “I particularly liked the mood, the lighting work and subtle post processing. The result is an elegant photorealistic render. (The moon might be a bit too much though 😉)”. Interview with Ramees MuhammedFox Renderfarm: Hi Ramees! Thank you for accepting our interview. Could you have a brief introduction about yourself?Ramees: Hi, you’re welcome and thank you for this opportunity to discuss.I am a CGI Generalist from India and living now in Qatar. I have been in the industry for the last 10 years. I now work as a Forensic 3D animation specialist.Fox Renderfarm: Congratulations for winning first place in the Without borders Challenge, how do you feel about it?Ramees: Thank you! Well, it feels great. It was special and exciting. The challenge itself was an exciting thing to take part in. Winning it gave me confidence and I look forward to doing more. Also I’d like to thank Hum3D for the opportunity and the entire Jury for selecting my work.Fox Renderfarm: Why did you choose Aspire Tower as the main building of your project?Ramees: Having lived in Qatar for more than 9 years, the Aspire Tower and the park has always been my favourite area to visit. It’s a beautiful structure and it’s the tallest one inthis tiny country.It’s seen from anywhere in the city of Doha due to its height and it’s beautifully lit during the night. I always wanted to do something with that in 3D, yet never got an opportunity. Then came the Hum3D Challenge.!Reference image - Aspire Tower - Ramees MuhammedReference imageFox Renderfarm: The Aspire Tower you created is so amazing and realistic, could you share with us the modeling process?Ramees: The modeling was a straightforward process. I modeled it from scratch. I used the available elevation drawings from the internet and used modeling tools in 3ds Maxlike Lathe, Edit Poly and Spline Surfaces. No plugins were used for modeling.The process includes:- Lathe based on the outer shell profile.- Edited polygon and created sub shell structures (Iron stripes that run from the base to the top) using edge to spline option.- Some additional polygon modeling for added details like welds, canopy etc.- Floors are done using Lathe and Shell.- There are a lot of wire mesh layers made out of edge to spline option, they run all through out of the structure for added detail, especially since they look better when lights cut through them.- Curvy structures like the pool extension are done using spline to surface modifier.!Clay -Aspire Tower - Ramees Muhammed!Clay -Aspire Tower - Ramees Muhammed!Clay -Aspire Tower - Ramees Muhammed!Clay -Aspire Tower - Ramees Muhammed!Clay -Aspire Tower - Ramees MuhammedFox Renderfarm: The night lighting makes the scene really fantastic. Could you introduce your lighting work?Ramees: I used an HDRI as the base lighting. This was overlaid with some color correction in order to get the desired color profile. Once this was achieved, I started lighting the scene elements.For the building, I placed little sphere lights that runs throughout the spline cage (as used in the real building). For the interiors, I simply used Corona light material with some opacity maps to simulate the internal lighting. I used a backlighting technique for the roof torch, which projects from the floor to the torch.For the ground level, I lit the floors using a large Corona sphere light that bursts out in a high intensity.I used similar technique for the the nearby buildings, placing lights on the visible areasand used image lights for the inside. These are accompanied with added bloom and glare.I scattered some tiny lights on the ground - these were distributed across the landscape with multiple colors to simulate the traffic movements as well as objects.!Night view - Aspire Tower - Ramees MuhammedNight viewFox Renderfarm: We are all impressed by the excellent rendering and mood-setting, how did you set the rendering?Ramees: I believe the key part of setting the right mood was achieving the right texture of sky.I used the color corrected HDRI with a backplate multiplied on top of it.The rendering part was straightforward. I used an LUT overlay and some color correction inside the frame buffer. The lights were rendered out as separate passes in order to get more control during the post production.Post Production - The moon was added in here and placed somewhere below the roof level to give emphasis on the tower height.The color correction was the tricky part as it wasn't easy to determine what's best. I produced outputs in two color tones, though I submitted only one for the challenge.The process included several levels of color balancing, playing with hues on individual items, toning, saturating and adjusting levels.!Aspire Tower - Ramees MuhammedFox Renderfarm: How long did it take to finish the work? Did you meet any difficulties when creating this work? And how did you solve it?Ramees: The overall process took around a week and this was done during my time off the work desk.The key challenge, like in any project is setting the scene and etermining the overall look. This process took the most time as the it was the backbone and the rest of the process was okay. I spent some time on the modeling too.The tower in reality has a slightly different color tone which is not really my favourite.I always tried to reimagine the scene and thought of how it can be presented. I wanted to make the scene a bit more dramatic. This was achieved after spending some time with a lot of trial and errors.!Early render draft - Aspire Tower - Ramees MuhammedEarly render draftAdding the moon was a choice I had to make - yes, a slightly larger one that glows in the dark.Fox Renderfarm: Could you briefly share with us your education and work experience along your CG journey?Ramees: I studied Bachelor of Science in Visual Communication and an advanced diploma in Multimedia from my hometown in India.In my 10+ years of career, I’ve spent my most time working for a company which is somewhat unique in terms of production. I am the head of a team that produces Forensic technical animations that are used for Civil arbitrations and Construction tenders etc. I have worked with some of the world renowned engineers and agencies during my stint here (Could not disclose any names due to the nature of my job which are confidential).This includes some of the major airports in the middle east, Oil and Gas and Marine related projects.Aside from that, I do concept designs in my own time - which includes aircraft (Sting R12, EVA X01), some architectures and hobby renderings. (savannahr.artstation.com)!Starways Arena © Ramees MuhammedStarways Arena © Ramees MuhammedFox Renderfarm: How do you improve your CG professional skills? Could you give some learning advice to CG learners?Ramees: As an artist who hasn’t been working in the ArchViz industry for a very long time, the challenge was one of my attempts to get back in the scene.For me who has been doing non photorealistic illustrations and animations, it was a challenge to learn the theory and the psychology. It’s more important than learning the toolset. I believe it’s all about observing the world around us. It’s how we tell the story throughour renders which matters.Learning new software and toolsets as well keeping ourselves updated with the latest technology is equally important. I used to watch the tutorials available on the internet over and over. Even if we know how to use them, there will be always something as a takeaway from every one of those - the way everyone uses every tool is different.Knowing these little tricks and shortcuts are always important, they make our lives easier and our jobs effective.!One fine evening in Venice © Ramees MuhammedOne fine evening in Venice © Ramees MuhammedFox Renderfarm: Any artists or artworks inspired you most?Ramees: Oh there are manay.I used to watch videos from Agnieszka Klich. Her presentation on how to approach every project is always fascinating.!Agnieszka KlichAgnieszka KlichMarek Denko is another inspiring artist, whose renderings tell stories.!Marek Denko© Marek DenkoI love the works of Bartosz Domiczek and Artur Tamiola from Common Point.Their works breath the liveliness. !Bartosz Domiczek© Bartosz Domiczek!Artur Tamiola© Artur TamiolaThe work from Pedro Fernandes (Arqui9) is amazing and it’s crazy how they use the post production on an extreme level.!Pedro Fernandes© Pedro FernandesFox Renderfarm: Have you used or heard of Fox Renderfarm before? If yes, how do you feel about it?Ramees: Yeah and we have used Fox Renderfarm’s services quite a few times in the past.Fox Renderfarm is all for rendering some animations and the approach was quick. The turnaround was fast and we liked it. (Saved us on an important deadline event).Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Ramees: Our industry is a colorful world. We have all the luxury to play with the stuff we love unlike other professionals. We get to do creative things and get paid for that. I don’t think anyone else has that privilege. The flip side is that it’s hard to keep the momentum going. It’s always a creative competition and only those who are willing to go out of the box would survive.And it’s not a hard thing to do. You can do whatever you want when you’re full of ideas.
Winners Announced - FGT3D Hunter Challenge
From June 8th to August 15th, 2021 (UTC+8), we received several creative 3D artworks from various countries. After the selection by our jury, 3 Professional artworks and 3 Student artworks were picked and would be awarded the prizes provided by our amazing sponsors. Congrats to the winners, but also thanks to everyone who was taking part. PROFESSIONAL CATEGORY 1st Place!Elf Hunter - Hideyuki Ashizowa- TITLE: Elf Hunter- Created by Hideyuki AshizawaWhat Hideyuki saysThe strongest elf hunter.What our jury saysBen Cheung: Will I simply cannot take my eyes off the details of this design, the patterns, the textures, the Giger feel is everywhere in the details. The chrome accents look very real though the other parts looked a bit less real. Nevertheless it's a well-designed and executed piece.Frank WANG Yefeng：This image stands out. The level of the character design and rendering materiality is fantastic. The dark theme successfully blends a sense of danger and charm - or I would rather say, the danger becomes the charm. Besides the character, which occupies most of the composition, I am also impressed by the pattern in the background. The seemingly discursive design of the pattern makes one think that the creator is paying tribute to the style of the movie Prometheus. Most importantly, the sophistication of the image does not just stay on the surface. The complexity and richness of the image also make the viewers want to explore something more profound, which is the character’s spirituality and ontology. The world the character lives in is not something that can be comprehended and processed with our banal human mind.Corona Renderer Team： So much to love in this image - the metals and materials are so nice, particularly being so dark rather than clean and shiny; and it reminds me of an H.R. Giger image with the detail, the face covering, and how background and character seem to blend together. 2nd Place!Return from Hunting - Floriane Tiam- TITLE: Return from Hunting- Created by Floriane TiamWhat Floriane saysWerewolf hunter comes home with his catch.What our jury saysMiho Aoki： I'm very impressed by the quality of the images submitted to this competition, and many of them have great lighting and atmosphere. However, this image caught my eyes because of the depth in this scene, mysterious feeling and use of water, like the mud splashes and the mist. It looks like a scene from a story. The lighting and low camera angle make the hunter and the monster stand out against the background.Kariem Saleh： Very cinematic composition and lighting choices. The reduced color scheme makes for a great and haunting atmosphere. Pretty cool creature sculptures as well. Awesome work! 3rd Place!Guide Many - ManWai Chuk- TITLE: Guide Many- Created by ManWai ChukWhat ManWai saysGuide Man is a ghost hunter and leads the dead to the path of judgment.What our jury saysBen Cheung： his image gives me the creeps, no one would want to be hunted by this hunter, high details on the textures, lighting and rendering is matching the creepy character, even though the rendering is designed to be a GK figure, but still the scary character and the lighting key gives one hideous feeling.Corona Renderer Team： The unusual design of this character caught my eye, as did the depth of field effect, and the presentation of the character as if they were a miniature model from a table top game. STUDENT CATEGORY 1st Place!Hunter Game ready - YanniCk Knoller- Title: Hunter Game ready- Created by YanniCk KnöllerWhat YanniCk says3D Model: YanniCk Knöller Concept Art: Wenxu xuWhat our jury saysKariem Saleh： Great and very inspired shape ideas. Also very eye popping detail on the cloth design. You surely shouldn't mess with this guy.Miho Aoki： The rendering of the various materials is very well done. I especially like how fabrics, like the thin pink one on the broken stuffed animal, the character's jacket and the large patch on the arm, look. Also, the dark humor with the giant blade and the stuffed animal game is well done.Corona Renderer Team： So much personality in this image, with the pose and the huge oversized sword - and all that is then rounded out nicely with the unexpected humor of the hunter's prey being a cloth toy bunny! Unique :) 2nd Place!THE GREEN HUNTER - Umral Ismayilov- Title: THE GREEN HUNTER- Created by Umral IsmayilovWhat Umral saysNaughty and playful character, ready to hunt its first prey!What our jury saysBen Cheung： Among the 3 top contenders, the green hunter from umral ismayilov has the best rendering and lighting quality, I really almost cannot tell if it's a life model or CGI image. The attention to the details are par non in the student group, the scar on the mouth, the mean eyes, the falling paint on the spikes, the SSS on the wing. I think we can add a bit more SSS on the plastic-looking skin so that it looks a bit translucent and will increase the visual effects.Frank WANG Yefeng： This work has excellent character design and lighting skills. Its abundant details help to enhance the rich personalities of the protagonist. This work can be easily recognized as a professional-level rendering piece! I hope the creator will keep going and make a series of these naughty and playful characters! Imagine what kind of magical world one can build with these characters!Corona Renderer Team： This image was a favorite of mine, due to the combination of an almost-cartoony look to the character, yet with beautifully realistic lighting, lots of detail on the character, and a photorealistic environment they are set in. I also like how there's a real sense of mass and weight to the character! 3rd Place!The Hunter - Antoine Destailleurs- Title: The Hunter- Created by Antoine DestailleursWhat Antoine saysThe hunter is one of our characters in SWIFT, my graduation project. He's the most aggressive role and will do anything to kill his enemies. His mechanical body is infused with cosmic energy allowing him to boost his speed, his rage and his movements making him the perfect hunter.What our jury saysBen Cheung： One of the best student works, believable lighting, mood setting, attention to details, even the No parking sign are rendered nicely, though the background forest looked a bit flat, otherwise excellent work.Miho Aoki： The use of colors and the contrast between the flexible fabric and metal parts are very effective. The character looks to have powerful arms and legs while being very lightweight. The design makes me believe that the character must be able to move extremely fast and jump high. It makes sense the character's name is Swift.Corona Renderer Team： I could definitely see this being a character in a triple-A game. Great design and detail to the armor and clothing, and then what sets it apart for me is on top of this human-like body we have the surprise of their head seemingly being made from magical green fire!For more info https://www.foxrenderfarm.com/fgt3d-hunter-challenge.htmlFinalistsHope to see you soon in our next FGT3D Challenge! Stay tuned and join our discord server to keep updated!
Create without Borders: How John Yim Recreated the Dolmabahce Palace in C4D with His Unique Style
!WITHOUT BORDERSRecently, Hum3D just ended their Without Borders 3D Visualization Challenge with the winners announced! Hum3D, as a devoted 3D models provider who has helped 3D artists from more than 80 countries to save time on 3D modeling, initiated the challenge to remind us not to set borders and restrictions to our imagination, and travel without borders by creating 3D renderings in this special period of time.!Hum3DFox Renderfarm, as the world’s leading render farm, spares no efforts spurring creation and realizing imagination. As the challenge’s sponsor, we are happy to find that our beloved old friend John Yim has won third place in the amazing challenge.John Yim- Architect, Spink Property- From: London, England- Personal website: https://johnyim.com/ John recreated the Dolmabahce Palace with Cinema 4D, Redshift, Rhino, Speedtree and ZBrush. Its sophisticated composition, well-made models and John’s unique lighting style earned him praises and compliments from the jury.!Ottoman Legacy - Dolmabahce PalaceComments from the Jury:Yurii Lebediev: “I adore pictures with soul. And this is the case. Not just hyper-realistic render but great attention to the mood and vibe of the moment”.Martin Krasemann: “Love the poetic atmosphere that is getting out of this image”.Alessandro Maniscalco: “We love the happiness and colors of this picture. The beautiful atmosphere is everywhere and the compositing is very good. Great compositing and environment objects…”.Agnieszka Klich: “The image of the palace drew my attention instantly. It tells a story about the place – thanks to this the author added extra value to the visualization. The building not only has a monumental look but the composition of the image also gives an impression of some mystery behind it (by giving us – the viewers – the possibility to be unseen observers) which we are willing to uncover. The soft color palette gives the place the ‘inviting to visit’ look. Great framing, nice color balance, and story included… all the aspects that make the image successful”.Fabio Allamandri: “This image is a little bit over exposed for my tastes but I like the easter feeling very much. Lots of details! Very good job!”.Maciej Ptaszynski: “Great mood and very nice composition. Beautiful render!”Jacob Norris: “Fantastic work on the architecture and atmosphere in this piece. The flower petals floating in the air and the strong glow from the lighting help to make the artwork feel magical”.Emanuele Serra: “This work immediately caught my eye, I did not know Dolmabahce Palace, but as soon as you look at this work, you can feel the history and magic of that place. I like how the author reinterprets that place, using a very poetic light, increasing this feeling even more by using petals that rest on the water, while a sailing ship plows the sea towards the palace”.Arseniy Korablev: “Festive and solemn artwork. And besides, beautiful and very detailed!”Nicolas Wirrmann: “The amount of modelling work is impressive”.Stephanie Schenck: “This render is more like a painting, effectively capturing the feel of visiting the space, with all of the dreams, immersion, swept-away-ness of the scene”.Ralph Huchtemann: “This one has a very special composition with the boat at the bottom and the tree branches coming from above, which give the palace a frame. Another special thing about this one are all the falling leaves. Very unique composition”.!Ottoman Legacy - Dolmabahce PalaceJohn was so kind that he accepted our interview again. He not only shared his inspiration for the art creation also elaborated on how he modeled the palace in Rhino, how he created the surroundings and his symbolic lighting, and so forth. Please check out our interview and enjoy your journey to the Dolmabahce Palace with John. Fox Renderfarm: Hi John! Thank you for accepting our interview again. Congratulations on winning third place in the Without Borders Challenge, how do you feel about it?John: Thank you very much for having me again, I feel really honored to win third place in the Without Borders Challenge! Fox Renderfarm: Speaking of the theme of the challenge, why did you choose Dolmabahce Palace as your inspiration?John: I started the project “Ottoman Legacy: Dolmabahce Palace” as a challenge to myself - to recreate the most ostentatious and most ornamental facade within the timescale of the “Without Borders” Challenge.Dolmabahce Palace is one of my personal architectural favorites and undoubtedly one of the most vivid legacies of the Ottoman history, but the existing palace as it stands now has aged over time, and its extravagance undoubtedly carries a stigma. As such my concept was to portray the palace in a photorealistic yet poetic manner, with a monumental yet welcoming atmosphere. Fox Renderfarm: The Dolmabahce Palace you created is very detailed, could you share with us the modeling process?John: I initially searched and downloaded as many architectural drawings and photos as I possibly could online, placed them all within a PUREREF canvas, and referenced them at all times while modeling. I also researched for historical drawings of the palace, which gave me the idea of adding in Ottoman trade ships and the array of water-front trees - both of which no longer exist.!OttomanI used primarily Rhino and ZBrush to plan and model the main Palace building.I first blocked out the main shape of the building in Rhino referencing architectural plans and elevation drawings. This dictated the primary scale and the proportion of the building in relation to its openings, front-gate and surroundings.Recreating the facade ornaments looked like an overwhelming task at first, but they were in fact largely derived from a handful of ornamental modular elements sculpted and retopo-ed in ZBrush. These modular elements were then imported into Rhino to be further developed (cloned in grids or arrays etc.) until they resembled ornaments of the existing palace.!Ottoman Legacy - Dolmabahce Palace - ZBrushI ultimately created 5 unique ornamented facades in Rhino, which were then exported into Cinema4D, proxied and instanced based on the main shape of the building that I originally blocked out.!Ottoman Legacy - Dolmabahce Palace-c4d!Ottoman Legacy - Dolmabahce Palace-c4d!Ottoman Legacy - Dolmabahce Palace-c4dAs for the surroundings, I took a bit of artistic liberty when setting up the trees and the river - in reality, the trees are scarcely spaced and the existing location where the palace sits no longer serves as a trade port, nor does the historical water-front view of trade ships exist.The water-front “tree-array” was essentially a single Cherry tree modeled in Speedtree, instanced along the water-front with randomized scales and rotations. The colors of the cherry tree petals are slightly desaturated so as not to pull too much attention away from the main building, but rather helped frame and compliment the grey marble colors of the facade.!Ottoman Legacy - Dolmabahce Palace-c4dThe river was a plane with a slightly-displaced water shader, scattered with fallen cherry tree petals (Cinema4D Matrix) to create a warm and welcoming atmosphere overall. Fox Renderfarm: You have chosen a unique perspective to give this work a great composition, could you tell us how you set the composition and layout?John: Trained as an architect, I always approach my renderings with a one-point perspective at the beginning and throughout the look-dev process. Once I am happy with the model and the shaders, I would move my camera around virtually in search of a different perspective that is either more informative or conveys a better story of the building. In the case of “Ottoman Legacy”, the final composition was taken up largely by the river from an off-shore view perspective. Although the close-up one-point perspective render turns out to be my personal favorite of all WIP renders, I believe the off-shore view perspective tells a more comprehensive story of the palace.!Ottoman Legacy - Dolmabahce Palace!Ottoman!Ottoman Fox Renderfarm: In your personal artworks, lighting is always an important part that makes the picture so poetic in this work, could you introduce how you set the lighting and made the hyper-realistic render?John: I used a Redshift Dome Light together with a Sun & Sky Rig to light the scene. !Ottoman Legacy - Dolmabahce Palace!Ottoman Legacy - Dolmabahce Palace!Ottoman Legacy - Dolmabahce PalaceAs in most of my projects, I find my preferred lighting settings by trial and error, for instance, I would rotate the Sun & Sky Rig until I get a sun angle that elevates the atmosphere of the scene without overexposing and negating too many details. The dome light in the scene was linked to a sky HDRI which served as ambient light and the backdrop sky.The final rendering came straight out of Cinema4D Redshift without any Photoshop post-production. However, I did spend a considerable amount of time tweaking the Redshift “bloom” & “streak” settings to achieve the final look, in addition to utilizing an “F250” LUT that ships with Redshift, adding a warm tint to the overall image. Fox Renderfarm: How long did it take to finish the work? Did you meet any difficulties when creating this work? And how did you solve it?John: It took me about 2 months to complete the project. I have faced a lot of challenges – one of which being long rendering times.“Ottoman Legacy” was one of the most detailed projects I have ever worked on – the main building alone consisted of over 1 trillion polys. Previously I would have created a low poly version of the scene, but I took the challenge as an opportunity to see how far I could push the boundaries of rendering in Redshift, for the sake of retaining as much detail as possible.!Serenity II Kiyomizu-dera © John YimSerenity II: Kiyomizu-dera © John Yim Fox Renderfarm: Any other things you want to share with the CG enthusiasts?John: I learned that in order to work efficiently on detailed scenes like “Ottoman Legacy” one has to utilize as few modular elements as possible to maximize computing power and to minimize rendering times. These could be done by instancing and rearranging small-scale modular elements creatively to create entirely different models, as I have done to most of the ornaments but not to the extent of the entire scene.!Pioneers into 2021 © John YimPioneers: into 2021 © John Yim
SIGGRAPH Asia all set to reunite the Computer Graphics Community this December with its very first Hybrid edition
Plans are underway to have a blend of in-person and virtual participants at the 14th ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in AsiaTokyo, Japan, 11 August 2021 – SIGGRAPH Asia 2021’s in-person event in Tokyo, Japan is confirmed and will take place as planned from 14 – 17 December at the Tokyo International Forum. Japan has continued to hold business events and exhibitions throughout the year by adopting a wide variety of safe measures, hence our confidence in hosting SIGGRAPH Asia in a Hybrid format this year. In view of the evolving Covid-19 situation, the event organizers will also have a selected range of conference programs accessible online with networking opportunities for international attendees who may be unable to travel.!SA21 Hybrid - 930x250Some of the world’s leading brands such as Adobe Research, Amazon Web Services, Autodesk, Bandai Namco, Digital Hollywood University, FORUM8, IMAGICA GROUP, Khronos Group, PIXAR and SideFX have already confirmed their participation.“FORUM8 has participated in SIGGGRAPH Asia 2018 in Tokyo, 2019 in Brisbane, and 2020’s Virtual event as an exclusive platinum sponsor. We have the confidence in SIGGRAPH Asia 2021 and have once again committed our support early as the event’s platinum sponsor. SIGGRAPH Asia is the to-go Computer Graphics event in the region, and we definitely will not want to miss being a part of it!” says Yuji Ito, President of FORUM8 Co., Ltd.The event organizers are thrilled to announce that Toru Katsumoto, Executive Deputy President and CTO of Sony Group Corporation has been confirmed as an event Keynote speaker. Many more leading industry figures and experts will be announced in the near future. The conference programs’ call for submissions are ongoing and have also garnered very encouraging numbers as well. There will be ample cutting-edge content featured at the event.“The past 18 months has been a series of challenges and introspections for all of us, and I believe everyone is eager for in-person events to resume this year. Safety of all participants is our utmost concern, but with large-scale events in Tokyo like the Olympics going on safely, it is assuring to organizers and participants that the local event will be able to pull through. The only uncertainty at this moment is the number of international attendees that can join us physically due to travel restrictions and quarantine requirements,” shared Shuzo John Shiota, SIGGRAPH Asia 2021 Conference Chair.!SA21-Hybrid-Announcement-1080x1080 (FB.IG.LI)“With that beyond our control, we have decided to have a selected range of programs accessible online for our international attendees who may not be able to travel. With a team of very dedicated professionals working hard tirelessly, I am confident to bring forth an amazing hybrid edition for the community this December. We look forward to seeing you at the industry’s most anticipated reunion!” added Shuzo.More details on the program line-up and registration ticket prices will be revealed in August. Registration for the event will be open in September.To get the latest event updates, you can subscribe to the e-newsletter here.
Entry Deadline Extended for SIGGRAPH Asia 2021 Computer Animation Festival
Great news - SIGGRAPH Asia 2021 Computer Animation Festival (SACAF 2021) has extended the submission deadline to August 15, 2021! Coming to Tokyo, Japan December 14-17 as part of SIGGRAPH Asia 2021, SACAF 2021 will celebrate the vibrant, diverse, and inspiring world of computer animation. The Festival is looking for projects from Shorts, trailers and montages for film and TV, title sequences, game cinematics, broadcast graphics, motion graphics, music videos, commercials, PSAs, visualizations and simulations, VFX reels… if the project was animated and a computer was used in the production, creators can submit the project to the festival. And this is a kindly reminder that there are no submission fees – enter as many projects as you like.Join the festivities and help the festival honor the best in CG animation -- submit your latest projects in any of the following categories:- Computer Animated Shorts: Includes character animation, narrative works, experimental works, opening sequences, game cinematics, selections and/or montages of animated television series, new-media format.- Animated Feature Films: Selections and/or montages of computer animation created for animated feature films.- Music Videos: Commissioned and/or independent works that use any combination of computer animation, digital effects, and live action to illustrate, enhance, and/or complement a musical creation.- TV and Web Commercials: Advertisements created entirely or partially with computer animation and/or digital effects. This category also includes promotional spots, broadcast bumpers and graphics, and public service announcements.- Visualizations and Simulations: Computer animations created to explain, analyze, or visualize information for applications including scientific research, architecture, engineering, systems simulations, education, and documentary projects.- Visual Effects for Films and TV Programs: Selections and/or montages of visual effects created for live-action films and/or for television programs.- Real-Time Animation: Game, web, and mobile animations that are rendered in the same amount of time that it takes to play them back. Real-time technology demos are also encouraged! Real-time technology demos should be submitted to Real-Time Live!- Others: Computer Animations that do not fit in any of the above categories.- The extended submission deadline is now August 15, 2021. Visit the SACAF 2021 webpage for more information, including how to submit, submission rules and requirements, and an FAQ.Or, you can submit your work directly by logging into the SIGGRAPH Asia Submission System.Please share the news with your teammates, classmates, and colleagues - SACAF wants to see their work too!Remember: There is no entry fee, and you can enter as many projects as you like.Please share the news with your teammates, classmates, and colleagues - SACAF wants to see their work too!SIGGRAPH Asia 2021December 14-17, 2021 | TIF, Tokyo, Japan | SIGGRAPHAsia | SIGGRAPHAsia2021Source: SIGGRAPH Asia 2021
Fox Renderfarm Looks Forward to E-meeting You at SIGGRAPH 2021
SIGGRAPH 2021 is the premier conference for computer graphics and interactive techniques worldwide. As an exchange of knowledge, a source of entertainment, and an opportunity for recognition, SIGGRAPH 2021 continues to serve the community as a place to proudly share passions and celebrate contributions.Fox Renderfarm will exhibit at SIGGRAPH and we would like to invite you to our virtual booth for free! SIGGRAPH 2021 will take place on August 9 - 13, and include over 80 exhibitors, exhibitor sessions and more. - Conference: 9-13 August- Exhibition: 10-12 August- Booth Number: 6898Fox Renderfarm’s specific guest code is RAY21 for free basic registration at the show – You can also use this code to upgrade your registration from Basic to Enhanced or the Ultimate registration level.Click here to begin registration!!SIGGRAPH 2021As a SIGGRAPH 2021 registered attendee, you'll experience live events and "can't miss" scheduled sessions throughout the week of 9-13 August. Additionally, you'll have the opportunity to explore on-demand content at your convenience starting 2 August. You can visit the SIGGRAPH website: https://s2021.siggraph.org/, to have a regular basis for SIGGRAPH 2021 content and programming updates.Fox Renderfarm is looking forward to seeing you at SIGGRAPH 2021 online!
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