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    Fox Renderfarm New Year Special Offer 2022

    2022-01-21

    Fox News

    Fox Renderfarm

    Start your new year with a special offer from Fox Renderfarm!Thank you for your support and trust all the time. At the beginning of 2022, we provided New Year's gifts for all Fox Renderfarm users. NEW YEAR SPECIAL OFFER:Recharge $10, Get extra $50 CPU Render Coupon!Valid from January 24th to February 13th (UTC+8).Details:- Coupon’s validity time: 1 month.- Each user can enjoy the reward ONCE only.As the leading cloud rendering service provider, Fox Renderfarm will provide safe and fast cloud rendering services for our customers in the new year.Wishing you and your family a safe, healthy, and prosperous new year!


    How to Build a Minimalist But Pretentious Interior Design in 3ds Max

    2022-01-21

    Trending

    Evermotion

    !EvermotionFox Renderfarm is committed to making contributions to the CG industry by sponsoring international CG challenges. Evermotion Challenge 2021 came to an end. As one of the sponsors, we are so glad to have the honor and opportunity to have an interview with Azat Mammedov, the 2nd award in the competition. His work, The Abode of the Jeweler, is highly praised by the judges for its realistic lighting and textures. In our interview, Azat tells us how he made this fantastic piece and his CG journey.!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 15!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 8 Fox Renderfarm: Hi, Azat! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?Azat: Hello. My name is Azat Mammadov. I live in Turkmenistan and currently head a design studio. Since 2017, I have been drawing concepts and, if possible, I try to participate in various competitions (interiors, characters, environments, objects) as my creativity is looking for an outlet, despite the fact that sometimes due to work there is little time. However, work does not take up all my time. My day is scheduled, but the framework is not rigid and I can adjust the tasks depending on the circumstances. This helps keep you on your toes and doing many small tasks without feeling chaotic and out of control. Thanks to this schedule, last year I read 15 books of various genres and took refresher courses. Fox Renderfarm: How long did you finish the work, The Abode of the Jeweler?Azat: Participation in the Evermotion Challenge 2021 started with an email notification. I became interested in the topic of the competition, but at that moment, I was busy preparing for the upcoming project. The competition started on December 7th, but I started participating in it on the 20th. All this time I thought about the concept, but I was not sure that once I started the work I would be able to complete it. This happened to me once when I competed Artstation Challenge: From the Moon to Mars: Celebrating Apollo's 50th Anniversary. However, having managed to delegate part of my work to others, I was able to take up the competition by allocating 1-2 hours a day for this. Of course, at the final stage, these limits had to be violated and I allocated up to 5 hours a day for the competitive work. However, according to the results of my measurements, I realized that I had spent 61 hours on the project. I cannot say that this approach to work is unique or ideal, but at that time, it was a decision that allowed me to realize what I mentally saw. Fox Renderfarm: What software and plugins did you use?Azat: At work, I used 3ds Max to build models and collect them in one scene. Corona render for visualization, assembled 3d model and adjusted light. Photoshop for material setup and post-processing. PureRef for a convenient overview of all collected images on a given topic. Fox Renderfarm: What’s the inspiration behind your artwork?Azat: The theme of the Work-Life Balance contest itself served as a source of inspiration. In 2020, I organized my own studio in which I worked with my wife, an architect, and I perfectly understand what a difficult task it is to maintain a balance between home and work, especially since we were both at home. Recent trends in the global labor market have shown that more and more people are choosing to work from home whenever possible, especially if a person is self-employed and the profession of a jeweler just satisfies this opportunity. I like the styles of minimalism and loft in the interior, but in my country, they are undeservedly bypassed, preferring pretentious classic interiors. In this work, I tried to present a balance in life for a jeweler, taking into account various factors, one of which is the sufficiency of the working space and the ability to isolate it from prying eyes. My approach to work was such that the project only needs to be translated into drawings and implemented. Fox Renderfarm: What a fantastic piece that is full of detail in every corner of the room! How did you make the modeling and the composition?Azat: When I took on the project, the first thing I did was to study the jobs of jewelers from among my acquaintances and photos from the Internet in order to understand the atmosphere of the profession, which I knew little about until that time. Almost during the day, I built the final result in my head, and the rest of the time I implemented it as if the work had already been done, and I just remember what has already been done. That is why I only changed the location of the camera in the scene once in order to adjust the 3D projection to my vision. Details were added to the project according to the principle from largest to smallest, which means that first large details, and only then medium and small ones. So that the colors do not distract me from the form, I implemented the modeling in one color. Most of the models were made by me for this project or taken from previous ones. As details were added, a complex shape emerged, which I later broke up with light and color so that the composition worked for a comfortable perception of the project. While working on the project, I thought over the full functionality of the premises, as I had a burning desire to implement something similar for my family. It is because the interior is built logically, it looks natural and harmonious. Of course, I was not able to show the entire space in one frame, but I think people can easily fill in the missing with their mind's eye.!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 1!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 4!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 22!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 12!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 32!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 33!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 24!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 31!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 21!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 10!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 11!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 5!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 14!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 3!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 27!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 9!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 13!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 29!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 34!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 2!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 20!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 25 Fox Renderfarm: The lighting is just right and the mood is very emphasized by it. How did you make it?Azat: Having finished with modeling, I began to build lighting. By assigning a gray material to all surfaces, I built the light that I would like to see in my project. Unfortunately, at the painting stage, I ran into difficulties, because due to the nature of the materials and the location of the light sources, the previously configured parameters did not work. I knew that I would have to adjust them after applying the materials, but I did not expect that the adjustments would be significant. In some parts of the scene, I had to add fake light sources that I did not like in order to make the work bright and effective. As for planning lighting, this idea is not new. I used the evening mood and light to accentuate the jeweler's office. That is why the foreground is bright and warm, and the background is dark and cold. If you make the light uniform (like during the day, for example), then the interior will still work, but the presentation will no longer be artistic and the observer's eye will wander over bright spots. For daylight, this composition would no longer work.!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 30!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 28!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 7!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 6!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 19!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 16!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 23!How to Build a Minimalist But Pretentious Interior Design in 3ds Max - 17 Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve them?Azat: As mentioned above, one of the difficulties was with lighting, but that was not all. In the project, I intended to use the national elements of my people so that the work would not be faceless. However, I spent quite a bit of time picking out the patterns and colors on the rugs, as some of the more traditional ones were knocked out in my project and took on too much attention. The solution was a slight rethinking of the colors on the carpets so that they look more harmonious in the work done. The next difficulty arose with the filling of a large workspace. To make it easier, I used one model several times, slightly modifying it. By the way, one of the judges drew attention to this. There were also some difficulties with the functioning of the space, but they are not significant and are more related to design tasks, but not artistic ones. Fox Renderfarm: Any artists or artworks inspired you most?Azat: As for the sources of inspiration, this is, first of all, nature, whose creative abilities surpass all of ours put together, then books, thanks to which one’s own vision develops, and finally dreams in which the subconscious does everything that escaped consciousness and sometimes it’s beautiful. If you choose the sources of images from outside, that is, among people, then these are the works of the following authors: photographer Yuri Arkurs, photographer Annie Leibovitz, artist Rakhman Umarov, concept artist Jama Jurabaev, artist Sid Mead, concept artist Samwise Didier, concept artist Nick Gindraux and many others. Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?Azat: As a child, I was constantly drawing, but my parents could not send me to art school, so for many years it remained a hobby with poor skills. I believe that my creative path was born in 2009, when I got acquainted with the Photoshop program while in the army. I was so fascinated by the fact that you could create anything in it, that when I finished my service, I soon got a job in an advertising agency as a designer. I then worked on logos and posters. At first, this was enough, I had the opportunity to learn different skills from other designers, but soon this was not enough for me and having mastered additional skills, namely 3d, I began to make exhibition pavilions and not complex interiors. My skills grew and I changed several companies. It was a great joy for me that more and more lessons began to be released in video format, where it is not necessary to know the language to understand what the author is doing. In 2017, I tried myself as a concept artist, learning new techniques and following cutting-edge artists. In 2019, I thought about creating my own wide spectrum design group, where I was going to bring together many creative people. In 2020, I left the construction company where I held the position of chief designer and founded my own design studio, which currently consists of two people. The pandemic has adjusted my plans and now my studio has not yet reached the level that I expected, but our modest success still pleases our team. Now we are working on our own project, which we want to make our hallmark in the world of cinema and games. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Azat: What I can recommend to others is the ability to manage your time. With this most important skill, anyone can methodically master any knowledge and skill - this is already a proven fact, covered by many people. Fox Renderfarm: Is there anything you want to share with the CG enthusiasts?Azat: I have a couple more recommendations, which, however, have no more reliable basis than my own confused experience. First, it is important to be able to set goals and go towards them confidently. However, at a certain stage, having learned something new for yourself and expanding your worldview, you can and sometimes need to rethink your goals and you should not be afraid of this, this is normal. Life is not a straight road and the ability to move a couple of meters away to find a treasure is much more important than the ability to look only ahead. Secondly, you need to work hard on yourself, not expecting quick results and not allowing disbelief and despondency into your life. The devil has no more formidable weapon than despondency, and when his other tools do not work (the dagger of envy, the hammer of anger, the trap of greed), this small peg driven into a person’s soul opens the way for other tools. Thirdly, love criticism and look for it, but try to get it from people who know, because they will not only say that you are bad, but also show what, where and how to correct. I wish you success!


    Creating a Photo-realistic Bugatti Car Render in 3ds Max

    2022-01-20

    Fox Talk

    Hum3D Contest

    Fast but not furious! © Arash Shahmi !Hum3DHum3D Car Render Challenge, an annual render challenge, announced the winner of 2021. As the long term partner of Hum3D, the best cloud rendering service provier, Fox Renderfarm is pleased to witness that there are more excellent car renders emerging year by year. This time we are honored to interview Arash Shahmi, the special prize winner from Fox Renderfarm team.Made with 3ds Max, V-ray and Photoshop, Arash‘s award-winning artwork, Fast but not furious, boasts of its reasonable composition, smart lens choice, believable GI lighting, together make it very photo-realistic and almost hard to tell it is computer graphics. It looks much like the cover of a car magazine. Even the texture of the concrete floor was handled so well which helped the realism further.Let's find out how Arash made the amazing artwork through the exclusive interview with Fox Renderfarm. Fox Renderfarm: Hi, Arash! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?Arash: I am 28 years old and I live in Iran. It has been about 3 years since I entered the world of simulation. Almost most of my work has been in the field of architecture. Fox Renderfarm: Congratulations on winning the Fox Renderfarm Team Choice in the Hum3D Car Render Challenge 2021, how do you feel about that?Arash: Thanks to the Fox Renderfarm team for paying attention to my work and choosing it.It is definitely a valuable achievement for me and a reason for more success. Fox Renderfarm: How long did you finish the work, Fast but not furious?Arash: About 3 weeks Fox Renderfarm: What software and plugins did you use?Arash: 3ds Max for modeling; Vray for material ,lighting and rendering; And photoshop for post processing. Fox Renderfarm: What’s the inspiration behind your artwork?Arash: As a big fan of speed, I have always been fond of Bugatti’s aerodynamic form. These cars are sometimes as fast as Fighter Jet. I have learned if you think big, you can fly without wings. Generally, I can say that most of what inspired me was nature. And I tried to bring my work closer to reality. Fox Renderfarm: How did you make the amazing modeling and the composition?Arash: Use central and symmetrical composition. Sometimes it works well if you put the subject in the middle of the frame. Symmetrical scenes are a good option for central composition. In modeling, my goal was to challenge my own abilities!Creating a Photo-realistic Bugatti Car Render in 3ds Max!Creating a Photo-realistic Bugatti Car Render in 3ds Max!Creating a Photo-realistic Bugatti Car Render in 3ds Max!Creating a Photo-realistic Bugatti Car Render in 3ds Max!Creating a Photo-realistic Bugatti Car Render in 3ds Max Fox Renderfarm: How did you make the lighting and texturing, which make the render photorealistic?Arash: I used the HDRI technique to reach natural light And PBR technique for realistic texturing and materialization in the rendering. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve them?Arash: Well, as you know there are some problems and challenges in most projects which are solvable. Fox Renderfarm: Any artists or artworks inspired you most?Arash: I think the artists who got the most influence from their work were Scott Robertson and Alexei Roman.!ARGOS © Scott RobertsonARGOS © Scott Robertson !Sci-fi EV Hot Rod © Scott RobertsonSci-fi EV Hot Rod © Scott Robertson Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?Arash: After entering the world of design and architecture, I became acquainted with architectural simulation software and worked mostly in the field of architecture. I am currently working as a CG artist in Diba Fabric Structures Company and I'm going to continue my education in VFX and animation. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Arash: In my opinion, how to learn is different for each person. But I think pursuing and continuing to learn, having patience and practice and practice is so important for success. Fox Renderfarm: Is there anything you want to share with the CG enthusiasts?Arash: Let me mention at the end an interview with Alex Roman: Anyone can learn software with the tools it has with a lot of training and the Internet in the shortest time. But the tools are changing and the artists who subordinate numbers , they lost control of the final result. The important point is to know the science of fine arts, which, unlike software, is not obsolete.


    Interview with Curry Tian, Student Academy Award Winner, Director and Versatile 3D Artist

    2022-01-14

    Fox Talk

    Fox Renderfarm Interview

    Fox Renderfarm, as the world premier cloud rendering services provider, is beyond excited to have an in-depth conversation with MoGrapher/ Director/ Fashion Photographer and also our beloved client - Curry Tian.Curry TianMographer/ Director/ Fashion PhotographerFrom: ChinaWon the 2020 Student Academy Award for "Simulacra"She won the 2020 Student Academy Award for “Simulacra”, and other 10 international awards.!2020 Student Academy Award-!2020 Student Academy Award for “Simulacra”Meanwhile, her portfolio is quite contentful and impressive, such as Mercedes-Benz, Canon, and Beats, etc.!Mercedes-Benz, Canon, and BeatsShe is open-minded and always willing to try new things. Her NFT artwork sells quite well on SuperRare, a marketplace to collect and trade unique, single-edition digital artworks. Moreover, her latest NFT creation, CCisDreaming, which debuted during Art Week in Miami in December, 2021 and was rendered with Fox Renderfarm has earned her a great reputation, even Grimes reposted the artwork to root for her. !CCisDreamingFor her popularity in the MoGraph industry, Maxon, Motion Plus Design, Motion Design Awards and many other brands and events sent their invitation to Curry to ask her to share the production of her artworks and insights about CG creations.!Curry Tian - Motion Plus Design + MaxonLuxury Italian maison, Tod’s teamed up with Curry to reimagine their bag - the Skirt Bag, resulting with striking images which speak to the versatility that both Curry and the bag embodies.!Curry Tian - TodIn our interview with Curry, she talked about how she grew to be an artist stepping foot in various fields, the production details of her award-winning artwork and NFT artwork, her opinion on NFT art, and her sincere advice to CG artists. This is definitely an interview you should not miss. Fox Renderfarm: Could you introduce yourself?Curry: Hi Fox Renderfarm, I’m Curry. I’m a research scholar at Harvard CAMLab as a CG artist lead. Beforehand, I also do 3D motion design and directing. Fox Renderfarm: Could you share with us your education and working experience? How did you become a slashie holding various roles including director, 3D artist, fashion photographer, and so forth?Curry: My educational background is very ordinary and typical. I was born in Shijiazhuang, China. I majored in Design and Visual Communications, and Journalism and Communication when I took my undergraduate in Tsinghua University. At that time, I worked on a lot of narrative and graphic design content, realizing that storytelling would bring more possibilities in design when I was researching journalism and media images. So I started to learn Cinema 4D, fashion photography and live-action filming.!Curry Tian!TAI KOO LI - Curry TianPhoto by Curry (2016)After I undergraduated, I took my Master‘s degree in Animation & Digital Art at the University of Southern California. And that is when I officially stepped foot in motion design. Since I thought the film market in the US was better and I was eager to find a job, I got the chance to get in touch with Motion Plus Design and some top-tier artists in this industry, earning a bit reputation with my labels on.Curry Tian x Motion Plus Design!Exquisite Corpse 2020 © Curry Tian-1!Exquisite Corpse 2020 © Curry Tian-2!Exquisite Corpse 2020 © Curry Tian-3!Exquisite Corpse 2020 © Curry Tian-4Exquisite Corpse 2020 © Curry TianI chose to work in an advertising agency in the US after graduation. Since I didn’t have much vision about my career, I went back to China and worked in the ad industry. However, due to the high pressure in the ad industry and my lack of motivation in the highly intensive input & output process, I got some fresh air in Harvard at the moment.!Detective Chinatown Main Titles, 3D Design Curry Tian-1!Detective Chinatown Main Titles, 3D Design Curry Tian-2!Detective Chinatown Main Titles, 3D Design Curry Tian-3!Detective Chinatown Main Titles, 3D Design Curry Tian-4!Detective Chinatown Main Titles, 3D Design Curry Tian-5Detective Chinatown Main Titles, 3D Design: Curry Tian Fox Renderfarm: What is the inspiration of Simulacra?Curry: Frankly speaking, Simulacra is about an elderly Buddhist woman recalls a ritual from her past, undertaking a journey of duality expressed through her many identities.!Simulacra!Simulacra -1!Simulacra -2!Simulacra -3!Simulacra -4But from what I’m seeing now, Simulacra is not that integral fundamentally. It is based on the denial of my proximity - I didn’t feel like expressing myself through Simulacra, instead, I created something fictional and metaphysical. Thus, Simulacra is a combination of what I’m fond of with multiple sections, such as, Won Buddhism, Butoh, an integrated context of Eastern and Western culture, and so forth.!Simulacra -5!Simulacra -6!Simulacra -7!Simulacra -8Of course, there were some practical intentions behind it. I did want to make my name, want to try the integration of live-action shoots and 3D art, and want to show my skillsets in 3D creation. Meanwhile, the core of its narrative ought to bond with my cultural background.!Simulacra -9!Simulacra -10!Simulacra -11!Live action Motion captureLive action / Motion capture Fox Renderfarm: How was the pipeline of Simulacra?Curry: I used Cinema 4D and Redshift mostly. Some simulations were done in Houdini. The composition of the live action and 3D is made in Nuke. Then, character design in Daz Studio, clothing design in Marvelous Designer, texture design in Substance Painter.!Simulacra -12!Simulacra -13!Simulacra -14!Simulacra -15 Fox Renderfarm: Have you met any difficulty when creating Simulacra?Curry: In hindsight, there aren’t many obstacles narrative-wise. The problem was that I was a one-girl team in 3D production, I had to make all the CG work on my own. Thus, I decided not to do all the craft myself anymore, but to cooperate with others in my later career planning.!Simulacra - Curry TianOn the other hand, my workflow took many forms and I usually break down my time. For example, if I was about to make one shot tonight, I may not even have a very clear picture of what I was going to make. Therefore, my later creation will focus more on visual narrative instead of solving technical problems. Fox Renderfarm: Please introduce your NFT artwork Illuminate the Void.Curry: I was invited to participate in the NFT art program themed “Ignition” initiated by Motion Plus Design. Personally, I am obsessed with the term “duality”. In this perspective, ignition connects with darkness. Besides, that the elements of the female body and language and power were added in this creation which is also very visually driven. In my imagination, it will be like what Samuel Beckett and Thomas Stearns Eliot would create, giving off an aura as Roland Barthes described that artwork has, even though its audiences don’t really care about the story behind.Much emphasis was put on the lighting and texturing. The pipeline was much the same as the one applied on Simulacra. One Houdini artist helped me with the simulations, like the growth of the body and the fog. After the simulation in Houdini, we exported it directly into Cinema 4D using Redshift's proxy. There are many SSSs in it, so I asked a friend to help with the rendering which was quite time-consuming.!Motion Plus Design - Curry Tian - 1!Motion Plus Design - Curry Tian - 2 Fox Renderfarm: As an artist, what’s your opinion on NFT art?Curry: To be honest, I am quite new to the business operations behind it. Whereas, I’ve met many excellent artists and seen plenty of crossover artworks while attending the events. I don’t know if this is brought by my strangeness to this new field or its innate order of value. I’ve sold 6 pieces of artwork without much promotion, and the first few pieces were sold relatively quickly. Plus, I don’t know the buyers in person so far. Therefore, as an artist, I treat NFT art as a good business to earn some money.!Supreme Pole-02, Owner veritaskami(Left) Supreme Pole-02, Owner: veritaskami(Right) Supreme Pole-01, Owner: veritaskami!SIMULACRA-01, Owner veritaskamiSIMULACRA-01, Owner: veritaskamiBesides that, the value of art is something worth contemplating both by me and the whole society. Some people asked me why I only took out 6 pieces to sell since I have numerous personal works and my pieces sell well. I’ve always been pondering on NFT art. It provides a platform to let us realize that digital artists have their own social context, at the same time, digital art has the aura as Roland Barthes mentioned, and the value of artworks.!SIMULACRA-02 - Supreme PloeSIMULACRA-02, Owner: veritaskamiSupreme Pole-03, Owner: aoi_vault!THE IMITATION STONE 01-The Impurity of the Body, Owner aoi vaultTHE IMITATION STONE 01-The Impurity of the Body, Owner: aoi_vaultAfter consideration, I selected the pieces which I thought were appropriate to be presented as artworks and put them on sale. Selling my daily practice is not something I would agree on. Now, NFT art has also become my creative motivation, inspiring me to think about what I want to create and what I am pursuing. So, maybe after twenty or thirty years, I hope my NFT artworks are still valid but not something ironic. Fox Renderfarm: How to improve CG techniques and artistic sense?Curry: When making CG, I think one essential thing is taking shortcuts. Many people are surprised at how simple it is when they see my project file. I rarely use Substance Painter to draw texture, but choose procedural texture to make it seem organic. Of course, this won’t be feasible if you are making something with high-definition requirements. But for beginners, it is a considerably effective way.!Supreme Pole © Curry TianSupreme Pole © Curry TianDuring making Simulacra, many of the files were left unorganized, and the scanned data was very heavy. A rigorous pipeline is necessary, such as what I mentioned before, Redshift’s proxy. You can make each object a proxy and connect them into Cinema 4D instead of the redundant transferring between software which also results in heavy files. All this is to get a light file before rendering.!Simulacra © Curry TianSimulacra © Curry TianTechnically, I encourage artists to think bottom-up. That is, if you are able to master a skill in a short period of time, it will greatly boost your confidence. After strengthening your skill sets, the top-down thinking pattern seems more viable.!Supreme Pole © Curry TianSupreme Pole © Curry TianSpeaking of artistic sense, I find it a bit intangible and not easy to describe. It is something beyond the shape and form. You cannot reluctantly pursue it, however, it can be improved without that much effort. The most important thing is to be focused. No matter you are a dancer, a Buddhism scholar, or a CG artist, the fundamental truth beneath is that, being successful means you’ve sacrificed many things, and have dedicated yourself to that specific field. There doesn’t require following any trend but your true passion. That’s also something I will keep on doing. My advice is to do more and say less if possible.!Supreme Pole © Curry Tian -1Supreme Pole © Curry Tian Fox Renderfarm: Any new step?Curry: I’m working on some personal projects, commercial ones where I am mainly responsible for directing, and also some projects combining 3D and live action.!CANON EOS R5 8K Promotional Video © Curry TianCANON EOS R5 8K Promotional Video © Curry TianOther than that, my current work is more about academic research, thus, I want to do something academically valid with abundant visual language. However visual language is a tool to present texts and narratives. Of course, this tool has to be sharp and worth-seeing and can make the audiences wow about it. Daily practice is something I won’t miss. I’d like to explore new things, like theatre. But I will mainly work on the combination of 3D and live action. Fox Renderfarm: Any artists that inspire you?Curry: Given the fact that my thinking pattern is much based on the storytelling and the texts, I am more into classic artworks. Rem Koolhaas in architecture, Robert Wilson, Peter Greenaway, and Dimitris Papaioannou in experimental theatre, Pina Bausch in performance, Jacques Lacan and Nietzsche in philosophy are all the artists that offer me a lot of inspiration. Learning is the most effective way for a person to “take advantage of” this society, you can gather a big amount of information about this society in a short period of time.CCTV Headquarters, designed by Rem Koolhaas!Shakespeare-s Sonnets, directed by Robert WilsonShakespeare's Sonnets, directed by Robert Wilson!The Baby of Mâcon, directed by Peter GreenawayThe Baby of Mâcon, directed by Peter Greenaway!The Great Tamer, directed by Dimitris PapaioannouThe Great Tamer, directed by Dimitris Papaioannou!The Rite of Spring, choreographed by Pina BauschThe Rite of Spring, choreographed by Pina Bausch!Jacques Lacan (left), Nietzsche (right)Jacques Lacan (left), Nietzsche (right)Recently, it occurs to me that my surroundings are something that left a great impact on me. So I am also writing now, which is a practical way for me to get myself organized. I gradually gained a more profound understanding about the environment where I grew up. Whether good or bad, my surroundings shape my thinking pattern. Fox Renderfarm: How do you feel about Fox Renderfarm?Curry: Many of the artists around me mentioned Fox Renderfarm. As for my experience, the pipeline in Fox Renderfarm really makes sense. Their staff is really patient, helping me solve technical problems. Fox Renderfarm: Any other things you want to share?Curry: It is important to be objective. Creation doesn’t seem to have a strong connection with your life and other methodology you adopt in your life. I gradually discovered that they do have a relevant connection. You can use creation as a way to get yourself together if you haven’t formed a well-organized order in your life. Reversely, when you confront a big challenge in creation, you may find solutions in some other aspects other than creation itself. Since a challenge may not be the challenge itself, it can be a projection of something not going on well in your life. Don’t rush if there is an obstacle, check out from some other perspectives, don’t push yourself too hard.!Design-Semi Permanent 2019 © Curry TianDesign-Semi Permanent 2019 © Curry TianSurely, you should always keep on creating. Saying without practicing doesn’t make sense in the CG industry. I learned my skills through persistence. Again, don’t rush, you can definitely make it if you want.!Saṃsāra © Curry TianSaṃsāra © Curry TianLast but not least, communicate with others. There are tons of excellent artists out there. Reach out to them and see how they think and create. And thank Fox Renderfarm for inviting me today. Let’s learn and progress together!ContactsWebpage: https://currytian.com/INS: https://www.instagram.com/curry_tian/ Behance: https://www.behance.net/currytian Superrare: https://superrare.com/currytian/creations


    SIGGRAPH Asia 2021 Successfully Concluded Its Very First Hybrid Edition in Tokyo, Japan

    2021-12-25

    Trending

    SIGGRAPH

    Over 3,000 attendees from 41 countries and regions attended the physical event in Tokyo, Japan, as well as virtually. SIGGRAPH Asia 2021 inspires conversations about the future of computer graphics and interactive techniques with heavyweights from Sony, Akili Interactive, BANDAI NAMCO Studios, Weta Digital, DNEG, Kamizake Douga, MacLean Visual Effects, Sola Digital Arts, SQUARE ENIX, Toei Animation, Ubisoft & more. Artists and creators were presented with various awards in recognition of their top-notched works at SIGGRAPH Asia 2021.!SIGGRAPH Asia 2021 - Registration - TIF Lobby GalleryCongratulations to all the winners and thanks to everyone at SIGGRAPH Asia 2021. As the long-term partner of SIGGRAPH Asia, Fox Renderfarm wishes Siggraph Asia a better Computer Animation Festival in 2022!!2021 Closing & 2022 Opening Session - SIGGRAPH AsiaTokyo, Japan, 22 December 2021 – This year’s edition of SIGGRAPH Asia, themed ‘LIVE!’, marked the very first hybrid edition in ACM SIGGRAPH’s history. SIGGRAPH Asia 2021 overcame all obstacles and challenges amidst Covid-19, and successfully concluded its live program at the Tokyo International Forum in Japan. Held from 14 – 17 December 2021, the event reunited over 3,000 attendees from 41 countries and regions. The onsite event was held in compliance to the Covid-19 regulations from the government, local authorities, and the exhibition industry, ensuring the safety and well-being of all in-person attendees.!SIGGRAPH Asia 2021 - Opening + Keynotes - TIF Hall C + Online“Despite a lack of clarity as to what lies ahead due to COVID-19, we decided in summer of this year to conduct the very first hybrid SIGGRAPH Asia,” said Shuzo John Shiota, Conference Chair of SIGGRAPH Asia 2021 & CEO, Polygon Pictures Inc. “It turned out to be a massive undertaking, and COVID continued to obstruct our progress. Against adverse conditions, we were able to create an illustrious conference, providing great insights into the current world of computer graphics and interactive techniques, as well as rekindling the SIGGRAPH and SIGGRAPH Asia communal spirit, both online and onsite. I’d like to extend my heartfelt gratitude to all who have contributed to this enormous undertaking”.“I am extremely proud of what the SIGGRAPH Asia 2021 team has achieved this year, pulling off an incredible show onsite and online. The feedback from the global Computer Graphics community has been very positive, reaffirming our stand to continue holding the hybrid event despite the many curve balls being thrown at us due to Covid-19. It’s amazing how this industry is so closely knit and supportive of one another. We look forward to creating an even larger reunion for the CG industry next year in Daegu, South Korea!” added Prakash Ramajillu, SIGGRAPH Asia Chief Staff Executive & Division Director (Technology, DigitalMedia, Entertainment & Mobility), Koelnmesse Pte Ltd.A diverse range of conference program sessionsClose to 130 speakers presented at the conference in-person and around 400 presenters joined the virtual platform to discuss the latest industry developments and future of the computer graphics and interactive techniques industry. The exciting line-up featured distinguished keynote speakers such as Toru Katsumoto, Executive Deputy President and CTO at Sony Group Corporation, and Matt Omernick, Co-Founder and Chief Creative Officer at Akili Interactive. Toru Katsumotos session on Creativity x Technology - How to fill the world with emotion brought us through the history of innovation in the creative industry and discussed possibilities enabled by technology made available to creators in the fields of music, movies and games. Matt Omernicks session on Video Games as Medicine dived into how Digital Therapeutic products like EndearvorRx are changing the face of medicine, and how cognitive health and entertainment will live harmoniously together in the future.Other highlights from the conference included the Featured Sessions program which invited industry figureheads such as Bandai Namco Studios, Weta Digital, DNEG, DNEG Animation, Kamizake Douga, MacLean Visual Effects, Sola Digital Arts, Sony Pictures Animation, Sony Pictures Imageworks, SQUARE ENIX, Toei Animation, Ubisoft Divertissements, giving the community exclusive insights on the remarkable VFX works behind films like Dune, Shang Chi and the Legend of the Ten Rings, Blade Runner, Apple TV's Foundation series, The Mitchells vs. The Machines, Wish Dragon, Ron's Gone Wrong, which are available on-demand on the virtual platform.!SIGGRAPH Asia 2021 - Technical Papers - TIF Hall B5 + OnlineThe Technical Papers program continues to be the anchor program of SIGGRAPH Asia and showcased 94 specially curated papers. The Technical Papers at SIGGRAPH Asia 2021 adhere to the highest scientific standards and are chosen through a rigorous and highly refined peer-review process. This year, SIGGRAPH Asia had most of the presenters beamed onsite at the Tokyo International Forum, to take on live questions from the local and online attendees.The Trade Exhibition featured close to 30 virtual and onsite exhibitors showcasing the latest developments in hardware and software applications in the Computer Graphics and Interactive Techniques space. Companies and brands include FORUM8, IMAGICA GROUP, Digital Hollywood University, KONICA MINOLTA, Amazon Web Services, BANDAI NAMCO, Carpe Diem Solutions, CyberAgent, ELSA Japan, Houdini SideFX, Huawei Russian Research Institute, NVIDIA, NHK Art, iPresence and SkyVision. iPresence created a virtual SIGGRAPH Asia 2021 exhibition tour, which allows remote attendees to travel into the exhibition hall from anywhere around the world. Experience it today!!SIGGRAPH Asia 2021 - Trade Exhibition - TIF Hall EExhibitor Talks covered technical topics such as using Houdini in medical product design and medical visualization; digital content creation on AWS; IMAGICA GROUP and Tokyo University of Agriculture and Technology’s R&D on video content creation for their innovative displays on how to provide viewers with visual experiences; and NTT Human Informatics Laboratories sharing of the cutting-edge Tokyo Olympics 2020 project and the world of live entertainment in the Metaverse era.!SIGGRAPH Asia 2021 - Exhibitor Talks - TIF G409 - OnlineThe Experience Hall, held in the same venue as the Trade Exhibition, encompasses the Art Gallery, Emerging Technologies and XR showcases. In the Art Gallery, 15 cutting-edge works were selected from 147 submissions around the world, addressing questions of what the rituals, behaviors and modes of the future will look like in light of the Covid-19 pandemic. The Art Gallery Curation Committee also hosted a gallery tour for the Japanese audience during the exhibition days. Additionally, Art Gallery talks were held virtually to discuss the future of art and the role of art gallery in the face of new factors such as the pandemic and NFTs.!SIGGRAPH Asia 2021 - Art Gallery - TIF Hall E - OnlineThe Emerging Technologies program, themed Awaken Our Bodies, showcased 19 exhibits onsite and online which included novel and high-quality 3D projection mapping technologies, haptic interfaces, robotic avatars and virtual humans, input interfaces, music experiences, and VR experiences with novel sensations like wet, temperature, wind, and scent. Live demonstrations and Q&A sessions took place concurrently for both onsite and online delegates.!SIGGRAPH Asia 2021 - Emerging Technologies - TIF Hall E - OnlineAttendees explored the XR program to discover 19 immersive technologies and experiences such as Dislocation, which examined the internal processes that develop during a dislocation and offers a visual depiction of a person forced into extreme circumstances. Another interesting XR showcase was the Dementia Eyes a mobile AR experience which simulates the visual symptoms of senile dementia based on pathology and medical workers experience with patients. Live demonstrations and Q&A sessions took place concurrently for both onsite and online delegates.!SIGGRAPH Asia 2021 - XR - TIF Hall E - OnlineLive drawing performances and CG Production Meetup also took place at the Experience Hall Talk Stage, in the Experience Hall. The live drawing performances by BANDAI NAMCO Studios, Ubisoft Entertainment, SQUARE ENIX and SAFEHOUSE were spectacular and had overwhelming attendance onsite. These live performances were recorded and will be uploaded onto the virtual platform for the online attendees. CG Production Meetup featured 48 companies from the Games, Interactive Techniques, Computer Graphics and Animation space, and attracted over 300 students for the 2 sessions on 15 and 16 December 2021.!SIGGRAPH Asia 2021 - Games Live Drawing - TIF Hall E!SIGGRAPH Asia 2021 - CG Production Meetup - TIF Hall EReal-Time Live!, a showcase of virtual technologies demonstrated live in front of our onsite and online attendees, wrapped up SIGGRAPH Asia 2021. As a part of the hybrid event, five local presenters showcased their demonstration on stage at Tokyo International Forum, while the other four livestreamed their demonstrations.!SIGGRAPH Asia 2021 - Game Gallery - TIF Hall E!SIGGRAPH Asia 2021 - Posters - TIF Hall EArtists and Creators Recognized at SIGGRAPH Asia 2021 – Awards!SIGGRAPH Asia 2021 - Computer Animation Festival - TIF + Online!SIGGRAPH Asia 2021 - Online Zoon SessionsSIGGRAPH Asia 2021 presented the following artists and creators with various awards in recognition of their top-notched works:The winners for Real-Time Live! are:§ BEST IN SHOW: CodeMiko: An Interactive Vtuber Experience, Presenter: CodeMiko, codemiko project, LLC, USA§ PEOPLES CHOICE: Fencing Tracking and Visualization System, Presenters: Yuya Hanai, Daito Manabe, Kyle McDonald, Satoshi Horii, Futa Kera, Kisaku Tanaka, Motoi IshibashiThe Computer Animation Festival honored the top talents in animation:§ BEST IN SHOW: Twenty Something (USA), Director: Aphton CorbinTwenty Something & Nona | Official Trailer § BEST STUDENT PROJECT: Le Retour des Vagues (France), Directors: Manon Cansell, Alejandra Guevara Cervera, Edward Kurchevsky, Francisco Moutinho de Magalhães, Hortense MarianLe Retour des Vagues | Trailer § BEST STUDENT PROJECT: Les larmes de la Seine (France), Directors: Yanis Belaid, Eliott Benard, Nicolas Mayeur, Etienne Moulin, Hadrien Pinot, Lisa Vicente, Philippine Singer, Alice LetailleurLes larmes de la Seine | Trailer § JURY SPECIAL: Only a Child (United Kingdom, Switzerland), Director: Simone GiampaoloOnly a Child The Emerging Technologies program will also be announcing their winner for the ‘Best Online Demonstration Award’ soon. Registration may be closed, but the virtual platform remains open and accessible to attendees to watch the on-demand content till 11 March 2022. Next year’s edition, SIGGRAPH Asia 2022, will be held at EXCO, Daegu, South Korea, from 6 - 9 December 2022. Visit http://sa2022.siggraph.org for more details.!SIGGRAPH Asia 2021 - Closing of 2021, SACAG Chair, Opening of 2022


    Interview with Adam Belfer, Founder/COO of Cartuna, Which Made the Amazing SpongeBob Portal Chase Series Come True

    2021-12-22

    Trending

    animation works

    Fox Renderfarm, as the world-leading cloud rendering services provider, is super thrilled to support the SpongeBob Portal Chase animated series, which is made by Cartuna, an award-winning full-service animation studio producing world-class content for television, feature films, music videos, shorts, and commercials.!SpongeBob Portal Space Series!SpongeBob Portal Space SeriesMr. Adam Belfer, Founder/COO of Cartuna, had an exclusive interview with us, in which he shared how his team has made this amazing series come true. Moreover, Adam talked about how Cartuna has progressed into a multi-content creation studio with an impressive portfolio. Fox Renderfarm: Hi Adam, thank you so much for accepting our interview! Could you give us a brief introduction? Adam: My name is Adam Belfer and I’m one of the founders of Cartuna, an animation studio based in Brooklyn, New York. !Adam Belfer - Cartuna Fox Renderfarm: Congratulation on the new SpongeBob animation? How did you come with the idea of making this series? How many episodes will you deliver in total?Adam: This was an idea that was started by producers at Nickelodeon. They had made a few episodes in 2D but wanted to increase the production quality and create something in 3D. The idea was to create a new villain – a slug monster – who steals all the slime that powers Nickelodeon. It’s up to a group of characters from various Nickelodeon cartoons to band together and beat the slug. Along the way, they meet other popular characters from other Nickelodeon cartoons while they navigate through different video game worlds. !SpongeBob Fox Renderfarm: What software and plugins did you use for making this series? How long did it take to make each episode?Adam: We mainly use Maya to make the 3D animation, Substance Painter for texturing, Redshift for render engine. We also use plugin Studio Library to efficiently key animation. It took us about 7 months to complete all of the episodes. On average, it would take us more than one month to produce one episode.!SpongeBob Fox Renderfarm: Could you share with us the pipeline of the creation? Adam: At the beginning, it starts with storyboards and everything else will be based on that. After completing the pre-production, we move into CG production which includes modeling, texturing, rigging, previs, animation, lighting, rendering, and compositing. We also have a lot of 2D fx which is composed during the very last stage. !Pre-production - SpongeBob Fox Renderfarm: What are the most unforgettable scenes to you in this Spongebob series?Adam: The final episode (episode 6) is the best. The whole series builds into a climax. The showdown between our heroes and the villain is well worth the payoff. It’s the most artistically ambitious and the most exciting and action-packed. Seeing all the characters we met along the way team up to have one final fight scene was very rewarding. !Final Boss!SpongeBob - The Final Boss Fox Renderfarm: What’s the most difficult part of making this series? How did Cartuna solve it?Adam: Creating an entirely 3D production remotely was an interesting challenge. File sharing and communication became very important as we were not able to be in one location due to the pandemic. Having tools like Slack for communication, Google Drive for file sharing, and Fox Renderfarm for rendering all were essential to make this series run smoothly. !SpongeBob Fox Renderfarm: In creating the Spongebob animation series, did Cartuna do anything to optimize the productivity and efficiency of the cooperation among your team?Adam: We have built several pipeline tools specifically in Maya, so while we are working on it, some of the repetitive but time-consuming jobs can be resolved by a simple button, which makes the 3D production much more efficient. We also build certain naming rules and workflow for our production, so every single file can be organized well and easily accessed by the artists.!SpongeBob - 3D Production Fox Renderfarm: Could you introduce Cartuna to us? How many members are there in Cartuna?Adam: There is 6 full-time staff at Cartuna. We are unique in that most of our studio is made up of producers, writers and editors. For each production we have a rotating group of artists based on the style of the project. For example, on Portal Chase we had 30 artists. This included directors, storyboard artists, modeler/texturing artists, 2D animators, 3D animators, lighters, compositors, sound designers and more. Fox Renderfarm: How did you and your team constantly form the unique visual style and keep it uniform in all your works?Adam: We had a concept artist start before anyone else. Our art director / director made sure to do their research and development before the rest of the art team started. From there, the background designers and modelers, as well as the 2D FX artists all contributed to the unique look – putting their own personal style to make something one-of-a-kind that all meshed together into one uniform style. https://www.youtube.com/watch?v=3Er9IwxBrZENormani’s 2019 VMA performance of “Motivation” © Cartuna Fox Renderfarm: Cartuna has a very contentful portfolio both original and branded ones. What is the most unforgettable project that you have created respectively (original and branded)?Adam: Cartuna started as a studio that produced exclusively original projects. Facebook Watch bought one of these first shows, Human Kind Of. It was a project made in-house and the series order validated what we were building. That project was later nominated for best Animated Television Production at the Annie Award and lost to BoJack Horseman (it was also in competition with Bob’s Burgers, Big Mouth and others). To even be in the same class as those shows was awesome. !Human Kind OfHuman Kind Of (Watch Full Series)The branded piece we love the most, besides Portal Chase, is our SpongeBob 360 piece. It was amazing to figure out how to build the pipeline for that project and it was our first time working with SpongeBob which was an iconic cartoon for us all growing up. Go 360° Inside the Krusty Krab! Fox Renderfarm: Any new steps?Adam: We’re pitching some original shows and we hope to get one sold next year. And we’re doing a bunch of awesome client work – including a new SpongeBob 360 video (and hopefully more Portal Chase in the future too). Fox Renderfarm: How did you encounter CG? Could you share with us your education and career experience?Adam: The majority of my animation career has been working in 2D animation, so it’s been a relatively new path working in CG. Before building an animation studio, my background was in marketing, digital communication and PR – and I had a liberal arts education. I’ve always had a passion for cartoons and building things, so working with my brother we formed Cartuna and have been happily making animation for 6 years. https://www.youtube.com/watch?v=l7OqPcPaxbYLil Nas X’s 2019 VMA Performance of "Panini" Fox Renderfarm: From your resume on LinkedIn, we found that you were working on law, why did you make the change and choose the CG industry?Adam: I entertained the idea of law when I was in school, but ultimately found that type of education too rigid and not as creative. I come from an entrepreneurial family so I always wanted to start my own business. I wouldn’t say we’re exclusively in the CG business now, but more broadly in the animation industry. We try to distinguish ourselves as a studio by not having a set house style, so CG has been something we’re happily learning and enjoying making more projects in that art form. https://vimeo.com/350853814Under Covers (A Stop Motion Animated Film) Fox Renderfarm: Any artwork or artist inspires you the most?Adam: Van Gogh’s Irises inspired me the most. While Van Gogh was living in the asylum, he created the piece from nature in the asylum’s garden. All of the Irises in the painting are blue. There’s only one in the corner which is white. In my opinion, it represents Van Gogh’s uniqueness and difference among the art style of the artists at the time. It may also tell Van Gogh’s loneliness and eagerness to be understood. The painting really touches me. Being an artist, we all want to be unique in a certain way, but also want to be accepted in the world and understood by some people who will recognize you.!Irises © Vincent van GoghIrises © Vincent van Gogh Fox Renderfarm: How do you feel about the cloud rendering services provided by Fox Renderfarm? Adam: The Fox Renderfarm team was always willing to work with us and meet our needs. The output was professional-grade and the prices were affordable. We have tried out a few different services, and we felt Fox Renderfarm best suited our needs for this project. Fox Renderfarm: Anything else you want to share with CG enthusiasts?Adam: In addition to Portal Chase, check out our project My Squishy Little Dumplings (also with Nickelodeon). We’re constantly growing our CG Portfolio and excited to take on more in 2022. If any CG artists are looking for work, we’re always willing to collaborate!Let's Get It Popping! (Music Video) | My Squishy Little Dumplings


    The Donkey King, the Highest-grossing Animated Feature Film in Pakistan Released in China

    2021-12-15

    Fox Talk

    film of the year

    Congrats The Donkey King, the highest-grossing animated feature film in Pakistan, on getting premiered in China on November 19th, with a dubbed theatrical release in over 10 other countries around the globe. When the ruler of Azad City suddenly renounces the throne, a down-on-his-luck donkey wins the nation's first election, and is crowned The Donkey King, therein a fun story unfolds.!The Donkey KingAs an old friend and the only cloud rendering services provider to The Donkey King, Fox Renderfarm, a top-tier cloud render farm, is thrilled to connect to the director Mr. Aziz Jindani again. !Aziz JindaniAziz Jindani- Director of The Donkey King- Founder/Non-Executive Director, Talisman AnimationsGiven the fact that The Donkey King is the first film from Pakistan in recent times to get a wide theatrical release in China, Mr. Aziz expressed his excitement to and hope for this amazing cultural communication: “So I would hope that the Chinese audiences are able to connect with the content and hopefully, it is the beginning of more content exchange both ways to advance our cultural ties between Pakistan and China. ” Fox Renderfarm: Could you briefly introduce The Donkey King?Aziz: In Pakistan, It is the highest-grossing animated feature film. This is the first Pakistani animated feature film that has been dubbed and has been released in over ten countries. So we've launched prior to this in Spain, in Greece, in South Korea, Russia, Ukraine, Peru, Colombia, Ecuador, Turkey. Fox Renderfarm: What is the inspiration for The Donkey King?Aziz: I got this inspiration earlier, but I think I later on figured out that The Donkey King’s story and narrative are very similar to this allegorical story by the name of Animal Farm, which was written by George Orwell. So I think the narrative style is allegorical like what you're seeing and what you are meaning are two different things. So that's why we say The Donkey King is a film for the entire family from kids who are at 9 to people who are at 99, for people who are kids and kids at heart. And a lot of this inspiration came to me from the socio-political situation in Pakistan. We're having this dialog about the socio-political setup and a lot of inspiration is locally driven. And I think it resonates with everybody in the developing countries because we are all sharing that experience. So I think the surrounding is the inspiration, frankly. Fox Renderfarm: Why did you choose donkey as the protagonist?Aziz: Well, why did we choose donkey is a very important question, a lot of people asked me. There are 2 things about a donkey. The term donkey is associated with hard work. They're probably the most hard-working creature. But at the same time, you can call someone a donkey metaphorically as an insult, but you can also say it lovingly. And in our local culture, in the Pakistani and Indian literature, I’m not talking recently, I’m talking about over the last 100 years, the donkey has been used as a metaphor to tell a lot of stories. There’s one film that’s been made on donkey years back in Pakistan. There are books written using the donkey as a metaphor in India-Pakistan literature. The donkey has been used as a metaphor. It is a symbol for close to 100 years. Because it's both endearing and hard-working, you can use it to abuse somebody or with your friends. It has multiple meanings. In the US, the Democratic Party has a donkey as their sign, too. The donkey has got global resonance. There's something intriguing about the donkey. Fox Renderfarm: How is the pipeline of The Donkey King?Aziz: We worked on a traditional pipeline. All character designing, all modeling, all environment design, entire animation and lighting, everything has been done locally in Pakistan. For the rendering services, because we had to render out more than 150,000 frames. And that is where we leveraged our association with Fox Renderfarm.To pull that out, without their support, we wouldn't have been able to do it. Fox Renderfarm: Did you search for any references when doing the character design?Aziz: For character designing, the number one choice that we made, ours is an allegorical and a symbolic story, so we go bi-part versus four-part, like a humanoid type of animal, so the donkey stands on two legs. It doesn’t do like the real donkey, It’s more human-like. That was the fundamental design choice we made. Because we are showing donkeys and other animals, to some extent, I think it would be unfair to say that, any animal-based film that you make and you're not inspired by Zootopia, I think that person is lying. We watched a lot of Zootopia. And we sought what inspiration that we could. Because of the fur on the animals, the rendering time per frame was much higher. We were doing it on 2K, and that is where there was a big challenge. Once again, as I said, we reached out to outsource rendering collaboration with Fox Renderfarm. Otherwise, we wouldn't have been able to put it out. Fox Renderfarm: How did you manage to release The Donkey King in China? Anything to share with Chinese audiences?Aziz: First of all, I am very excited that The Donkey King is getting premiered in China. And given the economic collaboration between Pakistan and China, I think this is another step forward. Even our films are getting exported, I believe, this is one of the first films that is getting released at that scale (in China). On November 19th, it's opening with about 5000 sessions. So I'm very excited about that and really looking forward to that. Across genres, whether animation or non-animation, It is the sixth highest-grossing film ever (in Pakistan). we are thankful for our audiences in Pakistan. I think I’m very pleased.!The Donkey King -1My collaborators in China, we connected with them. They showed interest in the film. It was a long process. It took about two and a half to three years. There's a certain level of documentation that needs to be done for the film board who approved the film. We had to make sure that we're getting on the certificate of originals on the copyright and the entire chain of title. Because we were doing it for the first time, we were not very familiar with how to do it. Learning that has also been a great experience. That making sure we are getting all the documentation to the Administration of Foreign Affairs here at the Chinese Embassy in Pakistan, It took a lot of doing and then came forward and everything got passed, I can’t tell you how happy I am. And finally, it has seen the light of the day in China. Probably, it is one of my biggest achievements I would say. And my message to the Chinese audience is, I have been to China a lot of times. I used to work for Procter & Gamble. I used to work on this brand called Safeguard, the soap bar. I’ve been to China at least 50 times, and I only find love when I go to China. Between Pakistan and China, We just not only share a border, we are not just part of the Belt and Road Initiative, I think our hearts are connected. There's the China-Pakistan Economic Corridor. With this collaboration and love that Pakistan and China share and respect, I think this is graduating to cultural exchange. So I would hope that the Chinese audiences are able to connect with the content and hopefully, it is the beginning of more content exchange both ways to advance our cultural ties between Pakistan and China. Fox Renderfarm: How do you feel about the cloud rendering services of Fox Renderfarm? Aziz: Rendering this film with the scale, with the fur, and the rendering time that it was taking, it was unfeasible or unthinkable for us to be able to pull this out locally. And I think we were lucky to find Fox Renderfarm as a collaborator. We almost rendered 60 to 70% of our film there. And I think if it was not for that collaboration, we wouldn't have been able to pull this film in the time that we did. So big shout out to Fox Renderfarm for their contribution and making The Donkey King a reality. Fox Renderfarm: Anything you want to share with us?Aziz: Please make The Donkey King a success in China. And long live Pakistan-China friendship!


    SIGGRAPH Asia 2021 Goes LIVE Next Week!

    2021-12-10

    Top News

    SIGGRAPH Asia

    SIGGRAPH Asia 2021 kicks off LIVE next week from 14 – 17 December at Tokyo International Forum in Japan and online! We hope you’re all as excited as we are for a full week of CG awesomeness, with over 300 on-demand and live sessions, lots of amazing product demonstrations and exhibits, and the chance to finally connect with old friends and new faces – in-person or online! The Trade Exhibition and Experience Hall will also be open to attendees at Tokyo International Forum from 15 17 December, featuring cutting-edge technologies & product showcases. Click here to view the floorplan.For onsite attendees in Japan, simultaneous translation from English to Japanese will also be available in Hall C, the event's main stage. Hear Firsthand From These Industry Heavyweights- Creativity x Technology by Keynote Toru Katsumoto, Sony Group Corporation (Presented in Japanese) - Video Game as Medicine by Keynote Matt Omernick, Akili Interactive - Blade Runner: Black Lotus by Manuel Alberto Rojas, Hiroshi Yagishita, and Shuichi Kikuchi, Sola Digital Arts (Presented in Japanese) - Shang Chi & The Legend of the Ten Rings, The Third Act by Sean Walker and Karl Rapley, Weta Digital- Computer Graphics, Media Art, Tea Culture, and Zen by Yoichi Ochiai, University of Tsukuba (Presented in Japanese) - SAINT SEIYA Knight of the Zodiac by Ashino Kentaro and Satoshi Nohzawa, Toei Animation (Presented in Japanese) - The Blend of Modern Technology and Traditional Art that Kamikaze Douga Challenged at “The Duel” by Takanobu Mizuno, Yuki Nakajima, and Takafumi Utsunomiya, Kamikaze Douga (Presented in Japanese) - The VFX of Dune by Brian Connor, Tristan Myles, and Robyn Luckham, DNEG- Ron’s Gone Wrong: Bringing B*Bots to Life by Philippe Denis, Paul Baaske, Toba Sibzener, Kapil Sharma, Eliot Hobdell, and Crosby Clyse, DNEG Animation & many more!The hybrid stage is set for some game-changing conversations. Get your tickets today! If you can’t be with us in-person in Japan, you should still join us virtually from anywhere in the world. Be a part of the community shaping the future of Computer Graphics! REGISTER NOW VIEW PROGRAM If you have already registered and the badge category has access to the Virtual Platform, click here to enter the Virtual Platform and set up your profile ahead of time! Questions? Click reply and we'd be happy to answer them!Pro-tip: Click here to view the overall program schedule (where you can filter by programs, registration levels, onsite/virtual formats, and language the sessions will be presented in).


    How to Make a Abandoned Space Station in 3ds Max

    2021-12-09

    Trending

    3D Rendering

    Fox Renderfarm, as a world-leading cloud rendering service provider, sponsored the 31th CG Boost Challenge themed on "Abandoned Space Station Challenge". And we are glad to have an interview with the 3rd Place winner, Cesar Verastegui. His work stands out for its strong composition and lighting.Here comes our interview with Cesar, in which we could find out how he created the amazing work with 3ds Max, Vray and Photoshop.!CG BOOST!Abandoned Space Station - Cesar Verastegui© Cesar Verastegui Cesar: “I created several panels and cables that were the basis for the whole scene. A lot of geos, so I had to create several proxies to handle it.“- Cesar Verastegui- Architect- Monterrey, Mexico- Artstation: https://www.artstation.com/cesario76 Fox Renderfarm: Hello Cesar, thank you for accepting our interview. Could you please give us a brief introduction? Cesar: Thank you for this interview. My name is Cesar Verastegui, a 3D artist from Monterrey Mexico. My main work is Architectural Visualization for International Projects, so, these kinds of challenges are always a good way to do something with a lot of design liberties. Fox Renderfarm: Congrats on winning 3rd Place in the CGBoost Abandoned Space Station Challenge, how do you feel about it? Cesar: Great. I wish I Had more time to put it on, and maybe obtain a better place, but I'm glad of how the image resulted. I am still making changes on it to improve what I did not like that much. Fox Renderfarm: Could you share with us the inspiration behind your artwork? Any References?Cesar: I saw a film called Aniara. The third act of the film, it was an inspiration, to follow the theme of the challenge. Abandoned, derelectic...this was my main visual resource, talking about lighting and mood. I made a blocking scene and then worked from there.Aniara - Official Trailer Fox Renderfarm: This image’s strong and calm composition and modelling is incredibly pleasing to look at, how did you make them?Cesar: Main light source, with almost no bounces, to reflect this to be in space. The emptiness of no skylight….the very subtle fog...tilted camera….that was the idea….to look….abandoned…. Fox Renderfarm: The gloomy atmosphere does a great job in making it a beautiful vista, how did you make the color use and lighting?Cesar: I tried to make a blue light from some bounce of the planet, and the white sun, not in the frame, but hard shadows light coming from the big broken window. No more lights, to make it look dead inside….long time abandoned….so is Mainly blue and some white….!Abandoned Space Station - Cesar Verastegui Fox Renderfarm: How long did it take to finish the artwork? What is the most challenging part? How did you solve it?Cesar: Two or three weeks of my freetime. It was mainly to practice some modular modeling, something right now I'm breaking to avoid obvious repetition. After a while, the geometry and polygons were a headache….I solved this with several proxies, so the scene could be manageable.I created everything from scratch, and then played with that, as a kitbash.!Modeling - Abandoned Space Station - Cesar Verastegui Fox Renderfarm: Could you share with us your educational and work experiences?Cesar: I am an architect myself, but everything 3D I learned after I finished school, I only learned autocad at that time. I learned 3ds Max by myself in the 2000s. Right now the Internet has training for everything, so You can learn whatever you need., investing little money I think.I worked in a couple studios in Monterrey Mexico, and in Miami and Orlando for 5 years for ArchViz Studios. Right now I am freelancing from Monterrey. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Cesar: I used to wake up very early to study, only to study, but the most I learned was from the community and coworkers. Try to solve your challenges by researching yourself, ask anyone in the forums...that can save you a lot of pain in the future. Fox Renderfarm: Any artwork or artist inspires you the most?Cesar: When I need inspiration I only open Artstation, cgsociety, 3dtotal….any galleries for current artists, and it is incredible what new generations are doing...of course films and everything with vfx…. Fox Renderfarm: Is there anything you want to share with the CG enthusiasts?Cesar: Do not get overwhelmed with all the talent out there... Do your thing, and be critical in your work….I hope that helps-!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui


    SIGGRAPH Asia Announced The 2021 Computer Animation Festival Award-Winning Films

    2021-12-02

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    SIGGRAPH Asia 2021 will take place at the Tokyo International Forum, Japan and online this 14 – 17 December. One of the most-anticipated sessions - Computer Animation Festival (CAF), Asia's premier computer-generated animation and visual effects event, will showcase a worldwide collection of the year's best works.SIGGRAPH Asia 2021 - Computer Animation Festival Trailer As a long-time partner and friend, Fox Renderfarm, the TPN-Accredited cloud rendering services provider is thrilled to see the four award-winning films, selected by judges from a total of 501 animation works.This year saw another fantastic selection of works from artists across Asia and around the world, Our winning CAF films, as well as each selection for the Electronic Theater and Animation Theater screenings, showcase the latest innovative works from an incredibly diverse and talented group of artists. Our jury helped assemble an extraordinary collection of animated projects, including 35 animated shorts, commercials, and other works, that conference attendees can watch both in Tokyo and online. Congratulations to all the winners and to everyone who took time to share their work with us. Dan SartoChair of SIGGRAPH Asia 2021 CAF Award-Winning Projects BEST IN SHOW: Twenty Something!Twenty Something- Director: Aphton Corbin- Producer: Erik Langley- Production Company: Pixar Animation Studios- Country: USAIntro: Adulting can be hard. Some days you’re nailing it, while other days, you’re just a stack of kids hiding in a trench coat hoping no one notices. Gia finds herself in this exact scenario the night of her 21st birthday. This is a story about the insecurities of adulting and how we’re all just faking it ’till we make it. Produced as part of Pixar Animation Studios' SparkShorts Program.Twenty Something & Nona | Official Trailer BEST STUDENT PROJECT: Le Retour des Vagues- Directors: Manon Cansell, Alejandra Guevara Cervera, Edward Kurchevsky, Francisco Moutinho de Magalhães, Hortense Mariano- Producer: Moïra Marguin- School: Gobelins, L'École de L'Image- Country: France- Distributor: Miyu DistributionIntro: Coming back to his hometown in hopes of reconnecting with his past, a young man encounters the place completely stopped in time. Moving through the familiar streets, memories disorient him as he faces what he once left behind.Le Retour des Vagues | Trailer BEST STUDENT PROJECT: Les larmes de la Seine!Le Retour des Vagues- Directors: Yanis Belaid, Eliott Benard, Nicolas Mayeur, Etienne Moulin, Hadrien Pinot, Lisa Vicente, Philippine Singer, Alice Letailleur- Producer: Carlos De Carvalho- School: Pôle 3D- Country: France Intro: October 17, 1961, "Algerian workers" take to the streets to protest against the mandatory curfew imposed by the Police prefecture.Les larmes de la Seine | Trailer JURY SPECIAL: Only a Child!Only a Child- Director: Simone Giampaolo- Producer: Gabriella de Gara- Production Company: Amka Films, RSI Radiotelevisione svizzera, SRG SSR- Country: United Kingdom, SwitzerlandIntro: Only a Child is a visual poem created by over 20 animation directors under the artistic supervision of Simone Giampaolo, which gives shape and color to the original words spoken by Severn Cullis-Suzuki at the UN Summit in Rio in 1992, a child’s desperate call to action for the future of our planet. An omnibus film celebrating the environmental youth movement 30 years in the making.Only a ChildSIGGRAPH Asia 2021 will take place at the Tokyo International Forum, Japan and online this 14 17 December. For more information on the program line-up for this hybrid edition, please visit https://sa2021.siggraph.org/en/attend.


    Creating a Bomb in the Attic With Maya and ZBrush

    2021-11-12

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    FGT Art, initiated and organized by the best cloud rendering services provider Fox Renderfarm, is a program that encourages all Fox Renderfarm users to share their talents and get awarded monthly. We are glad to announce that the FGT Art October Winner goes to Sascha Bähr.War is over © Sascha Bähr !War is over © Sascha Bähr!War is over © Sascha Bähr -1Based in Germany, Before 3D training, Sascha worked in the advertising industry. He has experience with large projects and has developed a good eye for quality and design over the years. With a great passion for 3D art in a long time, he became a student at Pixlvisn media arts academy, specializing in Lighting.Here comes the interview with Sascha, in which he tells us how he created the excellent artwork.- Sascha Bähr- Lighting, Texturing, Lookdev Student/ Mediadesigner- Neuss, Germany Fox Renderfarm: Congratulations on being the October winner of FGT Art, 2021! How do you feel about it?Sascha: I am very happy and honored to have won. As a student taking my first steps into the 3D industry I'm also happy that all the effort and energy I put into a project is recognized. It shows me that I'm on the right track. Fox Renderfarm: Could you share with us your inspiration/references/moodboard of your project “War is over”?Sascha: For my first demoreel project, I decided to do an interior. Since I'm a big fan of the 50s/60s style, I wanted to steer my setting in that direction. I thought about the concept myself and started with a rough sketch at first. Over time, new, better ideas came along and the project changed. I wanted to depict a larger conflict. The whole theme can probably be understood under the term "war and hope".!War is over © Sascha Bähr -2 Fox Renderfarm: How long did you finish the work?Sascha: Since I created the scene almost entirely by myself, I had to learn a lot during the process to improve my skills. It took me about 7 weeks to achieve this final result.Software used: Maya, Arnold, Substance 3D Painter, Nuke, ZBrush, Photoshop, Adobe Illustrator and Davinci Resolve for video editing. Fox Renderfarm: We could see flowers and characters on the bomb, could you share with us the design and modeling process?Sascha: For this scene I thought of a little story. Someone built the bomb in the attic at the beginning of the war. The individual parts of the bomb were delivered in the various boxes. The builder gave this bomb the name "Devil's Gift" and sprayed it on the bomb. The bomb was completed but never detonated. Over time, the bomb began to rust and one of the cylinders containing the explosive liquid broke. From this broken cylinder grows the flower, as a sign of hope. The shot of the scene was taken when the war was over.I assembled the bomb from various references of atomic bombs. I created the illustrations on the bomb in Adobe Illustrator and Photoshop. In Substance 3D Painter I created the texture of the bomb and added the illustrations.!War is over © Sascha Bähr!War is over © Sascha Bähr!War is over © Sascha Bähr!War is over © Sascha Bähr Fox Renderfarm: The lighting and compositing of the environment is amazing, how did you set that?Sascha: First, I thought of a small story. As a thematic conflict I chose war and the resulting hope. For the design of the attic I chose the 50s, 60s.After some research, the color palette was clear to me very early. The colors from that time, or much more the colors from the 2nd World War were drab and not very saturated. The desaturated factory palette of the textures helped me to get the threatening "war character" into the scene. The only "saturated" color should be the flower growing out of the bomb.In conjunction with the environment and the camera, I built the scene in such a way that guidelines are created, which increase the focus on the hero object. This makes it easier to add a "focus" later during lightingI also made sure that the main lit area in the room is in the center of the image.!War is over © Sascha BährMy goal was to convey the feeling of hope with light. For this I chose warm colors for the light entering through the window. The environment outside the light should seem more threatening. For this I chose a cold color temperature.For the final touch I added godrays in Nuke which I rendered in Maya/Arnold. I integrated the dust particles into Nuke using the particle system and linked them to different shapes, so as not to always show a repeating dust particle or just a sphere. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Sascha: For me as a student, it was very difficult to reach this level of quality at first. The lighting and compositing can very quickly look fake or too cartoony. In my case, it was good to work on other tasks periodically to get a fresh look at the whole. Fox Renderfarm: We have received your excellent Entry, The cold grave, for FGT3D Explorer Challenge, could you introduce the project to us?Sascha: At the beginning, I thought about what comes to mind first when I hear the word “Explorer”. Quickly familiar scenes from Indiana Jones or Jurassic Park were in my head. I wanted to create that "adventure" feeling when you have discovered an old mystical and forgotten place and the viewer is the first to be back there in a long time. I also try to challenge myself with new things in each new project. With "The cold grave" I wanted to deal with the theme of "ice". That's how the idea with the mystical ice gate came about.!War is over © Sascha Bähr -8 Fox Renderfarm: How do you feel about studying at PIXL VISN media arts academy?Sascha: It's a great feeling to learn with so many like-minded people. The thought of being able to work at a well-known film studio after my training is what really drives me. Fox Renderfarm: How do you improve your CG professional skills?Sascha: I think that studying and understanding references is one of the most important things for me. After reaching one's current limit, it is worth its weight in gold to get the opinion of experienced artists and improve through the feedback. Fox Renderfarm: How do you feel about the cloud rendering service of Fox Renderfarm?Sascha: Many of my projects would not have been possible without the fast and intuitive rendering service. It is easy to use. If you have any problems or questions, the competent service helps you very quickly. Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Sascha: It is a satisfying feeling to have completed a project in which a lot of work has gone into. I think all the work is paying off and making me a better artist. In the future I hope to work with other 3D enthusiasts to grow together.https://www.linkedin.com/in/sascha-baehr-3dhttps://www.artstation.com/artwork/xJ84z1


    Meet Award-winning Art Director at AWS, Amaru Zeas

    2021-11-11

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    FGT3D Hunter Challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, received lots of excellent entries! We are so glad to have an interview with Amaru Zeas, one of the Professional finalists, with his amazing artwork “LIFE HUNTER”. LIFE HUNTER © Amaru ZeasAmaru: Have you ever imagined what the Amazon Rainforest will be like in the year 2172? Global warming is real. The worst impacts of climate change could be irreversible by 2030. The 20 warmest years on record have been in the past 22 years. More than 1 million species are at risk of extinction by climate change. We use more of the earth's resources than it can renew.- Amaru Zeas- Art Director at Amazon Web Services (AWS)- Seattle, Washington- Honors & Awards1. CG Render image of the week2. Top 100 of the Best 3D Artists around the World3. Best of Substance art of 20163D World Feature!Golden Trophy © Amaru ZeasGolden Trophy © Amaru ZeasRider 49 © Amaru Zeas3D Artist Magazine Feature!Ferrari 156 © Amaru ZeasFerrari 156 © Amaru Zeas!F1 641 © Amaru ZeasF1 641 © Amaru Zeas!Luck © Amaru ZeasLuck © Amaru Zeas!3D Artist - Amaru Zeas© Amaru Zeas!Sweet Colors © Amaru ZeasSweet Colors © Amaru ZeasGreen Library © Amaru Zeas!Disintegration © Amaru ZeasDisintegration © Amaru Zeas Fox Renderfarm: Hi, Amaru! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?Amaru: My name is Amaru. I am a CG-Artist based in Seattle, Washington. I'm currently employed as an Art Director at Amazon Web Services (AWS). My hometown is Cuenca, Ecuador. My friends, family and especially my wife know my biggest passion is to craft CG art.I've always wanted to do 3D art for movies or video games since I was a little boy. I came to the United States to pursue my ambition, and it has been incredible so far. I recall going to the library while I was in 3D Art School and spending several hours reading and looking through 3D Artist Magazines. I told myself, "Someday, I’ll have my work published here." Now, after working in the industry for more than 12 years, I’m happy to say that my work has been published in 3d world magazine and many more around the world.I spend a good amount of my free time engaged in personal projects, which I approach with a lot of dedication and passion.UE_Reel © Amaru Zeas Fox Renderfarm: How long did you finish your project, LIFE HUNTER?Amaru: LIFE HUNTER was, without a doubt, my most ambitious personal project to date. In less than three months, everything was completed by a single artist. Because I work full-time as an artist, I had to come up with a plan. It was challenging at times because I worked 4-5 hours after work and at least 20 hours on weekends. I created and schedule on my whiteboard in my home office, which allowed me to be better organized and finish the project. Fox Renderfarm: What software and plugins did you use?Amaru: When I work on a personal project, I try to use as many 3D software as possible in order to stay current with the latest tools and technologies. For this project I used Unreal Engine 4.26 for rendering, set dressing, layout, particle effects. Mega scans to create quick and realistic rocks, grounds and some tree trunks. Speedtree to model the main tree of the film. Maya to model the futuristic hover and the drone. Substance Painter to create all the textures. World Creator to create height maps to build the mountains. Mixamo to download fast animations for the pilot. Finally, one of my all-time favorite software; DaVinci Resolve for final composition and color grade. Fox Renderfarm: What’s the inspiration behind your artwork?Amaru: My mother has always been a huge inspiration in my life, and she has always encouraged me to use my work to give back to the community in some way. In recent years, I've spent a lot of time researching two essential topics: education and global warming. I really wanted to create a more intricate and lengthier story this time. I wanted to produce something about global warming, more along the lines of a futuristic narrative about what will happen if we continue to abuse the Earth the way we do now. This is a call to action. Fox Renderfarm: How did you make the modelling?Amaru: For modelling I used Maya Autodesk for the hover and the drone. Speed tree for the hero tree of the film and some tree trunks as well. I utilized photogrammetry models from Megascans to build the landscape.!LIFE HUNTER © Amaru Zeas Fox Renderfarm: The environment scenes are excellent; how did you make it?Amaru: Most of the environment assets are photogrammetry assets from Mega Scans, a great library of highly detailed assets. That allowed me to be more creative and build the environment faster without spending too much time modeling every single rock and ground. !LIFE HUNTER © Amaru Zeas!LIFE HUNTER © Amaru Zeas Fox Renderfarm: The lighting and rendering catch our eyes. How did you manage to set them?Amaru: I really enjoy doing lighting and compositing, it is one of my favorite stages while producing CG art. I tend to use very contrast lighting and intentionally use stronger lights in order to draw your eyes to the correct place of the shot. Shadows are very important as well as they can help you occlude objects that might cause distraction. Lighting and compositing are two of my favorite steps of creating computer-generated art. I like to employ high contrast lighting and purposefully use brighter lights to bring your attention to the focal point of the photo. Shadows are also very significant because they can help you obliterate distracting elements.!LIFE HUNTER © Amaru Zeas!LIFE HUNTER © Amaru Zeas!LIFE HUNTER © Amaru Zeas Fox Renderfarm: Did you meet any difficulty in the process? How did you solve it?Amaru: It usually takes longer to produce anything when you're trying out new technologies for the first time. I had a lot of technical challenges with the Unreal Engine. To begin, I intended to use a gaming engine to create a cinematic film in 4K quality with the greatest possible geometry and texture fidelity. Many of the issues I was able to overcome by experimenting with different ways, searching the internet, and communicating with a few others via blogs. Fox Renderfarm: Any artists or artworks inspired you most?Amaru: Usually I do tend to visit some of the greatest CG artist’s work to get inspiration like Marek Denko, however for this project I was heavily inspired by 3 of my most favorite films, Mad Max Road Fury, Blade Runner 2049 and 1917, the last one for the amazing camera work. Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?Amaru: My background in the industry has been everywhere from working on commercials and live action to video games, as well as architectural visualization and Hololens. Now for the first time I am working on animated films. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Amaru: I encourage all artists to create the things they love. When you’re paid to do what you’d be willing to do for free, you find fulfillment and purpose in your career. It might take longer than you think to catch your big break, so be willing to put yourself out there and never give up.


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