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

    2020-10-12

    Trending

    Fox Renderfarm Interview

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

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

    Click here and learn more about GoCreation Program

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

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

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

    Painting

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

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

    Photography

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

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

    Architecture

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

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

    Music & Dance

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

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

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

    Sculpture

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

    Literature

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

    Cinema

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Stage concept created by Shana Pagano

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Lenore © Walter Rastelli

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

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

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

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

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

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

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

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

    Cheers!

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


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

    2020-10-22

    Trending

    Malaysian Animated Films

    A big CONGRATULATIONS to all 2020 National Winners at Asian Academy Creative Awards(AAA) which is Asia-Pac’s most prestigious awards for creative excellence. We are proud that 2 Malaysian animated films rendered with Fox Renderfarm, Ejen Ali The Movie and Boboiboy Movie 2, were named Malaysia’s winners at AAA. Congratulations!

    Ejen Ali The Movie, made by WAU Animation, won the Best Direction (Fiction) Award - National Winner from Malaysia at AAA. Meanwhile, Boboiboy Movie 2, made by Animonsta Studios, won the Best Animated Programme or Series (2D or 3D) - National Winner from Malaysia at AAA. The 2 animated films will represent Malaysia to compete for Grand Winners at AAA at the end of this year.

    This year, due to the COVID-19 pandemic, as an enduring legacy awards program that truly represents and actively promotes Asian content and creativity, Asian Academy Creative Awards announced the 2020 National Winners during a livecast in Singapore. The Grand Awards and Gala Final will be live streamed on December 3rd and 4th, with the best of the best from 16 nations representing the region’s content industry.

    Congratulations again to Wau Animation and Animonsta Studios on their achievements. As the cloud rendering partner, Fox Renderfarm wishes them the best for their next adventure!


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

    2020-10-15

    Trending

    Art Competitions

    Heroes are Everywhere © Akhil Alukkaran

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Fox Renderfarm: Any artists or artworks inspired you most?

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

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

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

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

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

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

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

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

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

    NOTE: Fox’s Got Talent campaign keeps going. Welcome to share your artwork rendered with Fox Renderfarm and be our next winner and win prizes! For more info https://www.foxrenderfarm.com/fgt-community.html


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

    2020-09-28

    Trending

    Fox Renderfarm Interview

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

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

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

    Gal Yosef © Moshe Nahamovits

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

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

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

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

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

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

    Jazz Coffee © Gal Yosef

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

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

    Mickey Mouse © Gal Yosef

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

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

    Iconic Series © Gal Yosef

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

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

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

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

    Donald Duck © Gal Yosef

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

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

    Jazz Coffee © Gal Yosef

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

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

    Mini Cooper © Gal Yosef

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

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

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

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

    Extra Handsome © Gal Yosef

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

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

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

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

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

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

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

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


    FGT Community is online now!

    2020-09-22

    Fox Renderfarm News

    MILESTONES

    We are pleased to announce that the FGT Community is ONLINE now!

    https://www.foxrenderfarm.com/fgt-community.html

    If you are in love with 3D art and making 3D art, please join our FGT Community!

    What is FGT Community?

    FGT Community is short for Fox’s Got Talent Community, supported by the TPN-Accredited cloud rendering service provider Fox Renderfarm, which is a platform for 3D artists to show their CG talent, consisting of two programs, the FGT Art and the FGT 3D Challenge.

    In the FGT Community, 3D artists can show their artistic CG talent and appreciate the excellent artworks of other artists, so as to continuously improve their creative abilities, which is the purpose of FGT Community.

    What is FGT Art? FGT Art is a platform for Fox Renderfarm users to display their impressive 3D artworks rendered with Fox Renderfarm and get free render credits.

    One winner will be chosen monthly for FGT Art, who will get $100 worth of rendering coupons. What's more, the chosen entry will be shown on our FGT Art Gallery and the monthly winner will also get an interview opportunity to talk and share the artwork on our multi-channel networks including social media platform as well as our newsletter.

    Click here and submit the artwork to us!

    What is FGT 3D Challenge?

    FGT 3D Challenge is a 3D theme challenge held every quarter, all talented 3D artists are welcome to participate.

    Top three entries will be selected by our jury in every FGT 3D Challenge, and winners will get massive exposure on our multi-channel networks and get great prizes provided by our awesome sponsors.

    To date, FGT 3D Challenge has been held twice, the Easter Egg Challenge and the Hero Challenge. The new challenge is on the way, looking forward to your participation!

    FGT Community, a platform to show your creative CG talent!


    FGT3D Hero Challenge Winners Announced

    2020-09-18

    Trending

    MILESTONES

    We are happy to announce the winners of the Fox’s Got Talent(FGT) 3D Challenge themed on 'Hero'!

    https://www.foxrenderfarm.com/fgt3d-hero-challenge.html

    From June 22nd - September 6th, 2020(UTC+8), we received several artworks from various countries. After the selection by our jury, three artworks were picked and would be awarded. Congrats to the winners, but also to everyone who was taking part.

    The best works were evaluated in the following way:

    1. We sent the works to judges, including the caption of the works, so they could read about the hero story behind the work.

    2. Each judge had to choose 3 works and assign them to 3 places. Points have been assigned to each place, then we added points from each judge and got the first results.

    The prize covers fast and easy cloud rendering services provided by Fox Renderfarm and a huge amount of prizes by our awesome sponsors, including TopoGun, Friendly Shade, Graswald, Raysync, ProductionCrate, Textures.com, Texturebox, Marmoset. We will contact the winners in the next few days.

    Now let's see who are the winners!

    1st Place

    Title: Heroes are everywhere

    Created by Akhil Alukkaran

    • Fox Renderfarm $500 Render Coupon
    • TopoGun SINGLE license x1
    • Friendly Shade 1 bundle of texture maps
    • Graswald ProPersonal license x1
    • Raysync Large File Transfer Pro 1-year license x1
    • ProductionCrate 2 years Pro membership x1
    • Textures.com 1 year subscription with 2500 credits per month ($325 value) ×1
    • Texturebox Patreon Membership x 3 months
    • $200 Marmoset Shop Gift Card

    What Akhil says:

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

    What our jury says:

    Fox Renderfarm Team: “The coloring, composition, lighting, complexity, children, puppies, and storytelling reminded me of the works of Norman Rockwell.”

    Graswald Team: “Great image with a great message! I love how the feeling of the city was captured with the grafiti, the trash cans and the smoke. The rain sets the mood while in the back, the sun is shining, showing there’s always hope. ”

    Productioncrate Team: “Strong composition and good narrative, lovely lightning!”

    Textures.com Team: “This artwork conveys the concept of what makes a hero in one of the purest forms. Great storytelling. ”

    Marmoset Team: “Anyone that cares for animals is a Hero in our book!”

    TopoGun Team: “Indeed, heroes are everywhere. Very nicely rendered and detailed.”

    Texturebox Team: “There are thousands of good people helping who need it. Kids, men, women, they are real heroes.”

    Friendly Shade Team: “Great concept! I'd change the focus more towards the person with the dogs by framing it differently, maybe cropping the upper part of the image? The environment is drawing too much of the attention the subject deserves.”

    2nd Place

    Title: Cuddly Protector

    Created by Jeffrey Frias

    • Fox Renderfarm $300 Render Coupon
    • TopoGun SINGLE license x1
    • Friendly Shade 1 bundle of texture maps
    • Graswald ProPersonal license x1
    • Raysync Large File Transfer 50TB (Pay as you go edition)
    • ProductionCrate 1 year Pro membership x1
    • Textures.com 2500 credit pack ($110 value) ×1
    • Texturebox Patreon Membership x 2 months
    • $100 Marmoset Shop Gift Card

    What Jeffrey says:

    “Made for sweet dreams.

    What our jury says:

    Fox Renderfarm Team: “In terms of storytelling, this work stimulates the audience’s imagination. The narrative lighting creates a horrible atmosphere that children can accept. The main light outside the window guides the audience to pay attention to the little bear while the lamp leads to the monster behind the door. The setting of the children’s room, the scars on the bear’s body, and the posters on the wall all need plenty of time for in-depth character story background settings. The tension built in the scene also allows the audience to have a creative imagination of the story.”

    Graswald Team: “I love the idea of this image, and it was executed very well. The pose and the lighting set the mood and I love the details in the room, like the teddy bear holding the toy sword of the child. Great work! ”

    TopoGun Team: “Good idea, perfect setting, the context (childhood) is where heroes are needed the most in our lives. The artist paid attention to details, lighting and most of all, composition.”

    Friendly Shade Team: “Love this idea!”

    3rd Place

    Title: Hero's Journey

    Created by Sathish Kumar

    • Fox Renderfarm $200 Render Coupon
    • TopoGun SINGLE license x1
    • Friendly Shade 1 bundle of texture maps
    • Graswald ProPersonal license x1
    • Raysync Large File Transfer 10TB (Pay as you go edition)
    • ProductionCrate 1 year Pro membership x1
    • Textures.com 1000 credit pack ($59 value) ×1
    • Texturebox Patreon Membership x 1 month
    • $50 Marmoset Shop Gift Card

    What our jury says:

    Fox Renderfarm Team: “The psychedelic atmosphere and the grand view of the scene give the audience endless imagination in both the storytelling and character design. The composition, scene settings, and imagination are close to the level of blockbuster design. It is a masterpiece combining art and imagination.”

    Graswald Team: “This piece has little context, but it captured me instantly with its tone. Displaying heroism as a journey of self-development and showing the hero so small in contrast to the huge world tells a story about what heroism really is all about.”

    Productioncrate Team: “Nice subject and structure. would have liked to see more variations in the creatures and riders, their positioning seems too cloned. overall narrative and composition are strong.”

    Textures.com Team: “Super polished artwork with good value structure, color palette and mood. Could easily be a keyframe for an upcoming movie.”

    Texturebox Team: “It seems to loo a utopic universe. And every utopic universe needs a hero. It reminds me of avatar anime.”

    Our Sponsors:

    TopoGun

    A stand-alone resurfacing and maps baking application.

    Friendly Shade

    High-quality textures for 3D artists.

    Graswald

    The best way to create nature in Blender.

    Raysync

    Fast File Transfer Solutions with Reliability and Security.

    ProductionCrate

    To make top quality video production tools accessible to everyone.

    Textures.com

    A website that offers digital pictures of all sorts of materials.

    Texturebox

    Making great textures for free and premium at a low cost.

    Marmoset

    3D Real-time rendering, lookdev, & texture barking tools.

    Thanks to all the participants. We really appreciate your imagination and hard work. Meanwhile, A big thank you goes to our sponsors. Finally, we’d like to thank our jury revealing FGT3D ‘Hero’ Challenge winners. Congrats to the winners again!

    Who’s our next winner? We hope to see you in the next FGT3D challenge!

    NOTE: FGT Art campaign keeps going. Welcome to share your artwork rendered with Fox Renderfarm and be our Month winner! For more info https://www.foxrenderfarm.com/fox-got-talent.html


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

    2020-09-14

    Trending

    Fox Renderfarm Interview

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

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

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

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

    Audi RS7 TVC © Eleven FX

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

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

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

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

    Fox Renderfarm: Can you tell us about your pipeline?

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

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

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

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

    CGI breakdown for Audi RS7 2020 © Eleven FX

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


    The Korean version of the website is now available

    2020-09-11

    Fox Renderfarm News

    MILESTONES

    Dear Fox Renderfarm users:

    We are very excited to launch our Korean language version of our Fox Renderfarm website today! You can either go to the link https://www.foxrenderfarm.com/kr/ , or via our English website https://www.foxrenderfarm.com/ and click ’한국어’ in the language navigation bar located in the upper right corner of the website.

    We are committed to building a professional & reliable cloud rendering platform and providing safer and faster cloud rendering services to our users around the world.

    Please explore our updated website. We would be grateful for any feedback.

    Best Regards,

    Fox Renderfarm team


    Fox Renderfarm will E-meet You @ Kre8tif! 2020

    2020-09-01

    Fox Renderfarm News

    Fox Renderfarm

    This year, in addressing the challenging landscape, Kre8tif! 2020, Malaysia's definitive conference for creative changemakers, goes virtual!

    As the exhibitor, Fox Renderfarm is pleased to participate in Kre8tif! again. From 7th September to 10th September, we are looking forward to e-meeting you at our virtual booth, where you can know more about our latest developments, special offers and events!

    With the theme of Creativity Without Boundaries, Kre8tif! Virtual Conference 2020 offers CG participants an opportunity to extend inclusiveness and widen the networking opportunities as participants who have not had the opportunity to attend the past events will now have the chance to participate.

    Speakers of Kre8tif! 2020

    The Conference will feature online sharing sessions for passionate practitioners within the creative scene, as well as gathering leading minds in animation, licensing & merchandising, visual effects and digital technology.

    Click here and buy the Conference Pass now, where you can also get the FREE Access for 1 day!

    Together with Fox Renderfarm, inspire creativity!


    Sitara: Let Girls Dream, a Film Calls for Investing in Young Girls’ Dreams

    2020-08-19

    Fox Renderfarm Projects

    Fox Renderfarm

    Do you know that 1 in 3 girls in developing countries will be married before 18? Do you know that there are 12 million girls every year forced into child marriage, losing their ability to dream? It is what Sitara: Let Girls Dream, a Pakistani animated short film rendered with Fox Renderfarm, hopes to grow awareness about.

    Trailer of Sitara: Let Girls Dream

    Released on 8 March 2020 on Netflix, Sitara: Let Girls Dream, the CG animated short film written and directed by the two-time Academy Award-winning Director Sharmeen Obaid-Chinoy, tells the story of Pari, a 14-year-old girl who dreams of becoming a pilot while growing up in a society that doesn't allow her to dream. The short film highlights the burdens of a family and the impact of a culture where girls are still struggling to fully realize their dreams.

    Fox Renderfarm is honored to get involved in this meaningful short film. During the production process, the production team encountered some challenges, especially the rendering part, while the production was running out of time. And the production team asked Ms. Doris Dong for help to choose rendering partner, who is a senior producer with 30 years of global collaboration experience on animation and game and Ms. Doris Dong finally recommended Fox Renderfarm for its mature cloud rendering technology, automated operation procedures and 24/7 professional service.

    With Ms. Doris Dong’s help and Fox Renderfarm’s fast and secure cloud rendering service, the project was finally completed on time and now the film was successfully released on Netflix, which is Pakistan's first Netflix Original.

    Sharmeen Obaid-Chinoy, the Director of Sitara: Let Girls Dream, is the recipient of two Academy Awards and seven Emmy Awards. With Sitara, Sharmeen Obaid-Chinoy aims to raise awareness about the child-bride epidemic in her native Pakistan and many other countries, and calls on the global community to break down the barriers that keep girls from pursuing what they really want.

    “Sitara is more than a film. It’s a movement that we want to start across the world that encourages parents to invest in their girls’ dreams freeing their daughters from the burdens of early marriage." according to the Director.

    Fox Renderfarm also hopes that by watching this short film, girls around the world will be inspired to achieve their dreams, and families around the world are willing to invest in young girls’ dreams, making the world more equitable and beautiful.


    How to Create a Future Alien Planet Scene in LightWave 3D

    2020-08-10

    Trending

    Fox Renderfarm

    Have you imagined that in the future, humans will travel to other planets in spaceships to collect new energy?

    David Aguero, the 2nd place winner of the Hum3D Space Rover 3D Competition, created such an amazing future scene in his award-winning work The harvest, which was made with LightWave 3D, Substance Painter and Affinity Photo.

    The harvest © David Aguero

    As he introduced, “The new season is here and the harvest begins, soldiers, not farmers, extract the Enerplant, a powerful and green energy that floods the spacecraft engines, making possible star travel. It only grows in the exoplanet B7, in a region claimed by the human alliance, is a deadly business, but very profitable, some say, the new gold fever…”

    It’s pleased that your TPN-Accredited cloud render farm, Fox Renderfarm, has the chance to have an interview with David Aguero, a 3D generalist and Art Director form Argentina. He talked about how he created the cool space rover and the beautiful alien forest.

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

    David: Well, I'm 38 years old, living in Argentina, generally working as Freelance, now an Art Director for a local VFX company. Fantasy and science fiction are my favourite subjects.

    Fox Renderfarm: Congratulations on winning 2nd place in the Space Rover Challenge, how do you feel about that?

    David: Thanks! As an artist, winning an art challenge is a big opportunity, not only to win something but to get your work boosted to more people’s eyes, that is great.

    Fox Renderfarm: What inspired you to come out with the idea of making the work ‘The Harvest’?

    David: From some time I wanted to design a rover involving a "dome-like" windshield, I also love the AT-ST ( chicken leg transport from Star Wars).

    AT-ST from Star Wars

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

    David: I started May 22nd, and ended one day before the deadline (5 of June), so I spent 15 days ( on free time and weekends).

    Fox Renderfarm: Could you tell us how you designed the space rover?

    David: I tend to do some concepts in 3D, I use basic shapes to quickly find an interesting design, like sketching in paper then I start to add detail and think about the functionality in the process. You can't see in my entry, what my rover can do. If you look closely you have wheels for long distance travel, legs for complicated terrain and the main pod can detach for diving. :)

    Fox Renderfarm: The amazing work has great composition and details such as the robots and colorful trees, could you tell us how you make the amazing environment?

    David: I start the terrain base in world creator, then in LightWave 3D, I used a powerful instance system to populate small rocks and vegetation, the giant trees were easy to make, they are basic shapes with some 3D scan barks, I use the instance system to make the ivy, and then I use a unified material for the plant with lots of color variation, very fun to set up with the real-time renderer that LightWave has.

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

    David: The most challenging, was to make the UVs for the rover, too many parts, its takes a lot of time to do it properly, but to save time I didn't do all the UVs, I mirrored half of the rover since it wasn't to be displayed from other angles!

    Detail renders of the space rover

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

    David: When I was little I was fascinated with the old stop motion movies ( Ray Harryhausen), then in the 1993 Jurassic Park came out and blow my mind, ( I was 15 years old ) since then, I slowly learn what 3D was, started with the 3D studio for DOS, the use TrueSpace, 3ds Max, Maya and finally LightWave as my main 3D program now. Almost self taught, I went to a college to refine my 3D skills but at the time it was very basic, I have a degree in Multimedia designer, I learned more on the internet though.

    The Last Shuttle © David Aguero

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

    David: Yes! Before going to an expensive college or institute you can start by looking at online tutorials from the best artist out there, I learned a lot looking through the process of other artists, then, if you are serious about it, an institute can open jobs opportunities, contacts and give you some discipline for work.

    Healing © David Aguero

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

    David: Follow big artists, buy tutorials, interact in social networks, don't be lazy, share your work, accept critics, help others! And join challenges! They are great exercises to develop deadline skills! And more.


    Fox Renderfarm will E-Meet You @ FILMART 2020

    2020-08-05

    Fox Renderfarm News

    Fox Renderfarm

    FILMART, the Hong Kong International Film & TV Market, Asia’s Largest Entertainment Market, will go virtual during 26-29 August 2020!

    As Asia’s Largest cloud render farm, Fox Renderfarm is honored to exhibit at FILMART Online. And we would like to invite you to visit our virtual booth, learn more about our latest development and enjoy the online conferences and screenings. Register now and benefit from early bird rates until 6 August 2020!

    Organized by Hong Kong Trade Development Council (HKTDC), FILMART has poised itself as the premium marketplace for cross-media and cross-industry platform for the entertainment business. The long-standing exhibition covers various aspects along the value chain which includes distribution, production, post-production, TV, documentary, digital entertainment, film financing, film & broadcasting equipment and also location shooting services.

    As a bridge between the East and the West, FILMART features a one-stop-shop concept to host various elements of the industry under one roof.

    Click here and learn more about FILMART 2020. Don’t miss the chance to connect and meet with participants from 52 countries and regions.

    We are looking forward to e-meeting you in FILMART 2020!


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