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  • NEWS CENTER

    A WebVR Kitchen Tour: Immersive Tech is Bringing Vigour and New Possibilities to ArchViz

    2020-03-11

    Trending

    CGarchitect Architectural 3Dawards

    Through our communication and insight sharing with a list of excellent CG artists and studios that won or were nominated in the 2019 CGarchitect 3D Architectural Awards, sponsored by the leading render farm Fox Renderfarm, multiple professional techniques and compelling stories have been applauded by the wide audience. Whereas, ArchViz is no longer just about 3D images and videos, cutting edge technologies empower it with vigour and new possibilities. One of them is the interactive technology developed with 5G and web-based 3D, which is on its swift way to change people’s life.

    The winning artwork in the Interactive Category, MasterBrand WebGL VR Tour created by Pikcells, a multidimensional content creation agency, takes us into the space without needing to download apps or plugins. Why not enjoy the novel experience, and have a look at what your favorite color for the cupboard is.

    MasterBrand WebGL VR Tour

    For immersive experience: https://lab.pikcells.com/pikcells/web-kitchen-fullscreen/01/

    Pikcells is an innovative content creation agency based in the UK and USA, comprises digital artists, interior designs, stylists, software developers, thinkers, makers and doers. The agency has their very consistent philosophy towards art and design, despite the endless pursuit of quality photorealism, the artists and designers spare no effort to maintain the high quality with scale, while searching on distinctive design for customers and brands.

    Experiment and embrace is their attitude towards the technologies flooding in the market nowadays. So their art creations are organically integrated with emerging technologies. Their winning piece, therefore, is just one of their successful interactive and immersive cases in the portfolio. They even formed an in-house R&D team that has been working on more effective solutions for clients, additionally, a more playful experience for the audience.

    Showreel Winter 2020 by Pikcells

    Lab site at pikcells.com

    Fox Renderfarm is glad to have the chance to talk to Richard, Creative Director for Pikcells, about the distinctive features and tricky challenges of the Kitchen VR project, and also go deeper into the topic about the advanced CG technologies on marketing businesses - its application, business value, and how Pikcells will keeping breaking the limits of online 3D tech.

    Fox Renderfarm: Hi, Richard, would you please give a brief introduction about yourself and Pikcells. Ltd?

    Richard: I am the Creative Director and Co-founder of Pikcells. Pikcells are an innovative content creation agency, founded in Huddersfield in the UK in 2003. We're firm believers in good design being the foundation of everything we create and the teamwork hard to create some of the best photoreal CGI in the world, design and style beautiful interior spaces and make brilliant product customisation tools and AR & VR experiences.

    ArchViz by Pikcells

    Fox Renderfarm: How do you feel about winning The CGarchitect Architectural 3D Awards?

    Richard: The CGarchitect awards started around the same time we did and we’ve always aspired to win something. The standard is extremely high with some of the best work from around the world being entered so we were delighted just to have made the shortlist. Winning the interactive category was genuinely a real surprise, we hadn’t even prepared a speech!

    Fox Renderfarm: Could you give a brief introduction to this amazing interactive kitchen space? And what was the inspiration for it?

    Richard: The idea of creating a really realistic online 3D space has been something we've discussed internally for a while so when our client asked us to create something to showcase the future of interactive tools we put this vision into action.

    We took an existing CG scene and closed off the area behind the camera, adding additional furniture and props, then optimised the geometry, baked the light then built the custom shaders and configuration code. Finally, we designed the UI to work on all devices including VR headsets to provide a seamless experience.

    It's something we are very proud of as it showcases what our team is capable of and pushes the envelope for online 3D tech.

    Fox Renderfarm: Why did you choose this interactive project to participate in the competition? Which part of the work do you like the most?

    Richard: We’ve worked on a number of interactive tools in the last year, mostly projects for our clients where we’ve had to meet certain requirements. The flexibility of this brief along with the fact that ( as far as we know ) this is the world’s first web-based VR kitchen configuration tool, made it the obvious choice to submit to the competition.

    Fox Renderfarm: This 3D online kitchen tour brings a very novel experience to the audience with VR and interactive technologies. What do you think is the biggest breakthrough in this tool? And what leads you to these creative ideas?

    Richard: Until recently VR required high-powered desktop machines connected with wires to the headset, but the newer hardware and web-based 3D applications allow us to create light-weight environments with additional interactive elements. Also, the visual fidelity is something which we feel is a real breakthrough, usually these kinds of interactive tools use crappy lighting methods whereas we have opted for fully GI lit baked light maps which really enhance the quality.

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

    Richard: As the project required some experimentation it did take a little longer to complete, roughly 2 to 3 months of development and some minor alterations to the UI until we had a final working product.

    Fox Renderfarm: What software, renderers, plugins did you use in this work?

    Richard: The 3D side of the project was created with 3ds Max and Corona renderer, the same software we use for our CGI. Our artists create a low poly, optimised scene and render to textures. Our developers then take over with the interactive side of the project and use the WebGL framework and some custom coding to complete the tool.

    Fox Renderfarm: Did you meet any difficulties, and what did you do to solve it?

    Richard: The biggest difficulty with the interactive kitchen was creating a low poly environment optimised enough to deliver a convincing visual on any device. Unfortunately at the time, the best way to do this was by brute force manual modelling.

    Fox Renderfarm: We found that Pikcells is more than architectural visualization, it devotes to utilizing various forms of interactive and immersive CG technologies in interior design, styling, and commercial campaigns, etc. Could you introduce the project that you are proud of the most?

    Richard: Another of our favourite interactive projects from last year is an online property marketing tool created for Vita Student. This is also a first of its kind and features 3D building models online which can be explored by potential students. They can then explore the floor plans and rooms as 3D models before entering each apartment type and communal areas with a guided 360 tour. The availability of each apartment is linked to the database to give real-time feedback on which are already taken.

    Vita Student Accommodation by Pikcells

    For immersive experience: https://www.pikcells.com/portfolio/vita-student-webgl-tour

    Fox Renderfarm: How do you think these cutting-edge CG technologies influence marketing?

    Richard: In terms of marketing, there are so many benefits for businesses to embrace emerging tech. Not only does it promote a brand as being the pioneer of their field, but businesses can instantly see benefits in terms of engagement with their customers as they present them with all the information they need to make an informed decision. Additional benefits include cost savings associated with not having to produce large quantities of samples and brochures and the ability to quickly amend a product offering in line with trends.

    Fox Renderfarm: What’s the development vision for Pikcells?

    Richard: We plan to keep pushing the limits of online 3D tech, investing in WebAR and WebVR while continuing to build our team and improve how we do things.

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

    Richard: Just that we are always on the lookout for enthusiastic, passionate 3D artists to join our team.


    A Visualisation Artist’s Philosophical Thinking in his VFX & Archviz Films

    2020-03-05

    Trending

    Architectural Visualization

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    As the British philosopher and author, Alain de Botton said, what we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty. Ryan Wai Kin Lam, a Visualisation Artist, explored the beauty through his unique artworks.

    • Ryan Wai Kin Lam
    • London
    • Senior Visualisation Artist
    • Company: Foster + Partners

    Façades by Ryan Wai Kin Lam

    Nominated work in Film (Non-commissioned) of CGarchitect 2019 ARCHITECTURAL 3D AWARDS

    Ryan Wai Kin Lam is a Senior Visualisation Artist and Associate Partner in Foster + Partners, a diverse studio with offices around the globe that devotes to the pursuit of sophisticated projects, advanced technology and community development.

    Ryan spent nearly 2 months finishing the amazing film ‘Façades’, which portrays the facades of individuals through those of architecture.

    He thought that facades hide flaws, failings and – ultimately – reality. In the past decade, the structures surrounding us have been cosmetically overhauled; covering the deeper, economic faults. He tried to find out the parallels between these architectural fronts and the fronts put up by a community through his artwork.

    Here’s the interview between Ryan Wai Kin Lam and the leading render farm Fox Renderfarm.

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

    Ryan: I moved to London 11 years ago to study architecture at the Bartlett, UCL. After a few years I switched into a VFX career path; freelancing in roto work and character animation. Then I decided to go into architectural visualisation as my interest in architecture was still prevalent. I currently work at Foster + Partners’ film team; directly involved in the whole film pipeline from concept art through to the edit.

    Construction by Ryan Wai Kin Lam

    Fox Renderfarm: How do you feel about being nominated for The CGarchitect Architectural 3D Awards?

    Ryan: Extremely honoured as I don’t feel I have reached the top yet. Even when I won this same category in 2018, I still felt way behind many people and companies I look up to. It’s certainly a good start for my self-improvement.

    Cahaya by Ryan Wai Kin Lam

    Winning work in Film (Non-commissioned) of CGarchitect 2018 ARCHITECTURAL 3D AWARDS

    Fox Renderfarm: Why did you select ‘Façades’ to participate in the competition? Technically and visually, what is your favorite part of this film?

    Ryan: I try to do one VFX and Archviz film a year; so naturally this was the film for the category. Though I never do a film specifically for joining any competitions.

    My favourite part was working with other people that are more creative in areas which I am not; which was scriptwriting and music composition.

    Fox Renderfarm: What’s the inspiration for the amazing film ‘Façades’? And could you give a brief introduction to the story?

    Ryan: In Archviz films, I feel the look of the film sometimes matter more than the actual story itself to the public and client. I find that quite sad but it’s also the true nature of our work; it’s a difficult task balancing a good story and selling that to a client / public.

    As for using facades as a metaphor, I live in London where building refurbishments are almost always retaining the old buildings beneath a new façade.

    Fox Renderfarm: ‘Façades’ has many demonstrations with words, like the quotation of Alain de Botton at the beginning and the narration through the whole film, would introduce each one of them and tell us and the reason why you use them?

    Ryan: The reason was quite simple. It was very difficult to convey those messages by visuals alone; at least in a very direct sense. Alain de Botton’s work has always followed me so quotes from him come instantly. As for the narration; it was written and voiced by a great friend of mine to help further explain my thoughts with original lines.

    Fox Renderfarm: What elements in the film and techniques did you use to assist the storytelling, and strengthen the ambiance of the artwork?

    Ryan: One technique I’ve been using recently is to play a BPM counter to edit my storyboard in Premiere for the first draft. That way I get a sense of rhythm and can plan scenes much better even before the music is composed.

    Fox Renderfarm: For details, the triangular glass-like pieces play an important role in the whole film, what is that? And any ideas behind that?

    Ryan: I wanted something sci-fi to generate the transition of the facades, rather than the usual slice planes or particles seen in most Archviz films. Halfway through I realized it looks like a copy of Doctor Strange’s mirror dimension, but I kept it anyway!

    Doctor Strange

    Fox Renderfarm: We noticed that the background music is also made by you? Could you tell us a bit about this song? And what’s your ideas behind the editing of the music and the film?

    Ryan: Editing and music convey most of the emotional impact in any film. So, it was important for me to be hands on in those aspects. My music skillset is very basic as I can only start a small composition idea on the guitar or piano. Thankfully my wonderful mother is an amazing music composer, so she wrote half of it and made sure the whole song mixing was coherent.

    Fox Renderfarm: What software, renderers, plugins did you use in this work?

    Ryan: 3ds Max, V-Ray, Forest Pack, NukeX, Optical Flares, Logic Pro X, Adobe Audition, Adobe Premiere.

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

    Ryan: Editing and music composition; but only because the creative process is relatively new to me.

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

    Ryan: As with every personal project; it’s about putting in the hard work. There are always aspects of any work that will be tedious to do. A lot of people assume that personal projects are fun and easy to do because you’re passionate about it; but it’s not always that way. Not a lot of people can understand that. It’s about pushing through the menial tasks to finish the fun parts.

    Fox Renderfarm: What’s your latest achievement, and the project that you most proud of in Foster + Partners?

    Ryan: Some of my favourite projects aren’t public yet unfortunately; though I can recount some published ones that I am proud of. The Chicago airport competition film being one of them; I thought the film was much stronger visually than our competitors.

    The Nissan and Mars projects were also fun to do, always nice to work on something different from architecture.

    Nissan projects by F+P

    Fox Renderfarm: For you, as an outstanding architectural visualization artist, you are also a music compositor, what do you do to keep curious and motivated? And what do you do to enhance your professional skills?

    Ryan: Motivation is extremely easy to find in the social media age. For example, when I create a matte painting that I’m proud of, my ego rises for 5 minutes only to be shot back down after looking at Pedro Fernandez’s constant amazing work. It’s the same with other aspects of filmmaking from storyboarding to rendering. I find it very difficult to stay egotistic when there are all these amazing artists that I need to catch up to.

    I don’t have any secret on enhancing my skills other than just trying to work as hard as I can to improve. There’s a good quote from Christoph Niemann that goes “Every athlete, every musician practises every day, why should it be different for artists.”

    The Red by Ryan Wai Kin Lam

    Time Machine by Ryan Wai Kin Lam

    Fox Renderfarm: Who or what project inspires you the most? What school of thought do you adhere to?

    Ryan: Difficult to point out as it changes every week. On the top of my head = Sava Zivkovic for his personal film projects, Ash thorp for his art direction, Thomas Dubois for concept art.

    They all put it in the hard work with their personal works and it shows.

    FREIGHT by Sava Zivkovic

    Passage by Ash Thorp

    EVA / Stardust by Thomas Dubois

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

    Ryan: Check out the community group ‘Women in arch viz’ on Facebook.

    Know more about Ryan: waikin.artstation.com


    Creating Photorealistic Marseille Oceanic Views in Cinema 4D

    2020-02-05

    Trending

    Architectural Visualization

    Ocean is not only the origin of countless natural resources that raise and nourish all humankind, the underwater world has always been a root of curiosity and inspiration for many artists, from Twenty Thousand Leagues Under the Sea in literature, to Jaws in movie creation. In the Film (Commissioned) Category of CGarchitect 3D Architectural Awards, the nominated artwork J1 L'Odyssée, Naissance d'une Cité Subaquatique (hereinafter J1 L'Odyssée) is a breathtakingly beautiful ArchViz short film featured the underwater world as its theme.

    Fox Renderfarm is so glad to have a talk with Uros Vukovic, General Manager for DIORAMA, in which he revealed how the team had made the ambiental underwater scenes and the calm architecture views into reality in Cinema 4D. And he also shared with us the inspiration behind the name of the studio - DIORAMA, and their development vision for the future.

    • Company: DIORAMA
    • From: France

    J1 L'Odyssée, Naissance d'une Cité Subaquatique

    • Credits:
    • Produced by DIORAMA
    • Music by Iz Svemira
    • Sound design by Odiseja studio

    The nominated short film depicts the Mediterranean atmosphere that exists only in Marseille, combining architecture and nature. The breakdown video below gives us a closer look at the creation process of the amazing short film. Let’s enjoy the video and interview.

    Breakdown video

    Fox Renderfarm: Hi, Uros, would you please give a brief introduction about yourself and your company?

    Uros: Interested in the visual presentation of architectural projects, I started with DIORAMA in 2016 working on physical models and artistic installations. Meanwhile, I've been practicing architectural visualization through different media that brought me to the position of Animation Director and General Manager in the motion department of DIORAMA. DIORAMA is a studio based in Milan and Paris founded in 2016, currently counting around 30 artists. From the very beginning, we were heading toward different aspects of production always testing new media and trying new approaches, still rendering, motion, VR, and physical space.

    ArchViz work by DIORAMA

    Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?

    Uros: 3D Awards is a great example of how fast the CG industry develops in architectural presentation and clear description that architects are capable of using media and transforming them according to their necessities but in their own, general perception. Therefore being nominated was a huge honor for us, meaning that our style is acceptable in such a community.

    ArchViz work by DIORAMA

    Fox Renderfarm: Why did you select this artwork to participate in the competition? Which part of the film do you like the most?

    Uros: Selection of J1 L’Odyssée for 3D Awards comes from an intention to present our style and achievements we made in past years but still keeping in mind that the competition was merely for architectural visualization, therefore the selection of our work was an easy job. We have decided to compete in commissioned selection as the best way to express who we are and what we do, especially in relation to the client-based projects. This year we have selected J1 L’Odyssée, calm and very Ambiental film allowing us to technically try this specific way of production, therefore the part of the film starting with dusk mood brings additional calmness and culmination on the aerial view of the city, when the music stops and all attention goes to the Mediterranean atmosphere that exists only in Marseille, combining such an architecture and nature.

    J1 L’Odyssée by DIORAMA

    Fox Renderfarm: What's your inspiration for this amazing film?

    Uros: Inspiration for this film comes from reading Christopher Booker explanation based on Jungian analysis, also David Lynch's workflow for creating personalities, the Seven Basic Plots, and Enneagrams combined together. We have been deeply inspired to bring personality in a technical film. In certain scenes, one should find himself almost hypnotized by watching the environment, architecture, and nature. Even though the mere existence of architectural films is for the sake of demonstrating artificial appearance, we tried to say that the public has the right to enjoy its visual sensation. At the same time, the task became ambiguous as we still had to consider one-sided technical requests by the client.

    Left: Christopher Booker; Right: The Seven Basic Plots by Christopher Booker

    Enneagram of Personality (Image from Google)

    Fox Renderfarm: About the breathtaking scenes of the ocean and underwater city in the film, did you refer to any specific books or movies?

    Uros: Speaking about the ocean the inspiration comes from the film Le Mépris, directed by Jean-Luc Godard, especially the scene with the vast sea and villa showing the fight of natural and artificial crashing one into another. This had an influence on thinking of different worlds, which ended as natural above and artificial under. Considering underwater scenes there were not so many inspiring references as just imagination of an underwater life was already enough abstract to be very inspiring, therefore that part was well defined from the very beginning.

    Le Mépris

    Fox Renderfarm: The incredible project demonstrates a harmonious integration of the sea and the sky, of the history and the future, and of the nature and humankind. What special elements in the film or techniques did you use to illustrate that?

    Uros: Understanding what elements are merging together brought a middle relation as a solution. Speaking about scenes such as the ending one, the sea and the sky, sometimes have a middle link as of water, either rain or clouds or fog, the substance is the same. As the project contained two parts, one old warehouse which had to be restored and the other connecting part, the aquarium, we proceeded with lights and colors, this scientific cobalt glowing blue and desaturated yellow was the relation of future and past, nature and humankind. There were two parts of the film, one in the aquarium, which was obviously blue, defining at the same time nature, while entering into the warehouse was defined by that desaturated yellow and at the same time livable light color presenting the life.

    The ending scene @ J1 L’Odyssée by DIORAMA

    The aquarium @ J1 L’Odyssée by DIORAMA

    The warehouse @ J1 L’Odyssée by DIORAMA

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

    Uros: This was one of the fastest films we have ever produced, considering the number of people working on the project and the deadline we had. The preproduction phase, building the storyboard, mood board and going forth and back with previz and client took at all one week, while the production phase took 15 days.

    The storyboard

    Fox Renderfarm: What software, renderers, plugins did you use in this work?

    Uros: The whole animation was rendered with Cinema 4D and Redshift, additionally, we used Agisoft 3D Scanning for the island at the beginning. People were animated with AXYZ anima and Mixamo, we used Marvelous Designer for cloth simulation, After Effects and Premiere Pro for compositing and post-production.

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

    Uros: The most interesting part of the production was definitely building the story and finally putting all together with the music composed especially for this purpose by the great artist Iz Svemira. In 3D it was making an underwater world, modeling and rigging fishes.

    J1 L’Odyssée by DIORAMA

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

    Uros: The most difficult part of the production was the fluid simulation, which at the end was not in the film due to a very short deadline. Probably, we will show it once in the future through the breakdown. As a substitute, we had to make 3D displaced surfaces with an amazing free plugin called HOT4D and additional work in post-production.

    Fox Renderfarm: Could you briefly introduce the inspiration behind the company name - DIORAMA?

    Uros: DIORAMA is named this way from the original invention of Daguerre, today disappeared, working as a mental space to be reactivated running researches, experiments and collaborations.

    Fox Renderfarm: What's the development vision of your company?

    Uros: As we started not so long ago Diorama is growing very fast and the idea is to keep this exponential line as much as possible. Our main goal is to keep exploring and experimenting that will bring new ideas and possibilities to soon establish new ways of conceptual architectural films, and maybe try some other directions of visual presentation.

    ArchViz works by DIORAMA

    Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?

    Uros: We have tried Fox Renderfarm recently, rendered a coupe of animations and the scene from J1 with Cinema 4d and Redshift in the resolution of 17,000px as a billboard poster. Even though we have been very skeptical as we had the experience from the other render farms especially with such high resolution, we were surprised that the image was successfully rendered without any problems on GPU based platform. The website seems very well organized, and the farm quite affordable.

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

    Uros: Keep exploring, and be productive!


    Interview with Cristina Martinez Benita: Contrast between Strength and Lightness in ArchViz

    2020-01-23

    Trending

    Architectural Visualization

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    When wandering in a gallery, you may stop by a painting that’s compelling or would also get confused about why you feel so lost in a picture. The reason lies in the composition and lighting, which determine the visual effects and the viewer’s engagement of an image. Cristina attempts to make her ArchViz image rational and focused while illustrating the contrast between strength and lightness. Let’s read the interview about how she illustrates the Guna House by Pezo von Ellrichshausen in a calm and harmonious atmosphere.

    • Cristina Martinez Benita
    • From: Madrid, Spain
    • Architectural Visualizer
    • School: School-ing

    LAKEHOUSE: Nominated work in Student (Image) Category of CGarchitect 2019 ARCHITECTURAL 3D AWARDS

    CREDITS:

    Adán Martín, Eduardo Rodríguez and all the schoolmates for each word of advice. Pezo von Ellrichshausen for his amazing Architecture and the fascinating house which inspires this image.

    Fox Renderfarm: Hi, Cristina, would you please give a brief introduction about yourself?

    Cristina: Hi everybody and really thanks for the opportunity to share my personal story. My name is Cris and I am an architect who has always felt a great attraction for everything visual: photography, painting... That’s why 9 months ago I decided to make a huge change to my professional life and enter School-ing, the new 3D school of Adán Martín and Eduardo Rodriguez in Madrid; an amazing experience and a total revolution of knowledge . Thanks to my time at the school today I can work doing what I like most in one of the companies I always admire, Play-Time, based in Barcelona. So I am just landed in the ArchViz community but it is my true passion.

    Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?

    Cristina: Being nominated in the CGarchtiect Architectural 3D Awards was a complete surprise. It was a mix of happiness and incredulity but of course I felt really lucky, I had no plans to take part in the competition but at the last moment (to be honest last day) I decided to submit the image encouraged for our teachers and schoolmates. Attending Viena event was an amazing experience I will always remember.

    Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition?

    Cristina: The image started as an educational exercise to practise several parts of the ArchViz process. We had to choose an existing architectural project and I took Guna House, an incredible house of Pezo von Ellrichshausen. I was starting with modelling so I wanted to take something really rational and focus the effort to create an atmosphere of contrast and a story around the Architecture and its location. I thought those two elements could help the image to get attention. Guna House emerges as a concrete rational sculpture in the middle of a wild surrounding nature. The contrast between strength and lightness, Human and Nature.

    Guna House by Pezo von Ellrichshausen

    Fox Renderfarm: Could you introduce the light design and the composition of this project?

    Cristina: Since the first sketch I was really clear about an image with a square format and a really static composition, with the house as a solid focus and many details happening around it. I was imagining an atmosphere which inspired (apparently) harmony, calm...and I got it with one of the HDRI of a 3D Collective. Then I just had to add some Vray spots to emphasise the interior of the house. The lake in the scene really helps me with reflections and shades.

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

    Cristina: It is difficult to say since we use the scene to practise several things along the classes, but yeah I do not want to trick anybody, for sure it takes more time than the available in the daily work ;)

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

    Cristina: The most interesting part was the process itself, the constant growth of the image along the time, how the idea was taking shape and at the end, compare the initial sketch with the final result. I also enjoyed a lot creating all of the details along the lakeshore including some hidden little friends. The main idea was the image invited you to become an observer among the bushes, paying attention to small gestures.

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

    Cristina: Well when I started this image it was barely a few months since I started my relationship with 3D Max so everything in it, was a kind of challenge for me but also a great opportunity to apply all the knowledge. Thanks to each piece of advice from teachers and the support of schoolmates the journey was much more easy to live.

    Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?

    Cristina: As I mentioned in the introduction, I officially started in the architectural visualization last January but the curious and interest for this world was there since I started to work as an Architect. Especially, when I got an internship in ETB Studio a really inspirational italian studio where they had an incredible way to tell and communicate projects. The final decision was just a perfect combination of time, personal moment and great school.

    Fox Renderfarm: Who or what project inspires you most in this industry?

    Cristina: I sincerely think almost everything can inspire you in this industry. It is clear that Photography or Painting are directly influences but also travelling itself, visiting places or living landscapes and cities can improve your eyes and your visual background. About who...it is always difficult to choose someone but if I have to give names I love the works from Darcstudio in UK and SixNFive in Barcelona.

    ArchViz Works by Darcstudio

    ArchViz Works by SixNFive

    Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?

    Cristina: I believe that as in every industry, the most important thing is the passion and the non-stop wish to learn everyday, to be curious. Also, I personally like to believe that emotions and feelings are important parts of this job. I try to improve my professional skills listening to all the talented people I am surrounded and trying to learn from their experiences. I also try to exercise the way I look spending a lot of my free time reading images and watercoloring.

    Cristina’s artwork

    Fox Renderfarm: What’s your next step?

    Cristina: Currently I do not make many plans for the future. I am just focus on learning and improving to grow professionally. The industry is changing so who knows....

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

    Cristina: I just want to say thanks, I feel really grateful for taking part of this industry . Hope it also encourages more women to begin in this inspirational world.

    For more artwroks

    Cristina’s Instagram: https://www.instagram.com/soyeme/

    Behance: https://www.behance.net/cmb1

    Play-Time’s Instagram: https://www.instagram.com/playtime.barcelona/


    Interview with Jesús Gómez San Emeterio, Interactive Design in UE Empowers ArchViz with More Possibility

    2020-01-30

    Trending

    Architectural Visualization

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    Hey, friends! Thank you so much for keeping up with our CGarchitect 2019 Awards interview! After seeing numbers of the well-made artworks, from images to short films, students to professional ArchViz creators, personal works to company projects, Fox Renderfarm is excited to introduce you a novel form of ArchViz: the Master Bedroom created by Jesús Gómez San Emeterio, nominee for the Interactive Category.

    Can’t wait to see the interactive artwork? Read our interview below, Jesús reveals how he finally made it possible with months of “trials and errors” in UE!

    • Jesús Gómez San Emeterio
    • From: Spain
    • 3D Artist

    Master Bedroom by Jesús Gómez San Emeterio

    Fox Renderfarm: Hi, Jesús, would you please give a brief introduction about yourself?

    Jesús: Sure! I'm Jesús Gómez San Emeterio, an Architect and 3D artist from Spain dedicated mainly to Architectural visualization and to narrate what is in my head with CGI in my free time.

    Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?

    Jesús: I feel really proud and recognized, it was the first year that I participated and it was really emotional when I saw my name with the best studios around the world.

    Fox Renderfarm: What’s your inspiration for this amazing interactive artwork? And why did you create the work in an interactive way instead of just still imagery? How do you feel about the differences between still imagery/video and interactive Archviz creation?

    Jesús: I think that interactivity is a new way of experimenting unbuilt Architecture. When I do a still image, for example, I always try to express something, to make the viewer see through my eyes for a moment… And there is a beauty in that. Interactivity is more related to exploration, it allows the viewer to experiment the space with freedom and I'm sure that every person will do it differently.

    Also, from a technical point of view, you can add much more information, like to see where are you located with the planimetry in real time or change materials, lights... and see how the space changes with your decisions for example.

    I like both ways of communicating architecture, they are very different and unique.

    Fox Renderfarm: Why did you select this interactive artwork to participate in the competition? Which part of the artwork do you like the most?

    Jesús: Through last years I did a few little demos, testing and learning Unreal Engine. I thought that this work shows what I learned in a bit more professional way, so it was the only one that I presented.

    The part I liked the most was when I could make changes of materials and see how the space turned into something different in the blink of an eye with photoreal quality, it is like magic!

    Fox Renderfarm: Could you introduce the layout and lighting of this master bedroom?

    Jesús: Sure. All is bake lighting. It is composed by a stationary directional light (sun) visible at the bed and an atmospheric fog + HDRI captured by a Sky Light.

    I share the lightmass values used in this project, as you can see the static lighting level scale is really low and gives high precision in the light calculation over the meshes.

    Post Process Volume has a big impact on Unreal Engine as you can see in the picture. The cool thing about it is that all changes in real time, so it gives you the opportunity to be focused on the art direction.

    Post Process Volume

    Fox Renderfarm: We discovered the decoration and the furniture are beautiful and coherent, did you refer to any style or artist?

    Jesús: Thank you! I think that everyone can appreciate the interior design when you put some effort into it and use it as another tool for communicating ideas. In this case was a personal design.

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

    Jesús: That's a tricky one as I did it in my free time, maybe this master bedroom could take some weeks, but behind it, there are months of “trials and errors”, researches, frustrations and small successes that I can't even count.

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

    Jesús: The best part I think was to be able to see the same scene with a very different perspective with a successful migration from offline rendering to Unreal with interactivity.

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

    Jesús: Of course, I met any possible difficulties, I think, fixing textures, dealing with lightmap errors, when everything works, be unable to compile the project due to unknown Unreal memory things...

    Through one way or another, every issue has a solution. In my case, I had to research a lot, hours of YouTube tutorials that maybe not solve it directly, but it is related to the problems and so on, it is a hard way to learn things.. but somehow it works and I learned a lot during the process.

    Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?

    Jesús: I finished my studies as Architect when I was 23, then I directly started to work in an interior design company in a 3D team where I learned a lot and months later I moved to a studio of architecture being in charge of the whole visualization process for 3 years until now.

    I know that 3 and a half years doesn't sound like much… But hey! They were intense!

    Artwork by Jesús

    Fox Renderfarm: Who or what project inspires you most in this industry?

    Jesús: A friend showed me the Third and the Seventh (by Alex Roman) in the university, that was a mind-blowing moment and it look impossible to me, it was really inspiring.

    The Third and the Seventh by Alex Roman

    Nowadays, I follow the work of all the top studios and artists around the world in the architectural field: Mike Golden, Cornelius Dämmrich, Quixel artist... and from Spain like the Beauty and THE BIT, Play-Time… But also from other fields like cinema or video games like Jama Jurabaev or Nick Hiatt.

    ArchViz works by Beauty and THE BIT

    ArchViz works by Play-Time

    I said some names that can be useful for the reader, but actually, there are hundreds of amazing not so renowned artists that I can see everyday at Artstation and they worth the time to learn from their work as much as from the biggest company.

    Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?

    Jesús: Oh wow, thank you! I think that not only as an artist, but in life, a good attitude, being constant, kind and humble with people around you is really important because you can probably learn something from everyone and it is the only way to do it.

    What I do is never stop learning and trying new workflows or software that can be useful, and transform that new knowledge into something as a little personal quest. For example, if I try Substance Painter: okay, let's create an asset and paint it to the end as a final product, or if I try a new render engine: well, let's create a good illustration or a little animation clip! I don't know if it sounds stupid, but it helps me during the process and later to look back and see what I could do with that tool or whatever.

    Artwork by Jesús Gómez San Emeterio

    Fox Renderfarm: What’s your next step?

    Jesús: Well, I don't know much about steps, but in my experience, if you work hard to do what you like most, things happen one way or another, so that's my plan! Keep working and learning to become a better Architect and CG Artist every day.

    Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?

    Jesús: I had the opportunity to meet Fox Renderfarm at the CG Architect 3DAwards for the first time. I think that is a good option for 3D artists like me who work with one computer for rendering videos with the best quality and be able to keep working on other things. The communication with them is really nice too!

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

    Jesús: Have fun and do what you love to do!

    Artworks by Jesús Gómez San Emeterio

    More Personal web page: https://www.jesusgomezarq.com

    Instagram: https://www.instagram.com/jg_architect

    Artstation: https://www.artstation.com/jesusarq


    Interview with Patrick Vogel, a Designer Thinking about How Futuristic Architecture to Save the Last Nature

    2019-12-16

    Fox Talk

    Architectural Visualization

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    What happens, if the ecosystem is going to collapse? How will architecture save the last few bits of nature? Patrick Vogel, a multidimensional designer and creative director, told us his answer through a futuristic 3D architectural work.

    • Patrick Vogel
    • From: Germany
    • Multidimensional Designer
    • Company: ALT/SHIFT

    The Prophecy: Nominated work in Image (Non-commissioned) of CGarchitect 2019 ARCHITECTURAL 3D AWARDS

    Patrick Vogel spent 4-5 weeks to finish the creative work The Prophecy, which contrasts the world of the extinct to the world of the living through an architectural Utopia. By creating the image, he wants to point out that architectural visualization can be used for more than selling buildings. It rather can be a tool for portraying political, social and ecological problems, to gain attention and publicity.

    Patrick’s Work

    Patrick is a 3D designer in the field of visualization, animation, VR, and design & art. With the background of the architect, he found his own 3D/Design studio ALT/SHIFT, an interdisciplinary design studio in Hamburg in 2016. Patrick and his team create high-end visualization, animation and high immersive VR-experiences, and keep their own unique style in creation. Their vision is to be the digital architects who create digital realities.

    ALT/SHIFT’s Work

    Here’s the interview between Patrick and Fox Renderfarm.

    Fox Renderfarm: Hi, Patrick, would you please give a brief introduction about yourself and your company?

    Patrick Vogel: My name is Patrick, I’m a 31-year-old dude from Hamburg City and the founder of ALT/SHIFT. I used to be an architect but hated that boring job. So the decision was clear in 2016: I have to start a 3D/Design Studio. We’re basically doing whatever we want. It just has to be creative. We’re mostly doing ArchViz, Motion Design, Branding and other weird stuff. We do what we love and we love what we do. Ah, I forgot the most important thing. I’m having ALT/SHIFT with my amazing wife Tanja.

    ALT/SHIFT’s Work

    Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?

    Patrick Vogel: I’m super blown away! Just amazing! I really didn’t expect that. Feels unreal.

    Fox Renderfarm: What’s your inspiration for this amazing project of The Prophecy? Why did you select this artwork to participate in the competition?

    Patrick Vogel: In general, I’m really interested in the whole climate change discussion and wanted to portray a sinister future scenario about this topic. As I’m doing a lot of ArchViz for commercial projects I am always asking myself if this kind of job is the right thing for contributing to society. The answer is no. We basically selling images that sell houses to people who can afford it. Don’t get me wrong, I love this job, but I was asking myself if it would be a cool idea to use the ArchViz-medium as something that communicates a modern problem. That was also the reason why I participated with that work: I wanted to tell a real story through ArchViz. Not a customer journey.

    Other 3D architectural works of Patrick

    Fox Renderfarm: Could you introduce the lighting design of the project?

    Patrick Vogel: That was actually a tough one. I tested like hundreds of lighting setups and HDRIs to get the right “poisoned-world”-look. I didn’t know, what I was searching for and it literally took days to find the right mood.

    Fox Renderfarm: We discovered that this artwork is different than the commercial architectural visualization, why do you illustrate the future architecture in this way? Any ideas behind that?

    Patrick Vogel: Yes, like I said in one of the answers above: I tried to create something that communicates the climate change problem and shows a possible future, where there is no real nature anymore. Something that can happen. A world that we created for our children. Sounds really dramatic and emo, haha. But basically, that’s it.

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

    Patrick Vogel: Staring for hours at the screen and being amazed and scared at the same time… And then realizing that this dystopian piece comes out of my head.

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

    Patrick Vogel: I had huge trouble with finding the right light setup and I hope I solved it.

    Fox Renderfarm: ALT/SHIFT not only devotes to high-end architectural visualization but also dedicates to multidimensional visual communication like animation and VR, what’s your inspiration for this integration?

    Patrick Vogel: Oh yes, we’re doing a lot of different stuff. That’s what keeps us moving forward. We tend to always say YES. Because YES usually leads to way more fun then MAYBE or no. From branding to motion, fashion, cover art – we see ourselves as multidimensional designers with a strong foundation in 3D and CGI.

    ALT/SHIFT’s Work

    Fox Renderfarm: What’s the development vision for your company?

    Patrick Vogel: We want to create. It’s that simple. At the moment we realize, that we will be forced to grow a little bit – but we want to stay a weird and fancy boutique studio. MY nightmare would be, that I’m not creating stuff on my own anymore – instead just caring about employees, client needs and new business. If that means, that we will stay small and will never have a Lamborghini – I’m happy to pay that price. So the answer in general: We want to become one of the most creative boutique-agencies in the world.

    ALT/SHIFT’s Work

    Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?

    Patrick Vogel: Honestly, I never ever used a render farm in my whole career. But I guess, that will change now. And I also guess that Fox Renderfarm would be an amazing partner! So be prepared to welcome us as new customers!

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

    Patrick Vogel: Like Nike said: JUST DO IT. Don’t overthink things. Don’t overthink light, composition and so on. Just create CGI more based on how it feels. Not how it’s supposed to look – because somebody set some standards in look and feel.


    Interview with Dans Digital, A VFX Creative Company Won 112 International Awards

    2019-11-13

    Fox Talk

    Art Competitions

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    Dans Digital, one of the few comprehensive visual effects companies in China which integrates technologies such as 3D animation, live-action shooting, and visual effects, won numerous international Ad awards including CICLOPE, MOBIUS, NYF and so forth, was founded by Mr. Bohong Deng who was honored as AUTODESK 3DS MAX MASTER in 2009.

    This year, Dans Digital won The Best Commissioned Architectural Film at CGarchitect Architectural 3D Awards 2019, for its wonderful architectural film, Yuxin Building. It’s our honor to have an exclusive interview with Dans Digital, from which we can know more about the success story of the multi-award winning team.

    • Company: Dans Digital
    • From: China
    • Director: Bohong Deng / Executive Producer: Cuimin Zhou / Executive Producer: Yan Jiang / Post production: Guanghao Xu / Editor: Yuping Duan / Post production: Yan Li / Photographer:Bo Yang / Visual Effects:Jinliang Jiang / Layout:Hongming Xiang / Technical Support:Guibing Xu / Photographer:Minsheng Lin / Post production:Zhiqiang Chen / Layout:Haixiang Hong / Assistant Camera:Jujun Zhang / Post production:Hui Yang / Layout:Junwen Xu / Assistant Camera:Zhichen Tang / Layout:Jie Yu / Visual Effects:Xiaozhen Cheng / Layout:Rongxiang Yang / Layout:Mini Chen / Layout:Leisi Feng / Layout:Zhijing Sun / Production Assistant:Yucheng Chen / Production Assistant:Liling Gao

    The film stimulated the foggy morning with 3D visualization technique, it portrayed the building and surrounding landscape covered in the mist with low contrast and low saturation tone, which provides people an artistic conception of traditional Chinese ink painting.

    In addition, the traditional means of artistic expression resonated with the ancient Chinese Philosophy where the creative idea was generated.

    As the creator of the awarding-winning film, Dans Digital, founded in 2003, is mainly engaged in film production work within advertising, animation and visual effects field. Dans Digital has won 112 awards in total in international competitions, including 1 Best Of Show and 16 Gold Awards.

    Some of the honors

    Dans Digital takes a leading position within the industry of China in 3D animation, visual effects and post-production, and has mastered the advanced technologies proficiently including photographing and 3D synthesis, pilotless aircraft photographing, computer simulation and performance of fluid and rigid-body dynamics, particle system and computer cluster rendering, etc.

    Some of the award-winning works

    No matter in architectural style, artistic style or creative ideas, Dans Digital has never stopped the pursuit of innovation. Dans Digital started building growth animation technique and traditional Chinese realistic painting animation style within the industry, and has created many works which were regarded as milestones of the industry.

    An excellent leader is indispensable to an excellent team. The Founder and Director of Dans Digital, Mr. Bohong Deng, one of the jury for the“CLIO AWARDS” from 2015 to 2017, has created more than 100 excellent works within 16 years since he founded Dans Digital.

    He initiated the creative architectural growth animation and traditional Chinese realistic painting performance practices. His works were made outstanding contributions to the development of the industry.

    Mr. Bohong Deng was honored as 3DS MAX MASTER in 2009

    Here’s the interview between Dans Digital and Fox Renderfarm.

    Fox Renderfarm: Why did you select this artwork to participate in the competition? Which part of the film do you like the most?

    Dans Digital: Actually, we submitted three films. But the judges did not turn their noses up at the other two. I think all excellent films should be outstanding as a whole. I’m satisfied that our award-winning film completely integrates our client’s business purpose with artistic feeling.

    Fox Renderfarm: What’s the inspiration for this amazing film?

    Dans Digital: The inspiration comes from two lines of a poem from a famous Chinese poet Lu You living in over 900 years ago. The two lines are “铅华洗尽,珠玑不御”, which mean remove all makeups and jewelry, get back to basics. More precisely, it means “Remove all gorgeous colors and celebrated labels in life, get back to simplicity and peacefulness.” Therefore, the film is presented in lighter colors. I try to use the state of life described in the poem in architecture, life and films.

    Fox Renderfarm: The whole film delivered a very tranquil atmosphere, what objects in the film you made and techniques you used to strengthen this style?

    Dans Digital: To create a peaceful and graceful ambience for the film, I chose a foggy morning to set a tone for the film.

    Fox Renderfarm: In the first half of the film, we can see drops of water floating in the air, any ideas behind that?

    Dans Digital: In Chinese, when we have some ideas and feelings, we usually use “Rise and Emerge” to describe them. And these two words both imply the meaning of “upward”.

    Fox Renderfarm: Could you introduce more about the camera movement design? Other than the horizontal movement of the camera, the camera was zoomed in with multiple movements and such.

    Dans Digital: The camera is designed to move from some specific part to get a whole picture, from slow to fast. This is the simplest narrative rhythm of a film. In the end, the fast moving long-length shot could meet the client’s need to fully display the product as a whole within limited time without destroying the overall atmosphere of the film.

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

    Dans Digital: We spent ten months finishing the work from ideas to reality.

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

    Dans Digital: The most interesting part is always the hardest part during every creation process. The most difficult part of the film lies in how to determine light and colors as a whole as well as the concentration and tone of the fog. Stronger light, colors and fog will make the film too flashy while weaker ones will create a dark and gloomy atmosphere.

    Fox Renderfarm: Dans Digital, as a comprehensive and award-winning visual effects company, what is the project that your company most proud of?

    Dans Digital: We do our best and challenge ourselves on every project. And such experience deeply impresses ourselves.

    Fox Renderfarm: What’s the development vision of your company?

    Dans Digital: To bring people with better feelings.

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

    Dans Digital: Even if others misunderstand you or try to bring you down, never stop putting sincerity and effort into your work.


    Interview with Adrian Rubio Vasco: ArchViz Works that Fool Your Eyes

    2019-11-08

    Fox Talk

    Art Competitions

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    It is always said that “seeing is believing”, while sometimes you will somehow be confused or fooled by your eyes. Spanish ArchViz artist Adrian Rubio Vasco takes us in front of and inside The Longbranch Cabin made by Olson Kundig with his extraordinary ArchViz artworks. Each photorealistic ArchViz illustration features perfect perspective, lighting, and texture, making it hard to believe they’re ArchViz at all. Fox Renderfarm is delighted to interview with him, and you can have a closer look at the comparison images with real photographs in the interview to see if your eyes will fool you again this time.

    • Adrian Rubio Vasco
    • From: Spain
    • Architectural Visualizer
    • School: 24studio VIZ

    The Longbranch Cabin: Nominated work in Student (Image) Category of CGarchitect 2019 ARCHITECTURAL 3D AWARDS

    CREDITS:

    • Student: Adrian Rubio Vasco.
    • Teachers: Jesus Manuel Jimenez and Sandra Ferminnan.
    • School: 24studio VIZ.
    • Project designed by Olson Kundig.

    Fox Renderfarm: Hi, Adrián, would you please give a brief introduction about yourself?

    Adrian: Hi, I’m from a small city in Spain, Zamora, where I did my career in Interior Design at the EASD. Later I moved to Madrid where I studied visualization at 24studio LAB. I’ve always been passionate about photography and almost every visual media so I’m very happy to be where I am right now.

    Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?

    Adrian: I wasn’t expecting to be nominated so it was a big surprise.

    Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition?

    Adrian: As a student at 24studio LAB, we were asked to choose a real project and try to recreate the whole images, which is a great way to learn how light and materials work in real life. I didn’t had the intention to submit the work to any contest, but it ended looking so good that the people at the school encouraged me to do it anyway.

    The Longbranch Cabin it’s really different from the architecture we used to see nowadays, also the photographers did a terrific good job, the pictures are spectacular and have very complex light and a lot of rich materials to practice and learn.

    Left: Longbranch Cabin’s photo by Benjamin Benschneider; Right: ArchViz by Adrian

    Fox Renderfarm: Could you introduce the light design and the composition of this project?

    Adrian: I just focused on the details, the bounces, reflections, and tried to understand everything that was going on and make it on Max. For the direct lighting, I used a VraySun, a Vraysky and a blueish big sphere for the ambient light and a sunset HDRi for the reflections.

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

    Adrian: It was a total of six images and we had 4 months to make them all, but I wasn’t working full time nor every day, so I can’t tell exactly the time.

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

    Adrian: I asked the architects for more detailed plans, but they didn’t answer, so I ended modeling the Cabin from the references perspective for each image, and I think that it gave the images a nice little touch of realism.

    Left: Photographs by Kevin Scott, Benjamin Benschneider; Right: ArchViz by Adrian

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

    Adrian: Aside from the modeling methodology, I remember struggling with my old computer to get the renders done without crashes, which made me learn a lot about how to optimize the scene and render settings.

    Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?

    Adrian: Once I finished my education at 24studio LAB they offered me an internship at their marketing and visualization agency 24studio. I’ve been there for 9 months now.

    Fox Renderfarm: Who or what project inspires you most in this industry?

    Adrian: If I have to choose only one, the Third and the Seventh by Alex Roman. It's beautiful, I remember watching it and think to myself... I want to be able to do this one day.

    The Third & The Seventh by Alex Roman

    Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?

    Adrian: I’m still learning and improving, but I think experience and resources are very important for time-saving. At the end is all about finding the balance between how far can you push your images into realism and the time you have to make it possible.

    Fox Renderfarm: What’s your next step?

    Adrian: In my spare time, I’m learning and working on my own script for Max and also learning 360 photography to make virtual tours and my own HDRis. The next step would be learning how to photograph PBR materials or UE engine for real-time rendering, there’s a lot of interesting things to do and learn in this job.

    Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?

    Adrian: I haven’t used any render farm yet, but I will definitely look into it for future projects.

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

    Adrian: It’s great to be part of such a nice and talented community and I hope that someday I could contribute to it as much as it has contributed to me.

    For more Adrian’s artworks:

    ins: https://www.instagram.com/adrianrubio.pro/

    web: https://www.adrianrubio.pro/


    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    2019-10-30

    Fox Talk

    Art Competitions

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    After reading 2 interviews with the winner and nominee for the 2019 Architectural 3D Awards, you must have been amazed by their great ideas and persistence in their ArchViz career. Today, we go on our exploration in the creation of ArchViz by talking to Mr. Alvaro Arroyo, nominee for Student Image category.

    • Alvaro Arroyo
    • From: Spain
    • 3D Artist
    • School: School-ing

    CREDITS:

    • School-ing
    • Adán Martín
    • Eduardo Rodríguez
    • All of the School-ing students
    • 3D Collective

    Alvaro’s work delivers a sense of melancholic atmosphere while the composition is with coherent layers. The moment he created this artwork, he was still a student, however, he has already stepped into the ArchViz industry and put his whole heart in it currently. Let’s read the interview to know more about the creation of the nominated work, and how he sees the shift in his life.

    Fox Renderfarm: Hi, Alvaro, would you please give a brief introduction about yourself?

    Alvaro: Hi, my name is Alvaro Arroyo Cerdá, a 27-year-old 3D Artist from Valencia (Spain). I´m an architect from the Polytechnic University of Valencia (UPV) and now I´m working full time in the architectural visualization industry.

    Polytechnic University of Valencia

    Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?

    Alvaro: It is definitely a great honour. Just the fact of having my work recognised in the world's most important awards of the industry is an amazing feeling. A few months ago I couldn't imagine all these things were going to happen.

    Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition?

    Alvaro: This image is part of a project that I was working on in the school, so besides this one, more images have been made. Each one has the architecture as the base, and then I tried to experiment (with) different moods for all of them, creating atmospheres that fit my purpose.

    Other 2 pictures for the same project

    In this artwork, I had the idea of creating a melancholic atmosphere where nature and modern architecture might get together. I added some women playing music inside the house just to emphasize that idea.

    Fox Renderfarm: Could you introduce the light design and the composition of this project?

    Alvaro: The light design is just based on a foggy HDRI, and I used the Vray environmental fog to mitigate the light and exposure of that HDRI. In terms of composition, I had a clear idea of having the house entry in the center of the image, and for that, the shape of the building was so helpful. I had the forest and nature on the foreground, just playing with its colours and wildness, and introduced those broken branches on the right to avoid a flat image. The road on the left was a great element to avoid it as well. Finally, I placed some forest on the background to make them disappear in the foggy day.

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

    Alvaro: Probably it took between two and three weeks to do that image, but it's hard to tell because it was part of a bigger project, so modeling the architecture and texturing were the longer parts.

    Clay render

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

    Alvaro: Maybe the most interesting part was when I was trying to achieve the mood that I had in my head for this image. As I saw the first results, my idea was to place myself inside that environment to keep improving all the details and have a humid atmosphere like the one we have when just stopped raining.

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

    Alvaro: Of course, I think is part of the process and in my case as a beginner, I had much more difficulties. The hardest part was to recreate a realistic wild forest because it was so close to the camera, and I solved it working a lot in the vegetation materials and placing the nature elements very carefully in the scene.

    Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?

    Alvaro: I have been actively learning from January of this current year, so just ten months. They have been really intense months as you can imagine. I made the decision when I realized that the part of the architectural work that made me happier was to visualize unbuilt architecture and where I can use more of my creativity.

    Fox Renderfarm: Who or what project inspires you most in this industry?

    Alvaro: Well, Adán Martín has been the real inspiration for me in this industry. In fact, studying and learning from him in School-ing has been the best decision I could have made to start in Archviz. Maybe Csaba Banati, Karim Moussa or Thomas Dubois are artists that inspire and motivate me because their creative mindset of facing new challenges representing the unbuilt is just awesome.

    Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?

    Alvaro: I think that in an industry like this, always changing, is so important to have a learning attitude towards everything. Use our creativity to solve our working problems will make an artist much better. In my short experience, I have been trying to make works where I can always learn some new things, to have my mind active.

    Fox Renderfarm: What’s your next step?

    Alvaro: As I said before, keep learning every day new techniques, new software and the best visualizer I can be to fulfill all my expectations that are coming. Now, I am focused on my new job as a Junior 3D Artist at Kilograph and that is where my mind is.

    Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?

    Alvaro: Not really because I didn't have the chance to use them because my short career in the Archviz industry, but definitely I´m going to do it from now on.

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

    Alvaro: Well, just encourage people that are starting in the industry, like me, to work with passion and determination to create great illustrations. I will be happy to keep meeting people of this industry because is always a pleasure for me to meet such talented people, so feel free to contact me on social media to share thoughts about our works. And finally, I hope you saw the rabbit in my image, did you?

    Alvaro’s Instagram @arc.alvaro


    Interview with Cheng Lei, Telling a Dream about Travel in Architectural Visualization

    2019-10-22

    Fox Talk

    CGarchitect Architectural 3Dawards

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    The CGarchitect Architectural 3D Awards, sponsored by Fox Renderfarm, is the largest and most prestigious awards event for the architectural visualization industry, attracting entries from top studios, freelancers and students from around the world.

    Fox Renderfarm is honored to introduce the winner of the Film/Animation(Student) category, Mr.Cheng Lei and his team from China who love animation.

    • Cheng Lei
    • 3D Instructor
    • From: China
    • School: SAN WEI KONG JIAN (3D Space)

    TRAVEL

    CREDITS:

    Artistic Director: Gang Liu

    Producer: Huifang Li

    Instructor: Cheng Lei, Xiaoting Qin, Hua Chen

    3D Artist: Xinhe Wang, Na Ding, Xudong Wang, Shuxin Yan, Zhiyu Wang, Zekun Feng, Feifei Chen, Xiaojiao Wang, Danyang Jin, Zesen Liu, Yumeng Wang, Yangjun Wang, Yinxu Niu, Yuxin Yang, Dan Xiong, Sipei Sheng, Siqing Duan

    The winner team comes from SAN WEI KONG JIAN (3D Space), an educational institution teaching UI design, game design, film, and television advertising animation, architectural parade animation and more than 20 categories of courses.

    With the passion of animation, the students spent a total of two months discussing creative details, storyboards, models, material and light rendering, and post-production editing. Finally, they finished the original 3D architectural animation, which received international recognition.

    Behind the scenes of TRAVEL

    It’s the second time for SAN WEI KONG JIAN to win the CGarchitect Architectural 3D Awards. The students from SAN WEI KONG JIAN won the award last year for their excellent work About Y Chair, which is the first CGarchitect Architectural 3D Awards for Chinese student team.

    About Y Chair

    Here’s the interview between Fox Renderfarm and Cheng Lei, one of the instructors of the winning work.

    Fox Renderfarm: Hi, Cheng, would you please give a brief introduction about yourself and your team?

    Cheng: Hi, Fox Renderfarm, my name is Cheng Lei, I am an animation teacher. I come from Xi 'an, the ancient capital of 13 dynasties in China. All my team members are college students are from different universities in Xi 'an.

    Fox Renderfarm: How do you feel about winning this award? How do you feel about the D2 Conferences this year?

    Cheng: Of course, I am very surprised to win this award. I am very happy that my students can be recognized by the internationally renowned competition. It is their honor. This year's D2 conference was a great success and everything was arranged in perfect order. Thanks to the organizers and sponsors, it allowed me to see the wonderful works of different artists and promoted the mutual communication between the industry, which was a good learning opportunity.

    Fox Renderfarm: What’s your inspiration for this amazing project of Travel? Why did you select this project to participate in the competition?

    Cheng: My inspiration came from a sentence on the Internet a few years ago: "the world is so big, I want to see it." It was a resignation letter from an employee that went viral because of its unusual content. I asked my students if they wanted to make a film about travel, and they were all interested. Students in the animation class can only make two animations a year. They (can only) use the time of winter vacation and summer vacation (to create animation). Usually, they have a lot of courses to learn, there is no time to make animation. So there were only two animations, and we chose the one that is better.

    Fox Renderfarm: The whole film is led by different kinds of animals transformed from a resignation letter, any ideas behind that?

    Cheng: That letter of resignation actually represents the dream (in sleep) and dream (wish) of the Protagonist, taking the Protagonist to travel around the mountains and rivers, who gives up work to find the most authentic self.

    Fox Renderfarm: The scenery sites shown in the video are designed to illustrate the word “TRAVEL”, any ideas behind that?

    Cheng: Before the production, we asked the students to make the animation as delicate as possible. Because we wanted to take the animation to participate in the architectural 3D Awards which is about architecture, we chose to illustrate every character of the word “TRAVEL” in the form of architecture. About the shown architecture made, we did refer to many different architectural styles around the world, and then made up our mind about which to use and how to use them. And we tried to use mountains and rivers to demonstrate the idea of traveling around.

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

    Cheng: The thing that’s unforgettable in the whole process is the adjustment of these animals because the students were not very good at character animation. Have you ever seen a cow walk on two feet, the deer flapped its front feet like a bird?

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

    Cheng: The most difficult part is the paper crumpling animation. At last, we chose real shooting. We shot photos while folding once at a time, which was a bit like stop-motion animation, and finally synthesized into 3d scene through post-production.

    Fox Renderfarm: SAN WEI KONG JIAN devotes to the education of CG creation in China, how do you feel about the integration of Chinese culture and CG creation?

    Cheng: 3D Space (SAN WEI KONG JIAN) is an educational institution specialized in art design training. We welcome all of you to exchange ideas and learn from each other. Culture is diverse, and cultures from all over the world bloom together. It is because of regional cultural differences that a hundred schools of thought of artists' works contend. The national culture is the world culture, can combine their own national culture and modern computer animation to present to the world, is very meaningful.

    Fox Renderfarm: How long have you been in the 3D instruction field? And how did you make the decision to step into this industry?

    Cheng: I've been in CG for 8 years, just because I love it.

    Fox Renderfarm: Who or what project inspires you most in this industry?

    Cheng: From the moment I saw Up, I fell in love with animation, but somehow I got into the architectural animation industry. The two people who influenced me most were Alex Roman and Bohong Deng.

    Alex Roman and his work

    Bohong Deng and his work

    Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?

    Cheng: I have used render farm in China before, but never Fox Renderfarm, but I will use Fox Renderfarm in the future, thank the sponsors, I think it will make our rendering work better.

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

    Cheng: Don't give up your pursuit and love of works because of others' malice and incomprehension. Good works take time and endeavour. Thanks.


    Interview with Carlos Costa Blanes, Nominee for 2019 Architectural 3D Award by CGarchitect

    2019-10-17

    Fox Talk

    CGarchitect Architectural 3Dawards

    As a world-leading cloud render farm, Fox Renderfarm, is always willing to support our CG community. As the Gold Sponsor for 3DAwards 2019, we are glad to hear that the 3DAwards this year was a massive success. 3DAwards is the largest and most prestigious awards event for the architectural visualization industry which attracts entries from top studios, freelancers and students around the world every year. Both the winners and nominees have been announced on CGarchitect’s website. Congratulations to all the winners and nominees!

    Today, we are honored to talk with Mr. Carlos Costa Blanes, nominee for Student (Image) Category, who steps into the Archviz industry from a student of Archaeology. He tells us how he makes the shift and more about his nominated artwork.

    • Carlos Costa Blanes
    • 3D artist at Pictury Archviz (http://www.pictury.net/)
    • From: Sevilla, Spain
    • School: Nuevas Profesiones

    Nominated Work

    http://3dawards.cgarchitect.com/gallery/showcase/32972

    Fox Renderfarm: Hi, Carlos, would you please give a brief introduction about yourself?

    Carlos: Hello, my name is Carlos Costa Blanes and I am a 23 years old 3D artist based in Seville (Spain). I hold a BA in Archaeology though today I do nothing related to it, and afterwards I studied a two years’ 3D generalist course, ending up specializing in ArchViz through online self-learning.

    Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?

    Carlos: It is by far my biggest achievement. I am really happy and proud about it; I could not imagine a better way to start my professional career. It has definitely helped a lot.

    Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition?

    Carlos: I made the artwork with the idea of submitting it to the competition, so from the very start, I knew this would be the image. When looking for inspiration for a project, the amount of ideas and possibilities can be overwhelming. So, I decided I would restrict myself to the rainy/foggy mood.

    While working on the project, I came up with the idea to draw a parallel between today’s modern architecture and native tents with those accentuated triangular shapes and added elements that refer to the jungle/forest ecosystem, like the flying parrots or the boats.

    Fox Renderfarm: Could you introduce the light design and the composition of this project?

    Carlos: The light in the 3ds Max file, it is simply based on an HDRi with no global volumen material as may seem. It is later in Photoshop where most of the tricks happen, using a colored ZDepth element for the overall fog and exposing certain parts of the sky in order to achieve the overall look of the image. It was important for me to have the colour palette defined from the very beginning, knowing I wanted to play with the orange-blue scheme as complementary colours.

    Regarding the composition, I had the idea of a lake scene in order to enhance the reflections of the buildings. In order to avoid a flat image, I used some rocks on the foreground and mountains in the background. The buildings were simply located following the Rule of Thirds and I used three of them as I thought that would give the best visual result.

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

    Carlos: Probably between 20 and 25 hours in total, from the research for references until the post-production.

    Fox Renderfarm: What software, renderers, plugins did you use in this work?

    Carlos: I created the scene on 3ds Max and rendered it with Corona. The vegetation scattering was achieved using iToo Forest Pack.

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

    Carlos: I really enjoyed and spent a lot of the time trying to achieve a fog that I was happy with, as well as playing with the colours until I got the exact tones I wanted for the scene. There are so many shades of blues and oranges so it took me some time to decide.

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

    Carlos: As I said, the main difficulties were the fog and deciding on the colours. I spent quite some time playing with different combinations.

    Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?

    Carlos: I have been actively self-learning about ArchViz since September 2018, so one year ago. Later that year, I contacted Pictury (www.pictury.net/) - a studio whose artwork I really liked and who were, luckily, based close to my hometown - and did an internship with them from February till June. After the internship, I started working with them professionally since July.

    I made the decision to step into architectural visualization because I always enjoyed the process of shading and texturing. Besides this, I really like producing photorealistic images. As I like to experiment with photography in my free time, the photographic component of the industry also appealed to me.

    Fox Renderfarm: Who or what project inspires you most in this industry?

    Carlos: There are so many amazing artists out there; sometimes it can even be frustrating to look around on different profiles on Behance or Artstation, some people are so good. However, I feel like we should look for inspiration in other areas in order to create something original and not fall in trends.

    Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?

    Carlos: The thing I consider most important today, in order to keep up to date with the evolving industry, is to never stop being a self-learner. The technical component of this industry is quite complex and deadlines are demanding, so you really need to be up to date with the latest tools and technologies in order to reduce production times and focus more and more on the artistic side of it.

    I think what makes the most differences between great and greater artists is the light and composition knowledge. There are more and more artists with outstanding technical skills, so I think it is the artistic side that makes the difference. I bought myself a camera just to learn photography and further develop my skills to produce CG images.

    (Photos by Carlos Costa Blanes from Instagram @costablanes96)

    Fox Renderfarm: What’s your next step?

    Carlos: I want to learn as much as possible right now. I think the industry is changing because of the steadily developing procedural techniques, real-time render engines and AI learning, so my focus would be to study those techniques.

    At some moment, I would probably also enjoy - I do not know when yet - to work abroad and who knows, to have my own studio at some point.

    Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?

    Carlos: Not yet since my professional career in ArchViz only just started. I have not had the need to use it as a student - I normally always met my deadlines! But I think being nominated for the awards is a great chance to try it.

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

    Carlos: Feel free to contact me on my different social media, I am happy to meet people in this same industry. And by the way, there is a hidden frog on the image. Can you spot it?

    More Carlos Costa Blanes's artworks:

    Artstation: https://www.artstation.com/carloscos96

    Instagram: https://www.instagram.com/ccostablanes/ (3D Artist Account)

    https://www.instagram.com/costablanes96/ (Photography Account)

    Please stay tuned with Fox Renderfarm, more interviews of the winners and nominees for CGarhcitect Architectural 3DAwards 2019 and industry insights will be brought to you on our website and social media channels!


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