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    Render Farm on Film and Animation Works 2018

    Render Farm on Film and Animation Works 2018

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

    As a world-leading , 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 , 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 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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    Fox Renderfarm, Your TPN Accredited Cloud Render Farm
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    Fox Renderfarm, Your TPN Accredited Cloud Render Farm

    Fox Renderfarm has reached another milestone in the year 2019. With the relentless efforts and commitment to build a more secure that better protect the privacy of our beloved customers, Shenzhen Rayvision Technology (Fox Renderfarm’s company) has successfully completed MPAA’s Content Security Best Practices and officially become a TPN Trusted Partner! What is TPN? Trusted Partner Network (TPN) is a joint venture between two major entertainment industry giants, the Motion Picture Association of America (MPAA) and the Content Delivery & Security Association (CDSA), the worldwide leaders in third-party entertainment industry assessments. MPAA is a non-profit American trade association with the goal of promoting effective copyright protection, reducing piracy, and expanding market access. While, CDSA, is the international content protection association that protect entertainment media throughout the supply chain, both pre and post release. As one of the most authoritative film and TV content protection corporation, TPN assessment is well acknowledged by conglomerates like Walt Disney Studios, Universal City Studios, Warner Bros., Netflix Studios and so forth. Why do we need TPN? Content and data security have always been a global concern in the movie and TV industry, especially after a serial high-profile pre-release leaks in 2017. Those included the theft and release of “Orange Is the New Black” season 5 episodes from an audio post-production firm and an episode from “Game of Thrones” season 7 that was traced to employees at a data-management vendor working with 21st Century Fox’s Star India. The hacking nightmare continued after Netflix refused to pay the requested ransom. The hacker group The Dark Overlord uploaded much of “Orange Is the New Black” Season 5 online through illegal file-sharing service and kept posting arrogant and even scolding messages online. Huge damage was caused to Hollywood’s major production studios and to the health of the whole industry. Trusted Partner Network (TPN) is a new, global, industry-wide film and television content protection initiative. The TPN program helps companies prevent leaks, breaches, and hacks of their customers’ movies and television shows prior to their intended release and seeks to raise security awareness, preparedness, and capabilities within the industry. It functions as a global clearinghouse that will set security standards for entertainment production and distribution companies. Partners who pass an independent assessment conforming to those industry best practices will be listed as “trusted partners” in the TPN directory. “Creating the films and television shows enjoyed by audiences around the world increasingly requires a network of specialized vendors and technicians,” MPAA chairman and CEO Charles Rivkin said in a statement. “That’s why maintaining high security standards for all third-party operations — from script to screen — is such an important part of preventing the theft of creative works and ultimately protects jobs and the health of our vibrant creative economy.” How does TPN work? The TPN assessment process is highly rigorous with detailed security requirements on the physical security, asset management, content life-cycle, enterprise security, risk assessment, vulnerability management, security operations and incident response, policy & procedures, human resources processes, and most importantly, infrastructure. Moreover, the assessed Vendors are required to do the annual re-assessment every year to continuously improve the security system to better meet the TPN assessment standards. The assessment reports are shared within the TPN platform and can also be shared with existing and potential customers at the vendor’s discretion. Fox Renderfarm x TPN Fox Renderfarm’s mission is to be the best with powerful render capacity, thoughtful customer service, secure data protection and flexible pricing scheme. “Your governance program (i.e. Management System) was impressive. It was very thorough from a policy and procedure perspective,” Mr. James Bourne, TPN Assessor, commented, “Rayvision (Fox Renderfarm’s company) has adopted and implemented the MPAA’s Content Security Best Practices with precision...you are now TPN Accredited.” As a TPN Trusted Partner, Fox Renderfarm will persist its steps to enhance the solutions to be more customer-friendly and also be one of the safest.

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    Interview With Leonard Daly, Creating A New Future Of Websites
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    Interview With Leonard Daly, Creating A New Future Of Websites

    Web-based 3D multi-media is becoming an important part of many websites. 3D on the web offers the advantages of seeing the information from a variety of viewpoints in a manner not possible with other media types. As a 3D/VR Systems Architect, Leonard Daly has made many contributions to the 3D multi-media industry. He founded Daly Realism in 1996, which can help businesses with project management, website development, secure business-to-business communications, elearning, and web-based 3D and multi-media content. With his extensive background in Web and other technologies, Leonard Daly developed Daly Realism to handle businesses needs for eBusiness and Business to Business (B2B) transactions, project management, technical strategy development, web development, information visualization, advanced web technologies, and web-based multi-media content. Knowing that the key to a successful project is quality management and leadership, Leonard Daly has developed a number of tools with proven success records for assisting in the management of projects. Daly Realism’s latest work is XSeen - a VR/3D library in JavaScript that uses THREE.js for rendering. XSeen is the first declarative language for the VR/AR/MR — xR Web. It incorporates the ability to seamlessly integrate HTML with your 3D environment. It uses HTML-like tags and attributes that are fully integrated into the DOM and manipulatable with JavaScript. It works with all of the standard JavaScript frameworks including jQuery and React. XSeen is also the JavaScript library that implements the XSeen language. It is built on top of THREE.js and other open-source web tools and platforms. It loads all standard web model formats, including glTF, THREE json, OBJ, and others. You can use the THREE editor (local-link) to create scenes that are loaded into and XSeen web page to be displayed in a browser. Fox Renderfarm was honoured to have an interview with Leonard Daly in SIGGRAPH 2019. Leonard Daly ·President of Daly Realism ·Independent Internet consultant ·3D/VR Systems Architect ·Designer of XSeen ·Co-author of “X3D: Extensible 3D Graphics for Web Authors” Fox Renderfarm: Can you introduce yourself? Leonard: Hi, I'm Leonard Daly, I'm an independent consultant here in Los Angeles. Daly Realism provides consulting services to small businesses in the area of 3D systems, architecture and data management in the cloud. Most of our work is related to website production and development. In 3D systems, I've been doing a lot of work with web standards organizations including W3C on the just released and what they call “VR complete” webXR Device API specification. I've also worked with Khronos on glTF, and looking forward to working on their new effort in the e-commerce area. In the past, I've also worked with the Web3D Consortium on the X3D specification. Fox Renderfarm: Can you introduce your latest development to us? Leonard: In conjunction with SIGGRAPH this year, version 0.8 of Xseen was released. Xseen is a library written in JavaScript. It is fully open source, including open source documentation that runs in the browser. It takes code that looks very much like HTML and allows you to display 3D content. It runs in the phone, on the desktop, in the tablets and it gracefully degrades depending upon the hardware and support available. So that on the phone you have full access to the orientation sensors and the camera, while on the desktop it's a more fixed environment, more suitable for working with the mouse. There’re two demos available, both are available through QR codes. The top, the first one is a VR demo. Its complete environment there is computer-generated background and model; and the second QR code is the same model presented through your phone to see wherever you happen to be. Fox Renderfarm: Can you introduce your team? Leonard: Xseen has been under development for about two years. At this stage is just myself with a couple of other contributions from other people interested in it. This show has been productive and I've talked to at least three people. One has expressed very strong interest in developing two portions that will be needed for future releases. Fox Renderfarm: Have your meet any challenges during your development? Leonard: The biggest challenge today on Xseen has been adjusting the model lighting to match the scene in incorporating various mechanisms. It hasn't been incorporated yet but the current under-development version is using spherical harmonic lighting which is very easy to manage, collect and project into the scene, and just light the model. Due to the development of Xseen, we will include not only the spherical harmonic lighting, but also integration and simultaneous localization and mapping, or also known as SLAM algorithm, so that the models can be tracked and located in physical space, as opposed to just relative to the orientation of the phone. Other features include fully web componentizing the systems and making sure that everything is fully integrated with the DOM API that's available in all web browsers to HTML pages. Fox Renderfarm: Have you ever heard of Fox Renderfarm? Leonard: My work with Xseen and other 3D applications have been exclusively within the browser. So, I personally have not used Fox Renderfarm, although I have heard of the company. Many of my associates within the Los Angeles Chapter of ACM SIGGRAPH do use for their purposes in episodic TV, movies and advertisements. Fox Renderfarm: Any other things you want to share with the audience? Leonard: As a long-time member of Los Angeles Chapter of SIGGRAPH, I wish from all of us to the people of Shenzhen a great day and happy year.

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    對話視效總監李昭樺:從《三生三世十裏桃花》到《宸汐緣》的延續與突破
    RAYVISION Projects
    對話視效總監李昭樺:從《三生三世十裏桃花》到《宸汐緣》的延續與突破

    在剛剛過去的2019年暑期黃金檔,國產劇可謂是佳作頻出,包括古裝神話劇《宸汐緣》,古裝歷史懸疑劇《長安十二時辰》,同名小說改編奇幻劇《九州縹緲錄》等引發壹大波追劇熱潮。這些劇集題材涉及不同的內容領域且制作精良,收獲了全網超高熱度和大量的好評。 Fox Renderfarm的劇集(圖片源自網絡) 其中《宸汐緣》,憑借匠心打造仙俠愛情世界瑰麗畫面,浪漫的東方美學,依托古典名著《山海經》,講述了沈睡五萬年的戰神九宸(張震飾)被地仙靈汐(倪妮飾)喚醒,而牽引出千絲萬縷的糾葛。演技精湛的演員陣容搭配專業的制作團隊,強強聯合的班底促使豆瓣評分從5.4飆升至8.1分的高分。 劇集打造的擁有各式神獸生物和讓劇迷如癡如醉的夢幻世界,引起了不少業界的關註。據悉在《宸汐緣》的劇集當中,視效場景與CG生物的制作量大,其中三維生物、道具、及場景等視效鏡頭時間共470分鐘,光是三維生物的鏡頭就制作了1363個,總時間超過100分鐘,相當於壹部動畫長片的長度。 瑞雲有幸邀請到《宸汐緣》的視效總監、兔將創意影業的CEO李昭樺,為我們分享這部高分仙俠熱劇的視效秘籍。 ·李昭樺,兔將創意影業(The White Rabbit Entertainment,Inc.)CEO,畢業於英國劍橋大學資訊工程圖學博士。 ·擔任《捉妖記》《唐人街探案2》《目擊者》《紅衣小女孩》《三生三世十裏桃花》《宸汐緣》多部電影及影視劇視效總監及3D立體視效總監。其中《紅衣小女孩》《目擊者》曾提名金馬獎最佳視覺效果。 創始人李昭樺,生肖屬兔,也偏愛兔子,公司創立於2011年的兔年,英文TWR,縮寫自The White Rabbit。2011年,兔將由執行長李昭樺與同學壹行三人在臺大資工系的壹間教室裏創辦成立。秉承著“讓觀影者仿彿進入另壹個奇幻世界”的初衷,就此展開了兔將的逐夢道路。 《宸汐緣》視效特輯之吞天獸、化生池、洗仙池 Fox Renderfarm:這部電視劇的視效鏡頭共計1792分鐘,請問最滿意的視效鏡頭分別是哪個呢,可以給我們介紹壹下嗎? 李昭樺:吞天獸、化生池。吞天獸是本劇中戲份相當多的一隻神獸,視效團隊接到設定稿後便開始研究符合設定特徵的動物,如老鷹的翅膀、鱷魚皮膚的質感等。由於現實世界中沒有這種生物,團隊便透過研究的數據後,開始雕刻模型、反復修改貼圖細節再加上羽毛,才創造出這只遠古巨獸的樣貌。在吞天獸的毛髮製作上,為了呈現比較豐富的細節,團隊先把主要的指引線構築好;除了主要的造型毛髮外,還加上雜毛及分岔髮絲,前前後後迭加了五至六層,呈現出劇中相當具真實性的毛髮。 吞天獸動圖 動態方面,吞天獸如其他生物一般,受到肌肉與脂肪的影響,在行走中會有細微的抖動與擠壓;視效團隊在製作上運用了骨架變形的模型來仿真細節,先從骨骼、肌肉、脂肪的模型開始製作,再用模擬的方式加入行走中肌肉擠壓的晃動感,突破國內電視劇CG生物技術,導入肌肉仿真系統最後才完成這只「重磅」角色。 而吞天獸出現的其中一個場景-「化生池」是一種極具腐蝕性的有毒液體,須呈現出具有魔力的形態,因此特效團隊將池水設計成帶有熒光的綠色。由於吞天獸被浸泡在內七七四十九天,十分痛苦的它試圖逃離,故大動作的掙脫影響水的流速及狀態。視效團隊試著讓化生池並非整體泛出熒光,而是呈現自然流動的樣貌,最後決定用流速作為調整因子,水速愈快,熒光色就亮些;水速慢,熒光色則減暗,經由速度調整光線,讓化生池顯現出其魔幻的特性。池水皆是三維特效製作,這顆鏡頭製作上的難題是化生池與CG生物,也就是與吞天獸的合成。吞天獸的翅膀及羽毛的特性,和三維製作的化生池因有多種形態及材質,如何在畫面自然的條件下融合所有的對象,著實考驗著團隊的技術。 化生池 洗仙池整體場景建造及內部視效制作:首先是整體場景部分,洗仙池屬自然場景,有著大量的山體結構與樹木,現場拍攝的實搭景只有演員表演空間,其余背景皆為藍幕。為制作出真實的自然場景,視效團隊先根據現場掃描結果建構出模型並比對其比例,再針對鏡頭會帶到的部分來制造山體模型及真實的置換貼圖,最後再加上樹木點綴。在此場景制作的困難點在於實拍銜接的部分,需要通過貼圖的調整與燈光的配合,來回反復修改,才能夠自然融合畫面中的CG自然場景與現場實拍的部分。 洗仙池 另外是洗仙池內部的視效,團隊在制作此場景的主要難點,在於怎麽通過環境來體現人物持續向下墜落的狀態。視效團隊想到能將內部打造成類似圓桶狀的空間,並以大量的圓環為基礎來解算煙霧,再將其隨機排列成圓柱狀,最後就得到了可以實現無限下墜的場景。此時,就需考慮洗仙池內部比例和鏡頭運動的搭配問題,團隊認為此場景可以根據特效來調整靈汐的下墜速度,以此為基礎來調整煙霧的比例、捲曲速率、圓環的大小、運動速率,以及背景層的煙霧比例等。為呈現可怕危險、似異次元世界的樣貌,視效團隊為其加入了閃電及狂風的元素。前期現場拍攝時,在倪妮的周圍打上多盞燈來模擬閃電對人體的照射,拍攝後則利用視效技術制作實體閃電,營造周圍氣氛及煙卷的效果,閃電照射時更精細的把煙卷細節映照出來,隨著暴風驟雨及閃電的雷劈,讓洗仙池內更添可怕險惡的氣息。 洗仙池 洗仙池最終視效 《宸汐緣》視效特輯之禦雲、神魔大戰 Fox Renderfarm:在創作唯美而奇幻的元素的過程中,遇到了哪些視效技術難點,怎麽解決的呢? 李昭桦:禦雲鏡頭。九宸靈汐壹同搭乘的禦雲,在造型上呈現松軟的雲朵貌;這半帶筋鬥雲與魔毯概念的禦雲,團隊前期收到設計稿後,便開始大量搜集雲朵的多樣形態。視效團隊將雲分成六個結構:左右翼、尾翼、底座、沖風碰撞雲以及飄散散雲。由於鏡頭機位行駛速度過快,要將畫面中的雲和鏡頭速度匹配,需要多方面調整雲朵的條件,像是針對雙翼部分來調節比例、大小漩渦、噪點等,其中漩渦的速度是較難調整的關卡,而仙雲的消散時機和動態規則性,也需要反復拍屏查看。談到漩渦,團隊需從外部制作壹個漩渦立場,用以引入流體中進行模擬,為達到最佳的視覺效果,最終的渲染會使畫面精致度更加提升。仙雲的底座呈現壹個船頭形狀,當它轉為流體會分別和雙翼及人物交互碰撞,結合鏡頭速度去調整仙雲的速度、比例及噪點,調整過程需對比雙翼動態,做出相應的參數屬性調節進行匹配。而散雲則是以煙的形態制作而成,呈現散絲輕薄形態,加上人物碰撞,為呈現物理形態也需反復調節各個條件。 禦雲 禦雲最終視效 神魔大戰。神魔大戰為壹鏡到底的鏡頭,透過MOCO攝影系統,能精準設計攝影機的運行軌跡,並且重復軌跡拍攝,最後呈現出壹鏡到底的高難度視覺畫面。拍攝過程不僅仰賴攝影系統,還需整個團隊不斷演練,找到精準的表達方式,才讓劇情敘事更加完整到位。此外,這個鏡頭拍攝了很多段素材,每段素材的拍攝時間點都不同,團隊在拿到素材後先對素材做變速的動作,將每段素材的時間點都對到相同,對好之後再把天兵天將的素材單獨Roto出來,後續再進行合成特效。合成時需特別註意前中後人物的關系,並留意Hold out有沒有做對、前後的處理關系及遮罩是否作正確等,如此才完成這個神魔大戰的鏡頭。 神魔大戰片場 神魔大戰後期環節 神魔大戰最終效果 《宸汐緣》視效特輯之三獸爆炸、天尊山幻境 Fox Renderfarm:哪個鏡頭最為復雜,經歷了幾輪的修改和調整? 李昭桦:三獸爆炸鏡頭,在動魄驚心的爆炸場面中,制作上最具挑戰的部分便是其浩大的場景規模,及同時需仿真燃夷彈動態與外觀在畫面上的呈現。為了顧及場景規模又不失基本的細節,視效團隊將場景細切割成六個部分進行模擬,並且運用特制的六個力場去控制爆炸的動態。而燃夷彈的動態仿真,則是使用了特制的算法以控制燃燒擴散的方式。最後在外觀上,為了達成模擬燒夷彈爆炸的高細節,全數的六個模擬都輸出了十二個volume field,總共72個field來完成最終外觀。這些復雜費工的制作程序,體現出視效團隊對細節的要求與專業。 三獸爆炸動圖 天尊山幻境水。天尊山幻境的水是自然界的水,在制作上得費壹番工夫,才能使其更接近真實。為了讓水流動的方向有所區別,團隊在畫面的右側放置了石頭,當水流碰到石頭時會碰撞反彈回來形成壹個漩渦,如此便能打破水流方向及水流速度的統壹。在水流快的地方會產生白色氣泡,如果用真實的氣泡去算,計算壓力太大且速度慢;用粒子模擬的話,效果呈現便不佳。因此視效團隊嘗試修改水體內部volume的方式。水體內部的volume顏色是根據速度映像的壹個墨綠到白的ramp,通過此方式使計算速度和最終效果間達到了平衡。 天尊山幻境 此場景中,團隊在「水花」的制作有所突破,「銜接」是較難處理的部分,這次團隊嘗試新技術,透過不同材質及大小的銜接,讓水的整體能更符合自然樣貌。在速度和渦流強的地方,特效師添加了濺起來的水花,由於水花中充滿了氣泡,故當光線照射進去的時候會呈現白色。同樣的,水花砸入水體內部也會帶入很多氣泡,並透過水和空氣折射率的差別,水體內部會有產生出更多層次的細節。 天尊山幻境視效分解 為了讓水主體和水花能更完美融合銜接,視效團隊加強分層制作了水花。其中包含各種大小差異的水體mesh及水花粒子,並在水花粒子的透明度上也做了壹些ramp,如此多重繁復的打磨才呈現出觀眾看到的天尊山幻境場景。 天尊山幻境最終視效 《宸汐緣》視效特輯之pipeline Fox Renderfarm:可以和我們介紹下這部作品的 pipeline嗎?團隊如何分工合作的?如何把控預算的呢? 李昭樺:電視劇特效制作繁復,加上龐大的鏡頭量,需要有專業軟件來統管,以確保制作過程順利並提高效率。兔將創意影業橫跨兩岸三地的數十位制作管理人員及後期團隊,使用了業界高規格的專業軟件ftrack、cinesync、aspera等軟件來管理、review及傳輸這20000多個鏡頭。除了需要專業軟件輔助外,制作管理人員及後期團隊同時也需縝密的與導演、視效總監、制作團隊溝通,通過部門間的充分溝通與合作、對細節的高度要求,眾誌成城,才能在相對短制作時程內交出如此富含大量高難度視效制作的作品。 ▼視效工作管理畫面 ▼視效鏡頭表 ▼現場跟拍場記表 Fox Renderfarm:很多觀眾們表示該劇和《三生三世十裏桃花》風格相似,妳們是如何看待的?妳們認為《宸汐緣》最大的特點和不同之處在於哪裏呢? 李昭樺:《三生三世十裏桃花》成功的經驗,讓《宸汐緣》想再更進壹步確實是艱難的,想要突破,需要考慮到每個環節、每個細節,於是團隊在壹開始就希望能針對《三生三世十裏桃花》沒有做到的部分做更多創新及提升,「延續」及「突破」就成了制作本劇的兩大關鍵詞。延續了《三生三世十裏桃花》的美好感情外,主創團隊在各方面都更加精細打造,因此《宸汐緣》無論是故事格局還是藝術審美,相較兩年前的《三生三世十裏桃花》都有所升級。 《宸汐緣》突破了以往仙戀神話劇中單純表達男女情愛的故事層面,九宸身上有著中國男人的重情義、守信義的特質。靈汐也從壹個天真少女蛻變成長,展現出很多中華女性優良的美德,並且劇中也從多個層面展現出孝敬父母、尊師重道等中華優秀傳統美德。無論男女老少大家內心都有對美好事物的向往和追求,我們不想讓故事只聚焦在情感上,希望能把中華傳統文化中的美德與美學通過壹些當代年輕人喜聞樂見的表達方式去融合成新的視聽體系和情感世界體系,讓中國傳統文化中的真、善、美的品質能夠很好地呈現出來。 《宸汐緣》在傳統中國風審美表達的水準上已讓人有驚艷之感,造型上,從前期劇本籌備時就開始參考了很多中國古代留傳下來的壹些關於神仙的服飾造型設計,也加入了壹些新元素,精細的手工編織讓服裝細節更飽滿豐富,整體比起《三生三世十裏桃花》時期技術上更進壹步;場景上,參考了壹些中國傳統建築和古代人對神話故事的描述,前後置景周期也長達壹年;在後期技術上,我們也做了很多新的嘗試,力求跳出規則,突破傳統,通過細節上力求給觀眾帶來不同以往的仙俠世界的視聽體驗。 Fox Renderfarm:SIGGRAPH 2019剛剛結束,大會中推出了很多“黑科技”,開源軟件發展態勢也不錯!對於這些新技術是怎麽看待的?覺得未來的視效行業應該是怎麽樣的發展趨勢? 李昭樺:特效行業在本質上來說是個需要大量人力與時間的產業,隨著科技的與硬體的進步,可以有效的的減少人力與時間上的成本需求,AI最近壹直都是業界研發的壹個重點,如何用深度學習來取代人力來處理壹些枯燥的工作,讓Artist本身可以更加的FOCUS在創作上面;但隨著軟件的進步,Artist本身解決問題的能力也逐漸下滑,在未來也許有壹天AI可以顛覆整個創作的流程,但以現階段,我們內部還是著重於Artist本身解決問題能力的培養,讓Artist有靈活的思路與作業模式,盡可能的不去太過依賴軟體。Blender今年的更新的確令人驚艷,但開源軟件有壹個最大的壞處,往往在遇到軟體的重大問題時開發團隊無法提供有效且即時的支援,在Production這種快節奏的環境之下,並不是壹個最佳的選擇,並且在這樣的狀況之下,公司往往需要培養壹批Blender的TD來開發專屬工具,來應對專案的多樣化的內容,無疑會在人事上提高成本。但相對來說,希望藉由開源軟體的壯大,可以給壹些軟體開發公司適當的警訊,更加用心地去經營線上的主流制作軟體,開發出更穩定更進步的更新版本。 這幾年Houdini的每個版本更新都令人驚艷,提出了很多新穎的制作流程概念,也讓這套軟體越來越強大,可以包含的制作面向也越來越多,可以預測再付費市場的佔有率應該會越來越提升。 Fox Renderfarm:對瑞雲(Fox Renderfarm) 的服務體驗及評價? 李昭樺:我覺得Fox Renderfarm給予兔將最大的幫助是在服務的部分,每當有問題時,不管任何時間,總是會有親切的窗口來幫助我們排解問題,讓我們的渲染可以順利的完成。 瑞雲(Fox Renderfarm)采訪中我們還了解到,兔將創始人李昭樺表示:希望能有更多的好朋友利用兔將在兩岸搭建的平臺,壹起創作更好的作品!瑞雲也期待和兔將在未來有更多的合作,期待更多精彩的佳作!

    2019-09-24
    RAYVISION Projects
    Global computer-generated animation and visual effects brands to gather at SIGGRAPH Asia 2019
    Top News
    Global computer-generated animation and visual effects brands to gather at SIGGRAPH Asia 2019

    Brisbane, Australia, 20 September 2019 – Some of the world’s leading brands, academic institutions and start-ups have secured their presence at the region’s foremost event for computer-generated animation and visual effects, . “We are delighted that some of the industry’s most respected brands are supporting SIGGRAPH Asia for its debut in Australia,” says Conference Chair, Tomasz Bednarz. “The Australian market for animation, games, CGI/VFX, interactive media and VR/AR, as well as research in this space, is rapidly growing, and as hosts of SIGGRAPH Asia’s 12th edition, we are excited to show the rest of the world the opportunities Australia presents.” Sponsors and exhibitors from over 20 countries at SIGGRAPH Asia 2019 include Adobe Research, AWS, Carpe Diem Solutions, Computational Visual Media, Forum8 Co., Ltd, Foundry, , HTC Corporation, Industrial Light & Magic, PIXAR, Qualisys, SideFX HOUDINI Software, Tracklab, Tsinghua University – Tencent Joint Laboratory, UBISOFT, Unity Technologies, VICON Motion Systems, Weta Digital, Xsens and ZQ Racing, to mention a few. They will showcase hardware and services in the categories of computer graphics, interactive and innovative technologies, high-performance computing, as well as education, training and research. The support of these companies underscores the importance of SIGGRAPH Asia 2019 as a learning hub and showcase for emerging technologies in the industry. "As a long-term sponsor and exhibitor, Fox Renderfarm believes that people contributing to, and attending, SIGGRAPH Asia truly thrive together. They do this by sharing the latest research and techniques, exploring advanced technologies, communicating industry insights, and envisaging a blueprint hand in hand,” commented Rachel Chen, Marketing Director, . “SIGGRAPH Asia is the place for Fox Renderfarm to showcase our fast and secure CPU & GPU rendering solutions and connect to customers from around the world." SIGGRAPH Asia 2019’s Gold Sponsor, the NVIDIA Deep Learning Institute (DLI), will also be conducting hands-on training workshops over two days on Fundamentals of Deep Learning for Computer Vision and Multiple Data Types. Aimed at developers, data scientists, and researchers, NVIDIA will help participants get started with training, optimizing, and deploying neural networks to solve real-world problems across diverse industries such as self-driving cards, healthcare, online services and robotics. These workshops are open to Platinum (PP), Full Conference (FC), Full Conference 1-day (1D) pass holders, who will be notified on how to register for the workshops. An additional component within the SIGGRAPH Asia 2019 exhibition is the , an initiative that enables small and boutique enterprises to connect with, showcase to, and scale with, brands, investors and senior creatives from around the world. Brisbane, the host city of SIGGRAPH Asia 2019, has a bourgeoning startup community in creative tech, companies that are at the forefront of technological innovation in the fields of animation, games and visual effects. Participating international academic institutions and universities include Lost Boys – School of VFX (Canada); Ritsumeikan University, College of Image Arts & and Sciences (Japan); Visual Computing Center at KAUST (Saudi Arabia); Victoria University of Wellington and the Wellington ICT Graduate School (New Zealand). Participating Australian institutions include the University New South Wales’ School of Art & Design and UQ Centre for Energy Data Innovation. 

    2019-09-20
    Top News
    Interview with BoBoiBoy Movie 2, the Highest-grossing Animated Film in Malaysia
    Fox News
    Interview with BoBoiBoy Movie 2, the Highest-grossing Animated Film in Malaysia

    3-6 September 2019, Fox Renderfarm participated in Kre8tif! 2019, an annual digital creative content industry event in Malaysia aimed to spark innovation and exploration of major trends across the creative sector. We received a large number of CG enthusiasts and had good communications with them regarding our powerful service. In Kre8tif! 2019, we were honored to have an interview with Mr. Kee Yong Pin, COO of Animonsta Studios in Malaysia. Kee Yong Pin COO of Animonsta Studios Works: Animated series BoBoiBoy (2011-2016) BoBoiBoy Galaxy (2016-present) BoBoiBoy: The Movie (2016) BoBoiBoy Movie 2 (2019) Animonsta Studios, a Malaysian animation company that produces creative content for the Malaysian and international market. Its second computer-animated film BoBoiBoy Movie 2, which is the new No.1 animated feature in Malaysia. Below is Fox Renderfarm’s exclusive interview with Mr. Kee Yong Pin. Let’s check it out! Fox Renderfarm: Can you introduce yourself? Kee Yong Pin: My name is Kee Yong Pin, from Animonsta Studios, an animation studio from Malaysia. Fox Renderfarm: Can you introduce BoBoiBoy? Kee Yong Pin: BoBoiBoy is an animation created by Animonsta Studios since back in 2011. And our latest movie for BoBoiBoy, it’s just completed and released in Malaysia, Indonesia, Singapore, Brunei and Vietnam at the same time. So, we are happy to tell that our BoBoiBoy Movie 2 is currently the highest-grossing box office animation ever shown in Malaysia of all time. Fox Renderfarm: What’s the interesting part when producing BoBoiBoy Movie 2? Kee Yong Pin: One of the biggest, interesting things about this movie is actually the production, the whole production only takes 12 months. Most of the animated movies need to take 3 to 4 years. And then our team is actually not very big. We have only around 100 people with around 60-70 people from production. Fox Renderfarm: Any challenges of making the movie? Kee Yong Pin: The challenge is the time itself, so, as much as we worked very hard, there is still a lot of obstacles, for example, all the technical stuff, the rendering processes or the animation processes. So, the biggest challenge for us is actually the race against time for the rendering. For rendering it needs to be done by the computer. We need to do a very proper calculation, so that we can speed up the process without sacrificing the quality. Fox Renderfarm: What do you think of Fox Renderfarm ? Kee Yong Pin: In order to meet our timeline, one biggest thing that we changed is actually going into half GPU, which is using Redshift. And then we find out that even that is not enough. Throughout the movie, we can deliver according to timeline. But towards the end of the movie, that's when things become difficult, because the deadline is getting closer and then the scenes are getting very heavy towards the final part of the movie. So that's when we start to engage with Fox Renderfarm. And then we are really impressed actually, especially on the support portion of Fox Renderfarm. Because it's so easy for us to get in touch with, you know, just using WhatsApp. So everything just is direct communication, whenever we need anything and then everything is actually quite fast and, more importantly, when it comes to the last minute, it is hard for us to get the finance portion, budgeting portion to meet according to our criteria, and timeline also needs to be meeting. So, Fox Renderfarm, luckily for us, managed to meet our criteria in terms of pricing, in terms of delivery. Fox Renderfarm: Will you distribute the movie in China? Kee Yong Pin: We are actually trying, because China has a very small quota for foreign movies, but we are actually trying our best to get into China’s market. Good thing for us is that our animation series is already broadcasted on China's platform, which is Tencent. And it gets quite a good amount of views, which is more than 40 million views already up to date. We want to continue our footsteps into China's market if possible. Fox Renderfarm: Any plans for next step? Kee Yong Pin: We are doing our next animation, moving forward. And unfortunately, we cannot share anything in detail yet, but definitely I would safely, at least say that project has more challenges than BoBoiBoy Movie 2. So we want to get more market after this release in more countries and all those things, and so definitely, we need more support in terms of technology and also various partnership in the near future. Fox Renderfarm: Any other things you want to share with the CG enthusiasts? Kee Yong Pin: We just want to share that animation industry in Malaysia has been more than fifteen, twenty years. We might not be the most famous animation content hub in the world yet. But definitely Malaysia is going to be one of the best, not in terms of quantity, but in terms of quality, one of the best animation providers in the world. So, we really hope that the world will be able to really pick up our animation, have a look on what we can achieve in a more practical way, high quality, efficient, because we have a lot of good talents in Malaysia. Let's look forward to the new development of Malaysian animated films.

    2019-09-12
    Fox News
    "Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019
    RAYVISION Projects
    "Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019

    Upin & Ipin: The Lone Gibbon Kris (*Malay: Upin & Ipin: Keris Siamang Tunggal*) (short for Upin & Ipin), produced by Les' Copaque Production Sdn. Bhd., rendered by Fox Renderfarm, has won the Best Feature category at the Montreal International Animation Film Festival 2019 (ANIMAZE). ANIMAZE is an international film festival and conference dedicated to exploring the world of animation in all its diversity. Filmmakers from over 65 countries working in a wide range of genres and styles converge on Montreal in the summer. Proudly, the mischievous twins Upin and Ipin are now the winners of the international film award. In this fantasy film, Upin, Ipin and their friends find a magical kris which transports them into a fictional country known as Inderaloka. Here they meet various colourful characters from Malay folklore and help them battle an powerful villian. Les' Copaque, the production company of Upin & Ipin, elected to create its own unique intellectual property based on traditional Malaysian mythology, but told in an energetic, child-friendly way. The production of Upin & Ipin took 5 years to complete, and the cost is almost RM20 million, making it the most expensive Malaysian film ever made. Fox Renderfarm’s reliable and high-efficient service helped a lot in its rendering process. As a local animated film in Malaysia, Upin & Ipin’s award means a lot to the Malaysian animation industry. Here we congratulate on Upin & Ipin’s great success in gaining international recognition and sincerely look forward to working together for the next project soon again!

    2019-09-12
    RAYVISION Projects
    Green Book VFX Veteran Raymond McIntyre Jr. Shares Production and Careers Insights
    Fox Talk
    Green Book VFX Veteran Raymond McIntyre Jr. Shares Production and Careers Insights

    Nowadays, with the development of computer graphics technology, VFX plays an incomparable important role in sci-fi blockbusters, live-action movies or animation films. Behind these stunning VFX, there is a group of professionals & specialists. Raymond McIntyre Jr., one of the legendary VFX Supervisors, who has been working in the film industry for more than 30 years, has been involved in the production of films including Green Book, Harry Potter and the Deathly Hallows, Spider-Man, X2, Blood Diamond, Men in Black 3, The Conjuring and so on. Let's take a look at the scenes behind these Hollywood blockbusters through Ray’s story. Raymond McIntyre Jr. VFX Supervisor and President of Pixel Magic VFX Supervisor and Producer for ABC, Netflix Works (2010/2011) and more Awards 2004, Visual Effects Society Award, for his work in THE LAST SAMURAI 1998, International Monitor Award, for his work in CASPER MEETS WENDY Raymond McIntyre Jr. is a Visual Effects Society (VES) Award winning Supervisor that brings 30+ years of experience in the film industry and oversees all creative operations at Pixel Magic, an award-winning VFX & 3D animation studio with credits including: Blood Diamond, The Guardian and the films mentioned above. An impressive production pipeline, combined with deep expertise in both visual effects and 3D stereo conversion has allowed Pixel Magic to tackle some highly visible projects. And their capabilities in 3D stereo conversion has landed them work on the Chronicles of Narnia, as well as Harry Potter and the Deathly Hallows. As the President and VFX Supervisor of Pixel Magic, Ray brings extensive knowledge and expertise to the company. Also, he has frequently served as the primary Visual Effects Supervisor for feature film productions. In that capacity, he provides on-set supervision, plate/element photography as well as 2nd / VFX unit direction. Ray has been recognized for his achievements as Visual Effects Supervisor. Ray and his team offers a wide array of visual effects such as compositing services, including CGI creation of objects, animals, smoke, fire, and matte paintings to many Hollywood blockbusters. (Pixel Magic VFX breakdown reel) In the film 22 Jump Street, Ray was called on for 2nd unit VFX supervision supporting Edwin Rivera, the film’s overall VFX supervisor. The Pixel Magic team was tapped to create all of the visual effects for the establishing action scene of the Metro City Port and other 100 VFX shots in various scenes throughout the movie, such as the CG gantry crane and CG netting that tangles up the heroes, CG windshield cracks on the 18 wheeler truck and CG octopus tentacles. What’s more, they completed over 400 visual effects shots for the film My All American. "Production wanted the ability to move the camera all the time. This eliminated the traditional approach of locked off cameras and tiling practical people in different spots in the stadium, hence the need for CGI crowds. A full digital crowd was mixed with extras shot on green screen and composited with the few extras available on set. Shooting HDRI's on set allowed for realistic and accurate lighting for all the digital crowd and stadium shots. This is the real advantage of CG crowds, an exact match of lighting." according to Ray. In SIGGRAPH 2019, was honored to have Mr. Ed Lantz, President/CTO for Vortex Immersion Media & Chair of Los Angeles ACM SIGGRAPH Chapter, to do an interview with Ray. Here’s the exclusive interview with Raymond and Ed Lantz. Ed Lantz: Hi, my name is Ed Lantz, from Vortex Immersion Media and Chair of SIGGRAPH Los Angeles. I'm here with Raymond McIntyre, and Ray why not just tell us a little about what you do. Raymond: Hi, my name is Raymond McIntyre. I'm a visual effects supervisor and visual effects producer. I usually get hired by studios and companies to do the visual effects for movies like Netflix, Warner Brothers, CBS, ABC or companies like that. I also have my own company called Pixel Magic and I am president for Pixel Magic and we are a visual effects house, a small visual effects house that's been in business for more than 30 years now. And what I do is, I create and budget and produce visual effects for features, generally, I'm known for creating photo-realistic work. Most recently, I did the movie Green Book which won Academy Award for Best Picture and Academy Award for Best Screenplay. I did the visual effects for that, and my company did as well. And visual effects we did on that movie is the actor Mahershala Ali who did not play the piano in that movie at all, so everything he did was a head replacement. So we had a piano player play the piano on set and then move the piano player out once we were happy with take, and move Mahershala Ali in, shot him in the same seat, and the computer later on composited his head onto the piano player's body. So that's the kind of work I do, we create a basically seamless visual effects that hopefully you watched, the movie like Green Book and ever saw one of the 2 or 3 hundred shots we did for that movie. The film Green Book Ed Lantz: That's incredible. Could you tell us a little about the process in Green Book to replace the head? Was that volumetrically scanned or you're working with 2D plates? Raymond: Sure. To replace the head or do the head replacement on Green Book, we actually get it in a more traditional approach. We did not create a 3D model of Mahershala Ali or anything like that. We actually shot him on location, either at the piano or wherever the shot or scene was and composited via rotoscope. We did not put up green screen because the green screen changes the light value on the actor pretty substantially. And so when you're looking for absolute seamless work, we decided that the green screen change the light too much to make that work. So we shot him in the scene with the exact same light that was on the piano player and then tracked and rotoscoped, and composited Mahershala's head onto the body of the piano player. So it was all done with a more traditional approach instead of either a 3D approach, or you know something like that. Green Book VFX breakdown Ed Lantz: I especially like the shot of the White House (in the movie LBJ). And you actually shot a caravan of cars, and you could see (White House) through the windows. How did you pull that one off? Raymond: Well, for this movie called LBJ, that was directed by Rob Reiner and it stars Woody Harrelson. Rob wanted a shot in 1960 presidential motorcade was driving out of the White House down Pennsylvania Avenue to go off and whatever their business was for that day. But you cannot get a permit to shoot in front of the White House and plus Pennsylvania Avenue is closed to all car traffic except for presidential car traffic. So it's not something you can go and do. In order to create it, the movie was being shot in New Orleans. We shot the motorcade driving on a parking lot in New Orleans, because of the camera move, the extreme scale of watching them drive out the front driveway of the White House and then panning to follow them as they drove down Pennsylvania Avenue. That was a really big camera move, so we were unable to put up a green screen for the size and scale that would have been needed for that. So the approach had to be rotoscope, and that's something we're very familiar with, fortunately. It was really the talent of the artist that put the shot together. His name is Patrick Trahan and he was responsible for all this. His ability to make us believe that as we saw through the window of the motorcade as it was driving in the Louisiana parking lot, he had to roto and create transparency and create glass basically for his own (distortion). When you go around a corner especially those curves have to be rounded pieces of glass, it would distort the image, so he actually created pieces of glass, created his own distortion. So as the car rounded the corner and you as now seen the White House background through there he distorted and created exactly. And then we generated a Matte Painting for the White House based on photography that I did at the White House today and then painted out everything that isn't period or doesn't look correct and added in movements for trees and things like. LBJ VFX breakdown Ed Lantz: Very impressive!Why don't you tell us a little about what software tools that you use in your work? Raymond: We used a lot of software to complete the visual effects, and a lot of different tools. First off, you usually have to match move or track your scene or your object, or whatever it is, what that means is if you have a moving camera and a person in the shot that's moving and you want to add something to the person, you need to know what that movement of that person. Let's say we want to change my badge to something else, and I'm walking and the camera is moving, so you need to know what the movement of that is in the computer. So we call it a match move, which means we're going to match the motion of what the physical object in the real world does in the computers. Then the computer can recreate its motion exactly in pixels, and in dimensions in the computer. And then we can replace the object, change the object, do whatever it is. So we use tools to do that, which is called match move. We use SynthEyes and tools like that which is our primary matchmover. And then whether you create something in 3D to change the object, you have to composite it, so we use different compositing tools. But primarily we use Adobe After Effects and Nuke for our two primary compositing tools, and they both have features and feature sets that are unique and different than the other, and both have pros and cons that the other one does or doesn't have, so we use those two. There are others that are very similar, but those are our two main tools. And then for creating 3D objects like the cars in Green Book or the creature in Rim of the world, or the snowfall in Green Book, to create those kinds of things that have to be generated in a computer, they are solely made in the computer. We use several different tools. We use LightWave 3D, we use Maya, some of our people use Houdini for certain things. Again the tool that you choose should be based on what its strength and or weakness, isn't that you don't want. So if something is really good at doing water, for example, a CG ocean or CG water, then you use that tool, not all 3 software tools sets create water equally as good as the next. So you choose a tool that's best for the project. Green Book VFX breakdown The film Rim Of The World Ed Lantz: And why don’t you tell us maybe one of your most challenging projects that you're most proud of? Raymond: Well, I think the project I'm most proud of right now is Green Book, because it's a recent project that won two Academy Awards, and the actor won an Academy Award for Best Supporting Actor. A lot of People would probably say that they thought he was playing the piano, even though he did not. So that's something we are very proud of, and I'm proud of that the sense we made something that (hopefully) no one had any idea that we actually modified a change. Ed Lantz: Certainly I didn't, that was very impressive. Raymond: I learned something I've been doing this. I've been in this business for quite a while, and I've been doing this for a very long time, but I learned something basically on every show, I learned how to improve or what I should have done better or what I can do on the next one and so there's many shows like that. Recent ones come to mind for me, Rim of the World. We had to design and create two different creatures, three or four different alien vessels and ships and things like that. And that's always fun for a different reason because when you're designing and creating something you're trying to make something that hasn't been seen or hasn't been done before, which is difficult in today's world, especially when it comes to aliens and spaceships and things like that. And then implement them in a way that they look like the real in the shot, that are realistic and photo-realistic in the shot. And so that's always fun, you need challenges, but always fun. Fox Renderfarm: Any other things you want to share with the CG enthusiasts? Ed Lantz: My work involves projecting on large domes and we're creating shows with a-list talents. We did a show with Childish Gambino, otherwise known as the Donald Glover, and a 160 foot dome out in the Joshua Tree Desert, and we had 12 video projectors covering the dome blended together and produce the whole concert. 5 shows over 3 days, 2500 people per show inside the dome. And we also did an event at the Coliseum, here for the founder of Minecraft. He invited 3000 of his closest friends to come to party and with Skrillex and Diplo and some big DJs. And that was 24 video projectors blended together to create one big image. So now there's project in Vegas, Madison Square Gardens Entertainment makes LED dome that will hold twenty thousand people. So now we will have an arena that artists can graduate to. My company is building five-hundred to twenty-five-hundred-seat venues, so we hope CG artists get into the format creates spherical not just for VR but also for dome. MSG Sphere Raymond: As a visual effects supervisor and producer, and as a company owner, I've been doing this for a long time. It's not a good way to say is going to be, most of my exposures is US-based, but I travel all over the world for shooting and for production and things like that. The post production end of things is in the last ten or fifteen years really started to become worldwide. But I would say now that's really expanding, even more so with China and India and Australia. I'm all for the worldwide visual effects input because there's lots of reasons for that. The more brains you have figuring something out, the better it's likely to get and the result will be. So it's always nice to involve people who either look at something a little bit differently with a fresh perspective. As opposed to a perspective that I may have or colleagues may have looked at for a long period of time. When we go down one path when there is really another path that might get something done. So I actually enjoy traveling for production and I enjoy being on shows now where you know you have five, six, seven hundred, even more of those movies that have two and three thousand shots. You have to involve companies all over the world in order to get them done, and that's a challenge, but it's a good one. As Ray said, challenge helps us to step forward. Looking forward to more possibilities of CG creations.

    2019-08-30
    Fox Talk
    Interview with Junliang Zhang, Creator of the Game Scenes Project CyberNeon
    Fox Talk
    Interview with Junliang Zhang, Creator of the Game Scenes Project CyberNeon

    At SIGGRAPH 2019, Fox Renderfarm had an interview with the talented Mr. Junliang Zhang, Creator of the Game Scenes Project CyberNeon, in UE4. He is also a 2BLACKDOT Lighting Artist, and Arts Technology Graduate Student at the University of Utah. He started from scratch and finished this incredible project all on his own. During the interview, he shared his inspiration and experience with us. Thanks to Junliang Zhang. Fox Renderfarm: What is your inspiration for starting this project? Mr. Junliang Zhang: The Cyberpunk Chinese city project--CyberNeon is one of my biggest individual projects. It is also a project created all by myself. The reason why I created this project is that I watched the movie Blade Runner 2049. This movie has left a great impression on me. Blade Runner is one of the first works which created a Cyberpunk scene and has thrilled me a lot. Blade Runner 2049 depicted a Cyberpunk-styled Los Angeles, so I decided to make a Chinese version, which was unprecedented in China. It seemed unique and cool. Fox Renderfarm: How did you create CyberNeon? Mr. Junliang Zhang: It was in October 2017, my first step was to find some references and made a Mood Board. After creating the Mood Board and collecting some references, I went outdoors to shoot some materials. Then, I tried to make a nice composition, and I spent a long period of time to create the composition. According to the composition, some Shaders were made, and the Pipeline was finished. Because without the completion of Pipeline, later things cannot be done according to standards to make other objects and other procedures. The first procedure I did is to Block-Out all the scenes and models into one Maya file and to export them respectively into UE4, in order to adjust the composition, to adjust the lighting and to design the lighting. Then I added all the fog effects and particle effects without any textures. All were white models in order to make myself clear about what I had seen at first sight. For the establishment of structures and compositions, I had modified and adjusted more than 100 times over and over again for nearly 2 to 3 months. By adding step by step, in February 2018, one building is finished--the modeling and textures. All the architectural models were made by Modular, built modulizedly like making LEGO. For the large scale of the scene, most shared things were used, art materials were created in the modulized way. After the creation of the art materials, I set about the lighting. For the lighting, I had referred to a lot of Cyberpunk style materials online, and had tried various ways of lighting. During the project, I didn't set any deadline to myself. All I did was making what I could do as perfect as possible. I didn't give myself any time limit for completion, that's why this project took a year and a half. Fox Renderfarm: What's the most challenging part of the creation? Mr. Junliang Zhang: The most challenging part is the lighting. It is difficult for computer performance, which is the main reason. Creating an open world with such a big scene will cause a huge performance loss. I had tried multiple techniques to improve the lighting and models. At that time, I didn't have enough knowledge about all these technologies, so I tried to find many references, continually worked on the improvement, and finally made it to FPS 60. Fox Renderfarm: What are the things your interest leads you to persist doing? Mr. Junliang Zhang: I've always wanted to make something really sophisticated and advanced. Because there are many advanced tools have been developed. Many of them are really powerful, like Substance, Quixel, which enable us to make the game environment photorealistic, also with the help of the powerful engines, all kinds of Real-time and all kinds of ray tracing technologies. Speaking of the things I persevere with, interest is always the best teacher. With powerful tools and strong interest, I keep on learning new things and keep on applying what I've learned into work and life. Fox Renderfarm: What are the technological requirements to become an environment artist? Mr. Junliang Zhang: To improve my personal capacity, I've collected many books about architecture. If you are creating a scene, you need to acquire a deep understanding of its structure first. Because the architectural styles vary at different times, I have a collection of encyclopedias on my shelves about architecture, like architectural structure which is very helpful when dealing with 3D modeling. No matter the Middle Ages ancient architectural style, the contemporary architectural style of the ancient Greek architectural style, they are all different. Nature is the best teacher. As an environment designer, the real world is the best inspiration source. If you are designing a scene, you'd better travel around, and to experience nature, which is great. You will learn a lot from it, and can also apply them to your life, apply them to your game design, apply them to the architectural visual effects and so forth. For our life is influenced by the environment. Fox Renderfarm: Have you ever heard of Fox Renderfarm? Mr. Junliang Zhang: Sure! The Wandering Earth is one of my favorite movies and it is rendered by Fox Renderfarm. Fox Renderfarm: Any other things you want to share with the CG enthusiasts? Mr. Junliang Zhang: If you are keen on something, try to do it as good as you can, and don't ever regret. It doesn't matter if there is a failure, we can start over again. Like the Kyoto Animation accident, though it's very heartbreaking to have lost so many talents. It could still be rebuilt, even though it is such a pity. Kyoto Animation is my youth, I have been deeply influenced by Japanese animation since I was little. I love watching Japanese animation and Japanese works, which have a huge impact on me. I believe that difficulties and struggles in this industry don't matter, what we need to do is, no matter how big the difficulty we are facing now, we work on the things at hand and in future step by step to bring out the best.

    2019-08-29
    Fox Talk
    Mission Mangal, Bollywood’s First Ever Space Film Rendered by Fox Renderfarm
    RAYVISION Projects
    Mission Mangal, Bollywood’s First Ever Space Film Rendered by Fox Renderfarm

    Mission Mangal, the first space film of India used provided by Fox Renderfarm, is based on true events of the Indian Space Research Organisation (ISRO) successfully launching the Mars Orbiter Mission (Mangalyaan), making it the least expensive mission to Mars. Famulus Media & Entertainment, the VFX-producing firm of Mission Mangal, is an entertainment company delivering excellence in Creative Design, Animation and Visual Effects Development. Fox Renderfarm is proud to partner with Famulus Media & Entertainment who was associated with Hope Productions, Cape of Good Films & Fox Star Studios, to present the first ever space film, high end, space CGI/VFX coming out of Bollywood. Famulus's VFX is top class without which the long climax would not have worked so well. It’s our honour to have an interview with Asif Sayed, the Vice President Operations at Famulus Media & Entertainment, who share the behind-the-scenes story of filmmaking. Here’s the interview between Asif Sayed and . Fox Renderfarm: Hi Asif, would you please give a brief introduction about yourself and Famulus Media & Entertainment? Asif: As Famulus we have been creating High-end CGI and VFX visuals for Movies, Games, Theme Parks, AR/ VR and Experientials. I, Asif Sayed, function as the Vice President Operations at Famulus M&E. I have a collective experience of 17 years of CG industry spanning over US, Europe, Middle East and India. Fox Renderfarm: Mission Mangal is a significant sci-fi film, what do you think about the story? Have you ever made movies about aviation like Mission Mangal before? Asif: This movie is a remarkable feat in the Indian Film Industry. Moreover it rings in a sense of pride and patriotism as its based on real life events which made our country the first to send a satellite to Mars in the first attempt and at 1/10 the cost of NASA. Fox Renderfarm: How long did it take your team to finish the works? Asif: Around 9 months, from 2D storyboarding to final Comp. Fox Renderfarm: What's the most satisfying or unforgettable thing during the film production? Asif: This is the first space film made out of India and we are the creators of these visuals. Fox Renderfarm: You used GPU rendering or CPU in the film? What software, renderers and plugins are used? Asif: We used CPU rendering. Maya software was used with Arnold shading. Fox Renderfarm: How much of the movie uses special effects? What's the percentage of VFX shots in the entire movie length? Asif: About 25% of the movie has used VFX and CGI. Fox Renderfarm: Can you share with us the VFX highlights of this film? Asif: As this movie is about the satellite launch towards Mars, all the rocketeering and the space sections were created purely in CGI. The hanger-rooms, the stations where the scientists create the Rocket, satellites and their various experiments were all created in CGI for VFX integration. Fox Renderfarm: Did you meet any difficulties when making the film? And how did you solve it? Asif: The nature of this job always has its set of challenges, but the team had foreseen most of the concerns that generally crop and contingency plans were in place. Fox Renderfarm: Would you share your experience about rendering with Fox Renderfarm? Asif: It’s been a breeze having Fox Renderfarm as render partner. The service has always been very prompt on the requirements. However I wish we were always given an average of higher number of blades. Fox Renderfarm: And what's your expectation about Mission Mangal? Asif: This is the first Indian movie which will be covering a rocket launch and space travel in great detail. We are expecting to showcase our talent utilizing this opportunity. As the render partner of Famulus Media and Entertainment, Fox Renderfarm hopes Mission Mangal will be accepted wholeheartedly by the audiences and does well at the box office.

    2019-08-27
    RAYVISION Projects
    Big Shots Here!Fox Renderfarm @ SIGGRAPH 2019
    RAYVISION News
    Big Shots Here!Fox Renderfarm @ SIGGRAPH 2019

    From 28 July to 1 Aug, SIGGRAPH 2019 was successfully held in Los Angeles, which appealed to researchers, artists, and professionals who live and breathe computer graphics and interactive techniques. Fox Renderfarm is honored to be one of the sponsors and would continually support the world's biggest computer graphics conference. Fox Renderfarm is one of the leading solutions and tailor-made elastic large scale render pipeline with our professional services and industry-leading innovations, serving leading special effects, animation, architectural and entertainment industry around the world. In SIGGRAPH 2019, Fox Renderfarm had great conversations with visitors from the United States, Canada, Japan, France, Brazil, China and more. Fox Renderfarm has interviewed so many cool people, from honored guest in SIGGRAPH to R&D Postdoctoral Associate in Disney Research Los Angeles, from environment artist devoted to his original project to visual effects supervisor of Green Book and so forth. Here’s the trailer of Fox Renderfarm’s exclusive interviews, please stay tuned with Fox Renderfarm, and more exclusive interviews will be released soon. Moreover, Fox Renderfarm also sponsored Shenzhen & Los Angeles Chapters Meet-up on 29 July, to initiate relationships for future opportunities and partnerships for all members. Fox Renderfarm is happy to help CG creators and scientists recharge and refuel for the year ahead. See you next year in Washington for SIGGRAPH 2020!

    2019-08-09
    RAYVISION News
    BoBoiBoy Movie 2 To Be Released In 5 Countries With Much Sensation In This Summer
    RAYVISION Projects
    BoBoiBoy Movie 2 To Be Released In 5 Countries With Much Sensation In This Summer

    BoBoiBoy Movie 2, which used service provided by Fox Renderfarm, is a 2019 Malaysian computer-animated superhero comedy film. It is Animonsta Studios second film and the sequel of BoBoiBoy: The Movie (2016). This film is about Retak'ka, an ancient being with elemental powers that intends to seize BoBoiBoy's elemental powers. With the help of his friends, BoBoiBoy needs to stop Retak'ka from taking BoBoiBoy's powers. This is the first time a Malaysian animated film will be released simultaneously in 5 countries, including Malaysia, Indonesia, Brunei, Singapore, and Vietnam on 8 August 2019. While most animation studio takes close to four years to complete a film, Animonsta Studios pushed itself to finish BoBoiBoy Movie 2 in just 12 months with a budget of RM 7 million. Animonsta Studios’s CEO Nizam Abd Razak, who is also the film’s writer, director and co-producer explained: “We did face a lot of challenges making this movie in 12 months.” “Fans can expect exciting visuals and plenty of action sequences. We’ve enhanced the animation quality with some new software, which allowed us to not only work on the product faster but animate moving water, moving trees and even add movements to hair. In the first film, we didn’t have any of this.” said Nizam. The cooperation between Animonsta Studios and Fox Renderfarm went very smoothly. As for Fox Renderfarm’s , Animonsta Studios reckoned that it’s fast and reliable. The service has successfully delivered the job within limited time frame without have to compromise the quality. BoBoiBoy will see you guys on the big screen this summer! More details: https://news.monsta.com/monsta-unveils-boboiboy-movie-2-teaser-trailer/

    2019-08-08
    RAYVISION Projects

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