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    Render Farm on Film and Animation Works 2018

    Render Farm on Film and Animation Works 2018

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

    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.

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

    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 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/

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    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz
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    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    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 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

    2019-10-30
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    The Virtual Production: A New Era For Filmmakers
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    The Virtual Production: A New Era For Filmmakers

    Virtual Production, a next-gen workflow with a set of real-time tools for cinematographers, is combining real-time technology hardware, software to help filmmakers visualize their films on set, like Avatar, which was one of the first films using virtual production. What’s more, there are plenty of visual effects films like The Avengers, Kong: Skull Island, Star Wars: The Force Awakens, Rogue One: A Star Wars Story, Doctor Strange, where the power of virtual production can come in. Virtual production tends to be used to help visualize complex scenes or scenes that simply cannot be filmed for real, which can refer to any techniques that allow filmmakers to plan, imagine, or complete some kind of filmic element, typically with the aid of digital tools. Virtual production tools in live action tend to relate mostly around the capturing of action, often with simul-cams or virtual cameras. These are effectively screens acting as virtual cameras that can be tracked just like motion captured actors are tracked, so that someone looking at the screen – a director – can see an almost-finished composed image of what the final shot may look like. But it’s not just about being able to visualize these synthetic worlds, it’s also about being able to change them quickly, if necessary. Which is why real-time rendering and game engines have become a big part of virtual production, and why real-time rendering and live-action filmmaking and visual effects have started to merge. The film The Jungle Book Flimmakers can also use virtual production to control the environment being filmed in – typically a green screen with fixed lighting and cameras that can be easily tracked. There are several systems that allow for real-time graphics to be ‘overlaid’ over presenters and interact with them. The ABC series, Once Upon a Time In SIGGRAPH 2019,Fox Renderfarm was honoured to interview Aaron Daly, the Virtual Production Artists for Netflix, who shared his working experience and thoughts about virtual production with us. We were also honoured to have , President of Daly Realism, to host an exclusive interview with Aaron. Aaron Daly ·VFX Technical Artist for Netflix ·Virtual Production Artist ·CBS Corporation Technical Artist and Previs Artist for CBS Corporation (2017-2019) ·Technical Artist for Last Call Games(2014-2018) Works: Stranger Things (Netflix), Death Note (Netflix), Strange Angel (CBS) Leonard: Hi, this is Leonard Daly again, and I'm here with Aaron Daly. I'll let him introduce himself. Aaron: Hi, my name is Aaron Daly. I am a technical artist and virtual production artist in real-time engines using most of the Unreal Engine. I currently work on a Netflix original series production, and I've worked for CBS and been on many shows before. I got my start in games, mostly working in VR. I started with VR educational content and then I moved to CBS to do VR experiences for TV shows and games. I worked on things like Stranger Things and Death Note, and a CBS show called Strange Angel, and a couple pilots that didn't get to earth. That is mostly my background and who I am. Aaron‘s works Leonard: SIGGRAPH has changed over the years and in particular what brings you to SIGGRAPH this year and what have you noticed these changes from previous years? Aaron: Every year I feel that SIGGRAPH has a sort of theme. A lot of what I feel the theme of this year is has been a lot of virtual production technologies. You're seeing a lot of companies out there using Unreal, using real-time technologies to previz and find solutions for the television shows and movies. And that's why I'm here to kind of see the latest and greatest in technology for virtual production. And I particularly enjoyed companies like GlassBox who are making their own virtual production, virtual camera to kind of streamline the process through Unreal. GlassBox‘s virtual production Leonard: You mentioned that there's lots of new virtual productions this year in virtual production technologies, is there anything here that you see that's gonna particularly solve a problem, or perhaps and is there anything that has been extraordinarily difficult for you to solve recently? Aaron: One of the biggest kind of problems is what I end up doing a lot is working in a previz environment. So, I'm trying to get the best-looking fastest thing out there, so that the filmmakers can have notes and come back to me. The whole point of using real-time technologies is that you don't need to wait around to render or anything like that. It's going to be right there, so one of the main issues for me and things that I've been trying to solve is how to get motion capture technology in the engine. There's a lot of companies out here that are using motion capture technology whether you use optical-based motion capture for movement like a OptiTrack or motion capture like that, or you use inertia-based motion capture like a Rokoko or an Xsens suits. I found that the Rokoko and Xsens suits type is more valuable because you're not gonna need to have a huge footprint to kind of get a setup up and running, it's gonna be much cheaper entry level than OptiTrack or anything like that. OptiTrack’s motion capture technology Rokoko’s face capture Leonard: We're here at the Fox Renderfarm booth. Have you heard of Fox Renderfarm and have you had any use for that and in related to your real-time work? Aaron: I have heard of Fox Renderfarm. Unfortunately, I've never personally had any use for it. Working a lot of real-time technologies, I am not needing to use a lot of , but I hear the great thing. They do great work. Leonard: Is there anything in particular you'd like to say to the people of Shenzhen or any place else about your experiences here at SIGGRAPH? Aaron: The only thing I'd have to say is the future of virtual production is gonna be amazing, and I'm really excited for what it has to offer.

    2019-10-23
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    Interview with Cheng Lei, Telling a Dream about Travel in Architectural Visualization
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    Interview with Cheng Lei, Telling a Dream about Travel in Architectural Visualization

    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 previously? If yes, how do you feel about it? Cheng: I have used 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.

    2019-10-22
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    ‘Ne Zha’ and ‘Upin & Ipin’ Officially in Running for 2020 Oscar Nomination!
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    ‘Ne Zha’ and ‘Upin & Ipin’ Officially in Running for 2020 Oscar Nomination!

    Congratulations to the 32 animated features in running for 2020 Oscar nomination. Two of them have chosen Fox Renderfarm’s , they are, Ne Zha, produced by Chengdu Coco Cartoon and Beijing Enlight Media Co., Ltd; and Ipin & Upin: The Lone Gibbon Kris (short for Upin & Ipin), produced by Les' Copaque Production Sdn. Bhd. Besides, another Chinese animated feature White Snake produced by Light Chaser Animation Studios is also listed. (From left to right: Ne Zha; Ipin & Upin; White Snake) Both Nezha and Upin & Ipin have made massive box office success in their home country. As of October 2019, Nezha and Upin & Ipin rank respectively as the top and 2nd highest-grossing animated film in their local box offices of all time. Besides their commercial success and popularity within the local markets, being listed in the Animated Feature race in the Oscars demonstrates that their extraordinary stories and productions resonate with people from all walks of life regardless of age, race, and culture. Fox Renderfarm is wholeheartedly happy for our customers’ breakthroughs and their recognition among the world stage. And as a world-leading services, is our endless pursuit. Because nothing is more delightful than seeing the progress and thriving of the whole community. And we are sincerely looking forward to more cooperation around the world! Congratulations to all the contenders! The full list of the 32 animated features is attached below, check out to see the animated movies you can’t miss this year. Posted: Wednesday, October 16, 2019 - 10:00 32 ANIMATED FEATURES SUBMITTED FOR 2019 OSCAR® RACE Thirty-two features have been submitted for consideration in the Animated Feature Film category for the 92nd Academy Awards®. The submitted features, listed in alphabetical order, are: - “Abominable” - “The Addams Family” - “The Angry Birds Movie 2” - “Another Day of Life” - “Away” - “Buñuel in the Labyrinth of the Turtles” - “Children of the Sea” - “Dilili in Paris” - “Frozen II” - “Funan” - “Genndy Tartakovsky’s ‘Primal’ – Tales of Savagery” - “How to Train Your Dragon: The Hidden World” - “I Lost My Body” - “Klaus” - “The Last Fiction” - “The Lego Movie 2: The Second Part” - “Marona’s Fantastic Tale” - “Missing Link” - “Ne Zha” - “Okko’s Inn” - “Pachamama” - “Promare” - “Rezo” - “The Secret Life of Pets 2” - “Spies in Disguise” - “The Swallows of Kabul” - “This Magnificent Cake!” - “The Tower” - “Toy Story 4” - “Upin & Ipin: The Lone Gibbon Kris” - “Weathering with You” - “White Snake” From: `https://www.oscars.org/news/32-animated-features-submitted-2019-oscar-race`

    2019-10-21
    Top News
    Juhaidah Joemin, Great Woman in CG
    Fox Talk
    Juhaidah Joemin, Great Woman in CG

    As one of the 1st-generation practitioners of the CG industry in Malaysia, Juhaidah Joemin devotes to the development of the CG film and television industry in Malaysia. She is also the co-founder and Managing Director of Giggle Garage Sdn Bhd, who has produced numerous popular animated TV series for children. Fox Renderfarm was honored to have an interview with Juhaidah, who shared the aspiration and interesting stories along her CG journey. Juhaidah Joemin - Managing Director/Executive Producer of Giggle Garage - Representative Office Manager of Al Jazeera Children's Channel (2007-2011) - Head of Special Projects/Producer of MDEC (2003-2007) Works: Cam & Leon the series (2018) Kazoops the series (2016) Boing The Play Ranger the series (2011) Origanimals the series (2010) Saladin the series (2010) When Juhaidah was a child, she was so fascinated with cartoons and animation, which became the inspiration for starting her career in the CG industry. She first ventured into the field of animation by obtaining a degree in Film and Animation from Multimedia University, which is the first university to teach animation that time in Malaysia. Inspired by the vision of making the industry starts, Juhaidah decided to join Malaysia Digital Economy Corporation (MDEC) after graduation. It was 2000 when there were few companies proposing in the post-production and commercials, but none on content in animation. So, Juhaidah joined MDEC to learn more about the industry, as well as to have experience in this field. Citing agencies such as MDEC as one of the key supporters of her success through training and mentoring, funding and international market access, Juhaidah stressed that she would not have reached such heights without MDEC’s help. Fueled by her strong passion for storytelling and creating a whole new world out of her imagination, Juhaidah set up Giggle Garage in 2010 with three other staff. She is taking a role as Managing Director and Executive Producer, overseeing creative development and project execution for the company's original IPs and co‐production properties of children and family entertainment. Giggle Garage has since created nearly 10 different animated series including Kazoops, Cam & Leon, Boing the Play Ranger. Kazoops is a Netflix original which is broadcasting in 180 countries in 21 languages and is a co-production with Australia & UK. With 120 and 42 countries airing Boing the Play Ranger and Cam & Leon respectively, Giggle Garage is making waves around the world as an animation powerhouse and proud Malaysian export. Kazoops Cam & Leon Boing the Play Ranger With so many outstanding animated series, the animation studio won several prestigious awards in the animation field including Asian TV Award in 2016 for Best 3D Animation and the Grand Prize for ASEAN-Japan Character Competition 2016 for Origanimals, an original homegrown TV series created by the studio. Juhaidah’s success empowered women in the animation industry, a male-dominated field with a known glass ceiling for women in it. She was nominated for The Malaysian Women’s Weekly’s Great Women Of Our Time 2013 in the Arts & Media industry. What's more, during the Minggu Usahawan Nasional 2019, Juhaidah, representing the entire team at Giggle Garage Animations, won the Women Entrepreneur Icon (Digital) at the Women Entrepreneur Convention. Speaking on winning the award, she expressed her surprise and pleasure that there was an acknowledgment from ministries onto local entrepreneurs, especially the female ones, in the digital entrepreneurship field. As an outstanding female entrepreneur, Juhaidah is a major catalyst in helping Malaysia develop into a hub of world-class creative content production and made great contributions to the CG industry. Now, let’s know more about the stories behind her great woman power from the exclusive interview with Fox Renderfarm. Fox Renderfarm: Please introduce yourself. Juhaidah: Hi, Fox Renderfarm. My name is Juhaidah Joemin, I'm the Managing Director of Giggle Garage Animation. We are based in Cyberjaya, Malaysia. Fox Renderfarm: While you worked on MDEC, any projects that you are most proud of? Juhaidah: When I was with MDEC, I actually spent about eight years with them. And during those times, I was with this department called the Creative Department within MDEC. And what happened is they wanted to create a project that will represent the nation or the creative industry of Malaysia. So, I was given a task to start this project and start putting together the team, the creative team, the production companies. And the project is called Saladin, Saladin TV series. And this is the first fully animated TV series that was having co-production with the outside country at that time. And I was handling this project. We put together all the resources and we managed to convince the Al Jazeera Children Channel, the Qatar government to invest, to co-invest initial. The project nominated for International Emmy Awards for kids category and this is the first of a kind, first nomination for Malaysia, for a project that was created just to put together the entire animation industry. So, of course, there's something that I'm really proud about. Fox Renderfarm: Could you introduce your own company and projects? Juhaidah: Our company Giggle Garage, the name, of course, comes from our own inspiration where we wanted to create a place where it is happy, you giggle, you laugh all the time, and a place where is friendly enough for everyone to work together, and creating content to entertain kids and families. So, that's what the definition of the company name - Giggle Garage. We started off about nine years ago with our first IP called Origanimals. This is a preschool show of two seasons and after today we managed to actually get it broadcasted in more than 120 countries around the world. We won a number of awards for it as well. And after that, of course, moving on, we actually went to produce more original content. We co-produce with our partners. We have partners in South Korea, we have partners in Australia. So, I think after today we probably have completed about five titles, five TV series, and we have two more on the way, plus a few more under developments, of course with ten IPs actually within the span of nine years. Space Nova(co-produce with Australian team) Time Traveler Luke(co-produce with Korean team) Fox Renderfarm: Being an entrepreneur, any challenges when building your own studio, developing your own IP and even marketing it? Juhaidah: Definitely, the challenges are there, on a daily basis. But also, being a start-up, I guess the main challenge of the first challenges is the cash flow. When you start a company, you cannot run without cash. And this is the first hurdle that we went through. So of course, we started off the company providing services and all just to get the cash going, the company going. But at the same time, we also received help. There is a funding program for IP under MDEC. So, we actually benefited a lot from this program. They provide training, mentoring, market access that takes us to different markets to basically get exposure and market our show, as well as providing funding for the show. So, at least, this helped us to basically move on to the next stage. Fox Renderfarm: Could you introduce the program for cultivating young CG artists? Juhaidah: There is a number of programs in Malaysia that are cultivating young CG artists as well as young entrepreneurs, those who want to start their own business and all. And one of these is called, it used to be called the IPCC, the international creative IP challenges, and now it's called the DiCE. So, it's the same program. It's open to the entire creative community to submit the proposal, their ideas. And basically, once you are shortlisted, then you'll be pitching in front of the industry panel. And every year there will be a selection of between 5 to 8 projects to receive a grant from MDEC to produce the IP into a three-minute trailer, for example. And not only they are doing it on their own, the industry partners will be actually put inside the panel as mentors. So, for the span of six months, the industry panel will take the young creators through mentorship, like step by step, so that they understand what it needs to create the content. So, this has been done, I think, (for) more than 10 years right now. And, of course, there's a source of program for companies that are a bit bigger, a bit more matured and are ready to go into production. And there's a source of program that supports that. So, I guess it helps everyone to basically move to the next stage of their company growth. Fox Renderfarm: Have you heard about Fox Renderfarm? Juhaidah: Well, of course, we used it before. So, it's familiar. In fact, we are really thankful that there are such facilities out there. Because, definitely, companies like us, we are producing content on a daily basis, like delivering 4 episodes a week for TV series, so the use of a render power is there, the needs of it is there, so we definitely need a lot of this kind of facilities around to help us produce our show. Fox Renderfarm: Any other things you want to share with the CG enthusiasts? Juhaidah: Creating your own content or creating a CG content, it can be fun sometimes because you are pursuing your passion, your love of animation and all. But it can be tough sometimes, even the toughness doesn't go forever. You'll get through it. Then you'll get to another new circle, new experience. The entire journey, it is an experience that everyone can appreciate. Even for us, after nine years, we are actually still learning about new technology. Every day, there is a new software or a new skill that we need to learn. So, that's why I'm excited about this industry because you never stop learning, you never get bored with it. And at the end of the day, if you're doing what you like, it's almost like you are living a good life, I guess.

    2019-10-18
    Fox Talk
    Interview with Carlos Costa Blanes, Nominee for 2019 Architectural 3D Award by CGarchitect
    Top News
    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!

    2019-10-17
    Top News
    Fox Renderfarm, Your TPN Accredited Cloud Render Farm
    Top News
    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.

    2019-10-07
    Top News
    Interview With Leonard Daly, Creating A New Future Of Websites
    Fox Talk
    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.

    2019-09-30
    Fox Talk
    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

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

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

    2019-11-13

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

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

    2019-11-08

    See You In Indiajoy 2019, India's Biggest Media & Entertainment Festival!

    See You In Indiajoy 2019, India's Biggest Media & Entertainment Festival!

    2019-11-06

    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    2019-10-30

    The Virtual Production: A New Era For Filmmakers

    The Virtual Production: A New Era For Filmmakers

    2019-10-23

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

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

    2019-10-22

    ‘Ne Zha’ and ‘Upin & Ipin’ Officially in Running for 2020 Oscar Nomination!

    ‘Ne Zha’ and ‘Upin & Ipin’ Officially in Running for 2020 Oscar Nomination!

    2019-10-21

    Juhaidah Joemin, Great Woman in CG

    Juhaidah Joemin, Great Woman in CG

    2019-10-18

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

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

    2019-10-17

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