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



    Fox Renderfarm Interview

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

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

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

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

    Audi RS7 TVC © Eleven FX

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

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

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

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

    Fox Renderfarm: Can you tell us about your pipeline?

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

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

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

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

    CGI breakdown for Audi RS7 2020 © Eleven FX

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Make An Impressive Space Rover With Spherical Wheels in Maya



    Fox Renderfarm Interview

    Space invider © Yuri Kozhevnikov

    Hum3D Space Rover 3D Competition announced the winners in early June, and we are glad to see lots of creative space rovers created by talented artists all over the world.

    Fox Renderfarm, your TPN-Accredited cloud rendering service provider, is honored to interview the third-place winner Yuri Kozhevnikov, whose artwork Space Invider was appreciated by the judges because of the fantastic atmosphere and the great design of the space rover.


    Here’s the interview between Yuri Kozhevnikov and Fox Renderfarm, and he talked about the making of this artwork, including how he made his Space Invider by using Maya, Blender, Substance Painter, Quixel Mixer and Photoshop.

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

    Yuri: Hi, My name is Yuri Kozhevnikov. I am 32 years old. I was born in the old small town in the north of Russia under the name Kargopol. At the moment I live with my wife Maria and a dog named Schnapps in St. Petersburg. I work as a senior 2D artist at Wargaming.

    Yuri’s battleships artworks for Wargaming

    Fox Renderfarm: How do you feel about winning third place in the Space Rover Challenge?

    Yuri: I was very happy to participate in this competition, even more, I'm glad that I was able to win a prize in the place. By profession, I am not a 3D modeler and therefore I am very flattered that I managed to take 3rd place in the 3D competition.

    Fox Renderfarm: What inspired you to come out with the idea of making the work Space Invider?

    Yuri: Nothing unusual, inspired by ArtStation and the works of other artists. I came up with the idea of round wheels from the references listed below.


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

    Yuri: It took a little more than a month to work.


    UV mapping


    Fox Renderfarm: We are all attracted by the unusual sphere wheels you designed, could you tell us how you designed such a space rover?

    Yuri: The principle of the action of such a mechanism was immediately born in my head. In fact, it is an ordinary electric motor.

    The spherical wheel is a rotor. Magnetic locks on the wing is a stator. Between them is a magnetic field, that's all. The rotation of the wheel in any axis gives tremendous freedom in movement and maneuverability.

    Fox Renderfarm: The fantastic colors and lighting create a mysterious environment on an alien planet, could you tell us how you set the lighting and color?

    Yuri: The reference was a frame from the movie Avengers: Infinity War. There was such a planet, where the stone of the soul was stored.

    Lighting is very simple, an HDRI card (NoEmotion), one directional light and a little fog. I slightly changed the HDR map in Photoshop, added a planet with rings and a characteristic solar disk.

    In the blender, a purple hue was added through the color correction node.

    Then I made two renderings: normal and with a purple tint. The most simple processing in Photoshop. Compound 2 renders, select the rover by mask, and overlay several textures with particles.

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

    Yuri: There were minor difficulties, but they are also an interesting experience - this is the study of new software. I first worked in a blender, did visualization on the Eevee engine.

    Test renders

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

    Yuri: I studied everything on my own. I started about 10 years ago with Photoshop and photo manipulations. At the same time I tried in 3D, but quickly rejected this idea. Probably because I decided to study 3D with Maya. Not the easiest software for a beginner.

    For a long time, I was a graphic designer. I painted logos in CorelDRAW.

    Gradually, about 6 years ago, I began to include 3D in my pipeline. My first 3D program in which I could do something sane Cinema 4D. But in the end, I still mastered Maya. This is my main modeling software.

    Fox Renderfarm: What do you do to enhance your professional skills?

    Yuri: Workout. Just like in sports you need to train and then your skills will improve. Naturally, you need to train not only "familiar movements" but also learn new ones. On personal projects and with participation in contests, you can include new software in your workflow, learn new techniques and much more - this is my training.

    New York © Yuri Kozhevnikov

    Kalitinka © Yuri Kozhevnikov

    Creating a Realistic Moon Environment in 3ds Max and V-Ray


    Fox Talk

    Art Competitions

    Hum3D’s Space Rover 3D Competition, sponsored by the TPN-Accredited render farm, Fox Renderfarm, attracted 98 artists to take part in the competition.

    Among them, Space Walk created by Patryk Urbaniak stood out and won 1st place in the challenge because of its great composition and fantastic photo-realistic render.

    Patryk Urbaniak is a Lead Lookdev Artist at Method Studios Montreal. Some of the movies he worked on include Guardians of the Galaxy 2, Spider-Man: Homecoming, Deadpool 2, Ant-Man and the Wasp, Godzilla: King of the Monsters, and many more. Generalist background helps him to tackle 3D scenes from a simple concept to a finished product.

    Here’s the interview between Patryk Urbaniak and Fox Renderfarm, in which we can find out how he created this wonderful piece.

    Clay Render © Patryk Urbaniak

    Space Walk © Patryk Urbaniak

    Fox Renderfarm: Congratulations on winning 1st place in the Space Rover Challenge, how do you feel about it?

    Patryk: Thank you so much for your kind words. It truly feels amazing. I remember waking up, going through my emails when I read what Hum3D wrote to me and I was just speechless for a good few minutes. I really couldn't believe it as there were so many good submissions.

    Fox Renderfarm: What’s the idea behind your artwork 'Space Walk'?

    Patryk: I had an idea to do a render of a realistic moon environment and then put it into an image, behind the camera I would render a film studio and I would place the astronaut on some wires and cover everything in green screens. After some trial and error with the frame composition I found out that the image is losing a lot of impact and I couldn't properly place it in strong composition points. This time I had to revert back to the first idea I had and that was just an image of a rover on the moon surface.

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

    Patryk: It took close to a month to create my work. I was able to put around 3-4 hours each day after work and a few weekends.

    Fox Renderfarm: The piece is extremely photo-realistic which received loads of praise from the jury. How did you make the render?

    Patryk: Thank you. I rendered everything in V-Ray and I have to say that this renderer is super intuitive. The realism is super easy to achieve when you just use the proper ranges of a PBR workflow. Right now a modern renderer does a lot for you and you can just iterate your work with such effectiveness that you are able to compare your renders to the reference much frequently.

    Fox Renderfarm: The lighting is capturing the Moon feel really well, such as the harsh sunlight and shadows. How did you make it?

    Patryk: The lighting was quite challenging because you mainly have to create a very interesting piece only with one light (I used a few additional rim lights to slightly detach the objects from the ground). What I did is I animated the sun going from left to right, and from top to bottom on a 200x200 preview. I was able to judge the shadows of each render and see exactly how much we can see and how much goes away. I picked the best scenario for my idea and I just added a few small lights here and there. But again, just because it was super fast to iterate the light, I was able to hit a few different approaches. In terms of the shadows, you might think I'm crazy but I just started to decrease the diffuse bounces. The less bounces or GI I had the more realistic it was looking. While there is no atmosphere at the moon it was easier to match the references with less bounces and I guess about 0.2x the GI.

    Fox Renderfarm: There are many nice details of the models and materials. Any references?

    Patryk: A lot of materials are fully procedural based on seamless textures and triplanars. The ground for example is a composition of 8 noises and one footprint texture with one mud texture that I created. In terms of the references I had an opportunity to visit a Boeing Factory in Seattle in order to look at a lot of space equipment that took us to the Moon so I took some pictures but in general the Internet is full with super quality images on that topic.

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

    Patryk: I faced many difficulties. Let me start by saying that the whole scene was rendered on V-Ray GPU and I’m working on a 2015 laptop. Like said above, the ground itself was done procedurally by using a blend of certain nodes and 2 seamless textures. The displacement being set to the satisfying quality took almost 80% of my VRAM so it was hard for me to create an illusion of the horizon being far away from us but after some optimization, I was able to free some space for the rover itself!

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

    Patryk: I don't have any graphic designer education or an art degree but I was attending a film school for 2 years and it gave me a good understanding of camera work or light. As for my experience I started in a small company as a 3d artist and I had no idea what I was doing at that time. After 4 years I joined the biggest studio in Poland, Platige Image and in 2017 I moved to Canada to work on slightly bigger productions. I have to say that I was incredibly lucky with the people I have met and friends I still have today. Being an artist is like running a marathon. It takes time and perseverance but it leads you to a whole new level of understanding the world through an observation.

    Fox Renderfarm: How do you enhance your professional skills?

    Patryk: I think I just stay with problems longer. Whenever there is an issue I always dig for days until I figure it out. I read the documentation of the tool as well as "help". It gives me a little bit more information about the broad usage of a software. And then I just give myself a task each week and I try to complete it. I fail most of the time and then after a few more tasks I learn how to do it properly.

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

    Patryk: I would like to thank you each and one of you guys! Everyday I go to your website and it motivates me so much for the day that I can't even describe it. It is a great feeling that all of us can learn from each other and be an inspiration. Thank you so much for having me and I wish you all the best.


    How to Create an Epic Leviathan Rover in Maya and ZBrush



    Fox Renderfarm Interview

    Hum3D’s Space Rover 3D Competition, sponsored by the TPN-Accredited render farm, Fox Renderfarm, attracted 98 artists to take part in the competition.

    Among them, the artwork Leviathan Rover created by Malchus Akash, an aspiring concept artist /3D artist from Malaysia, won the Special Prize for the “Best texturing”. It is overall a solid work! We can feel the attention to details at every step of the creation process. The texturing work just feels right and really helps add life and credibility to the overall scene. Special mention to the composition and lighting which are just perfect.

    Here’s the exclusive interview between Malchus Akash and Fox Renderfarm, in which he talked about the inspiration and creating process of this excellent artwork.

    Leviathan Rover © Malchus Akash

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

    Malchus: Thanks for the opportunity to have this little interview. My name is Malchus from Malaysia, an aspiring concept artist /3D artist. Recovering anxiety disorder artist so to say. I have been doing this for the last 8 years.

    Fox Renderfarm: Congratulations on winning the Special Prize in the Space Rover Challenge, how do you feel about that?

    Malchus: I feel very pleased about winning anything to be frank haha. On a serious note I am very thankful to have been given the chance to be noticed for the work.

    Fox Renderfarm: What’s the inspiration behind your artwork “Leviathan Rover”?

    Malchus: The inspiration behind this piece came from Dune, big truck like vehicles just because everything always is a lot more epic when it's bigger and Mars inspired movies.

    Raw Image from Maya © Malchus Akash

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

    Malchus: I'd say it took about a month in total time not including the breaks in between.

    Fox Renderfarm: Featuring characters by lighting enhances the power of the image in storytelling. Could you tell us how you designed the lighting?

    Malchus: Cinematic lighting always gives a lot more depth to images. Even though I might have liked to push a bit more on the dark and light. I wanted to have a sunset-like feel to the overall image to give the sense that the occupants were looking for a place to set up base.

    ©Malchus Akash

    Fox Renderfarm: The amazing work has great composition. How did you make it? Any references?

    Malchus: The composition I'd say came from many many references which would make it hard to pinpoint. I tried to follow the rule of thirds mainly to get an overall shot of the rover.Tilting it ever so slightly from left bottom to top right to give that sense of progression to not over do it just a subtle change from a flat plane.

    ©Malchus Akash

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

    Malchus: I think the biggest difficulty was the ground which I still am figuring out the best method to do. I did end up using for this piece multiple meshes with mixed textures to solve it but I'd say if it were to be a close up shot it might not have the clarity of it. As it was the first piece using few softwares it was just brain consuming at times to learn up all which just took a bit of time to just get through it.

    ©Malchus Akash

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

    Malchus: I went to Australia and studied at QUT for a bachelor of fine arts in animation, though I can't animate to save my life haha. My work experience is a bit odd. Well with having anxiety disorder after I finished university was a big challenge at times still is. I did have a few stints in Australia and coming back to Malaysia but due to my issue it was difficult.I had to do freelance because I used to have attacks which caused me to not be able to go to work the next day. So currently I continue doing freelance.

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

    Malchus: YouTube, I'd say, you want it, YouTube it and you spend the time learning it and adapting to what you want to do. That's mainly how I learnt it because the skills are all technical based which in today's environment has given us an amazing amount of resources to learn from free and paid.

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

    Malchus: CG is not all fun and games.It does take sheer will and mental capacity to learn the many softwares, techniques and skills to produce these images. Coming from my gym mentality no pain no gain comes into this extremely. But if you're willing to put in the time and continuously work at it , the final images you produce always gives you a sense of accomplishment, joy, amazement at times thinking how you even came out to it and even peace when it's what you wanted or sometimes happy accidents. Finally I'd like to say if you want to do this know if you want to do this professionally or as a hobby set that first.

    The Refreshing Israeli Indie CG Animated Film, The Slide



    Fox Renderfarm Interview

    In recent years, more and more excellent indie animation films have sprung, so that we can see more and more the fantastic ideas and talents of CG artists all around the world.

    Recently, there's an Israeli indie CG animation film that catches the audience’s attention. The Slide, directed by Uri Lotan, and produced by The Hive Studio & Flipbook Studio, is a 9-minute animated film inspired by a single moment from the Director's childhood, a moment that forever changed his life.

    With a unique animation style mixing simple design aesthetics with real-world materials, The Slide tells Eviah’s story - a young Israeli kid sneaking in with his best friend Tsuf to the scariest water slide of all, The Black Slide. Throughout the day Eviah is filled with strange, foreboding feelings, we quickly learn that there's more to Eviah's story than meets the eye.

    © Avner Geller

    Click here, learn more about the short and support it.

    Here’s the interview between the film director Uri Lotan and Fox Renderfarm, in which Uri talked about the story behind the short film.

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

    Uri: Hi, I’m Uri Lotan, the director of the short film “The Slide”. I am a graduate of Ringling College, since graduating I've been lucky enough to have worked in feature film, TV and commercials. After several years in the states, I returned to my hometown Tel-Aviv in Israel in the hopes of telling personal stories.

    Our team consists of a small group of artists here in Tel-Aviv, and a bunch of talented friends from all over the globe, helping us make this film.

    Fox Renderfarm: What was the inspiration for the short film?

    Uri: In the summer of 99׳, I spent a long, confusing day at the waterpark. All day long I felt something was off. Returning home that evening, I came back to a new reality- my life changed forever. As the years pass, the memory of the waterpark and that life changing evening merged into one inseparable memory, that is the inspiration for our film.

    © Noam Wiener

    © Noam Wiener

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

    Uri: After developing our unique visual style and endlessly refining our story, we jumped into the CG world with a splash, trying to find the right technique for us, we knew we wanted to maintain the naive nature of our 2D designs in our three-dimensional reality.

    © Lily Snowden

    © Lily Snowden

    © Lily Snowden

    Set building process :

    © Ovadia Benishu

    Timelapse :

    We modeled our characters and environments in Maya. M-Gear was used to rig our characters. We found a unique feature in the latest version of Arnold, which enabled us to create a one of a kind, texture based facial rig. It lets us create these very graphic facial expressions, keeping that naive aesthetic of our drawings.

    With the help of our British Co-Production partners, Flipbook Studio, we’re texturing and shading our characters and sets in Substance Painter, this gave us the freedom to be playful and courageous with our shading decisions.

    © Yuval Turgeman

    At the very beginning of our production, we took a sequence of shots and took them all the way through our productions, from asset creation to final compositing. This helped us understand the complexities of our pipeline and where the potholes might lie. With that, as animation is on its way and we know what’s awaiting us when we get to the lighting and rendering stages of production.

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

    Uri: It was a moment of discovery, it was when we finished the very first shot in animation. Our lead animator Charles Larrieu worked on a shot where we see Eviah looking up to the Black Slide, just as he’s about to take the very first step up the stairs.

    It took some time to get it just right, but when we saw the look on Eviah’s face, it told us everything we needed to know. Who Eviah is, how he moves and behaves in his world, it gave us so much clarity for the rest of the film.

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

    Uri: The film isn’t quite done yet, so difficulties are around every corner. Our biggest issue has been our limited budget. Creating short films is never easy, especially CG animated films. We took the challenge of working with a limited budget, trying to focus on the essence of each element, what do we need? What can we simplify? What can we lose? This approach made the production of our film feasible, But more than that, by result it created many of the creative solutions that make the film unique.

    © Maya Shleifer

    Fox Renderfarm: Could you introduce the current progress of the project? When is the film expected to be completed?

    Uri: We’re planning to finish the film by the end of 2020, fingers crossed!

    We are right in the middle of production - animating shots, finalizing sets and soon we׳ll start lighting this baby! The short is funded by Israeli foundation and each and every team member’s personal investment and support. It couldn’t have happened without them.

    We decided to begin production knowing we don't have enough money to produce the film exactly the way we wanted to, but we had so much faith in this film, we believed that if we start it- we’ll also find a way to finish. Now, As the end seems closer than ever, a funding boost from our Kickstarter campaign will give us the opportunity to finish the film the way we always dreamed it, and to pay our wonderful team who worked so hard on this film.

    © Roy Rachamim

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

    Uri: Fox Renderfarm has provided us with a breath of fresh air. We came across the service while researching different options for online render clouds. Since the very first login, the service has been on our side, the incredible support team has been solving all the problems that we have encountered.

    It took us a few moments to get the hang of it, but once we were set up, we realized how easy, comfortable and cost-effective Fox renderfarm is.

    © Avner Geller

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

    Uri: I would like to thank the animation community for the unbelievable support in our Kickstarter campaign, and invite you to support Our short film. We need your help to get this film to the finish line. Check out the fun rewards we have for you, and help spread the word of the campaign.

    Fox’s Got Talent June Winner Revealed: a Surreal and Atmospheric Short Film Created in 3ds Max and V-Ray



    Fox Renderfarm Interview

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

    We are excited to announce our Fox’s Got Talent June Winner CG artist Ren Wang from Canada, a filmmaker based in Toronto. This artwork INTERSTATE is a surreal and atmospheric short film created in 3ds Max and V-Ray. Its smooth transitions and emotional scenes stand out, reminding us of the real feelings along the long trip.

    What’s the story behind while creating this artwork? Let’s figure it out together!

    INTERSTATE © Ren Wang

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

    Ren: Hi there! I'm a filmmaker based in Toronto. I used to work in architecture but recently decided to start making films in CG.

    Fox Renderfarm: Congratulations on winning the Fox’s Got Talent June winner, how do you feel about it?

    Ren: I'm very excited as Fox Renderfarm is my go-to render farm.

    Fox Renderfarm: What’s the idea behind your artwork “INTERSTATE”?

    Ren: It was from a long trip I took at the end of 2019. Last December I drove from San Francisco to Toronto across the US in seven days. I had the idea of sharing this experience through making a surreal, atmospheric film. The images you see in this film are based on what I saw and felt during the trip.

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

    Ren: It took about four months to finish.

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

    Ren: I mainly use 3DS Max for scene setup and V-Ray for rendering. For models and textures I utilized online resources such as Quixel Megascans.

    Fox Renderfarm: How about the challenges you faced while creating this work? How did you overcome them?

    Ren: The challenge is the design. I try to make the design reflecting my feelings during the trip as much as possible. Also each scene is designed to be played in a loop so there's more challenge in setting up the 3D scene. I managed to pull it off through rounds and rounds of iterations.

    Fox Renderfarm: Technically and visually, which is your favorite part of this short? And why?

    Ren: I love them all but my favorite would be the top down canyon shot - the third shot. It closely matched what I felt when I travelled through the desert in the midwest.

    Fox Renderfarm: Which features in V-Ray do you find the most useful?

    Ren: V-Ray is by far the renderer I've used the most. So I would say I find it very reliable.

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

    Ren: Later in the production I tried V-Ray RT, although I only used it for rendering two shots - the second and the fourth - but I found it to be useful and fast.

    Fox Renderfarm: Your work "Waterdrop" on Vimeo is really great, which gains over 100K impressions. Can you tell us something behind the scene about this project?

    Ren: Thank you. Yes "Waterdrop" is my early attempt in films when I was still in architecture school. Although it was mostly done in 2D, I really like how it turned out. I figured out how to make infinite zoom in 2D which is the core technique and storytelling method of this film.

    INTERSTATE © Ren Wang

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

    Ren: I was trained in architecture. After school I worked in architecture briefly but joined a creative agency as a 3D artist to work in archviz three years ago. I moved to Canada early this year and have since worked as a freelancer.

    Fox Renderfarm: How do you enhance your professional skills?

    Ren: I learned from my colleagues through work and also from the process of making my own stuff.

    Fox Renderfarm: What do you think about Fox Renderfarm?

    Ren: Fox Renderfarm has a very user-friendly interface both on desktop and online. It also supports a variety of software. I want to try a different CG pipeline for my next film.

    Fox Renderfarm: Anything else you would like to share with CG enthusiasts? Ren: Try out Fox Renderfarm!

    Who is our next WINNER?

    Click here Fox's Got Talent and submit your artwork rendered with Fox Renderfarm. Shine your talent now!

    Fox’s Got Talent March Winner talked about how to create a doomsday battle in C4D



    Fox Renderfarm Interview

    Last month, we have already announced Fox’s Got Talent March winner--Yaw Onyina, a 3D Generalist and Medical Doctor from Ghana. Congratulations again and let’s see how he created a doomsday battle in Cinema 4D.

    · Yaw Onyina · 3D Generalist and Medical Doctor· From: Ghana

    The Final Stand by Yaw Onyina

    After over 2 months of work, Yaw finished his biggest ever project The Final Stand, which was modeled in C4D with a few exceptions made in MoI3D. The texturing was with Substance Painter, Alchemist, Illustrator, and Photoshop, and rendering was done with Redshift for C4D. What’s more, Yaw introduced the texturing and shading processes and how to set up so many details in the scene in our exclusive interview.

    Fox Renderfarm: Hi, could you briefly introduce yourself?

    Yaw: My name is Yaw Onyina and a 27-year-old from Ghana. I work professionally as a Medical Doctor. I love design in general and so I make time to work on it.

    Fox Renderfarm: How do you feel about winning Fox’s Got Talent (FGT)?

    Yaw: Brilliant. It’s the first contest I’ve ever won in design and I’m really grateful to Fox Renderfarm for the opportunity to enter and eventually win!!

    Fox Renderfarm: What’s your inspiration for this creative artwork?

    Yaw: I call my artwork ‘The Final Stand’. It is set in a post-apocalyptic world where artificial intelligence has taken over the world and has the current goal of exterminating all human life. The hero in the shot comes against the AI drones. After an epic battle, he falls. My pieces lately are inspired by the works of Simon Stalenhag and Cornelius Dammrich. Their works are amazing!

    Details in The Final Stand by Yaw Onyina

    Artwork by Simon Stalenhag

    52HZ by Cornelius Dammrich

    Fox Renderfarm: We can see that you set up many details in the artwork, such as the telephone booth, weapon and neon lights. Which part did you spend more time on and how did you make it done?

    Yaw: Most of the time I spent on the scene was in texturing and shading processes. The scene contains over 300 separate textures so you can imagine how long it took compiling them into shaders haha.

    Telephone booth design in The Final Stand by Yaw Onyina

    Fox Renderfarm: The drone is so cool, how did you design it? Any references?

    Yaw: I spent time looking for references online. Pinterest and ArtStation are great resources which I think every artist should use. Then I went into Cinema 4D and using subdivision modeling, I made the drone. I then unwrapped the separate pieces using RizomUV and took the unwrapped model into Substance Painter for texturing. The entire drone model took about 4 hours cumulatively to make.

    Drone design in The Final Stand by Yaw Onyina

    Fox Renderfarm: Technically and visually, which is your favorite part of this work? Why?

    Yaw: My absolute favorite part of the process is texturing. Substance Painter is such a joy to use. Back in the day I hardly ever properly unwrapped and textured models however with the advent of Substance, everything’s changed. I’ll never look back!

    Texturing in The Final Stand by Yaw Onyina

    Fox Renderfarm: Have you met any difficulties? And how did you solve it?

    Yaw: My main difficulties were in rendering. I use a laptop in making most of my scenes so rendering the final images at full 8k resolution was a nightmare. I spent over 8 hours rendering a single frame only for Cinema 4D to crash, right at the end!! I’m really happy I found Fox Renderfarm. It freed my computer for other purposes.

    Fox Renderfarm: As you are a 3D Generalist and also a Medical Doctor, how do you keep yourself inspired and motivated? And what do you do to improve your CG professional skills?

    Yaw: Paradoxically, design is what keeps me motivated to work as a medical doctor. I keep Behance and ArtStation tabs open on my browser as well. So they serve as great sources of inspiration. I strive to be like the artists who inspire me and that’s what keeps me constantly trying to improve my skills. I try to stay humble and invite critique from fellow artists on several of the artist platforms (such as 3douchebags, Motion Designers Community, The Cinema 4D Subreddit, etc).

    Artworks by Yaw Onyina


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

    Yaw: I absolutely love it! I’m definitely rendering all of my bigger projects on this service. Customer service is spot on too. Great service.

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

    Yaw: I’d like to encourage all C4D artists to step out of the stereotypical “C4D daily style” of design and tackle bigger personal/client projects. That is the only way we can improve as artists.

    Will you be our next WINNER?

    Click here Fox's Got Talent and submit your artwork rendered with Fox Renderfarm, shine your talent now!

    How to Build a Realistic Character in Maya



    Fox Renderfarm Interview

    André Jukebox © Jonathan W. Rodegher

    The artwork, André Jukebox, was created by Jonathan W. Rodegher from Argentina, who is currently working in Ireland as Lead Sequence Lighter for a feature film, and rendered with Fox Renderfarm, the leading cloud rendering services provider in the CG industry.

    This video has been made as a technical test for his short film, André Jukebox. It tells a story about André, a busker, who intends to pursue a life doing music, his main passion, despite being born and raised in the marginality.

    This is the first of the last array of renders that will close this phase, reaching an important milestone in the animation project. Following this, there will be a number of updates rolled out for the character, including new skin shader/textures, eyes improved, cloth new shaders and textures, a much better-improved rigging system, etc.

    Here’s the interview between Jonathan and Fox Renderfarm, in which we can find out how he came up with the idea and created this wonderful video.

    Fox Renderfarm: Hi Jonathan, thank you so much for accepting our interview! Could you briefly introduce yourself?

    Jonathan: Hi! Thank you for interviewing me. My name is Jonathan, I’m from Argentina and currently working in Ireland as Lead Sequence Lighter for a feature film. I’m also a bit of a music nerd and lately, I’ve been going into filmmaking and storytelling.

    Fox Renderfarm: Now we can see the beautiful shot concept of André Jukebox, including a video as the technical test, could you give a brief introduction about the whole story?

    Jonathan: Well André is a busker who, despite being born and raised in the marginality, intends to pursue a life doing music, his main passion. Along with JD, a friend from childhood, they both try to survive and help each other try to build a better life, far from a drug-infested neighborhood.

    Fox Renderfarm: What’s your inspiration for the short film?

    Jonathan: The Wire is a big one, storytelling and tone wise. Narc, the movie is another one. Visually though, Seven, Pear Ciders and Cigarettes and Into the Spiderverse. Very different sources that I intend to mix somehow.

    Fox Renderfarm: In the video, we see the cloth and hair motion is realistic, how did you do that?

    Jonathan: I just did the sims and then load them up as alembics, using modifiers to apply wind-like motion. For such a short clip, these little tricks are often good enough.

    André Jukebox © Jonathan W. Rodegher

    Fox Renderfarm: When did the project start? And when will the film be released which we are looking forward to?

    Jonathan: I started building the character, from design to final model, about 2 and a half years ago. By then I already had a few written ideas. After that, it’s been iterations and iterations of improvements, be it technical or visual. I just put in some hours now and then when the inspiration hit or when new ideas came up.

    Fox Renderfarm: What’s the most interesting or unforgettable thing during the process?

    Jonathan: For sure the learning side of it is the most interesting. For example, I had to learn how to actually build cloth, and shoes. Also, how many times you think you’re done and happy with, and keep finding ways to improve your assets.

    Fox Renderfarm: Have you met any difficulty in the creation? How did you overcome it?

    Jonathan: Yeah, naturally. Many different issues during all this time. The way to overcome it is to test, test and test. Also do a lot of solid research. Taking a day or two away from the problem is a really good technique too, given you have the time. Way too many times I found myself stuck in an issue, and I just needed a fresh look into it.

    Fox Renderfarm: The video is the milestone in your project, so what’s your next step for the project?

    Jonathan: Right now there’s a teaser/proof of concept on the works. The next step is to gather all the needed assets/rigs up to pace so the animation team can start with final animation. In the meantime there’s quite a bit of pipeline and other processes being developed as we go, as well as finishing with the rigging, recording of voices, music, touching up the edit, etc.

    André Jukebox © Jonathan W. Rodegher

    Fox Renderfarm: When did you encounter CG? Could you briefly tell us the story of your educational and work experience along your CG journey?

    Jonathan: I found a VFX school in Argentina, around 2001, and that was the first time I got the idea that I could actually work on it, in a user computer. Having always had the knack for drawing and animation, and also a huge interest in computers, I found that 3d animation was quite ideal. So I started there, with a very basic and informative 6 months training. And not too long after that, I started working on tv ads. Around that time, lucky for me, 3d animation was wildly popular for ads. Not too long after that I was working on animation full time.

    Fox Renderfarm: What do you do to enhance your professional skills?

    Jonathan: I’m usually keeping an eye open for any new training material I can come across. Especially if it comes from artists I admire/respect. The other thing that’s very important is to keep working on your stuff, and be brutally honest about your results. Your instincts are pretty good at telling you what you don’t wanna hear/see.

    Fox Renderfarm: Anyone or any artwork inspires you the most in this industry?

    Jonathan: Lately, I’ve found the work from Alberto Mielgo super interesting. His stuff looks amazing. Also, Zac Rets, his art direction is pretty stunning too.

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

    Jonathan: It’s been a real pleasure to work with. Everyone seems eager to make the whole thing go as smoothly as possible, not to mention how friendly the attention is. If my project can afford it, it’s a no brainer!

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

    Jonathan: Be humble, there’s at least one very very useful thing you can learn from anyone in the team. Also, take more time learning the fundamentals, I’ve seen a lack of this over the years. A software might take a couple of weeks to get used to, fundamentals? You’ll be perfecting forever. It’s the fastest way to make your work look really good.

    How to Build A Magnificent Space Carrier in UE4



    Fox Renderfarm Interview

    If you are a science fiction fan, you must be very interested in space carriers and its adventures. In CG Boost “Space Carrier” Challenge, artists surprise us with their own interpretation of space carriers.

    As the champion of the challenge, Mateusz Szymoński, a Digital Artist and Game Developer from Poland, created an epic widescreen shot about the United Earth Federation, which looks straight out of a futuristic sci-fi movie.

    Mateusz Szymoński Digital Artist & Game Developer From: Warsaw, Poland

    United Earth Federation © Mateusz Szymoński

    Clay render

    Since it’s the first attempt for Mateusz to create in Unreal Engine, he took some time to learn the basics of its editor and he realized that the rendering features, especially height and atmospheric fog are absolutely amazing which help him to receive the great results quickly.

    Here’s the interview between Mateusz Szymoński and Fox Renderfarm, in which we can find out how he created this wonderful piece.

    Fox Renderfarm: Hey Mateusz! Could you briefly introduce yourself?

    Mateusz: Hi! My name is Mateusz Szymoński. I am from Poland. Currently studying computer science at Warsaw University of Technology. I think that “a fusion of a digital artist, game developer, gamer, game jammer, and game engine programmer” is the best description of me.

    Fox Renderfarm: How do you feel about winning the 1st Place in the CGBoost Space Carrier Challenge?

    Mateusz: Wonderful! It is always nice when a work in which you put a lot of effort gets awarded.

    However, places or prizes are not the most important things for me.

    I like to participate in such challenges since they are great sources of motivation.

    A well-defined deadline really gives me a strong productivity boost when I am working on the project.

    Fox Renderfarm: What’s the inspiration behind the nicely-done render?

    Mateusz: I usually get most of my inspirations from movies and video games. This particular project is based on the style and setting of Supreme Commander, a real-time strategy game with large-scale sci-fi battles.

    Game world is set in the far future where the human race, united as the United Earth Federation (UEF), fights an infinite war with three other factions.

    Except standard units like tanks, bots, or battleships there is a special type of unit called experimental. These are usually very expensive, heavy game-enders that can tip the scales in favor of their owner.

    I thought that making a massive UEF-style space carrier would be a great shout-out to the game I like so much.

    Moreover, I always wanted to make an open landscape scene.

    Turned out that a dominating spaceship fits ideally in such an environment.

    Fox Renderfarm: As the main part of the picture, the spaceship is strong and well-designed. How did you make it from modeling to texturing?

    Mateusz: It took me one full day to create it, from soup to nuts.

    First of all, I searched the internet for some references and took some screenshots in the game. I like to skip the designing phase in such sprint-projects. Blocking things out of simple shapes works much better for me.

    I started from a simple cube and after a couple of iterations I had base shape.

    I heavily experimented with kitbashing to add all the details.

    After a few hours I textured my model in Substance Painter which I find to be absolutely amazing software. It is hard to describe how powerful it is, especially its procedurally generated masks. They add an extreme amount of detail with minimal effort.

    Fox Renderfarm: The composition makes the artwork look balanced and beautiful. Any considerations behind the composition? And how did you make the men and grass vegetation on the foreground, and the mountains and sky on the background?

    Mateusz: I had a general idea for the landscape scenery long before the theme was even announced. Honestly I did not spend much time on compositing. This is a fairly easy scene, in fact it consists only of a ship, man, and landscape with some grass and stones on the foreground.

    Most of the final effect was achieved thanks to the camera settings. Its position, rotation, and focal length play the most important role.

    Fox Renderfarm: The color and lighting are widely praised by the judges for they strengthen the atmosphere and make the picture so touching. How did you make it happen?

    Mateusz: Fog is a crucial element of almost every render since it adds a lot of realism to the image. In an arid environment like this it is twice as important.

    I relied on my intuition, 3 hours of adjusting fog settings sliders did the job.

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

    Mateusz: I like to focus on the work entirely. This project took me only 3 days to create, where half of the time I was trying to figure out how different features in Unreal editor work.

    Fox Renderfarm: What software and plugins did you use to finish the artwork?

    Mateusz: PureRef for keeping my references in one place, Blender for modeling and unwrapping, Unreal Engine for rendering, Substance Painter for texturing and creating several tiled textures, Gaea for landscape heightmap generation, Quixel Megascans for getting some materials and vegetation models.

    Additionally, I used my own Rapid PBR Material Creator addon for Blender along with several others to speed up the whole process.

    Fox Renderfarm: Why did you choose Unreal Engine to do the render? What’s the biggest difference between UE and traditional 3D software for you?

    Mateusz: Blender lacks several key features. I mean advanced atmospheric fog, tessellated landscape system, and handy foliage system (current particle system with weight painting is not as convenient for vegetation creating as the one Unreal has).

    I was trying to achieve good looking atmosphere fog in Blender for a while, but since there was not so much time left till the deadline I decided to switch to Unreal Engine and I must say that even without ray-traced renderer renders look surprisingly good.

    Also, it is worth noting that fog Unreal Engine tools give the best results I have ever seen in any software.

    Fox Renderfarm: When and how did you encounter CG?

    Mateusz: At the age of 15 I decided to create my first video game, it was complete magic for me back then. I started with creating some simple 3d models and this is moreover how my adventure with CG started. I was immediately fascinated by it so much that I abandoned my idea of making games and for a couple of next years I was trying to develop my skills as a digital artist. I realized that it is this freedom of creation, this amazing feeling of making something from scratch, what I really like in CG.

    Temple of Ylnir © Mateusz Szymoński

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

    Mateusz: It is strongly connected to my discovery of CG, While making the first game I became interested not only in graphics but also in programming and generally computer science stuff, especially the technical part of 3D art - things like how shaders and GPU work, how vertices of models are stored, how renderers process them, etc. Artistic skills in combination with programming skills give a much broader perspective and open new exciting ways of development.

    For example, I was always struggling with creating new materials in Blender as is quite a tedious and repetitive task. Thanks to coding knowledge it took me a single day to code Rapid PBR Material Creator addon for Blender that I mentioned earlier. It does everything for me. It imports all selected textures and connects them properly with one click. I realized that there are an infinite number of such small optimizations to code and it is really great to be able to do this. It is an amazing feeling to use the tools you have created yourself and see how much they help.

    I decided to study computer science and I can say that I completely do not regret this decision.

    PE-1 Reconnaissance Drone © Mateusz Szymoński

    Fox Renderfarm: How did you keep yourself inspired and motivated? What do you do to improve your professional skills?

    Mateusz: Challenges, culture, and making new projects. I think this set is a key. Challenges give motivation, culture gives inspiration, making new projects gives skill boost.

    However, it is important to keep the balance, working too much can burn out so have breaks to take a breath sometimes.

    Desoutter Drill Gun © Mateusz Szymoński

    Fox Renderfarm: Anyone or any artwork inspires you the most in the industry?

    Mateusz: I love the design of entire universes like Blade Runner or Star Wars. Not the characters but rather how the locations and small props are stylized and how they work together to tell stories.

    Here is the list of my favorite artists:

    Col Price - Urschel - Chadeisson - Jeon - Alexandrov - Enchev -örn Nord - Averkin - Develtere - Dybowski - Rozalski -

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

    Mateusz: Stay creative and keep on amazing the world with your creations.

    Fox’s Got Talent April Winner recreated the Vista of Cliff from ‘UP’



    Fox Renderfarm Interview

    Fox’s Got Talent (FGT) is the stage for all Fox Renderfarm users to show off their excellent CG artworks.

    We are so pleased to announce that FGT April Winner is Mr. Nguyen Hoang, a CG Artist from Vietnam. He is also a VFX Supervisor from Silver Swallows Studio, a post & production team in Da Nang, Vietnam, specializing in 3D/VFX, Audio production and concept art. In addition to working on team projects, he also creates personal artworks. With the exquisite details and imposing composition, his Houdini artwork White Cliffs made him the FGT April Winner.

    Nguyen Hoang VFX Supervisor & CG Artist From: Vietnam

    White Cliffs © Nguyen Hoang

    Process Breakdown

    In the exclusive interview, Nguyen Hoang talked about how to create the beautiful oil-painting-style artwork.

    Fox Renderfarm: Hi Hoang, could you briefly introduce yourself?

    Hoang: I began my career in computer graphics in 2013 as a freelance CG artist. In Vietnam, not many people know about the CGI industry and how it works. This career was my dream job when I was a child. So, I could say I’m feeling lucky.

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

    Hoang: This is the first time that I got an award from an online contest. That was a big surprise for me, I’m so happy and I want to thank Fox Renderfarm for the contest.

    Fox Renderfarm: What’s your inspiration for this wonderful artwork?

    Hoang: That was inspired by "UP" - an animation movie that I love so much. You guys can notice that the house is similar to the house in UP.

    The film UP

    Breakdown of White Cliffs

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

    Hoang: A week, I spent on the terrain mostly.

    Fox Renderfarm: What software and plugins did you use to finish the artwork?

    Hoang: Houdini, Redshift and Nuke.

    Fox Renderfarm: The beautiful color and warm light make the work look like oil-painting-style, how did you match the color and set the light?

    Hoang: I first determined the mood for a peaceful place. Then start to work on the color on each asset and prop.

    Fox Renderfarm: Have you met any difficulty in the creation? How did you overcome it?

    Hoang: The most difficult thing is the cliff. Because everybody now the terrain always comes with the height map, so I have to find a way to displace the cliff by the slope mask in Houdini. I'm still a Houdini beginner so this gave me a lot of experience.

    Fox Renderfarm: Technically and visually, which is your favorite part of this work? Why?

    Hoang: Lighting. Because the overall mood comes with the lighting.

    Fox Renderfarm: When did you encounter CG? Could you briefly tell us the story of your educational and work experience along your CG journey?

    Hoang: I remember when the filmmakers oversea started to implement CG in movies, in Vietnam, we still have no TV to watch. During university years, I tried to learn VFX by myself. We almost learned from online tutorials until now.

    Fox Renderfarm: As a CG artist and VFX Supervisor, which artwork or project you worked on impressed you most, why?

    Hoang: That was our first movie called "Vietnam Airwar: The First Swallows". Cause it's my youth.

    Trailer of Vietnam Airwar: The First Swallows

    Demos shot from Silver Swallows Studio

    Fox Renderfarm: How did you keep yourself inspired and motivated? What do you do to improve your professional skills?

    Hoang: Usually, I watch Artstation every day to learn from the best artists all over the world. And another way to improve skills and motivation is to join a contest. It really helps me.

    Roy's Gas Station © Nguyen Hoang

    Coming To Gank © Nguyen Hoang

    T54 Tank Vietnam Military © Nguyen Hoang

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

    Hoang: I was used many render farm services before and there are many things about Fox Renderfarm that make it outstanding. First of all, the support service is really really good and has a quick response. Besides, the submission, job monitor... are all easy to use.

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

    Hoang: We are in a difficult time for everyone so instead of worrying we can use this time as a time to learn more or to create artwork. Then submit it to Fox Renderfarm to make it shine.

    Will you be our next WINNER? Click here Fox's Got Talent and submit your artwork rendered with Fox Renderfarm. Shine your talent now!

    Creating a Magical Library Inspired by Harry Potter in 3ds Max



    Fox Renderfarm Interview

    On April 29th, CG Boost announced the winners of its 14th 3D challenge, Library Challenge, which was sponsored by the TPN-Accredited cloud render farm, Fox Renderfarm. You will never know what magical and interesting stories are going to happen in the library until you see these amazing award-winning artworks.

    We are so proud to have an interview with the champion of the Library Challenge, Krzysztof (Chris) Fendryk, a CG Supervisor & CG Artist from Poland, whose artwork The High Room received unanimous praise from the judges as its top-notch composition and lens perspective.

    Krzysztof (Chris) FendrykCG Supervisor & CG ArtistFrom: Poland

    The High Room © Krzysztof (Chris) Fendryk

    Clay render

    Chris’s inspiration came from visiting Trinity Library in Dublin (an iconic place) and re-watching Harry Potter movies with his daughter. The artwork was created using 3ds Max, Marvelous Designer, RizomUV, Substance Painter and Nuke.

    Trinity Library in Dublin

    Harry Potter and the Goblet of Fire

    “The biggest challenge for me was to create all of the assets within the time given. I’ve made roughly 60 different books to avoid repetition. Technique wise, it’s a typical edge/box modeling, UV’s, textures painted in Painter, all rendered with V-ray with a sprinkle of volumetric fog on top. I’ve used Nuke to rebuild shaders and color correct the composition adding glow and vignette,” according to Chris.

    Now let’s find out what went on behind the scene in the exclusive interview.

    Fox Renderfarm: Hey Chris, thank you so much for accepting our interview! Could you briefly introduce yourself?

    Chris Fendryk: Hi all, my name is Krzysztof but pretty much everyone calls me Chris due to the fact I've been living abroad for 12 years before I've moved back to Poland. I'm currently working at Platige Image as a CG Sup, balancing time as best as I can between family, work and CG.

    Fox Renderfarm: How do you feel about winning the 1st Place in the CGBoost Library Challenge?

    Chris Fendryk: It's a really great feeling and experience to have your work recognized and awarded. I didn't expect that I could take the win.

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

    Chris Fendryk: It took me roughly 10-14 days on/off work, juggling kids activities, work and sanity ;).

    Fox Renderfarm: The fisheye lens distortion contributed greatly to the success of the artwork, why did you use the lens distortion in your work and how did you make it?

    Chris Fendryk: I do set up my cameras and basic lighting at the blocking stage, it helps me a lot to focus on the most important parts of the image. I've decided to use a fisheye lens as I felt it will add a lot to a rather static image. I've achieved the effect by using V-Ray camera with properly set up distortion.

    Fox Renderfarm: The symmetrical composition and the cold lighting make the library magical and mysterious, any idea behind that?

    Chris Fendryk: Regarding symmetrical composition, I've always loved this kind of framing, in the previous studio (Brown Bag Film) friends tend to joke around: "Ease out with the symmetry you not Kubrick" :). Lighting took much longer than I expected besides creating all of the books that was the most challenging part of the process. I had around 20 different lighting iterations all of them set up in the same mood (cold outside + warm interior). I felt that this kind of lighting scenario will have the best mood, and both colours will nicely complement each other.

    I would say that every single step of creation has something unforgettable in it. But if I had to pick one - lighting would be the number one.

    Fox Renderfarm: When did you encounter CG? Could you briefly tell us the story of your educational and work experience along your CG journey?

    Chris Fendryk: I think the first time I've become aware of CG was around the mid 90's. That's when I first encountered a Polish CG scene. I was always involved in a lot of artistic activities, from being a professional dancer for most of my life to painting, architecture, calligraphy and so on. If I would have to pinpoint the exact moment when I knew CG is what I really want to do, I would say Computer Arts magazine special edition on how to create tags in 3D. That was it, I've been sold. It also happened around the time when I was working as DTP for a printing business and I felt that I needed a change. In terms of education, I did two years of Game Dev in college, then I did it with Bachelor of Arts in Animation and VFX at Irish School of Animation. Work wise, I've been lucky enough I didn't struggle to look for work. I've put a lot of "bum hours" into my portfolio which secured my first gig. After that, everything happened more or less through word of mouth.

    Fox Renderfarm: As a CG supervisor and artist, which artwork or project impressed you most, why?

    Chris Fendryk: I would have to say that every project I was/I am involved in brings certain moments that make all of them special. But the most memorable one would be working on Black Sails Season 4 - a trial by fire for me ;).

    Black Sails Season 4

    Fox Renderfarm: How did you keep yourself inspired and motivated? What do you do to improve your professional skills?

    Chris Fendryk: I do tend to stay on top of what’s currently happening within the CG scene, from browsing art to listening to podcasts, etc. Being motivated most of the time requires rigour and determination. We all have downtime either due to being burned out or simply having troubles finding an inspiration. I would suggest that starting even a simple asset will get you going in no time. Also having an "outside CG" activity or hobby helps a lot, cycling, gym, etc.

    Ford GT 40 CG © Krzysztof (Chris) Fendryk

    Cave study © Krzysztof (Chris) Fendryk

    ED 209 - Robocop fan art © Krzysztof (Chris) Fendryk

    Fox Renderfarm: Anyone or any artwork inspires you the most in the industry?

    Chris Fendryk: There are so many amazing artists out there, but definitely Marek Denko, Fausto De Martini, Peter Sanitra, to name a few. From the closest circle that keeps me going, Darko Mitev and Rory Bjorkman - those guys don't know when to stop ;).

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

    Chris Fendryk: I would like to say thanks to everyone who liked my piece and showed the support, and let's comment and give feedback not just "like" someone’s art, it does help a lot and shows we do care for other artists too :). Cheers.

    Creating a Hyper Futuristic Robot Under an AI Generative System in Blender



    Fox Renderfarm Interview

    Sponsored by the TPN-Accredited cloud render farm Fox Renderfarm, the CG Boost “Baby Robot” Challenge collected so many cute and adorable little robots for the 9th challenge, smashing the record with 170 submissions.

    In the “Baby Robot” challenge, Karel Schmidt, the 3rd prize winner, created his baby robot in a creative way.

    The image stands out for its simplicity and suggestive quality. It merges the cold realism of the surrounding with the strange-looking artificial embryo, creating fantastic tension while remaining calm in composition!

    What’s the story behind while creating this artwork? Let’s figure it out together!

    • Karel Schmidt
    • Motion designer and compositor
    • Manama, Bahrain

    “I wanted to create a hyper futuristic robot, from an era where technology is grown organically. This robot is the project of a human working in his garage clean room, grown using an AI generative system.”

    © Karel Schmidt

    Fox Renderfarm: Hi, Karel! Thank you so much for accepting our interview! Would you please give us a brief introduction of yourself?

    Karel: Yo. I'm an online video editor/finisher by profession, motion graphics and VFX specialist in my 5-year plan, a fine artist at heart, and musician in my free time. I spend most of my time editing corporate films and banking ads.

    Fox Renderfarm: How do you feel about winning the 3rd place in the CGBoost ‘Baby Robot Challenge’?

    Karel: To be honest, I was stumped when I read the announcement. I started learning Blender a month before entering the challenge (thanks to Blender Guru’s donuts). Entering the contest was just a little personal challenge to add a goal structure to my learning process.

    Fox Renderfarm: Your artwork delivers a futuristic experimental feeling, what’s your inspiration for it?

    Karel: I tried to imagine what a robot would look like if it was grown in some guy's garage cleanroom a few decades from now. You know, when AI will be doing most of the heavy design thinking.

    Fox Renderfarm: The whole picture is neat and concise with stunning details, any ideas behind the composition and background setting?

    Karel: My education was in Fine Art, and I’ve liked the minimalism of an art gallery. The idea here was to present to the robot in a similar space, to really make it feel like it’s on display. Regarding composition – minimalism requires good layout and that’s hard to get right. I probably spent 50% of the time on this project just trying different layout options.

    Blender viewport screengrabs

    Fox Renderfarm: How did you achieve the mesh-look of the baby? And what’s your consideration behind the lighting design?

    Karel: The baby's skin is a basic node setup in Cycles with Voronoi texture node driving everything. Lighting went hand-in-hand with the composition process – a basic three-point setup that I built to look good on a clay render, then a few fill lights to highlight important details.

    Node setup for the robot's skin material

    Fox Renderfarm: The wires and the shell outside the baby are very realistic, how did you make that happen?

    Karel: The Tree Generator add-on that comes bundled with Blender :)

    Work in progress renders (from the initial concept onwards)

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

    Karel: Around 3 weeks (squeezed into any downtime I could find in my work schedule)

    Fox Renderfarm: What software and plugins did you use to make the artwork?

    Karel: Blender 2.81 and a few bundled add-ons. (Tree Generator and node wrangler). The grade and composite were done in After Effects, since that's been my bread and butter for the last few years.

    Fox Renderfarm: What’s the most unforgettable experience in the production process?

    Karel: Hoping like crazy that the final render doesn’t crash before the deadline. I guess that's where render farms will come in handy ;)

    Fox Renderfarm: Have you met any difficulties? How did you solve it?

    Karel: Yes, I wanted to create a kickass environment for the robot. Everything I tried just cluttered the concept, so I stripped it down to the clean gallery space. With more time I might have done something different.

    Fox Renderfarm: How did you come up with entering into the CG industry?

    Karel: As a kid I started dabbling with 3d software because of the physics simulations. Pair that with a love for good design and an editing job where I’m doing motion graphics and VFX cleanups more than actual editing, and you get where I am now.

    2017 Dailies © Karel Schmidt

    Fox Renderfarm: Could you briefly tell us about the education and career experience along your 3D journey?

    Karel: I studied Fine Art, did a post-grad in Media Studies and Film Production, then spent two years shooting and editing wedding videos. From there I got a job doing hard-sell retail TVCs, which got me fluent in After Effects and dabbling with Cinema 4d. Blender 2.8+ is currently getting me into whatever will be next.

    2016 Dailies - Cinema 4D © Karel Schmidt

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

    Karel: Coldplay’s Up & Up has been a massive influence. Cyriak’s early work. Cyriak’s later work. Strong motion design in branded content (like the last few years of Nike ads) also does something for me.

    Coldplay - Up&Up (Official Video)

    Baaa © Cyriak

    W/ Bob & David - Opening Credits © Cyriak

    The IT Crowd - Series 4 - Episode 3 - Spaceology © Cyriak

    Bonobo: Cirrus © Cyriak

    Fox Renderfarm: What do you do to get inspired and motivated? And how do you improve your professional skills?

    Karel: The outdoors keeps my head fresh. I’ll binge Vimeo content every once in a while, and work through tutorials and online courses when I find the time. On-the-job learning is the biggest one for me though – with every project I’ll try to find something new I can learn and implement somewhere in the workflow.

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

    Karel: Now that Apple dropped support for anything that enables GPU rendering in Blender’s Cycles, I think I'll start using Fox Renderfarm :)

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

    Karel: Stay active, spend as much time as you can away from your screen, and don’t ever stop learning.

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