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    NEWS CENTER

    Interview With The Volunteers Of SIGGRAPH 2019

    Interview With The Volunteers Of SIGGRAPH 2019

    2019-08-02

    Fox Talk

    Interview

    On 31 July - 1 Aug, Fox Renderfarm was exhibiting at SIGGRAPH 2019. During the exhibition, we had an interview with two passionate volunteers of SIGGRAPH 2019, Ellie Metzelaar and David Eagan. As the representatives of CG enthusiasts, they shared the experience of their CG works and the evaluation of Fox Renderfarm.

    Fox Renderfarm: Have you ever heard of Fox Renderfarm?

    Ellie: Yes, I have, actually. I was working with a team on a short film, and we were rendering on the personal computers, and we realized that we wouldn't finish the rendering with our own computers on time. So we actually, one of the people in my team, he used Fox Renderfarm, and we actually used it to finish the project on time for the deadline. So, thank you!

    David: Fox Renderfarm provided students at SIGGRAPH with free rendering time and service, so with a few projects that I wanna use to render on their service.

    Fox Renderfarm: Will you recommend Fox Renderfarm to your friends?

    Ellie: Yes, if you don’t have a very expensive computer, or your expensive computers aren’t gonna finish things on time. I will definitely recommend. It’s crucial to get your renders done on time.

    David: We don’t all have supercomputers or renderfarms at disposal.

    Here’s the interview between Fox Renderfarm and two volunteers.

    Check here and know more about them.

    Ellie’s demo reel: http://elliemetz.com/ David’s demo reel: https://www.youtube.com/watch?v=xQY4hv8ttSo


    Three Academy Awards Winning Scientist Dr. Jos Stam’s Exclusive Interview with Fox Renderfarm

    Three Academy Awards Winning Scientist Dr. Jos Stam’s Exclusive Interview with Fox Renderfarm

    2019-05-28

    Fox Talk

    Fox Renderfarm

    On May 19th, the cloud rendering service provider Fox Renderfarm's CG Salon, The beauty of CG Technology was successfully held in Shenzhen. The event is co-organized with Shenzhen ACM SIGGRAPH and International Chinese Association of Computer-Human Interaction(ICACHI). Dr. Jos Stam, Dr. LiWei (Chair of ICACHI), and Mr. Jelo Wang (CEO of FACEGOOD) were invited to share their CG insights and experiences with the audience.

    After the Salon, the render farm Fox Renderfarm had an exclusive interview with Dr. Jos Stam, who has won three technical achievement awards, respectively in 2006, 2008 and 2019 from the Academy of Motion Picture Arts and Sciences. He has published groundbreaking research in computer graphics notably at SIGGRAPH. He also received top awards, the computer graphics achievement from SIGGRAPH in 2005.

    Here is the interview of Dr. Jos Stam by Fox Renderfarm.

    Fox Renderfarm: As we know, this year you won your third Oscar at the Academy’s Scientific and Technical Awards. Can you share the feeling of winning the award?

    Jos Stam: Very grateful, very happy of course, but I didn't quite expect it this year. This award is an upgrade from the award I got in 2006, so still surprised when I got the official email. Another Academy Award after the last one I got was 2008. It's been ten years after my last Academy Award. So it's pretty exciting.

    Fox Renderfarm: This year, do you have any new plan or new target in the science of subdivision surfaces or other 3D graphics technical field?

    Jos Stam: Well, I don't have any plans to work directly on subdivision, I might, but I like to work in different areas. I started to work on the subdivision work about twenty years ago. I'm sort of looking at artificial intelligence as well, not only how to apply to graphics or also how computer graphics can be applied to artificial intelligence. But in research, you can never really plan things. I usually work on many problems, some of them turn out to be effective and will get you a Technical Award. So who knows where this will lead? I can't really lay out what I'm going to work out, but hopefully cool stuff.

    Fox Renderfarm: This time you come to Shenzhen, to meet and communicate with the young people who are interested in CG art, how do you feel about this? Can you give them some encouragements?

    Jos Stam: I work a lot with young people and I find it’s very inspiring. And I think there's still a lot that can be done especially in Computer Graphics. And I've been in the field for thirty years and we went from pixelated games to highly photo-real games, it only in the span of thirty years. Who knows what's gonna happen in the next thirty years? And it's the young people who’re gonna make it happen, So it's really good to inspire them and not to discourage them. It's very important that they should follow their passion, don't give up and don't do it for the money. Of course, it helps, usually, these jobs are well paid, but they shouldn’t be the main factor. You should be very passionate about computer graphics, what it stands for, or other fields, you know. Like in my case, I’m sort of coming from an art background, mathematics and I like to code, so sort of perfect background for computer graphics. But you might come from another background as well, like from Biology or some of the passions for music. I know people come from music are drawn into computer graphics and coding. So, basically, don't discourage. And inspire young people. Not only in China but the rest of the world.

    Fox Renderfarm: As you said in the previous interview, “If you’re an artist, you don’t care why the sky is blue. You just want to create a dramatic sky.” Creative ability is very important for artists, do you have any suggestions for young artists to enhance creativity?

    Jos Stam: Usually people associate creativity with artists, but you can do math or code and be very creative. Creativity actually works if you have boundaries. And if there are no boundaries, creativity doesn't make any sense if you can just do anything. Of course, artists are supposed to be creative. But what I want to say is to everyone, try to be creative in your job. Even in your life, being creative and how to live your life, give some meaning to it.

    (Paintings of Jos Stam)

    Fox Renderfarm: Nowadays, Chinese CG industry is also developing rapidly and progressing continuously, will you have more co-operation with China in the future? What do you expect most about the cooperation?

    Jos Stam: I think, it should be across the world, not just in China, me and everyone. It helps research that you can be open and free about problem discussion. So it’s sort of the beauty of mathematics. It is a single language. I can show an equation to a person in China, they will understand it, even if I don't know any Chinese. So an ideal world that anyone would be able to talk to anyone else openly and further technologies or science. Now I have to say about China, especially Shenzhen. Things are changing extremely rapidly and the city is growing incredibly fast. So I believe, to be in China, the time is pretty exciting.

    Message from Dr. Jos Stam: Be yourself if you can. And be creative. Live your life to the fullest.


    An Amazing Dragon Ball 3D Animation Project Supported By Fox Renderfarm

    An Amazing Dragon Ball 3D Animation Project Supported By Fox Renderfarm

    2019-07-12

    Fox Talk

    CG

    A group of international CG artists, who are also the fans of Dragon Ball, one of the most successful manga and anime series of all time, decided to make a project about the anime on their free time.

    The nonprofit project, Dragon Ball Z Legacy, supported by , is going to be a 3D animation video clip featuring some of the best manga and animated moments. They said, if this project earns money, all the money will be donated to an international association for children with cancer.

    Fox Renderfarm has been committed to supporting public welfare project, such as the Dragon Ball Z Legacy. While supporting more CG artists, we hope to make more contributions to society.

    The characters of Dragon Ball Z Legacy

    You can check the and know more about the characters.

    It is our honor to have an interview with the team leader, Olivier Schmitt. Moreover, Olivier shares us with the making of the project and production experience.

    Here's the interview between Fox RenderFarm and Olivier Schmitt.

    Fox Renderfarm: Could you please introduce yourself?

    Olivier Schmitt: Hello, I'm Olivier Schmitt, I'm French, I'm a CG artist for 12 years, I've studied 3D animation in Paris for 4 years, at Lisaa and Les Gobelins. I work in China in Beijing for 3 years, as a CG artist supervisor.

    Fox Renderfarm: When did you begin to like Dragon Ball? And which is your favorite character?

    Olivier Schmitt: I started to watch Dragon ball in 1989 when I was 8 years old. I don’t have a favorite character, each one is special and has its own specificity, for example, I like Goku when he arrived late and came to save his friends, I like Krillin when he fight with Cell for saving a mother with her daughter, or when he uses the Kienzan. Vegeta he sacrificed his life to try to kill Buu, etc..

    Fox RenderFarm: Does Dragon Ball have any impact on your life and career?

    Olivier Schmitt: Yes, Dragon Ball influenced me a lot. When I was a young student I drew Dragon Ball many times, step by step I tried to improve my level and push me always to be better. And I think that helped me to take the decision to start art school and do 3D animation and be here now.

    Fox RenderFarm: What’s your original intention of creating the team project?

    Olivier Schmitt: The original intention of me and my team, is to create a very beautiful 3D animation of Dragon Ball Z. To take big pleasure to create this Fan video, and give pleasure to the peoples who will watch it.

    Fox RenderFarm: What is the story of the team project? And what do you want to express through the work? 30 Dragon Ball characters are selected, any reasons why you choose them in your work?

    Olivier Schmitt: The story is to recreate between on 3 and 4 minutes a video clip with many of the best moments of the Dbz action. The thing we want to express is to have chills to do this job and give chills to the audience who will watch the video. The 30 characters selected, are all characters who have influenced the most the story of Dragon Ball Z.

    The concept of Dragon Ball Z Legacy

    Fox RenderFarm: As for the character modeling design, will you innovate or restore the original version?

    Olivier Schmitt: For the characters, we keep the original design version with some small changes.

    The character designs of Dragon Ball Z Legacy

    Fox RenderFarm: Any software and plugins you use for the project?

    Olivier Schmitt: For do this project we use much software: the base is Maya, and we use, Zbrush, Wrap 3, Photoshop, Substance designer, Mari, V-ray for the renders, Houdini, Nuke, Premiere, After effect.

    Fox RenderFarm: Artists who are also Dragon Ball fans, how did you call them together? How many team members now? Could you introduce a bit about your team members?

    Olivier Schmitt: Yes, all the artists who work on this project are all Fan of DBZ, I think we need it because it’s a big work and long project, needs to be a passion. There are around 60 artists, some of whom work to ILM or MPC, and some other big studios.

    *Here’s a credit work of the peoples work on the project:

    Gonza Estay: Polunga, Fat Buu

    David Ruiz: Gohan ss2, Perfect Cell, Goku

    Lim Philippe: goten

    Jose Roa: Majin buu

    Emilio Jose Dominguez Calvo: C18

    Sarah Clippe Petruzzi: Trunks

    Luís Figueiredo: concept character

    Narupiti Harunsong: concept city war

    Romain Caudron: Nappa

    Melvin Okoronkwo: Krillin

    Jose Carrasco: Freezer V3

    André de Souza: Kid buu

    Gael Roulin: concept character

    Anthony Amorose: concept character

    Frankino Lupo: TD hair

    Laurent Merceau: Rigging

    Olivier Schmitt : Director*

    Fox RenderFarm: Your team members come from all over the world, so how do you communicate during the creation? Any difficulties? How to solve it?

    Olivier Schmitt: I created a secret Facebook group and I included step by step all the artists who want to join the project. This is more easy to show where I wish the project takes direction and can communicate all together. And if I need to say some specific things to an artist I communicate with Facebook messenger, or by email. In fact the master word is "patience". Because all of us we do this project on us spend time, during the day we all have our jobs which take a long time of our day, and when we back home sometimes we are tired of being front a computer again. And I really understand about this, so we work all on our own speed, and can take time. But for now, we not really meet difficulty, because we are professional and we know in advance what kind of problems we will meet and we try to fix them before is coming.

    Fox RenderFarm: Have you received any favorable comments or suggestions after posting your works on the Internet?

    Olivier Schmitt: Yes, I posted some images of the characters on Facebook and generally more than 3/4 of peoples like what we did, and we already got an interview on a French website of 3D animation and we received a favorable reception, and even after that we had some artists join the project after reading the article.

    Fox RenderFarm: When is the work expected to be completed? Do you plan to create a longer video or film in the future?

    Olivier Schmitt: I hope we finish this video in around 18 months, but is not guaranteed, it will depend on each artist the time he will devote to this project. Yes, I love very much Dragon ball, and my big dream is to create 4 movies for the cinema on 3D animation. When the project is done I hope to have the opportunity the show the video to Toei animation and we can talk about this project and have the license to create it.

    Fox RenderFarm: Any interesting stories happened during your project making?

    Olivier Schmitt: In fact for this project I communicate a lot with all the artists, some of them every day, but I never meet them in real, some I don’t know how they look like, maybe I can cross them on the street, and don’t know them, whom I talk with every day. And this project allowed me to get in touch with many talented artists and I'm very proud of this.

    Fox RenderFarm: Have you heard of Fox Renderfarm before? Where and how? Have you used our service before? How do you like it?

    Olivier Schmitt: I heard Fox RenderFarm from Linkedin, and I get touch with Anthony who works on your company. It’s the first time I work with a I created by myself in the company. And the first time I use Fox Renderfarm, I find it’s so easy to use, have a tutorial which explains very clearly step by step how to use it, so is very easy.

    Fox RenderFarm: Any other things you want to share with the audience from the CG industry or CG enthusiasts?

    Olivier Schmitt: Yes, as I said we do this project for us because we love Dragon Ball, and we want to share with peoples this project, we really want people to take big pleasure to watch it. And we all agree that if this project brings any money, all of this money will be given to an international association for kids who have cancer. We wish that all the children of the world could have the chance like us when we were young to get up in the morning in a good mood because you knew that you would see one or two episodes of Dragon Ball on television. For my part, during the summer holidays with my cousins we woke up every morning before 9 a.m. to watch Dragon Ball, and it was magical :). And finally, I wish to say if any artist loves dragon ball like us and wish to participate in this project he is welcome to contact me. They can contact me on the Facebook page: https://www.facebook.com/dbzLegacyTeam

    What's more, Olivier Schmitt also share the steps for how they made Goku for the project of Dragon Ball Z Legacy. Here we can see how Goku cone into being. 1. Firstly, Luis Figueiredo make a concept, and he designed an amazing Goku:

    1. When the concept was done, David Ruiz make a sculpture on Zbrush of Goku and he gave this very fast and good:
    1. After from this sculpt who was on very high polygon around 6 million polygons we applied on him a base mesh of around 5000 polygons for be on low poly and include rigging, for put the low resolution to the high we used Wrap3:

    1. And to create the textures we use Substance painter:

    2. And we can extract this differents map:

    1. This different maps we apply them on the ALshader on Maya on the Hypershade:

    1. For finally have this result on low poly:
    1. And from here we can apply the Rigging, we use Advanced skeleton as a base Rigging we optimize for this project:

    1. For the cloth we use almost the same way, we go to substance painter to do the texture and extract these maps:

    1. And have this result:

    1. Finally, we have the Goku with the cloth:

    We all expect that Dragon Ball Legacy will be an amazing 3D animation video, especially for the Dragon Ball fans.


    Cuteness Overload! Interview With The Champion Of The CG Boost Cute Warrior Challenge

    Cuteness Overload! Interview With The Champion Of The CG Boost Cute Warrior Challenge

    2019-07-11

    Fox Talk

    CG

    On July 3, 2019, the CG Boost Cute Warrior Challenge, which sponsored by Fox Renderfarm, announced the final list of winners. There were 128 accepted submissions and so many cute, funny and also weird characters for the Cute Warrior Challenge. Congratulations to 11 entries with the most votes by the jury. Fox Renderfarm also had an interview with the Champion, Kenji Aito, a funny and creative CG artist.

    First place: Teddy The Halberdier Bear by Kenji Aito

    What the jury says:

    Chris Plush: Extremely well executed idea in all aspects. Great armor and weapon design, and awesome attention to detail especially on the fur being worn down in some areas.

    Aidy Burrows: Nice clear and readable character! Liking the semi-realistic super clean rendering style too. Nice design on the armor – holes for the ears for example and subtle but effective details! 

    Gregory Smith: This is a great entry; it hits the topic perfectly, and the technical execution is excellent. The presentation is clear and readable, whilst the attention to detail gives it that extra visual interest.

    Ebrahim Umar-Khitab: The accuracy of that grim expression has done me in! Great work.

    Lukas Walzer: This piece stands out as being technically incredibly well done. Modeling, fur, texturing and posing are top-notch!

    Marius Iatan: his little guy checks all the boxes, down to the pin that holds the bandage. Has the right attitude, too. Very nice character!

    Julien Kaspar: There clearly has been a lot of focus on polishing the character itself. This is the one I found myself looking at the most, looking at the details as well as the broader decisions of for the character model. Also, really great grooming and materials throughout!

    Zacharias Reinhardt: This plushy character has probably the best technical execution I saw in this challenge. From the great looking metal, the perfect looking fur with the worn out spots, down to all the fine details, everything very well executed. A good dynamic pose and a proper lighting shows the character in fully glory. The only thing I wished here, would have been to see this little guy in an environment with a bit more storytelling context.

    Here’s the interview between Fox Renderfarm and Kenji Aito.

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

    Kenji Aito: Hi, I'm Kenji from Japan (but I'm from France originally). I started to study CG seriously one year ago during my spare time with Blender, that I fell in love with. I still have much to learn and I think it is necessary to keep learning forever in CG (because software evolution is FAST! and so much more accessible than 10 years ago!) Now I wish I can work in the CG industry and well. I'm potentially open to opportunities! Meanwhile, I will keep improving both the technical and artistic sides of CG!

    Fox Renderfarm: What inspired you to come out the idea of making the work "Teddy The Halberdier Bear"?

    Kenji Aito: Well.. all right... First I was re-watching from scratch Game of Thrones... preparing myself for the LAST season. So, I could see all those nice armors, helmets.. pike axes.. halberd... Then the CGBoost challenge "cute warrior" came up and I was not even sure I will try something (I also join the challenge just before this one but ended up 4th). I gave some consideration to it and... I just thought "Halberdier bear"; sounds funny... and that was it! I was on! Honestly, I was not even sure I will have time to finish my artwork!

    Fox Renderfarm: How long did it take you to finish the work? And which part took the most time? Why?

    Kenji Aito: Approximately half a day to a day... but it's hard to keep count. Since I have a job I can only work on CG at night, and as I said, I was watching Game of Thrones too! So I think I worked 1.5 hours per day on average, for a bunch of days. The part that took the most time is certainly the fur... I was really not sure what kind of fur will look cool. And since I wanted to be sure, I was doing test renders often... Also, I did not optimize the particles systems at first, so my GPU was too short on memory, and I was rendering on the CPU. So the whole tweaking process took time. As the armor it was fast: for example, the weapon was modeled in 15 min, and shading took something like 20 min.

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

    Kenji Aito: Blender 3D as my main 3D package! The character was modeling with Blender sculpting mode.. retopology with Instant Meshes! Cycles as render. Everything was made without plugins in Blender actually. But for the armor shaders, I used Substance Painter.

    Work-In-Progress

    Fox Renderfarm: The jury praises your "awesome attention to detail" in this work, how did you deal with the details?

    Kenji Aito: With love! Always... I think I'm addicted to details. Maybe it's a good thing, but it could be a bad thing too... because when I focus too many details I might forget the "big picture", such as storytelling, the overall balance of shapes and color, proportions... Though, I always try to start with simple shapes down to smaller ones... My workflow is very iterative, and feels like going through the history of CGs: decades ago everything was made a few polys but people were already trying to make attractive shapes, profiles, and silhouettes. Then, as software and hardware got better, the same base ideas with more details came to life. The only issue is that it's time-consuming, so you'd better find a "smart/lazy" workflow to quickly add all those yummy details. But also, one must be careful not to saturate with extra small details, otherwise, the audience will be lost. And that, I have to work on it... I guess.

    Fox Renderfarm: What has satisfied you most about this work?

    Kenji Aito: Well, it was my first 3D character! so I was happy with the result. I don't think I have many skills for characters design... because I should learn to sketch/draw properly for that, study anatomy and all that... But anyway, I think I was happy with the workflow because even though it was my first character, I did not have to check online what to do... It was only me, my Blender and my Pureref (to organize my references)

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

    Kenji Aito: Honestly, not really. And I was happy about that. Everything went smooth and only the tweaking of the fur was time-consuming. I should have probably tweaked all that in a separated scene with less fur and smaller geometry.

    Fox Renderfarm: Did you use Fox Renderfarm service previously? If yes, would you share your ideas about us?

    Kenji Aito: No! not yet. But I was thinking about turntables renders in the near future. For my next personal project, I want to make very photorealistic stuff... and a turntable with Cycles would be great. I know, everyone will say " why not EEVEE?!" but well, I want to try your services and I do love raytracing!!

    Fox Renderfarm: How long have you been in the CG industry? Do you have any recommendable learning methods to improve professional skills?

    Kenji Aito: Well, I'm not a professional but I wish to become one! and make my living with it! Learning methods: well, Blender is awesome and the community is top notch. so many resources are free and of quality... I was really surprised. There are some people making real art with Blender and I think it's great to learn from them. Also, it's always good to look at more classic art: I am very interested into painting theory.. lightning... and all those things that bring life to a piece of paper (or screen!). So I recommend to everyone not to just focus on the theory of 3D, but also go out and learn about art in general: "how to make a good composition" "the art of color matching" and so on... It takes time but I think it's worth it. If I can become a CG professional I will definitely find the time to study all that and I hope I can show it makes a real difference.

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

    Kenji Aito: Contact me if you want to work with me :) My motivation is burning! Now that I start to have some tools at my disposal and know how to use them... I have so many ideas I don't know where to start!!!

    You can visit Kenji Aito’s Artstation here. (https://www.artstation.com/kenji-art )

    To see more entries of Cute Warrior Challenge, please check here. (https://cgboost.com/cute-warrior-challenge-winners/?tdsourcetag=s_pcqq_aiomsg)


    Interview With Yi Sun, The 1st Winner In Hum3D’s Three D Gun 2 Competitio

    Interview With Yi Sun, The 1st Winner In Hum3D’s Three D Gun 2 Competitio

    2019-06-17

    Top News

    hum3d contest

    It is our honor to have an interview with Yi Sun, the first place winner in Hum3D’s Three D Gun 2 Competition, which is also sponsored by Fox Renderfarm, a leading render farm service provider in CG industry. Share this interview with everyone, here are the dialogue between Fox Renderfarm and Yi Sun.

    Fox Renderfarm: Hi, Yi Sun, congratulations to winning the 1st place in this contest, thanks so much for taking your time to have the interview with us. Firstly, would you please give a brief introduction about yourself?

    Yi Sun: Yes, my name is Yi Sun, 25 years old, from China, I had a bachelor degree in 3d animation and I’m currently studying Master of Design in Sydney.

    Fox Renderfarm: How long have you been in the CG industry? And how did you make the decision to get into the CG industry?

    Yi Sun: I haven't found a job in the CG industry yet, but I've been teaching myself 3D for 5 years now. I started doing silly short videos when I was a kid. back then I discovered I can make some visual effects for videos in After Effects, but soon, I realized the 2D visual effects is very limited, I want to make more sophisticated effects, especially 3D effects. so I started learning 3D software. At that time I just thought it was cool, I never thought about doing this for a career, until I visited the universal studio in Los Angles. I got a chance to listen to the Hollywood VFX artists talks about the VFX production of the blockbuster movies and it blew my mind. I've been dreaming to work on a blockbuster movie ever since that talk and I've been working very hard trying to put my first step in the CG industry. I hope my dream will come true soon. Fox Renderfarm: It is a great experience. Wish your dream come true. About the work "Porcelain 1911", what inspired you to come out the idea of making it? Yi Sun: The idea is very simple, combining two completely different objects together. I used to do this kind of design practice a lot when I was learning character design in 3D animation. In "Porcelain 1911", I try to combine the porcelain element I familiar with and a gun which I'm not quite familiar with. I think as a 3d artist, the biggest advantage I had is my cultural background.  I've seen a lot of Chinese porcelain as I grow up, I found them very beautiful, so I feel very comfortable to work with porcelain element in my design. if this competition is about design a realistic and futuristic sci-fi gun, I believe there are millions of 3d artist who can design better sci-fi gun than me, because I never have seen or touch a real gun.

    Fox Renderfarm: It is an interesting idea. How long did it take you to finish the work?

    Yi Sun: I was doing a master degree while working on the "Porcelain 1911", I had 3 assignments from Uni so I barely had time to work on it, sometimes I only have 15 minutes before I got to go to sleep. It took me about 2 months, but I think the actual time I spent on it is only about 120 hours. Now I look at it, I think it could be done better, there are still many things I want to polish in this work.

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

    Yi Sun: My main 3d software is Maya, and I used Mari (non-commercial) for texturing, and redshift for rendering and photoshop.

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

    Yi Sun: The difficulties I faced in this project is to create the realistic hand paint graphic of the Chinese porcelain, I tried to import vector into Photoshop apply filters but the result looks very fake, I tried to download watercolour brush for photoshop, but it doesn't look good either. Then I realized it’s not possible to create realistic paint mark on the computer, so I decided to create the texture physically with watercolour. I realized even though we had so many presets, filters and plugins to helps us create digital works, but they can never replace traditional mark making techniques, as a digital artist, I should always remember to respect the physical medium. Fox Renderfarm: Anything else you would like to share with CG enthusiasts? Yi Sun: I think CG is the best medium for self-expression, you can create almost anything and everything, that's why there are many things to learn, too many. I spent 5 years learning CG and I still feel that I know nothing about it, that's why I think we should always be humble to learn and we should try to use our cultural background as our advantage to develop our own unique style.

    Fox Renderfarm: Yes, totally agree with you. I hope you can make more wonderful works in the future, and you will be an excellent CG artist. Thanks so much for your time. More Yi Sun's artworks: yisun.artstation.com


    Interview With Blow Studio, One Of The Animation Producers Of Netflix’s Love, Death & Robots

    Interview With Blow Studio, One Of The Animation Producers Of Netflix’s Love, Death & Robots

    2019-05-05

    RAYVISION News

    Fox Renderfarm

    Love, Death & Robots, is an American adult animated anthology web television series on Netflix, consists of 18 stand-alone episodes, all under 20 minutes long and all produced by different casts and crews. Now, Fox Renderfarm is so happy to have an interview with Blow Studio, the animation producer of “Three Robots” in Netflix’s Love, Death & Robots, and honorable to provide cloud rendering services for “Three Robots”. Here is the interview regarding “Three Robots” between Blow Studio and Fox Renderfarm.Fox Renderfarm: We noticed that you provide production services for commercials, TV shows, short films, and many other formats related to animation, so can you please give us a brief overview of Blow Studio?Blow Studio: Blow Studio is an animation and VFX production company formed in 2011. We provide production services for commercials, series, short films, and many other formats related to animation. In addition, we are always looking for personal projects to push our limits.We have worked on projects for brands such as: Netflix, Chanel, River Island, Johny Walker, MTV, Izze, Axe, Rdio, Sanex, Vimeo and others.Fox Renderfarm: Which part is the most important in production of this project?Blow Studio: All production stages are important. Every step must have an even quality so the final product is balanced. Considering the type of story, if we had to choose a fundamental area of this episode that required a greater effort from us, I think we would choose animation.Fox Renderfarm: Can you share with us the challenges in the production of this short film?Blow Studio: The animation was a challenge because we had to animate about 120 shots mixing styles. We had to invest a lot of effort in this area in order to take forward the projectAnother challenge I would like to highlight is the making of a realistic talking cat. Modeling, shading, rig, animation, hair...everything required the highest quality to make this character credible. The cat was the most complicated character of this episode and we are very proud of the result.Fox Renderfarm: How do you like this short film? Which part do you think is the most interesting?Blow Studio: Three Robots is the most important project we have made at Blow Studio. We love the story, the tone and the visual design. If we had to choose one sequence, maybe it would be the abandoned house. It's a very funny part, with a delicious animation and hilarious lines. Also, here is when we meet the cat, a character that will be the key at the end of the story.Fox Renderfarm: What do you think of Netflix's animated series Love, Death & Robots?Blow Studio: We are fans of "Love, Death & Robots" and we are completely into adult animation. Before the series, back in 2017 we release a short film called "Alleycats", and it goes in the same tone of "Love, Death & Robots". This is a short film where we did what we wanted to: ninja cats slicing their heads through the alleys of the city with a dark vengeance background reflected in the story. So yes, this is the kind of things we love to do.We needed someone to stand for this kind of animation, and Netflix did the bet. We just hope they continue investing in this type of content because it looks that it's something people was asking for.Fox Renderfarm: Which episode do you like the most in season 1 of Love, Death & Robots? Why?Blow Studio: All episodes have a very high level of quality and something to highlight, so it's very difficult to choose just one. But if we had to, we will surely choose "Three Robots" because making it was very satisfying and it is like our little baby.Fox Renderfarm: Speaking of rendering, please tell us more about your overall experience with Fox Renderfarm?Blow Studio: It was a pleasant surprise to work with Fox Renderfarm. We had to outsource some parts of the render in order to deliver on time and Fox Renderfarm allowed us to meet our deadline. Sure we will work again with them if we need to.Fox Renderfarm: In closing, is there any interesting behind scene story you would like to share with us?Blow Studio: Thanks to 'Three Robots' now we are cat experts. We had to do a very laborious study of them to reach this quality, and we really don't know how much hours we had to spend watching references for animation, the hair, the anatomy, the behavior of the skin, etc.And we just wanted to say that it has been an adventure and an honor to be part of the production team of this amazing project along with the best CG studios today.Fox Renderfarm: Thank Blow Studio for taking time in this interview, looking forward to seeing more and more wonderful works produced by Blow Studio.


    Aziz Jindani | Studios Life Is Better with Fox Renderfarm

    Aziz Jindani | Studios Life Is Better with Fox Renderfarm

    2018-10-13

    RAYVISION News

    The much awaited and biggest Pakistan's and Talisman's first animated film - 'The Donkey King' will be released today, which will hit box office across Pakistan. Director Aziz Jindani and others attended the grand ceremony of The Donkey King. Aziz Jindani succeeded in giving a great gift to viewers and fans in shape of The Donkey King. And marketing and promotions have been unprecedented for any movie to have come out from Pakistan. Fox Renderfarm specially interviewed him for the production story of The Donkey King.The Plot A roller coaster comedy film for all ages with a crisp run time of 105 minutes. Language is Urdu / Hindi with subtitles in English and Arabic. This is the story of Mangu, a happy go lucky, dreamer donkey. In his quest to realize his dreams and transcend his being, Mangu accidentally ends up as the “popular choice” to be the King of Azad Nagar. Little did he know that he was a mere pawn in the machivallaious design of Ms. Fitna (a fox) who had her ulterior motives to dethrone the Lion and prevent heir apparent from succeeding him. Will Mangu rise to be the king he had promised to be or will he resign to being a puppet? Will Fitna succeed in realizing her ulterior goals? Will Azad Nagar ever recover from this chaos?Aziz Jindani – Co-Producer & DirectorA global brand builder with +17 years experience at Procter & Gamble across Pakistan, USA, Singapore, Kenya, and UAE.The architect of the Commander Safeguard animated series, a branded entertainment property designed to promote the importance of hand washing among children. This is the longest running and most popular local animated series in Pakistan and has also been re-applied across China, Philippines, Russia, Nigeria, Mexico, and the Arabian Peninsula. Commander Safeguard is featured as a case study on marketing to Low-income consumers in 5th Edition of Advertising and Integrated Brand Promotion by Chris Allen and Thomas Guinn (University of Cincinnati, Montana University and University of Wisconsin). Aziz has furthered his passion for animation by establishing Talisman Animation Studios, a storytelling company with the objective to create original Pakistani IP content. The Donkey King movie is the first property to come out of this endeavor.Interview with Aziz Jindani1. Please tell us something about yourself, what do you do and what film projects have you participated?I am a career brand builder with over 18 years of experience at Procter & Gamble, working across USA, Singapore, Kenya, Dubai, and Karachi. During this time I happen to lead the client team that created an animated superhero property for a leading anti-bacterial soap brand (Safeguard / sold under the trademark of Shu Fu chiya in China). This superhero character achieved cult status in Pakistan and has been reapplied in various parts of the world including China.  More recently, I have given up my P&G job and set up a content creation company in Pakistan by the name of Talisman Animation Studios and our first project is this film called The Donkey King.2. Can you briefly introduce The Donkey King?The Donkey king is an animated family comedy for children and children at heart. It's a story of Mangu, a dreamer, happy go lucky donkey. The story traces Mangu's extraordinary journey from a small town dhobhi ghat to a royal palace during which he rises, falls and then rises again to prove to the world that he may be born a donkey, but is not one. In a nutshell, Donkey King is an allegorical story of the triumph of an underdog. The core objective of the film is to inspire children and adults alike to reach their full potential, regardless of the skills and talents they are born with.The film has an ensemble voice cast including some of the top names from Pakistan film industry. These include Jan Rambo, Hina Dilpazir, Jawed Sheikh, Ghulam Mohiuddin, Ismail Tara, Shabbir Jan, Irfan Khoosat, Ahsan Rahim, Adeel Hashmi and Faisal Qureshi amongst others. The music score is done by Shani Arshad and songs are composed by Asrar, Shuja Haider and Shani. Direction, Story & Screenplay is by Aziz Jindani, former Global Business Unit head Procter & Gamble and architect of proven, successful iconic Commander Safeguard Animation Series.3. Is it your own IP? How it was generated before making it into the animated film?Yes. 100% original IP. It was developed over a period of 12-18 months before we embarked on production with extensive and iterative concept development exercise.4. How long it took to finish the whole production? Any complicated scenes or technical barrier during the project? How you manage it?All in all, it took us about 2.5 years to finish the film from start to finish. The climax sequence (6 mins of the thrilling chase) was the most difficult one to execute. The biggest technical barrier was the slow rendering time locally due to a fur-based character and limited render capacity in-house. That is where Fox came in5. Before using Fox Renderfarm, how you solve your rendering? Any big differences? As said earlier, we were rendering in-house but were constrained by available nodes and high render time/frame due to fur based characters. The biggest difference between in-house and Fox is speed and reliability. Our speed shot up almost  5 times and there were seldom any issues with the output.  It was a great enabler to complete the project on time.6. How do you think of Fox Renderfarm? Any comment?I think of Fox as a savior for small production houses with big ambitions, like us. The rendering solution is both affordable and reliable supported by some of the most collaborative team.7. It's going to be released very soon, what do you want to say to the audience?Well, what can I say? I'd just like each and everyone to see this film because it has a relevant story that appeals to children and children at heart and is made by a bunch of crazy people at Talisman Studios who have refused to grow up.


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