Fox Renderfarm at SIGGRAPH 2018
Pin-pointing the highlight of the SIGGRAPH 2018-the world’s largest, most influential annual conference in computer graphics is a pretty tricky task. Tons of research results, demos, educational sessions, screenings, hands-on interactivity, and commercial exhibits displaying the industry's latest advances in this exciting five days event no doubt attract the most talented CG people all over the world.But >Fox Renderfarm, the world’s leading commercial render farm with hundreds of thousands of users worldwide, is thrilled to be at Siggraph for another epic and exciting week, and most importantly observed the huge shift in how studios are using and considering the Cloud since for 3D artwork rendering.During the exhibition, Fox Renderfarm interacted with existing and potential clients, shared the cool features of our product and exclusive behind the scenes look into this year’s biggest blockbusters. Robert Wong-the Vice President of the BC Cultural Affairs Office of Canada, Tomasz Bednarz-Chairman of SIGGRAPH Asia 2019, and June Kim-SIGGRAPH IRC manager came to our booth to communicate and give an appreciation of the achievements that Fox Renderarm has accomplished in 2018. During the exhibition, Fox Renderfarm also participated in interviews with NVIDIA and several Chinese domestic media.In addition, Fox Renderfarm also cooperated with RaySync, our aligned company that focuses on big data transmission acceleration and network optimization services, to demonstrate the advantages of radium speed file transmission in all directions, attracting many professionals to stop by and communicate.As a long-term partner of SIGGRAPH, Mr. Haibin Zheng-Marketing Director of Fox Renderfarm, was also invited to attend the SIGGRAPH Global Student Volunteer Launching Conference and delivered a speech with renowned animation companies such as Dreamworks.“In addition to providing powerful cloud rendering services, Fox Renderfarm always adheres to the Go Cloud Program, providing professional guidance, rendering offers and technical support to creative teams, individuals and animation studios around the world to help them.”Said by Haibin Zheng. At the start-up meeting, Mr. Haibin Zheng also introduced the large-scale file transmission of radium speed and compared the advantages of radium speed through contrast.During the exhibition, Fox Renderfarm also received visits from well-known companies such as Dreamworks, MPC, DNEG, Scanline, etc., and introduced them to cloud rendering technology and high-speed transmission services for their recognition.
Green Book VFX Veteran Raymond McIntyre Jr. Shares Production and Careers Insights
Green Book VFX breakdownEd Lantz：I especially like the shot of the White House (in the movie LBJ). And you actually shot a caravan of cars, and you could see (White House) through the windows. How did you pull that one off?Raymond：Well, for this movie called LBJ, that was directed by Rob Reiner and it stars Woody Harrelson. Rob wanted a shot in 1960 presidential motorcade was driving out of the White House down Pennsylvania Avenue to go off and whatever their business was for that day. But you cannot get a permit to shoot in front of the White House and plus Pennsylvania Avenue is closed to all car traffic except for presidential car traffic. So it's not something you can go and do. In order to create it, the movie was being shot in New Orleans. We shot the motorcade driving on a parking lot in New Orleans, because of the camera move, the extreme scale of watching them drive out the front driveway of the White House and then panning to follow them as they drove down Pennsylvania Avenue. That was a really big camera move, so we were unable to put up a green screen for the size and scale that would have been needed for that. So the approach had to be rotoscope, and that's something we're very familiar with, fortunately. It was really the talent of the artist that put the shot together. His name is Patrick Trahan and he was responsible for all this. His ability to make us believe that as we saw through the window of the motorcade as it was driving in the Louisiana parking lot, he had to roto and create transparency and create glass basically for his own (distortion). When you go around a corner especially those curves have to be rounded pieces of glass, it would distort the image, so he actually created pieces of glass, created his own distortion. So as the car rounded the corner and you as now seen the White House background through there he distorted and created exactly. And then we generated a Matte Painting for the White House based on photography that I did at the White House today and then painted out everything that isn't period or doesn't look correct and added in movements for trees and things like.LBJ VFX breakdownEd Lantz：Very impressive！Why don't you tell us a little about what software tools that you use in your work?Raymond：We used a lot of software to complete the visual effects, and a lot of different tools. First off, you usually have to match move or track your scene or your object, or whatever it is, what that means is if you have a moving camera and a person in the shot that's moving and you want to add something to the person, you need to know what that movement of that person. Let's say we want to change my badge to something else, and I'm walking and the camera is moving, so you need to know what the movement of that is in the computer. So we call it a match move, which means we're going to match the motion of what the physical object in the real world does in the computers. Then the computer can recreate its motion exactly in pixels, and in dimensions in the computer. And then we can replace the object, change the object, do whatever it is. So we use tools to do that, which is called match move. We use SynthEyes and tools like that which is our primary matchmover. And then whether you create something in 3D to change the object, you have to composite it, so we use different compositing tools. But primarily we use Adobe After Effects and Nuke for our two primary compositing tools, and they both have features and feature sets that are unique and different than the other, and both have pros and cons that the other one does or doesn't have, so we use those two. There are others that are very similar, but those are our two main tools. And then for creating 3D objects like the cars in Green Book or the creature in Rim of the world, or the snowfall in Green Book, to create those kinds of things that have to be generated in a computer, they are solely made in the computer. We use several different tools. We use LightWave 3D, we use Maya, some of our people use Houdini for certain things. Again the tool that you choose should be based on what its strength and or weakness, isn't that you don't want. So if something is really good at doing water, for example, a CG ocean or CG water, then you use that tool, not all 3 software tools sets create water equally as good as the next. So you choose a tool that's best for the project.Green Book VFX breakdownThe film Rim Of The WorldEd Lantz：And why don’t you tell us maybe one of your most challenging projects that you're most proud of?Raymond：Well, I think the project I'm most proud of right now is Green Book, because it's a recent project that won two Academy Awards, and the actor won an Academy Award for Best Supporting Actor. A lot of People would probably say that they thought he was playing the piano, even though he did not. So that's something we are very proud of, and I'm proud of that the sense we made something that (hopefully) no one had any idea that we actually modified a change.Ed Lantz：Certainly I didn't, that was very impressive.Raymond：I learned something I've been doing this. I've been in this business for quite a while, and I've been doing this for a very long time, but I learned something basically on every show, I learned how to improve or what I should have done better or what I can do on the next one and so there's many shows like that. Recent ones come to mind for me, Rim of the World. We had to design and create two different creatures, three or four different alien vessels and ships and things like that. And that's always fun for a different reason because when you're designing and creating something you're trying to make something that hasn't been seen or hasn't been done before, which is difficult in today's world, especially when it comes to aliens and spaceships and things like that. And then implement them in a way that they look like the real in the shot, that are realistic and photo-realistic in the shot. And so that's always fun, you need challenges, but always fun.Fox Renderfarm:Any other things you want to share with the CG enthusiasts?Ed Lantz：My work involves projecting on large domes and we're creating shows with a-list talents. We did a show with Childish Gambino, otherwise known as the Donald Glover, and a 160 foot dome out in the Joshua Tree Desert, and we had 12 video projectors covering the dome blended together and produce the whole concert. 5 shows over 3 days, 2500 people per show inside the dome. And we also did an event at the Coliseum, here for the founder of Minecraft. He invited 3000 of his closest friends to come to party and with Skrillex and Diplo and some big DJs. And that was 24 video projectors blended together to create one big image. So now there's project in Vegas, Madison Square Gardens Entertainment makes LED dome that will hold twenty thousand people. So now we will have an arena that artists can graduate to. My company is building five-hundred to twenty-five-hundred-seat venues, so we hope CG artists get into the format creates spherical not just for VR but also for dome.MSG SphereRaymond：As a visual effects supervisor and producer, and as a company owner, I've been doing this for a long time. It's not a good way to say is going to be, most of my exposures is US-based, but I travel all over the world for shooting and for production and things like that. The post production end of things is in the last ten or fifteen years really started to become worldwide. But I would say now that's really expanding, even more so with China and India and Australia. I'm all for the worldwide visual effects input because there's lots of reasons for that. The more brains you have figuring something out, the better it's likely to get and the result will be. So it's always nice to involve people who either look at something a little bit differently with a fresh perspective. As opposed to a perspective that I may have or colleagues may have looked at for a long period of time. When we go down one path when there is really another path that might get something done. So I actually enjoy traveling for production and I enjoy being on shows now where you know you have five, six, seven hundred, even more of those movies that have two and three thousand shots. You have to involve companies all over the world in order to get them done, and that's a challenge, but it's a good one.As Ray said, challenge helps us to step forward. Looking forward to more possibilities of CG creations.
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