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    Fight COVID-19 With CG Art

    2020-04-10

    Trending

    CG

    The breaking out of COVID-19 is severely impacting all industries and disrupting the daily routines of individuals globally. For fighting against the virus, governments are calling on all of us to stay at home to stay safe.

    During the quarantine period, the CG artists confront coronavirus in their creative ways. Fox Renderfarm collects some creative 3D rendering artworks and the inspirations behind. Let’s have a look!

    Artist: Valentine Panchin (Ukraine)

    Caption: Well, it was a pretty funny joke going around the internet about how the virus is related to the brand name, and I decided to make my own take on it. But unfortunately, I wasn't first and later I realized that my idea wasn't original. I live in Ukraine and most of the day I work from home. Only in the third week, I started learning more stuff. So I've been pretty lazy.

    I spend more time socializing online than ever before. Also, my work in the office has become remote and I split it into small portions during the day. So I may end up working at 10 pm. And on a regular basis, I stop at 6 pm. So I have less time to be creative.

    Artist: Sai Dinesh Komanduri (India)

    Caption: I was working on a project and took a little break from it. Because of this reason, I thought why not make an image on how the Virus might look in my image and just went on with the instincts.

    The lifestyle has changed due to the lockdown, spending more time on PC than usual and sometimes it is getting frustrating just being in one place for longer periods. Toughest problem is like… Sitting in the same room for hours and not getting any ideas. Also, I'm a freelancer and I don't complain about it much.

    Artist: Kyle Yeap (Malaysia)

    Caption: My inspiration came from a naval mine, and I restored it with resistors. As for the COVID-19, I hope everyone can pay attention to this. It will explode at any time if people walk around.

    Artist: Marien Singbo (Sweden)

    Caption: I made it in CINEMA 4D with Redshift. My inspiration came from running out of toilet paper basically. I had to go on pilgrimage over 3 hours, through 4 stores here in London before I finally found some toilet paper. People have been hoarding even though the government & supply managers have reassured us that we will not run out of toilet paper anytime soon. My sister who has a 1-year-old baby has been unable to purchase baby wipes. It's all a bit disappointing and incredibly frustrating as it can easily be avoided.

    I've also been very affected, at least my career plans. I had a freelance gig canceled. And I was also going to have an animation internship at a big studio in London as the last thing in my education. But it's been canceled/postponed for now.

    As I will be graduating soon it's all a bit scary not knowing how the industry will recover from this and how I as a new person in the industry will be affected.

    Artist: Alvaro Moreira (Brazil)

    Caption: So the COVID art is about the Brazilian president who keeps denying that the virus can be dangerous to the population, he keeps saying stuff like "it's just the flu". The character is our president.

    About my work life nowadays. I have been a freelancer since 2012 and I’ve been doing home office for 8 years now, so, in this aspect, it didn’t change that much. The economy is the worst than ever in Brazil though so I can't get any jobs like I used to do here. I'm still working with some foreign studios though. Anyway, it's not that bad for me

    Fox Renderfarm Team: creativity, humanity and love are what make us solid and strong that COVID-19 is never able to conquer. Please stay home, stay safe and stay creative! Fox Renderfarm is staying with you! By holding our hands together, victory will come very soon!

    NOTE: Fox’s Got Talent campaign keeps going. Welcome to share your artwork rendered with Fox Renderfarm and be our April winner! For more info https://www.foxrenderfarm.com/fox-got-talent.html


    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)


    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 Fox Renderfarm, 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 Dbz Legacy facebook page 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 cloud render farm. Before I always used an in house render farm 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.


    Pumpkin Pie Recipe to Create Spooky Animation

    Pumpkin Pie Recipe to Create Spooky Animation

    2018-11-01

    CG Challenges

    halloween

    It is our style to talk about the ‘sweet-n-popular’ animation characters’ production stories, and you would assume we do the same thing all the time…hmm…I guess you are right! But in this spooky season and especially spooky day like today-Halloween! I know, right? We would like to shy away from the classic Mickey Mouse, Scooby Doo and Looney Tunes, to explore some dark minds instead! It is definitely our favorite day when girls and boys dress up with pumpkin heads, fake skulls, ghostly sheets, and Batman capes asking for candy. If there’s any holiday inspires the artists, it’s Halloween!

    Usually, animations and cartoons are geared towards younger audiences and depict a fluffy, light-hearted version of the world we live in. That makes the movie created by worldwide famous studios, like Disney and Pixar, a magical escape for kids of all ages. Anywhere you go you will find people that like the characters and stories found in movies that created by them. Some of these animations come with darker elements stirring just below the surface: death, darkness and evil lurking in your favorite characters and moments. We rummaged through the vast cinematic history and picked a few to show you first.

    1. Halloweentown

    Fans love to rewatch these movies every year around Halloween, and Disney still plays them on its channel to this day. (Woo. It’s on live now, check it out)

    In a world of modern technology, we've gotten used to most effects being done with CGI technology or motion capture. But back in the 1990s, on a film set with a very small budget, things had to be done differently. The small budget was a huge obstacle throughout filming. From special effects to the number of takes they could afford, to the number of people they had on set - everything had to be planned meticulously. Dunham remembers how they made it seem like more monsters were roaming around Halloweentown than were actually present.

    "We had just enough extras, and we would double up and change costumes and make it look like there were more and different people and that sort of thing," Duhman told.

    If you're wondering where Halloweentown was filmed, it wasn't just on a Disney lot. In fact, the real world town of St. Helen's, Oregon is where it all began. The cast and crew absolutely loved it there, because it really felt like stepping into another world. Kimberly J. Brown-who plays Marnie remembers it fondly to this day, saying,

    "It was the perfect location, with a town square and everything."

    Director Duwayne Dunham loved the location because of how easy it was to film in. He called it, "basically an abandoned town" that was an "ideal place" for the film. Dunham also fell in love with the color scheme of St.Helens, and admits they got lucky, seeing as how the film budget was so small.

    One of the most iconic characters from Halloweentown is definitely Benny-the skeleton taxi driver. He is one of the first monsters that Marnie, Dylan, and Sofie meet in Halloweentown, and he is a recurring character throughout the franchise. Kimberly J. Brown revealed that he was actually a robot.

    "The actor dubbed his lines after filming, so we actually worked with a robot," Brown recalls, "I’ll always remember the ‘errr err’ sound it made." Knowing this detail makes it even funnier looking back on their scenes together. Marnie and her siblings always look pretty confused when they're with Benny-- now we know why, haha.

    1. Toy Story

    On the surface, you might be asking what’s scary about an animation about toys? Well, Toy Story is the foundation on which Pixar was built, with a rich history of memorable characters, hilarious scenes and emotional moments. As wholesome and endearing as the franchise is, the film also has disturbing characters and “cover your eyes” scenes that certainly give young children nightmares.

    Even though Toy Story 3 takes this spot, the original Toy Story got some serious consideration due to the sadistic, evil character of Sid and his terrifying toy abominations. That sociopath kid set the table for bleak elements to pop up in the series.

    2010’s Toy Story 3 finds Woody, Buzz and the rest of our favorite toys fighting to stay together. The infamous incinerator scene at the end of the film, shocked viewers in just how horrifying and brutal it was. Kids and adults got teary-eyed seeing these classic characters that we’ve all come to love, almost meet a fiery end. If that wasn’t traumatic enough, the new toys at the prison-like Sunnyside Daycare, headed by the twisted Lots-O’-Huggin’ Bear, are straight out of a horror film. Big Baby and the cymbals monkey are just plain freaky.

    1. Brave

    Parents were a little taken aback when they saw how much graphic violence and how many intense scenes were found in this 2012 Pixar film. The medieval story about a young princess named Merida who uses a spell to transform her mother into a bear was a commercial and box-office hit. Positioned as a Disney princess story, the filmmakers played around with the storytelling, incorporating adult themes of betrayal, selfishness, and redemption. They also added a good amount of the supernatural and darker elements, primarily found in the Scottish Highlands.

    The main source of fright for kids 5 and under, comes in the form of the massive scary bear with a taste for human flesh. Mor’du is the “villain” of the film, as he was once a prince who let his dark desire of power overtake him, leaving him as the monstrous bear.

    Taking a page out of past Disney films like Sleepy Hollow, the animators used a dark color palette, utilizing dark heavy shadows each time Merida left the safe world of the castle and stepped into the mystical woods. In a majority of Disney animated films, the woods are a setting where good and dark magic resides, which is true with Brave as well.

    A great scary movie has the power to stick in audiences’ mind for a while, distracting your work and normal life. But are all the scary movies scared you?I doubt that, otherwise there wouldn’t be tons of unknown scary movies and article with the content of” “Why Today's Horror Films Are Just Not Scary Anymore”. Fear and unease are emotions which can be used to help further your story. But the juxtaposition of familiar and unfamiliar, or friendly and unfriendly, makes us feel uneasy sometimes and not raise awareness among the audiences.

    Pumpkin Pie Recipe to Create Spooky Animation

    Let’s break down what makes something scary so that you can better use them in your own work. And that’s the pumpkin pie we delivered for you today.

    Level 1: The Uncanny Valley

    If you’ve been around the computer graphics industry, you will be very familiar with this phenomenon. Simply put, the uncanny valley is:

    “A computer-generated figure or humanoid robot bearing a near-identical resemblance to a human being arouses a sense of unease or revulsion in the person viewing it.”

    Remember Tintin? Spielberg was hoping to make him a global household name in The Adventures of Tintin: Secret of the Unicorn. But the phrase of “uncanny valley” cropped up a lot in early reviews of the movie.  As New York magazine put it:

    "Tintin looks simultaneously too human and not human at all, his face weirdly fetal, his eyes glassy and vacant instead of bursting with animated life."

    Usually, the uncanny valley is a problem for artists, but we can use it to our advantage when intentionally creating creepy art. In the real world, this mechanism has helped humans to avoid diseased creatures and to pair up with more genetically healthy partners.

    The core principle here is to create an object or scene that is really close to something that is thought of as good but add some subtle attribute that contradicts that feeling.

    Level 2: Surprise!

    A common trope of the horror movie genre is the jump scare. It’s simply something unexpected that happens quite suddenly. It’s hard to put a jump scare into a still image, but it’s possible if you put the devil in the details. Perhaps make the scary element a bit harder to spot, so that the viewer gets a nice shock when they do find it.

    Level 3: Creepy, Eerie, and Spooky

    When something is creepy, it gives you a strong sense of unease. It’s similar to the uncanny valley in that something is not right, but this time there is a sense of real physical danger. It’s your brain telling you to get out of there now before something bad happens.

    There is nothing inherently dangerous about a skull. They sit in science classrooms all the time and have not suddenly attacked any students yet. So why would it be spooky to find one in the woods or in an abandoned house? It’s because the skull is no longer in a safe context.

    We know the skull is not going to do anything to us on its own, but it implies that something around might cause us to become like the unfortunate owner.

    Level 4: Downright Terror

    The very height of terror is knowing for a fact that you are in danger, and you need to get away right now. It’s all fun and games until some terrorist threatens to cut off your kneecaps.

    Putting your relatable characters in real danger will make the viewers feel danger as well. It’s one way to get them intensely engaged in your story.

    “Very intense movies do increase heart rate, and if you have coronary heart disease, (they) can increase chest pain and blood pressure”

    Level 5: Putting it all together

    For maximum effect, layer these together! In order to convey the feeling of horror, remember that you need to first give enough visual information. Without any detail or a compelling and relatable story, your viewer will feel disconnected from the artwork and not give it a second thought.

    Have You Made Any Halloween Render This Year?

    You can create a serious spooky character to TRICK us or an even more spooky one to TREAT us!

    Three winners will be selected to give out our prices-rendering credits! (As always, haha) Oh no, I just figured we can call it pumpkin credits this time. Your artwork will be shown on our "Fox's Got Talent! Gallery" and shared on our social media platform as well as our newsletter. You will also get an interview opportunity to talk and share your artwork with all Fox Renderfarm users.

    Prize:

    The first price: $200 Rendering Credits

    The second price: $100 Rendering Credits

    The third price: $50 Rendering Credits

    More detail: Fox's Got Talent

    Deadline:

    December 20th, 2018

    We'll announce the winner on Christmas Eve! All entries will be judged by Fox Renderfarm Oscar-level trained 3D artists.

    Happy Halloween and enjoy that Candy Corn!


    Fox Renderfarm at SIGGRAPH 2018

    Fox Renderfarm at SIGGRAPH 2018

    2018-08-27

    Top News

    SIGGRAPH

    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.


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