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    NEWS CENTER

    An Interview with Chungkang College of Cultural Industries, the Creative Masterminds Behind "CURATOR"

    An Interview with Chungkang College of Cultural Industries, the Creative Masterminds Behind "CURATOR"

    2024-01-19

    Fox Renderfarm Projects

    Fox Renderfarm Interview

    "CURATOR" is an awe-inspiring animation film that has captured the hearts and imaginations of numerous viewers. Created by Team C :GC, a group of talented students at Chungkang College of Cultural Industries. Founded in Icheon, South Korea, Chungkang stands tall as a respected institution dedicated to nurturing budding talents across a range of content departments. Fox Renderfarm as the industry's top cloud rendering service provider and render farm, was honored to sponsor project "CURATOR" and interview the director Park ju-hee. Thank you for using our cloud rendering service! Stay tuned as we delve deeper into the artistic minds of Chungkang's animation department in this interview, uncovering the secrets that have propelled their creative endeavors to new heights.CURATOR © Team C :GCFox Renderfarm: Hi Team C:GC! Thank you so much for accepting our interview! Please introduce yourself and your school Chungkang to our readers.Team C :GC:Hello, everyone! I'm Park ju-hee, the director of "CURATOR". It's a pleasure meeting you! I am a senior student at Chungkang graduating this year. Chungkang College of Cultural Industries, located in South Korea, is a school that cultivates creative talents with various content departments such as animation, games, comics, and performance arts. The animation department where I study has always been a popular place for students, gathering young people who love all genres of animation, including 3D, 2D, and stop-motion animation🔥Fox Renderfarm: Could you provide us with an overview of the animation program offered at your school?Team C :GC:"CURATOR" Graduation Exhibition in Seoul © ChungkangOur school pays a lot of attention to the fundamental courses for making animated films. That's why we have established sculpture, body painting, 3D fundamentals, directing, and storytelling courses in our freshman year. At the end of our sophomore year, we apply what we have learned in the second semester of our second year to plan and create semester assignments. Through making animation with our own hands, we learn to work together in a teamwork pipeline, and at the end of each semester we share our learning through assignments, screenings, and graduation exhibitions. By the final year in school, students utilize the skills honed over the past two years and the knowledge gained through various team activities for in-depth courses and a year-long graduation design project.Chungkang University In-house Graduation Screening CKAS 2024 © ChungkangThe process of creating a piece of work with classmates in three short years has not been easy, and there have been many moments of unease, but those emotional days of seeing the final piece at the screening are still fresh in my mind.Fox Renderfarm: Can you tell us about the inspiration behind your work "CURATOR"? How did you come up with this idea?Team C :GC:Early Conceptual Art | Conceptual Art © Park ju-heeI loved nature since I was a kid and I aspired to the wide open sky. I also love teen manga where the main character grows up against all odds, so one of the things on my wish list is to make an animation of a teenager growing up. So when I put my favorite things together, I started to think, "I want to draw a boy running on a grass field under a big blue sky!" and then I started fleshing it out one by one :)Fox Renderfarm: What do you hope the viewers will take away from watching this video, and what message or feeling do you want to leave them with?Team C :GC:CURATOR 쿠라토"In a tribe, living with huge birds, a boy called 'CURATOR' meets a girl who changes his fate."CURATOR © ChungkangYunta, the main character, is a child who never thinks for himself. He is forced to accept his destiny and has no time to think about who he is. When Yunta meets Halla, who is living her own life, he thinks for the first time about what he likes. With a dream in his heart, Yunta gathers courage and decides to live his own life in the future.CURATOR © ChungkangWhat I want to convey is that although knowing what you like and dreaming about your future is a common thing, the power it contains is very strong. I hope that those who see Yunta grow can feel this courage as well!Fox Renderfarm: Were there any specific films, books, artworks, or real-life events that inspired the story and the characters?Team C :GC:I think a lot of it comes from personal experience and my own growth. First of all, "CURATOR" contains what I wanted to say to myself as a child. I created this to tell people to not worry about what other people think, instead, have the courage to face their true selves.And I really liked the movie Avatar, and I think I got a lot of inspiration from it!Avatar © 20th Century StudiosFox Renderfarm: How did your team approach the character design? Can you walk us through your creative process and the steps you take to bring a character to life?Team C :GC:Early Stage Yunta and Halla | Concept Art © Jeong Da-inInitially, the story is set up with Yunta and Halla being childhood friends destined to compete for the position of the tribal chief. Unlike Halla, who is trusted by the tribe, Yunta is ignored by the tribe. We ended up revising the plot and after changing the main character Yunta to a living god, I felt that the two felt less like childhood friends. So we created something in common: shackles and crutches, and we also created a situation where the two are outside the tribe, even though they have very different positions. I thought that if I could meet these two, these two characters would naturally lead the story plot.Yunta and Halla | Concept Art © Jeong Da-inIn the design, we made a big difference in the direction of the fundamental shapes according to the character's personality growth: the angular Yunta and the mellow and lively Halla. The unique tribal clothes were also designed separately. Such as the difference between Yunta's unique clothing and Halla's slightly worn clothes.Fox Renderfarm: How did you use colors, materials, and lighting setup to achieve the atmosphere in your work?Team C :GC:Since the story is set in a primitive tribe with its own culture, we tried to convey the dangerous and mysterious atmosphere of the tribe by keeping the saturation of primary colors in each scene.Screenshots of "CURATOR" Scenes © ChungkangThe first scenes are shown in blue to create a dim and mysterious atmosphere, when Yunta and Halla become friends, they are shown in warm yellow. In the ritual scene, a dangerous red and cold indigo is used overall. The final departure scene is shown mainly in pink, creating a bright and hopeful atmosphere. Because of the limited length, I think a clear delineation of primary colors based on the mood of the scene helps convey the story.Fox Renderfarm: Could you please tell us about your pipeline for this work? And how long did it take you?Team C :GC:Baby Pamula | Concept Art © Jeong Da-inCreating an animation involves going through three production stages: pre-production (storyboard, concept art), main production (modeling, texturing, binding, animation, lighting, special effects), and post-production (compositing, sound, editing). Among them, I'll briefly introduce the model mapping part of the main production process.It's not shown in the artwork, but it's a cute baby Pamula. The Pamula is a huge bird with a body made up of scales. When they are babies, they have black scales, and when they molt and become adults, they turn into bright colors (blue, green, purple, etc.). After drawing and completing the concept along with the setup, we moved on to the next model.Baby Pamula Model | Modeling © Yang Seung-hyunIn modeling, we focus on creating 3D shapes and even surfaces. Face management in modeling is a factor that determines the rendering time. This is designed to be very important as it is directly related to the likelihood of completing the job. Once the modeling is complete, texturing is performed to color the gray polygon. Here we give it material representation, color, and life details.Mapped Baby Pamela | Mapping © Yang Seung-hyunThe super cute baby Pamula is born!During this process, the modeler, concept artist, and director looked at the work together and compared it to an adult Pamula, discussed the points they wanted to show, and exchanged feedback and improvements. If the color is not harmonious when it is put into the scene in the later stage, it will be improved in different ways in the early stage. Except for the textured parts that were modeled, everything else went through a similar workflow.Each team has a slightly different process for each production, and because our team was dealing with a raw tribe of creatives, it was difficult for us to visualize the vibe of the production at first. To make this happen, the lighting/compositing portion of post-production worked together from low-poly modeling to set the tone from the beginning. We then uploaded the project to the team community and worked together to familiarize ourselves with the vibe of the piece. Because of this, the realism of the piece grew over time and we were able to capture the unique atmosphere of the Gavia tribe!Fox Renderfarm: Are there any challenges that you encountered during the process of creation? If so, how did you overcome them?Team C :GC: The longest and heaviest scene - Maya © ChungkangOne of the problems the team has been facing frequently is the lack of time. With the entire production cycle limited to 11 months, even if a great idea was presented after completing the first round of production, there was no additional time to implement it. Due to the nature of 3D work, the schedule must always be adjusted with the rendering time in mind, making our schedule even tighter. So, to reduce the render time, I was supported by Fox Renderfarm, which gave me an extra month of free time! This is a feat indeed.Composition Job-Nuke © ChungkangAs a result, I was able to focus on each part and had time to challenge myself until the end. Thanks to all of you, I was able to complete a wonderful piece of work without any regrets.Fox Renderfarm: Are there any moments you enjoyed during the creation process? And what was the most memorable?Team C :GC:Yunta brought to life © ChungkangFloor murals and figures created by team members © ChungkangI enjoyed every moment, especially when Yunta's rigging was done and when it was possible to move his face and body, it felt like a new life was born! I remember it fondly because at that moment I felt like I was really making animation.There is an animation studio on campus called CCRC. It is a place where teams can come in and work. There, I often worked all night with my team members, and I remember having fun while sharing ideas, eating together, and sometimes even dancing. It was hard work and exhausting, but now I look back on it as a precious memory that I may never experience again.Fox Renderfarm: Technically and management-wise, how did you optimize efficiency in the production process as a team?Team C :GC:Animation Feedback Site © ChungkangLighting Feedback Site © ChungkangVoice Actor Recording Site © ChungkangOur team consists of 18 members. There used to be a wide variety of work to be done daily, but to have a smooth exchange of ideas, we held weekly department meetings and bi-weekly meetings for all to create time to share our work process. We also created a community to upload work and share feedback in real-time.I remember that we all participated enthusiastically in every meeting, whenever we lost our way, we gathered together to think. Because of this, we were able to move forward in the general direction of our work. The animation meetings in particular were very long, averaging 6 to 10 hours a week, but everyone persevered and created such amazing animations!Fox Renderfarm: Have you tried or heard about Fox Renderfarms services before? If so, how do you feel about Fox Renderfarms cloud rendering services? Team C :GC:Fox Renderfarm User InterfaceFox Renderfarm is a rendering service that we decided to use from the planning stage to complete our work. Our team is made up of students, so we don't have enough computers for rendering other than our personal work computers. Therefore, by using the Fox, we can achieve excellent time efficiency by keeping our personal computers up to speed and at the same time securing working hours.This was a large-scale job, and for detailed composition, we wanted to adjust the render times by splitting each clip into many render layers. However, we were concerned that the large number of cuts would be difficult to manage. But thanks to the ability to divide render areas in Fox Renderfarm, it was very convenient to render in multiple areas of multiple layers simultaneously!When rendering, many unexpected errors often occur. Situations such as clothes suddenly disappearing, and textures not being visible can cause quite a headache. In Fox Renderfarm, we were able to prevent many of these errors by using the first frame/middle frame/end frame test rendering feature to check the results using the preview window before fully rendering. Especially when re-rendering (for Maya), having to open the file, find the frame and render is such a pain, so it's nice to be able to easily render it in Fox Renderfarm using the re-render button. It's also very important to set the file paths correctly when working. Half of the errors happen with wrong paths. When using the Fox Renderfarm client platform, the work progresses quite easily thanks to the feature that automatically recognizes the path without having to upload the file.Fox Renderfarm: Do you have any ongoing projects or future plans at the moment? Would you collaborate again as a team?Team C :GC:These days, whenever I'm sitting around the house with nothing to do, I always feel like I should be working at this time and I can't believe that I'm taking a break! Making animations is sometimes difficult because it takes up so much of my time, but I really enjoy the process. So after this project, I decided to take some time off! But I find myself always coming up with new ideas without even realizing it, and I'm in the middle of planning a new project right now. I don't know what's going to happen this time, but I'm excited to be running again!I hope you guys enjoyed reading this and I hope everyone who reads this can soar like Yunta and Halla!P.S. C :GC team worked hard! Thank you for your efforts, I love you and I hope you all can soar no matter where you are!Team C :GCs Social Media:Instagram: https://www.instagram.com/curator_ckas2024/


    청강문화산업대학교의 창의적인 애니메이션 "쿠라토" 감독과의 인터뷰

    청강문화산업대학교의 창의적인 애니메이션 "쿠라토" 감독과의 인터뷰

    2024-01-19

    Fox Renderfarm Projects

    Fox Renderfarm Interview

    "쿠라토"는 많은 시청자들의 마음과 상상력을 사로잡은 경이로운 단편 애니메이션 영화입니다. 청강문화산업대학교의 재능 있는 학생들로 이루어진 팀 C:GC에 의해 만들어졌습니다. 한국의 이천에서 설립된 청강문화산업대학교는 다양한 컨텐츠 분야에서 젊은 인재들을 양성하는 데 전념하여 존경받는 학교로 우뚝 섰습니다. 업계 최고의 클라우드 렌더링 서비스 제공자이자 렌더팜인 폭스 렌더팜은 프로젝트 "쿠라토"를 후원하고 박주희 감독을 인터뷰하는 영광을 누렸습니다. 저희 클라우드 렌더링 서비스를 이용해 주셔서 감사합니다! 이 인터뷰에서 청강대 애니메이션 스쿨의 예술적인 마인드를 더 깊이 들여다보면서 더 높은 수준으로 창조적인 노력을 하게 된 비결을 알아보겠습니다.CURATOR © Team C :GCFox Renderfarm: 안녕하세요 C:GC 팀! 인터뷰에 응해주셔서 감사합니다! 우선 독자들에게 본인과 학교 소개를 부탁드립니다!Team C :GC:안녕하세요! 작품 쿠라토의 감독을 맡은 박주희입니다. 이렇게 만나뵙게 되어 기쁩니다!저는 올해 졸업학년으로 청강대에 재학중입니다. 청강대는 대한민국에 있는 대학교로 애니메이션, 게임, 웹툰, 무대미술 등등 다양한 컨텐츠과가 있으며 창의적인 인재를 육성하는 학교에요. 제가 다니는 애니메이션과는 3D, 2D, 스톱모션 애니메이션 등의 폭넓은 애니메이션을 사랑하는 학생들이 모여 늘 뜨겁게 타오르고 있는 곳입니다🔥Fox Renderfarm: 학교에서 제공하는 애니메이션 교육 과정에 대해 소개도 부탁드립니다!Team C :GC:서울에서 진행한 쿠라토 졸업전시 © Chungkang저희 학교는 애니메이션을 만들기 위한 기초 수업을 중요하게 생각합니다. 그래서인지 조소, 인체드로잉, 3D 기초, 연출과 스토리 수업 등이 1학년을 주로 이루고 있어요. 이를 2학년까지 계속해서 배우고 난 뒤 2학년 2학기부터 배운 것들을 응용해 학기작품을 기획하고 만들게됩니다. 애니메이션 제작을 직접해보며 파이프라인과 팀플을 통한 협력 등을 익히게되고 완성된 결과물을 매 해 학기말마다의 과제전과 상영전, 졸업전시를 통해 공유하며, 함께 웃기도하고 울기도합니다. 학교의 마지막 해인 3학년때는 2년간 갈고 닦은 실력과 여러 팀 활동으로 다져진 노하우로 심화 수업을 병행하며, 1년간 졸업작품을 작업하게 됩니다.청강대학교 내부 졸업 상영전 CKAS 2024 © Chungkang3년이라는 짧은 시간안에 동기와 함께 작품을 만드는 과정이 쉽지않고 위태로울때도 많았지만, 완성까지 무사히 한 작품을 울먹이며 상영회에서 보던 그 날들이 생생하네요.Fox Renderfarm: 작품 'CURATOR'에 영감을 준 이야기를 들려주실 수 있나요? 어떻게 이 아이디어를 생각해냈나요?Team C :GC:초기 컨셉아트 | 컨셉아트 박주희 © Park ju-hee어렸을 적부터 자연을 좋아했습니다. 뻥 뚫린 광활한 하늘을 동경했던 것 같습니다. 또 주인공이 고난을 이기고 성장해내는 소년만화를 좋아했는데, 제 버킷리스트 중 하나가 소년 성장 애니메이션 만들기 였습니다. 이렇게 좋아하는 것들이 모여 "광활한 푸른하늘 아래 거대한 초원에서 뛰어노는 소년의 모습을 그려내고 싶다!" 라고 생각하게 되었고 하나 둘 살을 붙여 시작하게 되었어요 :)Fox Renderfarm: 시청자들이 이 영상을 보면서 무엇을 얻었으면 하고, 어떤 메시지나 느낌을 남기고 싶나요?Team C :GC:CURATOR 쿠라토"In a tribe, living with huge birds, a boy called a god 'CURATOR' meets a girl who changes his fate.""거대한 새와 공생하는 부족의 신 '쿠라토'로 모셔지는 소년은 자신의 운명을 뒤바꿀 소녀를 만난다."CURATOR © Chungkang주인공 윤타는 한 번도 자기 자신에 대해 생각해본 적이 없는 아이입니다. 자신이 누구인지 생각해 볼 겨를 없이 주어진 큰 운명에 맞춰 살아가도록 던져졌어요. 그런 윤타가 자신의 삶을 살아가는 할라를 만나고 처음으로 자신이 좋아하는게 뭔지 생각합니다. 그리고 꿈을 꾸게 된 윤타는 용기를 내서 미래를 살아가기로 결심합니다.CURATOR © Chungkang내가 좋아하는 걸 알고 나의 미래를 꿈 꾼다는 것, 굉장히 평범하지만 그게 가지는 힘은 정말 강하고 단단하다는 걸 전달하고 싶어요. 윤타의 성장을 통해 보는 분들께도 이 용기가 느껴지면 좋겠네요!Fox Renderfarm: 스토리와 캐릭터에 영감을 준 특정 영화, 책, 예술 작품 또는 실제 사건이 있습니까?Team C :GC:개인적인 경험과 자라온 과정에서 비롯된 부분이 많은거 같습니다. 가장 먼저 방황하던 어린 시절 저한테 해주고 싶은 말을 담았어요. 눈치보지말고 진정한 자신을 향해 용기내라고 말해주고 싶다는 마음으로 만들게 되었습니다.영화 아바타를 굉장히 좋아하는데 거기서도 많은 영감을 받은거 같아요!Avatar © 20th Century StudiosFox Renderfarm: 캐릭터 디자인을 하실때 어떻게 접근하셨나요? 창작 과정과 캐릭터에 생명을 불어넣기 위해 진행하시는 단계가 있다면 소개해 주실 수 있나요?Team C :GC:초기 윤타와 할라 | 컨셉아트 정다인 © Jeong Da-in초기의 윤타와 할라는 부족의 족장 자리를 두고 싸워야하는 운명에 놓인 소꿉친구 관계였어요. 부족의 신임을 받는 할라와 달리 오히려 윤타는 부족을 겉도는 캐릭터였죠. 초기 스토리라인이 수정되고, 살아있는 신이 된 윤타로 캐릭터를 바꾸고 난 뒤에는 단순히 소꿉 친구인 두 사람으로는 관계성이 많이 부족하다고 느꼈습니다. 그래서 족쇄와 목발이라는 공통점을 만들어주었고, 둘의 부족 내 위치는 매우 상반되지만 부족에서 겉돈다는 상황도 만들어주었어요. 그런 두 사람을 만나게만 해준다면 두 캐릭터는 자연스럽게 스토리를 이끌어 갈거라고 생각했습니다.윤타와 할라 | 컨셉아트 정다인 © Jeong Da-in디자인적으로는 자라온 성격에 맞춰 기본 쉐입을 크게 나누는 방향으로 택했습니다. 각지고 어딘가는 날이 선 윤타와 둥글둥글하고 쾌활한 할라로요. 부족만의 의상도 따로 디자인을 진행했습니다. 살아있는 신 쿠라토로 모셔지는 윤타만의 특별한 의상과 약간은 허름한 옷의 할라의 의상으로 차이를 주었어요.Fox Renderfarm: 작품에서 분위기를 내기 위해 색상, 재료 및 조명 설정을 어떻게 사용하셨나요?Team C :GC:자체적 문화를 가진 원시 부족을 배경으로 하고있기 때문에, 씬 별로 원색의 채도를 있는 그대로 살려서 부족의 위험하지만 신비로운 분위기를 표현하고자 했습니다.작품 씬 별 스틸 컷 © Chungkang초반 씬은 푸른색으로 어스름하고 신묘한 분위기를 표현했고, 윤타와 할라가 친해질땐 따뜻한 노란색, 제사씬에선 전반적으로 위험한 붉은색과 차가운 남색으로 표현했습니다. 마지막으로 떠나는 씬은 밝고 희망찬 분위기의 분홍색을 주로 사용해 표현했습니다. 짧은 필름이다보니 씬의 분위기별로 주요 색감을 확실히 나눈것이 스토리 전달에도 많은 도움이 된거 같습니다.Fox Renderfarm: 이 작업의 파이프라인(작업 공정)에 대한 설명과 걸린 시간에 대해 설명 부탁드립니다!Team C :GC:아기 파뮬라 | 컨셉아트 정다인 © Jeong Da-in애니메이션을 만들기 위해서는 프리(스토리보드,컨셉아트), 메인(모델링,텍스쳐링,리깅,애니메이팅,라이팅, Fx), 포스트(합성, 사운드, 편집)의 세 프로덕션을 거치게됩니다. 그중 간단히 메인 프로덕션 과정 중 모델링-텍스쳐링 파트를 보여드릴게요.작품엔 나오지 않았지만 귀여운 아기 파뮬라입니다. 파뮬라는 비늘로 이루어진 몸을 가지고 있는 거대한 새입니다. 아기때는 까무잡잡한 비늘을 가지고 있으며 성체가 되기 위해 탈피를 하고 화려한 색(푸른색, 녹색, 보라색 등)을 가지게 됩니다. 이렇게 설정을 담은 컨셉을 그려내고 완성이 되면 다음 모델링을 진행합니다.아기 파뮬라 모델링 | 모델러 양승현 © Yang Seung-hyun모델링에선 입체적인 형태감과 고른 면을 만드는 것을 중점으로 작업합니다. 모델링에서의 페이스 관리는 작품의 렌더링 시간을 결정하는 요소입니다. 이는 작품의 완성 가능성과 직결되기에 굉장히 중요하게 설계됩니다. 모델링 완료 후엔 텍스쳐링을 진행해 회색 폴리곤에 색을 입혀줍니다. 여기서는 재질표현, 색, 생활감의 디테일 등을 작업합니다. 텍스쳐가 입혀진 아기 파뮬라 | 텍스쳐링 양승현 © Yang Seung-hyun굉장히 귀여운 아기 파뮬라가 탄생했습니다! 이 과정에서 모델러와 컨셉 아티스트, 감독이 함께 작업물을 보며 성체 파뮬라와 비교해 표현하고자 하는 포인트를 점검하고 피드백 및 디벨롭을 주고받으며 작업합니다. 또한 후에 씬과 환경에 넣었을때 어떤 색이 어우러질 수 있을지에 대해 고민하며 기존과 다르게 디벨롭하기도 합니다. 모델링 - 텍스쳐링 파트 이외에도 전반적인 파트가 비슷한 작업 과정으로 진행됩니다.작품마다 가지게 되는 파이프라인에는 팀마다 조금씩 차이가 있는데, 저희팀은 창작 원시부족을 소재로 하기에 초기에는 작품의 분위기를 상상하는데 어려움이 있었습니다. 이를 위해 포스트 프로덕션의 라이팅/합성 파트가 모델링의 시작인 로우 폴리곤때부터 함께 진행하며 초기부터 분위기를 잡아갔습니다. 그리고 이 작업물을 팀 커뮤니티에 올리며 다같이 작품 분위기를 익히며 작업했습니다. 덕분에 시간이 갈 수록 점차 작품의 현장감이 높아졌고, 가위아 부족만의 분위기를 확실히 담아낼 수 있었습니다!Fox Renderfarm: 창작 과정에서 부딪힌 어려움이 있나요? 어떻게 극복하셨나요?Team C :GC:가장 오래걸리고 무거웠던 컷 - 마야 © Chungkang팀 내에서 늘 다뤄지는 문제는 시간 부족이었습니다. 11개월이라는 전체 작업 마감 기한은 정해져 있기에 1차 작업을 끝낸 뒤, 이를 디벨롭하기 위한 좋은 아이디어가 나와도 필요한 시간을 더 확보할 수 없었습니다. 3d 작품의 특성상 렌더링 시간을 늘 염두에 두고 일정을 조정해야 했기에 더욱 촉박했습니다. 그래서 렌더링 시간을 줄이기 위해 고군분투 중 폭스 렌더팜의 지원을 받게 되었고, 렌더팜에서의 렌더는 한달이라는 추가 여유시간을 만들어주었습니다! 정말 쾌거를 이뤘습니다.합성 작업 모습 - 누크 © Chungkang결과적으로 파트마다 작업에 매진하여 끝까지 도전할 수 있는 시간을 얻을 수 있었습니다. 덕분에 후회없이 멋진 작품을 완성할 수 있었습니다.Fox Renderfarm: 창작 과정에서 즐거웠던 순간이 있나요? 그리고 가장 기억에 남는 순간은 무엇이었나요?Team C :GC:생명을 얻은 윤타 © Chungkang팀원들이 직접 만든 바닥 벽화와 피규어 © Chungkang모든 순간이 즐거웠지만 특히 윤타에 리깅을 입혀 얼굴과 몸을 움직이던 때 마치 새로운 생명이 탄생한 것 같은 기분이었습니다! 정말 애니메이션을 만들고 있구나 느껴서 인상깊게 기억하고 있습니다.학교 내부에는 CCRC라는 애니메이션 스튜디오가 있습니다. 팀이 들어가 작업할 수 있는 자리가 마련되어 있는 곳입니다. 그곳에서 팀원들과 종종 밤샘 작업을 하곤 했는데 함께 아이디어를 공유하고 같이 밥을 먹고, 가끔 갑자기 춤도 추며 즐겁게 작업하던 때가 생각이 납니다. 당시에는 힘들고 지쳤었지만 돌이켜보면 다시 못 겪을 소중한 추억이 되어 기억에 남습니다.Fox Renderfarm: 기술적, 경영적 측면에서 팀 단위로 생산 프로세스의 효율성을 최적화한 방법이 있으신가요? 있으시다면 무엇인지 설명 부탁드립니다!Team C :GC:애니메이팅 피드백 현장 © Chungkang라이팅 피드백 현장 © Chungkang성우 레코딩 현장 © Chungkang저희 팀은 18명의 팀원으로 이루어져 있습니다. 매일 다양한 작업이 이루어지곤 했는데 원활한 의견 교환을 위해 매주 파트별 회의와 격주로 전체 회의를 잡아 작업 상황을 공유하는 시간을 만들었어요. 또한 작업물을 올리는 커뮤니티를 개설해 실시간으로 작업을 올리고 피드백을 나누었습니다.매 회의마다 모두가 열의를 가지고 참여했고 가끔 길을 잃을 때면 다 같이 모여 고민하던 기억이 납니다. 덕분에 작업 전체의 방향을 공고히 진행해 나갈 수 있었습니다. 특히 애니메이팅 회의 시간이 매주 평균 6 ~ 10시간으로 굉장히 길었는데 다들 지치지 않고 끝까지 해내주어 지금처럼 멋진 결과물이 나오게 되었습니다!Fox Renderfarm: 이전에 Fox Renderfarm의 서비스를 사용해 보거나 들어본 적이 있습니까? 그리고 Fox Renderfarm의 클라우드 렌더링 서비스에 대해 어떻게 생각하시나요?Team C :GC:폭스 렌더팜 사용 화면폭스렌더팜은 기획 단계에서부터 작품의 완성을 위해 사용을 염두에 두고 있던 렌더링 서비스였습니다. 저희 팀은 모두 학생들로 이루어져있어 개인 작업 컴퓨터 이외에 렌더용 컴퓨터가 넉넉하지 않았습니다. 이에 렌더팜을 사용하여 개인 컴퓨터의 성능을 유지하고 동시에 작업시간을 확보할 수 있어 큰 시간 효율을 얻을 수 있었습니다. 스케일이 큰 작품이었고 디테일하게 합성을 진행하기 위해, 각 컷마다 렌더 레이어를 많이 나눠 렌더 시간을 조정하고자 했습니다. 다만 많은 컷 수로 인해 관리의 어려움을 걱정했습니다. 하지만 폭스렌더팜에서 렌더링 구역을 나눌 수 있는 기능 덕분에 여러 레이어 여러구역에서 동시에 렌더할 수 있어 굉장히 편리했습니다!렌더링을 진행할때는 예기치 못한 여러 오류가 함께 찾아오곤 합니다. 갑자기 옷이 없어진다던지, 텍스쳐가 안보인다던지 등등 꽤 골머리를 앓게합니다. 폭스렌더에선 첫/ 중간/ 끝프레임 테스트렌더 기능을 이용해 본격적인 렌더 전에 프리뷰창을 이용한 렌더 검수가 바로 가능해서 오류를 많이 막을 수 있었습니다. 특히 재 렌더 시엔 (마야의 경우) 해당 파일을 연 뒤 프레임을 찾아 렌더해야하는 번거로움이 있는데 폭스렌더 내의 re-render 버튼을 이용해 간편하게 렌더할 수 있어 좋았습니다. 또한 작업에 있어 파일의 경로를 알맞게 설정해 주는 것이 매우 중요합니다. 모든 오류의 절반이 잘못된 경로에서 발생하기도 합니다. 하지만 폭스 렌더 앱 사용 시 파일을 올리지 않아도 자동으로 경로가 인식되는 기능들 덕분에 작업이 꽤나 편리하게 진행되었습니다.Fox Renderfarm: 현재 진행 중인 프로젝트나 향후 계획이 있으신가요? 다시 팀으로 협력하시겠습니까?Team C :GC:요즘 집에서 가만히 앉아있을때면 종종 이 시간엔 분명 작업하고 있어야하는데 쉬고 있다니!! 하고 기분이 싱숭생숭합니다. 애니메이션을 만드는 작업은 때때론 인생의 많은 시기를 쏟게 되어서 힘들때도 있지만, 그 과정이 정말 즐겁습니다. 그래서 이번엔 끝나고 정말 쉬리라! 다짐해도 어느새 새로운 재밌는 일들을 짜고 있기도 해요.XD 지금도 새로운 프로젝트를 기획하고 있습니다. 이번엔 무엇이 나올지 모르지만 또 두근거리며 달려보려합니다!쿠라토의 앞날도 기대해주세요!즐거운 관람 되시길 바라며 이 글을 보시는 여러분도 윤타와 할라처럼 비상하길 응원합니다!P.s. 작업 하느라 고생한 우리팀 C :GC ! 정말 고생 많았고 사랑해 어디서든 비상하길!Team C :GCs Social Media:Instagram: https://www.instagram.com/curator_ckas2024/


    Interview with Mumbai-based Studio, CG Katha Studios and Their Storytelling Mission

    Interview with Mumbai-based Studio, CG Katha Studios and Their Storytelling Mission

    2023-11-29

    Top News

    Fox Renderfarm Interview

    CG Katha Studios is a Mumbai-based CG studio representing the vibrant storytelling tradition of India. The company has created an animated commercial video for Impact Mints Indias limited edition cricket-themed mints, which is absolutely stunning!As the industry's top cloud rendering service provider and render farm, Fox Renderfarm has provided the cloud rendering service to the team and helped make this animation a reality. Were also honored to have an interview with CG Katha Studios. Lets look behind the scenes of this amazing animation!Fox Renderfarm: Hi CG Katha Studios! Thank you so much for accepting our interview! Could you please introduce your studio to our readers?CG Katha Studios: Hello and thank you for having us! CGKatha Studios is a Mumbai-based studio rooted in the vibrant storytelling tradition of India. The name "Katha" is derived from Sanskrit, India's ancient language, and it translates to "storytelling." At CGKatha Studios, we believe that every project is an opportunity to tell a unique and compelling story, and our chosen medium for this narrative exploration is computer graphics (CG).Fox Renderfarm: This animation is created for Impact Mints, can you tell us a bit about this collaboration? Why did you decide to collaborate?CG Katha Studios: We partnered with Impact Mints because they admired our previous work. The client trusted our unique style, and our clear communication made the collaboration seamless. and he expressed a high level of trust and belief in our ability to bring that vision to life. resulting in a successful and impactful animation project. Impact Mints © CGKatha StudiosFox Renderfarm: How did you come up with the overall design for this animation?CG Katha Studios: For this project, given the time constraints, we opted for a simplistic design approach. The characters' proportions were adjusted to match dynamic poses from the product pack artwork, ensuring a cohesive and impactful look. This approach allowed us to meet the project's demands effectively and deliver a visually striking animation within the given timeframe.LookDev © CGKatha StudiosFox Renderfarm: There are flashes of black-and-white moments in the video, what does this sudden change of color represent? Why did you make this choice?CG Katha Studios: The black-and-white moments in the video were intentionally crafted to highlight impactful scenes, like characters hitting the ball or a batsman's forceful batting. We drew inspiration from anime techniques to emphasize the impact and intensity of these moments, adding a dynamic touch to the overall visual experience.Fox Renderfarm: How did you use colors, materials, and lighting setup to promote the product in the animation?CG Katha Studios: We chose vibrant colors aligned with the brand packaging and fresh visuals. Incorporating the cricket theme, we used India's cricket blue for the players. Our material approach was simple, avoiding photorealism. The lighting setup simulated stadium lights for an authentic feel. All achieved in Blender, a versatile tool that translated our creative vision seamlessly.Lighting Breakdown © CGKatha StudiosFox Renderfarm: Could you please tell us about your pipeline for this work? And how long did it take you? CG Katha Studios: Our pipeline was tailored to Blender, an open-source tool offering great flexibility. The process, from concept to the final video, took approximately 45 days. This timeline included ideation, design, production, and rendering phases, ensuring a comprehensive and well-executed project.Animatics to Final Stage © CGKatha StudiosImpact Mints © CGKatha StudiosFox Renderfarm: Are there any challenges that you encountered during the process of creation? If so, how did you overcome them?CG Katha Studios: Yes, we faced a challenge with the camera aspect. We aimed for a specific distorted feel to enhance the impact of character performances. To achieve this, we used wide-angle views with camera focal lengths of 12 and 18. It was a bit challenging, but through careful compositing of shots, we successfully managed to create the desired style.Impact Mints © CGKatha StudiosFox Renderfarm: Are there any moments you enjoyed during the creation process? And what was the most memorable?CG Katha Studios: The entire creation process was enjoyable and memorable for us. At our studio, we cherish the journey itself from concept to completion. The satisfaction lies in the creative process. Once the video is done, our focus shifts to the audience's reactions. It's the journey that we truly relish and find the most joy in.Fox Renderfarm: How do you balance the customer companys requirements and your own creativity when making a commercial video?CG Katha Studios: At the beginning, there may be some mismatches, but ultimately, both the client and our team share the same goal of creating the best video. Throughout the process, we engage in a collaborative exchange of ideas. We present various options to provide the client with a clear understanding of how specific shots can be executed. It's a give-and-take approach where we work together to find the most effective and creative solutions.Fox Renderfarm: Any favorite works in the past that you would like to share with us?CG Katha Studios: We have a few favorite projects from the past, though they haven't been shared online yet. We're excited to showcase them soon and share the creative journey with you all. Stay tuned for updates.Fox Renderfarm: How do you feel about the cloud rendering services of Fox Renderfarm?CG Katha Studios: We have had an excellent experience with Fox Renderfarm. Previously, managing renders within a specific time frame was challenging, but Fox Renderfarm provided a seamless solution. The platform is user-friendly, efficient, and reliable. The 24/7 support from their team, especially Rachel, has been exceptional. A big thank you to Fox Renderfarm for simplifying our rendering process.Fox Renderfarm: What is the future plan for CGKatha Studios? Are there any new ongoing projects?CGKatha Studios: Yes, we have some exciting plans ahead at CGKatha Studios. Currently, we are actively engaged in several commercial projects, each offering unique creative challenges. Additionally, we're working on an in-house 3D animation short film, and we're eagerly looking forward to sharing more details about it with you soon. Stay tuned for updates on our upcoming projects.CGKatha Studios Social Media:YouTube: https://www.youtube.com/@CGKATHAANIMATIONSTUDIOS/Instagram: https://www.instagram.com/cgkatha_studios/


    Fox Renderfarm Customer's Work, Netflix Series 'Oni: Thunder God's Tale' Won Two Prizes at 50th Annie Awards

    Fox Renderfarm Customer's Work, Netflix Series 'Oni: Thunder God's Tale' Won Two Prizes at 50th Annie Awards

    2023-03-09

    Fox Renderfarm Projects

    The 50th ceremony of the Annie Awards was held on February 25, 2023. Fox Renderfarm customer's work, Netflix series "Oni: Thunder God's Tale" won "BEST TV/MEDIA – LIMITED SERIES" and "BEST PRODUCTION DESIGN - TV/MEDIA". Congratulations!Image via Annie AwardsONI: Thunder God's Tale (Japanese: ONI ~ 神々山のおなり) is an original animation series that premiered on October 21, 2022. It tells a story that in a world filled with Japanese mythological oddball gods and monsters, one of the creatures' free-spirited daughters, Onari, is determined to follow in the footsteps of the mighty heroes of lore, but her unique powers are yet to be revealed. Does she have what it takes to fight to protect her peaceful village from the encroaching threat of the gods' mysterious enemies, the "Oni"?The series was created by Tonko House, produced by Netflix, and directed by Dice Tsutsumi. Our amazing customer Megalis VFX was brought onto the project to produce all the visuals for four episodes, with a total running time of 2 hours and 47 minutes. They worked with another Japanese studio, Dwarf Studios, to come up with techniques to combine the stop motion and CG environments using deep images and compositing tricks. As a leading render farm in the CG industry, Fox Renderfarm provides cloud rendering services to this series.According to Megalis VFX, after completing the pilot for ONI, it was decided that the project would be full CG animation instead of stop motion. However, the show would still retain the characteristics of stop-motion animation. To prove they could handle animated characters with their workflow, they worked on a very simple second episode, featuring a single camera with far and close action as well as with different lighting conditions.This second episode helped to push the stop motion look across all the different departments, from assets to characters and camera. You can see from the example below – on the top is the art reference and on the bottom image is the final completed shot.Image via Megalis VFXThe talented team of Megalis VFX has been using Arnold since its second year since inception. And being a Houdini-centric studio, Megalis VFX already had a robust Houdini pipeline. They build a relationship with SideFX and Autodesk Arnold teams who ensured they could fill all of our essential needs during pre-production.Learn more about the making of ONI: Thunder God's Tale.Image via NetflixWatch the award-winning series on Netflix.Episode 1: Onari's Kushi PowerIt's a brand new day at Mount Kamigami and the feisty Onari preps for the first day of school — where she will learn her powers for the challenges ahead.Episode 2: The Mighty Storm GodsWith a newfound sense of purpose, Onari tells her classmates how she'll beat the Oni. Meanwhile, an unexpected guest arrives at Mount Kamigami.Episode 3: The TruthLost in the Oni village, Onari musters the courage to search for clues about her Kushi power. Back on the mountain, the Kami prepare for the Demon Moon.Episode 4: The Demon Moon RisesWhen Naridon's secret comes out, Mount Kamigami falls into utter chaos. Hurt and hopeless, a crestfallen Onari finds an unlikely kindred spirit.Source: Megalis VFX &x26; Netflix


    ウィッシュ・ドラゴンから最大のウィッシュを見出す

    ウィッシュ・ドラゴンから最大のウィッシュを見出す

    2022-10-12

    Fox Renderfarm Projects

    animation works

    「そのウィッシュを大声で言え!」ほとんどの人が子供の頃「ドラゴンボール」を見たことがあるが、主人公の孫悟空は、願いが叶えられる7つの「ドラゴンボール」を集めるために、世界を旅するというストーリーだ。2021年公開されたCGアニメのコメディ映画『ウィッシュ・ドラゴン』では、7つのドラゴンボールを集めなくても、ピンクの毛むくじゃらのドラゴンを手に入れることできる!Fox Renderfarmでレンダリングされた『ウィッシュ・ドラゴン』は、2021年1月15日に中国で劇場公開され、年内にはNetflixで海外公開される予定だ。Chris Appelhansが脚本と監督を手がけ、ジャッキー・チェンが主演を務めるこの映画は、大きな夢を持ちながらも経済的には恵まれていない大学生のディンと、皮肉屋だが願いを叶える力を持つドラゴンのロン(ジャッキー・チェン)が2人で、ディンの行方不明になった幼なじみを探すために、現代の上海で行った冒険物語となっている。1月19日、Fox Renderfarmは、SNSで「ファンへのウィッシュ・ドラゴン無料チケット」プレゼントキャンペーンを開催した。多くの方が、この作品への愛と期待を込めたコメントを残した。目を引くチャイナ-要素『ウィッシュ・ドラゴン』における中国要素は、多くの中国人観客の心を打つ。また、世界中の観客に中国を紹介する内容にもなっている。監督のChris Eberhansさんは幼少の頃、上海で性格の似た同い年の友達に出会ったそうだ。そのため、Chris Eberhans監督は幼少期の思い出を映画の中に取り入れようと、背景を中国の上海に設定したという。石庫門、南浦大橋、東方明珠ラジオ&テレビ塔のほか、柔らかくてかわいいドラゴンや急須のデザインには、中国の伝統文化の特徴を全面的に出している。また、ドラゴンはエビ味のチップスが大好きで、テレビや飛行機、エアコンなど、見たこともないものには興味津々だ。 300万本の毛を持つピンクのドラゴン中国要素だけでなく、ピンクのドラゴンにもかなり印象的だった。しかし、この役を作るにあたって、クリエイティブ・チームは数多くの困難と挑戦を乗り越えてきたのだという。1つは、実際に参照できるものがないため、最終姿を決めるにあたって、アニメーションチームはドラゴンの全原画や近年のアニメーション作品をすべて参照したそうだ。ドラゴンの動きをより俊敏かつ優雅に見せるため、モデリングやリギング中に300万本の毛を入れ、体に1000以上のコントローラーを作り上げている。おかげでドラゴンは柔軟に動けるだけでなく、自身を四角や丸などの形に変えることもできるのだ。そのほか、ジャッキー・チェンの吹き替えや武術のシーンも、この映画の見所となっている。Fox Renderfarmは、ウィッシュ・ドラゴンのクラウドレンダリングパートナーとして、CG業界向けに高品質のクラウドレンダリングサービスを提供し続けている。Fox Renderfarmは、技術の進化を遂げ続けていくとともに、『ウィッシュ・ドラゴン』のように、中国要素を取り入れた作品がこれからも中国の伝統文化や物語を世界中に向けて発信することを願うばかりである。映画『ウィッシュ・ドラゴン』はただ今公開中!ご家族や大切な方と一緒に願いを見つけましょう!参考http://www.xinhuanet.com/ent/2021-01/19/c_1126997486.htm


    Indian’s Top-Grossing Movie “Baahubali - The Beginning” Rendered by RAYVISION

    Indian’s Top-Grossing Movie “Baahubali - The Beginning” Rendered by RAYVISION

    2022-07-04

    Fox Renderfarm Projects

    Baahubali

    As 2015 India’s top budget film, the historical Indian epic blockbuster “Baahubali - The Beginning” has grossed more than $90 million USD worldwide, and has set an all-time domestic box office record for opening day with $7.8 million and opening weekend box office record with $25.6 million, topping the previous record of last year’s “Happy New Year”. Current statistics shows that “Baahubali - The Beginning” is the third global highest grossing Indian film of all time, and the highest grossing Indian film of all time within India.This movie was directed by renowned Indian director S.S. Rajamouli, co-starring Prabhas and Rana Daggubati. Baahubali is a story about two brothers vying for the throne of the kingdom of Maahismati in their own ways; one (played by Prabhas) is a noble warrior named Baahubali whose believes in winning the confidence of the masses whereas the other (played by Rana Daggubati) believes in ruthlessness and a somewhat dictatorial approach. The details of which are best left unspoken.Baahubali's CGI visual effects was collaborated with a local company Makuta VFX. Rayvision was tasked with the responsibility of rendering the movie. Almost entire movie were super imposed with elaborated CGI special effects of lavish landscapes and magnificent war scenes from the movie.Baahubali deserves a high praise for financing such high budget on an fictional epic. From the breathtaking waterfalls to the extreme complicated rendering of Maahismati, its clear that extreme measures was put into efforts and devoted into rendering highly complicated sets as well as the exclusive environments.Baahubali is the answer to the world which Hollywood are not the only one can make Epic movies. Reuters gave a high praise of the movie "top-level entertaining movie and visual spectacle.” The guardian also commented: "this movie is absolutely worth watching and worth the price of ticket!"Rayvision as the cloud rendering partner of Makuta VFX, the joint cooperation on the Baahubali project was highly satisfactory. Subhrojyoti Banerjee, the senior VFX artist of Makuta VFX mentioned that, “Rayvision have been very helpful to us during our crunch time on the feature, notably their production coordinator and technical directors. They were available 24/7 to assist in getting our renders out and solve any snags we faced during the complex file setups. The pricing structure offered to us was competitive for the quantity of work we were producing with render nodes being always available to us for use.”Rayvision as cloud rendering expert and probably one of the world’s largest render farms are eager to work with any production houses to produce top quality special-effects as well as animations. We will ensure our partner’s vision, with our expertise and super computing power on your desktop to help the world understand the stories you want to tell.


    Mission Mangal, Bollywood’s First Ever Space Film Rendered by Fox Renderfarm

    Mission Mangal, Bollywood’s First Ever Space Film Rendered by Fox Renderfarm

    2022-07-04

    Fox Renderfarm Projects

    Mission Mangal

    Famulus Media &x26; Entertainment, the VFX-producing firm of Mission Mangal, is an entertainment company delivering excellence in Creative Design, Animation and Visual Effects Development.Fox Renderfarm is proud to partner with Famulus Media &x26; Entertainment who was associated with Hope Productions, Cape of Good Films &x26; Fox Star Studios, to present the first ever space film, high end, space CGI/VFX coming out of Bollywood. Famulus's VFX is top class without which the long climax would not have worked so well.It’s our honour to have an interview with Asif Sayed, the Vice President Operations at Famulus Media &x26; Entertainment, who share the behind-the-scenes story of filmmaking.Here’s the interview between Asif Sayed and Fox Renderfarm.Fox Renderfarm: Hi Asif, would you please give a brief introduction about yourself and Famulus Media &x26; Entertainment?Asif: As Famulus we have been creating High-end CGI and VFX visuals for Movies, Games, Theme Parks, AR/ VR and Experientials. I, Asif Sayed, function as the Vice President Operations at Famulus M&x26;E. I have a collective experience of 17 years of CG industry spanning over US, Europe, Middle East and India.Fox Renderfarm: Mission Mangal is a significant sci-fi film, what do you think about the story? Have you ever made movies about aviation like Mission Mangal before?Asif: This movie is a remarkable feat in the Indian Film Industry. Moreover it rings in a sense of pride and patriotism as its based on real life events which made our country the first to send a satellite to Mars in the first attempt and at 1/10 the cost of NASA.Fox Renderfarm: How long did it take your team to finish the works?Asif: Around 9 months, from 2D storyboarding to final Comp.Fox Renderfarm: What's the most satisfying or unforgettable thing during the film production?Asif: This is the first space film made out of India and we are the creators of these visuals.Fox Renderfarm: You used GPU rendering or CPU in the film? What software, renderers and plugins are used?Asif: We used CPU rendering. Maya software was used with Arnold shading.Fox Renderfarm: How much of the movie uses special effects? What's the percentage of VFX shots in the entire movie length?Asif: About 25% of the movie has used VFX and CGI.Fox Renderfarm: Can you share with us the VFX highlights of this film?Asif: As this movie is about the satellite launch towards Mars, all the rocketeering and the space sections were created purely in CGI. The hanger-rooms, the stations where the scientists create the Rocket, satellites and their various experiments were all created in CGI for VFX integration.Fox Renderfarm: Did you meet any difficulties when making the film? And how did you solve it?Asif: The nature of this job always has its set of challenges, but the team had foreseen most of the concerns that generally crop and contingency plans were in place.Fox Renderfarm: Would you share your experience about rendering with Fox Renderfarm?Asif: It’s been a breeze having Fox Renderfarm as render partner. The service has always been very prompt on the requirements. However I wish we were always given an average of higher number of blades.Fox Renderfarm: And what's your expectation about Mission Mangal?Asif: This is the first Indian movie which will be covering a rocket launch and space travel in great detail. We are expecting to showcase our talent utilizing this opportunity.As the render partner of Famulus Media and Entertainment, Fox Renderfarm hopes Mission Mangal will be accepted wholeheartedly by the audiences and does well at the box office.


    Award Winning Filmmaker Julio Soto Releases New 3D Animated Feature Film Deep

    Award Winning Filmmaker Julio Soto Releases New 3D Animated Feature Film Deep

    2022-07-04

    Fox Renderfarm Projects

    Deep

    Directed by Julio Soto Gurpide, Fox Renderfarm is honored to provide cloud rendering service to "Deep" – a The Thinklab production, which has been sold worldwide with its recent release in North America, South Korea, Mexico &x26; Russia that has gained a lot of popularity among the viewers. The film will also be released in Spain on 3rd November 2017.The film is set in the year 2100 when mankind has abandoned the earth a colony of extravagant creatures still thrives in the deepest abyss of the ocean. Deep, a cute “dumbo” octopus and his two unconditional friends: Evo, a nerdy and clumsy fish, and Alice, a neurotic deep-sea shrimp. When an accident destroys their home, the guardian of the abyss, The Kraken, will send Deep and his friends, together with Maura – a voracious moray ell, on a dangerous journey to find a new home.Throughout their journey, they will travel to many interesting places, such as the submerged New York City, the Titanic, and the Arctic, facing strong enemies and an unprecedented deep sea battle. Will they be able to bring the oceans back to their former glory?"Deep" director Julio Soto, was born in Spain and moved to New York City in 1988, where he where he began his career as a filmmaker. With over 18 years of directorial experience between the USA and Europe, he has worked on several films, documentaries, commercials, TV series and music videos. He is also one of the founders of the animation and life action production company The Thinklab. His films have also received several awards and presented at more than 100 world-class film festivals. His live action short film "Dissection of a Storm" qualified for the 84th Oscar Academy Awards. His latest work as a director, a 3D Animated Feature Film "Deep" will be released in Spain on 3rd November 2017. Julio has also sent us a small appraisal:“During the production, we needed to fast render some stereo sequences of great complexity, with over 20 layers each. Fox Renderfarm provided the services for cloud rendering and offered great tools to render quickly, cost effectively and with great flexibility in order to fulfill the deadline and the quality that we needed for our film. The customer service was topnotch and there was always someone available 24/7. Something that, providing the time zone differences, was greatly appreciated. Overall it was a great experience.” Julio Soto, Deep´s Director, WriterThe film production The Thinklab – a company led by Adriana Malffati Chen – is a film production and digital services company based in Madrid, Spain specializing in creative film production and animation. The Thinklab has made a high appraisal on the cloud rendering service provided by Fox Renderfarm after the film was rendered successfully. Following the success of "Deep", The Thinklab is currently producing a high quality yet cost-effective 3D animated film for future release.Although the current release is only in North America, Mexico, South Korea &x26; Russia, "Deep" has received a lot of good reviews. The film’s interesting scenes, lovely characters, adventurous rescue missions, the spirit of unity and cooperation are among the viewers’ good critiques. The film is full of energy with true temperament, waiting for you to explore!"Deep" has been released in North America, Mexico, South Korea &x26; Russia, followed by Spain on 3rd November 2017. The current film producer is also actively cooperating with the Chinese film distribution company, look forward to an early date for screening on the Chinese screen!


    RAYVISION Congratulates Michael Wakelam on Releasing the Successful Trailer for His New Film ‘Life of Bri’ n Chris’

    RAYVISION Congratulates Michael Wakelam on Releasing the Successful Trailer for His New Film ‘Life of Bri’ n Chris’

    2022-07-04

    Fox Renderfarm Projects

    Life of Bri

    In collaboration with Rayvision, Chaos Group and under the banner of Anthem Studios, Michael Wakelam introduces two new animated characters in the upcoming film ‘Life of Bri’ n Chris’!‘Life of Bri’ n Chris’ is a comic story of two friends, a lizard and a chameleon. The Scottish common lizard Bri’ and the unfortunate Australian Chameleon Chris, end up dealing with a crazy accident due to the excessively competitive attitude of one of the friends. The clash of entirely different personalities and the attempts at outdoing each other in a typical manly style add a unique comedic touch to this new partnership.Rayvision, the Chinese company that has worked on a huge number of projects with Dreamworks, Disney, Sony and Lucas played a pivotal role in providing the rendering power for this movie. Utilizing its exceptional expertise in CG animation production, Rayvision helped transform Michael Wakelams concept into reality after two and a half years of constant brainstorming and planning.Rayvision sends out its hearty congratulations to the entire team behind ‘Life of Bri’ n Chris’. A spokesperson from the company said, “Nothing makes us gladder than completing a project and seeing it being appreciated around the world. We would like to take this opportunity to congratulate Michael Wakelam and the entire team behind the project that worked diligently and displayed the utmost level of teamwork to complete this project successfully.”Specializing in cluster rendering, parallel computing and the pioneer behind ‘self-service cloud rendering’, Rayvision has worked on diverse animation projects for the world’s top production houses.Expanding on the challenges faced behind ‘Life of Bri’ n Chris’, the spokesperson explained, “For the entire team, one of the biggest challenges was to present the whole concept in mere 8 minutes. In these 8 minutes, the characters had to be presented in a unique manner, a manner in which the audience would anticipate to see them again. However, when it comes to animated movies, the more the heads the better! Our hard work along with Anthem Studios, Adelphoi Music, and Chaos Group paid off. We would like to congratulate the entire team again on the successful completion and of course, the interstellar success on the trailer! ”Rayvision is quite excited about the release of the short animated production, meanwhile a large number of people are pouring in at the Anthem Studios website to check out the trailer for ‘Life of Bri’ n Chris’.About RayvisionShenzhen Rayvision Inc. is an internet technology company which specializes in research into cluster rendering and parallel computing technology, providing computing services for cloud rendering. It is the pioneer of “self-service cloud rendering”. Renderbus, its brand, was the first company in China to offer a cloud rendering platform and boasts the biggest scale and the greatest number of users.For the purpose of providing consistent service for CG studios in the world, RAYVISION Inc. launched a family brand, “RAYVISION”, globally, based on Renderbus (its domestic brand) and Fox Renderfarm (its overseas brand), in 2014. Rayvision promises to provide global users with more excellent, stable and consistent cloud rendering service.


    Horror Movie “Boar” Rendered by Fox Renderfarm to be Released Soon!

    Horror Movie “Boar” Rendered by Fox Renderfarm to be Released Soon!

    2022-07-04

    Fox Renderfarm Projects

    boar 2017

    Directed by Chris Sun, an Australian horror film producer and produced by Slaughter FX, the horror movie "Boar" that Fox Renderfarm participated in cloud rendering will be released in Australia in November 2017 and will be enjoying its World Premieres on November 23 at the Australia’s Monster Film Festival.The "Boar" film shows Australia's adverse and beautiful natural landscape, yet lurks a dark and horrifying threat in this picturesque setting — a fierce beast that is ruthless, destroying the environment, massacring creatures, suck their blood, defend his territory by barbaric forces and brutally kill any creatures that hinder it.The giant BOAR was a myth, a legend brought to life in a drunken pub tale. The thing about myths and legends, they are usually made up of partial truths, and in this case, complete and terrifying truths. Tearing a path of destruction through fencing and livestock, locals haven’t a clue of the chilling death that lurks in the striking Australian outback. The Monroe’s are on a road trip to reconnect with a life they left behind several years ago. Seeing old friends and loved ones bring the tight knit family even closer together. A spontaneous decision to picnic along the shores of a cool river three hours from town brings them face to face with death itself. A BOAR of staggering size with a taste for blood is cutting out a crude home in the bush, and has marked this area as his. Nothing can stand in its way, nothing can stop the destruction. While the boar continues its savage rampage, the Monroe’s settle in for a quiet afternoon, and an evening of wild pig and roo spotting. As they are slowly and savagely stalked and slaughtered by the beast, the fight for survival becomes as animalistic and brutal as the animal itself.During the cooperation, we learned that producer Chris Sun is keen on terror, bloodiness and courage-inspired theme for his productions. Most of the horror films he directed were shot through the actual scene, giving a strong and real visual impact as well as sensory experience. He has won the "Best Director", "Best Screenplay", "Grand Jury Prize" and other honorary awards and can be said to be widely known in Australia.Nearly 85% of the director's film, "Boar," was filmed using actual results. The technical problems added more workload to his project. In post-production, the cloud rendering service provided by Fox Renderfarm responses in a timely manner with the smooth rendering process, it has greatly reduced the film output time, significantly improving the overall efficiency of the film letting the film release to be on schedule.Universal Pictures Australia is currently working with other major global film companies for worldwide release. Stay tuned for the premiere at Melbourne's Lido Cinemas, at 23:00 on November 23, 2017 (local time).Come and watch "Boar" trailer and feel the charm of Chris Sun's horror movie now!


    “Baahubali 2: The Conclusion” Rendered by Fox Renderfarm Became The Highest-grossing Indian Film in History

    “Baahubali 2: The Conclusion” Rendered by Fox Renderfarm Became The Highest-grossing Indian Film in History

    2022-07-04

    Fox Renderfarm Projects

    Baahubali

    When the historical Indian epic blockbuster “Baahubali: The Beginning” was released on July 10th, 2015, it immediately earned a good reputation worldwide and set a box office record for Indian films of 2015.After the success of “Baahubali: The Beginning”, “Baahubali 2: The Conclusion” broke the record again, it debuted in the US as the third top box-office draw, making nearly $13 million despite playing in barely 400 theaters. It earned $120 million during its first week, making it the highest-grossing Indian box-office release of all time around the world. It remained in the US box office’s Top 10 over the weekend, hanging on at No. 7 and earning nearly $3.25 million, bringing its estimated two-week tally in the U.S. and Canada to more than $16 million.As the most powerful render farm in Asia, Fox Renderfarm rendered many Bollywood movies, such as “Krrish 3”, “Baahubali: The Beginning” etc. Due to the good cooperation with Baahubali 1’s CGI visual effects company Makuta VFX, Fox Renderfarm has the chance to render “Baahubali 2: The Conclusion” this time. Fox Renderfarm as the cloud rendering partner of Makuta VFX, the joint cooperation on the Baahubali project was highly satisfactory.A rousing piece of fantasy fiction set in an ancient kingdom, its locations are extravagant. The battle sequences are convincingly bloody. The special effects are so ambitious for Indian audiences. There are muscled heroes, winsome heroines and plenty of dance numbers — all hallmarks of Bollywood.“Baahubali 2: The Conclusion” is such a visual spectacle that it has to be seen on the big screen! Go to the cinema to enjoy the visual feast!


    Interview with Chris Buchal Regarding Glass Cage

    Interview with Chris Buchal Regarding Glass Cage

    2022-07-04

    Fox Renderfarm Projects

    Chris Buchal

    Glass Cage, a new film about female social issues which produced by Chris Buchal just been released (Check the Glass Cage video at bottom). Chris and his team had overcome so many difficulties and didn't give up the film even under very serious budget problem, what a tough team! And Fox Renderfarm is honorable to offer the cloud rendering power for its VFX part. Here is the interview regarding this new film between Chris Buchal and Fox Renderfarm as below.Fox Renderfarm: Hi Chris, would you please give a brief introduction about yourself?Chris: Sure thing! Hi! I'm an English Major from University of Oregon. I've been making films for about 5 years now, and I am self-taught in visual effects, editing, cinematography, and post production. I've made commercials for some major brands, and have been building out my portfolio for past few years to hopefully apply for more commercial agency work, while I work on a feature script.Fox Renderfarm: Sounds wonderful. So when and how did you get into the film industry?Chris: It all started when I wrote to a craigslist advertisement and applied to have a job helping write the technical questions for the food safety manual that restaurant workers study before taking an exam. From there it evolved to editing videos, and from there the creative realm. My first year I made 20 pretty terrible comedy films, and then took the level up to a more professional and polished final product.Fox Renderfarm: Haha, very interesting experiences. Then what is your most satisfied work in these years and why?Chris: The short commercial piece "Baquon," because I made it with my best friend in my kitchen, it was a successful commercial, and it was a love poem to Bacon. It also made us some money.Fox Renderfarm: Congratulations! OK, how did you and your team members come out the idea of making the female empowerment film?Chris: The original concept was based on something my friend at the time, Cheree Marks, came up with. I wanted to do something with projection mapping and the female form, because at the time glass sculptures were on the table of the female form, and Cheree suggested body issues, and then agreed to work with me to help formulate a script that would enable us to tackle these social issues, and hopefully provide strength to women who struggle with them. Then the glass sculpture artist dropped out and we decided to use a mannequin of the female form, which was a blessing in disguise because it made the projection mapping more legible.Fox Renderfarm: You guys are so much warm hearted! We highly appreciate your work for women. Would you please tell us what’s the Glass Cage about?Chris: Glass Cage is a mother-daughter bedtime story about growing up in the world. It's a story about self-love and not giving into societies sometimes skewed expectations. It’s a movie that tackles different social constructs, and provides hope for how a woman can overcome them by being brave and staying true to themselves, and not letting the opinions of others sway themselves from the love they must have for themselves. Women are incredibly strong, they give life, and yet society oftentimes tries to take their inner light away from them.Fox Renderfarm: That must a great inspiration for women. While how many team members for the Glass Cage and how you guys cooperate with each other?Chris: This was a rather large and ambitious project. We had no budget, and a lot of visual effects, but luckily members of the team such as Ray Kelley, Celeste Leizer, Tim Riva, John Williamson, Shepherd Duff, Michael Mavromatis, Paul Turcott, and Andrew Williamson all were willing to dedicate their visual effects knowledge and time to help accomplish some of the more advanced CGI. I created all the projection mapping assets, and did a lot of the compositing work. This film was a labor of love, and thanks to the producers/cast, and crew who all donated 4 days of their life to make this possible. The cooperation worked the way most film sets work, a lot of phone calls, favors, and just the generosity of other people. Without them this film could not have been made.Fox Renderfarm: We are really impressed by the effort of all the members involved. Besides, what difficulties you met when making it?Chris: There were a lot of difficulties with this project. We had no budget. We had about $100,000 of rendering/VFX time. We wanted to finish the film in 4k (in hindsight 2k would have been smarter). At various points people dropped out or dropped the ball, which happens on projects with no budget, and we also had several random cloud server crashes and hard drive failures that thankfully were avoided by triple backups. Backup your data! There was some lack of clarity on the time commitment the project would take, and so some people had to drop out due to personal reasons, but all in all, this is par for the course with a no budget film. It was the effort of a lot of kind talented and generous people, and thanks to Fox Renderfarm, we were able to render out our films title sequence using Maya/Vray and 4k finishing.Fox Renderfarm: Anyway, the good news is the film is finally released. So where would you plan to submit/release the film?Chris: Ideally it will get passed along the festival circuit before being released online, and backed by some female organizations who support its messageFox Renderfarm: Great, we sincerely hope the Glass Cage would have a perfect result. As for the rendering phase, why choose Fox Renderfarm as the partner and What you think about us?Chris: Fox Renderfarm was an absolute lifesaver. We are a no budget, VFX heavy film. We simply don't have enough CPU power or render hours to export at 4k all the visual effects in the film. Thankfully Shelly Yu, responded to my request for a sponsorship proposal with grace, tact, and charm. Fox Renderfarm worked tirelessly, and patiently with us as we slowly compiled the work of multiple artists across the globe into the film’s final title sequence, as well as a few of the "Glass Cage" CGI shots. Without Fox Renderfarm, we wouldn't have these elements in the film. They worked with us tireless overcoming technical hurdles, and even language barrier. They were really caring and just an incredibly supportive experience. I hope to be able to employ them sometime in the next year or two on some vfx heavy commercial projects should the opportunity arise.Fox Renderfarm: Besides the previous child abuse film “The Cycle Starts And Stops With You” and the just released female empowerment film“Glass Cage”, do you have any idea for your next film?Chris: Yes, a female dynamic due comedy feature script is in the works, as well as maybe two more short films and proof of concepts. One involves the future of virtual reality, and the other is an alien invasion proof of concept. We also have another short film in post-production about cell phone addiction.Fox Renderfarm: Looking forward to your next film soon. OK, anything else you would like to add or say?Chris: Thanks again to Fox RenderFarm, and anyone who worked on or donated time to Glass Cage. Couldn't have finished the film without you guys.Enjoy the Glass Cage video now!Glass Cage from Illustrious Productions on Vimeo.


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