‘Tanhaji’, Rendered with Fox Renderfarm, with a Worldwide Gross of US$49 Million Became the Highest-grossing Bollywood Film of 2020
Recently, a biographical period action film Tanhaji: The Unsung Warrior became one of the most popular movies in India.
Released on January 10, the box-office collection of the movie has been roaring since day one and became the highest-grossing Bollywood film of 2020 with a worldwide gross of US$49 million.
Tanhaji: The Unsung Warrior, directed by Om Raut, rendered with , is a historical drama based on the life of Tanaji Malusare, a 17th-century Marathi military leader and founder of the Maratha Empire. The film depicts Tanhaji's attempts to recapture the Kondhana fortress once it passes on to the Mughal emperor Aurangzeb who transfers its control to his trusted guard Udaybhan Singh Rathore.
Tanhaji: The Unsung Warrior - Official Trailer
Tanhaji: The Unsung Warrior is praised as a visually stunning film. , a visual effects studio in India, was the VFX partner of the movie. Incorporated in May 2015, NY VFXWAALA has won 14 awards for VFX including the 64th National Award for Shivaay and Asian Film Award (AFA) for BajiraoMastani, becoming the only Indian VFX house to have won the AFA award till date.
Despite many other new films being released, it seems that the blockbuster will remain strong in box office performance.
What’s more, Fox Renderfarm will have an exclusive interview with NY VFXWAALA, talking about the stunning VFX in Tanhaji: The Unsung Warrior. Please stay tuned with us!
Learn V-Ray Partners with Fox Renderfarm to Creat More Amazing Works
“Simplicity is the ultimate sophistication.” Leonardo da Vinci once said. Then, Steve Jobs took it as Apple’s product concept. Now, it shows on Learn V-Ray’s video rendered by Fox Renderfarm.
Learnvray.com is an authorized training center certified by Chaos Group. In the online area, you can find the 5SRW Course for V-Ray, including V-Ray tutorials and lessons, material to download and all you need to get the 5SRW Certification for V-Ray. 5SRW stands for 5-Step Render Workflow: framing, light balance, materials, final render, post-production and it is a method to learn the photographic approach:
More info here: V-RAY COURSE (online)
As Learnvray.com official partner, rendered countless works for Learn V-Ray’s trainers and students.
Now let’s enjoy the following outstanding works rendered by Fox Renderfarm, included in the short movie:
Industrial Open Space, by Tony Antoun
Prize: Best of March 2016
Gravity, by Ciro Sannino
Prize: Installation V-Ray 3 Splash Screen
Church on the Water, by Aldo Garcia
Finalist at 3D Awards 2014
Sofa Room, by Rabih Chehab
Short movie 1
Ciro Sannino (profile), author and main trainer at Learn V-Ray, said: “honestly I recently got different proposals from different around the world. I finally decided for Fox Renderfarm because I appreciated a quality that is not so common - availability. Fox Renderfarm guys are always ready to listen to suggestions coming from partners and users, and the customer service team are always online on Skype to help and support in any situation! And no waiting to start the render due to the size of Fox Renderfarm.”
Simplicity is more difficult than sophistication. You must pay more efforts to make sophistication simple. The philosophy that Fox Renderfarm always sticks to is that technology inspires the arts. With the most professional technical team, the best customer service team and the most powerful computing center, Fox Renderfarm can save more time for users to do more creation.
Ejen Ali, One of Malaysia’s Top 3 Animated Films will See You in the Cinema Soon
Malaysian Animated Films
Ejen Ali: The Movie is an upcoming Malaysian computer-animated spy-fi action film, which is the first film made by WAU Animation, based on their TV animation series, Ejen Ali. After two seasons on the small screen, popular animated science-fiction series Ejen Ali will finally make its cinematic debut on Nov 28 in Malaysia, Singapore and Brunei.
Ejen Ali: The Movie, partner! Fox Renderfarm is always dedicated to promoting the development of high-quality animated films.
The 90-minute film, Ejen Ali: The Movie, tells a story about a brave, 12-year-old schoolboy who becomes an unwitting secret agent for futuristic spy agency MATA. After being accidentally recruited as a spy, Ejen Ali has now grown to embrace his role in secret agency Meta Advance Tactical Agency (MATA) to protect the futuristic city of Cyberaya from outside threats.
The animated film took two years to complete, and cost co-producers WAU Animation and Primeworks Studios RM6.5 million. Both companies expect ticket collections for Ejen Ali The Movie to reach RM20 million.
Usamah Zaid Yasin, WAU Animation's chief executive officer, said that there will be lots of spell-binding special effects and action-packed scenes for whole families to enjoy.
“We certainly try to include lots of Malaysian elements and a local feel to organically include in the movie. It’s very Malaysian and this is something we’re proud of,” according to Usamah.
The Ejen Ali television series has two successful seasons under its belt and has become a popular brand. At the 28th Malaysian Film Festival in 2016, it won for Best Short Animated Film.
In 2017, it won the Best 3D Animation Programme at the Asian Television Awards and it was also recognized as Best 3D Animation Programme or Series at last year’s Asian Academy Creative Awards.
Wish the super-popular toon hero Ejen Ali to make a new height with the upcoming feature film and admired by the worldwide audiences.
Malaysian Flick ‘Ribbit’ to Premiere at Niagara Fest
"Malaysian Flick ‘Ribbit’ to Premiere at Niagara Fest,The render part of this cartoon movie has been done by Fox Renderfarm which belongs to Rayvision Inc."
Ontario, Canada’s Niagara Integrated Film Festival (NIFF) is taking place June 19-22, showcasing a hand-picked selection of films from around the world. One of the premieres that will be featured at the event is the global debut of Malaysian animated film Ribbit from KRU International’s Kartun Studios. The film stars Sean Astin, Russell Peters and Tim Curry and will be screened in 3D on June 21.
Ribbit centers on its titular frog hero who is a bit of a dreamer who doesn’t fit in with the other frogs. To escape from reality he hangs out in his “clubhouse,” a downed, dilapidated plane in the jungle, and reads about animals who have no trouble finding their purpose in life in old copies of National Geographic.
Written and directed by Kartun’s chief creative officer Chuck Powers, the CG film is “a beautiful heart-warming adventure” aimed at the whole family. Ribbit is the first feature length project from the studio and has already been sold to over 80 countries worldwide, including the U.K., Germany, Australia, Japan, China and Brazil, which will likely see releases in the fall. KRU currently has five 3D animated films and three animated television series in development.
"Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019
Upin & Ipin
Upin & Ipin: The Lone Gibbon Kris (Malay: Upin & Ipin: Keris Siamang Tunggal) (short for Upin & Ipin), produced by Les' Copaque Production Sdn. Bhd., rendered by Fox Renderfarm, has won the Best Feature category at the Montreal International Animation Film Festival 2019 (ANIMAZE).
ANIMAZE is an international film festival and conference dedicated to exploring the world of animation in all its diversity. Filmmakers from over 65 countries working in a wide range of genres and styles converge on Montreal in the summer. Proudly, the mischievous twins Upin and Ipin are now the winners of the international film award.
In this fantasy film, Upin, Ipin and their friends find a magical kris which transports them into a fictional country known as Inderaloka. Here they meet various colourful characters from Malay folklore and help them battle an powerful villian. Les' Copaque, the production company of Upin & Ipin, elected to create its own unique intellectual property based on traditional Malaysian mythology, but told in an energetic, child-friendly way.
The production of Upin & Ipin took 5 years to complete, and the cost is almost RM20 million, making it the most expensive Malaysian film ever made. Fox Renderfarm’s reliable and high-efficient service helped a lot in its rendering process. As a local animated film in Malaysia, Upin & Ipin’s award means a lot to the Malaysian animation industry.
Here we congratulate on Upin & Ipin’s great success in gaining international recognition and sincerely look forward to working together for the next project soon again!
BoBoiBoy Movie 2 To Be Released In 5 Countries With Much Sensation In This Summer
BoBoiBoy Movie 2, which used service provided by Fox Renderfarm, is a 2019 Malaysian computer-animated superhero comedy film. It is Animonsta Studios second film and the sequel of BoBoiBoy: The Movie (2016).
This film is about Retak'ka, an ancient being with elemental powers that intends to seize BoBoiBoy's elemental powers. With the help of his friends, BoBoiBoy needs to stop Retak'ka from taking BoBoiBoy's powers.
This is the first time a Malaysian animated film will be released simultaneously in 5 countries, including Malaysia, Indonesia, Brunei, Singapore, and Vietnam on 8 August 2019.
While most animation studio takes close to four years to complete a film, Animonsta Studios pushed itself to finish BoBoiBoy Movie 2 in just 12 months with a budget of RM 7 million.
Animonsta Studios’s CEO Nizam Abd Razak, who is also the film’s writer, director and co-producer explained: “We did face a lot of challenges making this movie in 12 months.”
“Fans can expect exciting visuals and plenty of action sequences. We’ve enhanced the animation quality with some new software, which allowed us to not only work on the product faster but animate moving water, moving trees and even add movements to hair. In the first film, we didn’t have any of this.” said Nizam.
The cooperation between Animonsta Studios and Fox Renderfarm went very smoothly. As for Fox Renderfarm’s , Animonsta Studios reckoned that it’s fast and reliable. The service has successfully delivered the job within limited time frame without have to compromise the quality.
BoBoiBoy will see you guys on the big screen this summer!
·李昭樺，兔將創意影業（The White Rabbit Entertainment,Inc.）CEO，畢業於英國劍橋大學資訊工程圖學博士。
創始人李昭樺，生肖屬兔，也偏愛兔子，公司創立於2011年的兔年，英文TWR，縮寫自The White Rabbit。2011年，兔將由執行長李昭樺與同學壹行三人在臺大資工系的壹間教室裏創辦成立。秉承著“讓觀影者仿彿進入另壹個奇幻世界”的初衷，就此展開了兔將的逐夢道路。
Fox Renderfarm：可以和我們介紹下這部作品的 pipeline嗎？團隊如何分工合作的？如何把控預算的呢？
Fox Renderfarm：SIGGRAPH 2019剛剛結束，大會中推出了很多“黑科技”，開源軟件發展態勢也不錯！對於這些新技術是怎麽看待的？覺得未來的視效行業應該是怎麽樣的發展趨勢？ 李昭樺：特效行業在本質上來說是個需要大量人力與時間的產業，隨著科技的與硬體的進步，可以有效的的減少人力與時間上的成本需求，AI最近壹直都是業界研發的壹個重點，如何用深度學習來取代人力來處理壹些枯燥的工作，讓Artist本身可以更加的FOCUS在創作上面；但隨著軟件的進步，Artist本身解決問題的能力也逐漸下滑，在未來也許有壹天AI可以顛覆整個創作的流程，但以現階段，我們內部還是著重於Artist本身解決問題能力的培養，讓Artist有靈活的思路與作業模式，盡可能的不去太過依賴軟體。Blender今年的更新的確令人驚艷，但開源軟件有壹個最大的壞處，往往在遇到軟體的重大問題時開發團隊無法提供有效且即時的支援，在Production這種快節奏的環境之下，並不是壹個最佳的選擇，並且在這樣的狀況之下，公司往往需要培養壹批Blender的TD來開發專屬工具，來應對專案的多樣化的內容，無疑會在人事上提高成本。但相對來說，希望藉由開源軟體的壯大，可以給壹些軟體開發公司適當的警訊，更加用心地去經營線上的主流制作軟體，開發出更穩定更進步的更新版本。
Fox Renderfarm：對瑞雲(Fox Renderfarm) 的服務體驗及評價？ 李昭樺：我覺得Fox Renderfarm給予兔將最大的幫助是在服務的部分，每當有問題時，不管任何時間，總是會有親切的窗口來幫助我們排解問題，讓我們的渲染可以順利的完成。
SCAD Hong Kong's Digital Media Senior Show 2019 Supported by Fox Renderfarm
On May 31, as one of the distinguished alumni of SCAD, Ben Cheung, Deputy General Manager of Fox Renderfarm, was invited to SCAD Hong Kong’s Digital Media Senior Show 2019.
Fox Renderfarm, a leading in the CG industry, has served lots of leading special effects companies and animation studios from over 50 countries and regions, including two Oscar winners.
In the event, Fox Renderfarm offered support to digital media senior students of SCAD Hong Kong, helping more students to achieve a solid career start in the CG industry.
2019 Digital Media Senior Show discovers imaginative works and exceptional designs from the departments of Animation, Visual Effects, and Interactive Design & Game Development. It provides a fantastic opportunity for students and enterprises to engage with each other and help students deepen understanding of digital media.
Here are the animation works from 2019 digital media senior students.
My Friend Chameleyon
Chameleyon is Carly’s best toy pal. One day, as they were playing, Carly’s greatest fear, Sharketron the robot vacuum happened to join in. As she unconsciously went to hide, she leaves Chameleyon behind. When Carly realised that Sharketron was approaching Chameleyon, she had to make the decision of overcoming her fear to save her best friend.
- Director&Producer: Pamela Lai
- Sound Designer: Rian Leung
- Main-On-End: Sheryl Chan
- Concept Artist: Raven Chau, Pamela Lai
- Modeling Team: Noah Catan, Pamela Lai
- Rigging Team: Yan Chau, Pamela Lai
- Texture Artist: Rico Lee, Pamela Lai
- 3D Animator: Pamela Lai
- Lighting & Rendering: Pamela Lai
- Compositor: Noah Catan
- Special Thanks: Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
Bear and Bunny
The short is focused on a day in the life of a bear living in a city of bunnies. His office day is mundane, though the struggles of fitting in still plague him. He’s often just at the wrong place, at the wrong time, which is his office, at basically any time.
- Diector&Producer: Hugo Setyadji
- Concept Art: Hugo Setyadji
- Character Modelling: Hugo Setyadji
- Environment Modelling: Hugo Setyadji Kayla Man
- Rigging: Hugo Setyadji
- Texturing: Hugo Setyadji
- Animation: Hugo Setyadji, Ciara Maloto, Michelle Hui, Stanley Soendoro
- Lighting & Rendering: Hugo Setyadji
- Composting: Hugo Setyadji
- Music Composer: Daniel McCormick
- Special Thanks: Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
The Divine Infection
"The Divine Infection" is a dark and surreal story of a girl who was tortured by a cult in the past. She returns to the church many years later in order to reunite with her snow leopard daemon and erase the scars the cult left behind.
Director’s website: www.christinestevens.me
- Animation: Andre King, Christine Stevens
- Modelling&Texturing: Nick Levene, Leoncio Soler, Christine Stevens, Ian Tse
- Music: Ho Shan Lam
- Rigging: Hugo Setyadji, Christine Stevens
- Sound Design: Irene Chan
- Voice Acting: Elena Lorenzo
- Special Thanks: Chris de Boer, Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
Here are the artworks from junior students, including animation and visual effects.
Savannah College of Art and Design
The Savannah College of Art and Design was founded in 1978. Offering more degree programs and specializations than any other art and design university, SCAD is uniquely qualified to prepare talented students for professional, creative careers. SCAD is one university - offering degrees in Atlanta and Savannah, Georgia, Hong Kong, and online via eLearning, with additional study abroad opportunities in Lacoste, France, and other locations. Each SCAD location provides a new experience, and students can choose to study in any location, at any quarter during their education.
SCAD Hong Kong offers the area’s largest concentration of art and design degree programs in the heart of the Sham Shui Po district, where a fusion of ancient heritage and Western influence inspires visitors from around the globe. SCAD offers degrees in more than 40 areas of study, as well as minors in more than 60 disciplines.
In Hong Kong, timeless tradition merges with the high-tech. SCAD Hong Kong offers students every resource imaginable in the UNESCO award-winning former North Kowloon Magistracy building, a grand courthouse fully restored and revitalized by the university. Features of the transformation include a library, digital labs and studios, darkrooms, a green screen studio, and sound design and editing suites.
Interview With Blow Studio, One Of The Animation Producers Of Netflix’s Love, Death & Robots
Love, Death & Robots, is an American adult animated anthology web television series on Netflix, consists of 18 stand-alone episodes, all under 20 minutes long and all produced by different casts and crews. Now, Fox Renderfarm is so happy to have an interview with Blow Studio, the animation producer of “Three Robots” in Netflix’s Love, Death & Robots, and honorable to provide services for “Three Robots”. Here is the interview regarding “Three Robots” between Blow Studio and Fox Renderfarm.
Fox Renderfarm: We noticed that you provide production services for commercials, TV shows, short films, and many other formats related to animation, so can you please give us a brief overview of Blow Studio?
Blow Studio: Blow Studio is an animation and VFX production company formed in 2011. We provide production services for commercials, series, short films, and many other formats related to animation. In addition, we are always looking for personal projects to push our limits.
We have worked on projects for brands such as: Netflix, Chanel, River Island, Johny Walker, MTV, Izze, Axe, Rdio, Sanex, Vimeo and others.
Fox Renderfarm: Which part is the most important in production of this project？
Blow Studio: All production stages are important. Every step must have an even quality so the final product is balanced. Considering the type of story, if we had to choose a fundamental area of this episode that required a greater effort from us, I think we would choose animation.
Fox Renderfarm: Can you share with us the challenges in the production of this short film?
Blow Studio: The animation was a challenge because we had to animate about 120 shots mixing styles. We had to invest a lot of effort in this area in order to take forward the project
Another challenge I would like to highlight is the making of a realistic talking cat. Modeling, shading, rig, animation, hair...everything required the highest quality to make this character credible. The cat was the most complicated character of this episode and we are very proud of the result.
Fox Renderfarm: How do you like this short film? Which part do you think is the most interesting?
Blow Studio: Three Robots is the most important project we have made at Blow Studio. We love the story, the tone and the visual design. If we had to choose one sequence, maybe it would be the abandoned house. It's a very funny part, with a delicious animation and hilarious lines. Also, here is when we meet the cat, a character that will be the key at the end of the story.
Fox Renderfarm: What do you think of Netflix's animated series Love, Death & Robots?
Blow Studio: We are fans of "Love, Death & Robots" and we are completely into adult animation. Before the series, back in 2017 we release a short film called "Alleycats", and it goes in the same tone of "Love, Death & Robots". This is a short film where we did what we wanted to: ninja cats slicing their heads through the alleys of the city with a dark vengeance background reflected in the story. So yes, this is the kind of things we love to do.
We needed someone to stand for this kind of animation, and Netflix did the bet. We just hope they continue investing in this type of content because it looks that it's something people was asking for.
Fox Renderfarm: Which episode do you like the most in season 1 of Love, Death & Robots? Why?
Blow Studio: All episodes have a very high level of quality and something to highlight, so it's very difficult to choose just one. But if we had to, we will surely choose "Three Robots" because making it was very satisfying and it is like our little baby.
Fox Renderfarm: Speaking of rendering, please tell us more about your overall experience with Fox Renderfarm?
Blow Studio: It was a pleasant surprise to work with Fox Renderfarm. We had to outsource some parts of the render in order to deliver on time and allowed us to meet our deadline. Sure we will work again with them if we need to.
Fox Renderfarm: In closing, is there any interesting behind scene story you would like to share with us?
Blow Studio: Thanks to 'Three Robots' now we are cat experts. We had to do a very laborious study of them to reach this quality, and we really don't know how much hours we had to spend watching references for animation, the hair, the anatomy, the behavior of the skin, etc.
And we just wanted to say that it has been an adventure and an honor to be part of the production team of this amazing project along with the best CG studios today.
Fox Renderfarm: Thank Blow Studio for taking time in this interview, looking forward to seeing more and more wonderful works produced by Blow Studio.
The Difference Between The Desktop App And The Web Submission
- The desktop App only can support some kinds of software at present.
Presently, the desktop App only can support 3ds Max and Maya in Windows. We will support more and more software in the future, iOS and Linux will be coming soon.
- Web submission supports can support most of the common software.
The website submission can support most of the common software, such as 3ds Max, Maya, SketchUp, Cinema4D, Blender, Softimage, Lightwave, Clarisse. The user who hasn’t installed the above CG software can also submit, and Windows, iOS and Linux operating system all are supported!
Note: You can even provide the software, renderers and plugins which was not listed above since we can’t list all of them here.
The Shipment Win Best VFX
Berlin Science-fiction film Festival is the first international festival of Science-fiction Film in Germany. It has shown about 200 independent films from over 30 countries in the past 2 years.
The 2018 Berlin Science-fiction Film festival vote has come to end of a phase, but much professional staff has anticipated the winner of the Berlin Science-fiction film. For the VFX and animation industry, the most concerned prize is the Best Visual Effects. Today let us share the film which has won the Best Visual Effects---The Shipment.
The Shipment has also been selected to Tribeca film festival which is ranked one of the top 10 film festivals in the world as well recently in New York. It is really proud to say that the render of this film is supported by Fox Renderfarm. Let us watch this film together.
- Name: The Shipment
- Country: Canada
- Language: English
- Release Date: 21 October 2018 (Australia)
- Also Known As: Cargo
- Filming Locations: Vancouver, British Columbia, Canada
The film tells the story about a widowed cargo hauler Aedin Katar and his young daughter Zohra.
Aedin Katar is an ex-slave trader struggles to live a reformed life as a lowly interplanetary cargo hauler. While transporting a shipment of alien livestock to a distant planet, their ship encounters a mechanical failure and must land at an old spaceport. Unable to afford the repairs to their ship, Stranded and broke, he faces his dark past and difficult ethical choices in a desperate attempt to provide a better life for his daughter.
Being a sci-fi film, The Shipment needs a tremendous amount of VFX and rendering. The film is entirely self financed by the director Bobby Bala, Who is also the CEO at Flying Car Productions, and it is over budget. Fox Renderfarm has provided rendering power with a significantly discounted rate for this film which is over 40,000 frames. Bobby mentioned in the interview that "Fox Renderfarm was critical to the success and completion of our film The Shipment. Their customer service was excellent and their services, we were grateful to find Fox which surpassed our expectations. Without their affordable rendering options, we would not have been able to complete our independent sci-fi film which has recently been chosen as an official selection at the prestigious Tribeca Film Festival in New York."
Here we also have an interview with Katapix Media which teamed up with Post-VFX to tackle the bulk of the Post production, Tasked with more than 390 shots for this film. Carlos Duque who is the Co-founder of Katapix Media tells us it was a Learning experience working on this project. They had short notice to put together a team and train some of the crew so they could be on par with the quality requirement, Bobby definitely has an eye for detail so they needed to beat his expectations.
Carlos also introduces some challenges of the production:
Our company (Katapix) is based in Medellin (Colombia), we’ve been in the industry for more than 15 years doing CG and VFX for tv and advertising, and started Katapix 5 years ago with a goal in mind, Feature films, The Shipment brings us closer to that goal, so this project was a welcome challenge. As every project it had its ups and downs but nevertheless was super fun and now that we see the results and all the selections and awards it’s getting, you realize it was all worth it!!
One of our biggest concerns was rendering times, since we are a small company and we knew this was going to be super render intensive, so we looked for a reliable , because their price/benefit are more important, their staff was there for us 24/7 not via email or forums, we actually had direct contact with our account manager and a group of TD’s willing to help us regardless of the hour. It was an overall great experience to work with them and we still use Fox Renderfarm as our sole render solution.
The Shipment has brought home the award for Best Visual FX from Berlin Sci-Fi Film Festival and thrilled to be a Tribeca 2019 Official Selection! At the same time, it is also Honoured to be an official selection of Idyllwild International Festival Of Cinema, Irvine International Film Festival, Fantasporto - Porto International Film Festival, Bermuda International Film Festival, The European Independent Film Festival & Irvine International Film Festival, Miami Sci-Fi Film Festival, and so on. Looking forward to its release in China.
“Upin & Ipin: Keris Siamang Tunggal” Rendered With Fox Renderfarm
“Upin & Ipin: Keris Siamang Tunggal”, produced by Les’ Copaque Production Sdn. Bhd. has been on screen in Malaysia on 21st March 2019. This film was rendered by Fox Renderfarm.
This is a 100-minute feature film of adventure, family and fantasy genre, with a very interesting story. The details of the movie are as follows.
“Upin & Ipin: Keris Siamang Tunggal” is Les’ Copaque Production Sdn. Bhd.’s third feature film.
Les’ Copaque Production Sdn. Bhd. was established in December 2005 to spearhead Malaysia’s animation industry and specialize in producing high-quality 3D animation and IP production.
Les’ Copaque Production has spent five years producing their second full-length 3D animated movie “Upin & Ipin: Keris Siamang Tunggal”.
Before this feature film, “Upin & Ipin” is the longest-running Malaysian animated series and the most popular IP in South Asia with over 12 million audience on Facebook. The series is currently on its 13th season in production.
This new adventure film tells of the adorable twin brothers Upin and Ipin together with their friends Ehsan, Fizi, Mail, Jarjit, Mei Mei, and Susanti, and their quest to save a fantastical kingdom of Inderaloka from the evil Raja Bersiong. It all begins when Upin, Ipin, and their friends stumble upon a mystical kris that leads them straight into the kingdom. While trying to find their way back home, they are suddenly burdened with the task of restoring the kingdom back to its former glory. With help from Mat Jenin and Belalang, Upin, Ipin and their friends must overcome a series of challenging obstacles in this action-packed, magical and humorous adventure film produced by Les’ Copaque Production Sdn. Bhd.
“Upin & Ipin: Keris Siamang Tunggal” is the most expensive movie in Malaysia, costing an estimate of 20 million ringgit (around US$4.92 million). The movie is 100 minutes in duration and took a production team of 140, including 12 lighting and rendering artists, and 5 years to complete.
Over 50 different species of animals were created. It is also the first time Les’ Copaque Production has had hair groomed for over 70 rigged characters. There were a lot of technical challenges that the production team has to overcome. For example, one dancing shot has a crowd of 120 characters at once, with some heavy shots that have more than 180 rendered layers, etc.
During 5-year long production, the team has had three major upgrades in regards to their hardware and software in order to deliver the complexity of the film. The longest shot in this film has 722 frames and it took 100 rendering nodes and 2 months.
As a leading provider, Fox Renderfarm’s reliable and high-efficient service helps Les’ Copaque Production in its support of the 3D feature film “Upin & Ipin: Keris Siamang Tunggal”.
The technical team of Les’ Copaque Production greatly praises the high-quality rendering service. They said: “We are very satisfied with Fox Renderfarm’s 24/7 real-time technical support, reliable download and upload speed, the user friendly webpage interface, and very simple desktop client app for our alternative option. For example, we have some frames that took 3 days to render locally, and after we submitted to Fox Renderfarm’s , it was completed in 2 hours, which greatly saved our time and budget. More importantly, the reliable and quality rendering also guarantees the quality of this film.”
“We use this mentality to the way we do our work, in giving our best in creating our own Intellectual Property (IP) with the highest quality possible.” This is the Mission of Les’ Copaque Production Sdn. Bhd.
Personally, I really like this mission statement. We look forward to the release of “Upin & Ipin: Keris Siamang Tunggal” in China and more countries in the world. It is our hope that the “Upin & Ipin” series will bring joy to more and more people, they will understand and enjoy the culture of Malaysia, and we expect nothing less than excellent work coming from Les' Copaque Production Sdn. Bhd. in the future.
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