FoxRenderfarm
  • English
    English
  • España
    España
  • Português
    Português
  • Deutsch
    Deutsch
  • Türkiye
    Türkiye
  • 日本語
    日本語
  • Italiano
    Italiano
  • Français
    Français
  • Россия
    Россия
  • 한국어
    한국어
  • NEWS CENTER

    Sitara: Let Girls Dream, a Film Calls for Investing in Young Girls’ Dreams

    2020-08-19

    Fox Renderfarm Projects

    Fox Renderfarm

    Do you know that 1 in 3 girls in developing countries will be married before 18? Do you know that there are 12 million girls every year forced into child marriage, losing their ability to dream? It is what Sitara: Let Girls Dream, a Pakistani animated short film rendered with Fox Renderfarm, hopes to grow awareness about.

    Trailer of Sitara: Let Girls Dream

    Released on 8 March 2020 on Netflix, Sitara: Let Girls Dream, the CG animated short film written and directed by the two-time Academy Award-winning Director Sharmeen Obaid-Chinoy, tells the story of Pari, a 14-year-old girl who dreams of becoming a pilot while growing up in a society that doesn't allow her to dream. The short film highlights the burdens of a family and the impact of a culture where girls are still struggling to fully realize their dreams.

    Fox Renderfarm is honored to get involved in this meaningful short film. During the production process, the production team encountered some challenges, especially the rendering part, while the production was running out of time. And the production team asked Ms. Doris Dong for help to choose rendering partner, who is a senior producer with 30 years of global collaboration experience on animation and game and Ms. Doris Dong finally recommended Fox Renderfarm for its mature cloud rendering technology, automated operation procedures and 24/7 professional service.

    With Ms. Doris Dong’s help and Fox Renderfarm’s fast and secure cloud rendering service, the project was finally completed on time and now the film was successfully released on Netflix, which is Pakistan's first Netflix Original.

    Sharmeen Obaid-Chinoy, the Director of Sitara: Let Girls Dream, is the recipient of two Academy Awards and seven Emmy Awards. With Sitara, Sharmeen Obaid-Chinoy aims to raise awareness about the child-bride epidemic in her native Pakistan and many other countries, and calls on the global community to break down the barriers that keep girls from pursuing what they really want.

    “Sitara is more than a film. It’s a movement that we want to start across the world that encourages parents to invest in their girls’ dreams freeing their daughters from the burdens of early marriage." according to the Director.

    Fox Renderfarm also hopes that by watching this short film, girls around the world will be inspired to achieve their dreams, and families around the world are willing to invest in young girls’ dreams, making the world more equitable and beautiful.


    ‘Tanhaji’, Rendered with Fox Renderfarm, with a Worldwide Gross of US$49 Million Became the Highest-grossing Bollywood Film of 2020

    2020-02-10

    Trending

    Fox Renderfarm

    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 Fox Renderfarm, 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. NY VFXWAALA, 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

    Learn V-Ray Partners with Fox Renderfarm to Creat More Amazing Works

    2016-05-25

    Trending

    Chaos Group

    “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, Fox Renderfarm 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 render farms 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

    2019-11-25

    Fox Renderfarm Projects

    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, BoBoiBoy Movie 2 and Upin & Ipin: Keris Siamang Tunggal, together are Malaysia’s Top 3 animated films, they all have chosen Fox Renderfarm, the TPN-accredited cloud render farm, as their exclusive cloud rendering 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

    2014-06-19

    Fox Renderfarm Projects

    Ribbit

    "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.

    The post from http://www.animationmagazine.net/features/malaysian-flick-ribbit-to-premiere-at-niagara-fest/


    "Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019

    2019-09-12

    Fox Renderfarm Projects

    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 cloud rendering 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

    2019-08-08

    Fox Renderfarm Projects

    cloud rendering

    BoBoiBoy Movie 2, which used cloud rendering 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 cloud rendering service, 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!

    More details: https://news.monsta.com/monsta-unveils-boboiboy-movie-2-teaser-trailer/


    對話視效總監李昭樺:從《三生三世十裏桃花》到《宸汐緣》的延續與突破

    2019-09-24

    Fox Renderfarm Projects

    Fox Renderfarm

    在剛剛過去的2019年暑期黃金檔,國產劇可謂是佳作頻出,包括古裝神話劇《宸汐緣》,古裝歷史懸疑劇《長安十二時辰》,同名小說改編奇幻劇《九州縹緲錄》等引發壹大波追劇熱潮。這些劇集題材涉及不同的內容領域且制作精良,收獲了全網超高熱度和大量的好評。

    Fox Renderfarm的劇集(圖片源自網絡)

    其中《宸汐緣》,憑借匠心打造仙俠愛情世界瑰麗畫面,浪漫的東方美學,依托古典名著《山海經》,講述了沈睡五萬年的戰神九宸(張震飾)被地仙靈汐(倪妮飾)喚醒,而牽引出千絲萬縷的糾葛。演技精湛的演員陣容搭配專業的制作團隊,強強聯合的班底促使豆瓣評分從5.4飆升至8.1分的高分。

    劇集打造的擁有各式神獸生物和讓劇迷如癡如醉的夢幻世界,引起了不少業界的關註。據悉在《宸汐緣》的劇集當中,視效場景與CG生物的制作量大,其中三維生物、道具、及場景等視效鏡頭時間共470分鐘,光是三維生物的鏡頭就制作了1363個,總時間超過100分鐘,相當於壹部動畫長片的長度。

    瑞雲有幸邀請到《宸汐緣》的視效總監、兔將創意影業的CEO李昭樺,為我們分享這部高分仙俠熱劇的視效秘籍。

    ·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。

    ·擔任《捉妖記》《唐人街探案2》《目擊者》《紅衣小女孩》《三生三世十裏桃花》《宸汐緣》多部電影及影視劇視效總監及3D立體視效總監。其中《紅衣小女孩》《目擊者》曾提名金馬獎最佳視覺效果。

    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。

    《宸汐緣》視效特輯之吞天獸、化生池、洗仙池

    Fox Renderfarm:這部電視劇的視效鏡頭共計1792分鐘,請問最滿意的視效鏡頭分別是哪個呢,可以給我們介紹壹下嗎?

    李昭樺:吞天獸、化生池。吞天獸是本劇中戲份相當多的一隻神獸,視效團隊接到設定稿後便開始研究符合設定特徵的動物,如老鷹的翅膀、鱷魚皮膚的質感等。由於現實世界中沒有這種生物,團隊便透過研究的數據後,開始雕刻模型、反復修改貼圖細節再加上羽毛,才創造出這只遠古巨獸的樣貌。在吞天獸的毛髮製作上,為了呈現比較豐富的細節,團隊先把主要的指引線構築好;除了主要的造型毛髮外,還加上雜毛及分岔髮絲,前前後後迭加了五至六層,呈現出劇中相當具真實性的毛髮。

    吞天獸動圖

    動態方面,吞天獸如其他生物一般,受到肌肉與脂肪的影響,在行走中會有細微的抖動與擠壓;視效團隊在製作上運用了骨架變形的模型來仿真細節,先從骨骼、肌肉、脂肪的模型開始製作,再用模擬的方式加入行走中肌肉擠壓的晃動感,突破國內電視劇CG生物技術,導入肌肉仿真系統最後才完成這只「重磅」角色。

    而吞天獸出現的其中一個場景-「化生池」是一種極具腐蝕性的有毒液體,須呈現出具有魔力的形態,因此特效團隊將池水設計成帶有熒光的綠色。由於吞天獸被浸泡在內七七四十九天,十分痛苦的它試圖逃離,故大動作的掙脫影響水的流速及狀態。視效團隊試著讓化生池並非整體泛出熒光,而是呈現自然流動的樣貌,最後決定用流速作為調整因子,水速愈快,熒光色就亮些;水速慢,熒光色則減暗,經由速度調整光線,讓化生池顯現出其魔幻的特性。池水皆是三維特效製作,這顆鏡頭製作上的難題是化生池與CG生物,也就是與吞天獸的合成。吞天獸的翅膀及羽毛的特性,和三維製作的化生池因有多種形態及材質,如何在畫面自然的條件下融合所有的對象,著實考驗著團隊的技術。

    化生池

    洗仙池整體場景建造及內部視效制作:首先是整體場景部分,洗仙池屬自然場景,有著大量的山體結構與樹木,現場拍攝的實搭景只有演員表演空間,其余背景皆為藍幕。為制作出真實的自然場景,視效團隊先根據現場掃描結果建構出模型並比對其比例,再針對鏡頭會帶到的部分來制造山體模型及真實的置換貼圖,最後再加上樹木點綴。在此場景制作的困難點在於實拍銜接的部分,需要通過貼圖的調整與燈光的配合,來回反復修改,才能夠自然融合畫面中的CG自然場景與現場實拍的部分。

    洗仙池

    另外是洗仙池內部的視效,團隊在制作此場景的主要難點,在於怎麽通過環境來體現人物持續向下墜落的狀態。視效團隊想到能將內部打造成類似圓桶狀的空間,並以大量的圓環為基礎來解算煙霧,再將其隨機排列成圓柱狀,最後就得到了可以實現無限下墜的場景。此時,就需考慮洗仙池內部比例和鏡頭運動的搭配問題,團隊認為此場景可以根據特效來調整靈汐的下墜速度,以此為基礎來調整煙霧的比例、捲曲速率、圓環的大小、運動速率,以及背景層的煙霧比例等。為呈現可怕危險、似異次元世界的樣貌,視效團隊為其加入了閃電及狂風的元素。前期現場拍攝時,在倪妮的周圍打上多盞燈來模擬閃電對人體的照射,拍攝後則利用視效技術制作實體閃電,營造周圍氣氛及煙卷的效果,閃電照射時更精細的把煙卷細節映照出來,隨著暴風驟雨及閃電的雷劈,讓洗仙池內更添可怕險惡的氣息。

    洗仙池

    洗仙池最終視效

    《宸汐緣》視效特輯之禦雲、神魔大戰

    Fox Renderfarm:在創作唯美而奇幻的元素的過程中,遇到了哪些視效技術難點,怎麽解決的呢?

    李昭桦:禦雲鏡頭。九宸靈汐壹同搭乘的禦雲,在造型上呈現松軟的雲朵貌;這半帶筋鬥雲與魔毯概念的禦雲,團隊前期收到設計稿後,便開始大量搜集雲朵的多樣形態。視效團隊將雲分成六個結構:左右翼、尾翼、底座、沖風碰撞雲以及飄散散雲。由於鏡頭機位行駛速度過快,要將畫面中的雲和鏡頭速度匹配,需要多方面調整雲朵的條件,像是針對雙翼部分來調節比例、大小漩渦、噪點等,其中漩渦的速度是較難調整的關卡,而仙雲的消散時機和動態規則性,也需要反復拍屏查看。談到漩渦,團隊需從外部制作壹個漩渦立場,用以引入流體中進行模擬,為達到最佳的視覺效果,最終的渲染會使畫面精致度更加提升。仙雲的底座呈現壹個船頭形狀,當它轉為流體會分別和雙翼及人物交互碰撞,結合鏡頭速度去調整仙雲的速度、比例及噪點,調整過程需對比雙翼動態,做出相應的參數屬性調節進行匹配。而散雲則是以煙的形態制作而成,呈現散絲輕薄形態,加上人物碰撞,為呈現物理形態也需反復調節各個條件。

    禦雲

    禦雲最終視效

    神魔大戰。神魔大戰為壹鏡到底的鏡頭,透過MOCO攝影系統,能精準設計攝影機的運行軌跡,並且重復軌跡拍攝,最後呈現出壹鏡到底的高難度視覺畫面。拍攝過程不僅仰賴攝影系統,還需整個團隊不斷演練,找到精準的表達方式,才讓劇情敘事更加完整到位。此外,這個鏡頭拍攝了很多段素材,每段素材的拍攝時間點都不同,團隊在拿到素材後先對素材做變速的動作,將每段素材的時間點都對到相同,對好之後再把天兵天將的素材單獨Roto出來,後續再進行合成特效。合成時需特別註意前中後人物的關系,並留意Hold out有沒有做對、前後的處理關系及遮罩是否作正確等,如此才完成這個神魔大戰的鏡頭。

    神魔大戰片場

    神魔大戰後期環節

    神魔大戰最終效果

    《宸汐緣》視效特輯之三獸爆炸、天尊山幻境

    Fox Renderfarm:哪個鏡頭最為復雜,經歷了幾輪的修改和調整?

    李昭桦:三獸爆炸鏡頭,在動魄驚心的爆炸場面中,制作上最具挑戰的部分便是其浩大的場景規模,及同時需仿真燃夷彈動態與外觀在畫面上的呈現。為了顧及場景規模又不失基本的細節,視效團隊將場景細切割成六個部分進行模擬,並且運用特制的六個力場去控制爆炸的動態。而燃夷彈的動態仿真,則是使用了特制的算法以控制燃燒擴散的方式。最後在外觀上,為了達成模擬燒夷彈爆炸的高細節,全數的六個模擬都輸出了十二個volume field,總共72個field來完成最終外觀。這些復雜費工的制作程序,體現出視效團隊對細節的要求與專業。

    三獸爆炸動圖

    天尊山幻境水。天尊山幻境的水是自然界的水,在制作上得費壹番工夫,才能使其更接近真實。為了讓水流動的方向有所區別,團隊在畫面的右側放置了石頭,當水流碰到石頭時會碰撞反彈回來形成壹個漩渦,如此便能打破水流方向及水流速度的統壹。在水流快的地方會產生白色氣泡,如果用真實的氣泡去算,計算壓力太大且速度慢;用粒子模擬的話,效果呈現便不佳。因此視效團隊嘗試修改水體內部volume的方式。水體內部的volume顏色是根據速度映像的壹個墨綠到白的ramp,通過此方式使計算速度和最終效果間達到了平衡。

    天尊山幻境

    此場景中,團隊在「水花」的制作有所突破,「銜接」是較難處理的部分,這次團隊嘗試新技術,透過不同材質及大小的銜接,讓水的整體能更符合自然樣貌。在速度和渦流強的地方,特效師添加了濺起來的水花,由於水花中充滿了氣泡,故當光線照射進去的時候會呈現白色。同樣的,水花砸入水體內部也會帶入很多氣泡,並透過水和空氣折射率的差別,水體內部會有產生出更多層次的細節。

    天尊山幻境視效分解

    為了讓水主體和水花能更完美融合銜接,視效團隊加強分層制作了水花。其中包含各種大小差異的水體mesh及水花粒子,並在水花粒子的透明度上也做了壹些ramp,如此多重繁復的打磨才呈現出觀眾看到的天尊山幻境場景。

    天尊山幻境最終視效

    《宸汐緣》視效特輯之pipeline

    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?

    李昭樺:電視劇特效制作繁復,加上龐大的鏡頭量,需要有專業軟件來統管,以確保制作過程順利並提高效率。兔將創意影業橫跨兩岸三地的數十位制作管理人員及後期團隊,使用了業界高規格的專業軟件ftrack、cinesync、aspera等軟件來管理、review及傳輸這20000多個鏡頭。除了需要專業軟件輔助外,制作管理人員及後期團隊同時也需縝密的與導演、視效總監、制作團隊溝通,通過部門間的充分溝通與合作、對細節的高度要求,眾誌成城,才能在相對短制作時程內交出如此富含大量高難度視效制作的作品。

    ▼視效工作管理畫面

    ▼視效鏡頭表

    ▼現場跟拍場記表

    Fox Renderfarm:很多觀眾們表示該劇和《三生三世十裏桃花》風格相似,妳們是如何看待的?妳們認為《宸汐緣》最大的特點和不同之處在於哪裏呢?

    李昭樺:《三生三世十裏桃花》成功的經驗,讓《宸汐緣》想再更進壹步確實是艱難的,想要突破,需要考慮到每個環節、每個細節,於是團隊在壹開始就希望能針對《三生三世十裏桃花》沒有做到的部分做更多創新及提升,「延續」及「突破」就成了制作本劇的兩大關鍵詞。延續了《三生三世十裏桃花》的美好感情外,主創團隊在各方面都更加精細打造,因此《宸汐緣》無論是故事格局還是藝術審美,相較兩年前的《三生三世十裏桃花》都有所升級。

    《宸汐緣》突破了以往仙戀神話劇中單純表達男女情愛的故事層面,九宸身上有著中國男人的重情義、守信義的特質。靈汐也從壹個天真少女蛻變成長,展現出很多中華女性優良的美德,並且劇中也從多個層面展現出孝敬父母、尊師重道等中華優秀傳統美德。無論男女老少大家內心都有對美好事物的向往和追求,我們不想讓故事只聚焦在情感上,希望能把中華傳統文化中的美德與美學通過壹些當代年輕人喜聞樂見的表達方式去融合成新的視聽體系和情感世界體系,讓中國傳統文化中的真、善、美的品質能夠很好地呈現出來。

    《宸汐緣》在傳統中國風審美表達的水準上已讓人有驚艷之感,造型上,從前期劇本籌備時就開始參考了很多中國古代留傳下來的壹些關於神仙的服飾造型設計,也加入了壹些新元素,精細的手工編織讓服裝細節更飽滿豐富,整體比起《三生三世十裏桃花》時期技術上更進壹步;場景上,參考了壹些中國傳統建築和古代人對神話故事的描述,前後置景周期也長達壹年;在後期技術上,我們也做了很多新的嘗試,力求跳出規則,突破傳統,通過細節上力求給觀眾帶來不同以往的仙俠世界的視聽體驗。

    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。

    這幾年Houdini的每個版本更新都令人驚艷,提出了很多新穎的制作流程概念,也讓這套軟體越來越強大,可以包含的制作面向也越來越多,可以預測再付費市場的佔有率應該會越來越提升。

    Fox Renderfarm:對瑞雲(Fox Renderfarm) cloud rendering service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。

    瑞雲(Fox Renderfarm)采訪中我們還了解到,兔將創始人李昭樺表示:希望能有更多的好朋友利用兔將在兩岸搭建的平臺,壹起創作更好的作品!瑞雲也期待和兔將在未來有更多的合作,期待更多精彩的佳作!


    SCAD Hong Kong's Digital Media Senior Show 2019 Supported by Fox Renderfarm

    SCAD Hong Kong's Digital Media Senior Show 2019 Supported by Fox Renderfarm

    2019-06-14

    Fox Renderfarm News

    FoxRenderfarm

    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 cloud render farm 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 cloud rendering 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

    Pamela Lai

    Film synopsis:

    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’s website: www.orllowart.me

    Team:

    • 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

    Hugo Setyadji

    Film synopsis:

    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.

    Director’s website: http://hugosetyadji.com

    Team:

    • 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

    Christine Stevens

    Film synopsis:

    "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

    Team:

    • 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

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

    2019-05-05

    Fox Renderfarm News

    Fox Renderfarm

    Love, Death & Robots, is an American adult animated anthology web television series on Netflix, consists of 18 stand-alone episodes, all under 20 minutes long and all produced by different casts and crews. Now, Fox Renderfarm is so happy to have an interview with Blow Studio, the animation producer of “Three Robots” in Netflix’s Love, Death & Robots, and honorable to provide cloud rendering services for “Three Robots”. Here is the interview regarding “Three Robots” between Blow Studio and Fox Renderfarm.

    Fox Renderfarm: We noticed that you provide production services for commercials, TV shows, short films, and many other formats related to animation, so can you please give us a brief overview of Blow Studio?

    Blow Studio: Blow Studio is an animation and VFX production company formed in 2011. We provide production services for commercials, series, short films, and many other formats related to animation. In addition, we are always looking for personal projects to push our limits.

    We have worked on projects for brands such as: Netflix, Chanel, River Island, Johny Walker, MTV, Izze, Axe, Rdio, Sanex, Vimeo and others.

    Fox Renderfarm: Which part is the most important in production of this project?

    Blow Studio: All production stages are important. Every step must have an even quality so the final product is balanced. Considering the type of story, if we had to choose a fundamental area of this episode that required a greater effort from us, I think we would choose animation.

    Fox Renderfarm: Can you share with us the challenges in the production of this short film?

    Blow Studio: The animation was a challenge because we had to animate about 120 shots mixing styles. We had to invest a lot of effort in this area in order to take forward the 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 Fox Renderfarm allowed us to meet our deadline. Sure we will work again with them if we need to.

    Fox Renderfarm: In closing, is there any interesting behind scene story you would like to share with us?

    Blow Studio: Thanks to 'Three Robots' now we are cat experts. We had to do a very laborious study of them to reach this quality, and we really don't know how much hours we had to spend watching references for animation, the hair, the anatomy, the behavior of the skin, etc.

    And we just wanted to say that it has been an adventure and an honor to be part of the production team of this amazing project along with the best CG studios today.

    Fox Renderfarm: Thank Blow Studio for taking time in this interview, looking forward to seeing more and more wonderful works produced by Blow Studio.


    The Difference Between The Desktop App And The Web Submission

    The Difference Between The Desktop App And The Web Submission

    2019-04-12

    Fox Renderfarm Projects

    1. 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.

    1. 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

    The Shipment Win Best VFX

    2019-03-18

    Fox Renderfarm News

    The Shipment

    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 cloud rendering system was very reliable and user friendly. After many unsuccessful experiences with other cloud rendering 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 cloud rendering service , tried a bunch, and ended up picking Fox Renderfarm over the render farm , 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.


    Key Words

    search
    MILESTONES|Fox Renderfarm|Desktop Client|Blender|Bollywood films|Hum3D Contest|NVIDIA|Silkroad Digital Vision|Malaysian Animated Films|Indiajoy|Art Competitions|Architectural Visualization|CGarchitect Architectural 3Dawards|Best cloud rendering services|Render cloud|VFX|Upin & Ipin|Green Book|Fox Renderfarm Interview|Mission Mangal|Kre8tif!|Fox Renderfarm Mini Program|CG|CG Tech Summit Malaysia|Zhang Yimou|film works|cloud rendering|Golden Horse Award|Shadow|SIGGRAPH Asia 2018|Morrigan Flebotte|VWArtclub Annual *Contest|animation works|Asswad Mouhamad|IMax Studio|Boonie Bears|Renderosity|Gary S. Kennedy|Evermotion Challenge 2018|Brian Beaudry|Alita: Battle Angel|Bobby Bala|Mohit Sanchaniya|Katapix Media|Flying Car Productions|Razer|The Shipment|FoxRenderfarm|CG Tech Summit|Alpacalypse Productions|halloween|Hum3d Survial Car Challenge|Federico Ciuffolini|Ralf Sczepan|Iavor Trifonov|Clarisse|CGTS Malaysia|Isotropix|C4D|Tomasz Bednarz|V-Ray|Cinema 4D|MAXON|siggraph caf|Evermotion challenge 2017|CGTrader Space Competition|film of the year|Le Anh Nhan|Planet Unknown|Fox Renderfarm 2017 Achievements|CSFF|Julio Soto|boar 2017|Deep|SIGGRAPH Asia 2017|Chris Sun|Glass Cage|Fox Renderfarm|Making Life of Bri' n Chris|anthem studios|The Rookies|Peter Draper|Makuta VFX|Baahubali 2|CG Competition|enchantedmob|CG Studios|Academy Awards|CGVray|weeklycgchallenge|SketchUp|siggraph 2017|Chris Buchal|SIGGRAPH Asia|LightWave|Indigo Renderer|Rafael Chies|V-Ray RT|CPU Rendering|NVIDIA Iray|Chaos Group|OctaneRender|Redshift|STAR CORE|CICAF|VR|Mr. Hublot|Ribbit|GPU Rendering|Linux|Monkey Island|LuxRender|HPC|Render Farm|Life of Bri|WORLD LAB|Michael Wakelam|3D Rendering|Online Render Farm|Alibaba|Baahubali|阿里雲|VAX|Malaysia|Aliyun|2015 Hangzhou Computing Conference|Oscar|SIGGRAPH|CGTrader|Kunming Asia Animation Exhibition|Evermotion|RenderMan|

    Categories


    Fox Renderfarm News

    Fox Renderfarm Projects

    Fox Renderfarm Lectures

    CG Challenges

    Top News

    Blog

    Fox News

    Fox Talk

    Trending

    Recent News List


    Making a Gothic Castle With Strong Silhouettes in Cinema 4D

    2020-11-27T08:15:45.642Z

    Pack Your Virtual Bags & Get Ready for SIGGRAPH Asia 2020

    2020-11-25T09:08:05.663Z

    Creating an Amazing CGI Project Staged at Hagia Sophia in ZBrush

    2020-11-20T06:42:35.741Z

    How to Recreate the Fairytale Rakotz Bridge in Maya

    2020-11-19T08:04:45.212Z

    How to Animate the Shortage of Toilet Paper During Pandemic in a Funny Way

    2020-11-18T03:29:53.282Z

    How to Create a Realistic Mushroom House in Blender

    2020-11-09T07:31:58.987Z

    FGT3D Santa’s New Ride Challenge is Online Now!

    2020-11-04T08:24:48.096Z

    How to Make a Cuddly Protector for Sweet Dreams in Maya

    2020-10-29T11:12:24.648Z

    How To Create A Dreamy Piano MV In 3ds Max

    2020-10-28T11:05:48.666Z

    Partners

    Medias

    VARIETYBIDNESSETCAnimationMagazineAnnecyFestivalArtstationAWNChaosgroupSiggraphBeinewsCGArchitectCGsocietyCgtraderEvermotionRenderosityTheRookiesVfxv
    Fackbook Customer ReviewsFoxrenderfarm

    Powerful Render Farm Service

      Business Consulting

      Global Agent Contact:Gordon Shaw

      Email: gordon@foxrenderfarm.com

      Marketing Contact: Rachel Chen

      Email: rachel@foxrenderfarm.com