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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 India’s 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. We’re also honored to have an interview with CG Katha Studios. Let’s 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 company’s 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/

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

「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

Rendered with Fox Renderfarm, Wish Dragon was theatrically released in China on January 15, 2021, and will be released on Netflix internationally later in the year.The film was written and directed by Chris Appelhans, starring Jackie Chan, telling the story of Din, a working-class college student with big dreams but small means, and Long (Jackie Chan), a cynical but all-powerful dragon capable of granting wishes, set off on a hilarious adventure through modern day Shanghai in pursuit of Din’s long-lost childhood friend.On January 19th, Fox Renderfarm launched a Giveaway, Free Tickets of Wish Dragon For Fans, on social media platforms. Many followers left comments below expressing their love and expectations for the film.Eye-catching Chinese ElementsThe Chinese elements in Wish Dragon have struck a chord with many Chinese audiences and introduces China to the audiences around the world as well.The Director Chris Eberhans met a bosom friend of the same age in Shanghai when he was a child, who had similar personalities. Therefore, the Director places his childhood memories in the film and sets the background in Shanghai, China.In addition to the Shikumen, Nanpu Bridge, Oriental Pearl Radio &x26; TV Tower, the design of the soft and cute dragon and the teapot are full of features of Chinese traditional culture. Besides, the dragon loves eating shrimp crackers and is curious about TV, airplanes and air conditioners and other things never seen before.A Pink Dragon With 3 Million HairsNot only the eye-catching Chinese elements, but the pink dragon also impressed the audiences. However, the creative team faced lots of difficulties and challenges while making the role. For one thing, there is no actual reference. Before the final figure was determined, the animation team looked through all the original images of the dragon and the animation works of recent years. In order to make the dragon move more agile and elegant, the team has groomed 3 million fur and created more than 1,000 controllers on its body while modeling and rigging. Hence, in addition to being able to move flexibly, the dragon can also change its shape into a square, round, and other shapes. Besides, Jackie Chan's dubbing and the martial art scenes also make the film more attractive.As the cloud rendering partner of Wish Dragon, Fox Renderfarm is committed to providing high-quality cloud rendering services and solutions for the CG industry. While continuously optimizing technical services, Fox Renderfarm hopes that there are more works with exquisite Chinese elements like Wish Dragon, sharing traditional Chinese culture and stories with audiences around the world!Wish Dragon is in theaters now! Go and discover the greatest wish of all with your families and beloved ones!Referenceshttp://www.xinhuanet.com/ent/2021-01/19/c_1126997486.htm

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.

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!

Ejen Ali: The Movie, BoBoiBoy Movie 2 and Upin &x26; 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.

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pipelineFox 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！

Upin &x26; Ipin: The Lone Gibbon Kris (Malay: Upin &x26; Ipin: Keris Siamang Tunggal) (short for Upin &x26; 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 &x26; 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 &x26; 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 &x26; Ipin’s award means a lot to the Malaysian animation industry.Here we congratulate on Upin &x26; Ipin’s great success in gaining international recognition and sincerely look forward to working together for the next project soon again!

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.

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/

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 &x26; 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 ChameleyonPamela LaiFilm 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.meTeam:Director&x26;Producer: Pamela LaiSound Designer: Rian LeungMain-On-End: Sheryl ChanConcept Artist: Raven Chau, Pamela LaiModeling Team: Noah Catan, Pamela LaiRigging Team: Yan Chau, Pamela LaiTexture Artist: Rico Lee, Pamela Lai3D Animator: Pamela LaiLighting &x26; Rendering: Pamela LaiCompositor: Noah CatanSpecial Thanks: Jake Zhang, Bryan BentleyProduced at Savannah College of Art and Design&x3C;p class=‘img-source’>Bear and BunnyHugo SetyadjiFilm 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.comTeam:Diector&x26;Producer: Hugo SetyadjiConcept Art: Hugo SetyadjiCharacter Modelling: Hugo SetyadjiEnvironment Modelling: Hugo Setyadji Kayla ManRigging: Hugo SetyadjiTexturing: Hugo SetyadjiAnimation: Hugo Setyadji, Ciara Maloto, Michelle Hui, Stanley SoendoroLighting &x26; Rendering: Hugo SetyadjiComposting: Hugo SetyadjiMusic Composer: Daniel McCormickSpecial Thanks: Jake Zhang, Bryan BentleyProduced at Savannah College of Art and Design&x3C;p class=‘img-source’>The Divine InfectionChristine StevensFilm 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.meTeam:Animation: Andre King, Christine StevensModelling&x26;Texturing: Nick Levene, Leoncio Soler, Christine Stevens, Ian TseMusic: Ho Shan LamRigging: Hugo Setyadji, Christine StevensSound Design: Irene ChanVoice Acting: Elena LorenzoSpecial Thanks: Chris de Boer, Jake Zhang, Bryan BentleyProduced at Savannah College of Art and DesignHere are the artworks from junior students, including animation and visual effects.Savannah College of Art and DesignThe 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.