Exploring New Worlds: Introducing Ken Nguyen and His 22 Years of CG Journey
Victory is Ours! © Ken Nguyen
The war between the E.U.N. (Earth United Nations) and the aliens has been going on for decades and brought humanity on the brink of extinction. While wars ravage the Earth, E.U.N has sent people to explore and settle colonies on other planets.
The art series, "Exploring New Worlds", are created by Ken Nguyen, who was born in Vietnam, grew up in Paris, France, in the 80s and then moved to the USA in the mid-90s. Ken has over 22 years combined experience in architecture, video games, themed entertainment, immersive experiences and trade shows and exhibits.
In our exclusive interview, we can find out how Ken created the amazing art series and his 22 years of CG Journey!
- Ken Nguyen
- Sr. 2D/3D Concept Designer
- From: United States
Fox Renderfarm: Hi Ken, thank you so much for accepting our interview! Could you give us a brief introduction about yourself?
Ken: My name is Ken Nguyen. I was born in Vietnam but left the country at a very young age after the war. I grew up in Paris, France, in the 80s and then moved to the USA in the mid-90s. I have over 22 years combined experience in architecture, video games, themed entertainment, immersive experiences and trade shows and exhibits.
Fox Renderfarm: As a 2D/3D Senior Concept Designer, do you think 2D art skills help you a lot in 3D art developing?
Ken: Like most concept artists, I started learning traditional media such as pencils, markers, and watercolors. Then I discovered Photoshop in the late 90s. I got introduced to 3d modeling with SketchUp when I was working in architecture in the early 2000s.
I would say that 2D and 3D skills work in tandem to create the desired art. Indeed, I do not think an artist is 100 percent 2D or 100 percent 3D, especially nowadays with all the new 3d software. Some use simple 3D geometries and do a lot of paint-over and photobashing in Photoshop. Others like myself use a lot of 3D and do minimum 2D work in Photoshop.
However, there were some pieces that needed a lot of Photoshop paint-over for things that were faster to do in 2D than in 3D (e.g., Adding FX such as smokes, fires, or doing color corrections and whatnots in Photoshop).
This one is a great example of concept that I spent a lot of time with paintover and texture/photobashing in Photoshop.
The Last of Them - The Ambush © Ken Nguyen
Fox Renderfarm: What’s your inspiration for your series of visual developments called "Exploring New Worlds"?
Ken: It is actually a long process that started back in 2013 when I did the first concept in the series called the Last of Them.
The Last of Them © Ken Nguyen
It was the beginning of my alien-invasion/post-apocalyptic/end-of-the-world series of visual developments. Humans were living in peace under the E.U.N (Earth United Nations) until the alien invasion that brought the human race to the brink of extinction.
The war between the E.U.N. military and the alien forces lasted for over a hundred years. As decades passed, humans developed new technology and spaceships that would allow them to escape the war-ravaged earth to explore other planets. That was when the Exploring New World (XNW) series would begin.
I was laid off during the COVID-19 pandemic last year and it was a perfect time to take a break and work on personal art pieces such as the XNW environment concepts. That was also a way for me to visit those worlds and escape all the craziness happening in 2020. LOL
Fox Renderfarm: How long did you take to finish the "Exploring New Worlds" series?
Ken: As mentioned above, I lost my job, therefore I had a lot of free time to work on personal projects. I spent a few months during the Spring and Summer of 2020 working on the XNW series which actually consists of different themes. The main subject is Exploring New Worlds, but there are also concepts that were parts of Alien Encounters, Alien Civilizations, E.U.N. Capital, Military and Bases on other planets.
Alien Encounter © Ken Nguyen
E.U.N. Capital © Ken Nguyen
Alien Civilization © Ken Nguyen
E.U.N. Military Base © Ken Nguyen
While working on XNW series, I also did some concepts for the Last of Them series that tells the story of the war between the humans and the alien/mutant races on war-ravaged Earth that will lead to the XNW series after over a century has passed.
The Last of Them - The Ambush © Ken Nguyen
The Last of Them - Abandoned Warehouse © Ken Nguyen
The Last of Them - Behind The Car! © Ken Nguyen
Fox Renderfarm: You were the Concept Artist at DIGITAL DOMAIN in 2018 in charge of environment and prop concepts for ELEVEN ELEVEN. Did you meet any difficulties while creating? And how did you solve it?
Ken: I was one of the many concept artists working on Eleven Eleven, which is an original science fiction story designed for virtual reality and augmented reality and has been selected by the 2019 SXSW Film Festival.
I believe the art team worked on the game several months before Digital Domain reached out to me and hired me to help with some extra environment concepts as they were on a tight schedule.
I was tasked with creating the jungle and cave areas as well as some props. The challenge here was to create a jungle that looks realistic and natural by populating the scenes with trees and plants, and at the same time it must satisfy the gameplay.
Designing in 3D was the biggest advantage compared to 2D. Indeed, I was able to place the vegetation assets in real-time and experience the spaces with camera movements as if I were in the jungle.
Eleven Eleven VR Game © Ken Nguyen
Fox Renderfarm: Among all the projects you’ve done, which project do you feel proudest and would you share with us how you make it?
Ken: There are many concepts that are my favorites and that I am proud of. Among them are some from the XNW or The Last of Them series because they were the newest concepts and I have learned a lot from previous projects to create them. However, for this question here, I would like to share some renders that are perfect examples to show how working in 3D is fast, efficient and productive especially for architectural renders.
This project is called A Day in the City and was an entry to the 2018 Evermotion challenge.
After I read the brief, I thought it would be interesting to create a scene showing everyday life in downtown of a big city. I started gathering buildings from my 3D resource folders and played around with different layouts as shown in the WIP-01 image. I came up with seven options. They were all grey renders so that I did not have to worry about materials and textures. I then populated the scenes with people, vehicles and trees as you can see in the WIP-02 image.
After picking one of the views, I started to do some color renders and played with different lightings, weather, and time of day such as evening, night, sunny, overcast, etc. I believed the final submission was the evening one. After the contest was over, I decided to do a snowy post-apocalyptic version just for fun.
A Day in the City © Ken Nguyen
Fox Renderfarm: What’s your pipeline of 3D art?
Ken: I do a lot of 3D kitbashing using models I build from scratch as needed, free models and some that I bought from different 3D sites. A lot of them are quite affordable and they are made by professionals, therefore the quality is particularly good.
After I have an idea of what I want to do, I gather the 3D assets and compose them together in SketchUp. I then export the whole thing into Lumion, set up the views, and add lighting. I usually do some tests with white box or grey renders. I can focus on the composition and lighting/values and not worry too much about color, materials, and textures.
When I am somewhat satisfied with the grey renders, I start adding materials and textures. It is a long but fun process going back and forth between SketchUp and Lumion. Nothing is written in stone for the 3D composition. As a matter of fact, I kept on changing, adding, or rotating the 3D assets as needed. Everything is in real-time, therefore, I can see what the final render might look like with actual lighting, shadows, reflections on materials, etc.
When I have something that I really like, I render it and bring it into Photoshop for some paintover, color corrections, FX like smokes, and so on.
Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?
Ken: After graduating from high school, I went on to study architecture. I received a bachelor and master’s degrees in Architecture and worked for about five years as an architectural designer. I never knew that learning SketchUp (a program originally created for architects to create quick 3D designs) would help me get a job in the game industry.
Ever since I was a little kid, I always love to draw fantasy and sci-fi characters, environments, and architecture. Therefore, I decided to quit my architectural job and move to San Francisco, California, in 2003 to attend the Academy of Art University where I graduated with a MFA in Games focusing on concept art, modeling, texturing and animation with Maya and Studio Max.
I got my first job in the game industry working on concepts of environments and architecture for an MMO in 2006 using SketchUp and E-On Software Vue.
Then in 2013, I discovered Lumion3d, a program similar to real-time game engines, that allowed me to create my first alien invasion/post-apocalyptic concept that would evolve into the Exploring New Worlds series.
I have been using SketchUp, Lumion3d and Photoshop to do all my environment concepts ever since.
I also use Daz3d for my character designs, but my next goal will be to learn ZBrush.
Fox Renderfarm: Any artists or artworks inspired you most?
Ken: I get inspiration from the artists and concept art from movies like Star Wars or Avatar, and video games such as Halo, Assassin Creed, The Last of Us, and Uncharted series, and Ghost of Tsushima.
I also like to look at the old masters and how amazing the intricate details are in their oil landscape paintings.
Fox Renderfarm: The composition, lighting and coloring of your works are fantastic, how do you enhance your good sense?
Ken: Composition, lighting, and color are basic art foundations that all artists must learn. Whenever possible, one should think about foreground, middle ground and background, and what stories the renders are telling and how the composition of the elements guide the viewers’ eyes. Lighting (and shadows) when done correctly will create a sense of realism. As for color, it creates moods and emotions.
Concepting in 3D certainly helps a lot with composition and lighting especially for environments and architectural designs. Indeed, I can place, move, and rotate all the elements (e.g. rocks, mountains, plants, characters, buildings, vehicles, etc.) and see which compositions work best. Also, using Lumion I can add lights and try different weather types and times of day (e.g., morning, night, etc.) and see the changes in real-time. That would be impossible to do in 2D concepts.
Fox Renderfarm: Any other things you want to share with the CG enthusiasts?
Ken: Here is an advice that many of you certainly have heard: Follow your dreams and “Love what you do and do what you love” (Ray Bradbury). Also, learn from your past mistakes, be willing to embrace changes and learn new techniques and software. Finally, practice, practice, and practice!
As a CG artist, it is a never-ending journey of learning and discovery to become a better artist.
As Ralph Waldo Emerson once said: “Life is a journey, not a destination”.
FGT3D 'Easter Egg' Challenge Winners Announced
We are happy to announce the winners of the Fox’s Got Talent 3D Challenge themed on 'Easter Egg'!
From Feb. 26th to Mar. 30th, we received several artworks from various countries. After three rounds of discussion and election by jury, three artworks were picked and would be awarded. Congrats to the winners and honorable candidates, but also to everyone who was taking part.
The prize covers fast and easy cloud rendering services provided by Fox Renderfarm and a huge amount of textures and models provided by texturebox.com. We will contact the winners during the next few days.
Now let's see who are the winners!
1st place - The Art of Easter Eggs
Surjendu Das will receive prizes:
- Fox Renderfarm: $500 render coupon
- Texture Box: Patreon membership x 3 months
Artists: Ritam Chatterjee & Surjendu Das
Artwork Name: The Art of Easter Eggs
Software and plugins used: 3ds Max 2019, Substance Painter, Vray Next, Photoshop
Caption: It has always been fun to explore our creative ideas, while we are at home. So I tried to portray the same idea through this artwork, where someone is being creative and painting the Easter Eggs in his own artistic styles while at home. And he is also feeling lucky to share his process with us.
2nd place - Easter Land
Sai Dinesh Komanduri will receive prizes:
- Fox Renderfarm: $300 render coupon
- Texture Box: Patreon membership x 2 months
Artist: Sai Dinesh Komanduri
Artwork Name: Easter Land
Software and plugins used: Blender, ArmorPaint and Photoshop
Caption: Bunny has painted the Eggs and went into the bunny house to get ready for Easter.
3rd place - Wrong Easter Egg
Maged Atef will receive prizes:
- Fox Renderfarm: $200 render coupon
- Texture Box: Patreon membership x 1 months
Artist: Maged Atef
Artwork name: Wrong Easter Egg
Software and plugins used: Blender, Zbrush, Substance Painter
Caption: Someone was surprised by this big egg, so they collected and painted it. To their surprise, it turns out to be a dinosaur's egg that just hatched, so they run for their life.
Honorable Mention - The Moment
Roy Bou Samra will receive prizes:
- Fox Renderfarm: $100 render coupon
Artist: Roy Bou Samra
Artwork Name: The Moment
Software and plugins used: 3ds Max 2016, V-Ray 3.60.03, Photoshop CC 2017
Caption: The concept of this image is mainly related to the history of the Easter egg.
It started with Saint Mary Magdalene when she talked with Caesar about Jesus’ resurrection.
She picked up a hen's egg from the dinner table to illustrate her point of resurrection but Caesar told her that it is impossible for a human being to return to life as it is impossible for the egg to turn red. At the moment, immediately the egg turned red in her hand. (The moment is represented in the picture when the egg started to turn red. That's why the name of the image is " The moment".
The Romans, Chinese, Egyptians and Persians all cherished the egg as a symbol of the universe. (They are symbolized by the egg pieces surrounding the main egg).
In this project, I tried to combine the present that we are living now (which is the black background in the picture), with the meaning of the Easter egg which gives us hope for the future ( in the black background there is no edges, no guidelines but there are two white spaces that represent hope).
Thanks to all the participants. We really appreciate your imagination and hard work. Meanwhile, A big thank you goes to our sponsors. Finally, we’d like to thank our jury revealing FGT3D ‘Easter Egg’ Challenge winners. Congrats to winners again!
Who’re our next winners? We hope to see you in the next FGT3D challenge!
NOTE: Fox’s Got Talent campaign keeps going. Welcome to share your artwork rendered with Fox Renderfarm and be our April winner! For more info
Pumpkin Pie Recipe to Create Spooky Animation
It is our style to talk about the ‘sweet-n-popular’ animation characters’ production stories, and you would assume we do the same thing all the time…hmm…I guess you are right! But in this spooky season and especially spooky day like today-Halloween! I know, right? We would like to shy away from the classic Mickey Mouse, Scooby Doo and Looney Tunes, to explore some dark minds instead! It is definitely our favorite day when girls and boys dress up with pumpkin heads, fake skulls, ghostly sheets, and Batman capes asking for candy. If there’s any holiday inspires the artists, it’s Halloween!
Usually, animations and cartoons are geared towards younger audiences and depict a fluffy, light-hearted version of the world we live in. That makes the movie created by worldwide famous studios, like Disney and Pixar, a magical escape for kids of all ages. Anywhere you go you will find people that like the characters and stories found in movies that created by them. Some of these animations come with darker elements stirring just below the surface: death, darkness and evil lurking in your favorite characters and moments. We rummaged through the vast cinematic history and picked a few to show you first.
Fans love to rewatch these movies every year around Halloween, and Disney still plays them on its channel to this day. (Woo. It’s on live now, check it out)
In a world of modern technology, we've gotten used to most effects being done with CGI technology or motion capture. But back in the 1990s, on a film set with a very small budget, things had to be done differently. The small budget was a huge obstacle throughout filming. From special effects to the number of takes they could afford, to the number of people they had on set - everything had to be planned meticulously. Dunham remembers how they made it seem like more monsters were roaming around Halloweentown than were actually present.
"We had just enough extras, and we would double up and change costumes and make it look like there were more and different people and that sort of thing," Duhman told.
If you're wondering where Halloweentown was filmed, it wasn't just on a Disney lot. In fact, the real world town of St. Helen's, Oregon is where it all began. The cast and crew absolutely loved it there, because it really felt like stepping into another world. Kimberly J. Brown-who plays Marnie remembers it fondly to this day, saying,
"It was the perfect location, with a town square and everything."
Director Duwayne Dunham loved the location because of how easy it was to film in. He called it, "basically an abandoned town" that was an "ideal place" for the film. Dunham also fell in love with the color scheme of St.Helens, and admits they got lucky, seeing as how the film budget was so small.
One of the most iconic characters from Halloweentown is definitely Benny-the skeleton taxi driver. He is one of the first monsters that Marnie, Dylan, and Sofie meet in Halloweentown, and he is a recurring character throughout the franchise. Kimberly J. Brown revealed that he was actually a robot.
"The actor dubbed his lines after filming, so we actually worked with a robot," Brown recalls, "I’ll always remember the ‘errr err’ sound it made." Knowing this detail makes it even funnier looking back on their scenes together. Marnie and her siblings always look pretty confused when they're with Benny-- now we know why, haha.
- Toy Story
On the surface, you might be asking what’s scary about an animation about toys? Well, Toy Story is the foundation on which Pixar was built, with a rich history of memorable characters, hilarious scenes and emotional moments. As wholesome and endearing as the franchise is, the film also has disturbing characters and “cover your eyes” scenes that certainly give young children nightmares.
Even though Toy Story 3 takes this spot, the original Toy Story got some serious consideration due to the sadistic, evil character of Sid and his terrifying toy abominations. That sociopath kid set the table for bleak elements to pop up in the series.
2010’s Toy Story 3 finds Woody, Buzz and the rest of our favorite toys fighting to stay together. The infamous incinerator scene at the end of the film, shocked viewers in just how horrifying and brutal it was. Kids and adults got teary-eyed seeing these classic characters that we’ve all come to love, almost meet a fiery end. If that wasn’t traumatic enough, the new toys at the prison-like Sunnyside Daycare, headed by the twisted Lots-O’-Huggin’ Bear, are straight out of a horror film. Big Baby and the cymbals monkey are just plain freaky.
Parents were a little taken aback when they saw how much graphic violence and how many intense scenes were found in this 2012 Pixar film. The medieval story about a young princess named Merida who uses a spell to transform her mother into a bear was a commercial and box-office hit. Positioned as a Disney princess story, the filmmakers played around with the storytelling, incorporating adult themes of betrayal, selfishness, and redemption. They also added a good amount of the supernatural and darker elements, primarily found in the Scottish Highlands.
The main source of fright for kids 5 and under, comes in the form of the massive scary bear with a taste for human flesh. Mor’du is the “villain” of the film, as he was once a prince who let his dark desire of power overtake him, leaving him as the monstrous bear.
Taking a page out of past Disney films like Sleepy Hollow, the animators used a dark color palette, utilizing dark heavy shadows each time Merida left the safe world of the castle and stepped into the mystical woods. In a majority of Disney animated films, the woods are a setting where good and dark magic resides, which is true with Brave as well.
A great scary movie has the power to stick in audiences’ mind for a while, distracting your work and normal life. But are all the scary movies scared you？I doubt that, otherwise there wouldn’t be tons of unknown scary movies and article with the content of” “Why Today's Horror Films Are Just Not Scary Anymore”. Fear and unease are emotions which can be used to help further your story. But the juxtaposition of familiar and unfamiliar, or friendly and unfriendly, makes us feel uneasy sometimes and not raise awareness among the audiences.
Pumpkin Pie Recipe to Create Spooky Animation
Let’s break down what makes something scary so that you can better use them in your own work. And that’s the pumpkin pie we delivered for you today.
Level 1: The Uncanny Valley
If you’ve been around the computer graphics industry, you will be very familiar with this phenomenon. Simply put, the uncanny valley is:
“A computer-generated figure or humanoid robot bearing a near-identical resemblance to a human being arouses a sense of unease or revulsion in the person viewing it.”
Remember Tintin? Spielberg was hoping to make him a global household name in The Adventures of Tintin: Secret of the Unicorn. But the phrase of “uncanny valley” cropped up a lot in early reviews of the movie. As New York magazine put it:
"Tintin looks simultaneously too human and not human at all, his face weirdly fetal, his eyes glassy and vacant instead of bursting with animated life."
Usually, the uncanny valley is a problem for artists, but we can use it to our advantage when intentionally creating creepy art. In the real world, this mechanism has helped humans to avoid diseased creatures and to pair up with more genetically healthy partners.
The core principle here is to create an object or scene that is really close to something that is thought of as good but add some subtle attribute that contradicts that feeling.
Level 2: Surprise!
A common trope of the horror movie genre is the jump scare. It’s simply something unexpected that happens quite suddenly. It’s hard to put a jump scare into a still image, but it’s possible if you put the devil in the details. Perhaps make the scary element a bit harder to spot, so that the viewer gets a nice shock when they do find it.
Level 3: Creepy, Eerie, and Spooky
When something is creepy, it gives you a strong sense of unease. It’s similar to the uncanny valley in that something is not right, but this time there is a sense of real physical danger. It’s your brain telling you to get out of there now before something bad happens.
There is nothing inherently dangerous about a skull. They sit in science classrooms all the time and have not suddenly attacked any students yet. So why would it be spooky to find one in the woods or in an abandoned house? It’s because the skull is no longer in a safe context.
We know the skull is not going to do anything to us on its own, but it implies that something around might cause us to become like the unfortunate owner.
Level 4: Downright Terror
The very height of terror is knowing for a fact that you are in danger, and you need to get away right now. It’s all fun and games until some terrorist threatens to cut off your kneecaps.
Putting your relatable characters in real danger will make the viewers feel danger as well. It’s one way to get them intensely engaged in your story.
“Very intense movies do increase heart rate, and if you have coronary heart disease, (they) can increase chest pain and blood pressure”
Level 5: Putting it all together
For maximum effect, layer these together! In order to convey the feeling of horror, remember that you need to first give enough visual information. Without any detail or a compelling and relatable story, your viewer will feel disconnected from the artwork and not give it a second thought.
Have You Made Any Halloween Render This Year?
You can create a serious spooky character to TRICK us or an even more spooky one to TREAT us!
Three winners will be selected to give out our prices-rendering credits! (As always, haha) Oh no, I just figured we can call it pumpkin credits this time. Your artwork will be shown on our "Fox's Got Talent! Gallery" and shared on our social media platform as well as our newsletter. You will also get an interview opportunity to talk and share your artwork with all Fox Renderfarm users.
The first price: $200 Rendering Credits
The second price: $100 Rendering Credits
The third price: $50 Rendering Credits
More detail: Fox's Got Talent
December 20th, 2018
We'll announce the winner on Christmas Eve! All entries will be judged by Fox Renderfarm Oscar-level trained 3D artists.
Happy Halloween and enjoy that Candy Corn!
The Evolution of 3D Rendering and Why You Need to Consider It
Fox Renderfarm Lectures
When it comes to the world of rendering, it is easy to say that 3D rendering has by far become the most popular with graphic designers, filmmakers, architects and etc. This rendering is gradually changing the dynamics of engineering and creative graphics industries.
This type of rendering manipulates images in a three dimensional manner, promoting a more realistic visual effect. Here are few of the many reasons why you should consider using a cloud render farm for 3D rendering.
Reduced Design Cycles
3D rendering can make solid modeling possible which eventually shortens the design cycle and ultimately results in a streamlined manufacturing process. Using cloud rendering services for 3D visuals leaves you with a highly qualified team that can bring out the best of your project.
High Quality with Low Costs
One of the best reasons to consider render farm is that you will be not only able to save time, but also acquire a quality 3D product that can make waves. Moreover, the costs involved in this type of rendering are significantly lower. What more could you want when you have access to the best quality services in the market at a cost effective rate!
3D rendered projects can easily be published online, without hassle. These can help you attract attention via social media and access to a potential clientele who can pay top dollar for your images.
At Fox Renderfarm we offer pioneering self-service cloud computing for rendering, research into cluster rendering, parallel computing technology, and computing services for cloud rendering.
If you are considering keeping up with technology by using 3D rendering in your projects, cloud rendering is the way to go! If you are considering the services of online or cloud rendering for your project, have a registration on our platform, and we will be happy to be of service!
The Future of 3D Rendering is in the Cloud
Fox Renderfarm Lectures
When we think of 3D animation, we imagine an artist sitting at a work station plugging away in software like 3DS Max or Cinema 4D. We think of pushing polygons around, adjusting UVs and key frames. We imagine the beautifully rendered final output. What we don't often think about is the hardware it takes to render our art.
Illustrators may get by rendering stills on their own workstation. But, rendering frames for animation requires multiple computers to get the job done in a timely manor. Traditionally, this meant companies would build and manager their own render farm. But having the power to render animations on-site comes with a considerable price. The more computers that have to be taken care of, the less time there is to spend on animation and other artistic tasks. If a render farm is large enough it will require hiring dedicated IT personnel.
Well-funded studios might buy brand-new machines to serve as render slaves. But, for smaller studios and freelancers, render farm are often built from machines too old to serve as workstations anymore. Trying to maintain state-of-the-art software on old machines is often challenging. Even when newer equipment is used, there is still a high energy cost associated with operating it. The electricity required by several processors cranking out frames non-stop will quickly become expensive. Not to mention, those machines get hot. Even a single rack of slaves will need some type of climate control.
These issues have made many animation companies see the benefits of rendering in the cloud. As high-speed internet access becomes available across the globe, moving large files online has become commonplace. You can upload a file to a render service that will take on the headaches for you. They monitor the system for crashes. They install updates and patches. They worry about energy costs. Plus, there is the speed advantage. Companies dedicated to rendering are able to devote more resources to their equipment. Their farm will have more nodes. Their hardware will be more up-to-date and faster.
The solution cloud rendering provides couldn't come fast enough. There seems no end to the increasing demands made on render hardware. Artists and directors are constantly pushing the limits of 3D animation. Scenes that may have been shot traditionally a few years ago are now created with computer graphics to give directors more control. With modern 3D software it's easier to meet those creative demands. Crashing waves in a fluid simulation, thousands of knights rushing towards the camera or millions of trees swaying in the wind might be cooked up on a single workstation. But, even as software improves, processing those complex scenes takes more power than ever before.
It's not only artistic demands from content creators putting render hardware through its paces. The viewing public has enjoyed huge improvements to display resolution in recent years. The definition of high-definition keeps expanding. What many consider full HD at 1920 x 1080 is old news. Many platforms now support 4K resolution at 4096 x 2160. In many cases, that's large enough for hi-res printing!
The public is also getting use to higher frame rates. For years, the industry standard for film has been 24 frames per second (fps). But, in 2012, Peter Jackson shot The Hobbit: An Unexpected Journey at 48 fps.
While some prefer the classic look of 24 fps film, animators have to prepare for higher frame rates becoming standard.
Everything is pointing towards cloud rendering becoming the norm. While studios can put up with the hassle of their own render farms, there is little need to when companies like Rayvision can do it better. Managing your own render farm could soon be as uncommon as hosting your own website. It's something that is simply better done by a dedicated company. Welcome to the age of cloud rendering.
About Author :
Shaun Swanson - who has fifteen years of experience in 3D rendering and graphic design. He has used several software packages and has a very broad knowledge of digital art ranging from entertainment to product design.
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