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  • NEWS CENTER

    How to Create a Hail Phoenix with Cinema 4D and ZBrush

    2021-02-24

    Fox Talk

    Art Competitions

    FGT3D Santa’s New Ride Challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, was started in November, 2020 and sponsored by our amazing sponsors, including XP-Pen, Corona Renderer, Redshift, TopoGun, Friendly Shade, Graswald, Raysync, Textures.com, Texturebox and iCube R&D Group. In early January, 2021, twelve finalists were received votes by our jury and three winners and three honorable mentions were picked! Congratulations to all the winners! And thanks to everyone for participating!

    One of the Honorable Mentions goes to Santa's New Ride: A Phoenix Hope, created by our dear friend Kay John Yim. The artwork is made with Cinema 4D, ZBrush, Redshift and Character Creator.

    “I was immediately drawn to this image. This work took the idea of a "new ride" to a very different level. If Santa Claus, who brings wonderful joy to all children, wishes for a new ride, it might be a supernatural one like this. It looks as if it can go anywhere beyond the speed of light. The sense of the three-dimensional space, scale, lighting, and details of the image are excellent, and they all contribute to the happy feeling of the scene.” One of our judges, Miho Aoki said, who is the Associate Professor of Computer Art University of Alaska Fairbanks.

    Here’s the interview between John and Fox Renderfarm, in which we can find out how he created this wonderful 3D render.

    • Kay John Yim
    • Chartered Architect based in London
    • CGI Artist
    • From: Hong Kong

    Santa's New Ride: A Phoenix Hope © Kay John Yim

    Fox Renderfarm: How do you feel about winning honorable mention in FGT3D Santa's New Ride Challenge?

    John: I feel really honored winning the honorable mention, and thank you so much for having me for the interview!

    Fox Renderfarm: What inspired you to create the work Santa's New Ride A Phoenix Hope?

    John: In light of a turbulent and disruptive year, I believed Santa’s New Ride for Christmas had to be symbolic for 2020’s Christmas, a motif bringing hope across the world. Phoenix, a legendary creature well-known worldwide was well-suited for that particular role. This led me to re-imagine the traditional Phoenix in a more festive and seasonal form - the Hail Phoenix - made up of both ice and fire, it was an embodiment of warmth and cold, a personification of sublimation and reincarnation.

    Fox Renderfarm: How long did you take to finish the work?

    John: It took me about 3 weeks to finish - a week on the backdrop buildings, a week on sculpting the Phoenix, and another week on set-dressing and designing the final composition and lighting.

    Fox Renderfarm: Could you tell us how you make the modeling so appealing?

    John: I set out to do quite a large scale scene at the beginning, so I knew I would have to focus on assets/part of the assets visible to the final view/camera or else I would easily run out of time.

    Part of the background building components were procedurally modelled in Houdini, part of them were from an asset library that I built up in the past, assembled with Houdini’s Building Generator.

    The Phoenix model took a lot of trial and error - although it was sculpted in ZBrush in reference to body proportions of an eagle and a peacock, the wings and the tails were exaggerated in scale to make it look more heroic and surreal.

    Santa's New Ride WIP

    Fox Renderfarm: We’re all impressed by the lighting and composition of the work, could you introduce how you make them? Any references?

    John: Glad you like it! The scene was created in reference to Paris high streets and Christmas Markets - I personally loved the abundant festive lightings found in a lot of European Christmas markets, which I replicated and had them scattered around the scene.

    Composition wise it was actually a reference to my own personal artwork, “Thousand Cherry Trees (千本桜)” - a centered main subject surrounded with a symmetrical backdrop and foreground character(s). Coming from an architectural background, I personally love using central perspectives - although not often as realistic - I think they leave the deepest impression and are the easiest to design and iterate on.

    Thousand Cherry Trees © Kay John Yim

    Fox Renderfarm: The shading and texturing are brilliant. How did you make it?

    John: The shading and texturing were done in Cinema 4D (Redshift) and they were relatively simple.

    I used mostly Megascans materials for the buildings and the street props with a bit of color correction and material blending.

    The festive and window lights were subtly randomized emissive materials - I originally lit a lot of them as diffuse lights but had to swap them out for emissive materials instead due to excessive render times.

    As for the Phoenix, it took a lot of trial and error to arrive at the final look without exact real-world references. I originally planned to groom it as if it were an oversized eagle, but I figured that the grooming would take up too much time on top of the sculpt, and it would have covered up a lot of the background lights and buildings. This was the primary reason why I ultimately made it a translucent “living ice sculpture”, shaded with an ice material mixed in with a lot of roughness noise for reflection and refraction.

    Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?

    John: The most difficult part was managing rendering time. Refractive materials like glass and ice were computationally expensive to render - caustics in particular could easily double or triple rendering times. With such a large refractive object in the scene (the Phoenix), my original estimated rendering time would be well over 2 weeks (for a 4K image) with caustics on! I had to turn off caustics and place in some fake spotlights with caustic textures as a “cheat” to speed up my rendering time at the end.

    Fox Renderfarm: How do you feel about Fox Renderfarm cloud rendering services?

    John: I have tried a lot of rendering services and I think Fox Renderfarm is one of the most helpful renderfarms; the file uploading speed is particularly impressive.

    Fox Renderfarm: What do you think of the FGT3D Challenge, any suggestions for us?

    John: I think the FGT3D Challenge is great, as the topics are really flexible and thus allow for artists’ own interpenetration.

    Fox Renderfarm: Do you have any advice for future participants in the competition?

    John: To render a good image, I think it is most important to train one’s artistic sense, attention to detail and proportions, which could be as simple as watching good movies.

    Technical-wise, there is really no defined path for learning since CG softwares is advancing so quickly these days. In general I believe it is essential to practice effectively and regularly. I try to spare as much time as I could everyday on personal CG projects, and when I am learning a new software myself, I would pick a photo or an object that I really like and try to fully replicate it as a 3D rendering.

    https://johnyim.com/projects/EL4Lln


    How To Create A Nostalgic Alfa Romeo Racing Car With 3ds Max

    2021-02-20

    Fox Talk

    Hum3D Contest

    Alfa Romeo is a company with a long history in the automobile and motorsport industry. As a huge car lover, Jason Raptopoulos, the 3rd place winner of Hum3D Car Render Challenge 2020, chose a rare model of Alfa Romeo that few will know of as his inspiration.

    Alfa Romeo G1

    A hidden treasure © Iasonas Raptopoulos

    Made with 3ds Max, Substance Painter, Marvelous Designer, Adobe Photoshop and After Effects, the project took Jason about one and a half months, which brings a feeling of warmth and nostalgia. Let’s find out how he made the beautiful 3D artwork in the exclusive interview with the best cloud rendering service provider, Fox Renderfarm.

    • Jason Raptopoulos (Iasonas Raptopoulos)
    • 3D artist / Generalist
    • Greece

    Fox Renderfarm: Hi, Jason, could you give us a brief introduction about yourself?

    Jason: Hi! My name is Jason Raptopoulos, I am 34 years old, I live in Greece and, specifically, in Athens. I have been meddling with computers since a very young age and for some years now, with photography too. At the age of 27, I graduated from SAE Athens’ 3D animation course and I have been working as a 3D generalist ever since. I love my job and I enjoy discovering new techniques which, later on, I apply on my projects.

    Fox Renderfarm: Congratulations on winning 3rd place in the Car Render Challenge 2020, how do you feel about it?

    Jason: Thank you very much. In a word...excited! At first, when the results came out I could not believe it. Haha. Learning that my project, in which I invested a sizable amount of time creating, stood amongst the top 3 qualifiers was a huge satisfaction for me.

    Fox Renderfarm: What’s the idea behind your artwork 'A hidden treasure'?

    Jason: Prior to the beginning of the project’s creation I had plotted a story in my mind from which I did not want to deviate.

    My goal was whoever viewed my project to feel very emotional and nostalgic but without the need to include human presence. I wanted it implied. These were the thoughts behind the descriptive text that accompanied my project at hum3d.

    An Alfa Romeo G1 1921 model, stored in a barn where its owner used to take care of. For reasons unknown, though, he had to stop.

    Fox Renderfarm: The car render shows your great level of modeling and texturing. Any references and how did you make it?

    Jason: 3ds Max was utilized for the creation of about 90% of the project. This includes the modeling of the scene, the car, the props and all of the scene’s materials. An interesting fact is that the car has been designed entirely using photos found on the Internet. Unfortunately, no matter how hard I tried, I wasn't able to acquire any blueprints for the specific model.

    Also, Substance Painter was used for the basic "dusty" look of the car. But, in the end, the material was evolved through 3ds Max.

    Fox Renderfarm: This render has so many details with all the tools, the dust on the old racing car and the light falling in the old barn, which make it look very nostalgic. How did you make them?

    Jason: I started the creation of the project with an image, a first draft if you will, in my mind in which I had given greater emphasis to the front part of the car, where the light would shed, in a tighter frame. But, while proceeding with the project, that image shifted and I decided to open up the frame a little bit in order to show a further view of the barn and, also, more elements in the scene.. At first, I started with the basic geometries of the barn, the “camera’s” angle and a source of the light too. I used Clay mode in realtime rendering in order to decide where to locate the source of the light. So, by using lots of references, I designed each element, studied their “behavior” when they age and that is when I met a huge challenge. To recreate them in the best way possible. As I have already mentioned, the whole scene was created from scratch using 3ds Max and I also used Redshift as a rendering engine. Pflow was utilized for the dust in the air, the general scene’s lighting is managed by a HDRI dome map and there has been one more light used so as to emphasize the volumetric light on the car.

    Fox Renderfarm: Which part of this work are you most satisfied with and why?

    Jason: Mostly, with the car itself. But I don’t think that I could say that there is something in the whole project that I am not satisfied with. Maybe I could have spent some more time refining the resulting version of the ground. But as it is natural I was always more focused on the main subject of the project, the car, to which I spent the most time designing and detail-refining. The second most important aspect of my project is the lighting which was heavily altered from my original idea trying to manipulate and create this nostalgic atmosphere.

    Fox Renderfarm: Did you encounter any difficulties when creating the artwork? And how did you solve it?

    Jason: Of course, as anyone does, but…I didn’t solve it! Haha. To be honest, my greatest encounter was the rendering time (during trials) and in order to overcome this I needed new equipment. lol. When someone gets the rendering results quicker, they can notice and improve their mistakes a lot faster.

    On a more technical note, I devoted a big part of my time to the designing and refinement of the ground. I met technical difficulties with Displacemaps and, ultimately, I am not so satisfied with the result.

    Also, as any designer would agree, one of the slowest aspects, from a creative point of view, of the process is the pre-designing stage, the research for the history of the model and the drafting of a working plan.

    But after the first steps have been taken, everything gets in a flow finally.

    Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?

    Jason: In 2013 I decided to enroll in SAE Athens’ 3D Animation course and since 2015 that I graduated I have been employed by or collaborated with various companies. For the last two and a half years I have been working in an animation studio in Greece (Kent-Films, pixelfarm.gr) as a 3D generalist with a specialty in lighting and shading.

    Pannacotta CGI © Iasonas Raptopoulos

    Fox Renderfarm: How do you enhance your professional skills?

    Jason: I keep trying to discover and experiment with new software and techniques all the time and my goal is to apply those on my projects (if each project’s special conditions and schedule allow it). Social media is the ideal tool to keep track of all the field’s news, learn about new software from companies and, if someone participates in groups or fora, there they will find an endless “library” of knowledge in addition to discussions and queries of colleagues.

    Alfa Romeo Giulia in Iceland © Iasonas Raptopoulos

    Fox Renderfarm: Anything else you would like to share with CG enthusiasts?

    Jason: Above all, in order to have highly creative results we must love what we do. We must always try to discover and meddle with new techniques and never rush to deliver a project. Details (even small ones) are what make a project stand out.

    Airbus A320neo © Iasonas Raptopoulos

    Instagram: https://www.instagram.com/k_johnyim/


    How To Create A Realistic Doomsday in 3ds Max

    2021-02-18

    CG Challenges

    Evermotion

    Have you ever imagined what the world will be like if there are endless pandemics in the future?

    As the 2nd place winner of Evermotion Challenge 2020, Neil Cross, a 3D Artist from London, hopes to warn us about the future world challenges by his artwork “Final Stand”. As he mentioned, ”We need to accept these challenges and learn from our mistakes before it's too late.”

    Final Stand © Neil Cross

    Using 3ds Max, Corona Render, Quixel Megascans and Photoshop, Neil took 2 months to finish this powerful and thought-provoking artwork,

    In the interview with Fox Renderfarm, Neil introduced in detail how he created the award-winning artwork.

    • Neil Cross
    • CGI Artist
    • Senior 3D Artist at The Boundary Architectural Visualisation
    • London, United Kingdom

    Fox Renderfarm: Hi Neil, thank you so much for accepting our interview! Could you give us a brief introduction about yourself?

    Neil: Hi Fox Renderfarm. I just want to thank you guys for giving me this opportunity. I also want to thank you guys for the service you offer. Cloud rendering plays a huge role in our community.

    My name is Neil Cross. I'm originally from South Africa where I started my career as an Architectural Draughtsman working in the construction industry focussed on delivering projects around Africa.

    After a few years starting off as a draughtsman I found draughting wasn't for me and wanted to be more creative, so I started to get into 3D. There wasn’t a lot of opportunity for 3D artists in South Africa so at that moment I decided it was time to pack my bags and move to London. I knew this city was filled with talents and moving here would only help me progress as a 3D artist. I'm currently working full time as a senior 3D artist at The Boundary. I also spend a lot of my free time working on my personal images allowing me to express my creative side.

    Fox Renderfarm: How do you feel about winning second place in Evermotion Challenge 2020?

    Neil: After seeing all the entries, I'm very proud to have made second place. To be honest, I was just hoping for a special mention, so to make the top 3 means a lot to me. I also have a lot of respect for Evermotion. Their articles have helped me grow my skills, so to come second in an Evermotion Challenge makes it more special.

    Fox Renderfarm: As this year’s theme was "My own 2020", what inspired you to create the work Final Stand?

    Neil: 2020 has been a tough year for most of us. There's a good chance future pandemics will happen more often where more people will get ill which will wreak even worse damages to the global economy than Covid-19.

    This challenge inspired me to share my vision towards the future because If there's no fundamental shift in how humans treat nature, these are the things (my render) we could face. I might be over exaggerating but I wanted to send a message.

    Fox Renderfarm: How long did you take to finish the work?

    Neil: I spent around 30 mins to an hour a day which took around 2 months in total. I was aiming for 2 days but that didn't exactly work out! haha!

    Fox Renderfarm: We’re all impressed by the strong lighting and composition of the work, could you introduce how you set up the lighting and composition?

    Neil: Thank you! Unlike modeling and texturing, I find lighting and composition less forgiving. It can either make or break your image. I have little experience when it comes to photography so I generally keep things as simple as possible to avoid destroying an image!

    I'm using Corona Sky (fully desaturated) with no Sun. I've also placed a plane light at the window to help light the interior. In addition, I'm using volumetrics. Regarding the composition I wanted to go with something simple but powerful. Getting the light set up correctly and having my camera focus on the girl was key.

    Fox Renderfarm: There are so many details in the image, which make the scene more realistic and attractive, could you show us how you make them?

    Neil: I'm always referring back to reference images to help achieve realism. I generally add chamfers and imperfections to everything.

    The biggest stand out for me was the floor. There’s no better way achieving this than using Real Displacement Textures. They are by far my favorite textures. I also push my displacement settings to the limit. I tend to drop my displacement screen size (px) as low as possible for the best results.

    Fox Renderfarm: Did you meet any challenges, and how did you solve them?

    Neil: My biggest challenge was having patience. When I first started working on Final Stand I realised I was in it for the long run. I didn't want to spend hours on the image and come back the next day tired. I ended up cutting my time down to an hour a day which actually helped.

    Fox Renderfarm: You work as a CGI artist for more than 10 years, could you briefly share with us your work experience along your CG journey?

    Neil: I started my CGI career at a construction company where I initially started as an Architectural Draughtsman. The company entered numerous tenders to try to win new projects. During that period I started to get more involved with 3D to try to impress our clients.

    5 years later I decided to join my first studio. I knew I had made the right move knowing I'd be working alongside other artists. It was crazy how quick my skills improved.

    I wanted to take my career further so I decided to move to London. I first started my career in London with a well known architecture firm. Working alongside different architects was a good experience. During my time there I spent a lot of my time attending events such as 3ds London which helped me grow even further.

    After some time there I realised that I was best suited to work in a studio so a year later I joined The Boundary where I have grown to become a Senior 3D Artist. Whilst working for The Boundary, I've had the opportunity to go to both State of Art and D2 which were both amazing events to attend.

    Night Time © Neil Cross

    Fox Renderfarm: Do you have any suggestions for CG artists to improve their CG skills?

    Neil: Choose a niche you enjoy and master it! Whether you enjoy using ZBrush sculpting characters, 3ds Max visualising architecture, or unreal creating blueprints. Don't try to learn everything unless you are a complete genius.

    Fox Renderfarm: Any other things you want to share with the CG enthusiasts?

    Neil: Just enjoy what you do.

    If you like my Final Stand Image please follow me on ArtStation for future images. https://www.artstation.com/neilcross


    How to Use 3ds Max to Create A Photorealistic Car Render Giving Fairytale Mood

    2021-02-15

    Trending

    Hum3D Contest

    Hum3D Car Render Challenge, an annual render challenge, announced the winner of 2020 recently. As the long term partner of Hum3D, Fox Renderfarm is pleased to witness that there are more and more excellent car render artworks emerging year by year. This time we are honored to interview Phil Derbyshire, the 2nd place winner of the challenge and also the special prize winner from our Fox Renderfarm team.

    The Mini Dream © Phil Derbyshire

    Phil’s award-winning artwork, The Mini Dream, shows a fantastic and microscopic world, made with 3ds Max, Redshift, Quixel Megascans, Forest Pack Pro, ZBrush, Substance Painter, Affinity Photo and Affinity Designer. Phil described the artwork,”No matter how small you may be in the grand scheme of things, there is absolutely nothing that can stop you from dreaming big!”

    Let's find out how he made the amazing artwork through the exclusive interview with Fox Renderfarm.

    • Phil Derbyshire
    • 3D Artist at TekVisual, LLC
    • America

    Fox Renderfarm: Hi Phil, thank you so much for accepting our interview! Could you give us a brief introduction about yourself?

    Phil: Of course, I’m happy to be here! My name is Phil Derbyshire and I am a 3D Artist with a passion for environment design. I am currently working full-time for Tekvisual – An Architectural Visualization studio based in South Florida and I’ve been a full time 3D Artist since 2014 when I graduated with a Bachelor degree in Game Art & Design.

    Fox Renderfarm: How do you feel about winning second place in the Car Render Challenge 2020?

    Phil: I feel ecstatic! To be honest, when I saw some of the amazing submissions to the competition, I was going to consider myself lucky if I was placed in the top 10. There were some fantastic pieces of art submitted and I’m grateful to have been placed up there with the best of the best.

    Fox Renderfarm: With the dreamy feeling, The Mini Dream also gets the Special prize from our Fox Renderfarm team, so what inspired you to make the artwork?

    Phil: When it came around to starting this project I had three things in mind. Firstly I knew that I wanted to tackle a macro miniature render again. The first time being a few years ago when I created a piece that I called “December 25th 1am: Christmas Morning”.

    December 25th 1am: Christmas Morning

    When I looked back on it now it’s hard not to see the flaws like the empty room reflection in the bulbs and other such missing details, but I could also still see some potential in the direction I went with it.

    Secondly David Attenborough’s “Empire of the Ants” documentary was still in the back of my mind, and I wanted to incorporate these little buggers into my render.

    The third and final part that was on my mind for the render was, of course, the car! Back when I used to live in the UK, a teacher of mine owned a classic Mini Cooper S much like this one. It’s such an iconic car that I wanted to bring to life in 3D with my own artistic spin.

    Fox Renderfarm: How long did you take to finish the work?

    Phil: I spent every spare moment that I could working on this piece! Working from home this past year with no commuting has given me more time to focus on what I truly love. I began with writing down a rough time frame for each part of the project, which I worked on in the evenings and weekends, and stuck to that plan as best I could.

    Fox Renderfarm: We’re all impressed by the great modeling and texturing of the work, could you introduce how you create the car so realistic?

    Phil: Yes, absolutely! For the modeling, I tried to stick to my references to the best of my ability and attempted to model every detail that could be visible in the final render. For the texturing, I found images of miniatures and real cars decaying. I did my utmost to place the rust in obvious places where it would naturally form. For instance,at the bottom of the doors and at creases/edges and for this process, I utilized Substance Painter. I had a couple of starter rust materials in painter which I then modified to create the color and style that I wanted and went from there.

    Fox Renderfarm: The harmony of colors and lighting is also outstanding, could you tell us how you made the artwork look like a fairy tale?

    Phil: Sure! So, this part was a tricky one that took a lot of experimenting during the project, I heavily took advantage of Redshift’s PostFX to adjust the Bloom/Flare, Bokeh and color controls to achieve the desired look, and it took a lot of trial and error before I was satisfied with the results. I also did something new for me for this project which was to convert and output all of my textures in a ACEScg color space to take advantage of the wider color gamut that ACES provides. The dust particles I made using TyFlow in 3ds Max, I feel that it also helped give it that fairy tale look that I was going for. Lastly, I took the final render into Affinity Photo and made my final color corrections there. I was really happy with the final product.

    Fox Renderfarm: The details of the image are wonderful, not only the car, but the grass and ants surrounding, could you introduce how you made these details?

    Phil: Making the ants made me a little anxious at first, as I hadn’t touched ZBrush in a couple of years and that UI always takes a little re-learning when coming back from another DCC, but after a late Friday night of sculpting, the ant mesh was done. The next morning I exported a high poly and a low poly version and brought them into Substance Painter for baking and texturing. That Sunday, I brought them into 3ds Max for rigging and worked on the final SSS material to bring them to life in the way that I wanted.

    The tree’s and branches are Quixel Megascan assets, I re-textured them inside of Substance Painter to add more mossy details and then converted those textures over to ACEScg. The leaves, grass and moss are 2D atlases I cut out and made simple geometry for, I then used Forest Pack Pro plugin in 3ds max to scatter them on the rocks/branches and ground.

    Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?

    Phil: The only difficulties I ran into while working on this project, were the scene crashing during rendering. It turned out that some of my computer specs were aging a bit and causing me some trouble as the project became very demanding. My i7-4790k and 32GB Memory from 6+ years ago were now showing their age. I re-sized textures, optimized the geometry, and converted a lot of the objects in the scene into proxies which allowed me to render the project without crashing.

    Fox Renderfarm: How do you feel about Fox Renderfarm cloud rendering services?

    Phil: Yes I’ve used Fox Renderfarm in the past for work before we put together a small render farm of our own for our architectural visualization animations. I remember it being easy to use and had the plugins that we needed. Next time I run into rendering issues due to my hardware or if I need it to be done faster, I’ll be uploading my scene to Fox Renderfarm.

    Fox Renderfarm: Any other things you want to share with the CG enthusiasts?

    Phil: Never stop learning new things and experiment whenever and wherever you can. You never know where your ideas and dreams can take you and what you can create by just playing around in 3D.

    Reborn © Phil Derbyshire

    Day 42 of Isolation © Phil Derbyshire

    Find more artworks of Phil at ArtStation: https://www.artstation.com/philderbyshire


    Tribute To Bravehearts In My Own 2020: Introducing 3D Artist, Reyaz Alankandy

    2021-02-10

    Fox Talk

    Evermotion

    For everyone, 2020 was a tough year.

    In “My own 2020” Evermotion Challenge 2020, Reyaz Alankandy, the champion of the competition, shows his own 2020 by creating the artwork “Bravehearts”.

    Bravehearts © Reyaz Alankandy

    In this artwork, Reyaz portrays a railway station that used to overflow with bustling life, but during the pandemic, it emptied all except the sanitation workers busy in the task.

    Made with 3ds Max, Corona Renderer, Photoshop, the award-winning artwork shows a proud tribute to these brave warriors for their selfless hard work. As Reyaz said, while the world hid, some rose to fight back, to stand a chance against the virus.

    As a freelance 3D artist specialized in architectural and interior visualization, Reyaz created many excellent artworks, and he adores every challenge and new opportunity along his archviz journey. In the interview with Fox Renderfarm, the largest cloud rendering services provider in the CG industry, Reyaz talked about how he created the work and his career experience.

    • Reyaz Alankandy
    • Freelance 3D Artist
    • 3D Visualizer

    Fox Renderfarm: Hi Reyaz, could you give us a brief introduction about yourself?

    Reyaz: Hello. My name is Reyaz Alankandy. I’m a freelance 3D artist based in India. Previously, I’ve worked as a 3D Visualizer at an architectural firm in Dubai for 5+ years. Being an ardent fan of the ArchViz industry, I’m keen on any updates and trends and strive continuously to better my works. My interests include photography and traveling.

    Fox Renderfarm: Congratulations on winning first place in Evermotion Challenge 2020, how do you feel about it?

    Reyaz: Absolutely happy and humbled to my core. It was a brilliant subject Evermotion put forth and honestly, I couldn't afford to miss it. The results stunned me to see it topped the competition. Probably the best start to my own 2021.

    Fox Renderfarm: As this year’s theme was ‘’My own 2020’’, what inspired you to create the work Bravehearts?

    Reyaz: I’d owe the credit to my lockdown and quarantine experience. As we know, 2020 restricted our lives in the most uncomfortable ways possible. Even then, our social workers strived to control and tame the chaos. It helped me shape the concept and channel the visual as a tribute to them and their sacrifices.

    Fox Renderfarm: How long did you take to finish the work? Did you meet any challenges?

    Reyaz: Approximately ten days. I was freelancing alongside. I wanted to keep the visuals as authentic as possible. So I went down to the particular railway station a couple of times to pick up reference images of textures and details one might miss at plain sight. And these work and visits were interrupted for a while since I tested covid positive. So my reference stack included a pre and a post covid collection.

    Fox Renderfarm: The train and the train station are so realistic, could you tell us how you built the station and the perfect details?

    Reyaz: I built most of the structures -including the train- from scratch since it was hard to find the specific models. So it was background and platform first, then props like benches and symbols and finally the train - which I modeled only the part necessary to the view and not the entire thing. I’d check in with my reference collection now and then to get the deets right.

    Fox Renderfarm: The atmosphere is so great which delivers a sci-fi ambiance, could you introduce how you make the scene full of sci-fi, such as the lighting and color?

    Reyaz: As I mentioned in my tutorial, I intended a cinematic mood for the scene. Hence the Corona Volumetric Effect came in handy. Moreover, I maintained a neutral temperature to the lighting and the naturality of the lights visually present in the scene. The coloring was more of a trial-and-error process with test renders and personal preference.

    Some test renders

    Fox Renderfarm: Could you briefly share with us your work experience along your archviz journey?

    Reyaz: Even as a teenager, I was inclined to the 3D world and magical CG visuals via computer games. It guided me throughout my studies and helped me while starting as a visualizer. With the right perspective, props and lights, it's easier to predict the final results and that is my basic formula. I utilized my time in a Dubai based architectural firm to gain much of the industrial knowledge on the exterior, interior, landscaping and kept an eye open for any new software, technologies, and inspirations. Currently, as a freelancer, I enjoy the diverse, multicultural projects I’m approached with as well as any creative challenges on my way.

    A-Frame House © Reyaz Alankandy

    Fox Renderfarm: As a 3D Artist specialized in architectural and interior visualization, do you have any suggestions for CG artists to improve their CG skills?

    Reyaz: Observe and PRACTICE! Most of the responses I receive after any 3D post are queries on the basic how’s and what’s and shortcuts to a 3D visual. There is NO FORMULA or shortcut. One needs to observe the moments, colors, materials and mostly the ‘imperfect’ textures of everyday life to yield a realistic frame. Collecting photographic references and practicing the software are the most essential tools of a 3D visualizer. I’d encourage you to recreate photographs and old paintings to grasp the color value information. Staying updated on software and snatching tips from tutorials helps elevate the pace.

    After The Rain © Reyaz Alankandy

    Fox Renderfarm: Any other things you want to share with the CG enthusiasts?

    Reyaz: Creating the perfect visual is an ART. I’d suggest staying inspired and absorbing international CG trends regularly. There are many great platforms offering tutorials, tips and challenges - for FREE- to advance oneself. It is crucial to remember that this is not just about the tools, but about one's own creativity. And creativity and aesthetics flow free only through regular practice. Try a variety of scenes and play with different moods. Breakaway from continuous styles and discover your niche. And always remember to have fun with it.

    Retro Tram © Reyaz Alankandy


    FGT3D Santa's New Ride Winners Announced!

    2021-01-11

    CG Challenges

    Art Competitions

    We are very excited to announce the winners of the FGT3D Challenge themed on Santa’s New Ride! In this challenge, the works submitted by participants must be a 3D rendered image. And Jury paid attention to the visual appeal, storytelling, and technique. Thanks to all our beloved participants, jury and sponsors.

    Theme

    Christmas is coming soon! Santa Claus is on the way to deliver gifts again. But Santa is coming a different way this year, he may ride a motorcycle, may drive a Lamborghini, or even get on a rocket! Please create your 3D render and show Santa’s new ride in your mind.

    1st place: The Paramount Ride - Shiju NK

    What our jury says

    Fox Renderfarm Team: Scene and lighting both show loneliness feel, as Santa carrying vaccines reflects the current covid19 situation and gives the world some hope even it's in the dark. Almost painting like texture and color further reminding of lovable Norman Rockwell style. Great work!

    Miho Aoki: I'm based in Alaska, and I see snow every day. This image does look like a small old gas station in winter here, though we don't have these old pumps anymore. There are very fine details on Santa and also on other places. I see the snow on the yellow metal numbers by the pump is half melted: it shows that the artist cared about the details. The lighting is excellent too. The thstronge of delivering vaccines is very timely and also resonates with the story of Alaskan dog sled teams delivering serum to a town to stop the diphtheria outbreak in the winter of 1925. This image makes me ask a lot of questions, like why is it a moppet? Can it fly? What has happened to reindeers? It'd be nice there are hints for these questions' answers in the image.

    Frank WANG Yefeng: My top choice for the competition goes to “The Paramount Ride.” This rendering utilizes melancholic cinstrongatography to put us in deep contstrongplation of the challenges we went through in 2020. Black humor accompanies the sadness in the composition. The creator wittily transformed Santa’s vehicle into a Vespa scooter and the gifts into a package of the very much needed Vaccine. Details such as Santa’s gesture of looking at his watch shows that time is a pressing matter in this holiday season. With an intersection to the world’s current context, “The Paramount Ride” is not only exquisite in its technique but also profound in its content. It makes me wonder: is this beard biker in red our savior, or is he an incarnation of our lives’ disorder?

    Kariem Saleh: This strong and funny concept really speaks to all of us after 2020. The image has a nice choice of colors, lighting and composition. Texture details are in all the right places and never distracting. This is a timeless snapshot of what we are all going through right now and might be a good rstronginder on anyones wall of the great efforts that we all made together to get through this difficult time.

    XP-Pen Team: Visual Appeal——It is very detailed. The light, the snow and car marks in the snow all are dedicated!Storytelling——Feels a bit lonely and sad story, touch our hearts.Technical——Pertect!

    Graswald Team: Lovely idea with a great reference to our current situation. The snow looks wonderful, I like the composition, the pose of Santa and the use of Red and White. Great job!

    Textures.com Team: Excellent work overall, tells a story, beautiful lighting and use of color.

    Texturebox Team: Modelling and lighting good , idea santa lost his deers and using a Vespa for disturbing gifts but it sestrongs he will be late.

    2nd place: Heavy Metal Santa - Vinicius Villela

    Heavy Metal Santa
Created by Vinicius Villela

    What our jury says

    Cenay Oekmen: The Character is very interesting. I do like the Cartoon look. The Skin shader works nice. I do also like all the small details like the Fur part. Very good Framing.

    Kariem Saleh: This one has a brilliantly funny general concept. The character design and modelling is very well executed and appealing. Excellent composition and very nice overall shading and coloring. Very well done! I wonder what kind of presents he actually delivers ;)

    Corona Renderer Team: This one nailed the cartoon look with just enough detail but not too much, so that it didn't fall into the uncanny valley of realistic yet cartoon, but went fully cartoon. I also love this Santa full of attitude! The good use of depth of field then rounds it out nicely.

    Graswald Team: Love the idea and the execution. The different materials look spot on (the hair, the belly, the fabric) and makes you wanna watch a Pixar movie about this character. Great storytelling and impressive implementation!

    Textures.com Team: Great concept, fantastic modelling, and the materials and shading are top notch!

    Texturebox Team: Santa's workshop looks like cyberpunk , texturing is good, I feel inside a game in this render.

    3rd place: Santa Is Crashing To Town - Hoang Nguyen

    What our jury says

    Fox Renderfarm Team: Sci-Fi setting makes one wonder why Santa is from space? Does he live on the moon? Very attention to details, the smoke, the lens flare, gives more mysteries for the story.

    Miho Aoki: This image presents a lot of anticipation. Is Santa OK? Did he try a new way of coming to the earth this year? Is he going to come out now? What will the police do? The image is very detailed and coherent and allows us to explore the details to look for clues. The lighting effect and smoky/dusty feeling are very well done too.

    Frank WANG Yefeng: SANTA IS CRASHING TO TOWN” challenges our conventional impression of Santa’s pleasant arrival at Christmas times. The focal point of the composition shows a disastrous crashing site with gifts scattered all over the ground. The police cars put Santa (who is already in deep trouble) under siege, making the viewers question what could happen to him next. The protagonist here is ironically being depicted as an accidental “intruder.” The post-apocalyptic atmosphere of the image resonates with all the unprecedented events we encountered in 2020. This wrecked flying craft might serve as a metaphor for our time filled up with turmoils and unpredictabilities.

    Kariem Saleh: That piece is based on a really cool and original idea. The atmosphere is sucking you in. All color and lighting choices in here are stellar and spot on! Now we finally know how Santa travels around the globe so quickly.

    Cenay Oekmen: I love the Idea of a Santa using a spaceship capsule. Overall composition is lovely. Nice and Gritty.

    XP-Pen Team: Visual Appeal—— The whole layout of dense and strongpty place distribution is very reasonable, the atmosphere is also very clever, the details are full, is the kind of common at the first sight, but the more you see the more taste of the map, the new mount is the space cabin this idea is very good.Storytelling—— The cabin that landed on alert is actually Santa's new car! It is so imaginative!Technical——Perfect!

    Texturebox Team: I think the idea is unique than others. Modelling and texturing is very good. Santa is not from the earth and is really good.

    Honorable Mentions:

    Santa's New Ride A Phoenix Hope - Kay John Yim

    Santa's New Ride A Phoenix Hope
Created by Kay John Yim

    What our jury says

    Miho Aoki: I was immediately drawn to this image. This work took the idea of a "new ride" to a very different level. If Santa Claus, who brings wonderful joy to all children, wishes a new ride, it might be a supernatural one like this. It looks as it can go anywhere beyond the speed of light. The sense of the three-dimensional space, scale, lighting, and details of the image are excellent, and they all contribute to the happy feeling of the scene.

    XP-Pen Team: Visual Appeal—Both the light shadow and the final effect are fantastic, and the idea of the phoenix as the new vehicle of Santa Claus is really interesting. A little perspective+symmetrical composition+the red decorated by Santa Claus and the brightest yellow of Phoenix make the whole painting fall on the main body, which is very nice. Storytelling—The birds flying up, the movstrongents of the crowd, the deer on the moon, the Christmas tree in the street, the snowflakes like feathers, the snowman in the corner, this painting is full of stories.Technical—Perfect!

    Corona Renderer Team: Lots of love in this image! To begin, I love that it looks like a conventional Christmas card in its colors and format, yet the subject matter is very surprising. I love the level of detail in this, with all those twinkling lights, the snowflakes, the reindeer taking it easy on the moon now that the new ride has taken over (nice touch of humour there!). Above all I love the "glass Phoenix" which makes a dramatic and powerful centerpoint to the image, and is very different from anything else we saw.

    Textures.com Team: I love the dynamic and magical feel in this image.

    Santa's on the future ride - Hieu Trinh

    Santa's on the future ride
Created by Hieu Trinh

    What our jury says

    Graswald Team: I am a big fan of CG Lego (and real Lego) and really loved this idea and its technical execution. I only wish you could see Santa more clearly or any other character that could have told a more interesting story.

    Santa's New Ride - Maynard Ellis

    SantasNewRide
Created by Maynard Ellis

    What our jury says

    Cenay Oekmen: Really nice work, I do like the Lighting and Material settings. The overall composition is spot on.

    Congrats to the winners, and thanks to everyone for participating. Fox Renderfarm Team will contact the winners for prize distribution in the next few days.

    For more info https://www.foxrenderfarm.com/fgt3d-santa-new-ride-challenge.html

    Hope to see you soon on our next FGT3D Challenge! Stay tuned!


    A Happy Hobbyist Shows the Beauty of CG

    2020-12-21

    CG Challenges

    Renderosity

    Sponsored by the cloud render farm Fox Renderfarm, Renderosity 2020 Halloween Contest with 3D theme, Costumes, Cauldrons & Concoctions, was successfully held. Congratulations to all winners and thanks to everyone who participated in this event. Each entry tells us a magical story.

    We are very honored to have the opportunity to interview the third-place winner, Morrigan Flebotte, who is a CG enthusiast from Canada. She used her spare time to create the work Ya Want Two Scoops, Sweetheart?, which was rendered in Daz 4.10, using 3Delight with a dab of PS postwork.

    Ya Want Two Scoops, Sweetheart? © Morrigan Flebotte

    This is how Morrigan described her work: “There aren't many places to eat out in the Unseen World, but hit the Woods and eventually you'll find Louwheeze's Malt Shoppe. No denizen of dark places can resist the luscious flavour of cauldron-fresh cockroach-cream and worm Eye-Scream! Treat yourself, you won't regret it... just don't forget to leave her a tip.”

    Here’s the interview between Morrigan and Fox Renderfarm.

    Fox Renderfarm: Hi Morrigan, could you give us a brief introduction about yourself?

    Morrigan: I am a happy hobbyist in digital art from Alberta, Canada. I live in a small town, where usually there really isn’t much to do – even before COVID-19! I actually have more work, now, since all my children are now at home for school which means I am a teacher by day as well as working part-time as a librarian. Computer art gets what’s left of me.

    Fox Renderfarm: Though it’s not the first time you win the contest on Renderosity, how do you feel about being the 3rd place winner of the Renderosity 2020 3D Halloween Contest this year?

    Morrigan: I am very pleased to have won third place; Halloween pictures aren’t something I am very good at. It was an exciting contest because there were so many interesting entries!

    Fox Renderfarm: What is the inspiration for your work Ya Want Two Scoops, Sweetheart?

    Morrigan: I think my inspiration was the waitress from The Emperor’s New Groove, which I had just re-watched recently with my son. It was her voice that kept whispering in my ear!

    Fox Renderfarm: How long did it take to finish the work?

    Morrigan: The piece took about three days – I was quite enthusiastic about it, so I kept sneaking away to work on it. The children are very supportive of my hobby, and would bring their work into my room so they could talk to me about school while I fiddled with the picture.

    Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?

    Morrigan: Difficulties... well, for whatever reason, I was having a problem with the material for her eyes, and no matter what I did they would only render white. In the end, I just accepted it and moved on, using hand-painting to bring them to life in postwork.

    Fox Renderfarm: Since you often share your CG works in the community, and also participate in CG contests, what is the biggest gain in your CG art journey?

    Morrigan: I think my biggest gain is the feedback I get from the community. I find that if I look at my pieces too long I only see the flaws, or the things I wish I was able to do differently. My style is not photo-realistic as so many other people’s are, and I wonder often if anyone else out there will like the results from my choices. Overall just a few kind words (or 3rd place!) is enough to make me continue to share what I do.

    Good Horse Goes to War © Morrigan Flebotte

    Fox Renderfarm: Could you tell us how you improve your CG skills?

    Morrigan: My learning style is quite random! I start with an idea, then enter negotiations with my software and my knowledge to see how far I can get before I either have to compromise or manage to discover something new or approach my problem a different way. Occasionally I will find a Youtube video that helps or win a new piece of software that opens up new possibilities.

    Hatchling © Morrigan Flebotte

    Fox Renderfarm: Any other things you want to share with the CG enthusiasts?

    Morrigan: The beauty of computer graphics is that with work anyone can bring an idea to life and share a vision with hundreds of other people. It’s amazing and fun!


    Enjoy Creating 'Art for Your Walls' and Keep Creating

    2021-01-04

    Fox Talk

    Renderosity

    With the theme of Costumes, Cauldrons & Concoctions, Renderosity 2020 Animation Halloween Contest received many great animation artworks. Congratulations to all the winners and everyone participated in the event. As the sponsor of the contest, Fox Renderfarm, the best render farm, is pleased to interview the second-place winner of the Animation Halloween Contest,Maynard Ellis, who is a long-time digital graphic artist and also an aspiring animator and game developer. Maynard’s award-winning work, Trick Or Treat, was animated with iClone 7, and the characters and environments were converted from Daz using CC3.

    “I had a great time making this and I am looking forward to doing more now I have worked out a good method for getting DAZ characters and environments into iClone,” said Maynard.

    Here’s the interview between Maynard Ellis and Fox Renderfarm, in which you can find out how he made the animation.

    Fox Renderfarm: Hi Maynard, could you give us a brief introduction about yourself?

    Maynard: I have been involved with CG art for over 20 years, primarily as a hobby although I have been involved professionally as a graphic designer on many occasions. I first joined Renderosity in 2004 and always aspired to be a vendor on their store which never quite happened, but this strange year of lockdown has seen me renewing that interest and I have several products that I am working on that should be ready soon.

    I have a broad range of skills that I have developed over the years and a real love for digital art and I am now spending time encouraging my teenage son to embrace some of this passion.

    Fox Renderfarm: How do you feel about being the 2nd place winner of Renderosity 2020 Animation Halloween Contest?

    Maynard: There were unfortunately technical issues with this animation contest which I hope the team at Renderosity gets on top of in the future as I don't think everyone's entry was portrayed in the best light which may have affected the outcome. Having said that I was pleased to feature among the winners. A lot of work goes into animation and I am pleased to have received some recognition for the effort. The encouragement you get from doing well in contests like this definitely helps you to keep pushing yourself to create more and to learn more about your craft.

    Fox Renderfarm: What is the inspiration for your work Trick Or Treat?

    Maynard: I was inspired by the Halloween theme and the desire to tell a story with my entry. You should always be wary of knocking on the door to a witch’s house and always expect some form of trickery and the simple idea of a witch poisoning a child with her brew seemed to be something that I could achieve within the limited time I had available to put this entry together.

    Fox Renderfarm: What’s the pipeline for the work?

    Maynard: I created characters in Daz Studio. I focussed on a stylized look instead of going for realism.

    I selected a pretty standard cottage environment in DS that suited the exterior of the witches house along with a bedroom interior scene.

    I converted the characters and environments for use in iClone using Character Creator 3. CC3 does a great job bringing DS characters into iClone and preparing them for use as iAvatars.

    I found that 3DXchange did not handle DS environments well enough and that the resulting iProps it created were not very usable for animations. After some online searching and trial and error I worked out a good way to bring environments into iClone via CC3 which kept every individual element separate and animatable which allowed me to easily animate both the door and the gate opening.

    For the most part I used standard animation clips that came with iClone and some downloaded for free from Mixamo, however this was not enough for the full range of animation the story required and I had to hand animate a number of sequences using iClone animation tools.

    The required sequences were crudely story boarded in a textual narrative leaving me to create a suitable animation for each clip listed in the storyboard.

    My teenage son who has been using Premier for some of his high school projects cut the animated sequences together and created the sound FX, voices and background music. We did not fully agree on the soundtrack but I put him in charge of that and due to time constraints I was not able to make some changes that I would have made in a perfect world, however having said that some of the SFX he created were excellent and really helped make the whole project work.

    Fox Renderfarm: Which part of this work are you most satisfied with and why?

    Maynard: I think I am most happy with how both the characters and the environment transferred from DAZ to iClone. They looked good and animated well which was great. I was also very satisfied with the fact that I collaborated on this with my son who helped me plan the animation scenes required and he cut it all together for me in Premier and he provided the sounds.

    Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?

    Maynard: There were many areas of difficulty that had to be overcome for this to work. I had to learn more about iClone than I knew and I had to get the characters and environments into iClone. The characters came in pretty easily with the tools iClone provided but the environment was more challenging and to get into iClone from DAZ keeping it looking great and also having the ability to animate things such as doors and gates etc. The traditional approach of using 3DXchange does not work as well as it should and I ended up taking a different approach using CC3 for both the characters and the environment.

    Fox Renderfarm: How long have you studied CG production, can you introduce your learning method?

    Maynard: I was a digital video editor back in the mid 1990's using sVHS and Hi8 tapes and digitising this footage to my PC. I also learnt a lot about digital design in the 90's which has held me in good stead as I moved into working with 3D to create art. I have not done a lot with animation, however I have created video and film based stop motion animations and in 2011 I did a few animations within DAZ Studio and one in particular one a contest held by DAZ. I have been self taught as an artist and love all aspects of digital art, film and photography and animation.

    Blue - Young red haired farm boy © Maynard Ellis

    Fox Renderfarm: Any other things you want to share with the CG enthusiasts?

    Maynard: I used to be very focussed on trying to produce photo real 3D art images and later I switched my focus to creating 'art for your walls' which is much more satisfying for me. Regardless of what you create and how you create it, just focus on creating art you enjoy looking at and that is all that matters. Be kind to your fellow artists and understand that art is very subjective and the important thing is to never stop creating and to always enjoy what you create.

    Morgan © Maynard Ellis


    Interview with Mike Seymour, an Outstanding Digital Humans Researcher

    2019-12-20

    Fox Talk

    SIGGRAPH Asia

    What happens when technology has a human face? How digital humans will affect our lives? These are the questions that Mike Seymour is exploring. Mike is a Digital Humans researcher who researches on new forms of effective communication and education using photoreal, realtime computer generated faces.

    Mike Seymour @ SIGGRAPH Asia 2019

    Mike was Chair of Real-Time Live! in SIGGRAPH Asia 2019, organizing the program showcased the cutting-edge real-time technologies, from mobile games to console games to virtual and augmented reality from around the world. He is also the co-founder of MOTUS Lab at The University of Sydney.

    Mike Seymour at TEDxSydney 2019

    As the lead researcher in the MOTUS Lab, Mike is exploring using interactive photoreal faces in new forms of Human Computer Interfaces (HCI) and looking at deploying realistic digital companions and embodied conversational agents. This work has special relevance for aged care and related medical applications such as stroke victims, and those with memory issues.

    He suggests that we need to find new ways to provide interaction for people, beyond typing or simply talking to our devices, and that face-to-face communication is central to the human experience. At the same time, he examined some of the many ethical implications these new forms of HCI present.

    He is well known for his work as a writer, consultant and educator with the websites fxguide.com and fxphd.com which explore technologies in the film industry. These websites now have huge followings, as they provide an important link between the film and VFX community and the researchers and innovators who constantly push the limits of technology.

    Some films and TV series Mike has worked on

    In addition to fxguide.com and fxphd.com, Mike has worked as VFX supervisor, Second Unit Director or Producer on some TV series and films, winning AFI Awards Best Visual Effects for the movie Hunt Angels in 2007 and being nominated for Primetime Emmy Awards for the TV mini-series Farscape: The Peacekeeper Wars in 2005.

    Fox Renderfarm was honored to have an interview with Mike Seymour in SIGGRAPH Asia 2019. Here’s the interview between Mike Seymour and Fox Renderfarm.

    Fox Renderfarm: Would you give a brief introduction to Human Computer Interfaces (HCI)?

    Mike: So I research Human Computer Interfaces or HCI, which is the idea of how we deal with computers. And if you think about it, most computers are just getting input from a mouse or a keyboard, but what if we could talk to our computers, what if the computers could respond to us emotionally. So the work that I do with digital humans or virtual humans is putting a face on technology, we’re putting a face there so that we can interact with that. Because after all, we work really well with faces, we respond to faces, we travel great distances to see someone face to face. So we think it'd be really interesting if we could take that idea of having a face, and put it on a computer, and allow us to work with that in a much more natural and human way.

    Fox Renderfarm: What are your biggest achievements of HCI so far?

    Mike: So one of the interesting things that's happened just in the last couple of years has been this amazing nexus of technology and approaches. We got this combination of things that are really blowing the doors of what's possible. Because we can start to produce very photorealistic digital humans, in other words, people that really look like us. Now, this is super important because if we produce something that looks not very good, we actually have a negative reaction to it. It's not like audio, whether you have sort of good quality, better quality, and then great quality. With people, we have either cartoons, or we need very very high quality. But if we have something that's not so good, people actually reject it out of hand. So we call it a non-linear response, in other words, as it gets better in quality, your reaction varies up and down a lot. So only recently, we've been able to produce this incredibly realistic faces. And most importantly for HCI, those faces can run in real time, so they can smile at you in real-time, talk to you in real-time, nod and gesture, just very different from a video or something you might see in a feature film, where they might have hours and hours to produce a clip. We need to produce these things in sometimes as short as about 9 to 12 milliseconds.

    MEET MIKE @ SIGGRAPH 2017

    Fox Renderfarm: Have you met any challenges in the HCI development process?

    Mike: One of the big challenges we have is actually we've done a lot of really great work on faces and on being out to produce digital humans. That work’s not done, but it's certainly advanced tremendously in the last sort of three or four years. We're now having the grapple with how do we solve some of the issues over voices. If I'm actually talking to someone in China and I'm in Sydney, and like my colleague is from China, and of course he speaks the language that I don’t. So if we're on a conference call, and somebody at the other end doesn't speak Chinese, like I don't speak Chinese. We have this problem that I have to solve the language. Now, if I've got an avatar, something that I'm puppeting, then I would be able to speak in English, and have a version of me speak in Mandarin, and be able to understand across barriers. That’s good, and that's great. But what if I'm not puppeteering it, what if I actually want the computer to talk to me. I now need to make a synthetic voice. And the challenge right now is to see if we can do what we’ve done for faces to audio, to voices. It’s kind of a thing you may not expect. But of course, what we want is the computer to speak in a really natural way, to have the right cadence, the right kind of tone, the right kind of attitude. So getting that natural sounding and audio, it's not that it's harder than it is to do the vision. But we actually are a lot less tolerant of problems with audio. If you're watching a movie and the vision isn't quite right, then you can hear everything, you’ll be really happy. But if you were in a situation that the vision looks great, but you couldn't hear what the actors were saying, you'd switch the channel or go do something else. So what we're trying to do now is get the audio to be impeccably good so that it can go along with what we've been doing in vision.

    MEET MIKE @ SIGGRAPH 2017

    Fox Renderfarm: How do you think our life will be changed by HCI, with deep learning algorithms, GPU graphics cards rendering, and 5G?

    Mike: The astounding thing is that now, we actually have more compute power than we need to do some of the functions we want to do with the computer. We can afford to spend some of the compute power, producing these amazingly interactive user interfaces. That's part one, and that's obviously been influenced enormously by GPU, and the much faster graphics. And on top of that, we've had a new approach to how to use the graphics which is AI or deep learning. So now we have the second part of the jigsaw puzzle which allows us to do incredibly clever things by letting the machine learn my face, and then synthesize a plausible version of my face, again, in real-time, because of that GPU. And then the third part of that jigsaw puzzle is that we're able to do that now increasingly with 5G. Now, 5G is obviously very new, but what it offers us is not just bandwidth, which we imagined it would be able to sort of transfer more data, that's part of it. But one of the real secrets for 5G is low latency. So, in fact, we can have interactivity, so things come to live when they are realistic, and rendered quickly. Because we've used actual faces to construct them, and then we have this very low latency, so we can interact. All of that is just going to change how we do communication education, even in areas you might not imagine, such as health.

    Fox Renderfarm: Fox Renderfarm is going to provide online real-time rendering services, is that possible to cooperate with you on the HCI research?

    Mike: We are really keen to work with people all over the world, and it's the mantra of our lab that the research that we do, we actually don't own the IP, so we give away all the data. We work with companies around the world so that we can give back to the community. Our interest is seeing that this moves forward. And one of the great things about rendering on the cloud, and the idea of being able to have a really good infrastructure that's on a global basis is that, with high-speed communications, and with 5G, we are increasingly seeing this being something that we can adopt into things that general people can use. So, at the moment we’ve got a history where I might be using a render farm if I'm a really big company. But what we're seeing now is this move to the importance of being able to do things that can be democratized, and I think we're gonna see this vast explosion where we want to have quite a lot of power on our personal device, but actually tapping into a broader deep learning, AI kind of environment to provide this great interactivity. And as that happens with low latency, and the kind of infrastructure we're seeing. The ability to scale up is just going to produce sensational results.

    Fox Renderfarm: As the Chair of Real-Time Live! in SIGGRAPH Asia 2019, what’s your biggest surprise?

    Mike: There are a lot of submissions to Real-Time Live! this year. But Real-Time Live! is a little different from other things because you need to actually mount a performance. It's a bit like volunteering for a stage show. If I am coming here to do a show, I will bring my powerpoint on my laptop. But if I'm coming here to do Real-Time Live!, like the Matt AI project, and a number of other projects that are being seen, you actually have to bring a whole lot of computers, a whole lot of gear and actually mount a live presentation. You have nine minutes to sort of wow the audience, and of course, it's very unforgiving because, in nine minutes, you can’t afford to switch the computer off and start again. So we've been really impressed by the variety of the projects, and the variety of applications that they’re addressing. So we have teams that are addressing making digital characters talk, which is one of my favorites, I love that one. But we've also got ones that people are looking at how to use VR and real-time graphics for science research, for communication, as well as just artistic pieces that are very much just producing a really amazing show in their own right.

    Real-Time Live! in SIGGRAPH Asia 2019

    Fox Renderfarm: You were doing VFX before, and you are a researcher and also Co-Founder for fxguide.com, what’s the biggest influence along your multi-dimensional career path? What do you do to keep yourself inspired and motivated?

    Mike: I was in the visual effects industry for many years and got nominated for Emmys and AFIs, and that was all great. I enjoyed that and it was terrific work. What I decided a little while ago, having done quite a lot of research and teaching and increasingly doing consulting work to companies around the world, which we still do, I thought it would be really interesting to up that research component and get more involved with hardcore research. So I still come consulting, I do work for major Hollywood studios, and I enjoy that work tremendously. But what I'm interested in is can we, in addition to that work, in the entertainment industry, take that tech and apply it to these other areas. So, for example, my research area at the moment is seeing if we can take some of these digital human technology and use it for stroke victims. So, people that have had a stroke and have trouble forming short-term memories, are very good with long-term memories. But they literally find everything that's going on around them today a little unfamiliar and disconcerting. As an extraordinary high level of stroke in the world, a lot of people have strokes, and quite a high percentage are actually under the age of 65 and wanting to still continue to contribute and work, because they are of that younger age. Now, of course, we want everybody to benefit from this, but particularly those people that are still trying to work in the world, if you have problems with short term memory, all technology starts to become a challenge. And we expect someone to use a computer just (as) to use a phone these days. Well if we could put a familiar face on the technology, a face from their past, a face that is I don’t think is a real person, but they are familiar, reassuring. Then this new thing, this new technology whatever it is, suddenly no longer seem quite so harsh, so unfamiliar, so disconcerting. And we think that's a really good way of being able to help with rehabilitation. So this is just one of the areas that we are looking at, taking this terrific tech from the entertainment industry, which I love to death, but just seeing if we can help people that are less fortunate, that have been through really hard circumstances.

    Fox Renderfarm: Who or what projects inspire you most in VFX and Interactive Technology respectively?

    Mike: So it's been really great work done in technology around the world. Obviously, some of the big film companies like Weta Digital and ILM have been doing terrific work. The research that I've been doing, we've managed to partner with companies around the world. So when we were doing a digital version of me, for example, we are partnering with Epic Games, but also with Tencent, which is terrific. And companies in Serbia, in England, and so it's an international kind of collective. And one of the things that really inspires me is how open these companies are working together and sharing what's going on. Because there's a lot more to be gained by expanding what we can do, than people worrying about individual bits. So the community that's doing this work has been really generous and really open with their work.

    Fox Renderfarm: What’s your comment on Gemini Man?

    Mike: Gemini Man is one of the most startling and just groundbreaking pieces of production that I've certainly seen, I was really impressed by a number of things. Firstly, they were doing work at Weta Digital, where we really knew the character very well at both ages. We know Will Smith as he is today, and Will Smith earlier in his career. We know from our own research that the more you are familiar with the face, the harsher you are. So if you have a younger version of someone you didn’t know, it may look great to your eyes, but their brothers or sisters would be very upset by that wouldn't feel right to them. So what we're trying to see is if companies like Weta can produce very familiar faces in a way that we find acceptable, reassuring, entertaining, and I think they've really done that with Gemini Man. The second thing that really impressed me is that in that film, while it's an action film there are a lot of slower emotional scenes, where there is really no way to hide. The young Will Smith is on screen and the camera isn't flying around. Sure, there are bike chases but there are other scenes he is really acting so that the audience can buy into that performance, I think it's terrific. I really applaud the work that the team of Weta Digital have done, it's absolutely well breaking.

    images source: fxguide.com

    Fox Renderfarm: Any other things you want to share with CG enthusiasts?

    Mike: I think one of the things that I've been really happy about is how internationally the community has come together. There are teams now have got like pockets of excellence. There's a couple of teams in China that are just spectacularly good. And obviously, what we've seen with the work in China, I’ve actually lectured up in China, and visited many times, is we've got a real depth of both technical expertise and creativity. So it's really great to see the infrastructure being built up, things like the render farm and so on. So that they can provide that technical support that will match the creativity, I think that’s been really good. Now there are two teams in China, I can think of, there's a team in Europe, a team in New Zealand, a team in Serbia, and in London, and of course, America. And so what's great is to see that this is a very balanced international effort, and I love the fact that here at SIGGRAPH Asia, we’ve got all of the teams coming and presenting their work and sharing things. Because, as I said earlier, there’s so much can be gained by people cooperating and working collaboratively together. And from all my years in the film industry, it's a thousand people that do the visual effects on a film. So you need this great collaboration of artists this great infrastructure from companies supporting that. And then, of course, you need people willing to be open and share their ideas, as they're doing here at SIGGRAPH Asia. So, it's really great.


    Interview with Jakob Scheidt, 6-year Exploration in Blender of a 16-year-old 3D Artist

    2020-01-14

    Trending

    CG Challenges

    Who wouldn’t dream about life on a boat, far from boredom and pressure, with tranquillity and maybe some adventure? Fox Renderfarm is amazed by the excellent artworks from ‘Life on a Boat’ 3D render challenge held by CGBoost, both for their diverse creativity and high-quality images. Congratulations to all the winners of the challenge, and never stop letting your ideas make the community shine bright!

    Jakob Scheidt, the 3rd place winner in the challenge, is also an old friend of Fox Renderfarm - Winner of Fox’s Got Talent! Here is one thing about him you won’t believe - Jakob, with 6 years’ practice of Blender and having won prizes and praise in various platforms, is only 16 years old.

    In the interview with Fox Renderfarm, he told us his unique thoughts behind the awarded artwork, and how he got started and motivated in 3D art creation.

    • Jakob Scheidt
    • 3D Artist
    • From: Germany

    Fox Renderfarm: Hi, Jakob! Thank you so much for accepting our interview! Could you please give us a brief introduction about yourself?

    Jakob: Hello! My name is Jakob Scheidt, I’m a 16-year-old 3D artist from Germany. I started drawing when I was a kid and continued creating visual artwork. I discovered Blender six years ago and I’m still using it today, combined with Substance Painter and Photoshop. I think about working as an Illustrator or 3D Artist in the future.

    Artworks by Jakob Scheidt

    Fox Renderfarm: How do you feel about winning the 3rd place in CGBoost ‘Life on a Boat Challenge’ this time?

    Jakob: It’s always a good feeling to be awarded, but the prizes are not the most important thing you get from participating in a competition. Every time I have a deadline and a topic to create an artwork I get very motivated and spend as much time as possible working on the artwork. At the end you get improved in so many areas, like concepting, telling a story, modelling, sculpting, texturing and lighting. Knowing and practicing the complete process is crucial, even if you want to specialize in a particular skill. In the past, 3D art challenges always boosted my motivation and skills as a 3D artist.

    Fox Renderfarm: Your artwork delivers a pretty tranquil and exotic feeling, could you tell us your inspiration for it?

    Jakob: The topic ‘Life on a Boat’ can be interpreted in many different ways. In the beginning I had no idea what to create and started researching to get inspired. I came across many different cultures, the instruments they play, the food they eat and the boats they have. I combined everything I liked into a scene that captures the relaxed, calm mood. It was great to see that the other participants had totally different ideas and created images with action and humor for example.

    Fox Renderfarm: The lake takes the biggest proportion of the image, the lighting and ripples of the water matters a lot to the picture, could you introduce the production process and any consideration behind?

    Jakob: I added the water at the end of the process and thought it would just be a simple plane with a simple material. It took several hours to finish in the end, it was a challenge to make it look good with the lighting of the scene. I experimented with volumetric effects, particles, color variations and several combined bump textures for the small waves. In the end I had a giant node tree that included all the elements mentioned. The interaction between the water and the paddle was particularly challenging. It’s basically a bump texture painted by hand, even though I used a water simulation as a basis. And as always, using many reference images was important to make it look realistic and appealing.

    Fox Renderfarm: About the senior man on the boat, his clothes, hat and shoes have really appealing colors and prints, how did you make them? And did you refer to any materials?

    Jakob: I was fascinated by the clothing patterns of different cultures; many parts of the image include them. Although I tried using a simple texture to wrap around the whole model, I ended up painting or adjusting most of the textures by hand in Substance Painter. Adding the golden parts and the small graphical patterns was time consuming, but it makes you want to look at the image for a longer time, the details and bright colors catch your attention.

    Fox Renderfarm: About the objects on the boat, like the case, food, hookah and so forth, could you introduce them a bit, and any ideas behind that?

    Jakob: All the assets are created based on reference pictures I collected earlier. They had to look good individually as well as combined with the boat and the character. Modeling and texturing them was time consuming, but these details make the scene look believable and appealing.

    Fox Renderfarm: The steam from the spout of the pot gives the whole image a dynamic and vivid touch. How did you make it? And any ideas behind that?

    Jakob: Adding the steam makes the scene look more realistic. It was very easy to create though, I just added an alpha texture to a plane, the scene is not meant to work as an animation.

    Fox Renderfarm: What’s the most interesting and unforgettable memory during the production?

    Jakob: At the beginning of the modelling process I was very keen on getting every detail on the boat right, even though I wasn’t sure about the final camera angle and composition. So, I spent 6 hours creating two special chests with sophisticated details and complex textures. At the end you can’t even see the first one, the other one is mostly in shadow and a simple cube would have done the job. The lesson I learned from this is to think about the specific camera angle and how much details you need to include in the assets early on, so you don’t waste your time like I did!

    Fox Renderfarm: Did you meet any difficulty, and how did you solve it?

    Jakob: The water and the character have been challenging, and the lighting for sure. I spent a lot of time trying different HDRs and added many spot lamps in addition to that. This was important for establishing the mood of the piece and emphasizing particular parts.

    Fox Renderfarm: What are the software and plugins did you use for this artwork?

    Jakob: I used Blender 2.8 for modeling, sculpting, retopology, UVs, Materials and Rendering. Most of the textures are created in Substance Painter, but I used resources like Poliigon, Textures.com and Pixabay. The final image was composited in Adobe Photoshop and rendered in Blender cycles.

    Fox Renderfarm: You are also the winner for Fox’s Got Talent, how do you feel about winning our challenge?

    Jakob: It was a great promotion for my ArtStation profile and some free render credits are always great for future projects. Looking at the other artworks created for Fox’s Got Talent is a pleasure too, very inspiring!

    Fox Renderfarm: Can you recall your first encounter with CG? And could you briefly tell us about the education and career experience along your 3D journey?

    Jakob: I started using 3D software six years ago. The beginning was tough, but I had a lot of time to learn and was fascinated by 3D, even though 100% of my renders in the first two years sucked. I was learning Blender with video tutorials on YouTube, but I wasn’t following a particular curriculum. Slowly my technical skills improved and I could use the software. At that time, I was messing around with animation, VFX and simulations almost every day. Today I focus mostly on modeling, sculpting and texturing realistic creatures and props.

    Fox Renderfarm: Who or what project inspires you the most in this career?

    Jakob: I look at a lot of 2D artwork and I like to draw as well. That’s why I enjoy many concept artists, but I’m very inspired by artists mixing 3D and 2D, one example is Jama Jurabaev. Some other 3D artists I admire are Julien Kaspar, Gregory Smith, Henning Sanden and Gleb Alexandrov.

    Concept Art by Jama Jurabaev

    Rain-Turntables by Julien Kaspar

    Artwork by Gregory Smith

    Artwork by Henning Sanden

    Artwork by Gleb Alexandrov

    Fox Renderfarm: What do you do to get inspired and motivated? And how do you improve your professional skills?

    Jakob: Participating in art competitions is very motivating and drawing every day is very important for me to practice observation. Other than that, there are many excellent courses on the internet on 3D tools, asset creation, lighting and anatomy.

    Fox Renderfarm: As an old friend of Fox Renderfarm, how do you feel about Fox Renderfarm’s cloud rendering service?

    Jakob: Having access to an easy to use render farm has become very important to me. I am working on a music video right now and I need a lot of rendering power for that. Rendering externally allows me to get higher quality renders in a short time. Another advantage is that I can still use my computer when the render farm is rendering my animations.

    Fox Renderfarm: Any other things you wanna share with CG enthusiasts?

    Jakob: Never stop creating!

    For more Jakob’s artworks:

    ArtStation: https://www.artstation.com/jakobscheidt

    Instagram: https://www.instagram.com/jakob.scheidt/

    Youtuebe: https://www.youtube.com/channel/UCk4--F0P5NGHjy_1JGwWDCA


    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    2019-10-30

    Fox Talk

    Art Competitions

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    After reading 2 interviews with the winner and nominee for the 2019 Architectural 3D Awards, you must have been amazed by their great ideas and persistence in their ArchViz career. Today, we go on our exploration in the creation of ArchViz by talking to Mr. Alvaro Arroyo, nominee for Student Image category.

    • Alvaro Arroyo
    • From: Spain
    • 3D Artist
    • School: School-ing

    CREDITS:

    • School-ing
    • Adán Martín
    • Eduardo Rodríguez
    • All of the School-ing students
    • 3D Collective

    Alvaro’s work delivers a sense of melancholic atmosphere while the composition is with coherent layers. The moment he created this artwork, he was still a student, however, he has already stepped into the ArchViz industry and put his whole heart in it currently. Let’s read the interview to know more about the creation of the nominated work, and how he sees the shift in his life.

    Fox Renderfarm: Hi, Alvaro, would you please give a brief introduction about yourself?

    Alvaro: Hi, my name is Alvaro Arroyo Cerdá, a 27-year-old 3D Artist from Valencia (Spain). I´m an architect from the Polytechnic University of Valencia (UPV) and now I´m working full time in the architectural visualization industry.

    Polytechnic University of Valencia

    Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?

    Alvaro: It is definitely a great honour. Just the fact of having my work recognised in the world's most important awards of the industry is an amazing feeling. A few months ago I couldn't imagine all these things were going to happen.

    Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition?

    Alvaro: This image is part of a project that I was working on in the school, so besides this one, more images have been made. Each one has the architecture as the base, and then I tried to experiment (with) different moods for all of them, creating atmospheres that fit my purpose.

    Other 2 pictures for the same project

    In this artwork, I had the idea of creating a melancholic atmosphere where nature and modern architecture might get together. I added some women playing music inside the house just to emphasize that idea.

    Fox Renderfarm: Could you introduce the light design and the composition of this project?

    Alvaro: The light design is just based on a foggy HDRI, and I used the Vray environmental fog to mitigate the light and exposure of that HDRI. In terms of composition, I had a clear idea of having the house entry in the center of the image, and for that, the shape of the building was so helpful. I had the forest and nature on the foreground, just playing with its colours and wildness, and introduced those broken branches on the right to avoid a flat image. The road on the left was a great element to avoid it as well. Finally, I placed some forest on the background to make them disappear in the foggy day.

    Fox Renderfarm: How long did it take you to finish the work?

    Alvaro: Probably it took between two and three weeks to do that image, but it's hard to tell because it was part of a bigger project, so modeling the architecture and texturing were the longer parts.

    Clay render

    Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process?

    Alvaro: Maybe the most interesting part was when I was trying to achieve the mood that I had in my head for this image. As I saw the first results, my idea was to place myself inside that environment to keep improving all the details and have a humid atmosphere like the one we have when just stopped raining.

    Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?

    Alvaro: Of course, I think is part of the process and in my case as a beginner, I had much more difficulties. The hardest part was to recreate a realistic wild forest because it was so close to the camera, and I solved it working a lot in the vegetation materials and placing the nature elements very carefully in the scene.

    Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?

    Alvaro: I have been actively learning from January of this current year, so just ten months. They have been really intense months as you can imagine. I made the decision when I realized that the part of the architectural work that made me happier was to visualize unbuilt architecture and where I can use more of my creativity.

    Fox Renderfarm: Who or what project inspires you most in this industry?

    Alvaro: Well, Adán Martín has been the real inspiration for me in this industry. In fact, studying and learning from him in School-ing has been the best decision I could have made to start in Archviz. Maybe Csaba Banati, Karim Moussa or Thomas Dubois are artists that inspire and motivate me because their creative mindset of facing new challenges representing the unbuilt is just awesome.

    Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?

    Alvaro: I think that in an industry like this, always changing, is so important to have a learning attitude towards everything. Use our creativity to solve our working problems will make an artist much better. In my short experience, I have been trying to make works where I can always learn some new things, to have my mind active.

    Fox Renderfarm: What’s your next step?

    Alvaro: As I said before, keep learning every day new techniques, new software and the best visualizer I can be to fulfill all my expectations that are coming. Now, I am focused on my new job as a Junior 3D Artist at Kilograph and that is where my mind is.

    Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?

    Alvaro: Not really because I didn't have the chance to use them because my short career in the Archviz industry, but definitely I´m going to do it from now on.

    Fox Renderfarm: Any other things you want to share with CG enthusiasts?

    Alvaro: Well, just encourage people that are starting in the industry, like me, to work with passion and determination to create great illustrations. I will be happy to keep meeting people of this industry because is always a pleasure for me to meet such talented people, so feel free to contact me on social media to share thoughts about our works. And finally, I hope you saw the rabbit in my image, did you?

    Alvaro’s Instagram @arc.alvaro


    Interview with Dans Digital, A VFX Creative Company Won 112 International Awards

    2019-11-13

    Fox Talk

    Art Competitions

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    Dans Digital, one of the few comprehensive visual effects companies in China which integrates technologies such as 3D animation, live-action shooting, and visual effects, won numerous international Ad awards including CICLOPE, MOBIUS, NYF and so forth, was founded by Mr. Bohong Deng who was honored as AUTODESK 3DS MAX MASTER in 2009.

    This year, Dans Digital won The Best Commissioned Architectural Film at CGarchitect Architectural 3D Awards 2019, for its wonderful architectural film, Yuxin Building. It’s our honor to have an exclusive interview with Dans Digital, from which we can know more about the success story of the multi-award winning team.

    • Company: Dans Digital
    • From: China
    • Director: Bohong Deng / Executive Producer: Cuimin Zhou / Executive Producer: Yan Jiang / Post production: Guanghao Xu / Editor: Yuping Duan / Post production: Yan Li / Photographer:Bo Yang / Visual Effects:Jinliang Jiang / Layout:Hongming Xiang / Technical Support:Guibing Xu / Photographer:Minsheng Lin / Post production:Zhiqiang Chen / Layout:Haixiang Hong / Assistant Camera:Jujun Zhang / Post production:Hui Yang / Layout:Junwen Xu / Assistant Camera:Zhichen Tang / Layout:Jie Yu / Visual Effects:Xiaozhen Cheng / Layout:Rongxiang Yang / Layout:Mini Chen / Layout:Leisi Feng / Layout:Zhijing Sun / Production Assistant:Yucheng Chen / Production Assistant:Liling Gao

    The film stimulated the foggy morning with 3D visualization technique, it portrayed the building and surrounding landscape covered in the mist with low contrast and low saturation tone, which provides people an artistic conception of traditional Chinese ink painting.

    In addition, the traditional means of artistic expression resonated with the ancient Chinese Philosophy where the creative idea was generated.

    As the creator of the awarding-winning film, Dans Digital, founded in 2003, is mainly engaged in film production work within advertising, animation and visual effects field. Dans Digital has won 112 awards in total in international competitions, including 1 Best Of Show and 16 Gold Awards.

    Some of the honors

    Dans Digital takes a leading position within the industry of China in 3D animation, visual effects and post-production, and has mastered the advanced technologies proficiently including photographing and 3D synthesis, pilotless aircraft photographing, computer simulation and performance of fluid and rigid-body dynamics, particle system and computer cluster rendering, etc.

    Some of the award-winning works

    No matter in architectural style, artistic style or creative ideas, Dans Digital has never stopped the pursuit of innovation. Dans Digital started building growth animation technique and traditional Chinese realistic painting animation style within the industry, and has created many works which were regarded as milestones of the industry.

    An excellent leader is indispensable to an excellent team. The Founder and Director of Dans Digital, Mr. Bohong Deng, one of the jury for the“CLIO AWARDS” from 2015 to 2017, has created more than 100 excellent works within 16 years since he founded Dans Digital.

    He initiated the creative architectural growth animation and traditional Chinese realistic painting performance practices. His works were made outstanding contributions to the development of the industry.

    Mr. Bohong Deng was honored as 3DS MAX MASTER in 2009

    Here’s the interview between Dans Digital and Fox Renderfarm.

    Fox Renderfarm: Why did you select this artwork to participate in the competition? Which part of the film do you like the most?

    Dans Digital: Actually, we submitted three films. But the judges did not turn their noses up at the other two. I think all excellent films should be outstanding as a whole. I’m satisfied that our award-winning film completely integrates our client’s business purpose with artistic feeling.

    Fox Renderfarm: What’s the inspiration for this amazing film?

    Dans Digital: The inspiration comes from two lines of a poem from a famous Chinese poet Lu You living in over 900 years ago. The two lines are “铅华洗尽,珠玑不御”, which mean remove all makeups and jewelry, get back to basics. More precisely, it means “Remove all gorgeous colors and celebrated labels in life, get back to simplicity and peacefulness.” Therefore, the film is presented in lighter colors. I try to use the state of life described in the poem in architecture, life and films.

    Fox Renderfarm: The whole film delivered a very tranquil atmosphere, what objects in the film you made and techniques you used to strengthen this style?

    Dans Digital: To create a peaceful and graceful ambience for the film, I chose a foggy morning to set a tone for the film.

    Fox Renderfarm: In the first half of the film, we can see drops of water floating in the air, any ideas behind that?

    Dans Digital: In Chinese, when we have some ideas and feelings, we usually use “Rise and Emerge” to describe them. And these two words both imply the meaning of “upward”.

    Fox Renderfarm: Could you introduce more about the camera movement design? Other than the horizontal movement of the camera, the camera was zoomed in with multiple movements and such.

    Dans Digital: The camera is designed to move from some specific part to get a whole picture, from slow to fast. This is the simplest narrative rhythm of a film. In the end, the fast moving long-length shot could meet the client’s need to fully display the product as a whole within limited time without destroying the overall atmosphere of the film.

    Fox Renderfarm: How long did it take to finish the work?

    Dans Digital: We spent ten months finishing the work from ideas to reality.

    Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process?

    Dans Digital: The most interesting part is always the hardest part during every creation process. The most difficult part of the film lies in how to determine light and colors as a whole as well as the concentration and tone of the fog. Stronger light, colors and fog will make the film too flashy while weaker ones will create a dark and gloomy atmosphere.

    Fox Renderfarm: Dans Digital, as a comprehensive and award-winning visual effects company, what is the project that your company most proud of?

    Dans Digital: We do our best and challenge ourselves on every project. And such experience deeply impresses ourselves.

    Fox Renderfarm: What’s the development vision of your company?

    Dans Digital: To bring people with better feelings.

    Fox Renderfarm: Any other things you want to share with CG enthusiasts?

    Dans Digital: Even if others misunderstand you or try to bring you down, never stop putting sincerity and effort into your work.


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