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    Call For Submissions: FGT3D ‘Hero’ Challenge

    2020-07-08

    CG Challenges

    Art Competitions

    FGT3D ‘Hero’ Challenge is now open for submissions! We would like to invite CG artists around the world to submit their artworks and show their CG talents and originality.

    Fox’s Got Talent 3D Challenge (hereinafter, “FGT3D” or “FGT3D Challenge”) is a 3D Rendering Challenge curated and organized by Fox Renderfarm, which aims to provide a platform for creators to improve their CG skills, shine their talents and get the chance to win the great prizes.

    The theme of the 2nd FGT3D Challenge is ‘Hero’. Have you ever imagined the shape of Heroes? What hero looks like in your mind, set your imagination free, create a 3D render, and tell us your Hero story!

    Time Time for entries:June 22nd - September 6th, 2020 (UTC+8) Winners announcement time:September 10th, 2020 (UTC+8) Prizes 3 artworks will be selected and awarded!

    Besides, the winning artworks will gain a great amount of exposure and publicity, including:

    • Interview with Fox Renderfarm
    • Advertisement and promotion on our official website, social media accounts, and newsletters.

    How to submit Send your artwork to fgt3d@foxrenderfarm.com with your name and the description of the work.

    Rules

    • Your entry must relate to the challenge’s theme (we strongly encourage you to set your imagination free)
    • Your entry must be a 3D rendered image
    • Your entry can be created by one artist or a group
    • There’s no limitation on styles and the choices of software and plugins
    • Your entry must be original art created specifically for the challenge (no existing projects)
    • Minimal use of third party assets is allowed, as long as they are not the main focus of your scene (third party textures and materials are not included in this rule and can be used freely)
    • No fanart allowed
    • Feel free to enhance your rendering
    • Images that depict hate, racism, sexism or other discriminatory factors are not allowed
    • Works must be submitted before the deadline

    Sponsors The prizes are provided by our awesome sponsors.

    We are looking forward to your participation. Come to shine your talent and loads of prizes are waiting for you!


    Creating a Hyper Futuristic Robot Under an AI Generative System in Blender

    2020-05-20

    Trending

    Fox Renderfarm Interview

    Sponsored by the TPN-Accredited cloud render farm Fox Renderfarm, the CG Boost “Baby Robot” Challenge collected so many cute and adorable little robots for the 9th challenge, smashing the record with 170 submissions.

    In the “Baby Robot” challenge, Karel Schmidt, the 3rd prize winner, created his baby robot in a creative way.

    The image stands out for its simplicity and suggestive quality. It merges the cold realism of the surrounding with the strange-looking artificial embryo, creating fantastic tension while remaining calm in composition!

    What’s the story behind while creating this artwork? Let’s figure it out together!

    • Karel Schmidt
    • Motion designer and compositor
    • Manama, Bahrain

    “I wanted to create a hyper futuristic robot, from an era where technology is grown organically. This robot is the project of a human working in his garage clean room, grown using an AI generative system.”

    © Karel Schmidt

    Fox Renderfarm: Hi, Karel! Thank you so much for accepting our interview! Would you please give us a brief introduction of yourself?

    Karel: Yo. I'm an online video editor/finisher by profession, motion graphics and VFX specialist in my 5-year plan, a fine artist at heart, and musician in my free time. I spend most of my time editing corporate films and banking ads.

    Fox Renderfarm: How do you feel about winning the 3rd place in the CGBoost ‘Baby Robot Challenge’?

    Karel: To be honest, I was stumped when I read the announcement. I started learning Blender a month before entering the challenge (thanks to Blender Guru’s donuts). Entering the contest was just a little personal challenge to add a goal structure to my learning process.

    Fox Renderfarm: Your artwork delivers a futuristic experimental feeling, what’s your inspiration for it?

    Karel: I tried to imagine what a robot would look like if it was grown in some guy's garage cleanroom a few decades from now. You know, when AI will be doing most of the heavy design thinking.

    Fox Renderfarm: The whole picture is neat and concise with stunning details, any ideas behind the composition and background setting?

    Karel: My education was in Fine Art, and I’ve liked the minimalism of an art gallery. The idea here was to present to the robot in a similar space, to really make it feel like it’s on display. Regarding composition – minimalism requires good layout and that’s hard to get right. I probably spent 50% of the time on this project just trying different layout options.

    Blender viewport screengrabs

    Fox Renderfarm: How did you achieve the mesh-look of the baby? And what’s your consideration behind the lighting design?

    Karel: The baby's skin is a basic node setup in Cycles with Voronoi texture node driving everything. Lighting went hand-in-hand with the composition process – a basic three-point setup that I built to look good on a clay render, then a few fill lights to highlight important details.

    Node setup for the robot's skin material

    Fox Renderfarm: The wires and the shell outside the baby are very realistic, how did you make that happen?

    Karel: The Tree Generator add-on that comes bundled with Blender :)

    Work in progress renders (from the initial concept onwards)

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

    Karel: Around 3 weeks (squeezed into any downtime I could find in my work schedule)

    Fox Renderfarm: What software and plugins did you use to make the artwork?

    Karel: Blender 2.81 and a few bundled add-ons. (Tree Generator and node wrangler). The grade and composite were done in After Effects, since that's been my bread and butter for the last few years.

    Fox Renderfarm: What’s the most unforgettable experience in the production process?

    Karel: Hoping like crazy that the final render doesn’t crash before the deadline. I guess that's where render farms will come in handy ;)

    Fox Renderfarm: Have you met any difficulties? How did you solve it?

    Karel: Yes, I wanted to create a kickass environment for the robot. Everything I tried just cluttered the concept, so I stripped it down to the clean gallery space. With more time I might have done something different.

    Fox Renderfarm: How did you come up with entering into the CG industry?

    Karel: As a kid I started dabbling with 3d software because of the physics simulations. Pair that with a love for good design and an editing job where I’m doing motion graphics and VFX cleanups more than actual editing, and you get where I am now.

    2017 Dailies © Karel Schmidt

    Fox Renderfarm: Could you briefly tell us about the education and career experience along your 3D journey?

    Karel: I studied Fine Art, did a post-grad in Media Studies and Film Production, then spent two years shooting and editing wedding videos. From there I got a job doing hard-sell retail TVCs, which got me fluent in After Effects and dabbling with Cinema 4d. Blender 2.8+ is currently getting me into whatever will be next.

    2016 Dailies - Cinema 4D © Karel Schmidt

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

    Karel: Coldplay’s Up & Up has been a massive influence. Cyriak’s early work. Cyriak’s later work. Strong motion design in branded content (like the last few years of Nike ads) also does something for me.

    Coldplay - Up&Up (Official Video)

    Baaa © Cyriak

    W/ Bob & David - Opening Credits © Cyriak

    The IT Crowd - Series 4 - Episode 3 - Spaceology © Cyriak

    Bonobo: Cirrus © Cyriak

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

    Karel: The outdoors keeps my head fresh. I’ll binge Vimeo content every once in a while, and work through tutorials and online courses when I find the time. On-the-job learning is the biggest one for me though – with every project I’ll try to find something new I can learn and implement somewhere in the workflow.

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

    Karel: Now that Apple dropped support for anything that enables GPU rendering in Blender’s Cycles, I think I'll start using Fox Renderfarm :)

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

    Karel: Stay active, spend as much time as you can away from your screen, and don’t ever stop learning.


    Making an Eye-catching Vintage Mustang Look Strong and Smart in 3ds Max

    2020-02-04

    Trending

    Hum3D Contest

    For our mutual goal - improving with the community together, Hum 3D and Fox Renderfarm have established a close and significant cooperation. For this year’s Car Render Challenge, Fox Renderfarm, the leading render farm in the CG industry, as the sponsor, is glad to select The Retro Masterpiece by Surjendu Das as the Fox Renderfarm Team Choice.

    The Retro Masterpiece by Surjendu Das

    “Everything about this work is just well designed, from composition and mood to modeling and materials, making the eye-catching vintage Mustang look strong and smart.”

    -- Fox Renderfarm

    The powerful Mustang with exquisite lighting was also winning the Autodesk Team Choice. Wouldn’t you want to know more about who’s the magic hand behind the fine artwork and how he has made it? Fox Renderfarm had an interview with Surjendu Das and asked all those questions. Check out out interview for more interesting sharings.

    • Surjendu Das
    • 3D Artist
    • From: Kolkata, India

    Fox Renderfarm: Could you please give a brief introduction of yourself?

    Surjendu: Hello, I am a student from Kolkata, India. I am currently doing my graduation in Computer Science & Engineering as well as pursuing a diploma in 3D and VFX art. I have a strong desire to learn new things and applying them. I aspire to work for major gaming or VFX studios/companies around the world in the future and be a part of their amazing creativity.

    Fox Renderfarm: How do you feel about winning the Fox Renderfarm Team Choice in the Hum3D ‘Car Render Challenge’?

    Surjendu: I am feeling very happy to say the least, and proud of myself, my friends, and my parents who helped me a lot to achieve this milestone in my life. This is my first ever international achievement in the field of 3D and it has encouraged me so much to work and create more and more nice artworks. Big thanks to the Fox Renderfarm Team and Hum3D Team for selecting and portraying my artwork, this means a lot to me . And again I want to thank my parents for enabling me to achieve my goals in life.

    Fox Renderfarm: What’s your inspiration for the well-made artwork The Retro Masterpiece?

    Surjendu: I am a big fan of cyberpunk, retro-night style arts and games like GTA V. So I always take snapshots of those whenever I get the opportunity, from galleries like Pinterest, Artstation etc. And it eventually inspired me to create a similar one like them. Also the main inspiration for my scene was from a famous scene by Marek Denko – “Her Eventual Hesitation”.

    GTA V

    Her Eventual Hesitation by Marek Denko

    Fox Renderfarm: Could you tell us the making process of the vintage Mustang?

    Surjendu: I started by making a rough layout in Photoshop, mainly I photobashed the various images I saved to my collection.

    On the modeling part, my friend Ritam Chatterjee really helped me out as he was modeling the Mustang. And I thought that it would be awesome to have the Mustang model in the scene. While he finished the Mustang, I set out the very basic layout of the scene in 3ds Max. After that I added the Mustang and the buildings as per the layout and did the necessary modeling and tweaking. The buildings used in the scene was from a free kit that was available from Kitbash3d.com

    For texturing the Mustang I made custom shaders in 3ds Max for the body, headlights, tires and also added some free textures which I googled and photoshopped as per my needs.

    Then I used V-Ray lights to light up my scene. As it was a night scene I had to produce many lights at every place which affected the final view of the scene. I rendered out various lighting passes as a test, and composited them in photoshop to judge and finalize the lighting. I also added fake lighting to enhance the scene.

    Then I rendered the raw file in 4K in V-Ray along with various passes for my needs and comped it all together in Photoshop, did some crazy color corrections, masking, painting and finally it was ready to publish.

    Fox Renderfarm: We noticed the reflection on the surface of the car and the texture of the car lights are exquisite, could you tell us how did you achieve both of them respectively?

    Surjendu: The reflection on the surface of the car is what has started to make the scene look good. It was made by adding fake scene lights. Initially I assigned the car with a matte surface and did the lighting with an HDRI / Dome light. But it came out to be worse than ever, so I made the car paint material to be very reflective and added three big plane lights in the scene on the right side of the car which cannot be seen from the scene camera. Then I googled some night images and put them as a light texture in the big lights which eventually worked as reflection lights and changed the look and feel of the scene and the mustang.

    The texture of the car headlight is made by connecting a simple procedural grid map to the bump node of the vray glass material. The grid was created by using a composite texture of two Waves maps available in 3ds Max, one having horizontal lines and one having vertical lines, and one of their blend modes was set to multiply in composite node. The image of the shader is attached.

    Fox Renderfarm: And the environment design enriches the ambiance of the whole picture, any ideas behind the lighting design?

    Surjendu: As it was a night scene I had to create lights at every possible area to illuminate the objects. So I made use of direct and indirect lighting to light up my scene. I created lights on the physical light sources and created bounces off them where the light would spread. I also added fake lights off the camera to help illuminate the scene and especially the Mustang, such as the creating lights on the right side of mustang to help with extra illumination and reflection. Also I used self illumination material on various sign boards which helped catch attention.

    I started with a night HDRI for all the light bounces but it eventually made the scene bad so I did lights on my own.

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

    Surjendu: It took approximately 3 months to complete the whole artwork.

    Fox Renderfarm: What software and plugins did you use to make the artwork?

    Surjendu: I used Autodesk 3ds Max for modeling, texturing, Chaos Group’s V-Ray for lighting and rendering in 3ds Max, Adobe Photoshop for final Compositing.

    Fox Renderfarm: What’s the most unforgettable experience in the production process?

    Surjendu: For me, during the production, the most unforgettable experience was the individual lighting of the scene, it felt like it would never end, it was a bit monotonous to add lights and test the renders again & again as I was using CPU rendering but I really enjoyed the process as a whole and was surprised at last to see that the lighting of the scene went well.

    Fox Renderfarm: Have you met any difficulties? How did you solve it?

    Surjendu: The difficulties that I met in the whole scene was again the lighting part and the time left. I used several HDRIs/Dome light for overall environmental lighting but the outputs were bad or not coming up to the mark. I once thought of changing the entire concept but the time was limited and I had to make the change then and there.

    So I ended up manually creating the lights for the light sources as well as creating bounce lighting for the scene along with the big reflection lights on the other side of the car which I discussed earlier. There are a total of 150 lights approx in the scene.

    Fox Renderfarm: Could you recall your first encounter with CG? How did you come up with pursuing your 3D career?

    Surjendu: My first encounter with CG was back in 2014 when I tried to composite a transformer in my home video after watching many tutorials on YouTube and which I failed eventually.

    I loved to play video games and watch sci-fi movies since childhood. So one day all of a sudden I thought of filming & creating my own cool action sci-fi scene with my brother. I searched for a hell lot of videos and tutorials of it and came across VideoCopilot and its host Andrew Kramer. He is a great guy who does free tutorials on After Effects and 3D. His way of approach highly impressed me and encouraged me to create cool action scenes like him. I followed him thoroughly and slowly generated a liking towards this subject as it got revealed more and more. That’s how I ended up pursuing a career in 3D.

    Tutorial video via VideoCopilot

    Fox Renderfarm: Could you briefly tell us about the education and career experience along your 3D journey?

    Surjendu: It’s not long since I started my 3D journey, having started it back in 2017. But in these 2 years I have gathered a lot of experience in the course of learning it and I want to say that it is challenging as well as the most fun subject to learn and work in if anyone is really interested. The mix of technology and fine art is groundbreaking and the things that can be achieved is limitless. I have been learning the subject restlessly and the best thing is that I have faced many problems and I learned many things from it eventually solving bigger problems. Hoping to level up my career more and more in the future.

    Fox Renderfarm: In your Facebook profile, we saw that you are “Autodesk Certified”, could you share your experience of getting the certification?

    Surjendu: After completing the 3ds Max course last year, I was allowed to sit for the Autodesk Certification Examination for 3ds Max from the authorized Training Center I was studying in, as a mark of completing the course successfully. It was a 3-hour long online MCQ-Type exam.

    I was given a set of questions from various fields – modeling, texturing, lighting, rigging , animation and particles inside of 3ds Max. The questions were moderate to difficult and consisted of core conceptual questions about using 3ds Max properly and questions asking a lot of keyboard-shortcuts in 3ds Max. I successfully completed the exam with a mark of 970 out of 1000 and got the certification.

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

    Surjendu: In the CG and VFX industry I am inspired the most by many personnels, some of them are:

    1> Marek Denko, his CG projects very much detailed which inspires me.

    Artworks by Marek Denko

    2> Andrew Kramer, he is one of the game changers in the field of VFX and is one of the main reasons why people like me got interested in the world of CG and vfx. His works inspire me the most.

    Lock & Load by Andrew Kramer

    The project which inspired me the most recently is Project Spotlight by Epic Games where they are doing real time vfx and cg manipulation with actor’s performance in unreal engine, which can save a lot of time in production.

    Project Spotlight by Epic Games

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

    Surjendu: I get inspiration from lots of things. I watch artworks of other artists, play video games which has stunning environments and assets, watch sci-fi short films and watch intros of various films and TV shows.

    I take various subscription of online courses whenever possible to further improve my professional skills and creativity and in general I gather knowledge from Youtube and Google any time I face a problem.

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

    Surjendu: I want to say the CG Enthusiasts that you should always remain interested and keep creating and working without thinking twice, because the more you create, the more you face problems, and the more you solve and overcome, creating your best artwork, that is where the real fun in the process of CG lies.


    A Self-Taught Creator Realized His Unique Idea in Blender

    2020-03-04

    Trending

    Blender

    CG Boost keeps bringing us artworks with compelling ideas behind. No matter what the theme of the challenge is, there are always artists who create their artworks with amazing stories.

    In the “Graveyard” challenge, sponsored by the leading render farm Fox Renderfarm, Andrey Agafonov, the 2nd prize winner, created his graveyard scene in a humorous way. Curious about how a graveyard scene can be made humorous, what the creative process was like, and how he taught himself to use Blender while being an English teacher? Here is our exclusive interview that can answer all these questions, and hopefully, will give you some inspiration and motivation.

    • Andrey Agafonov
    • 3D Artist
    • Chicago, Illinois

    Fox Renderfarm: Hi, Andrey! Thank you so much for accepting our interview, could you briefly introduce yourself?

    Andrey: Sure. You already know my name. I am 30 years old. I live in Chicago, IL and I am currently in the process of switching careers. Always gravitating towards the creative and artistic side of things, with a background in education, design, and project management, I am looking to make it in 3D now.

    Fox Renderfarm: How do you feel about winning the 2nd Prize in the CGBoost ‘Graveyard’ Challenge?

    Andrey: Familiar :D It is the second time I won the 2nd Prize in the challenge. I have participated 4 times in total. With the first one getting into the final, second one earning me an honorable mention, and the latest two being among the winners, I feel that I made decent progress and reached some level of consistency.

    Fox Renderfarm: Your artwork is well-made and seems to have a humorous story behind, what’s your inspiration?

    Andrey: In fact, I wanted to go for something dark, creepy or even gory for this topic. But every humorous, Pixary idea I had resonated so well that I just went with the flow. I came up with the idea of a skeleton gardener in the graveyard and then linked it to the real person by the name of Lancelot Brown, known as the “England's greatest gardener”. This drove my design choices.

    Lancelot Brown

    Fox Renderfarm: And there are 2 characters in the image, please introduce them a bit, and tell us how you made them.

    Andrey: The first one is obviously Lancelot Brown or rather his undead representation. No grave can hold his passion for gardening down. His skeleton design was heavily inspired by characters from Coco. I sculpted every bone by hand keeping it as close to real anatomy as possible while also making sure they align with the stylized look I chose. I then rigged, posed and textured it, giving it some clothes made in Marvelous Designer. I think making this character took the most time.

    Coco (Image via Google)

    The second one is a constable of the British Police force, who arrived at the scene after receiving several reports of a strange-looking gardener in the graveyard by its visitors. You can see him questioning his choice of occupation at the moment. To tell you the truth, he is just head and arms, haha, but it is enough to do the job. I sculpted the body parts and hand-painted his skin texture as well as the subsurface scattering map.

    Fun fact. No one will ever notice it because of the blur and depth of field effect, but there are some more people in the background peaking around the corner and over the fence. One of them is Inspector Gadget and another one is Dwayne Johnson. They are just planes with transparency.

    Left: Inspector Gadget; Right: Dwayne Johnson (Images via Google)

    Fox Renderfarm: The face of the skeleton is so vivid, how did you achieve its facial expression?

    Andrey: I used a lot of reference images and studied facial expressions, including taking pictures of my own face (which I am not going to provide because I respect your mental wellbeing). The funniest thing is that initially, I planned it to be a different angle and only after a render I accidentally did without adjusting the default position of camera I saw it from a different perspective that I liked more and it ended up being in the final image.

    Fox Renderfarm: The composition of the artwork is fine-balanced, did you use any elements and techniques when considering the composition?

    Andrey: I had a picture in my head when I thought of the idea and first created it in blockout, then perfecting it through iterations. No magic techniques were used, it was mostly trial and error and trying to fail better. One thing I always do though, is checking my values (using desaturation).

    Fox Renderfarm: The choice of the color palette and the process of colors deliver a harmonious picture, what did you consider and do when dealing with colors?

    Andrey: I am glad you liked it! I didn’t really consider it much, I think I just relied on my personal taste, which I hope is not too bad. There were definitely some color theory shenanigans under the hood from reading and watching the stuff on the topic.

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

    Andrey: Around 2 weeks. And every minute before the deadline, Parkinson's law is real.

    Fox Renderfarm: What software and plugins did you use?

    Andrey: It was modeled in Blender 2.81 and rendered with Cycles. Some texturing was done in Substance Painter, clothes in Marvelous Designer, compositing in Krita. I made heavy use of Graswald add-on during environment creation which sped up the process significantly allowing great control of particle systems and materials.

    Fox Renderfarm: During creation, what’s the most unforgettable part?

    Andrey: I have a pretty good memory and it wasn’t so long ago, so, everything, for now. But jokes aside, I think it was when the main character came together with pose, facial expression, clothes, and props. I thought: “Wow! This looks cool. It needs a good environment now and it will be a shame if I don't finish on time so I better press on”.

    Fox Renderfarm: Did you meet any difficulties? And how did you solve it?

    Andrey: Lots. With pain and satisfaction afterward.

    I did a lot of research, read and watched many tutorials to make it look like I imagined it. It definitely pays off and you learn a ton along the way. (Now that is something no one ever said right?)

    Fox Renderfarm: Could you recall your first encounter with CG? How did you step into the 3D industry?

    Andrey: I took a modeling course in 3ds Max before college. Did a lot of crappy modeling while listening to Sum 41. Happy times.

    Fox Renderfarm: Could you share your education and work experience along your CG journey?

    Andrey: I doodled with 3ds Max after the course for the next two years and had a couple of design gigs in college. I then chose a career in education while also doing occasional design jobs on the side. I came across the short movie “Spring” and my 15-year old self punched me in the face like: “Man, this is what you are supposed to be doing!” I was determined to switch to 3D, following a self-taught approach, and I started the active phase of it with the legendary Donut scene around a year ago. I decided to participate in challenges because they offer a project-based structure, which lets you learn about every stage of the creation process.

    Spring

    Fox Renderfarm: How did you keep yourself inspired and motivated?

    Andrey: I just do what I love and really enjoy it.

    Fox Renderfarm: Anyone or any artwork that inspires you the most?

    Andrey: So many… If you want some names I can include Jama Jurabaev, Nikita Veprikov, Julen Urrutia, but this list could go on and on.

    Artworks by Jama Jurabaev

    Artworks by Nikita Veprikov

    Artwork by Nikita Veprikov

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

    Andrey: Just follow your passion. When you see a direction it can really take you places.

    3D Render Challenge Ongoing: Shine your talents and win $500 Render Coupons, submit now!


    Interview with T. K. Arlington, How to Scare Audience by a 3D Horror Film

    2020-03-03

    Trending

    Renderosity

    Renderosity 2019 Halloween Contest, which sponsored by the TPN-accredited cloud render farm, Fox Renderfarm, themed on Ever-watching Eyes, attracted so many talented 3D artists.

    T.K.Arlington, a 3D artist and writer, won the 2nd Prize in the Animation category by a short horror film called Sons of the Damned.

    “So Stacy thought running around in some dark, dank, forsaken catacombs underneath the earth would have made for some good ol' riveting soul searching journeys.

    Yea, that was definitely a bad idea Stacy. Hindsight full 20/20. Dunno if Stacy's soul searching objective was accomplished.

    But as she will soon find out, someone (something?) others' "searching" plans surely did bear fruit.”

    Sons of the Damned

    Here’s the interview between T. K. Arlington and Fox Renderfarm.

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

    Toshan: Hello, thanks for having me for this interview. In a nutshell, I am primarily a writer who one day just woke up and started pursuing 3D development as a part-time job. Although my path as a 3D designer and developer started as a hobbyist who really liked modding game assets for his own personal joy around a decade ago, I have now converted my hobby into something much more fulfilling in nature.

    For the most part, I have been self-taught when it comes to 3D designing. And even though my story has never been typical when held up against most contemporary standards, I still wouldn’t have it any other way.

    Fox Renderfarm: How do you feel about winning the 2nd Prize in the Renderosity 2019 Animation Halloween Contest?

    Toshan: To be honest, I’m not happy at myself for winning the 2nd prize. It’s because I really wasn’t satisfied with the piece that I submitted to the Renderosity 2019 Animation Halloween Contest and I do not feel like I should have won anything at all for reasons that I will elaborate on further along in this interview.

    But with that said, I am just completely floored at the wonderful Renderosity community for having voted me into the 2nd place at the Renderosity 2019 Animation Halloween Contest. The entire Renderosity community really is filled with fantastic people and I say this because so many users go out of their way to message me or compliment my work in personal and public messages regarding the content that I put up on Renderosity. They don’t have to be nice, yet they are…and that is something that I fully appreciate.

    Fox Renderfarm: What’s your inspiration for the film? Technically and visually, what is your favorite part of this film?

    Toshan: For this particular film, I wanted to give the Renderosity community my adaptation of Ju-On: The Grudge. Well it was a lofty goal and I know I fell far short of achieving what I set out to…but if things had gone a little better on my end, I think I would have gotten closer to instantiating my vision.

    Ju-On: The Grudge

    As for my favorite part, visually it would have to be the final segment when Stacy, the movie’s female lead, has her initial (and final?) contact with one of the watcher zombies as they rise up from the ground to give her their cheery salutations.

    And technically, it would have to be the simple flashlight with its ‘god-rays’.

    Fox Renderfarm: From the rising of the idea to the final render, could you tell us the creation process of this film?

    Toshan: My process for creating this film followed the same workflow that I employ when creating any 3D content. Since I’m a very visual person, or more like because I got spectacularly poor memory that I need to jot down all ideas and concepts before I forget them, I always start with a rough-hand sketch and give form to my fleeting concepts.

    In this case, the original storyboard and associated screenplay that I first sketched out was soon discarded for something a little bit more...terrifying. Or at least that was the intent that I had, with changing the original storyboard to the one that led to the creation of the film that I submitted for the Renderosity 2019 Animation Halloween Contest.

    But I digress; now regarding the creation process once the storyboard was completed on the 7th of October, I took stock of what assets I had available in my content library and what else I would need to create in order to complete this film.

    Once that was decided, I went to work on creating the scene layouts, the props and the character details that I wanted to use in the scene. I always use a mix of Max and Blender for creating the 3D meshes depending on whether any kind of fluid dynamics comes into play. It wasn’t any different here, since this film had areas involving liquid dynamics (which was cut from the final version, for reasons that I will soon get to) I used both powerhouses to finalize all the various meshes. And after UV unwrapping, I imported them inside Substance Painter where I finished the texturing up and exported all the newly created environments, character overlays and prop models with their required texture maps out to my disk for usage inside DS Pro.

    As for the characters, since I had many licensed DS Genesis 8 and Genesis 3 models available, I conveniently used a mix of licensed and original model assets to fill up the cast of lead and mob characters without having to reinvent the wheel.

    Once I brought them all into DS Pro 4.12 and starting setting up the assets to have them work inside the rendering program, I took a few tests renders of the various assets in play to see if everything looked alright and adjusted the materials accordingly (since DS doesn’t have proper support for displacement mapping like how Substance Painter does, height maps always need some fiddling around to look right in DS.)

    But here is the kicker: when I brought the assets back into DS and rendered out a few test segments, I was under the assumption that the Renderosity Halloween contest’s deadline was on the 18th of the month.

    For the sake of those keeping track, I finished drafting the screenplay on the 7th, I finished creating my assets on 8th and I rendered out a few test segments on the same morning. So I was sitting around feeling rather smug that I was making good progress since the submission deadline was on the 18th (oh me, my sweet summer’s child…) right up till the point that I went back to the Renderosity contest webpage later in the evening to size up few of the entries that I would have been going up against.

    And that’s when a 100-ton weight dropped down to the pit of my stomach, right after I saw that the contest deadline was actually on the morning of the 10th and not 18th of October that I had mistakenly assumed (from who knows where) when I checked the contest details out for the first time earlier in the month.

    Once I realized that I had little more than a day to make the deadline, I took a long hour as a time-out, ordered a pizza, watched some Netflix and once I was done eating I clenched my jaw and fired up all my three systems (which I should note, all are weaklings when it comes to hardware specifications) and started animating the characters on one system while I fed the other two fresh rendering workloads.

    I then spent the whole day and night of the 9th to at least get something finished in time for the deadline. The scene setup and animation were done in a few hours…but the rendering took forever. While the still renders were churning out, I spent the wee hours of the morning of the 10th to create the background music. And with just a few hours before the deadline, when I could wait no longer…I shut down the rendering streams, brought all the raw footage and audio into Davinci Resolve 16 and color graded, added visual FX and packaged the film up into its final form and submitted it as my entry to the Renderosity 2019 Animation Halloween Contest.

    Fox Renderfarm: For this is a Halloween creation, what elements in the film or what techniques you used to achieve the scary feeling of the film?

    Toshan: It would have to be the camera works. I am from the school of thought that blood, gore, creatures, visual effects and jump-tactics (all of which the original screenplay actually had, before I had to axe most of them to speed up the rendering times and make it in time for the deadline) have their own place in horror flicks. But camera works can turn a scary movie into a truly horrifying experience when done right.

    If I had the luxury of time (no thanks to my poor comprehension skills of skimming over the contest details and mistaking the 10th for the 18th) then I would hope to have done the entire film direction more justice.

    Fox Renderfarm: About the details, the lighting design and the design of the monsters give the film a really thrilling atmosphere, could you introduce a bit about the creation of these two? How did you make them?

    Toshan: Well thank you for taking note of that. I did spend a good portion (of the three days that I ended up with), setting up the scene’s lighting and adding all the small details once the models were complete. I only wish you and everyone else would have been able to see All the details that I had originally intended to put into effect (like sweat beading on Stacy’s face, blood flying out from corpses, the flashlight sparking out while Stacy runs down dark corridors, the watcher zombies screaming their eyes out…like literally).

    But for the details that finally did make the cut, the beam emitted by the flashlight is something that I am quite happy with because this effect emulates “god-rays” while using the Iray renderer without any additional plugin or post-processing.

    As for the monsters, they were a mix of my original model meshes and material settings layered onto a Genesis 8 Androgynous base with some monster details adapted from a purchased Genesis 3 Female zombie that I had lying around in my content library.

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

    Toshan: It took me a little more than three days to get everything done. I had to cut down on around 90% of the content, the effects and the scariness of what I really wanted to show here…so yes I’m really disappointed that I couldn’t create everything that I wanted to show in time.

    Fox Renderfarm: What software, renderers, plugins did you use in this work?

    Toshan: For designing the models from start to finish I used (in no particular order): 3DS Max 2015, Blender 2.8, Substance Painter 2019, Substance Designer 2019, Substance B2M 3, Photoshop CC 2019, DS Pro 4.12 and Inkscape 0.92.

    For animation, posing, rendering and processing the raw render stills I used: DS Pro 4.12, Iray renderer and Photoshop CC 2019. I also used Adobe Mixamo’s animations, user:rug’s SGApps plugins and user:mCasual’s Daz plugins inside DS Pro 4.12 while setting the scene up.

    For creating the background music I used: Apple GarageBand (latest builds on both iOS and MacOS version) and Fairlight (for Davinci Resolve 16).

    For rendering the video I used: Davinci Resolve 16 (with Davinci Fusion).

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

    Toshan: The most interesting part would have to be putting together the initial storyboards, plotlines and the screenplay. As much as I like designing and creating stuff, I will always be a writer first. And it’s the time spent on putting pen to paper that really sticks with me more than anything else (including stylus to a Wacom pad).

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

    Toshan: There are quite a few people and past/present projects that fill me up with inspiration. Bioware (the original company and its members) for one, always gives me hope that even if one’s path doesn’t start with a computer engineering degree it can always lead to creating some great works that transcend generations.

    (BioWare)

    Another more recent addition to my “inspirer” list is Love, Death and Robots. In fact, this series has impressed me so much that I’ve started drafting and designing a few small animation segments in the same anthology format in hopes of getting it done sometime soon™ and putting it out on my channel for everyone to click on and spend a few minutes getting varying degrees (yea, nay or meh levels) of entertainment. And one positive point that I got going on for me here is that there will be no ‘Remember, remember the 10th of October’ deadline to misinterpret or fear anymore.

    (Love, Death and Robots)

    And though this next set may look like me going off in a tangent, the bands Dream Theater, Tool, Florence and the Machine, Tove Lo, Hans Zimmer, Rag’n’Bone Man…to name a few are very inspirational to me and my work. I kind of create and put together scenes, visuals, animations, and concepts from certain musical portions of some artists’ songs. I know there are clinical terms for “seeing” music, but l only like to say that they inspire me.

    Fox Renderfarm: What do you think the quality that will make a great artist greater? Any other things you want to share with CG enthusiasts?

    Toshan: The quality I feel that can push an artist to greater heights is to realize that there is always a new horizon to breach and that we should never get complacent with what we have achieved thus far. It’s my humble belief that perfection is just an illusion: worth pursuing but never truly achievable.

    It doesn’t matter if you’re just starting out or have ‘made it’ or are anywhere in between. The moment you as an artist start feeling you’re good enough and don’t need to prove yourself to anyone, especially prove it to yourself…that’s when you have peaked and there will only be one place to slide from there on.

    If you’re a CG artist (or of any kind), don’t let anyone ever make you think that your art is bad. We all start somewhere, so there are stages while we learn and stages while we get better. But we are always on the stage when we are learning something. And if you’re a CG consumer, then you’ll always have some new content or the other that will keep you entertained, so you’re good on that front!

    But I feel this is a great time to be alive for any CG enthusiast, mainly because of the huge influx of new CG content creators and the ever-expanding market with new CG creations that have blossomed in the recent decade.

    So I just want to finish by once again thanking the awesome Renderosity community for voting my entry into 2nd place, even though it was a last-ditch attempt to make the deadline. I promise that next time around, my anonymous submission for the next contest will be much better and will definitely be worthy of your vote!

    And also my heartfelt gratitude to Fox Renderfarm for their generosity in sponsoring this year’s Renderosity contests and for allowing me to say a few words in this interview. Thank you all for making this happen.


    Street Musician Reindeer Made in Blender: Sprinkle Some Fun in Character

    2020-03-02

    Trending

    Art Competitions

    Speaking of reindeer, your first impression might be the ones pulling the sledge for Santa. Whereas, artists set their imagination free in the CGBoost “Reindeer” challenge which is sponsored by the TPN-accredited cloud render farm, Fox Renderfarm.

    Besides all the cute creatures made by the artists, there’s one that the audience can’t take their eyes off, a punk-style reindeer with one leg on the stool, playing his guitar and humming alone.

    You must want to know who’s the great mind behind, how he thought of the ideas making a street musician reindeer, what software and plugins he used, and how he made it possible step by step. Let’s introduce the creator, Dante Resendez Delgado, 3rd prize winner in the challenge. And his exclusive interview with Fox Renderfarm shares more than just his creation process. Let’s dive in and enjoy!

    • Dante Resendez Delgado
    • 3D Artist

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

    Dante: Hello there, thanks for this interview, my name is Dante Resendez Delgado I call myself on social media “Mycro Tr Ct”. I’m a Mexican 3D artist, born in Victoria city, and I live and work in Monterrey.

    I have been working for about 10 years as a 3D artist, and for about 6 years working as a 2D digital artist, doing graphic design and illustration. Most of my artworks are for advertising.

    In 2006, I had the opportunity to travel out of Mexico and live in Canada. Because I have the intention to learn 3D animation, that goal happened after two years when I went to Spain and learned 3D. It was a very difficult journey.

    Since then, I have been working in 3D for advertising doing a mix of 2D and 3D.

    Artworks by Dante

    Fox Renderfarm: How do you feel about winning the 3rd prize in the CG Boost “Reindeer” Challenge?

    Dante: So excited to win the challenge, I got the third place but I celebrated as I was winning the first prize. For me, getting that place was an honor, also having the chance to meet people who are better than me and have a strong background in the 3D world gives me more confidence.

    Participating in challenges pushes my work in a better way. I learned to work faster and learned new techniques. In this case, I was working with particles for the first time in Blender and depth of field, also some hair fur, Quixel Mixer and Graswald.

    Fox Renderfarm: The reindeer has a very strong characteristic. What’s your inspiration for this picture of the cute reindeer?

    Dante: My inspiration came from Vancouver, I’ve been there before and remembered my Granville walks listening to the music on the street where traveler musicians playing for tips and asking for changes to continue their traveling, some of them are really good ones, those rebel and free souls are really good inspiration topics.

    Fox Renderfarm: We found the texture of the reindeer quite sophisticated, and different parts have a different texture. Could you tell us the creative process of the reindeer?

    Dante: Yes I will. First, I had two words in my mind, do it simple and fast, I was only able to spend 6 days, no more than 8, because I have a full-time job. I could spend only nights, and Christmas vacation was coming. So I was making it easy on the planning, the idea, and also the production.

    I wanted the reindeer to look like a stuffed toy. I went for square pattern textures to make a flannel shirt, and I found a good texture on google for free, that was for the shirt. For the skin, I used a normal map of a fabric texture I found on CCO textures and put in the node just to add volume. And also I used hair fur on the skin to help the texture look better. On the jeans, I did almost the same, but there I just corrected the color of the diffuse textures.

    I did not complicate workflow because of the time, the most important thing for me was to have the color palette clear in my mind, that was the most important guide to lighting and texture as the scene for me.

    Fox Renderfarm: The lighting merges cold and warm together.How did you set the lighting? And any ideas behind that?

    Dante: Technically, I used 3 light areas and one point to support the backlight. Area lights let me have more control over the scene, easy to get contrast on areas. I also used a very easy HDRI on the strength I got from the HDRI heaven. In my setting renders, I used a volume scatter node connected to the world that let me blur the particles.

    I like to spend time playing with lamps, just play and see, if I like what I see that’s fine. For sure I’m always looking for good contrast and layers on the composition, also have in my mind what makes the sense on the character and the situation he is living on the scene. In this case, Reindeer is a nostalgic traveler character, a free soul who is going around the world with no worries. Some ideas came into my mind because my initial idea was to make a talented character who is discovered by a Santa Claus talent scout.

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

    Dante: It took me 6 to no more than 8 nights after my job.

    Fox Renderfarm: What software and plugins did you use?

    Dante: I used Blender 2.81 rendered with Eevee, I also used Graswald and Quixel Mixer textures for the floor and background, and some color corrections in Photoshop.

    Fox Renderfarm: When and how did you come up with the idea of entering the 3D industry?

    Dante: I was sure to start when I was a little kid, and that was just the idea to work in something related to art and entertainment, like animation or movies. I liked to watch cartoons like Hanna Barbera, Popeye, Looney Tunes... I always like to draw cartoons and I grew up with all that inspiration.

    Cartoons by Hanna Barbera (Image via IMDb)

    Popeye the Sailor (Image via Google)

    Looney Tunes (Image via Google)

    Then I became a little older and I knew about a school called CalArts (California Institute of the Arts), then I found The Kubert School and VanArts (Vancouver Institute of Media Arts), they teach people how to draw comics and make animation movies. Wow!!! I remember sending letters written by hand in Spanish, asking for information when I was a teenager. But especially in 3D, it was when I saw Toy Story 1, that was the biggest inspiration and the first.

    Toy Story 1 (Image via IMDb)

    Fox Renderfarm: Could you share with us your education and work experience along the 3D journey?

    Dante: For sure, I was studying 3D animation in Barcelona on IDEC, the university of Pompeu Fabra, they have a program and teach you animation and 3D. Students end up doing a short film, like preproduction and production, and you learn a lot from it. But for some people who don’t know anything about 3D, if you are thinking about doing a short film in 3D, you have to be a very organized person and do a good planning, and there are more things to do if you wanna make it right and have good results, this is my personal opinion.

    I was studying really hard but I had a very failed result with my final project. That put me in another direction, I started to do more hard work, study and discipline myself to practice and improve my skills.

    Artworks made by Dante in 2009

    Experience in work, well, I started working as an illustrator during my study in graphic design. After my graduation, I kept working in the same direction, and during my free time, I worked on my own projects. I have two projects published by Pictoplasma (Berlin, 2006). The Pictoplasma Encyclopedia Character and Rabbit Essence poster. I also had the opportunity to collaborate on projects, some of which won prizes around the world. I did the concept art for the image of a school of design in Saltillo Mexico called The Digital Invaders, and that won so many prizes, one of which in Cannes Lions.

    Projects published by Pictoplasma

    Concept Art for The Digital Invaders School

    Fox Renderfarm: As an outstanding 3D artist, what do you do to keep yourself motivated and inspired?

    Dante: Thanks for that. It is really difficult to keep yourself motivated because in many ways you are alone, people will say, your work is really good sometimes, other times don’t. Actually, only you know where you wanna go with your work, and at the end, you have to be your own judge, how good you wanna be, what really matters is what you believe you can do, then you have to put action!!! And try to make good decisions, don't forget that one.

    Surround yourself with people who go in the same direction and who will understand your ideas even if you don't talk with them like, maybe you just follow them on Instagram, that's good!!! Because they will show you constantly what they are doing and you can be motivated watching what they are doing. That's my experience.

    Inspiration is everywhere if you wanna be a character designer you can be inspired in all kinds of art, like fashion, photography, architecture because everything has a sense and you can apply in your own work.

    Fox Renderfarm: Any artwork or anyone that inspires you in the industry?

    Dante: Tartakovsky!!! One of my favorites, I love his work in Samurai Jack!!! And what he tries to do in Popeye 3D movie, in comic art, Joe Madureira (Battle Chasers), I love his very unique style the same as Humberto Ramos (Crimson), Luis Vasquez (illustrator from Monterrey Mexico), and Juan Díaz Canales (Black Sad).

    Left: Genndy Tartakovsky; Right: Samurai Jack

    Left: Joe Madureira; Right: Battle Chasers

    Left: Humberto Ramos; Right: Crimson

    Illustrations by Luis Vasquez

    Left: Juan Díaz Canales; Right: Black Sad

    Talking just about the drawing style, shape and color palette. Brian Froud, Concept Artist for Dark Crystal, you have to see his work, it is amazing, Daniel Lara is one of my favorites on 3D, everyone in Blender community knows who is, those artists are the very first ones who have been inspiring me.

    Left: Brian Froud; Right: The World of the Dark Crystal(Images via Wikipedia & Google)

    "Hero" by Daniel M. Lara

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

    Dante: Thanks Fox Renderfarm for sponsoring me and for the interview, I hope it can inspire some CG enthusiasts, not much to say just never give up and keep on the road.

    3D Render Challenge Ongoing: Shine your talents and win $500 Render Coupons, submit now!


    Interview with Grand Prize Winner of Renderosity 2019 Animation Halloween Contest

    2020-02-03

    Trending

    Renderosity

    Renderosity 2019 Animation Halloween Contest, the fantastically creepy and creative CG Contest, which was held by Renderosity and sponsored by Fox Renderfarm. Many frightening but amazing artworks were submitted. We are glad to introduce Jared DuBois, the Grand Prize winner of this contest.

    “A long drive without any sleep can be detrimental to one’s mind. Without sleep, it can start to play tricks on them…”

    Late Night Drive by Jared DuBois

    Jared DuBois is a filmmaker and has been practicing his skills for many years. He has been supporting himself on freelance work since 2017. His freelance work has mostly been animation but his best work is done when he is on the set, behind the camera. He loves to work and collaborate with others.

    Animation Demo Reel 2019 by Jared DuBois

    Here’s the interview between Jared DuBois and Fox Renderfarm, talking about the creation process of his prize-winning film.

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

    Jared: Hello! I am a 22-year-old filmmaker who very recently graduated from Emerson College in Boston. I have wanted to be a filmmaker since I was about 10 years old and I got my first camera so I have been working on that ever since.

    Fox Renderfarm: How do you feel about winning the Grand Prize in the Renderosity 2019 Animation Halloween Contest?

    Jared: Very excited! I now have a lot more tools to work with such as the Ipi motion capture studio pro version and the Fox Renderfarm. Hopefully, I utilize all of these tools to their fullest and make something truly special.

    Fox Renderfarm: What’s your inspiration for the film? Technically and visually, what is your favorite part of this film?

    Jared: My inspiration for this film is from an experience I had not too long ago. I was working as a production assistant on a film and of course, film shoots usually go longer than 12 hours they say you will be working. So after about 14-16 hours of work, it was late and I was extremely tired and on my way home from work I began to hallucinate things on the road such as the roads not going where they actually were and even a weird monster. It’s a wonder I didn't crash before I decided to pull over and rest. I wanted to convey that fear of not knowing what is real while behind the wheel of a car since it is a time when you are very vulnerable. Technically and visually my favorite part of the film is probably the explosion at the end, I love contrasting colors and the bright orange contrasted against the dark blue of the night is something I believe to be visually appealing.

    Fox Renderfarm: From the rising of the idea to the final render, could you tell us the creation process of this film?

    Jared: The process for me was to get a basic idea of how I wanted the film to look. I figured that a trucker would be a better idea since with the idea of trucker for me at least comes with long roads with nobody on them. Down south kind of stuff where its mostly just roads and long dry grass. After that I attempted to fine tune the colors and build the set which was fairly easy considering it was just a road, some grass, and a sky. The next step was to create the illusion of movement. For about 80% of the shots the truck isn't actually moving and it’s the road and everything else that is moving instead. I did this because it is a lot easier to animate characters if they aren't constantly running away from you. The next step was to just to come up with a basic idea of where I wanted the story to go, and then animate it. I usually set up all the cameras then animate it so I don't end up wasting any time in the animation phase on things that won’t show up in the camera. Then I animate it and render, do that sound design, and that's about it!

    Fox Renderfarm: For this is a Halloween creation, what elements in the film or what techniques you used to achieve the scary feeling of the film?

    Jared: I used the tried and true method of slow zooms, closeups, and showing as little of the monster as I could. I also of course made sure the main character was alone and I attempted to create a mystery on if the monster was real or not. Towards the end, you can see when the steering wheel spins the monster is no longer there. I love small things like that which help to drive mystery in a story, even one as short as a minute.

    Fox Renderfarm: About the details, the lighting design and the fire after accident give the film an overwhelmingly nervous atmosphere, could you introduce a bit about the creation of these two? How did you make them?

    Jared: The fire was a particle that was meant to be used on thermite grenades in a video game. I simply took that and applied it alongside some dirt particles, explosion particles, and tada you get what you see in the final product. The lighting design was something that wasn't that hard to think of either. Mostly I did so towards the start of production, I knew I wanted the truck to go up in flames and so to compliment that I gave the rest of the scene a nice dark blue tint to it. That way the fire and the light from that fire would create an entirely different scene and stand out more. I find that the brain remembers things by color and even now when I think back on my work the things I remember are a blue first half and an orange second half.

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

    Jared: This project took from concept to finish about a week of work. The character being sat down for a majority of it made animation fairly easier than normal.

    Fox Renderfarm: What software, renderers, plugins did you use in this work?

    Jared: For the most part I stayed within my main animation software, Source Filmmaker. The only other thing that I really used was Adobe Premiere with a Magic Bullet Looks plugin.

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

    Jared: For me, the most interesting thing was how the tension of a contest changes my work. Usually, the only person who's opinion on my work really matters is the one employing me, however now I had to be more carefully considering my audience, the contest rules, and how readable my video is. Working with these made the process a lot more interesting to me as it does bring me out of my comfort zone and forces me to work a lot smarter.

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

    Jared: One challenge that I did encounter was "how do I make a horror story in such a short time period?". For me, horror is about slow builds, characters, and tension, all of which is difficult to build within a minute or so. A horror to me relies on you liking or at least being invested in the characters so you don't want them to die. To get around this I took a more video game development styled approach. A silent protagonist who is easy to sympathize with. All we know about this character is that he is doing an honest job and that he is likely has over-worked due to the fact that he is so very clearly tired. These traits are very relatable to a lot of people so it's easy to sympathize with this character right off the bat. Now, of course, I couldn't do a slow build but I did try to build up the horror as much as I could. I believe I was fairly successful.

    Fox Renderfarm: How do you like Halloween? Does Halloween often give you some creation inspiration?

    Jared: I love Halloween, it's my favorite holiday thematically. There is just so much more storytelling potential with it than there is say something like Christmas. A Halloween story doesn't need to be about Halloween either, it can just be a horror story and its perfect. I get very inspired by the Halloween season, the falling leaves and the cooling temperatures bring back memories of childhood, walking through the streets in a costume that I could barely breathe out of and demanding free candy from strangers. Not to mention other people coming up with creations around the same time it all makes for a beautifully disgusting season and I can't wait for next year.

    Fox Renderfarm: What’s the most unforgettable costume that you’ve ever dressed? Who or what would you like to dress as for the next Halloween?

    Jared: The most unforgettable costume I have ever gone as? Well one year I designed my own costume that was just a bunch of black clothing with glow sticks sewn into it to give the illusion of a stick man. This was something way back like when I was 10, I know its a very common thing now but when I was little it was cool to me! Next Halloween, assuming I manage to get any kinda money I think going as Godzilla would be pretty cool. Godzilla has always been a passion of mine so going as him would be pretty amazing.

    Fox Renderfarm: Could you recall your first encounter with CG?

    Jared: My first encounter with CG... Hm that goes way back, I was born in 1997 so I have grown up with CG films my entire life but if I had to guess it'd probably be the original Toy Story but I’m not entirely sure about that. To me, as 3 years old, I’m sure I wasn't able to appreciate all the work that went into making it and just saw it as another kind of cartoon. Of course, now is a lot different and I really get amazed by GC. Kinda weird how it went from uninteresting to fantastical as I got older, surely that's supposed to be reversed right?

    Toy Story

    Fox Renderfarm: When did you step into the 3D artist career? What made you decide to pursue this career?

    Jared: Ever since I was young I wanted to be a filmmaker, I loved making little movies whenever I could. There was an issue though, growing up in Rhode Island, there really wasn't anybody around me who shared my interests, so if I wanted to make anything I would have to do it by myself. The only way I could do that was through animation and thus I tried using a little program called Pivot which was very very basic but also very easy to understand. Another thing that helped me get into the work of animation was somebody named Kitty0706 or Colin Wyckoff. His content was amazing and my dream was to get to meet him someday and that dream kept me interested in making animations. He used Garrysmod for his animations so I figured the best way to do things would be to get into a program called Source Filmmaker which was released in 2012. Ever since then I have been trying to make content with it and learning all of it in and out. Sadly Colin passed away in 2015 due to leukemia but I still treat my work as if I would be making something good enough to impress even him.

    Colin Wyckoff’s works

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

    Jared: I am a big fan of Brad Bird's animated films however my biggest inspirations are mostly themes and ideas less so specific people. Something that has been a huge inspiration on how I do horror is a game called "Darkwood", it’s just fantastic and amazing use of horror to its full potential.

    Brad Bird's films

    Video game: Darkwood

    Fox Renderfarm: As an outstanding 3D artist, what do you think the quality that will make a great artist greater? What do you do to enhance your professional skills?

    Jared: First of all, thank you for the compliment and second a quality that would make a great artist greater would probably an ambition to improve constantly. For me I’m very pessimistic, I tend to hate just about everything I make and my hope is that someday I will make something that I don't hate. That's a factor that keeps me going, the idea that maybe someday I’ll make something that I myself would enjoy but until we get there I just gotta keep practicing. To enhance my skills I usually take on a project that is WAY outside my current abilities and I won’t stop till it's done. By the end, I am guaranteed to have learned something new even if the final product isn't very good.

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

    Jared: Am I allowed to plug my stuff here? If so you can find me on YouTube at Sparkiegames or on twitter @sparkie237 other than that I would say to keep trying things outside your comfort zone. If you have a wild or stupid idea, write it down and do something with it. Even if you cannot realize it fully, go and try it because I guarantee you will learn something along the way.


    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.


    Interview with Adrian Rubio Vasco: ArchViz Works that Fool Your Eyes

    2019-11-08

    Fox Talk

    Art Competitions

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    It is always said that “seeing is believing”, while sometimes you will somehow be confused or fooled by your eyes. Spanish ArchViz artist Adrian Rubio Vasco takes us in front of and inside The Longbranch Cabin made by Olson Kundig with his extraordinary ArchViz artworks. Each photorealistic ArchViz illustration features perfect perspective, lighting, and texture, making it hard to believe they’re ArchViz at all. Fox Renderfarm is delighted to interview with him, and you can have a closer look at the comparison images with real photographs in the interview to see if your eyes will fool you again this time.

    • Adrian Rubio Vasco
    • From: Spain
    • Architectural Visualizer
    • School: 24studio VIZ

    The Longbranch Cabin: Nominated work in Student (Image) Category of CGarchitect 2019 ARCHITECTURAL 3D AWARDS

    CREDITS:

    • Student: Adrian Rubio Vasco.
    • Teachers: Jesus Manuel Jimenez and Sandra Ferminnan.
    • School: 24studio VIZ.
    • Project designed by Olson Kundig.

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

    Adrian: Hi, I’m from a small city in Spain, Zamora, where I did my career in Interior Design at the EASD. Later I moved to Madrid where I studied visualization at 24studio LAB. I’ve always been passionate about photography and almost every visual media so I’m very happy to be where I am right now.

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

    Adrian: I wasn’t expecting to be nominated so it was a big surprise.

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

    Adrian: As a student at 24studio LAB, we were asked to choose a real project and try to recreate the whole images, which is a great way to learn how light and materials work in real life. I didn’t had the intention to submit the work to any contest, but it ended looking so good that the people at the school encouraged me to do it anyway.

    The Longbranch Cabin it’s really different from the architecture we used to see nowadays, also the photographers did a terrific good job, the pictures are spectacular and have very complex light and a lot of rich materials to practice and learn.

    Left: Longbranch Cabin’s photo by Benjamin Benschneider; Right: ArchViz by Adrian

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

    Adrian: I just focused on the details, the bounces, reflections, and tried to understand everything that was going on and make it on Max. For the direct lighting, I used a VraySun, a Vraysky and a blueish big sphere for the ambient light and a sunset HDRi for the reflections.

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

    Adrian: It was a total of six images and we had 4 months to make them all, but I wasn’t working full time nor every day, so I can’t tell exactly the time.

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

    Adrian: I asked the architects for more detailed plans, but they didn’t answer, so I ended modeling the Cabin from the references perspective for each image, and I think that it gave the images a nice little touch of realism.

    Left: Photographs by Kevin Scott, Benjamin Benschneider; Right: ArchViz by Adrian

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

    Adrian: Aside from the modeling methodology, I remember struggling with my old computer to get the renders done without crashes, which made me learn a lot about how to optimize the scene and render settings.

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

    Adrian: Once I finished my education at 24studio LAB they offered me an internship at their marketing and visualization agency 24studio. I’ve been there for 9 months now.

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

    Adrian: If I have to choose only one, the Third and the Seventh by Alex Roman. It's beautiful, I remember watching it and think to myself... I want to be able to do this one day.

    The Third & The Seventh by Alex Roman

    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?

    Adrian: I’m still learning and improving, but I think experience and resources are very important for time-saving. At the end is all about finding the balance between how far can you push your images into realism and the time you have to make it possible.

    Fox Renderfarm: What’s your next step?

    Adrian: In my spare time, I’m learning and working on my own script for Max and also learning 360 photography to make virtual tours and my own HDRis. The next step would be learning how to photograph PBR materials or UE engine for real-time rendering, there’s a lot of interesting things to do and learn in this job.

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

    Adrian: I haven’t used any render farm yet, but I will definitely look into it for future projects.

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

    Adrian: It’s great to be part of such a nice and talented community and I hope that someday I could contribute to it as much as it has contributed to me.

    For more Adrian’s artworks:

    ins: https://www.instagram.com/adrianrubio.pro/

    web: https://www.adrianrubio.pro/


    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 Cheng Lei, Telling a Dream about Travel in Architectural Visualization

    2019-10-22

    Fox Talk

    CGarchitect Architectural 3Dawards

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS

    The CGarchitect Architectural 3D Awards, sponsored by Fox Renderfarm, is the largest and most prestigious awards event for the architectural visualization industry, attracting entries from top studios, freelancers and students from around the world.

    Fox Renderfarm is honored to introduce the winner of the Film/Animation(Student) category, Mr.Cheng Lei and his team from China who love animation.

    • Cheng Lei
    • 3D Instructor
    • From: China
    • School: SAN WEI KONG JIAN (3D Space)

    TRAVEL

    CREDITS:

    Artistic Director: Gang Liu

    Producer: Huifang Li

    Instructor: Cheng Lei, Xiaoting Qin, Hua Chen

    3D Artist: Xinhe Wang, Na Ding, Xudong Wang, Shuxin Yan, Zhiyu Wang, Zekun Feng, Feifei Chen, Xiaojiao Wang, Danyang Jin, Zesen Liu, Yumeng Wang, Yangjun Wang, Yinxu Niu, Yuxin Yang, Dan Xiong, Sipei Sheng, Siqing Duan

    The winner team comes from SAN WEI KONG JIAN (3D Space), an educational institution teaching UI design, game design, film, and television advertising animation, architectural parade animation and more than 20 categories of courses.

    With the passion of animation, the students spent a total of two months discussing creative details, storyboards, models, material and light rendering, and post-production editing. Finally, they finished the original 3D architectural animation, which received international recognition.

    Behind the scenes of TRAVEL

    It’s the second time for SAN WEI KONG JIAN to win the CGarchitect Architectural 3D Awards. The students from SAN WEI KONG JIAN won the award last year for their excellent work About Y Chair, which is the first CGarchitect Architectural 3D Awards for Chinese student team.

    About Y Chair

    Here’s the interview between Fox Renderfarm and Cheng Lei, one of the instructors of the winning work.

    Fox Renderfarm: Hi, Cheng, would you please give a brief introduction about yourself and your team?

    Cheng: Hi, Fox Renderfarm, my name is Cheng Lei, I am an animation teacher. I come from Xi 'an, the ancient capital of 13 dynasties in China. All my team members are college students are from different universities in Xi 'an.

    Fox Renderfarm: How do you feel about winning this award? How do you feel about the D2 Conferences this year?

    Cheng: Of course, I am very surprised to win this award. I am very happy that my students can be recognized by the internationally renowned competition. It is their honor. This year's D2 conference was a great success and everything was arranged in perfect order. Thanks to the organizers and sponsors, it allowed me to see the wonderful works of different artists and promoted the mutual communication between the industry, which was a good learning opportunity.

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

    Cheng: My inspiration came from a sentence on the Internet a few years ago: "the world is so big, I want to see it." It was a resignation letter from an employee that went viral because of its unusual content. I asked my students if they wanted to make a film about travel, and they were all interested. Students in the animation class can only make two animations a year. They (can only) use the time of winter vacation and summer vacation (to create animation). Usually, they have a lot of courses to learn, there is no time to make animation. So there were only two animations, and we chose the one that is better.

    Fox Renderfarm: The whole film is led by different kinds of animals transformed from a resignation letter, any ideas behind that?

    Cheng: That letter of resignation actually represents the dream (in sleep) and dream (wish) of the Protagonist, taking the Protagonist to travel around the mountains and rivers, who gives up work to find the most authentic self.

    Fox Renderfarm: The scenery sites shown in the video are designed to illustrate the word “TRAVEL”, any ideas behind that?

    Cheng: Before the production, we asked the students to make the animation as delicate as possible. Because we wanted to take the animation to participate in the architectural 3D Awards which is about architecture, we chose to illustrate every character of the word “TRAVEL” in the form of architecture. About the shown architecture made, we did refer to many different architectural styles around the world, and then made up our mind about which to use and how to use them. And we tried to use mountains and rivers to demonstrate the idea of traveling around.

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

    Cheng: The thing that’s unforgettable in the whole process is the adjustment of these animals because the students were not very good at character animation. Have you ever seen a cow walk on two feet, the deer flapped its front feet like a bird?

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

    Cheng: The most difficult part is the paper crumpling animation. At last, we chose real shooting. We shot photos while folding once at a time, which was a bit like stop-motion animation, and finally synthesized into 3d scene through post-production.

    Fox Renderfarm: SAN WEI KONG JIAN devotes to the education of CG creation in China, how do you feel about the integration of Chinese culture and CG creation?

    Cheng: 3D Space (SAN WEI KONG JIAN) is an educational institution specialized in art design training. We welcome all of you to exchange ideas and learn from each other. Culture is diverse, and cultures from all over the world bloom together. It is because of regional cultural differences that a hundred schools of thought of artists' works contend. The national culture is the world culture, can combine their own national culture and modern computer animation to present to the world, is very meaningful.

    Fox Renderfarm: How long have you been in the 3D instruction field? And how did you make the decision to step into this industry?

    Cheng: I've been in CG for 8 years, just because I love it.

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

    Cheng: From the moment I saw Up, I fell in love with animation, but somehow I got into the architectural animation industry. The two people who influenced me most were Alex Roman and Bohong Deng.

    Alex Roman and his work

    Bohong Deng and his work

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

    Cheng: I have used render farm in China before, but never Fox Renderfarm, but I will use Fox Renderfarm in the future, thank the sponsors, I think it will make our rendering work better.

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

    Cheng: Don't give up your pursuit and love of works because of others' malice and incomprehension. Good works take time and endeavour. Thanks.


    Interview with Carlos Costa Blanes, Nominee for 2019 Architectural 3D Award by CGarchitect

    2019-10-17

    Fox Talk

    CGarchitect Architectural 3Dawards

    As a world-leading cloud render farm, Fox Renderfarm, is always willing to support our CG community. As the Gold Sponsor for 3DAwards 2019, we are glad to hear that the 3DAwards this year was a massive success. 3DAwards is the largest and most prestigious awards event for the architectural visualization industry which attracts entries from top studios, freelancers and students around the world every year. Both the winners and nominees have been announced on CGarchitect’s website. Congratulations to all the winners and nominees!

    Today, we are honored to talk with Mr. Carlos Costa Blanes, nominee for Student (Image) Category, who steps into the Archviz industry from a student of Archaeology. He tells us how he makes the shift and more about his nominated artwork.

    • Carlos Costa Blanes
    • 3D artist at Pictury Archviz (http://www.pictury.net/)
    • From: Sevilla, Spain
    • School: Nuevas Profesiones

    Nominated Work

    http://3dawards.cgarchitect.com/gallery/showcase/32972

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

    Carlos: Hello, my name is Carlos Costa Blanes and I am a 23 years old 3D artist based in Seville (Spain). I hold a BA in Archaeology though today I do nothing related to it, and afterwards I studied a two years’ 3D generalist course, ending up specializing in ArchViz through online self-learning.

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

    Carlos: It is by far my biggest achievement. I am really happy and proud about it; I could not imagine a better way to start my professional career. It has definitely helped a lot.

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

    Carlos: I made the artwork with the idea of submitting it to the competition, so from the very start, I knew this would be the image. When looking for inspiration for a project, the amount of ideas and possibilities can be overwhelming. So, I decided I would restrict myself to the rainy/foggy mood.

    While working on the project, I came up with the idea to draw a parallel between today’s modern architecture and native tents with those accentuated triangular shapes and added elements that refer to the jungle/forest ecosystem, like the flying parrots or the boats.

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

    Carlos: The light in the 3ds Max file, it is simply based on an HDRi with no global volumen material as may seem. It is later in Photoshop where most of the tricks happen, using a colored ZDepth element for the overall fog and exposing certain parts of the sky in order to achieve the overall look of the image. It was important for me to have the colour palette defined from the very beginning, knowing I wanted to play with the orange-blue scheme as complementary colours.

    Regarding the composition, I had the idea of a lake scene in order to enhance the reflections of the buildings. In order to avoid a flat image, I used some rocks on the foreground and mountains in the background. The buildings were simply located following the Rule of Thirds and I used three of them as I thought that would give the best visual result.

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

    Carlos: Probably between 20 and 25 hours in total, from the research for references until the post-production.

    Fox Renderfarm: What software, renderers, plugins did you use in this work?

    Carlos: I created the scene on 3ds Max and rendered it with Corona. The vegetation scattering was achieved using iToo Forest Pack.

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

    Carlos: I really enjoyed and spent a lot of the time trying to achieve a fog that I was happy with, as well as playing with the colours until I got the exact tones I wanted for the scene. There are so many shades of blues and oranges so it took me some time to decide.

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

    Carlos: As I said, the main difficulties were the fog and deciding on the colours. I spent quite some time playing with different combinations.

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

    Carlos: I have been actively self-learning about ArchViz since September 2018, so one year ago. Later that year, I contacted Pictury (www.pictury.net/) - a studio whose artwork I really liked and who were, luckily, based close to my hometown - and did an internship with them from February till June. After the internship, I started working with them professionally since July.

    I made the decision to step into architectural visualization because I always enjoyed the process of shading and texturing. Besides this, I really like producing photorealistic images. As I like to experiment with photography in my free time, the photographic component of the industry also appealed to me.

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

    Carlos: There are so many amazing artists out there; sometimes it can even be frustrating to look around on different profiles on Behance or Artstation, some people are so good. However, I feel like we should look for inspiration in other areas in order to create something original and not fall in trends.

    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?

    Carlos: The thing I consider most important today, in order to keep up to date with the evolving industry, is to never stop being a self-learner. The technical component of this industry is quite complex and deadlines are demanding, so you really need to be up to date with the latest tools and technologies in order to reduce production times and focus more and more on the artistic side of it.

    I think what makes the most differences between great and greater artists is the light and composition knowledge. There are more and more artists with outstanding technical skills, so I think it is the artistic side that makes the difference. I bought myself a camera just to learn photography and further develop my skills to produce CG images.

    (Photos by Carlos Costa Blanes from Instagram @costablanes96)

    Fox Renderfarm: What’s your next step?

    Carlos: I want to learn as much as possible right now. I think the industry is changing because of the steadily developing procedural techniques, real-time render engines and AI learning, so my focus would be to study those techniques.

    At some moment, I would probably also enjoy - I do not know when yet - to work abroad and who knows, to have my own studio at some point.

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

    Carlos: Not yet since my professional career in ArchViz only just started. I have not had the need to use it as a student - I normally always met my deadlines! But I think being nominated for the awards is a great chance to try it.

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

    Carlos: Feel free to contact me on my different social media, I am happy to meet people in this same industry. And by the way, there is a hidden frog on the image. Can you spot it?

    More Carlos Costa Blanes's artworks:

    Artstation: https://www.artstation.com/carloscos96

    Instagram: https://www.instagram.com/ccostablanes/ (3D Artist Account)

    https://www.instagram.com/costablanes96/ (Photography Account)

    Please stay tuned with Fox Renderfarm, more interviews of the winners and nominees for CGarhcitect Architectural 3DAwards 2019 and industry insights will be brought to you on our website and social media channels!


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