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Exploring the Success behind Brooklyn Digital Foundry’s Viz Pro of the Year

Exploring the Success behind Brooklyn Digital Foundry’s Viz Pro of the Year

2024-05-16

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Fox Renderfarm Interview

Brooklyn Digital Foundry is a full-service creative agency renowned for its cutting-edge work spanning across a wide range of industries. Their exceptional talent and innovative approach have recently earned them the title of "Viz Pro of the Year" at the highly acclaimed CGarchitect 3D Awards with their work "Williamsburg Condominiums". Fox Renderfarm as the industry's top cloud rendering service provider and leading render farm is honored to interview John Szot, who is one of the founding partners and creative directors at Brooklyn Digital Foundry. Lets uncover the secrets behind their success through this in-depth interview.Fox Renderfarm: Hi John! Thank you so much for accepting our interview! Could you please introduce your team to our readers?John: I am one of the founding partners and creative directors at Brooklyn Digital Foundry, which is a full-service creative agency. We work on various projects in various industries doing interactive architectural visualization, product visualization, video production, communications consulting, and campaign management. We have a team of 11 people, half of whom work on our computer graphics-oriented projects. We worked with fashion houses, architects, real estate developers, and non-profit institutions. Fox Renderfarm: Congratulations on winning the CGarchitect 3D Awards "Viz Pro of the Year" category! How does your team feel about it?John: Were stoked! We had the good fortune of winning a CG award in 2012, and CGarchitect has provided a tremendous amount of inspiration throughout the years for our studio. Many of the newest things going on in visualization are happening in real time on that platform. You have access to a lot of very talented people who are deeply dedicated to what they do. To be recognized within that forum is a tremendous honor.Fox Renderfarm: What significance does the name "Brooklyn Digital Foundry" hold, and how does it represent the essence of your work in digital visualization?John: The name of the studio comes from a deep-seated interest in the palpable quality of digital media. It's always been our belief that digital media has a timber and a texture of its own which doesn't necessarily fit into words. We attempted to communicate our commitment to that idea through this name which is also meant to locate us in a very specific place. We believe that our physical surroundings play a significant role in shaping creative output. Brooklyn, where the founding partners, including myself, were deeply inspired to establish the company and pursue a distinct aesthetic vision, holds a special place in our hearts. Since then, our company has grown to many more people and we have a much more diverse set of voices.Brooklyn SolarWorks © Brooklyn Digital FoundryFox Renderfarm: Could you give us a brief overview of your work "Williamsburg Condominiums" and the inspiration behind it? John: Much of our inspiration comes from the conversations we have with our clients. Our job is to absorb and understand our client's values and then project them into the media that we produce, so in a certain sense we have to be transparent. We spend a lot of time trying to understand where our client is coming from in order to make sure that the work we produce feels authentic. The client, in this case, came to us with the need to sell real estate. The building is located in a very inspiring place in New York City, so we want to showcase the beauty of the city as an important offering that comes along with the ownership of the building featured in the image. Our first move was to grant both subjects equal prominence within the image frame so that it is as much about the beauty of the New York City skyline as it is about the beauty of the building.Williamsburg Condominiums © Brooklyn Digital FoundryFox Renderfarm: What were the key design elements in your project, and how did they contribute to the overall aesthetic?John: I'd say the key design elements in this project are the compositional nature of the subject, and finding a way to harmonize that with other elements in the frame so that the subject feels like a part of its environment, which is very important from an architectural point of view. Yet at the same time, has the clear individuality that we need to bestow on our subject so that the material can do its job as part of a sales pitch. Thats essentially the fundamentals that we adhere to to maintain the authenticity of our work.Fox Renderfarm: Can you tell us about the pipeline of your work?John: It is a common practice in architectural visualization for many professionals to start with a model, often created in Rhino or occasionally in 3D Studio Max. In this case, we were provided with a Revit model to work on. The typical workflow involves transferring the model to 3D Studio Max for applying materials and performing lighting studies using V-Ray. Lighting is usually prioritized at the beginning to establish the overall space in the image, followed by the application of materials. This is mainly because it's much more challenging to establish a sense of space through materials than it is with light. That is usually the proper hierarchical approach to maintain a powerful composition in the final product. Once we are done with rendering the necessary passes in V-Ray, we bring those into After Effects and balance them out properly, doing the necessary color correction. There might be some work in Photoshop if there are post-production effects that we need, but we try very hard to do everything on camera because we get the most accurate lighting effects through this technique. Painterly type effects lead to a painterly type of interpretation, and in most cases, we're going for something that has the correct perspectival math and light balance that mimics physical reality.Fox Renderfarm: During the process of creation, were there any instances that brought joy? Additionally, which experience stands out as the most unforgettable?John: I'll mention something in the larger picture that I believe any CG artist can resonate with. That is the moment in which the information that comes out of the rendering engine finally gets put together in the post-production stage. You're then given the opportunity to hone those layers of information to bring the stimulated material reality into sharp focus. That moment which happens pretty much on every project is very special from my point of view because its the culmination of many small and complicated steps. The satisfaction that comes from that moment when you finally can collect the data and bring it into focus is sacred to me.Fox Renderfarm: How has your approach to architectural visualization evolved over the years?John: One of the things that has been a huge game changer is the quality of the professionals on our team. We have built our team very slowly over many years, by now the people that I work with have been working with us for many additional years. Their skills and dedication to the job continue to be the cornerstone of how we move forward. It's also that curiosity and dedication they bring to the table that essentially catalyzes the evolution of our craft in-house, so they deserve a ton of credit for making sure that the studio stays healthy and continues to evolve technically and creatively. Our work goes from rather punky attempts at telling a story to some of the most vivid examples of CG artistry that I can think of. I am regularly humbled by their ability to push that envelope with every project. Every time we complete a project I noticed a new level of nuance and commitment to developing a higher degree of fidelity and palpability to our work. I'm looking forward to the future, especially with some of the recent algorithmic tools that can produce high-fidelity material on such a rapid basis, I can't wait to see where our team takes that. Fannie Mae HQ © Brooklyn Digital FoundryFox Renderfarm: How does your team stay updated with the latest tools and technologies in the CG industry?John: CGarchitect has played a big role in that! But spending time online and interacting with other professionals is pretty critical. A little conversation at the corner of the industry could shed light on what were doing. I know that the team that I work with spends an enormous amount of time thinking about the technology outside of the deadlines that we have in the studio. As a result, when we do find ourselves on deadlines, we usually have several fresh ideas that might change the project in a way that makes it unexpectedly rich. How do they do that? I think it just comes from their innate tenacity and enthusiasm for the technology. I think you really have to possess that if you're going to compete in CG visualization.Fox Renderfarm: Have you ever used the render farm services offered by Fox Renderfarm? If yes, what are your thoughts on Fox Renderfarm's cloud rendering offerings? John: We are familiar with your company! Winning this award has helped us learn more about the services that your company offers. Sadly we have not worked with your company before, but this is the perfect opportunity to do so. We are on deadline at the moment so a render farm plays a critical role in making sure that deadlines are met. There have been times in the past when we have gone to third-party services to provide the necessary computing power to meet a deadline. Now that we are in touch with Fox Renderfarm, I look forward to seeing how your services assist us and turn our projects to the next level.Fox Renderfarm: What advice would your team give to aspiring professionals in the CG field?John: When we we started the business, architects were just getting familiar with computers and the idea that somebody would make a video to promote an architectural idea was a rather farfetched notion. We began making videos about architecture in 1999 when we had our first major architectural video commission. Although it wasn't a huge commission in the larger scheme, but it marked a pivotal moment as it was our first engagement with a client for video production services. The collaboration led to the creation of our very first viral architectural video. After that video, we launched our studios production unit, and we found ourselves getting a lot of work after that. That wouldn't have happened if we hadn't been experimenting with technology before meeting this client. Our approach enabled us to be prepared to offer the services our clients sought when opportunities arose. So my advice to people getting started in the visualization industry is to identify what excites you about technology and allow your creativity to drive exploration and utilization of these tools. Avoid letting concerns about marketability dictate your experimentation; instead, focus on honing a clear vision with the tools at your disposal, as market success will naturally follow.Thanks again to John for accepting our interview! Wishing new heights in your professional career!Brooklyn Digital Foundrys social media:Website: https://brooklynfoundry.com/Facebook: https://www.facebook.com/brooklyndigitalfoundryTwitter: https://twitter.com/brooklynfoundryInstagram: https://www.instagram.com/brooklynfoundry/Dribble: https://dribbble.com/brooklynfoundryLinkedin: https://www.linkedin.com/company/brooklyn-foundry


Capturing Eternal Memories: The Creative Inspirations of Digital Artist Liad

Capturing Eternal Memories: The Creative Inspirations of Digital Artist Liad

2024-05-15

Trending

Fox Renderfarm Interview

In the world of CG art, there are individuals who not only create stunning visuals but also weave compelling narratives through their work. Liad Damhuis, a 28-year-old digital artist from The Netherlands, is one such individual. Liad's artistic journey began at a young age, her love for movies and games, and the way they conveyed stories through various artistic mediums, ignited a spark within her. Recently, Liad's talent and hard work were recognized as she clinched 3rd place in Bad Normals' Worlds Inside Glass Challenge.In an exclusive interview with Fox Renderfarm, the industry's top cloud rendering and leading render farm service provider, Liad shares her insights, experiences, and the driving force behind her creative endeavors. Join us as we delve into the mind of this remarkable artist, unraveling the stories and inspirations that fuel her imaginative creations.Fox Renderfarm: Hi Liad! Thank you so much for accepting our interview! Please introduce yourself to our readers.Liad: My name is Liad Damhuis, I am a 28-year-old digital artist from The Netherlands. Ive been drawing forever, and my teachers and peers always describe me as the "artist kid". Growing up I loved movies and games. I loved how they could tell stories through cinematography, music, and world-building. This inspired me to go and draw digitally to become a concept artist, however, after I graduated I ended up pursuing a career as a 3D artist, and 3 years later I am also looking into graphic design jobs. In general, I love being creative, it's my passion.Fox Renderfarm: Congratulations on winning 3rd place in Bad Normals's Worlds Inside Glass Challenge! How do you feel about it?Liad: Thank you! Honestly, it was quite a surprise because there were some really good artworks and it was my first time participating in a challenge by Bad Normals so I had no idea what to expect. I totally forgot the top 5 could even win prizes because I was more focused on whether I could make an image that could convey the story I came up with, and if others could see it too. But winning the plugin and credits for render farm definitely motivated me to create more projects. Fox Renderfarm: How did you capture and recreate the spirit and memories of loved ones in designing the 3D visuals for Memorby?Liad: Once I came up with this idea of a deceased loved one I wrote down everything that I could think of in such a scenario. How do people grieve, what do they keep from this person, and what memories are their favorites. Specifically, the last thing that inspired me to make a personalized heaven orb. I thought of what type of person or people we see and what's their relationship. I picked a hobby or personality that was easy to show visually in both the background and inside the orb. Someone who loves painting might leave behind artwork to show in the background... but I wouldn't necessarily know what his or her forever home would be within that interest. So I picked hiking, the outdoors. I could reflect it in the orb with a bit of nature and the typical a-frame house, the books in the background, the pictures, and the hiking boots. I broke it apart just a little by adding in a baby Yoda too.Background Objects © LiadFox Renderfarm: In this artwork, the scene in the light ball looks very vivid, does a real memory of yours inspire it?Liad: It wasn't necessarily inspired by something I've experienced myself. The idea came to be after brainstorming about many different ideas and I got hyped about this one once I asked myself questions about how it'll work, what we see, and what can I do with it. But I do believe it reflects the way I personally think about memories and death. I do not believe in an afterlife or a place you'd go to, which is kind of a scary thought. What is nothingness then? People like to think that this person is in a better place, people spread ashes in places that remind them of that person. So I do find it a nice thought that your loved one could be somewhere where they'll be happy forever. I know that my dad would like a little house by the lake in Sweden, reading books and tinkering in his car. I know that I'd love to have an endless flower field with a small beach, feeling the soft sand between my toes and when the sun is a little too hot I can get in to cool down, or below a big tree and hear the leaves in the wind. I sometimes wish I could make the memories of my grandparents into a video so I won't forget their likes and dislikes, their quirks, and the sound of their voices. So I can imagine that a Memorby can be something extra to remember your loved one and feel as if they're truly in their forever happiness.Fox Renderfarm: Could you please tell us about your pipeline for this work? And how long did it take you?Liad: Certainly! It started with a mind map to generate as many ideas as possible. At first, I was skeptical about joining because I wasn't too excited about the first ideas like a season change portal or global warming inside an orb. I felt that I couldn't do much with storytelling in the details. I almost did a Black Mirror type of Tamagotchi idea where some rich kid doesn't realize, or maybe does, that the person living inside the orb house is a real person stuck in there. But because it wasn't an animation project, I struggled with showing this idea.Mind Map © LiadShifting gears, I considered a narrative where a less privileged child glimpses a life of luxury or experiences the harsh reality of war. I thought of him seeing his killed parents but felt it was too much and maybe becoming political. So it turned into a woman losing her fiance due to a war. I started making the scene, knowing I wanted a dresser with candles in the back, a picture, and maybe a TV on a news channel. Then I added in some details to really make it feel like home and all. Let's say this woman sends memories to this company to make the orb 2 weeks after he passed away... it might take another 2 or maybe a month to make and ship it, "why would a news channel still cover the incident?" I almost ended up putting bandaids on that plot hole when I thought... "why does it matter how he died? Why not focus on the memory?" That's when I changed his interest to the outdoors and also picked the right house inside the orb and made a whole package design for the object. Framing © LiadI made a quick house to put inside the orb 3 times. The first one was too sci-fi, it would take away the attention, and people would question the reason why it looked like that inside this story... when I made the second one it still felt sci-fi which was ok because the orb itself was a sci-fi idea.. yet the house felt more realistic. But when I got the idea for an outdoor personality I knew an A-frame would fit the narrative more. I couldn't tell you the exact hours because I was working on it on and off. Let's say an average of 5 hours per day for 2 weeks.House Design © LiadFox Renderfarm: There are many details in this scene, how did you decide which elements were important and needed to be highlighted?Liad: To really narrow down again after all those ideas and details, it's about a woman who bought a Memorby of her deceased lover. Ok, and this Memorby shows what about this person? He loved the outdoors, so anything else could be distracting. As I said before, I first wanted to explain the cause of death and then decided to focus instead on this memory. You know he's dead because of the pictures in the back, the candles, the flowers, the cards, the woman crying and her kissing the orb. Her relationship with his personality, his memory, is more important than what killed him. I added a baby Yoda in his hiking boot too just to kind of break up all the elements talking about his love for the outdoors. He has more interests than that obviously. I gave the woman a ring too so it's more believable that they were in a relationship than it is some random guy or perhaps a friend or brother. A ring, a kiss, those memories, pictures together, those are the storytelling ingredients you need to explain their relationship.Memorby Product © LiadBackground Details © LiadFox Renderfarm: The female character in the image conveys strong emotions, how did you capture and render these expressions?Liad: The company I've worked for used Character Creator 4, and just before I got laid off in December I downloaded their default character in case I need a character or a base very quickly when I don't have time to make something from scratch. These characters come with blend shapes and they were perfect to use with motion capture. Unfortunately, I don't have a suit myself, so I had to manually set the values of the blend shapes. Plus I added some red on the base color texture around the eyes, nose, maybe cheeks a bit, and the eyeballs. And I've also lowered the roughness there to give the impression of crying.Character Creation © LiadFox Renderfarm: What were the biggest technical challenges you faced while working on this project, and how did you overcome them?Liad: The biggest technical challenges... I actually didn't struggle a lot with this. It took me some time to get the woman in the right pose and also make her sit as the horizon wouldn't work if she was standing, but overall I didn't struggle technically. I think because my idea didn't come across things I've never done before, or because it wasn't an animation.Fox Renderfarm: Are there any moments you enjoyed during the creation process? And what was the most memorable?Liad: Actually it was the moment I went from "meh, not sure if I'm excited to spend 2 weeks on this challenge for just a season change" to "...o my god, someone's dead, you give them an eternal home, and I'm going present it like an actual product from a company with package design and all, that's a pretty cool idea?!" It was the hype I got from ideas that popped up, and as I tried to plot hole-proof them I only got more excited if I knew a way to dodge it.Fox Renderfarm: How do you envision the role of art in providing comfort to individuals, as demonstrated by Memorby's slogan "Their Spark In Your Darkness"?Liad: That's an interesting question, I got inspired by this Facebook graveyard thing and AI. I wouldn't be surprised if this would ever be a thing though. If you think about it... you can give AI a prompt and pretend to be a certain person. How to behave, what they like, to their little quirks. It can create real-life pictures of humans even when they don't exist, and this time you'd have an entire album of your person. If you want them to talk, send in a voice memo and you'll hear them talk or sing whatever. Next time AI could learn their movements from videos, make a 3D avatar... and voila, the environment is just 3D. Maybe there are a few interactive points, and you can have this very product in real life. Maybe even very comforting, the idea that this person didn't just disappear but is eternally home.In general, I think lots of people would like to keep a visual memory of someone, whether it is a picture, something they owned, or even ashes made into an art piece. It sounds weird but I do get it. My mom is getting a tattoo for my late grandmother even though I never expected her to, it just changed things. I personally love looking at old pictures of family members that even go back generations who were lucky to be wealthy enough to have them made. Wondering what their lives were around my age, and how they expected their futures to be. When looking at my childhood pictures I see all the people that cared for me when I was just existing and not knowing anything. So to me, visuals are very important.Fox Renderfarm: Have you tried or heard about Fox Renderfarms services before? What is your impression of our cloud rendering services?Liad: I've heard of render farms before, just not specifically the one from Fox Renderfarm. I think it could be very useful to render faster if you don't have the specs or to keep working on your PC while the render farm is in the process of rendering. I've actually bought a new laptop recently which can do quite some rendering, but I'll definitely use my coupon for upcoming projects. I want to challenge myself by doing lots more in 3D and then utilize a render farm for it.Fox Renderfarm: What did you learn from this project and how will it impact your future 3D art creations?Liad: I've learned to really prioritize. Give yourself time to come up with an idea and work it out in a block or in a sketch, write down what you need at a minimum to get this done. Only when the bigger elements are done, you can dive into details. Just in case you run out of time to do these details... At least the bigger picture is there. Liads Social Media:Instagram: https://www.instagram.com/bulletproof_eggs/YouTube: https://www.youtube.com/@BulletproofEggs28Blender Library credits:Rug: "Persian Carpet by BlenderKit Community"Table lamp: "Table Lamp by MNDV"One of the flowers: "Flower Jug-02 by Jhon Maycon" but changed the color and vaseProduct box: "Paper box template by Vilém Duha" but own made Memorby textureSketchfab assets:Yoda plush: "Baby Yoda Plush by Nom" Hiking boot: "Hiking Boots LOWPOLY by EFX"Other assets were self-made, either from scratch or from older projects. Exception for 2 or 3 landscaping assets of which unfortunately I dont have the credits as theyve been made/downloaded by ex-colleagues in the past and Ive saved them for future purposes. So I cant verify the original artist.


Exploring Innovation in UV Mapping: An Interview with Rizom-Lab

Exploring Innovation in UV Mapping: An Interview with Rizom-Lab

2024-05-13

Trending

Fox Renderfarm Interview

Rémi Arquier founded Unfold3D in 2003, a pioneer in commercial UV mapping technology. In 2016, he launched Rizom-Lab and the RizomUV product line, focusing on speed and ease of use. The team's goal is to create the perfect UV mapping toolset through collaboration with clients and users. Rizom-Lab offers 2 standalone applications which are RizomUV Virtual Spaces and RizomUV Real Spaces, and integrative solution RizomUV C++ Library for software companies. Fox Renderfarm, as the industry's top cloud rendering and render farm service provider, is honored to interview the Rizom-Lab team. Join us in this interview to learn more about Rizom-Lab and its innovative products.Fox Renderfarm: Hey guys! Can you give our users an overview of Rizom-Labs products and key features?Rémi: At Rizom-Lab, we specialize in developing cutting-edge software solutions for 3D mapping and unwrapping. Our flagship product is RizomUV, a powerful set of tools designed to streamline the UV mapping process for 3D artists. © Rizom-LabKey features include:Efficient UV Unwrapping: RizomUV offers advanced algorithms for efficient and accurate UV unwrapping, allowing artists to easily attain UVs with minimal distortion, very quickly.Optimized Packing: RizomUV includes tools for optimizing UV space, ensuring efficient use of texture space, and organizing islands where the artist needs them.Collaboration and Compatibility: We understand the importance of collaboration in creative projects. RizomUV supports various file formats (USD, FBX, OBJ, etc), enhancing compatibility in a workflow, and facilitating smooth collaboration among team members.Real-Time Visualisation: Users can visualize their UV maps in multiple ways, making it easier to identify and address any issues during the mapping process.Automatic unwrapping: A semi and fully-automatic tool to generate seams, unwrap, and pack in a single click.© Rizom-LabRizomUV comes in two flavors, so to speak, Virtual Spaces and Real Space. Virtual Spaces is aimed at people who are creating 3D objects that will end up in a virtual environment, think game engines, and rendering. Real Space, on the other hand, is for people who want to bring their 3D objects or UV templates into the real world. Good examples of this would be printing or laser cutting. As you can imagine, this requires real-world coordinates and accurate size, which is why Real Space has a 1:1 scale relationship between 3D and UV space.Fox Renderfarm: How does Rizom-Lab differentiate itself from competitors in the UV mapping software market, and what makes it a preferred choice for 3D artists and well-known studios?Samuel: I think we distinguish ourselves through a combination of our softwares advanced features, and a commitment to providing solutions that meet the evolving needs of not only established 3D artists and studios but also those that are just starting their journey. One area we are particularly proud of is our indie pricing. We have always tried to be fair in this regard, and refrain from putting up barriers to people that are just starting out, or trying to learn. This is demonstrated beautifully by our free licenses for students.As for what makes RizomUV a preferred choice? Put simply, Id say its performance and speed, facilitated by tools that are both powerful and accessible, that artists actually need.Fox Renderfarm: RizomUV is known for its ultra-fast processing speed. Could you elaborate on the technology or innovations that enable this remarkable speed, and how it enhances the workflow of 3D professionals?Rémi: Absolutely! The exceptional speed of RizomUV is primarily due to 3 key factors: First, our algorithms. We've continually refined key algorithms, including Unfold, Optimise, Pack, and Auto Seams, to enhance speed, quality, and versatility. We have been working on these advanced subjects since 2004, with our earlier versions even integrated into the most renowned DCCs (Digital Content Creation tools). Today, we offer even more advanced capabilities in our standalone version, and we are still working on them for the next versions.© Rizom-LabSecondly, the UI design is crucial. We tailored RizomUV specifically for UV mapping, making it more than just an add-on or subset feature of a DCC toolset. It's a dedicated solution for UV mapping, and its specialization is evident upon first use. This is achieved by seamlessly integrating both 3D and UV space, optimizing the transition of geometry from 3D to UV. A key example is how isolating an island in the 3D view automatically isolates it in the UV view, and vice versa. This simple detail, among many others, sets us apart.Lastly, the feature set significantly contributes to the efficiency of our software. While automatic features provide rapid results, crafting high-quality UVs, particularly for gaming applications, requires pixel-perfect precision and effortless control over coordinates. This often necessitates manual intervention. In this context, RizomUV is comparable to Illustrator, but for UV mapping. It features an extensive range of tools for alignment, flipping, fitting, and distribution, all meticulously tailored for UV mapping requirements. Beyond this, we offer unique and visually stunning real-time tools to visualize and select elements according to their texel density, orientation, distortion, and more.The combination of these technologies and optimizations not only makes RizomUV one of the fastest UV mapping solutions on the market but also significantly enhances the overall workflow for 3D professionals. Artists can accomplish more in less time, iterate quickly on their designs, and maintain a smooth and productive creative process from start to finish.Fox Renderfarm: Can you tell us about any recent developments or updates in the software that users in the 3D industry should be excited about?Samuel: I cant say too much before the release as things are still changing, but what I can say is that one big feature is going to make a lot of game artists very happy. We are developing a set of tools in an area that is completely new to RizomUV, and will definitely make the application more complete. I can also tell you, that the look and feel of the application is shifting too. This is in order to facilitate a better user experience and to give us a solid foundation to add feature additions, without RizomUV becoming cluttered. Its very exciting stuff!© Rizom-LabFox Renderfarm: How do you manage digital marketing and communication strategies to reach your audience and maintain a vibrant community?Samuel: When it comes to letting people know a new RizomUV release is out, or we have a sale in progress, social media and publishing campaigns are invaluable in this regard. But when it comes to communicating something about the software itself, Im a big believer in the visual approach. This is why we are building up a library of tutorial videos and playlists. It is much easier for someone to understand an abstract concept if they can see it being played out, as opposed to a wall of text. We also speak to our users directly through our support system, and through our Discord server which is a really great place to speak, share work, images, and videos, and generally help each other out. It feels very natural and informal.Fox Renderfarm: Rizom-Lab places a strong emphasis on its relationship with the community. Can you share some insights into the kind of feedback received from the community, and how this relationship influenced the ongoing development and improvement of the software?Samuel: Speaking to our users, Discord community, and studio artists is invaluable, and dare I say, crucial. We learn a lot about what artists need, and inversely what they dont. They also give us good lessons in broad generalized psychology. I know that may sound strange, but when you have lots of people asking the same questions about a tool, or its expected behaviour, it really helps us shine a light on something we may not have considered.We also have a BETA Team that is entirely comprised of community members. This ranges from studio artists, educators, developers, and 3D generalists. They get access to new releases first and help us tweak things and squash bugs before wider releases. They are a fantastic and enthusiastic bunch! Fox Renderfarm: Lastly, can you share the future plans and upcoming initiatives?Rémi: Yes, I can. We are currently reworking our website, in an effort to make things flow better and generally be more user-friendly. Its also getting an upgraded look, so it will be easier on the eye. We are also putting a lot of consideration and thought into the automatic tools in RizomUV. Not only do we want them to be better, but also more understandable from a user perspective. In a more general sense, we are adopting a less is more philosophy with RizomUV. We want to strip out the unnecessary while streamlining and optimizing what is needed for a more concise, and faster user experience.© Rizom-LabRizom-Labs Social Media:Website: https://www.rizom-lab.com/Discord: https://discord.com/invite/UjsFx7YFacebook: https://www.facebook.com/groups/rizomUV/Twitter: https://twitter.com/rizomuvInstagram: https://www.instagram.com/rizom_uv/YouTube: https://www.youtube.com/@RizomUV


Bringing Dreams to Life with Dreamscapes’s Winner Diego Nossa

Bringing Dreams to Life with Dreamscapes’s Winner Diego Nossa

2024-05-08

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Fox Renderfarm Interview

In the world of 3D artistry, Diego Nossa stands out as a visionary creator whose work transcends boundaries and captivates audiences. Recently, Diego clinched 1st place in polygoniqs Dreamscapes Challenge, showcasing his exceptional talent and creativity. As an artist with a background in advertising, Diego's expertise spans various artistic fields.In an interview with Fox Renderfarm, a leading cloud rendering services provider and render farm in the industry, Diego shared the inspiration behind his winning artwork and the creative process that brought his wife's dream to life.Fox Renderfarm: Hi Diego! Thank you so much for accepting our interview! Please introduce yourself to our readers.Diego: Hello! Im Diego Nossa and Im a multimedia artist. Ive worked in the advertising industry, creating multimedia campaigns and content for brands and designers. I focus on photography, 3D, animation, video editing, and visual effects.© DiegoFox Renderfarm: Congratulations on winning 1st place in the Dreamscapes Challenge! What does this accomplishment mean to you as a creator?Diego: Thank you! Winning 1st place is incredibly exciting and indicates that my message resonated well. Beyond the victory, I'm thrilled about the opportunity to participate and learn new skills during this challenge. Engaging in community challenges is always a rewarding experience as it allows me to grow and refine my abilities.Fox Renderfarm: It is so cool that you used a real dream as your inspiration! What inspired you to choose that particular dream to bring to life?Diego: I owe credit to my wife, not only for inspiring the dream sequence but also for suggesting it as a perfect fit for this challenge. When I mentioned the need to incorporate a car into the sequence, she immediately recalled her dream and suggested, 'Why not recreate that scene where I was in a race, hopped into a car, and ended up at the dentist?' It was perfect for the challenge!Car Previs © DiegoCar Final and without Post-process © DiegoFox Renderfarm: Can you share the specific content of your wife's dream and how you recreated this dream in your artwork?Diego: In her dream, she found herself in a race, swiftly transitioning to a car where her seat reclined back, and then seamlessly transitioning to a new scene at a dentist appointment. To recreate this, I added a few creative elements not present in her dream, such as a rotating cube inspired by Mario Kart games to illustrate the origin of the car better. Additionally, I introduced an alarm cue, 'It's time for your appointment', providing further context for the reclining seat transition.Character Previs © DiegoCharacter Final and without Post-process © DiegoFox Renderfarm: How did you portray a sudden transition from one scene to a completely different one so smoothly in your artwork?Diego: For this transition, I ensured that the first scene ended with the camera positioned at a dark angle, creating a fade-out effect. Then, just as the viewer assumes the dream sequence has concluded, a light illuminates, signaling the transition to a completely new scene.Fox Renderfarm: Could you please tell us about your pipeline for this work? And how long did it take you?Diego: Once I knew what I wanted to create, I started blocking out the scene in Blender. I figured out the angles and the animations first. Then I exported a pre-visualization to check that the animations were smooth. Once I was happy, I started adding lighting while texturing the scene properly. I usually like to render the entire scene at a very low resolution to check if everything is working properly. Once everything looks good, I then render the scene at full resolution. I worked on the project for multiple days across 2 or 3 weeks but from beginning to end including rendering time, it probably took me about 30 hours or more.Dentist Previs © DiegoDentist Final and without Post-process © DiegoFox Renderfarm: Can you tell us more about the software and resources you used, such as polygoniq for the car and grass, and Mixamo for the characters? How did these tools enhance your ability to bring this dream to life?Diego: I designed and rendered the scene in Blender. I used characters and animations from Mixamo since I didnt want to spend much time on characters, and just made a few tweaks to the animations to adjust to what I wanted. The ground/grass, and car are from polygoniq and they made the entire scene look a lot better with just a few clicks. The clothing animation uncovering the car was made in Marvelous Designer, it could have been done in Blender but I find good clothing simulations in MD being a lot easier and faster to make. The post-production (color grading, editing, lens artifacts) was made in After Effects and this helped me to portray the dreamish look I wanted in the final result.Character Animation © DiegoClothing Animation © DiegoFox Renderfarm: What challenges did you face in translating a dream into a visual representation? How did you overcome them?Diego: One of the main challenges I faced was creating a seamless transition between the race scene and the dentist scene. It was crucial to convey to the viewer that the first sequence depicted a race, while the second depicted a visit to the dentist. To achieve this, I introduced additional elements such as characters preparing for the race and a countdown timer. In the dentist scene, I included the sound of an alarm with the message, 'It's time for your appointment', to provide context and enhance the viewer's understanding. Despite the surreal nature of the dream, my goal was to ensure that the viewer could easily grasp the settings and storyline.Fox Renderfarm: Are there any moments you enjoyed during the creation process? And what was the most memorable?Diego: The creative freedom with 3D designs is truly exhilarating, allowing me to bring imagination to life in unprecedented ways, reminiscent of the limitless dreamscapes portrayed in the film Inception. However, what makes this project truly special is the inspiration provided by my wife. Her dream sparked the idea for this challenge, making her an integral part of my creative journey and creating a cherished memory.Fox Renderfarm: Where do you typically find inspiration for your work - do you look to other artists or everyday surroundings? How do these sources of inspiration influence your creations?Diego: My main inspiration comes from movies and music mainly. Exploring museums and galleries also plays a significant role in my inspiration process. Seeing diverse artworks ignites fresh ideas and perspectives, enriching my own creativity.Fox Renderfarm: Have you tried or heard about Fox Renderfarms cloud rendering services before? If so, what is your impression of our services?Diego: I heard about multiple render farm services but I havent tried it before.Fox Renderfarm: What advice would you give to aspiring artists or creators who are interested in participating in future challenges or competitions like Dreamscapes?Diego: Patience is key. Take your time to craft your submission, allowing for periods of reflection when time allows. I see many rush into submitting their entries the same day the challenges are announced. Also sharing the project with others around you can spark new ideas and perspectives. Remember, the true value lies in the learning experience, regardless of the outcome.Diegos Social Media:Instagram: https://www.instagram.com/nossa3d/Twitter: https://twitter.com/nossa_cameraWebsite: https://nossa.camera/


Dreamweaver: An Interview with Lynx095

Dreamweaver: An Interview with Lynx095

2024-05-07

Trending

Fox Renderfarm Interview

Take a riveting trip into the world of dreams as we reveal the artistic talent of Lynx095, the imaginative creator of the enthralling animation "Dream Journey." This gifted artist, who was recently named the Community Winner in Polygoniq's "Dreamscapes Challenge," is an expert at creating fantastical settings that defy reason but capture the imagination. Lynx095 creates a visual tapestry that defies traditional storytelling by skillfully fusing parts of reality, childhood memories, and the infinite reaches of the dreamscape. She has a remarkable eye for detail and a deep understanding of the subconscious mind.As the leading cloud rendering service provider and render farm in the CG industry, Fox Renderfarm is glad to have the opportunity to sponsor this challenge. Join us as we delve into the mind of this remarkable artist, unraveling the creative process behind their award-winning work and exploring the depths of their artistic vision.Fox Renderfarm: Hi, Lynx095! Thank you so much for accepting our interview! Could you please introduce yourself to our readers?Lynx095: I think that the most important thing I can say about myself is that Ive always been a very creative person. As a child, I was enrolled in an after-school art program, where I learned drawing, painting, sculpting, and photography. Later in high school, I switched my focus completely to fiction writing. But I didnt manage to finish any of my stories because as Ive gotten older Ive realized that the Ideas I had as a 15 or 16-year-old were simply bad. Currently, I work as a website and e-shop manager for a small company, but sometimes I also do video editing and graphic design as a part of my job. About a year and a half ago I started learning 3D modeling in Blender, though my progress is very slow as I dont have a lot of time to focus on this hobby, due to also having other hobbies and a cat. Right now Im also learning digital painting in Photoshop and writing a novel, which I hope to finish this year. Im also a very creative cook and I grow my own chili peppers and herbs on my balcony.Fox Renderfarm: It's fantastic to see your work recognized with a 'Community Winner' at Polygoniqs Dreamscapes Challenge! How does it feel to be celebrated for your achievements?Lynx095: Its an amazing feeling. I honestly didnt expect that I would win anything at all, as Im an amateur and Ive never participated in a 3D challenge or a competition. Polygoniqs discord server is full of people who are far more skilled at animation than I am, many of them are professionals and are constantly posting beautiful works. Just being able to compete with them would be a great honor.Fox Renderfarm: Could you give us a brief overview of the project that won you the 'Community Winner' at Polygoniqs Dreamscapes Challenge?Lynx095: In my animation, I was trying to create a feeling of experiencing a world that operates on dream logic, one that has its own consistent set of rules, but the dreamer as an outsider to that world will never be able to figure them out. I also wanted to show the dreamer's subconsciousness taking in things from the real world, like a car, childhood toys, food, etc., and rearranging them in a new and nonsensical way.Dream Journey © Lynx095Fox Renderfarm: What was the inspiration behind creating a world that operates on dream logic, with its own consistent yet unfathomable rules?Lynx095: Well, when I showed my animation to a friend, she asked me if Im taking LSD, so I guess thatJust kidding. Honestly, that was the idea I got from the announcement where they said that the theme was Dreamscapes. This is what I took away from that and I expected that the other submitted works would be similar to mine. Only when the other submissions slowly started showing up in the Polygoniq Discord server, I realized that I was working on something very different from the other and I even panicked a bit thinking I had misunderstood the assignment. But I have always been interested in the topic of dreams and in the past, Ive had lengthy conversations about dreams with friends, family members, and past partners.Fox Renderfarm: Can you walk us through the creative process behind your work, from conceptualization to final execution? Do you have a standard working pipeline?Lynx095: I dont have any kind of standard pipeline, this was the first time I took on a project of this size and complexity. My creative process is very messy and chaotic, I was mostly figuring it out on the go. I created the scenes out of order, in fact, the first scene I finished and rendered was the one I ended up cutting from the animation completely. Sometimes I was working on one of the simpler scenes on my laptop while rendering one of the more complex ones on my more powerful PC. For my most complex scene, the one where the car is chased by forks, I had to make it twice. The first time I started by making a complex maze of slides and platforms before figuring out how the car would through the scene. That wasnt working very well, so I decided to start from scratch. The second time I started with the movement of the car, including the drifting, and the single marble that is used for the wipe transition into the next scene. Then I added the animated forks, the maze, and the rest of the moving objects. The second version worked much better, as you can see in my final animation.As for the video as a whole, after I finished rendering individual scenes I stitched them together in Davinci Resolve, added a few fancy transitions, and license-free sound effects and music. I had to do all the video editing on the very last day of the challenge, so I feel like I could have found a music track that fits my animation much better if I had a bit more time.Video editing in DaVinci resolve © Lynx095Fox Renderfarm: How did you approach the concept of the "dreamer" as an outsider to the dream world, and how did you convey their perspective to the audience?Lynx095: I expected the audience to identify with the driver of the car, and I used the recurring motif of eyeballs to convey a feeling of constantly being watched, as well as the general nonsense of the environment that the scenes are set in. Also, the feeling that the car is constantly moving, always progressing from one absurd location to the next, and you can never know what you can expect in the next scene.Fox Renderfarm: Could you elaborate on the specific techniques or animation styles you employed to convey the feeling of experiencing a dreamlike state?Lynx095: For me, that was about combining the familiar with the unfamiliar and nonsensical. For example, in the first two scenes, the ones in the forest, I tried to make them look like scenes from a car commercial, where the car often drives through a forest or some other natural landscape. Then in the fourth scene, I took inspiration from car chase scenes in action movies. Except now it isnt cops and gangsters speeding through a city, but a tiny car trapped in a childs toy maze dodging falling forks.Fox Renderfarm: Can you elaborate on any challenges you encountered in designing and animating this short film? How did you address them?Lynx095: I am still learning, so almost everything was a challenge. The car model provided by Polygoniq as a condition to be used in the animation is the very first rigged model I have ever worked with. This project was also the first time I have used object constraints, path animation, shape keys, compositing, or explosion effects for when the car crashes into the giant cell phone. For an interesting example, all my scenes that used rigid body physics kept crashing when rendering frame 2. To solve this problem I extended the length of the animation to give my moving objects more time to settle into the scene. Then I restarted the render from frame 10 and cut the excess time from the beginning of each scene.Fox Renderfarm: Can you describe a particularly memorable moment or breakthrough in the project's development?Lynx095: The biggest breakthrough I had in this project was at the beginning when I checked my discord for notifications and noticed the announcement for this challenge in the Polygoniq channel. I immediately started getting all these crazy ideas, which convinced me to participate in the challenge in the first place. After that, my concept for the animation hasnt changed much. The only creative decisions I had to make later were which ideas to cut to fit into the 1-minute limit for animation length. I have a deleted scene which still felt too fast at 12 seconds, so instead of slowing it down to make it work, I decided to cut it entirely and incorporate some of its elements into the other scenes.Still image from my deleted scene © Lynx095Fox Renderfarm: Are there any particular scenes in your work that you are particularly proud of or that viewers might overlook at first glance?Lynx095: Im most proud of scene number 4, the one where the car is being chased by forks. It has almost 2000 individual 3D objects, many of which have active physics properties. To have continuous slides for the marbles to roll on and the car to drive on, I couldnt rely on any kind of random scatter system for help, I had to place everything manually. I felt like my brain would burst by the time I finished the scene.As for the things viewers might not notice, I would like to direct your attention to the very last scene - the bedroom - where I tried to incorporate various elements from the dream. For example, the toy cubes on the carpet are not only the same as in the dream, they appear in the same order as the colors of the car in the animation - first blue, then yellow, then red. And the vines from the forest scenes, in the beginning, appear again as the plant on the nightstand. For that, I downloaded a free potted plant model from the blender kit, deleted the plant, and replaced it with my own vines.Car chase scene overview © Lynx095Fox Renderfarm: Could you share your experience using Fox Renderfarm's cloud rendering services for your projects? In what specific ways has Fox Renderfarm helped you with your projects? Have you found it to be useful and has it saved you significant time?Lynx095: I havent yet used Fox Renderfarm, nor any other render farm, but Im looking forward to using your services in the future.Fox Renderfarm: Are there any other projects that you are currently working on that you would like to share with us?Lynx095: My success in this challenge has inspired me to finally try to make the leap from hobbyist to professional when it comes to 3D modeling and animation. Currently, Im finishing my numerous works in progress and polishing my older projects to have some kind of a presentable portfolio.Fox Renderfarm: Could you share any insights or lessons you gained from creating this award-winning animation, particularly in terms of exploring the intersection of dreams, surrealism, and animation?Lynx095: Most importantly I feel like my skills have at least doubled while working on this project. And when it comes to this particular style, its definitely something I want to pursue further. What fascinates me about 3D art is that you can create anything from your imagination and make it look basically photorealistic. And I think that this combination of realism and absurdity is something that should be explored more.Thanks again to Lynx095 for accepting our interview! Wishing new heights in you and your teams professional career!Lynx095s social media:Instagram: https://www.instagram.com/spectral.lynx095/YouTube: https://www.youtube.com/@Lynx095ArtStation: https://www.artstation.com/lynx095


Peering into the Enigmatic "Sphere-World #223" - A Conversation with Under, Master of the Futuristic Realm

Peering into the Enigmatic "Sphere-World #223" - A Conversation with Under, Master of the Futuristic Realm

2024-04-22

Trending

Fox Renderfarm Interview

Immerse yourself in a world where imagination knows no bounds as we delve into the extraordinary odyssey of Under, a French 3D artist whose prowess in architectural visualization has spanned over a decade. Recently, Under's exceptional talent was undeniably showcased through his fourth-place triumph in Bad Normals's World Glass challenge, which is sponsored by Fox Renderfarm, a leading cloud rendering services provider and render farm in the industry, with the captivating "Sphere-World 223". This masterpiece transcends the realms of mere digital artistry, transporting viewers into a future where the lines between reality and illusion blur. Through his meticulous craftsmanship, Under has woven a tale of intrigue and peril, inviting us to unravel the mysteries that lie within the confines of this enigmatic shield. Prepare to be enthralled as we explore the depths of "Sphere-World 223" and uncover the visionary mind that brought this ethereal world to life.Fox Renderfarm: Hi Under! Thank you so much for accepting our interview! Could you please introduce yourself to our reader?Under: Hi! Im a French 3D artist, specializing in architectural visualization on a daily basis for more than 10 years. I like to find and participate in challenges like this, learn new things, and use 3D in a more free and artistic context.Fox Renderfarm: Sphere-World 223 was awarded fourth place in BadNormals's World's Inside Glass competition. How does it feel to receive recognition for your work on such a platform?Under: Great! I mean, it's always encouraging and nice to receive feedback from a community that shares the same passion. There are some really good artists and a lot of different styles and approaches, and it's rewarding to be a part of it.Sphere-World 223 © UnderFox Renderfarm: The futuristic elements in the artwork, such as the advanced technology and armored vehicles, suggest a sci-fi influence. Can you tell us more about your interest in this genre and how it influenced this piece?Under: Science fiction is so vast that it constitutes a genre with almost infinite possibilities. So many subcategories with different eras, technologies, and civilizations. It is a source of inspiration to sometimes invent incredible and distant worlds and sometimes just take a few steps toward the future.In this specific case, the concept of this challenge is to associate two worlds, one inside (A) and one outside (B). So I chose to connect these two worlds and try to find a story where this sphere would become credible. And science fiction is super useful for mixing worlds because if you can imagine it, it becomes possible! In this case, World A invented a technology represented by this sphere to visit new worlds.Fox Renderfarm: Could you take us through the creative journey of your work, from the initial concepts to the final product? Do you follow a typical workflow or pipeline?© UnderUnder: I have the habit, both in my professional creations and during these challenges, of taking the time to immerse myself in the theme or the request. Sometimes thinking about it and sometimes forgetting about it for days. The goal is to have lots of ideas that come to mind.When I think of a solid concept, I spend a lot of time visualizing as much as possible before even touching my 3D software. Some aspects are still unclear and others are very detailed in my mind, but I'm trying to figure out exactly where I'm going, to validate the concept. Of course, during production, I may come up with new ideas or make minor adjustments, but I don't have many versions to arrive at the final result. So when I start my scene, I go to the essentials and concentrate on the details that 3D allows me. But the story, the general atmosphere, and sometimes even the lighting, it's already 90% decided.Fox Renderfarm: The contrast between the chaos inside the shield and the vigilant defense outside is striking. What message or emotion were you trying to convey through this contrast?Under: Once again it is the idea of ​​contrast that predominates. We don't know what pushes World A to enter World B. Visually, World A is saturated with details, messy, and quite difficult to read on purpose, a little chaotic in fact. The fact that they are armed and ready to fight suggests a scenario where exploration is not very friendly. Maybe it's scientific curiosity, maybe it's an invasion. But perhaps it is a crossing out of necessity and a final hope of leaving a world in agony. The story is very open.The contrast is striking with World B, drowned in vegetation, almost a primary world. It is no less threatening but nature is still master here. The first to arrive in World B are of course on the alert and deploy in silence in this unknown world and with unknown threats. But they are also the visual transition between these two opposites. They allow us to understand the difference in technology and their rather vigilant behavior marks their vulnerability in the face of the unknown. Despite all the knowledge of World A, they may be the prey here.Fox Renderfarm: Could you share the duration it took to bring this piece from concept to its final rendered form and highlight which aspect of the process consumed the most time? And in your opinion, what do you think has contributed to this time investment?Under: As I said earlier, I conceptualize a lot, so that's definitely what takes me the most time. It's impossible to quantify because I don't choose a specific time of day, it's more about searching for references here and there, in all directions. So this is the part that takes the most time and again, when everything is pretty much set in my head, I start in 3D or 2D, and for this particular piece, the creation part only took a few hours. I certainly didn't use all the time offered by this challenge, due to lack of availability, but I'm quite happy because it's close to my first vision.Fox Renderfarm: What were the biggest obstacles you had to go past to accomplish such fine detailing, and how did you resolve them when creating your piece?Under: I like details and putting a lot of information into my creations. And this is the case here, whether it is World A, where the details represent the suffocation of this world, with its technology and its saturated spaces, or World B where abundant vegetation seems to surround the horizon and the scene.All these details are a first link between the two worlds, although used to clearly tell two very different situations. More of a challenge than an obstacle, but for me the priority was the readability of the image.Find processes that help differentiate the two worlds, and secondly, tips for maintaining cohesion and having a homogeneous final image.Manage to clearly understand the depth of World A, for example by keeping the same perspective for both worlds.© UnderFind the right balance and do not feel too much distortion from the glass material of the sphere.To prevent one world from taking too much importance over the other, I chose two strong colors which are very different but which are also complementary.The fact that the sphere is slightly buried in World B, indicates for my story, a sort of impact of this foreign element. Which makes it clear that it is a collision of two universes. This is highlighted by the missing vegetation around the crater to clearly define the worlds, while the pink fog, which is a bit in both worlds, has the opposite mission of bringing these universes together on the same plane. Its this constant balance that was the challenge and the most interesting part for me in this prompt.Fox Renderfarm: In terms of composition, the scene is tightly framed around the central shield. What led you to this compositional choice, and how does it contribute to the overall narrative or mood?Under: The camera and the sphere are the untouchable rules of this challenge, which in my opinion, makes the sphere the obvious point of interest. Then it is true that I use my World B to frame this sphere and this choice is motivated by my story and what I described earlier. This sort of reconnaissance commando, which has already crossed and whose mission is to secure passage into World B (while other troops are still waiting in World A), is plunged into an unknown universe and is under pressure. terrible pressure. Its about success of course but also about surviving.The shapes of the surrounding trees, which seemed to be in darkness before the arrival of the sphere, frame the sphere, guide the viewer's gaze, and support this feeling of pressure on World A, and reinforce the fact that they are absolutely not welcome. As if at any moment this forest or its inhabitants could repel these visitors. This is only one version of the possible scenarios but these trees represent the threat, once again the doubt that weighs on these invaders.Fox Renderfarm: Were there specific AI-powered techniques or tools that you used in the creation of your work to achieve such rendering quality? How did these tools contribute to the final visual appeal of the artwork?Under: There is no AI in my creation. Not that I'm against it, I integrate several AI tools into my professional pipeline for Archviz, but it's true that when it's for more artistic images and even more as part of a challenge, I prefer to be 100% the creator of the story, for example, or the final touches in post-production. I make no judgment if anyone does otherwise. For example, I use assets to highlight my ideas, when others prefer to model from scratch. So no AI here but it's not a moral choice or anything like that. I just use it like any other tool, in the sense that sometimes it seems useful to me and sometimes not.Fox Renderfarm: Could you share any behind-the-scenes insights, techniques, or experimental processes you employed in creating "Sphere-World 223"? What lessons or discoveries did you make during the creation of this work?© Under© Under © Under© UnderUnder: No real special techniques here. The originality of the template coupled with my story forced me to literally see two worlds, therefore two different scenes. A rendering for the interior sphere with its own lighting and another rendering for the scene outside the sphere which also has its own atmosphere. I added two other renders separately on this exterior to add atmospheric elements like smoke. The rest is a game of masks and layers in Photoshop. Nothing too advanced, but it was interesting to create two opposing worlds while maintaining visual cohesion.Fox Renderfarm: Could you tell us about some of your favorite creative endeavors from previous projects, and explain what aspects made them especially rewarding or satisfying experiences?© UnderUnder: I participate in as many 3D challenges as I can. It's so satisfying to not be limited and to push an idea to the max just for fun. I experiment, either in a new style or with new tools. And that's really what attracts me: getting out of my comfort zone or at least my usual use of 3D in Archviz. Imagine more fantastic and vivid worlds. But also technically, it makes me do more animation, more simulation, and artwork for example.© UnderOf course, being one of the winners is always the extra motivation, but by participating in these challenges, I've completely unleashed a more creative and artistic side. Professionally I'd love to have opportunities in this field to express myself.Fox Renderfarm: What are your typical sources of inspiration - do you draw from other artists, artistic movements, natural elements, or everyday surroundings? How do these influences manifest in your creations?Under: It's exactly a mix of everything you just mentioned. Before diving into 3D, I had a few years of classical art background. I have always had a passion for images and creation. But above all, I am a geek at heart, who has watched a lot of films and TV. Video games also play an important role in my life.So when I look for inspiration, I already have a solid base of references that I have always wanted to rework in my own way or that are engraved in my memory. To complete this, I daily visit the portfolios and other creations of artists of all kinds, whether via Artstation, Behance, YouTube, or Instagram. I also like to get lost on Reddit and Pinterest, they are effective tools for finding lesser-known creators. I am constantly monitoring many subjects, both visual and technological.Everything related to the creation, whatever the field, is a source of new ideas, photography, architecture, painting, and design from all eras. It's rather cliché, but it's totally true, you're right. I live by the sea, sometimes it's just a walk in nature that sparks the beginning of an idea.And how I like to think before I start drawing or modeling. Everything gets mixed up a bit and resurfaces when I least expect it. Once my story is written, I can be inspired by the contrast of a light, by a choice of color palette, sometimes it will be the composition of a work which will be my starting point.Fox Renderfarm: Have you had any experience with Fox Renderfarm's cloud rendering services in the past? If you have, what is your opinion of our cloud rendering offerings? Under: Unfortunately I didn't have the opportunity to try your renderfarm yet.Fox Renderfarm: Finally, are there any upcoming projects or themes you're excited to explore in your future artworks, based on the reception and feedback you've received for this piece?Under: Where to start!? I love these challenges for the multitude of possibilities generated by the different themes and prompts offered. So I'm waiting for the next one!I invite you to visit my Instagram, you will quickly see that I don't really have a universe or a predefined style, I like to try new things, realistic or stylized, in different eras and atmospheres. Recently, I wanted to create vast worlds, larger scenes, less detail. I would like something in space! I also have in mind to make multiple creations which belong to the same universe. In short, lots of good things for my few moments of free time!Thanks again to Under for accepting our interview! Wishing new heights in your professional career! keep up with your great work.Unders social media:Instagram: https://www.instagram.com/under.cg/


The Rising Virtuoso: Josip's Meteoric Ascent in 3D Environment Artistry

The Rising Virtuoso: Josip's Meteoric Ascent in 3D Environment Artistry

2024-04-15

Top News

Fox Renderfarm Interview

Brace yourself for an extraordinary tale of artistic brilliance that transcends age and defies conventions. At a mere 17 years old, Josip has emerged as a force to be reckoned with in the world of 3D art, his recent second-place triumph in Bad Normals's "Worlds Inside Glass" challenge, which is sponsored by Fox Renderfarm, a leading cloud rendering services provider and render farm in the industry, with the spellbinding "Velocity Vista" serving as a resounding affirmation of his immense talent. Josip's foray into the digital realm began in August 2022 when he first downloaded Blender, a seemingly innocuous step that would ignite a fervent passion for 3D artistry. Although initially drawn to the realm of visual effects, Josip's creative vision soon gravitated towards the intricacies of environment creation, where his skills truly blossomed. "Velocity Vista" stands as a testament to his unwavering dedication and remarkable growth, a masterwork that has garnered well-deserved acclaim, reassuring this young visionary that he is treading the path of artistic excellence.Come explore the distinctive features that set Josip apart from the others.Fox Renderfarm: Hi Josip! Thank you so much for accepting our interview! Could you please introduce yourself to our reader?Josip: Hi! Thank you for inviting me! My name is Josip, and I'm a 17-year-old 3D artist. My first experience with 3D software was in August 2022 when I downloaded Blender and began exploring. Initially drawn to VFX, my interest later shifted towards creating environments.Fox Renderfarm: "Velocity Vista" won second place in the Bad Normals's "Worlds Inside Glass" competition. How did it feel to receive recognition for your work in such a prestigious competition, and how do you think this accomplishment has impacted your artistic journey?Velocity Vista © JosipJosip: I was genuinely pleased to see both the audience and later the judges appreciating it. "Velocity Vista" is a piece that came after a lot of experience, and receiving positive feedback on it feels like a significant accomplishment, reassuring me that I am progressing in the right direction!Fox Renderfarm: Could you give me a quick overview of the project you entered into the challenge?Josip: "Velocity Vista" definitely differs from my usual work, which made it quite challenging yet inspiring to create! It features a long racing track for toy cars, just like those many of us had or at least saw as kids. My goal was to capture the atmosphere and playful feeling of such moments within this piece. The challenge itself presented a fascinating concept: we were provided with a file template featuring a glass sphere and a camera, with restrictions on altering its location, rotation, and focal length. Our task was to craft a world both outside and inside the glass sphere within these constraints.Fox Renderfarm: Could you take us through the creative journey of your work, from the initial concepts to the final product? Do you follow a typical workflow or pipeline? © Josip© Josip© JosipJosip: I divided my workflow into two stages. Initially, I brainstormed various concepts, moving simple objects around the scene until inspiration struck. Several concepts emerged, one involving multiple spheres scattered throughout the scene, which I later discarded in favor of the final idea. Once I envisioned what I wanted to create, the fun part of the process followed! I began modeling several pieces of the track, experimenting with connecting them in different directions. Throughout the track's creation, I aimed to shape it in a way a child would do, featuring as many fun stunts and twists! I prioritized creating the foreground before considering the specific location of the toy. Thinking if it should be located indoors or outdoors, I envisioned the track going all around a bedroom. Upon completing the piece, it was further refined using Photoshop.Fox Renderfarm: What inspired you to incorporate elements of both tranquility and excitement into this piece? Were there any particular experiences or themes you wanted to explore?© Josip © JosipJosip: As mentioned earlier, the piece was inspired by a child's toy track for cars. During the brainstorming phase for the challenge, I got excited as I recalled moments spent playing with such toys. Motivated by these memories, I made the decision to revisit and visualize those moments in the form of a picture!Fox Renderfarm: Could you share the duration it took to bring this piece from concept to its final rendered form and highlight which aspect of the process consumed the most time? And in your opinion, what do you think has contributed to this time investment?Josip: When the challenge was announced, it seemed like we had a lot of time, so I approached it with a relaxed mindset. I dedicated a significant amount of time to processing ideas and refining them to align with the challenge's rules. It took me a week or even two to settle on a concept. However, once I decided what I wanted to make, I completed the picture in just a few days! The feedback from the judges was something I wanted to hear, so sacrificing some free time felt like a small price to pay considering its value!Fox Renderfarm: Could you discuss the major hurdles you had to clear to achieve such intricate detailing in your work and explain how you navigated those challenges during the creation process?Josip: Well, I didn't encounter many hurdles during the project, but I can share what enabled me to create efficiently! Considering I had already completed many projects, I had a library of assets saved that could be repurposed for this project. For instance, the books you see supporting the track on the table were simply imported from a previous project I had completed!Fox Renderfarm: The title "Velocity Vista" suggests a sense of movement and perspective. How does the concept of velocity play into your artistic vision, and what do you hope viewers will take away from the visual dynamics of the piece?Josip: Velocity mainly represents the high speed of cars and the change of speed that occurs during the twists and loops! I tried to express the excitement associated with the toy.Fox Renderfarm: Were there specific AI-powered techniques or tools that you used in the creation of your work to achieve such rendering quality? How did these tools contribute to the final visual appeal of the artwork?Josip: Although I have used AI in the past to create textures, this particular piece did not require its use. However, I did utilize Blender's image denoising feature, which could be considered a form of AI, to remove render noise resulting from low sample counts.Fox Renderfarm: Could you share any behind-the-scenes insights, techniques, or experimental processes you employed in creating "Velocity Vista"? What lessons or discoveries did you make during the creation of this work?© JosipJosip: Given that I typically create work for Instagram, I'm used to adjusting the aspect ratio to fit mobile screens. Although it's not my first time making a horizontal image, the orientation of "Velocity Vista" was a challenge for me, as composition works differently in this format. As mentioned earlier, AI wasn't utilized in the creation of the picture, but it did play a role in visualizing concepts for the image.Fox Renderfarm: Could you tell us about some of your favorite creative endeavors from previous projects, and explain what aspects made them especially rewarding or satisfying experiences?Natural Flow © JosipJosip: I have completed a lot of projects in the past, many of which revolved around themes such as traditional Japan, general nature, and rural cities. The house model featured in the sphere of "Velocity Vista" was also a model that I reused from one of my previous projects. I share all of my personal projects on my Instagram, and it's incredibly rewarding when people appreciate the work that I create based on my interests!Fox Renderfarm: What are your typical sources of inspiration - do you draw from other artists, artistic movements, natural elements, or everyday surroundings? How do these influences manifest in your creations?Josip: I often find inspiration from my personal interests and experiences, as well as from other artists! I follow a lot of people who make art similar to mine, which not only motivates me but also brings a sense of community!Fox Renderfarm: Have you had any experience with Fox Renderfarm's cloud rendering services in the past? If you have, what is your opinion of our cloud rendering offerings? Josip: I haven't had any experience whatsoever with any render farm so far, so Fox Renderfarm will be my first experience with such a service!Fox Renderfarm: Finally, as an innovative artist, where do you see future trends in the art world heading, in terms of themes, mediums, or approaches being influenced by emerging technologies or cultural shifts?Josip: It's challenging to predict the future of art, but AI is certainly a hot topic among 3D artists and the general public! While some utilize this technology in their workflow, others prefer to avoid it entirely, and some rely exclusively on it. Undoubtedly, AI is a revolutionary technology that cannot be ignored, but I view it primarily as a tool. Those who create for the sake of creation will eventually adapt or find ways to incorporate it into their work, therefore it should not be feared!Thanks again to Josip for accepting our interview! Wishing new heights in your professional career and keep up with your great work!Josips social media:Instagram: https://www.instagram.com/josipcgiArtStation: https://josipcgi.artstation.com/


Exploring the Cyber World with Luca: A Rising Star in Berlin

Exploring the Cyber World with Luca: A Rising Star in Berlin

2024-04-03

Trending

Fox Renderfarm Interview

At just 18 years old, Luca is already making waves in the world of 3D art. Hailing from the vibrant city of Berlin, Germany, Luca's passion for creating immersive 3D scenes has allowed him to express his creativity in ways beyond imagination.With several years of experience under his belt, his dedication and talent recently earned him 1st place in the CGandWE monthly 3D challenge "Cyber Security".In this interview with Fox Renderfarm, a leading cloud rendering services provider and render farm in the industry, Luca shares his journey, inspirations, and aspirations as a young 3D artist. Join us as we step into Luca's world and explore the boundless possibilities of 3D art through his visionary lens.Fox Renderfarm: Hi Luca! We are honored to have you here! Please introduce yourself first to our readers.Luca: Hey, my name is Luca, I am an 18-year-old 3D artist and cameraman from Berlin, Germany. I have been creating 3D scenes for a few years now, allowing me to really live out my creativity.Fox Renderfarm: Congratulations on winning 1st place in the CGandWE monthly 3D challenge "Cyber Security"! How do you feel about it?Luca: I am very happy about the positive feedback on my scene and winning 1st place. I've been taking part in these challenges for some time now and I'm always happy to see the enthusiasm from others.late at night at the cyber security office © LucaFox Renderfarm: How did you conceptualize and execute the storyline in this scene?Luca: At the beginning, I usually make a list of ideas that would be suitable for this theme. Then I think about which idea fits and can be best implemented in the context. In this case, another idea I had was to depict an antivirus program with a police force and the viruses with robots. As soon as I had the idea, I sat down and made a rough scene without details to get an overview and check the color elements that should be implemented in this scene. Rough Scene © LucaFox Renderfarm: How did you handle the lighting relationship between the character and the environment in this piece?Luca: I kept the whole scene rather dark and illuminated it with practical lights. Like the table lamp, for example. Making the person silhouetted was also important to me, as it allowed them to stand out a little from the rest, due to the bright screen behind them. But she was not illuminated any further to achieve this secret, unknowing look, as cyber security usually happens in the background and in "secret". Fox Renderfarm: Could you please tell us about your pipeline for this work? And how long did it take you?Luca: I spent about 6 hours on this work. It was spread over about a week. I don't necessarily follow a strict schedule as I adapt to my free time and motivation level. The rough scene and the details are usually done in one go. On other days, I take care of the lighting and finer details, such as the moving fan. Creating the person also takes some time.Fox Renderfarm: Did you do any special research or preparation work when creating this piece?Luca: For the scene, I first looked for a few inspirations from films and then used these images to create my own in my head. There wasn't really any other preparation.Inspiration Photos © FilmFox Renderfarm: What's the significance behind the character lighting a cigarette in the image? What was the intention behind incorporating this element?Luca: The cigarette in this scene reflects the character being in this room for some time, not seeing sunlight, and needing some kind of activity and reassurance while sitting in a dark room in front of screens all day. Fox Renderfarm: Are there any challenges you have encountered during creation? If so, how did you overcome them?Luca: There were actually no problems with this project compared to many others of mine. The only thing I had some difficulty with was getting the cigarette and the moving fan to work properly to make the scene look more dynamic. Fox Renderfarm: What is your proudest technical achievement in the creation process?Luca: Definitely the lighting and the associated implementation of the right mood. Fox Renderfarm: How do you improve your CG skills? What kind of exercises do you usually do?Luca: I usually look for a single word and try to build a world around it. I often just go ahead and do something without making a big plan beforehand. Of course, this also means that I come across unfamiliar things and problems that help me learn and acquire new skills.TIME PORTAL INCIDENT © LucaFox Renderfarm: Have you ever tried the cloud rendering service from Fox Renderfarm? If so, what do you think of our services?Luca: So far I have only used it once for a larger animation and it has saved me a lot of time and work. Fox Rendering is easy to use and you have many options to achieve exactly what you want. Fox Renderfarm: What valuable experiences in your creative process do you think are particularly valuable for other 3D artists?Luca: Do something, anything, as long as you can live out your creativity. If you can express yourself creatively and have fun at the same time, you learn extremely well. Creating something out of nothing and being able to say at the end that I did this is a great feeling. But the most important thing is not to rush. Don't overwhelm yourself with huge projects and ideas and become demotivated as a result.Cinematic Sci-fi interior © LucaLucas social media:Instagram:https://www.instagram.com/lucxeywa.vfx/YouTube: https://www.youtube.com/@EYWATMWebsite: https://linktr.ee/luca.eywa


Matthias ‘Brachii’ – Unveiling Myths Through 3D Artistry

Matthias ‘Brachii’ – Unveiling Myths Through 3D Artistry

2024-03-20

Trending

Fox Renderfarm Interview

Set out on the creative journey of Matthias, often known as Brachii online. Matthias, a 29-year-old German native from Regensburg, has advanced quickly in the 3D industry despite having only 1.5 years of Blender experience. Audiences have been enthralled by his recent victory in Kaizen's Salvaged Space Challenge, which is sponsored by Fox Renderfarm, a leading cloud rendering services provider and render farm in the industry, with the piece "It's just a myth, they said...". The work transports spectators to the ethereal depths of the Forbidden Sea, where the intrepid Captain Matt Harbor discovers the fabled Heart of Poseidon among the haunting remnants of the Black Kraken. Matthias's artwork goes beyond simple pictures; it questions the veracity of nautical myths and demonstrates that there is a wealth of unknown tales waiting to be unearthed beneath the ocean's surface.Join us as we dive into Matthiass creative process, his inspirations from the deep blue, and his journey in the 3D industry thats as mythical as his award-winning creation.Fox Renderfarm: Hi Brachii! Thank you so much for accepting our interview! Could you please introduce yourself to our reader?© BrachiiBrachii: Hey everyone! My name is Matthias, most people know me as Brachii or my Instagram, which is Maataverse. Im 29 years old and Im from Regensburg, Germany. Ive been doing Blender/3D for about 1.5 years now.Fox Renderfarm: Winning an award in the Kaizens Salvaged Space Challenge is a significant achievement. What motivated you to participate, and how did you feel when you learned that your work had outperformed the others?Brachii: Thank you! Its still kinda crazy that I won! I found out about the challenge when I saw my friend Kv3D working on his render for it. The scene itself sparked my interest to participate as well. I was inspecting the template scene we were given and the pose of the character gave me the idea to create an underwater scene.I was at work when Kaizen was live-streaming and judging. So I came home to a bunch of messages from my friends and my render on Kaizens discord as a winner. Im pretty sure I was never that excited and enthusiastic in my life before at that moment! I was basically in disbelief the whole weekend afterward haha. Fox Renderfarm: Could you briefly summarize the project you submitted for the Kaizens Salvaged Space Challenge?Its just a myth, they said © BrachiiBrachii: In my picture, a skilled diver embarks on an underwater expedition, delving into the depths of the ocean in search of adventure. As the diver explores the murky depths, they stumble upon a broken-down pirate ship, its once-grand structure now a haunting relic of the past. With a mixture of curiosity and excitement, the diver cautiously navigates through the wreckage, eventually uncovering the mystic treasure hidden within its confines. The discovery of this long-lost treasure sparks a rush of exhilaration, as the diver marvels at the beauty and significance of their find, a testament to the secrets buried beneath the ocean's surface.Fox Renderfarm: Can you walk us through the creative process behind "Its just a myth, they said", from conceptualization to final execution? Do you have any standard working pipeline here?Brachii: I started by inspecting the basic scene, and carefully examining each element to ensure coherence and detail. I focus on establishing a general sense of composition, considering factors such as the camera angle, composition guidelines, color palettes, and overall atmosphere. Next, I jot down specific details I want to include in the scene, dividing them into different parts like character design, environmental elements, and props. To enrich my understanding and inspiration, I gather references from various sources, mainly Pinterest, to enhance the authenticity and depth of my creation. Creating a reference board is a crucial step for me. Additionally, I invest time in watching instructional videos related to my projects and learning new techniques and approaches to bring my vision to life. Throughout the process, I actively seek feedback from friends and more skilled people than me, valuing their insights to refine and improve my work continuously.Refboard © BrachiiFirst WIP © BrachiiWater & basic lighting done for the moment © BrachiiCreating the pirate ship/ hallway © Brachii Creating a first version of the treasure & putting my environments together © BrachiiMaking the treasure more interesting, adding foliage & other detail © BrachiiReplacing the character with diver model © BrachiiFinal Render + Post Process in Lightroom © BrachiiFox Renderfarm: Could you share the duration it took to bring this piece from concept to its final rendered form and highlight which aspect of the process consumed the most time? What contributed to this time investment?Brachii: Over the course of about a week, I dedicate several hours each day to working on my project. The most time-consuming aspect often involves repeatedly making various changes to the scene, striving to achieve the perfect image. This process entails experimenting with lighting, adjusting volumes, and adding intricate details, all through a series of trial and error. Despite the challenges, I remain committed to refining my creation, knowing that each adjustment brings me closer to realizing my vision.Fox Renderfarm: Were there any challenges you faced while depicting the azure depths of the Forbidden Sea, and how did you overcome them to achieve the desired effect?Brachii: When I initially loaded all the different parts into the scene, I found myself dissatisfied as it didn't match my initial vision. The scene lacked the essence of what I had imagined. To address this, I began making changes to the lighting setup, focusing particularly on utilizing light linking, a new feature introduced in Blender 4.0. Through this process, I aimed to enhance the overall atmosphere and better align the scene with my creative vision.Fox Renderfarm: What specific elements of the Forbidden Sea and the Black Kraken did you focus on to convey the sense of mystery and intrigue in your artwork?Brachii: The most crucial aspect of my project was capturing the underwater ambiance effectively. I prioritized conveying this feeling throughout the scene to immerse viewers in the underwater world. Additionally, I focused on ensuring that the main element, the treasure, stood out prominently. It was essential to depict its allure and significance within the context of the submerged environment.Fox Renderfarm: Were there specific AI-powered rendering techniques or tools that you incorporated into the creation of "Its just a myth, they said" to achieve the praised rendering quality? How did these tools contribute to the final visual appeal of the artwork?Brachii: Although I didn't directly utilize AI tools myself, my creative journey involved references from platforms like Pinterest, which often utilize AI-generated images. Also, not sure if you want to count using the native Blender denoiser as a tool. However, the only instance where I employed AI directly was when generating the text for my submission post.Fox Renderfarm: Can you describe a particularly memorable moment or breakthrough in the project's development?Brachii: Throughout the process, I experienced continuous breakthroughs with every part I completed, gradually assembling the scene to align more closely with my vision. As I near the completion of this piece, I find immense satisfaction in the resultit stands as my best render to date. This sense of accomplishment underscores the realization that regardless of the outcome of any competition or placement, the hard work invested has undeniably paid off.Fox Renderfarm: Can you share with us about your favorite projects or pieces you've worked on, and what made them particularly enjoyable or fulfilling for you?Brachii: As a beginner, I find immense enjoyment in working on my projects, relishing the opportunity to learn something new with each render. Completing courses that I've invested in feels like a significant accomplishment every time, marking my progress along this creative journey. Engaging in one-hour challenges with friends on Discord and participating in weekly or monthly contests not only pushes my skills but also provides a sense of fulfillment and satisfaction. If I were to choose, these would be my two other favorites, right after Its just a myth, they said...Probably because I also created everything myself in these scenes.Christmas Scene © BrachiiGame Environment © BrachiiFox Renderfarm: Are there specific cultural or natural elements that consistently inspire your work? How do these influences manifest in your creations?Brachii: Guess the major influence is from playing video games for many years, haha. But in general, it's all about getting random thoughts for projects and feeling the urge to bring them to life.Fox Renderfarm: Have you had any experience with Fox Renderfarm's cloud rendering services in the past? If you have, what is your opinion of our cloud rendering offerings? Brachii: I havent utilized any rendering services yet, but I'm definitely planning to use them with the prize I just received! It seems like a great solution, particularly if your hardware isn't up to par. Plus, it's a significant time-saver.Fox Renderfarm: Finally, with the rapid advancement of technology, how do you envision the future trends in 3D art, especially considering your experience in winning an award in the Kaizens Salvaged Space Challenge?Brachii: The advancements are certainly daunting. The competition is bound to grow even larger, almost like a race in some ways. Nevertheless, I'm determined to continue and aspire to work in the 3D field in the future. I'll persevere with passion and ensure that the fire within me doesn't diminish due to AI. The key, moving forward, is to stand out with our individuality. Thanks again to Brachii for accepting our interview! Wishing new heights in your professional career! Keep up with your great work.Brachiis social media:Instagram: https://www.instagram.com/maataverse/


Unveiling Winter's Wonderland: A Journey Through Kv3D's Winning Masterpiece

Unveiling Winter's Wonderland: A Journey Through Kv3D's Winning Masterpiece

2024-03-18

Trending

Fox Renderfarm Interview

Kv3D is a remarkable 20-year-old individual who secured 1st place in Kaizen's Winter Wonderland competition with his work "forgotten wonders in Winterland". Kv3D's outstanding entry captivated our attention with his splendid render, showcasing an enchanting ice castle amidst a snow-covered landscape. Fox Renderfarm as the industry's top cloud rendering service provider and leading render farm, sponsored this challenge and had the pleasure to interview Kv3D. As we delve into the intricacies of his journey, Kv3D reveals the initial idea behind his project, his resourceful approach to finding the perfect asset, and the inspiring process behind his creation process. Fox Renderfarm: Hi Kv3D! Thank you so much for accepting our interview! Please introduce yourself to our readers.Kv3D: Hi I am Kv3D and I'm a Dutch 3D artist. I'm 20 years old and studying to become a preschool teacher. I would like to make CG art into my job someday but for now it's just a hobby for me.Fox Renderfarm: Congratulations on winning 1st place in the Winter Wonderland competition! How do you feel about it?Kv3D: I found out about the challenge a little bit late and I noticed that there were a couple of prizes that you could win. I was one of the first ones to submit since I made it in one day and I found it really cool that everyone is so enthusiastic about it. Then other people started submitting and their submissions were really good as well, so I honestly thought that I wouldn't be able to win. Normally, I don't like my own renders that much so it's hard to judge them together with the other renders. I have participated in many other challenges as well but most times I don't win even though I think it looks good. However, this time it came out as the winning render and it was really surprising to me, it felt good to win.forgotten wonders in Winterland © Kv3DFox Renderfarm: What inspired the design of this castle, and how did you incorporate that inspiration into your work?Kv3D: When I participate in a challenge, I first think of a rough idea in my head. This time, I wanted to make an ice castle. Then I just started looking for an asset that I could incorporate into my render, in this case, I was looking for a castle. If I cant find a nice asset then I will go with a different idea. So I went through Sketchfab and came across this awesome castle model by matousekfoto, he made a 3D scan of this massive castle on the hill. This not only gave me the right model to work with but also inspired me because I used the shape of a real mountain to shape my own creation. In this case, I tried to make the castle from ice but it didn't work, so I went with a different idea with just a castle in the snow and that's basically how I got my inspiration.Castle of Loarre © matousekfotoFox Renderfarm: Could you please tell us about your pipeline for this work? And how long did it take you?Kv3D: For environmental pieces, I like to use just scans of natural assets. I used mega scans and they have some really nice rocks. To keep my project running smoothly and not too heavy I like to use four of them, duplicate and scatter them around the same piece so that the file size is not too big. In this case, I had to make snow on top of the environmental pieces because they didn't have snow straight out of the box. I always look for a main asset and work around that, and you have to change all the assets so that it looks cohesive instead of having multiple pieces: One from Megascans, one from Sketchfab, and one from Blender Market. To make them all work together, you must change the textures and materials a little so they can all work into one piece. Once I get all my pieces, I start laying them out and ensure that I have a rough idea of how the final image will look. I like to place my camera in a spot that I know would work and then work from the camera view. Once I have the final layout, I'll start adding some little details like snow and clouds. My workflow is pretty simple honestly, most people use a whole reference port but I don't like to do this because I like to work around a model that I find. Timewise it took one day, I would say about about six hours.Process using Snowify © Kv3DManual Placement of Objects © Kv3DFox Renderfarm: How did you achieve the realistic snow effect on the castle and the surrounding landscape? Can you explain the techniques you used?Kv3D: I tried to make my own shader and I also shared it with others in the challenge. Because it was about winter wonderland and snow is a big thing in the winter, so I made a node group where it looks at the model from the top since snow falls from the top. I would like all the snow to be top of something so I just applied that to everything and that's basically how I got the snow to look like it's falling from above. I used a snow material from Poly Haven, this is a website where you can get CC0 assets and sell them. I used it as the material for this node so that the snow looks realistic.Node Setup to Add Snow to Objects © Kv3DFox Renderfarm: How do you approach lighting in a scene like this to enhance the mood and depth of the environment?Kv3D: I like to start working with an HDRI. I always work with the same HDRI and it has lighting that's pretty even on all sides so you get a nice preview of how everything looks without sharp shadows. Once I am done with placing everything and I want to look at how to light it, I bring in a sky texture that I recently bought from a physical atmosphere add-on. I once got a tip from an architectural visualization artist, you want half of the building lid very well and the other half with a bit of shadow so that it feels more like a 3D object. So I tried to achieve that but I didn't want too harsh of a shadow because I want everything to be pretty detailed. I just tried to do that with the sky texture I have, so if you look at my piece you can see that the sun is coming from the right side and that's pretty nicely lit, and the left side has a little bit of shadow. It's not too dark but just dark enough that you can see the 3D shape of the building a little more and it provides a bit more color variation. That's usually what I like to do with every render in terms of lighting. Fox Renderfarm: How do you balance artistic creativity with technical constraints when working on a detailed scene like this one?Kv3D: I know a lot about the program, the assets, and how to change them to my liking. Before I start on a project, I know what my possibilities are, how much Blender I can handle, and what kind of assets I have at my disposal. I don't have unrealistic expectations of the program or anything so I don't run into technical limitations because I keep them in mind when working on a project.Fox Renderfarm: Are there any challenges that you encountered during the process of creation? If so, how did you overcome them?Kv3D: I used four environmental assets from Megascans, like the rocks and the ground, and I pieced them all together. When it came straight out of Blender, you could see that separate objects were overlapping. I could either go in and add many more assets or change them but I think that they were already laid down pretty well. What I do when I have my final image is to use Panes Software, in this case, Krita, which is also free, and you can just put in the render and start painting over it. I used the clone brush to clone parts that are overlapping and make it look like one object. In the end, I didn't hear any critiques about the overlap from Kaizen so I guess I did a good job. So whenever I encounter some difficulties I could either spend a lot of time and effort into changing or trying to fix it in a software. I would likely choose the painting software because it's faster and you don't have to rerun everything.Rendering of a Single Frame © Kv3DRaw Render © Kv3DRaw Render © Kv3DFox Renderfarm: Are there any moments you enjoyed during the creation process? And what was the most memorable?Kv3D: I really like to make the snow shader and I also worked a bit more later on it to improve, which is a shame because I would have liked to use that in this piece as well but that was too late. I like it because that was something new I had to figure out to create this render. There is also the castle scan where I needed some way to cut out the mountains but I still wanted to be able to use it as the shape of the final render so that it looked natural. So I found a way to cut that out nicely, basically just select the castle and use edit mode to give it a separate material. That way I could lower the alpha of the environment, basically make it disappear or be very slightly visible. Then, I could still use it as the layout for my scene and place my assets around the castle. Those were the two parts I had to problem-solve and I enjoyed this process.Fox Renderfarm: How did you become interested in 3D art and what has been your journey in developing your skills?Kv3D: I first started with game development because it seemed like you could easily make ideas come to life with it. However, I quickly found out that it wasn't as visual as I hoped. When I was working on a 3D game and I had to make some assets, everyone suggested Blender. So when I started using Blender, I never returned to game development. I just got more addicted each day. I normally use Blender to challenge myself, such as picking an object out of my room and giving myself one hour to try and re-create that object as quickly and nicely as possible. That's how I learned to work fast. I have participated about 50 times in 3D weekly challenges, and I have been doing 3D for about one and a half to two years, basically, my whole 3D career I've been participating in weekly challenges which made me improve. I've met a lot of like-minded people who can work together and help each other, which allowed me to improve to where I am now.Fox Renderfarm: Have you tried or heard about Fox Renderfarms services before? If so, how do you feel about Fox Renderfarms cloud rendering services? Kv3D: I have heard from a friend who got 3rd place in another challenge and he was interviewed by Fox Renderfarm as well. I think that's the first time Ive heard about it. I would like to use a render farm but I don't render animations that often. But when I'm going to work on a short film that takes a lot of time I would definitely use something like Fox Renderfarm.Fox Renderfarm: Do you have any ongoing projects or future plans at the moment?Kv3D: I want to win more weekly challenges, it sounds kind of stupid but that's kind of the the place where my fire for 3D started. So I really want to get more into it and start winning those. Once I get the hang of it and win a bit more I think I can leave that behind me and go on with some other stuff. I am also still studying to become a preschool teacher, and after I finish studying, I want to pursue this 3D dream of mine. So I'll give myself a half year to see where I can go with 3D to make something more out of it than a hobby hopefully. But for now, this whole year that I still have to study, I want to do just challenges and maybe make something like a little short film.Thanks again to Kv3D for accepting our interview! Wishing new heights in your professional career!Kv3Ds social media:Website: https://kv3design.com/Instagram: https://www.instagram.com/kv3design/YouTube: https://www.youtube.com/@kv3d172/


3DModels の SF工業地帯 3D チャレンジで 2 位受賞者、 プロ 3D アーティスト トドル・ヴラデフ へのインタビュー

3DModels の SF工業地帯 3D チャレンジで 2 位受賞者、 プロ 3D アーティスト トドル・ヴラデフ へのインタビュー

2024-03-15

CG Challenges

Fox Renderfarm Interview

3DModels の SF工業地帯 3D チャレンジは、サイエンスフィクションと工業デザインをテーマに、参加者が未来的な設定を探求できるコンテストです。プロの 3D アーティストであるトドール・ヴラデフさんは、工業テーマの 3D アート作品制作の経験を活かして今回のコンテストで2位に入賞しました。トドールさん、おめでとうございます!Fox Renderfarm は、業界トップのクラウド レンダリング サービス プロバイダーおよびレンダー ファームとして、光栄なことにこのコンテストのスポンサーとなり、トドールさんにインタビューしました。このインタビューでは、トドールさんの素晴らしい 3D レンダリング作品『インタープラネタリー・パイオニア』の制作プロセスについて見ていきましょう。インタープラネタリー・パイオニア © Todor VladevFox Renderfarm: こんにちは、トドールさん!インタビューを受けていただき、誠にありがとうございます!まずは読者の皆様に自己紹介をお願いできますか?トドル: こんにちは、インタビューの機会をいただきありがとうございます。 トドールです。専門的にも個人的にも長い間 3D アートに携わっています。 時間がある時には、個人のプロジェクトに取り組んだり、自転車に乗ったりボルダリングなどのアウトドア活動を楽しんでいます。Fox Renderfarm: SF工業地帯 3D チャレンジで2 位入賞おめでとうございます!いかがお感じですか?トドル: 上位 3 位に入賞できてとても嬉しいです。私にとっては、それはアーティストの素晴らしいコミュニティの一員になることであり、私のアートが他の偉大な 3D アーティストの間で認められることです。Fox Renderfarm: 作品『インタープラネタリー・パイオニア』のインスピレーションについて教えていただけますか。どのようにしてこのアイデアを思いついたのですか?トドル: 最初、何を作りたいのかわかりませんでした。『インタープラネタリー・パイオニア』のインスピレーションは、『エイリアン』『プロメテウス』『スタートレック』などの SF 映画や、『クエイク 2』『ドゥーム 』『デッドスペース』などのSF アクション一人称シューティングゲームから来ています。汚くて、古くて使用感のある環境を作りたかったです。住まれていって、長い時間宇宙を漂っている宇宙ステーションです。また、SF映画のような映画的な雰囲気も作りたかったです。Fox Renderfarm: 作品におけるパイプラインについて教えていただけますか?それにかかった時間はどれくらいですかトドル: まず、私はアイデアを実現するためにインスピレーションを与える画像を調査し集めました。また、ライティングの例を研究してイメージのムードを決めました。まずは基本的なモデリングと予備的なライティングを行い、シーンの全体のムードを把握します。その後、アセットの詳細とテクスチャリングを進めながら、目指した雰囲気を実現するためにライティングを調整していきます。これらの作業が完了したら、仕上げの作業を行い、必要なライティングの調整を行い、最終イメージを完成させるためにポストプロダクションを行います。モデリングとシーンのセットアップ © Todor Vladevモデリングとシーンのセットアップ © Todor VladevFox Renderfarm: 作品中の金属の質感が非常にリアルですね!さまざまな複雑なテクスチャとディテールを実現するための方法について教えていただけますか?トドル: それは私にとってコンペティションにおいて、主なチャレンジでした。宇宙ステーションが非常に古く使われているような見た目と感じを再現する必要がありました。金属のテクスチャは、さまざまな素材をブレンドして作成し、ディテールを描いたり、サーフェスにデカールや汚れを追加したりして、目指した外観を実現しました。Substance 3d Painterでモデルをテクスチャリングする - 壁 © Todor VladevSubstance 3d Painterでモデルをテクスチャリングする - フロア © Todor VladevFox Renderfarm: 作品中にはいくつかの異なるキャラクターフィギュアが登場していますが、それらの配置や関係について教えていただけますか?トドル: 二人の主人公である宇宙パイロットに焦点を当てつつ、賑やかな雰囲気を作り出すことを目指しました。宇宙ステーションが活気に満ちていると感じられるようにしました。エンジニアが回廊や機器のメンテナンスをしていたり、パイプや金属板を溶接している作業員がいたり、昼食をとりながらおしゃべりをしている人々がいたり、新しいミッションが話し合われるブリーフィングルームがあったり、宇宙飛行士が宇宙ハンガーへ向かう様子が描かれています。惑星間パイオニア © Todor Vladev惑星間パイオニア © Todor VladevFox Renderfarm: 色や素材、照明の設定など、どのようにして作品全体の雰囲気を作り上げたのですか?トドル: 照明はこのイメージで非常に重要な役割を果たしました。ムーディーな宇宙環境を実現することは一定の挑戦がありました。例えば、照明が均一に分布している場合、シーンに奥行きや物語性が欠けます。適切なムードを伝えるために、宇宙ステーションの主要な特徴をハイライトしました。ブリーフィングルームから発せられる色や遠い回廊から発せられる色は、補助的な要素を強調しました。右側からの宇宙ハンガーからの主証明は、物語の重要な部分を強調し、同時に左からの照明は、賑やかな宇宙ステーションの通路を進む宇宙飛行士の進行を強調しました。この意図的な配置により、視聴者の注意は通路や回廊、ブリーフィングルーム、溶接作業を行う作業員などの補助的な要素に向けられました。ベースモデルとライティング © Todor Vladevベースモデルとライティング © Todor VladevFox Renderfarm: 制作過程で直面したチャレンジはありますか?もしある場合、どのように克服しましたか?トドル: あまりないですね。与えられた時間内に達成したい目標が明確でした。Fox Renderfarm: 制作過程で楽しかった瞬間はありますか?また、最も印象に残っていることは何ですか?トドル: あります。ライティングは私にとって最も楽しい制作プロセスの一部です。自由と創造性を提供し、数多くの可能性を広げてくれました。また、ポストプロダクションもとても楽しいです。Fox Renderfarm: 過去にも多くの工業テーマの作品を制作されていますが、なぜこのテーマを選んだのですか?シェアしたいお気に入りの作品はありますか?トドル: 私が工業の汚れた見た目や感じに引かれています。子供の頃、父親が造船所や船のエンジン室に連れて行ってくれました。私は自分が宇宙船の上にいるように、制御パネルや点滅するライトに囲まれ、エンジンオイルとグリースの匂いに浸っている自分を想像していました。そうした場所のムーディなライティングや活気ある雰囲気は、私に強い印象を残しました。夜食場 © Todor Vladevアウトポスト・プラネット © Todor Vladevミネルバへのミッション © Todor VladevFox Renderfarm: 最もインスピレーションを受けるアートワークやアーティストはありますか?トドル: 私のインスピレーションは、SF ゲームや映画のコンセプトアートから得られますが、特に Ian Hubert 氏の作品には感銘を受けています。彼の作品は素晴らしい SF やサイバーパンクの環境と、魅力的なアニメーションで構成されています。パーティー・タグ© Ian HubertFox Renderfarm: フォックスレンダーファームのクラウド レンダリング サービスを利用したことはありましたか?もしある場合、使用感はどうでしたか?トドル: 実際には 利用することはありませんが、大規模なプロジェクトや小規模なプロジェクトにとっても便利で優れたサービスだと知っています。Fox Renderfarm: 今後の何かの計画はありますか?トドル: 現時点ではありません。最近は Unreal Engine 5 を探求し始め、このプラットフォームを使用してさらに素晴らしい作品やアニメーションを作りたいと思っています。トドルのソーシャルメディア:インスタグラム: https://www.instagram.com/todorvladev/リンクトイン: https://www.linkedin.com/in/todor-vladev-5b496635/アートステーション: https://www.artstation.com/tvladev


Blending Imagination and Mastery: Ramond’s 3D Lunar Visions Win Widespread Acclaim

Blending Imagination and Mastery: Ramond’s 3D Lunar Visions Win Widespread Acclaim

2024-03-13

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Fox Renderfarm Interview

Ramon, a 20-year-old Brazilian, is a creative force to be reckoned with because of his unwavering love for artistic expression in 3D, 2D, painting, and even video games. He made the decision to immerse himself in the field of 3D artistry less than a year ago in an effort to make his skills a career. His work "Research in Moon", won him an award in Kaizen's Lunar Landscape contest sponsored by Fox Renderfarm, a leading cloud rendering services provider and render farm in the industry. Ramon's hard work has already paid off spectacularly. The judges were amazed by this young Brazilian's ability to imagine and depict a fanciful lunar scenario with such detail and imagination. Discover the inspirations, techniques, and boundless creativity that enabled Ramon to craft such an impressive 3D lunar environment at just 20 years old.Fox Renderfarm: Hi Ramond! Thank you so much for accepting our interview! Could you please introduce yourself to our readers?Ramond: My name is Ramon, I'm 20 years old, I'm from Brazil and I'm kind of passionate about art. Be it 3D, 2D, painting, or even video games haha. Everything in the end is art. A little less than a year ago I decided to study 3D in depth and make it my profession.Fox Renderfarm: What made you want to join the Kaizens Lunar Landscape Challenge, and how did you feel when you found out "Research in Moon" won?Ramond: I really like Kaizen's content on YouTube and when I discovered that he had a discord server that had challenges, and it made me really want to participate. These types of challenges bring many good artists and at the same time that you compete against them, you learn a lot from them. Being there on the podium was incredible for me because I knew there were other incredible submissions, so "beating" them, in a way, was very rewarding.Fox Renderfarm: Could you briefly summarize the project you submitted for the Challenge?Research in Moon © RamondRamond: "Research in Moon" was an idea I had while searching for references on Pinterest and I ended up finding some official NASA photos. So I thought it could be great to go with this idea, trying to recreate something more real since it's the area I've been studying for a few months. He's basically a scientist who's doing research on the moon (ba dum ts), in a The Martian vibe.Fox Renderfarm: Can you walk us through your creative process in conceptualizing and executing "Research in Moon"? How did you start, and how did it evolve?© RamondRamond: Firstly, I wanted to define the style, more realistic, something cartoony or another style. Well, as I've been studying things about realism for almost a year, it makes a lot more sense to choose this for me. Then I went to Pinterest and simply typed in the challenge prompt: "lunar landscapes".I ended up finding official photos of the man on the moon, so I knew that would be my focus. Try to replicate the mood of those old photos. After having this defined, I focused on looking for official photos of NASA and ended up merging them with some that I thought could be imported into the landscape. Finally, I set up the reference board and started working. Then I followed my standard workflow. Blocking, testing the lighting, placing the official actors, and then testing even more to see what can be removed or changedImages sourced from NASAFox Renderfarm: What did you use to make the astronaut, rover, and moon look so real? Any techniques or tools?© RamondRamond: I have to thank his owner on Sketchfab hahaha for the astronaut, very well modeled and textured. Since I don't know much about characters, I had to resort to this. Having the rover wasn't my initial idea, but in some research, I ended up finding NASA's official 3D model website, official models used on expeditions. The texture wasn't the best, so I took advantage of the light I had already defined, as it wasn't a front light, it helped me. Obviously, there was also a lot of post-production, with bloom, lens flare, color adjustments, etc.Fox Renderfarm: How long did it take you to finish "Research in Moon", and what part of making it took the longest? What do you think made it take so long?© RamondRamond: It was quick, in less than 3 days I had finished everything. It wasn't a scene with many elements, of course. What took the longest were the details, positioning of the stones, black level, and post-production in which I messed around a lot until I found the result I wanted.Fox Renderfarm: What were the most significant challenges you faced in achieving such details, and how did you overcome them during the creation of your work?Ramond: To be honest, I didn't have any major challenges in creating the scene itself. The challenge was in the post, as I sent it well before the final date, anxiety started to set in when seeing the other submissions and knowing that there were so many good submissions. So I was in that paranoia: I could have done this, I could have done that to be better... but it happens. It's always normal hahaha.Fox Renderfarm: How did you show the connection between people and rovers exploring space in the context of lunar exploration through your artwork?© RamondRamond: At no other time in history has there been such a strong relationship between man and machine as we have now. Technology that both addicts and blinds us, helps us take important steps in agriculture, health and even exploring new places. In this case the moon. An inhospitable place and anything can kill us. Having a rover on an expedition like this is like having a dog when going hunting. Our ally, friend, our security. Basically what I tried to represent when I included it in the sceneFox Renderfarm: Were there specific AI tools that you used in the creation of your work to achieve such quality? How did these tools contribute to the final visual appeal of the artwork?Ramond: I only used AI tools to create initial ideas, typing the challenge prompt itself, but I didn't even use them in my referencesFox Renderfarm: Are there any moments you enjoyed during the creation process? And what was the most memorable?Ramond: Post-production, for sure. I made the entire scene aware that I would change it a lot even after the final rendering.Fox Renderfarm: Are there specific cultural or natural elements that consistently inspire your work? How do these influences impact your creations?Ramond: Natural elements do not. The artist I am is based on what I consume. Content from other artists, films, games, music, and everything that I think will add to my critical eyeFox Renderfarm: Have you had any experience with Fox Renderfarm's cloud rendering services in the past? If you have, what is your opinion of our cloud rendering offerings? Ramond: I had no experience before but I knew the services. As my country's currency is devalued against the dollar, it has never been advantageous for me to buy credits for cloud rendering. But now it will be very useful, I already have a project that I'm working on, which I intend to use Fox to render.Fox Renderfarm: Finally, what advice would you give to aspiring 3D artists? Are there any key lessons or insights that you have learned along your journey?Ramond: It's training. It's about always practicing, studying new techniques, and entering the world of art, always consuming the best. To bring this baggage to our projectsThanks again to Ramond for accepting our interview! Wishing new heights in your professional career!! keep up with your great work.Ramonds instagram: https://www.instagram.com/naustilus/


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