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    Interview with Cristina Martinez Benita: Contrast between Strength and Lightness in ArchViz
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    Interview with Cristina Martinez Benita: Contrast between Strength and Lightness in ArchViz

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS When wandering in a gallery, you may stop by a painting that’s compelling or would also get confused about why you feel so lost in a picture. The reason lies in the composition and lighting, which determine the visual effects and the viewer’s engagement of an image. Cristina attempts to make her ArchViz image rational and focused while illustrating the contrast between strength and lightness. Let’s read the interview about how she illustrates the Guna House by Pezo von Ellrichshausen in a calm and harmonious atmosphere. - Cristina Martinez Benita - From: Madrid, Spain - Architectural Visualizer - School: School-ing LAKEHOUSE: Nominated work in Student (Image) Category of CGarchitect 2019 ARCHITECTURAL 3D AWARDS CREDITS: Adán Martín, Eduardo Rodríguez and all the schoolmates for each word of advice. Pezo von Ellrichshausen for his amazing Architecture and the fascinating house which inspires this image. Fox Renderfarm: Hi, Cristina, would you please give a brief introduction about yourself? Cristina: Hi everybody and really thanks for the opportunity to share my personal story. My name is Cris and I am an architect who has always felt a great attraction for everything visual: photography, painting... That’s why 9 months ago I decided to make a huge change to my professional life and enter School-ing, the new 3D school of Adán Martín and Eduardo Rodriguez in Madrid; an amazing experience and a total revolution of knowledge . Thanks to my time at the school today I can work doing what I like most in one of the companies I always admire, Play-Time, based in Barcelona. So I am just landed in the ArchViz community but it is my true passion. Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards? Cristina: Being nominated in the CGarchtiect Architectural 3D Awards was a complete surprise. It was a mix of happiness and incredulity but of course I felt really lucky, I had no plans to take part in the competition but at the last moment (to be honest last day) I decided to submit the image encouraged for our teachers and schoolmates. Attending Viena event was an amazing experience I will always remember. Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition? Cristina: The image started as an educational exercise to practise several parts of the ArchViz process. We had to choose an existing architectural project and I took Guna House, an incredible house of Pezo von Ellrichshausen. I was starting with modelling so I wanted to take something really rational and focus the effort to create an atmosphere of contrast and a story around the Architecture and its location. I thought those two elements could help the image to get attention. Guna House emerges as a concrete rational sculpture in the middle of a wild surrounding nature. The contrast between strength and lightness, Human and Nature. Guna House by Pezo von Ellrichshausen Fox Renderfarm: Could you introduce the light design and the composition of this project? Cristina: Since the first sketch I was really clear about an image with a square format and a really static composition, with the house as a solid focus and many details happening around it. I was imagining an atmosphere which inspired (apparently) harmony, calm...and I got it with one of the HDRI of a 3D Collective. Then I just had to add some Vray spots to emphasise the interior of the house. The lake in the scene really helps me with reflections and shades. Fox Renderfarm: How long did it take you to finish the work? Cristina: It is difficult to say since we use the scene to practise several things along the classes, but yeah I do not want to trick anybody, for sure it takes more time than the available in the daily work ;) Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process? Cristina: The most interesting part was the process itself, the constant growth of the image along the time, how the idea was taking shape and at the end, compare the initial sketch with the final result. I also enjoyed a lot creating all of the details along the lakeshore including some hidden little friends. The main idea was the image invited you to become an observer among the bushes, paying attention to small gestures. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it? Cristina: Well when I started this image it was barely a few months since I started my relationship with 3D Max so everything in it, was a kind of challenge for me but also a great opportunity to apply all the knowledge. Thanks to each piece of advice from teachers and the support of schoolmates the journey was much more easy to live. Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career? Cristina: As I mentioned in the introduction, I officially started in the architectural visualization last January but the curious and interest for this world was there since I started to work as an Architect. Especially, when I got an internship in ETB Studio a really inspirational italian studio where they had an incredible way to tell and communicate projects. The final decision was just a perfect combination of time, personal moment and great school. Fox Renderfarm: Who or what project inspires you most in this industry? Cristina: I sincerely think almost everything can inspire you in this industry. It is clear that Photography or Painting are directly influences but also travelling itself, visiting places or living landscapes and cities can improve your eyes and your visual background. About who...it is always difficult to choose someone but if I have to give names I love the works from Darcstudio in UK and SixNFive in Barcelona. ArchViz Works by Darcstudio ArchViz Works by SixNFive Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills? Cristina: I believe that as in every industry, the most important thing is the passion and the non-stop wish to learn everyday, to be curious. Also, I personally like to believe that emotions and feelings are important parts of this job. I try to improve my professional skills listening to all the talented people I am surrounded and trying to learn from their experiences. I also try to exercise the way I look spending a lot of my free time reading images and watercoloring. Cristina’s artwork Fox Renderfarm: What’s your next step? Cristina: Currently I do not make many plans for the future. I am just focus on learning and improving to grow professionally. The industry is changing so who knows.... Fox Renderfarm: Any other things you want to share with CG enthusiasts? Cristina: I just want to say thanks, I feel really grateful for taking part of this industry . Hope it also encourages more women to begin in this inspirational world. *For more artwroks* *Cristina’s Instagram:* https://www.instagram.com/soyeme/ *Behance:* https://www.behance.net/cmb1 *Play-Time’s Instagram:* https://www.instagram.com/playtime.barcelona/

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    Creating the Sophisticated Chevrolet Corvette 1960 in 3ds Max
    Trending
    Creating the Sophisticated Chevrolet Corvette 1960 in 3ds Max

    Hum3D ‘Car Render Challenge’ is one of the fantastic render challenges that artists who are passionate about both 3D creation and cars should not miss! As the sponsor for the challenge, is amazed by the numerous submitted artworks, not only for the exquisite images but also the fun and the storytelling mindset behind the creations. We are so glad to have an interview with the first prize winner -- Mr. Ehsan Darvishi, who created the Chevrolet Corvette 1960 with the overwhelmingly beautiful details and lighting. He revealed the production process and share his industry experience. Please check out our interview for more. Ehsan Darvishi3D Artist, Qoo Studio From: Iran Chevrolet Corvette 1960 by Ehsan Darvishi Fox Renderfarm: Hi, Ehsan! Thank you for accepting our interview! Could you give us a brief introduction of yourself? Ehsan: Hi. Thanks for this interview. I’m Ehsan Darvishi, from Isfahan province, Iran. I’m 31 years old and I got into the CG industry from the age of 15. I’ve been as 3D artist in the animation studio for 7 years. During this time, two cinematic animations and three short animations were produced. Currently, I work remotely for Qoo Studio in Toronto, Canada, and also working as a freelancer. Fox Renderfarm: How do you feel about winning the 1st Place in the Hum3D ‘Car Render Challenge’? Ehsan: I’m so happy. I’m glad for achieving the first place. Thanks to Hum3D and Serhii Antonov for this competition, also the jury and all sponsors. Fox Renderfarm: What’s your inspiration for Chevrolet Corvette 1960? Ehsan: The Corvette always makes me feel good especially old models. Of course, I'm sorry I can't drive with them. Unfortunately, there are no American cars in Iran. The real Chevrolet Corvette 1960 in Photo. Source from Google Search Fox Renderfarm: The car in the picture is so well-made, especially the reflection on the surface and the windshield, could you tell us the process you made the car? Ehsan: In fact, reflections are created from a HDRI light with a proper image. I tried to select a picture that caused well reflections on the car’s body, windshield and metallic part. I changed the HDRI a lot for achieving the best result. Fox Renderfarm: The diner behind is rich with details, and the lighting design is sophisticated, how did you design and make the lighting? Ehsan: There were three types of lights in the dining room. First, the skylight and the ambient light coming through the windows. Then, yellow lights from big lamps in the roof and next, two sources of white lights above cubic glass. The blend of these lights created this light effect. In fact, I was inspired by an old photo for modeling and lighting the environment. Draft render of Chevrolet Corvette 1960 by Ehsan Darvishi Fox Renderfarm: And regarding the environment, how did you achieve the fine texture of the bushes and floor respectively? Ehsan: I tried to show an early fall season. There is a tree without leaves in the back of the building, and the color of the plants is a little green. I wanted to show that sidewalk and asphalt weren't smooth like reality. Fox Renderfarm: How long did it take to finish the artwork? Ehsan: When I decided to take part in the competition, I had just 10 days chance. I started very fast and was able to send it one day before the time finished. I worked for that 9 days (12 to 14 hours a day). Fox Renderfarm: What software and plugins did you use to make the artwork? Ehsan: I used Autodesk 3ds Max, Substance Painter, Corona renderer and Photoshop. Fox Renderfarm: What’s the most unforgettable experience in the production process? Ehsan: In my idea, the best-producing stage or process is the time when it's completed. A final artwork involves several stages. The combination of these steps can be seen in the final work. Fox Renderfarm: Have you met any difficulties? How did you solve it? Ehsan: Not having enough time and weak hardware especially for rendering. You can see some part is noisy, and there was no way for me to remove it. Fox Renderfarm: How did you come up with entering into the CG industry? Ehsan: My interest in CG industry began when computer games turned from 2D into 3D. Also, sci-fi films at that time helped my interest in CG. I was fifteen at the time, and I decided to start learning 3d software. At first, learning was difficult for me because there were limited educational resources. Artwork by Ehsan Fox Renderfarm: Could you briefly tell us about the education and career experience along your 3D journey? Ehsan: I graduated in computer software major. At first, I didn’t like it. Anyway, I started my education because there was no major in the CG field. I faced lots of problems for 15 years but they were sweet and useful because I could learn a new experience. The best time in my life and job was working for an animation studio as a 3D artist. I gained many useful experiences there, and the type of work was very attractive. Artworks by Ehsan Fox Renderfarm: Who or what project inspires you the most in the industry? Ehsan: I always follow the works of 3D artists. I also see a lot of Sci-Fi Films. Video games are always my favorite and besides enjoying them, I pay attention to modeling, texturing and making them. Fox Renderfarm: What do you do to get inspired and motivated? And how do you improve your professional skills? Ehsan: Sci-fi Films, video games, and 3D artwork motivate me, and I always follow them. Fox Renderfarm: Any other things you wanna share with CG enthusiasts? Ehsan: I believe that practice and learning are very important for being successful and should never be forgotten.

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    Fox Renderfarm Desktop Client Version 5.0.6.5 is Released!
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    Fox Renderfarm Desktop Client Version 5.0.6.5 is Released!

    Hello Fox Renderfarm user, First, Thanks for using the leading in the CG industry, Fox Renderfarm. The latest version of Fox Renderfarm Desktop Client is here! Windows version download here Linux version download here Let’s check out the new functions of version 5.0.6.5! 1. Allocate GPUs (cards) *Setting > General > Allocate GPUs (cards)* The default option of ‘Allocate GPUs (cards)’ was ‘2*GTX 1080Ti’, now you can add the option ‘1*GTX 1080Ti’ by contacting the customer service or business manager. After that, you can select the options to meet your needs. The setting is only effective for Maya and 3ds Max. 2. Download speed, packet loss, network latency were added in Line Speed Test *Setting > Network > Line > Run speed test* You can choose a suitable line according to the speed test result including Upload speed, Download speed, Packet loss, and Network latency. 3. Predict the upload and download time When you are uploading or downloading jobs, double click the job, the remaining time will be shown in ‘Running Log’. 4. Batch adjust jobs’ priorities *Select multiple files> Right-click > Adjust job priority > Input value > OK* Holding down the CTRL key or the Shift key as you click a file, allows you to select more than one. Right-click the files, choose ‘Adjust job priority’, then you can batch adjust the jobs’ priorities. 5. The number of concurrent Upload or Download files is adjustable *Setting > Network > Parallel > Input value * Logout and login the client again after switch engine. 6. Resubmit Timeout frames *Right-click the job > Resubmit > Timeout frames* It’s more efficient to resubmit the timeout frames by clicking the ’Resubmit button Timeout frames, when the timeout job stopped. 7. Rights Management for Sub-account *Account > Sub-account Management > Edit > Switch on “Inherit administrator software configuration”* The sub-account can keep the same software configuration the master account saved. User needs to login to the web-client and set the right for sub-account. 8. Render Parameter Setting for Houdini The new functions for Houdini users! In Render Parameter Setting, newly added ‘Separate Render Node to submit’, check and you can create one job for each render node. Then in ‘Rendering settings’ > ‘Pre-test frames’, you can set the number of ‘Custom frame’ based on your needs. What's more, we’ve cut the prices to better meet your needs! Rendering prices go down, and the cheapest is as low as $0.036 per core hour. Recharge more and save more now! For pricing details, please click .

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

    Who wouldn’t dream about life on a boat, far from boredom and pressure, with tranquillity and maybe some adventure? Fox Renderfarm is amazed by the excellent artworks from ‘Life on a Boat’ 3D render challenge held by CGBoost, both for their diverse creativity and high-quality images. Congratulations to all the winners of the challenge, and never stop letting your ideas make the community shine bright! Jakob Scheidt, the 3rd place winner in the challenge, is also an old friend of Fox Renderfarm - Winner of Fox’s Got Talent! Here is one thing about him you won’t believe - Jakob, with 6 years’ practice of Blender and having won prizes and praise in various platforms, is only 16 years old. In the interview with Fox Renderfarm, he told us his unique thoughts behind the awarded artwork, and how he got started and motivated in 3D art creation. - Jakob Scheidt - 3D Artist - From: Germany Fox Renderfarm: Hi, Jakob! Thank you so much for accepting our interview! Could you please give us a brief introduction about yourself? Jakob: Hello! My name is Jakob Scheidt, I’m a 16-year-old 3D artist from Germany. I started drawing when I was a kid and continued creating visual artwork. I discovered Blender six years ago and I’m still using it today, combined with Substance Painter and Photoshop. I think about working as an Illustrator or 3D Artist in the future. Artworks by Jakob Scheidt Fox Renderfarm: How do you feel about winning the 3rd place in CGBoost ‘Life on a Boat Challenge’ this time? Jakob: It’s always a good feeling to be awarded, but the prizes are not the most important thing you get from participating in a competition. Every time I have a deadline and a topic to create an artwork I get very motivated and spend as much time as possible working on the artwork. At the end you get improved in so many areas, like concepting, telling a story, modelling, sculpting, texturing and lighting. Knowing and practicing the complete process is crucial, even if you want to specialize in a particular skill. In the past, 3D art challenges always boosted my motivation and skills as a 3D artist. Fox Renderfarm: Your artwork delivers a pretty tranquil and exotic feeling, could you tell us your inspiration for it? Jakob: The topic ‘Life on a Boat’ can be interpreted in many different ways. In the beginning I had no idea what to create and started researching to get inspired. I came across many different cultures, the instruments they play, the food they eat and the boats they have. I combined everything I liked into a scene that captures the relaxed, calm mood. It was great to see that the other participants had totally different ideas and created images with action and humor for example. Fox Renderfarm: The lake takes the biggest proportion of the image, the lighting and ripples of the water matters a lot to the picture, could you introduce the production process and any consideration behind? Jakob: I added the water at the end of the process and thought it would just be a simple plane with a simple material. It took several hours to finish in the end, it was a challenge to make it look good with the lighting of the scene. I experimented with volumetric effects, particles, color variations and several combined bump textures for the small waves. In the end I had a giant node tree that included all the elements mentioned. The interaction between the water and the paddle was particularly challenging. It’s basically a bump texture painted by hand, even though I used a water simulation as a basis. And as always, using many reference images was important to make it look realistic and appealing. Fox Renderfarm: About the senior man on the boat, his clothes, hat and shoes have really appealing colors and prints, how did you make them? And did you refer to any materials? Jakob: I was fascinated by the clothing patterns of different cultures; many parts of the image include them. Although I tried using a simple texture to wrap around the whole model, I ended up painting or adjusting most of the textures by hand in Substance Painter. Adding the golden parts and the small graphical patterns was time consuming, but it makes you want to look at the image for a longer time, the details and bright colors catch your attention. Fox Renderfarm: About the objects on the boat, like the case, food, hookah and so forth, could you introduce them a bit, and any ideas behind that? Jakob: All the assets are created based on reference pictures I collected earlier. They had to look good individually as well as combined with the boat and the character. Modeling and texturing them was time consuming, but these details make the scene look believable and appealing. Fox Renderfarm: The steam from the spout of the pot gives the whole image a dynamic and vivid touch. How did you make it? And any ideas behind that? Jakob: Adding the steam makes the scene look more realistic. It was very easy to create though, I just added an alpha texture to a plane, the scene is not meant to work as an animation. Fox Renderfarm: What’s the most interesting and unforgettable memory during the production? Jakob: At the beginning of the modelling process I was very keen on getting every detail on the boat right, even though I wasn’t sure about the final camera angle and composition. So, I spent 6 hours creating two special chests with sophisticated details and complex textures. At the end you can’t even see the first one, the other one is mostly in shadow and a simple cube would have done the job. The lesson I learned from this is to think about the specific camera angle and how much details you need to include in the assets early on, so you don’t waste your time like I did! Fox Renderfarm: Did you meet any difficulty, and how did you solve it? Jakob: The water and the character have been challenging, and the lighting for sure. I spent a lot of time trying different HDRs and added many spot lamps in addition to that. This was important for establishing the mood of the piece and emphasizing particular parts. Fox Renderfarm: What are the software and plugins did you use for this artwork? Jakob: I used Blender 2.8 for modeling, sculpting, retopology, UVs, Materials and Rendering. Most of the textures are created in Substance Painter, but I used resources like Poliigon, Textures.com and Pixabay. The final image was composited in Adobe Photoshop and rendered in Blender cycles. Fox Renderfarm: You are also the winner for Fox’s Got Talent, how do you feel about winning our challenge? Jakob: It was a great promotion for my ArtStation profile and some free render credits are always great for future projects. Looking at the other artworks created for Fox’s Got Talent is a pleasure too, very inspiring! Fox Renderfarm: Can you recall your first encounter with CG? And could you briefly tell us about the education and career experience along your 3D journey? Jakob: I started using 3D software six years ago. The beginning was tough, but I had a lot of time to learn and was fascinated by 3D, even though 100% of my renders in the first two years sucked. I was learning Blender with video tutorials on YouTube, but I wasn’t following a particular curriculum. Slowly my technical skills improved and I could use the software. At that time, I was messing around with animation, VFX and simulations almost every day. Today I focus mostly on modeling, sculpting and texturing realistic creatures and props. Fox Renderfarm: Who or what project inspires you the most in this career? Jakob: I look at a lot of 2D artwork and I like to draw as well. That’s why I enjoy many concept artists, but I’m very inspired by artists mixing 3D and 2D, one example is Jama Jurabaev. Some other 3D artists I admire are Julien Kaspar, Gregory Smith, Henning Sanden and Gleb Alexandrov. Concept Art by Jama Jurabaev Rain-Turntables by Julien Kaspar Artwork by Gregory Smith Artwork by Henning Sanden Artwork by Gleb Alexandrov Fox Renderfarm: What do you do to get inspired and motivated? And how do you improve your professional skills? Jakob: Participating in art competitions is very motivating and drawing every day is very important for me to practice observation. Other than that, there are many excellent courses on the internet on 3D tools, asset creation, lighting and anatomy. Fox Renderfarm: As an old friend of Fox Renderfarm, how do you feel about Fox Renderfarm’s ? Jakob: Having access to an easy to use is rendering my animations. Fox Renderfarm: Any other things you wanna share with CG enthusiasts? Jakob: Never stop creating! For more Jakob’s artworks: ArtStation: https://www.artstation.com/jakobscheidt Instagram: https://www.instagram.com/jakob.scheidt/ Youtuebe: https://www.youtube.com/channel/UCk4--F0P5NGHjy_1JGwWDCA

    2020-01-14
    CG Challenges
    Fox Renderfarm Highlights in 2019
    RAYVISION News
    Fox Renderfarm Highlights in 2019

    At the beginning of 2020, let’s take an opportunity to look back at our journey in 2019. First, it wouldn't be possible without the continuous support we get from all of you, for which we're deeply grateful and want to thank you! Here are some of 2019's highlights. =Fox Data= - Serving 3,000,000 end-users - Rendered 90+ films - Handled 5,000,000 computing tasks - Rendered 200,000,000 frames =Fox Events= *March 15th, Shenzhen, Fox Renderfarm's CG Salon, 'To know the past, the present and the future of Japanese CG industry in 60 minutes'* Fox Renderfarm’s CG Salon is set to build a communication platform for the CG industry. The speaker, including Mr. Luo Jun (CEO and founder of Pixeland Digital Production) and Mr. Tetsuya Ogawa (Corporate Planning Director of CGCG STUDIO Inc.), introduced the development of the CG industry in Japan and Asia. *April 13th, Shenzhen, SIGGRAPH 2018 Computer Animation Festival Electronic Theater (Shenzhen Tour)* The event was held by Fox Renderfarm and co-organized with ACM SIGGRAPH Shenzhen Chapter and Rong De Culture. As the leading , Fox Renderfarm always works closely with SIGGRAPH and promotes the development of CG and interactive technology. *April 29th, Hangzhou, Fox Renderfarm @ The 15th China International Animation Festival* Ben Cheung, Deputy General Manager of Fox Renderfarm, was invited to participate in the 15th China International Animation Festival – 2019 China Young Director Animation Pitch Contest & the Launch of Young Director Support Program, organized by Xihu District People's Government, Zhejiang Animation Industry Association and Wuhu Animator Space. *May 19th, Shenzhen, Fox Renderfarm's CG Salon, 'The beauty of CG Technology'* Fox Renderfarm's CG Salon, ‘The beauty of CG Technology’ was successfully held in Shenzhen. The event is co-organized with ACM SIGGRAPH Shenzhen Chapter and the International Chinese Association of Computer-Human Interaction(ICACHI). Dr. Jos Stam, Dr. LiWei (Chair of ICACHI), and Mr. Jelo Wang (CEO of FACEGOOD) were invited to share their CG insights and experiences with the audience. *July 28th - August 1st, Los Angeles, Fox Renderfarm @ SIGGRAPH 2019* SIGGRAPH 2019 was successfully held in Los Angeles, which appealed to researchers, artists, and professionals who live and breathe computer graphics and interactive techniques. Fox Renderfarm was honored to be one of the exhibitors and sponsors and showcased our fast and secure and connected industry players from all around the world. *September 3rd - 6th, Malaysia, Fox Renderfarm @ Kre8tif! 2019 * Fox Renderfarm participated in Kre8tif! 2019, an annual digital creative content industry event in Malaysia, aiming to spark innovation and exploration of major trends across the creative sector. We received a large number of CG enthusiasts and had good communications with them regarding our powerful . *October 15th, Beijing, CG Tech Summit, 'Small Steps Get Us to Far Away Places Along the CG Journey'* The CG Tech Summit was successfully held in Beijing, aiming to promote the CG industry communication and creating opportunities for cooperation. The speakers including Mr. Justin Jiang Hui (Senior Producer), Mr. Harry Lam (PIXOMONDO VFX Supervisor), Mr. Huang Shuo (CEO of Dagong Technology), Mr. Jacky Ke Jiang (Independent Animation Director), and Mr. Peng Cheng (CEO of Ecoplants). *November 20th - 21st, India, Fox Renderfarm @ VFX Summit 2019* VFX Summit 2019, the country’s largest VFX event hosted by Indiajoy, successfully held in Hyderabad, India. As one of the sponsors and exhibitors, Fox Renderfarm treasured very much the chance of exploring business opportunities and discussing industry insights in VFX Summit 2019. *December 1st, Shenzhen, CG Tech Summit* Several Senior TDs were invited to the CG Tech Summit held by Fox Renderfarm. They shared their experiences and insights in the tools development and pipeline management with CG enthusiasts. =Fox Projects= As for the film rendering, Ejen Ali: The Movie, BoBoiBoy Movie 2 and Upin & Ipin: Keris Siamang Tunggal, together are Malaysia’s Top 3 local animated films, they all have chosen Fox Renderfarm, the TPN-accredited , as their exclusive cloud rendering partner. Nezha, the Chinese animation film ranked as the NO. 1 at the China animation film box office, together with Wolf Warriors 2 and The Wandering Earth, ranking top 3 box office smashes in China, were all rendered with Fox Renderfarm. =Fox Content Protection= In September, Shenzhen Rayvision Technology (Fox Renderfarm’s company) has successfully completed MPAA’s Content Security Best Practices and officially become a TPN Trusted Partner. Thank you for your support and love in 2019 and we'll do our best to make you proud in 2020! Professional and secure will be provided for all the customers continually. Wishing you an amazing 2020 with countless inspiration and happiness!

    2020-01-10
    RAYVISION News
    Interview with SIGGRAPH 2021 Conference Chair, Pol Jeremias-Vila, A Man of Many Responsibilities
    Top News
    Interview with SIGGRAPH 2021 Conference Chair, Pol Jeremias-Vila, A Man of Many Responsibilities

    Pol Jeremias-Vila is the Co-Chair of SIGGRAPH Asia 2019 Computer Animation Festival (CAF). He has been a consistent force in helping to elevate the conference in many years. SIGGRAPH 2019 Originally from Spain, Pol is the Lead Graphics Engineer at Pixar Animation Studios where he develops algorithms to help artists make movies. He is credited in multiple movies including Toy Story 4, Incredibles 2, Coco and Finding Dory. In addition to his credits on films, he is also the co-founder of , a website that enables graphics enthusiasts to create and share rendering knowledge. Since 2012, Pol has been actively involved with SIGGRAPH, holding multiple roles on past conference committees, including as Computer Animation Festival Director, Real-Time Live! Chair, and Virtual, Augmented and Mixed Reality Chair, as well as serving as a content contributor and juror. SIGGRAPH 2017 SIGGRAPH 2016 Also, he will chair the SIGGRAPH 2021 conference in Los Angeles. Let’s look forward to a new CG memorable ride. Here’s the interview between Pol Jeremias-Vila and Fox Renderfarm, in which Pol shared his SIGGRAPH experience and the unforgettable memory in SIGGRAPH Asia 2019. Fox Renderfarm: Why are you so passionate about Computer Animation Festival (CAF)? Pol Jeremias-Vila: One of the things I like about the Computer Animation Festival is something as technical, as how we render a polygon can be used to tell meaningful stories that can either inform people how the lights went off in Puerto Rico, and how that affected the rest of the country, or it can tell a story about Mascot. It can help with the development of feature films through visual effects, like this simple piece of technology can help tell all these different stories, and it can help create this medium. And I think that's a very interesting field and I personally really like it of course. Fox Renderfarm: What’s your goal for the CAF in SIGGRAPH Asia 2019? Pol Jeremias-Vila: We wanted to create a show this year that had a lot of varieties that you could see the different ways in which computer graphics are used. And for us, it was important to showcase scientific visualization. We believe this is a field that uses computer graphics in a very important way, and we wanted to support that. So we actively supported that, you can see it in the film, similarly, visual effects. I think for us that was one of the goals, say, we're gonna make a show that really tells the story that you can use this technology in different ways. And it doesn't need to be just short films. It could be advertising as well. CAF in SIGGRAPH Asia 2019 Fox Renderfarm: Any unforgettable memory about this CAF? Pol Jeremias-Vila: This year I’m co-chairing along with Jinny Choo, the SIGGRAPH Asia Computer Animation Festival. So great memories, I think seeing the numbers of submissions coming in was really satisfying. We did a lot of work to outreach to areas in which we hadn't done it as intensively. And seeing all those numbers and seeing all the submissions from schools all over the world, it was really rewarding. Fox Renderfarm: There is an ‘inter-see show’ in this CAF, any efforts behind that? Pol Jeremias-Vila: For us, it was a way to break the rhythm of the show and make sure that there was a little bit of surprise as well, like something that wasn't really expected. We have inter-see shows after each piece, so you can expect the inter-see show, and then we put something that may be surprising for some people, hopefully, funny, and trying to make it all be a more coherent experience. Even though they're disconnected stories, we try to create a flow that lasts an hour and 40 minutes. It doesn't feel like too disconnected. It needs to flow. Fox Renderfarm: Could you share some rendering technology development trends with us? Pol Jeremias-Vila: One of the things that we are seeing in the Computer Animation Festival (is) that there are more submissions that are using real-time engines to produce short films. And this is always interesting and we try to support every technology that is used for filmmaking. So this year we showcased some works that were using real-time engines as well as other techniques that are already using, offline renderers, path tracing or ray tracing. Again, we don't necessarily look at the technology per se more, so like the artistic composition and a story. We do try to showcase the different ways in which you can use computer graphics to tell stories. For example, this year we have scientific visualization, we have advertising; we have visual effects breakdowns, short films. All of them use computer graphics regardless of being a real-time render or being an offline render. They all use this medium to tell stories and that's what really matters, and it's at the core of the festival. Some works of CAF Electronic Theater Kids The Gift Kinky Kitchen Pumpers Paradise Fox Renderfarm: Any difficulties that you’ve met when you were working on CAF? And how did you solve it? Pol Jeremias-Vila: So there is an obvious physical difficulty when you are on site. You have to deal with screens, projectors, light that might be coming in from other rooms. We try to create this perfect environment and to enjoy films. And we try to be as respectful as we can with the works that are submitted to our conference. We care a lot about how that video is playback. (I’m) not sure (if) that is difficult but it's definitely one of the parts that we try to really take good care (of). Another part that's interesting always is how to deal with these big numbers of submissions, and how to make sure that they are all properly reviewed that we have enough opinions on each of the pieces. So we can have our jurors provide good decisions, so they have enough information to do a good decision. What we see though is that we do have a lot of content that gets through our hands and we would love to have more spaces, in which we can show it. So this year we have also an Animation Theater that goes and runs all day long. CAF in SIGGRAPH Asia 2019 Fox Renderfarm: SIGGRAPH is closely associated with the emerging technologies, how do you integrate them better? Pol Jeremias-Vila: Personally, one of the things we did in North America in 2017, was to invest in a new way of seeing 360 and VR films. And for us, it was to create a new physical space that people could go in the same way that you go into the Electronic Theater to see the best of the 2D films. Can we create a physical space that people can go and enjoy VR? I think it was a great success. It's happening as well here in SIGGRAPH Asia. And I'm sure that sometime, we will see some forms of stories that are grounded in the real world through AR or something like that. I don’t know exactly what that will be, and I think that's why SIGGRAPH always needs to be aware of what's happening in those spaces, what are those stories going to look like, and how we are going to support those creators. That's where I see that as SIGGRAPH members, we need to be thinking about those things, talking about it, and talking to the people that are creating those stories to make sure they have a place here, and they can show it. SIGGRAPH 2017 Fox Renderfarm: SIGGRAPH 2021 will be in Los Angeles! As Conference Chair for SIGGRAPH 2021, anything you want to share with us? Pol Jeremias-Vila: Really excited! We will start working the way on preparing SIGGRAPH 2021. We bring the team together. It's going to be in Los Angeles. I'm not sure what technologies will be around in 2021. We might have some surprises. The team that we are working together is spectacular. I'm really confident that we're gonna have a really awesome show. We're gonna have actually our first on-site meeting in February of next year. So, this project takes time to prepare. So, really excited about it! Fox Renderfarm: Any other things you want to share with CG enthusiasts? Pol Jeremias-Vila: Yes! I have it (the brochure) right here! Fox Renderfarm: Any other things you want to share with CG enthusiasts? Pol Jeremias-Vila: If you have an opportunity to see the Computer Animation Festival 2019. We hope you really enjoy it! Please request showing in your local areas. We'll be more than happy to try to arrange that. We hope you enjoy the show! > Special thanks to Rajeev Dwivedi from Live Pixel Technologies.

    2020-01-03
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    Jensen Huang Announced RAYVISION Cloud Rendering Supercharged by NVIDIA RTX @ GTC CHINA 2019 Opening Keynote
    Top News
    Jensen Huang Announced RAYVISION Cloud Rendering Supercharged by NVIDIA RTX @ GTC CHINA 2019 Opening Keynote

    NVIDIA GTC CHINA 2019 was successfully held in Suzhou, China from December 16th to 19th, a global event that brought you the training and insights of today's hottest topics in computing and created opportunities for direct contact with top experts. With the AI revolution spreading across industries everywhere, founder and CEO Jensen Huang took the stage on December 18th to unveil the latest technology for speeding its mass adoption. His opening keynote — to more than 6,000 scientists, engineers and entrepreneurs gathered for GPU Technology Conference in Suzhou— touched on advancements in AI deployment, as well as NVIDIA’s work in the automotive, gaming, and healthcare industries. “We build computers for the Einsteins, Leonardo da Vincis, Michelangelos of our time,” Huang told the crowd, which overflowed into the aisles. “We build these computers for all of you.” What's more, Huang strongly recommended Rayvision INC. ( Fox Renderfarm’s company) as the largest for all customers. The first batch of 5,000 RTX GPUs will be online in 2020 which will make the rendering more cost-effectively. For example, 485 hours of the rendering of a shot can be shortened to 39 hours which will be nearly 12 times faster and 7 times cheaper. Huang explained that demand is surging for technology that can accelerate the delivery of AI services of all kinds. And NVIDIA’s deep learning platform — which the company updated Wednesday with new inferencing software — promises to be the fastest, most efficient way to deliver these services. It’s the latest example of how NVIDIA achieves spectacular speedups by applying a combination of GPUs optimized for parallel computation, work across the entire computing stack, and algorithm and ecosystem expertise in focused vertical markets. “It is accepted now that GPU accelerated computing is the path forward as Moore’s law has ended,” Huang said. As a strategic partner of NVIDIA, Rayvision/Fox Renderfarm is so thankful and honored to be part of the conference! Let’s explore how RTX GPU, AI, 5G are blowing the door of enormous possibility hand in hand together. Reference: `https://blogs.nvidia.com/`

    2019-12-24
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    3D Artist of Fox’s Got Talent: Jeffrey Frias
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    3D Artist of Fox’s Got Talent: Jeffrey Frias

    is a platform for talents to show their amazing CG artworks rendered with Fox Renderfarm. US$100 render coupon will be given to each featured artwork! The chosen entry will be shown on our Fox's Got Talent! Gallery and shared on our social media platforms. The winners will also get interview opportunities with us. This time, we are delighted to have an interview with Jeffrey Frias, one of the winners of Fox’s Got Talent! who shared his making of the awarded artwork with us. - Jeffrey Frias - Germany - Junior 3D Artist at PIXOMONDO Centaur by Jeffrey Frias Jeffrey Frias, graduated from PIXL VISN Media Arts Academy, is a 3D Generalist specializing in texturing, lighting, modeling and compositing. Centaur is the project he did for his student demo reel. Now, Jeffrey is working as a Junior 3D Generalist at PIXOMONDO Stuttgart. He has participated in producing *Midway*, and some famous TV series such as *The Mandalorian, Carnival Row* and* Bauhaus*. Here’s the interview between Jeffrey Frias and Fox Renderfarm. Fox Renderfarm: Why did you enter Fox’s Got Talent? And how do you feel about winning the prize? Jeffrey: At that time, I just got started working on my job applications and I thought, why not try and join Fox's Got Talent for free views of my stuff to the public. Of course, the prize was a fine addition nonetheless and it helps me being motivated for my personal projects, knowing I won’t have a problem with rendering later on. Fox Renderfarm: What inspired you to come up with the idea of making the work Centaur? Jeffrey: I wanted to show that I knew how to get proportions right and that I had a decent understanding of anatomical modeling/sculpting. Fox Renderfarm: How long did it take you to finish the work? Jeffrey: The Centaur took me about a month to finish. It might have taken me way sooner than that, but during that time I went on vacation and also kept working on my other reel projects on an on-and-off basis. Fox Renderfarm: How long did it take you to finish the work? Jeffrey: The Centaur took me about a month to finish. It might have taken me way sooner than that, but during that time I went on vacation and also kept working on my other reel projects on an on-and-off basis. Fox Renderfarm: You used backlighting, and there is floating dust in the air, why did you use this combination? And how did you achieve the final result? Jeffrey: I’ve always liked adding backlighting to my projects and to make the hero objects pop out more. As for the dust, I just wanted to give the Centaur scene a bit more of some surroundings in addition to the ground. Fox Renderfarm: The details of the work are amazing, the muscle structure and the scars on the skin deliver a savage vibe, how did you create them? Any ideas behind them? Jeffrey: I’ve seen a lot of modeling reels and projects of graduates that had characters/creatures in them that were just way too smooth and had no details really. That’s exactly why I tried adding as many details to my Centaur as I could. As for the muscle structure, I had set my mind from the very beginning of this project that I wanted a strong, dynamic and savage warrior Centaur. I created most of the skin details in ZBrush and then added a few really small details and the blood in Substance Painter. Fox Renderfarm: And also the armor and the leather are pretty well-made, did you refer to any materials while making them? How did you achieve these textures? Jeffrey: I’ve looked at a lot of images of armors and decided that I wanted to make it in a gladiator kind of style. While making this, I kept looking at other reels too, and tried finding inspirations for texture types and what else I could add. Here I had my Centaur already positioned and blocked-out, refined and unwrapped the armor parts in Maya. Afterward, I brought it to ZBrush and added the damages. Lastly I textured them in Substance Painter. Fox Renderfarm: Which part of the artwork do you like the most, visually and production-wise? Jeffrey: I don’t really have any parts of the project that I really liked the most, but if I were to choose one, it would’ve been the torso. Just because it was very fun to sculpt this with a lot of trials and errors and because I learned a lot about anatomy while I was doing it. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it? Jeffrey: There were a few small problems here and there but nothing I couldn’t fix with a simple search or question in forums. But the thing that overall gave me a hard time, was the anatomy for the horse. Fox Renderfarm: How long have you been in the CG industry? And how did you make the decision to step into the CG industry? Could you briefly tell us about the story of your education and career experience along your animation journey? Jeffrey: At this time, it would be around 11 months since I started working at PIXOMONDO. I’ve always had joy in making or drawing stuff. While I was still in high school, I didn’t really know what this job was called, so I didn’t really try and search for it, but after nearing my graduation I just happened to read a blog about it and from that moment on, I tried pursuing it. I was quite surprised when I started my studies for VFX, because it was unlike any school experience I had. I enjoyed every lesson we had and there was never any hassle or pressure to learn for an upcoming test or quiz. No one was forcing you but you, yourself was making you want to keep learning more stuff about 3D. Jeffrey Frias‘s artworks Fox Renderfarm: After graduated, why did you choose to join in PIXOMONDO? Jeffrey: When I finished my VFX school, Game of Thrones was still very popular and was a daily conversation topic for me and my friends. so when I got the chance, I tried applying to them immediately and fortunately I got the job. Plus, a good friend of mine from the same class at the VFX school was there too. Fox Renderfarm: What projects have you worked on in PIXOMONDO? Is there any unforgettable experience to share? Jeffrey: Right now I’ve got "Star Wars-The Mandalorian", "Midway", "Carnival Row" and "Bauhaus" on my list. The unforgettable experience was that my very first task was to model a really something, which had a really big part in the movie Midway. In addition to that, who wouldn’t be happy to have had the chance of working on Star Wars right from the get go after graduation as a freshling. Fox Renderfarm: What do you do to keep yourself inspired and improving yourself? Jeffrey: Everytime I see something great on the internet, I just add it to my personal list of "projects to do", which keeps me motivated on making new projects even while working all day long in 3D too. Jeffrey Frias‘s artworks Fox Renderfarm: What do you think of Fox Renderfarm ? Would you share your experience with rendering with Fox Renderfarm? Jeffrey: It’s a really efficient with one of the best support I have seen. During the time in which I had to render my stuff for my demo reel, I found myself not being able to use my school’s computers because other students were hogging all the other PC's. And since the deadline for our reels were coming close, I managed to render out all of my things in time with Fox Renderfarm, with just a simple upload and letting it render overnight and start compositing, while the others were still trying to find renderable PC's at school. Jeffrey Frias‘s artworks Fox Renderfarm: Any other things you want to share with CG enthusiasts? Jeffrey: During my time at my VFX school, I found it annoying that there were students who had also 0 experience as the rest of us who were just starting, but were so sure of themselves that they kept criticizing others and giving off tips that were not useful in any way. My advice would be, don’t constrain your thoughts on things because other students think that is the only way or the right way. Ask your teachers who know these stuff well.

    2019-12-24
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    Interview with Mike Seymour, an Outstanding Digital Humans Researcher
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    Interview with Mike Seymour, an Outstanding Digital Humans Researcher

    What happens when technology has a human face? How digital humans will affect our lives? These are the questions that Mike Seymour is exploring. Mike is a Digital Humans researcher who researches on new forms of effective communication and education using photoreal, realtime computer generated faces. Mike Seymour @ SIGGRAPH Asia 2019 Mike was Chair of Real-Time Live! in SIGGRAPH Asia 2019, organizing the program showcased the cutting-edge real-time technologies, from mobile games to console games to virtual and augmented reality from around the world. He is also the co-founder of MOTUS Lab at The University of Sydney. Mike Seymour at TEDxSydney 2019 As the lead researcher in the MOTUS Lab, Mike is exploring using interactive photoreal faces in new forms of Human Computer Interfaces (HCI) and looking at deploying realistic digital companions and embodied conversational agents. This work has special relevance for aged care and related medical applications such as stroke victims, and those with memory issues. He suggests that we need to find new ways to provide interaction for people, beyond typing or simply talking to our devices, and that face-to-face communication is central to the human experience. At the same time, he examined some of the many ethical implications these new forms of HCI present. He is well known for his work as a writer, consultant and educator with the websites fxguide.com and fxphd.com which explore technologies in the film industry. These websites now have huge followings, as they provide an important link between the film and VFX community and the researchers and innovators who constantly push the limits of technology. Some films and TV series Mike has worked on In addition to fxguide.com and fxphd.com, Mike has worked as VFX supervisor, Second Unit Director or Producer on some TV series and films, winning AFI Awards Best Visual Effects for the movie Hunt Angels in 2007 and being nominated for Primetime Emmy Awards for the TV mini-series Farscape: The Peacekeeper Wars in 2005. Fox Renderfarm was honored to have an interview with Mike Seymour in SIGGRAPH Asia 2019. Here’s the interview between Mike Seymour and Fox Renderfarm. Fox Renderfarm: Would you give a brief introduction to Human Computer Interfaces (HCI)? Mike: So I research Human Computer Interfaces or HCI, which is the idea of how we deal with computers. And if you think about it, most computers are just getting input from a mouse or a keyboard, but what if we could talk to our computers, what if the computers could respond to us emotionally. So the work that I do with digital humans or virtual humans is putting a face on technology, we’re putting a face there so that we can interact with that. Because after all, we work really well with faces, we respond to faces, we travel great distances to see someone face to face. So we think it'd be really interesting if we could take that idea of having a face, and put it on a computer, and allow us to work with that in a much more natural and human way. Fox Renderfarm: What are your biggest achievements of HCI so far? Mike: So one of the interesting things that's happened just in the last couple of years has been this amazing nexus of technology and approaches. We got this combination of things that are really blowing the doors of what's possible. Because we can start to produce very photorealistic digital humans, in other words, people that really look like us. Now, this is super important because if we produce something that looks not very good, we actually have a negative reaction to it. It's not like audio, whether you have sort of good quality, better quality, and then great quality. With people, we have either cartoons, or we need very very high quality. But if we have something that's not so good, people actually reject it out of hand. So we call it a non-linear response, in other words, as it gets better in quality, your reaction varies up and down a lot. So only recently, we've been able to produce this incredibly realistic faces. And most importantly for HCI, those faces can run in real time, so they can smile at you in real-time, talk to you in real-time, nod and gesture, just very different from a video or something you might see in a feature film, where they might have hours and hours to produce a clip. We need to produce these things in sometimes as short as about 9 to 12 milliseconds. MEET MIKE @ SIGGRAPH 2017 Fox Renderfarm: Have you met any challenges in the HCI development process? Mike: One of the big challenges we have is actually we've done a lot of really great work on faces and on being out to produce digital humans. That work’s not done, but it's certainly advanced tremendously in the last sort of three or four years. We're now having the grapple with how do we solve some of the issues over voices. If I'm actually talking to someone in China and I'm in Sydney, and like my colleague is from China, and of course he speaks the language that I don’t. So if we're on a conference call, and somebody at the other end doesn't speak Chinese, like I don't speak Chinese. We have this problem that I have to solve the language. Now, if I've got an avatar, something that I'm puppeting, then I would be able to speak in English, and have a version of me speak in Mandarin, and be able to understand across barriers. That’s good, and that's great. But what if I'm not puppeteering it, what if I actually want the computer to talk to me. I now need to make a synthetic voice. And the challenge right now is to see if we can do what we’ve done for faces to audio, to voices. It’s kind of a thing you may not expect. But of course, what we want is the computer to speak in a really natural way, to have the right cadence, the right kind of tone, the right kind of attitude. So getting that natural sounding and audio, it's not that it's harder than it is to do the vision. But we actually are a lot less tolerant of problems with audio. If you're watching a movie and the vision isn't quite right, then you can hear everything, you’ll be really happy. But if you were in a situation that the vision looks great, but you couldn't hear what the actors were saying, you'd switch the channel or go do something else. So what we're trying to do now is get the audio to be impeccably good so that it can go along with what we've been doing in vision. MEET MIKE @ SIGGRAPH 2017 Fox Renderfarm: How do you think our life will be changed by HCI, with deep learning algorithms, GPU graphics cards rendering, and 5G? Mike: The astounding thing is that now, we actually have more compute power than we need to do some of the functions we want to do with the computer. We can afford to spend some of the compute power, producing these amazingly interactive user interfaces. That's part one, and that's obviously been influenced enormously by GPU, and the much faster graphics. And on top of that, we've had a new approach to how to use the graphics which is AI or deep learning. So now we have the second part of the jigsaw puzzle which allows us to do incredibly clever things by letting the machine learn my face, and then synthesize a plausible version of my face, again, in real-time, because of that GPU. And then the third part of that jigsaw puzzle is that we're able to do that now increasingly with 5G. Now, 5G is obviously very new, but what it offers us is not just bandwidth, which we imagined it would be able to sort of transfer more data, that's part of it. But one of the real secrets for 5G is low latency. So, in fact, we can have interactivity, so things come to live when they are realistic, and rendered quickly. Because we've used actual faces to construct them, and then we have this very low latency, so we can interact. All of that is just going to change how we do communication education, even in areas you might not imagine, such as health. Fox Renderfarm: Fox Renderfarm is going to provide online real-time rendering services, is that possible to cooperate with you on the HCI research? Mike: We are really keen to work with people all over the world, and it's the mantra of our lab that the research that we do, we actually don't own the IP, so we give away all the data. We work with companies around the world so that we can give back to the community. Our interest is seeing that this moves forward. And one of the great things about rendering on the cloud, and the idea of being able to have a really good infrastructure that's on a global basis is that, with high-speed communications, and with 5G, we are increasingly seeing this being something that we can adopt into things that general people can use. So, at the moment we’ve got a history where I might be using a if I'm a really big company. But what we're seeing now is this move to the importance of being able to do things that can be democratized, and I think we're gonna see this vast explosion where we want to have quite a lot of power on our personal device, but actually tapping into a broader deep learning, AI kind of environment to provide this great interactivity. And as that happens with low latency, and the kind of infrastructure we're seeing. The ability to scale up is just going to produce sensational results. Fox Renderfarm: As the Chair of Real-Time Live! in SIGGRAPH Asia 2019, what’s your biggest surprise? Mike: There are a lot of submissions to Real-Time Live! this year. But Real-Time Live! is a little different from other things because you need to actually mount a performance. It's a bit like volunteering for a stage show. If I am coming here to do a show, I will bring my powerpoint on my laptop. But if I'm coming here to do Real-Time Live!, like the Matt AI project, and a number of other projects that are being seen, you actually have to bring a whole lot of computers, a whole lot of gear and actually mount a live presentation. You have nine minutes to sort of wow the audience, and of course, it's very unforgiving because, in nine minutes, you can’t afford to switch the computer off and start again. So we've been really impressed by the variety of the projects, and the variety of applications that they’re addressing. So we have teams that are addressing making digital characters talk, which is one of my favorites, I love that one. But we've also got ones that people are looking at how to use VR and real-time graphics for science research, for communication, as well as just artistic pieces that are very much just producing a really amazing show in their own right. Real-Time Live! in SIGGRAPH Asia 2019 Fox Renderfarm: You were doing VFX before, and you are a researcher and also Co-Founder for fxguide.com, what’s the biggest influence along your multi-dimensional career path? What do you do to keep yourself inspired and motivated? Mike: I was in the visual effects industry for many years and got nominated for Emmys and AFIs, and that was all great. I enjoyed that and it was terrific work. What I decided a little while ago, having done quite a lot of research and teaching and increasingly doing consulting work to companies around the world, which we still do, I thought it would be really interesting to up that research component and get more involved with hardcore research. So I still come consulting, I do work for major Hollywood studios, and I enjoy that work tremendously. But what I'm interested in is can we, in addition to that work, in the entertainment industry, take that tech and apply it to these other areas. So, for example, my research area at the moment is seeing if we can take some of these digital human technology and use it for stroke victims. So, people that have had a stroke and have trouble forming short-term memories, are very good with long-term memories. But they literally find everything that's going on around them today a little unfamiliar and disconcerting. As an extraordinary high level of stroke in the world, a lot of people have strokes, and quite a high percentage are actually under the age of 65 and wanting to still continue to contribute and work, because they are of that younger age. Now, of course, we want everybody to benefit from this, but particularly those people that are still trying to work in the world, if you have problems with short term memory, all technology starts to become a challenge. And we expect someone to use a computer just (as) to use a phone these days. Well if we could put a familiar face on the technology, a face from their past, a face that is I don’t think is a real person, but they are familiar, reassuring. Then this new thing, this new technology whatever it is, suddenly no longer seem quite so harsh, so unfamiliar, so disconcerting. And we think that's a really good way of being able to help with rehabilitation. So this is just one of the areas that we are looking at, taking this terrific tech from the entertainment industry, which I love to death, but just seeing if we can help people that are less fortunate, that have been through really hard circumstances. Fox Renderfarm: Who or what projects inspire you most in VFX and Interactive Technology respectively? Mike: So it's been really great work done in technology around the world. Obviously, some of the big film companies like Weta Digital and ILM have been doing terrific work. The research that I've been doing, we've managed to partner with companies around the world. So when we were doing a digital version of me, for example, we are partnering with Epic Games, but also with Tencent, which is terrific. And companies in Serbia, in England, and so it's an international kind of collective. And one of the things that really inspires me is how open these companies are working together and sharing what's going on. Because there's a lot more to be gained by expanding what we can do, than people worrying about individual bits. So the community that's doing this work has been really generous and really open with their work. Fox Renderfarm: What’s your comment on Gemini Man? Mike: Gemini Man is one of the most startling and just groundbreaking pieces of production that I've certainly seen, I was really impressed by a number of things. Firstly, they were doing work at Weta Digital, where we really knew the character very well at both ages. We know Will Smith as he is today, and Will Smith earlier in his career. We know from our own research that the more you are familiar with the face, the harsher you are. So if you have a younger version of someone you didn’t know, it may look great to your eyes, but their brothers or sisters would be very upset by that wouldn't feel right to them. So what we're trying to see is if companies like Weta can produce very familiar faces in a way that we find acceptable, reassuring, entertaining, and I think they've really done that with Gemini Man. The second thing that really impressed me is that in that film, while it's an action film there are a lot of slower emotional scenes, where there is really no way to hide. The young Will Smith is on screen and the camera isn't flying around. Sure, there are bike chases but there are other scenes he is really acting so that the audience can buy into that performance, I think it's terrific. I really applaud the work that the team of Weta Digital have done, it's absolutely well breaking. images source: fxguide.com Fox Renderfarm: Any other things you want to share with CG enthusiasts? Mike: I think one of the things that I've been really happy about is how internationally the community has come together. There are teams now have got like pockets of excellence. There's a couple of teams in China that are just spectacularly good. And obviously, what we've seen with the work in China, I’ve actually lectured up in China, and visited many times, is we've got a real depth of both technical expertise and creativity. So it's really great to see the infrastructure being built up, things like the and so on. So that they can provide that technical support that will match the creativity, I think that’s been really good. Now there are two teams in China, I can think of, there's a team in Europe, a team in New Zealand, a team in Serbia, and in London, and of course, America. And so what's great is to see that this is a very balanced international effort, and I love the fact that here at SIGGRAPH Asia, we’ve got all of the teams coming and presenting their work and sharing things. Because, as I said earlier, there’s so much can be gained by people cooperating and working collaboratively together. And from all my years in the film industry, it's a thousand people that do the visual effects on a film. So you need this great collaboration of artists this great infrastructure from companies supporting that. And then, of course, you need people willing to be open and share their ideas, as they're doing here at SIGGRAPH Asia. So, it's really great.

    2019-12-20
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    Interview with Patrick Vogel, a Designer Thinking about How Futuristic Architecture to Save the Last Nature
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    Interview with Patrick Vogel, a Designer Thinking about How Futuristic Architecture to Save the Last Nature

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS What happens, if the ecosystem is going to collapse? How will architecture save the last few bits of nature? Patrick Vogel, a multidimensional designer and creative director, told us his answer through a futuristic 3D architectural work. - Patrick Vogel - From: Germany - Multidimensional Designer - Company: ALT/SHIFT The Prophecy: Nominated work in Image (Non-commissioned) of CGarchitect 2019 ARCHITECTURAL 3D AWARDS Patrick Vogel spent 4-5 weeks to finish the creative work The Prophecy, which contrasts the world of the extinct to the world of the living through an architectural Utopia. By creating the image, he wants to point out that architectural visualization can be used for more than selling buildings. It rather can be a tool for portraying political, social and ecological problems, to gain attention and publicity. Patrick’s Work Patrick is a 3D designer in the field of visualization, animation, VR, and design & art. With the background of the architect, he found his own 3D/Design studio ALT/SHIFT, an interdisciplinary design studio in Hamburg in 2016. Patrick and his team create high-end visualization, animation and high immersive VR-experiences, and keep their own unique style in creation. Their vision is to be the digital architects who create digital realities. ALT/SHIFT’s Work Here’s the interview between Patrick and Fox Renderfarm. Fox Renderfarm: Hi, Patrick, would you please give a brief introduction about yourself and your company? Patrick Vogel: My name is Patrick, I’m a 31-year-old dude from Hamburg City and the founder of ALT/SHIFT. I used to be an architect but hated that boring job. So the decision was clear in 2016: I have to start a 3D/Design Studio. We’re basically doing whatever we want. It just has to be creative. We’re mostly doing ArchViz, Motion Design, Branding and other weird stuff. We do what we love and we love what we do. Ah, I forgot the most important thing. I’m having ALT/SHIFT with my amazing wife Tanja. ALT/SHIFT’s Work Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards? Patrick Vogel: I’m super blown away! Just amazing! I really didn’t expect that. Feels unreal. Fox Renderfarm: What’s your inspiration for this amazing project of The Prophecy? Why did you select this artwork to participate in the competition? Patrick Vogel: In general, I’m really interested in the whole climate change discussion and wanted to portray a sinister future scenario about this topic. As I’m doing a lot of ArchViz for commercial projects I am always asking myself if this kind of job is the right thing for contributing to society. The answer is no. We basically selling images that sell houses to people who can afford it. Don’t get me wrong, I love this job, but I was asking myself if it would be a cool idea to use the ArchViz-medium as something that communicates a modern problem. That was also the reason why I participated with that work: I wanted to tell a real story through ArchViz. Not a customer journey. Other 3D architectural works of Patrick Fox Renderfarm: Could you introduce the lighting design of the project? Patrick Vogel: That was actually a tough one. I tested like hundreds of lighting setups and HDRIs to get the right “poisoned-world”-look. I didn’t know, what I was searching for and it literally took days to find the right mood. Fox Renderfarm: We discovered that this artwork is different than the commercial architectural visualization, why do you illustrate the future architecture in this way? Any ideas behind that? Patrick Vogel: Yes, like I said in one of the answers above: I tried to create something that communicates the climate change problem and shows a possible future, where there is no real nature anymore. Something that can happen. A world that we created for our children. Sounds really dramatic and emo, haha. But basically, that’s it. Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process? Patrick Vogel: Staring for hours at the screen and being amazed and scared at the same time… And then realizing that this dystopian piece comes out of my head. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it? Patrick Vogel: I had huge trouble with finding the right light setup and I hope I solved it. Fox Renderfarm: ALT/SHIFT not only devotes to high-end architectural visualization but also dedicates to multidimensional visual communication like animation and VR, what’s your inspiration for this integration? Patrick Vogel: Oh yes, we’re doing a lot of different stuff. That’s what keeps us moving forward. We tend to always say YES. Because YES usually leads to way more fun then MAYBE or no. From branding to motion, fashion, cover art – we see ourselves as multidimensional designers with a strong foundation in 3D and CGI. ALT/SHIFT’s Work Fox Renderfarm: What’s the development vision for your company? Patrick Vogel: We want to create. It’s that simple. At the moment we realize, that we will be forced to grow a little bit – but we want to stay a weird and fancy boutique studio. MY nightmare would be, that I’m not creating stuff on my own anymore – instead just caring about employees, client needs and new business. If that means, that we will stay small and will never have a Lamborghini – I’m happy to pay that price. So the answer in general: We want to become one of the most creative boutique-agencies in the world. ALT/SHIFT’s Work Fox Renderfarm: Have you ever used Fox Renderfarm previously? If yes, how do you feel about it? Patrick Vogel: Honestly, I never ever used a in my whole career. But I guess, that will change now. And I also guess that Fox Renderfarm would be an amazing partner! So be prepared to welcome us as new customers! Fox Renderfarm: Any other things you want to share with CG enthusiasts? Patrick Vogel: Like Nike said: JUST DO IT. Don’t overthink things. Don’t overthink light, composition and so on. Just create CGI more based on how it feels. Not how it’s supposed to look – because somebody set some standards in look and feel.

    2019-12-16
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    Silkroad Digital Vision Discusses 3D Rendering Pipelines
    RAYVISION News
    Silkroad Digital Vision Discusses 3D Rendering Pipelines

    Silkroad Digital Vision, the 3D rendering experts, talks to Renderbus about its pipeline, challenges and thoughts on the future of real-time rendering. RenderBus (also known as Fox Renderfarm) is well known throughout Asia for its — currently used by around 85% of film production companies in China. In fact, the top three Chinese films to date have all used RenderBus/Fox Renderfarm rendering solutions. An official partner of Chaos Group in China, RenderBus/Fox Renderfarm operates an officially authorized V-Ray . The company is committed to providing reliable and powerful cloud-computing services for the cultural and creative industries, to improve production efficiency and quality across the whole industry. Users of RenderBus/Fox Renderfarm’s services include Academy Award winners, high-profile animation and film production companies, VFX studios, architectural visualization studios, games companies, advertising agencies, plus many more. Silkroad Digital Vision is just one of RenderBus/Fox Renderfarm’s strategic partners — and also one of the companies that currently boasts the most V-Ray users in China. Headquartered in Shenzhen, Silkroad Digital Vision has branches around the world. The company has been focused on CG rendering since 2000, including renders for architecture, design, exhibition halls, advertising, animation, games, film and television, cultural and sports entertainment, and so much more. They specialize in providing comprehensive services for customers covering still frames, CG animations and VFX for exhibitions and performances. The business is divided into three major sections: Digital Marketing, Exhibition Display and Design Visualization. Silkroad Digital Vision is always expanding the business into new fields to create visual experiences for customers that go beyond the imagination. In this interview by Renderbus/Fox Renderfarm, Silkroad Digital Vision’s VFX Supervisor, Chen Liankai, reveals why V-Ray is an important part of the company’s pipeline and why he’s excited about the future of real-time rendering. About Chen Liankai: Chen Liankai is a perfectionist. He’s been working in the VFX industry for five years and has, in that time, created animations and architectural visualizations for the Wongtee Plaza building, Zhongzhou Tower, Hanking Center, Bao An Urban Planning Exhibition Center, and many, many more. He currently puts his strong leadership skills to practice at Silkroad Digital Vision, where he leads the production department. Can you tell us about your CG pipeline? Chen Liankai: We are mainly using 3ds Max. Our basic pipeline is Modeling > Storyboard > Previz > Production > Rendering. Is there a project that you’re most proud of? CL: Hanking Center, Shenzhen Bay T7 Tower, Wongtee Plaza and CR City have been relatively great projects for us. What are the biggest challenges you face? CL: The biggest challenge is when we’re matching and compositing 3D visual effects with uniquely-shaped screens for VFX exhibitions and performances. In practice, we’ll create a digital version of an exhibition hall and unfold the screens’ UVs to simulate and test the content. This helps us to ensure the VFX and animation performance is dynamic and spatial, and that it provides an immersive visual experience. Which features in V-Ray do you find the most useful? CL: V-Ray has a variety of technical setups to help us achieve our desired looks. Plus, it has realistic physically based lighting as well as a rich assets library. It also works well with other software such as Multiscatter, Ployfx, Phoenix and others, which just makes it very convenient and efficient. Have there been any big changes you’ve noticed through using different versions of V-Ray? CL: We noticed that the GPU rendering feature has made tremendous progress in newer versions and we are looking forward to the continued future development. You also teach classes through Silkroad Digital Vision. Which courses are the most popular? CL: Any training in technical skills, as well as tutorials about the likes of composition rules, are very popular. It’s all closely related to our practical work and helps us to clarify the direction of the post-production workflow and improve our efficiency. What are your thoughts on real-time rendering? CL: We will gradually migrate to GPU real-time rendering. It's much faster. We’ll, therefore, have more time to focus on production and design. It will actually be used in some shots in the CR City project. What are your plans for future CG production workflow? CL: I have great expectations for V-Ray Next for 3ds Max. Since Chaos Group and Render Legion are now combined forces, I'm expecting many new features and new functions to come. What do you think about RenderBus/Fox Renderfarm? CL: RenderBus/Fox Renderfarm is comprehensive and the 24/7 service team provides timely feedback, helping us to deliver work on time. I'm looking forward to continued cooperation with RenderBus/Fox Renderfarm.

    2019-12-13
    RAYVISION News
    Interview with Jinny Choo,  SIGGRAPH Asia 2020 Conference Chair
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    Interview with Jinny Choo, SIGGRAPH Asia 2020 Conference Chair

    Fox Renderfarm was honored to interview some big cheeses in SIGGRAPH Asia 2019. The next one we want to introduce is Jinny Choo, the Computer Animation Festival (CAF) Co-Chair for SIGGRAPH Asia 2019 and the Conference Chair for SIGGRAPH Asia 2020. Jinny has contributed to SIGGRAPH Asia for many years. What’s more, she has successfully organized or chaired several international events including Indie-AniFest (the Korean Independent Animation Film Festival), SICAF (Seoul International Cartoon and Animation Festival), BIAF (Bucheon International Animation Festival), the GISF SF festival and many others since 2000. After making her first short animated film in 1999, Jinny started her career as a freelance artist in animation and media arts. She majored in Animation and Illustration and received an MFA in Art and Film and a Ph.D. in Animation Studies and Content Producing from Chung-Ang University in Korea, and Jinny is currently serving as a guest professor and researcher in Korea National University of Arts (K'ARTS). As a researcher, Jinny’s major area is the theories & artistic practices of animation and interactive media through a combination of traditional media and digital tools, and she has carried out various research and projects in integrated art and technology and animation therapy as co-researcher or lead researcher at K'ARTS since 2009. Here’s the interview between Jinny Choo and Fox Renderfarm. Fox Renderfarm: How did you start your CG journey? Jinny Choo: Well, it’s a long story. But I really love the whole (things) in the CG and animations, or in movies. So, I think I naturally fell in love with the CG. Fox Renderfarm: Any people inspire you most in the industry? Why? Jinny Choo: There are so many, actually, filmmakers inspired me, mostly, like independent filmmakers, because with the awesome ideas and unique perspectives. So I really love their masterpieces, especially Michael Dudok de Wit from Holland, who created The Red Turtle, the animated feature. He is an amazing filmmaker, who really shows that poetic animation itself. I really like his works. There are so many other filmmakers I can’t even count. Fox Renderfarm: Any research or projects you want to share with us? Jinny Choo: I think that animation as an art, and as a medium, it has a great and huge potential to collaborate with other media, or other art forms. So I actually urge my students to (think how to) use animation as a medium for their expanding projects, for instance, like a medium (in) art, and for game and stage, for their animation, I once had a project with the industry, which was using animation characters. So we created animation characters with our students. It’s like the animation-related games. Around that time, we learned a lot, because animation can do more key roles in the future. Fox Renderfarm: You have organized many festivals and conferences, any unforgettable memories you want to share with us? Jinny Choo: I actually organized animation festival (since) around 2000, it’s been like 20 years. Some of them are international, some of them are really small ones. Every moment with the festivals, they are always memorable, you know experience, especially the festival is that a place not only watching the newest animations, but you can actually meet creators, directors, and to share ideas, perspectives, which is really really great. So if you don’t go to the festival, you never know what’s behind the animation. That’s really really interesting for me, and a great journey for me to organize animation festivals, and of course, Computer Animation Festival is one of them. That’s why I’m doing for many many years. Fox Renderfarm: Would you give some highlights of this year’s CAF? Any submissions give you surprise? Why? Jinny Choo: Well, amazingly this year, the number of the submissions actually raised a lot. We got over 520 submissions from all around the world, which is great. Every year, the quality of the animation itself, the visual and techniques are really really improving. So that’s why (we have) high expectations every year. And this year, some of the students’ works are amazing. I mean, you can’t really tell like between the student’s work and the expert’s, I mean, the professional work. It’s like a really blurred line. Most of the students’ works are really great. So you got to see our Electric Theater Show, as well as Animation Theater, (a) whole new experience for you. Fox Renderfarm: You are a researcher and educator and even a festival/conference organizer for many years, any challenges you’ve met to balance these responsibilities? How to solve it? Jinny Choo: It’s the time. I have to divide my time exactly for education, teaching, research and organize(ing) the festival. Yeah, sometimes it’s like struggling to adjust, I mean, get into the right process. Well, it’s been a really long time for me to do these stuff, multiple tasks. So I’m getting used to it. Because teaching is one of my favorites, and research of course, and organizing festivals is also my favorite, I can’t really choose. That’s why I just face strict about the schedule, and try to adjust everything in time and right on the track. Hopefully, I’m doing well. Fox Renderfarm: Would you give us a brief introduction of the CG industry in Korea? Jinny Choo: The CG industry, especially the movie industry is huge. We have tremendous CG companies in Korea. They are doing really really well. And mega-hit movies, actually they are collaborate(ing) with really famous CG companies in Korea, like 10 CG companies actually are outstanding, so they are doing most of the Korean movies, I mean, the CG stuff. For instance, the level of the Korean CG industry, it’s almost the same as the States or other countries. And more talented experts and professionals are working for the huge projects, in collaboration with other countries, of course, the big studios in the States as well as in China. There is so much collaboration stuff going on with China these days. So, I think the CG industry in Korea is pretty bright and is still growing. Fox Renderfarm: SIGGRAPH Asia 2020 will be in Korea! How is everything going? Any highlights you want to share with the audience? Jinny Choo: I’m really thrilled that SIGGRAPH Asia actually is coming back to South Korea after 10 years. We hosted the 3rd edition of SIGGRAPH Asia in Seoul, but this time the city of Daegu is hosting the 13th edition of the conference. So as you know that SIGGRAPH Asia is the key place/part in suggesting the newest technologies in CG, animations or visual effects. So we are going to maintain the SIGGRAPH Asia spirit and programs, but there will be some prospective sessions with the novel technologies, and there will be games, so (there) will be another inspiring conference and visual feast for everyone. We are very looking forward to it. Fox Renderfarm: Have you heard of Fox Renderfarm? Jinny Choo: Yes, I do! I just heard from one of my international students from China, he introduced one of the mega-hit animation features in China, which is Ne Zha. And I heard that the (Fox Renderfarm) is used for this movie, the visual is really really amazing. Fox Renderfarm: Any other things you want to share with the CG enthusiasts? Jinny Choo: The CG, for the animations and the movies, the story comes first, but without technologies, I mean visual effects or other visual technologies, it would be difficult to show and to share. I’m always thinking that the animation or the movie is about art and technology bring together. So I think SIGGRAPH Asia is the one you can actually share both and experience both ways. For next year, SIGGRAPH Asia 2020 in Daegu. We are looking forward to you being part of the SIGGRAPH Asia 2020. Please come join us!

    2019-12-12
    Top News
    Interview with Ernest Petti, Revealing the Production Secrets of Frozen 2
    Top News
    Interview with Ernest Petti, Revealing the Production Secrets of Frozen 2

    During the visual and information feast - SIGGRAPH Asia 2019, Fox Renderfarm is delighted to have the chance to talk with Mr. Ernest Petti, Studio CG Supervisor at Walt Disney Animation Studios, who has also devoted to the production in Frozen 2, the biggest-worldwide-opening animated film of all time. Ernest Petti has been working with Walt Disney Animation Studios for over 19 years, now is the Studio CG Supervisor. In this role he acts as a bridge between Production and Technology for long-term strategic initiatives, orchestrating the initiatives and projects of the Workflow team and uniting them to fit within the studio’s vision for workflow. Prior to this, he served as Technical Supervisor on Ralph Breaks the Internet (2018) and the 2016 Oscar-winning feature Zootopia. Ernest joined Disney in 2000 as a software engineer in the Technology group and has served as a supervisor in Lighting, Look Development, and Tactics. Credits include 2014's Oscar-winning feature Big Hero 6, as well as Wreck-it Ralph (2012), Tangled (2010), and Bolt (2008). In the Featured Sessions of SIGGRAPH Asia 2019, Ernest delivered a presentation named - "Frozen 2" and the Past, Present, and Future of Tech at Disney Animation, and he was also being part of the discussion and communication: Proactive Large-Scale Pipeline Efficiency Management, with a panel from large-scale Animation and VFX studios to share insights to their challenges on how to balance between creating amazing visuals as well as given a tight production time frame. During our interview, Ernest expressed his excitement about this year’s SIGGRAPH - how interested he was to connect with other people, companies and technologies. Besides, among all the cutting-edged technologies shown, machine learning sparks his curiosity about its application during his work. Of course, the development of rendering technology arouses his wonder about how to make a more interactive and direct manipulation with rendering, especially with GPU that comes along. More insights into the production of Frozen 2 is definitely what Fox Renderfarm would not miss, and are also what we can’t wait to share with you. Let’s check out the interview video and article, and see how Walt Disney Animation Studios combines timeless storytelling with innovative technology. (F=Fox Renderfarm, EP=Ernest Petti) F: Could you tell us your main responsibilities in Frozen 2? How did you cooperate with the VFX departments along the production? EP: My role is Studio CG Supervisor, I’m in the studio level position that kind of overlooks the long-term technical development and artistic workflows over the course of shows. I work closely with the technology group and with the productions, and try to find the bridge between those over time. I was the Technical Supervisor on Ralph Breaks the Internet. On that show, we did stuff like the first steps into nested proceduralism for some of the buildings on the internet that paved the way then, and was built on top of further for Frozen 2. So there is that sort of continuity of shows that we passed on. And then in my current role, looking at workflow is a big thing that we are focused on and is in the concurrent collaboration and making that as smooth as possible between different departments. So talking to the groups in Frozen 2, like all the Visual Effects Supervisor like Steve Goldberg and the Technical Supervisor like Mark Hammel, and working with them and understanding what they're doing on their show, and making sure it's in line with the shows before, and moving into the future so that we can really build to what will come next. Basically, when the new set of leadership starts on a show, we try to connect with them, then start understanding what our show’s specific needs, and what are things that we want to advance in the studio that makes sense to, also try to dock on at that show so that we can have some continuity. F: How did you cooperate with the Production Director and the Production Designer to actualize the creativity through the technologies? EP: When that story starts forming and the show leadership really is working with the Production Designer and with the Director to understand the story and what the look of the film is, achieving that comes first. So we really want to partner closely on what technology might be needed to make that happen. It’s very important that we’re able to achieve that. Then in partnership with that, it’s can that build off things that were already in the plan; should that accelerate things that we may have been thinking about but weren't going to necessarily line up with that timing; and are there things that aren't necessarily tied to show needs, but we do want to advance and this would be the right timing to do that, for instance, the work in USD - of course, we're hearing about lots of studios, we’re trying to make significant advances in USD in our pipeline for Raya and the Last Dragon, which is our movie coming out next November - so that's not a show need, it's nothing out of the artistic vision of that movie that said we need USD, but it'll help advance a lot of future tools and workflows. And we need to find the right place to start feathering that in. F: Which part do you like the most in the production of Frozen 2? Why? EP: It’s a movie that has a lot of scope and scale to it. I like that it kind of takes you in more surprising directions. It takes you outside of what you've seen before in the first one, so it's not staying in the same zone, it's leaving Arendelle. It’s going out into the wild into a different environment and world, and it has sort of unique Spirits and settings that we haven't necessarily done before. F: How did you achieve the scale of autumnal trees and foliage through technical changes? EP: In a lot of our films, we have (been) trying to strike the balance between artistic stylization and procedural simulation to make sure we have the complexity and richness that we want, and yet still the stylization that we need. And we've worked overtime to build the tools to give that stylization for, say a single tree. And then you place them well to get a cluster of trees that looks nice. But now, when you have a whole forest that has a certain level of stylization to it, and it has a lot of depth to the ground cover, the pebbles and everything else around it as well. We needed to prove our toolset so that we would not only have that sort of balance of stylization and complexity on the single tree level, and then make a whole forest of them, we can stylize the appearance of the forest as well. So we had nested proceduralism which would allow us to build up, like here's a pebble, here's a cluster of pebbles, now here's a ground cover that includes some leaves and a cluster of pebbles; and then it includes a tree, and then there's a grove of trees, and then the grove of trees expands to the forest. And you can sort of stylize but also build up and populate at each of those levels. And then we created a tool called Droplet that was essentially a procedural painting tool that you could then paint down the trees in a more painterly fashion, so that you could have more direct control over the style and flow of the forest as a whole, and all the trees throughout it. So it did definitely lead to expanding on our Bonsai tree tools and our Aurora instancer, as well as developing the new tool like Droplet. Bonsai Instancing Zootopia Test F: What’s the challenging part of the production? How to solve it? EP: I think there's a couple of areas environment side we had a very lush rich forest environment that includes very colorful diverse autumn forest, but also because its fall leaves are on the ground that also had to be very rich. On top of that when you start adding in the elemental spirits and you have something like Gale, the Wind Spirit, you're tying that environment as a character and having to make sure there's a lot of coordination between how the environment is built; and how the character of the wind plays through that, and then interacts with the rest of the environment, and with any characters and the scenes with Anna or Elsa or any of the other characters. So this film presented a lot of challenges with collaboration. A lot of things that like the Water Spirit and like the Gale that didn't fit neatly into one department, one group of people or a linear pipeline. So the challenge is finding the ways to iterate smoothly when you're having to have a very tight connection between people across departments. I think we always start with the sort of research into trying to ground the challenge that we're looking at, and what the closest connection is to the physical world. When you have the Water Spirit taking the form of a horse, you study water, you study horses, and then you bring all the people across departments together, and everywhere from art and trying to understand the stylization, and how far you want to go in wateriness versus sort of solidity. The effects departments, the spray and the foam of the mane and the tail to the animators, so you really have everyone working together to look at the challenges together, form more of a team around the problems you're trying to solve. F: What did you do to make these characters realistic? EP: There is the realism you want, the realism of a horse movement or the realism of water movement. And where do those conflict, and how do you find the right balance between those, and the choices you may make for a beautiful horse animation may not work when the mane and tail are refractive water that you can see through. Say, the mane goes in front of the face, it's not actually completely covering the face, you're kind of seeing through that. So that's again where what decision might be made in animation may need to be iterated on when you see a render. Because of the effects of the water on the character, so it's definitely a challenge to find just the right balance for that character. F: In this process, what kinds of tests did you do to give the designers the idea? EP: I think with all of the tests and with the Nokk as well, we did start with some hand-drawn tests. Even seeing once again the example of legs, and how much the leg should sort of splash away into water, and how much they could stay fairly solidified, was something that we tested with some hand-drawn tests first. And then you take that into animation, and then you would try to run little sort of various types of character tests, like a still test of the Nokk with just some head animation. That informed that we needed to take the water distortion and reduce it on the face. Because there were subtle movements, that distortion was making the rig harder and keep that just on the body. Then you would do a test on how much spray and spindrift should be in there. And you do a running test. So it's kind of you really work closely as a group and sort of run these tests to explore different aspects and keep the Directors in the loop for that time. F: Could you explain more about the unified rendering? EP: I think when we talk about unified rendering and looking forward, at a lot of places at Disney animation, we have a glViewport that we use for when we're viewing things in our various departments and getting previews as we're working, and then you do a final frame render that on a and takes a significantly longer chunk of time. Sometimes those technical requirements require different paths and different pipelines. We would love to find paths where almost what you see is what you get, and so there's more of a continuum from the preview that you see, to the final frame. It's almost more of a transition from speed to quality over time, but it's less of a dichotomy. F: Any suggestions for the audience when watching Frozen 2? EP: The movie takes place three years after the original story. The movies made six years after the original one came out, so there's been a lot of tech technology advancements. And I hope people can see it in all the beautiful images that are on the screen. At the same time, we want to bring you back to the same characters that you love from the first film. And you'll see some nice additions, like of advancement. Olaf now has a permafrost covering so that he won't melt as it's getting into autumn. He's learned to read now, and all the characters have sort of progressed. Because there has been a time period that's passed in the film as well. F: You have made so many great animation features, which one do you feel most proud of? Why? EP: I love different aspects of all of them. I have a special connection to Zootopia to a certain degree because XGen was one of the first developing (tool), when I first started at the company way back. And it was a big sort of fur-based show, and there was a lot in there that connected with me. Returning to Wreck-it Ralph with Ralph Breaks the Internet, it's always fun to revisit a place that you've been to before. And even going all the way back to Bolt that had a certain painterly style to it. That was exploring sort of a looser look that was a very different look at that time. Thank Mr. Ernest Petti again for accepting our interview. Keep up with Fox Renderfarm and follow us on social media platforms, more interesting and insightful content is waiting for you! Special thanks to Dan Sarto from Animation World Network, Ian Failes from VFXVoice and Chang Wei-Chung from InCG Media. Facebook: facebook.com/foxrender LinkedIn: linkedin.com/company/foxrenderfarm Twitter: twitter.com/foxrenderfarm Instgram: instagram.com/foxrenderfarm

    2019-12-11
    Top News
    SIGGRAPH Asia 2019, Exploring the CG Dream
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    SIGGRAPH Asia 2019, Exploring the CG Dream

    SIGGRAPH Asia 2019, the 12th ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia, was successfully held in Brisbane, Australia from November 17th to 20th. The 4-day event included a diverse range of juried programs, such as the Art Gallery / Art Papers, Computer Animation Festival, Courses, Doctoral Consortium, Emerging Technologies, Posters, Technical Briefs, Technical Papers and XR (Extended Reality). This year, the conference comprises 250 sessions and features over 800 speakers. As the sponsor for SIGGRAPH Asia 2019, Fox Renderfarm was honored to interview some of the speakers, including Jinny H.J. Choo (SIGGRAPH Asia 2020 Conference Chair), Pol Jeremias-Vila (Computer Animation Festival Chair), Sidney Kombo-Kintombo (Animation Supervisor of Weta Digital), Mike Seymour ( Real-Time Live! Chair), Alyn Rockwood (Doctoral Consortium Chair), Ernest Petti (Studio CG Supervisor of Walt Disney Animation Studios), and Guy Williams (VFX Supervisor of Weta Digital). Please stay tuned with us, exclusive interviews will be brought to you soon! The annual event, which rotated around the Asian region, attracted the most respected technical and creative people from all over the world who are excited by research, science, art, animation, gaming, interactivity, education and emerging technologies. Now, let’s review the highlights of this fantastic conference. Opening Ceremony and Keynote Session Tomasz Bednarz, SIGGRAPH Asia 2019 Conference Chair, gave an overview of how SIGGRAPH Asia 2019 came to be in Australia. Keynote Speaker Donna J. Cox presented an extraordinarily insightful presentation on 'Revolutions in Mapping the Digital Universe: Stories of Satellites, Supercomputers, and the Art of Data Visualization'. SIGGRAPH Asia 2019 Experiences 68 companies and brands, representing 17 countries and regions participated in the SIGGRAPH Asia 2019 Exhibition, some of which have organized Exhibitor Talks. The event showcased the latest cutting-edge hardware and software applications in the computer graphics and interactive techniques space. Doctoral Consortium The SIGGRAPH Asia Doctoral Consortium was a forum for Ph.D. students to meet and discuss their work with each other and a panel of experienced SIGGRAPH Asia researchers in an informal and interactive setting. Featured Session The Featured Session Program cast a spotlight on major breakthroughs, techniques, arts in the field of Computer Graphics and Interactive Techniques, such as Childish Gambino's Pharos - Real-Time Dome Projection for Live Concert, Making of Pixar's Onward, How Weta Digital Created Junior for Gemini Man, Star Wars: Over Four Decades of Storytelling with Innovation, and so on. Computer Animation Festival Asia's premier computer animation festival showcased a world-wide collection of the year's best works. In four exciting days, presenters showcased their most innovative exploration and transition in computer-generated animation and visual effects. This year’s winners are: BEST IN SHOW: Kids Co-Created by Michael Frei & Mario von Rickenbach, Playables, Switzerland Distributor: Wouter Jansen, Some Shorts, The Netherlands JURY PRIZE: Spring Director: Andy Goralczyk, Blender Foundation, The Netherlands Producer: Francesco Siddi, Blender Foundation, The Netherlands BEST STUDENT PROJECT: The Ostrich Politic Director: Mohammad Houhou, Miyu Distribution, France Producer: Moira Marguin, Miyu Distribution, France Moreover, Its panels and talks included presentations by experts on a variety of topics related to the creation of computer animation and visual effects, as well as behind-the-scenes presentations by creators from the studios and schools, whose works are screened at the festival. Real-Time Live! Real-Time Live! made the future of interactive techniques live on stage. Participants could watch the most innovative interactive techniques as they were presented and deconstructed live by their creators. For artists and scientists, SIGGRAPH Asia is where enthusiasts of computer graphics and techniques gather. It is also a unique interactive platform for exhibitors, fostering connections between exhibitors and the SIGGRAPH Asia community, bringing together new friends, and creating new business opportunities. Fox Renderfarm will continue to support CG learning and communications platforms like SIGGRAPH Asia. We are also looking forward to seeing you in SIGGRAPH Asia 2020 in Daegu, South Korea!

    2019-12-06
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