FoxRenderfarm
  • Português
    Português
    • English
      English
    • España
      España
    • Deutsch
      Deutsch
    • Türkiye
      Türkiye
    • 日本語
      日本語
    • Italiano
      Italiano
    • Français
      Français
    • Россия
      Россия
    Render Farm on Film and Animation Works 2018

    Render Farm on Film and Animation Works 2018

    Learn More
    SIGGRAPH Asia 2019, Exploring the CG Dream
    Hot Spots
    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!

    Hot Spots
    Fox Renderfarm Desktop Client Version 5.0.5.3 is Released!
    Hot Spots
    Fox Renderfarm Desktop Client Version 5.0.5.3 is Released!

    Dear Fox Renderfarm user, The latest release of Fox Renderfarm Desktop Client is here! Windows version upgrade here. Linux version upgrade here. The new functions of version 5.0.5.3 are useful to users who often make batch submissions. Let’s check! 1. Prioritize Analysis ①Click ‘Analysis List’. ②Right click the job you need to prioritize, click ‘Prioritize’. 2. Concurrent Analysis According to your need, you can set the number of jobs need to analyze concurrently. ( For users with small machine memory, it is recommended to set the number to 1) ①Click ‘Settings’ in the upper right corner to enter the Settings page. ②Click the ‘General Setting’ > ‘Analysis settings’. ③Enter the number of concurrent jobs. ④Restart the client. 3.Prioritize Upload ①Click ‘My Uploads’. ②Right click the job you want to prioritize, click ‘Prioritize’. 4.Prioritize Download When you need to download lots of jobs, you can set the download order as you wish. ①Click ‘My Downloads’. ②Right click the job > ‘Priority’. ③According to your need, select ‘High’, ‘Medium’ or ‘Low’. 5. Others Two new columns in ‘Render Jobs’ tab: ‘Average time’ and ‘Memory of machine’. You can adjust the columns shown according to your needs. ①Right click the information bar under the ‘Render Jobs’ tab. ②Click ‘Select column...’. ③Select columns according to your needs. Desktop Client Updates for Version 5.0.5.3 not only adds new functions but also fixes some bugs. You can know more by clicking ‘Settings’ and selecting ‘About us’.

    Hot Spots

    Latest News

    Ejen Ali, One of Malaysia’s Top 3 Animated Films will See You in the Cinema Soon
    RAYVISION Projects
    Ejen Ali, One of Malaysia’s Top 3 Animated Films will See You in the Cinema Soon

    Ejen Ali: The Movie is an upcoming Malaysian computer-animated spy-fi action film, which is the first film made by WAU Animation, based on their TV animation series, Ejen Ali. After two seasons on the small screen, popular animated science-fiction series Ejen Ali will finally make its cinematic debut on Nov 28 in Malaysia, Singapore and Brunei. Ejen Ali: The Movie, partner! Fox Renderfarm is always dedicated to promoting the development of high-quality animated films. The 90-minute film, Ejen Ali: The Movie, tells a story about a brave, 12-year-old schoolboy who becomes an unwitting secret agent for futuristic spy agency MATA. After being accidentally recruited as a spy, Ejen Ali has now grown to embrace his role in secret agency Meta Advance Tactical Agency (MATA) to protect the futuristic city of Cyberaya from outside threats. The animated film took two years to complete, and cost co-producers WAU Animation and Primeworks Studios RM6.5 million. Both companies expect ticket collections for Ejen Ali The Movie to reach RM20 million. Usamah Zaid Yasin, WAU Animation's chief executive officer, said that there will be lots of spell-binding special effects and action-packed scenes for whole families to enjoy. “We certainly try to include lots of Malaysian elements and a local feel to organically include in the movie. It’s very Malaysian and this is something we’re proud of,” according to Usamah. The Ejen Ali television series has two successful seasons under its belt and has become a popular brand. At the 28th Malaysian Film Festival in 2016, it won for Best Short Animated Film. In 2017, it won the Best 3D Animation Programme at the Asian Television Awards and it was also recognized as Best 3D Animation Programme or Series at last year’s Asian Academy Creative Awards. Wish the super-popular toon hero Ejen Ali to make a new height with the upcoming feature film and admired by the worldwide audiences.

    2019-11-25
    RAYVISION Projects
    Interview with Dans Digital, A VFX Creative Company Won 112 International Awards
    Top News
    Interview with Dans Digital, A VFX Creative Company Won 112 International Awards

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS Dans Digital, one of the few comprehensive visual effects companies in China which integrates technologies such as 3D animation, live-action shooting, and visual effects, won numerous international Ad awards including CICLOPE, MOBIUS, NYF and so forth, was founded by Mr. Bohong Deng who was honored as AUTODESK 3DS MAX MASTER in 2009. This year, Dans Digital won The Best Commissioned Architectural Film at CGarchitect Architectural 3D Awards 2019, for its wonderful architectural film, Yuxin Building. It’s our honor to have an exclusive interview with Dans Digital, from which we can know more about the success story of the multi-award winning team. - Company: Dans Digital - From: China - Director: Bohong Deng / Executive Producer: Cuimin Zhou / Executive Producer: Yan Jiang / Post production: Guanghao Xu / Editor: Yuping Duan / Post production: Yan Li / Photographer:Bo Yang / Visual Effects:Jinliang Jiang / Layout:Hongming Xiang / Technical Support:Guibing Xu / Photographer:Minsheng Lin / Post production:Zhiqiang Chen / Layout:Haixiang Hong / Assistant Camera:Jujun Zhang / Post production:Hui Yang / Layout:Junwen Xu / Assistant Camera:Zhichen Tang / Layout:Jie Yu / Visual Effects:Xiaozhen Cheng / Layout:Rongxiang Yang / Layout:Mini Chen / Layout:Leisi Feng / Layout:Zhijing Sun / Production Assistant:Yucheng Chen / Production Assistant:Liling Gao The film stimulated the foggy morning with 3D visualization technique, it portrayed the building and surrounding landscape covered in the mist with low contrast and low saturation tone, which provides people an artistic conception of traditional Chinese ink painting. In addition, the traditional means of artistic expression resonated with the ancient Chinese Philosophy where the creative idea was generated. As the creator of the awarding-winning film, Dans Digital, founded in 2003, is mainly engaged in film production work within advertising, animation and visual effects field. Dans Digital has won 112 awards in total in international competitions, including 1 Best Of Show and 16 Gold Awards. Some of the honors Dans Digital takes a leading position within the industry of China in 3D animation, visual effects and post-production, and has mastered the advanced technologies proficiently including photographing and 3D synthesis, pilotless aircraft photographing, computer simulation and performance of fluid and rigid-body dynamics, particle system and computer cluster rendering, etc. Some of the award-winning works No matter in architectural style, artistic style or creative ideas, Dans Digital has never stopped the pursuit of innovation. Dans Digital started building growth animation technique and traditional Chinese realistic painting animation style within the industry, and has created many works which were regarded as milestones of the industry. An excellent leader is indispensable to an excellent team. The Founder and Director of Dans Digital, Mr. Bohong Deng, one of the jury for the“CLIO AWARDS” from 2015 to 2017, has created more than 100 excellent works within 16 years since he founded Dans Digital. He initiated the creative architectural growth animation and traditional Chinese realistic painting performance practices. His works were made outstanding contributions to the development of the industry. Mr. Bohong Deng was honored as 3DS MAX MASTER in 2009 Here’s the interview between Dans Digital and Fox Renderfarm. Fox Renderfarm: Why did you select this artwork to participate in the competition? Which part of the film do you like the most? Dans Digital: Actually, we submitted three films. But the judges did not turn their noses up at the other two. I think all excellent films should be outstanding as a whole. I’m satisfied that our award-winning film completely integrates our client’s business purpose with artistic feeling. Fox Renderfarm: What’s the inspiration for this amazing film? Dans Digital: The inspiration comes from two lines of a poem from a famous Chinese poet Lu You living in over 900 years ago. The two lines are “铅华洗尽,珠玑不御”, which mean remove all makeups and jewelry, get back to basics. More precisely, it means “Remove all gorgeous colors and celebrated labels in life, get back to simplicity and peacefulness.” Therefore, the film is presented in lighter colors. I try to use the state of life described in the poem in architecture, life and films. Fox Renderfarm: The whole film delivered a very tranquil atmosphere, what objects in the film you made and techniques you used to strengthen this style? Dans Digital: To create a peaceful and graceful ambience for the film, I chose a foggy morning to set a tone for the film. Fox Renderfarm: In the first half of the film, we can see drops of water floating in the air, any ideas behind that? Dans Digital: In Chinese, when we have some ideas and feelings, we usually use “Rise and Emerge” to describe them. And these two words both imply the meaning of “upward”. Fox Renderfarm: Could you introduce more about the camera movement design? Other than the horizontal movement of the camera, the camera was zoomed in with multiple movements and such. Dans Digital: The camera is designed to move from some specific part to get a whole picture, from slow to fast. This is the simplest narrative rhythm of a film. In the end, the fast moving long-length shot could meet the client’s need to fully display the product as a whole within limited time without destroying the overall atmosphere of the film. Fox Renderfarm: How long did it take to finish the work? Dans Digital: We spent ten months finishing the work from ideas to reality. Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process? Dans Digital: The most interesting part is always the hardest part during every creation process. The most difficult part of the film lies in how to determine light and colors as a whole as well as the concentration and tone of the fog. Stronger light, colors and fog will make the film too flashy while weaker ones will create a dark and gloomy atmosphere. Fox Renderfarm: Dans Digital, as a comprehensive and award-winning visual effects company, what is the project that your company most proud of? Dans Digital: We do our best and challenge ourselves on every project. And such experience deeply impresses ourselves. Fox Renderfarm: What’s the development vision of your company? Dans Digital: To bring people with better feelings. Fox Renderfarm: Any other things you want to share with CG enthusiasts? Dans Digital: Even if others misunderstand you or try to bring you down, never stop putting sincerity and effort into your work.

    2019-11-13
    Top News
    Interview with Adrian Rubio Vasco: ArchViz Works that Fool Your Eyes
    Top News
    Interview with Adrian Rubio Vasco: ArchViz Works that Fool Your Eyes

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS It is always said that “seeing is believing”, while sometimes you will somehow be confused or fooled by your eyes. Spanish ArchViz artist Adrian Rubio Vasco takes us in front of and inside The Longbranch Cabin made by Olson Kundig with his extraordinary ArchViz artworks. Each photorealistic ArchViz illustration features perfect perspective, lighting, and texture, making it hard to believe they’re ArchViz at all. Fox Renderfarm is delighted to interview with him, and you can have a closer look at the comparison images with real photographs in the interview to see if your eyes will fool you again this time. - Adrian Rubio Vasco - From: Spain - Architectural Visualizer - School: 24studio VIZ The Longbranch Cabin: Nominated work in Student (Image) Category of CGarchitect 2019 ARCHITECTURAL 3D AWARDS CREDITS: - Student: Adrian Rubio Vasco. - Teachers: Jesus Manuel Jimenez and Sandra Ferminnan. - School: 24studio VIZ. - Project designed by Olson Kundig. Fox Renderfarm: Hi, Adrián, would you please give a brief introduction about yourself? Adrian: Hi, I’m from a small city in Spain, Zamora, where I did my career in Interior Design at the EASD. Later I moved to Madrid where I studied visualization at 24studio LAB. I’ve always been passionate about photography and almost every visual media so I’m very happy to be where I am right now. Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards? Adrian: I wasn’t expecting to be nominated so it was a big surprise. Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition? Adrian: As a student at 24studio LAB, we were asked to choose a real project and try to recreate the whole images, which is a great way to learn how light and materials work in real life. I didn’t had the intention to submit the work to any contest, but it ended looking so good that the people at the school encouraged me to do it anyway. The Longbranch Cabin it’s really different from the architecture we used to see nowadays, also the photographers did a terrific good job, the pictures are spectacular and have very complex light and a lot of rich materials to practice and learn. Left: Longbranch Cabin’s photo by Benjamin Benschneider; Right: ArchViz by Adrian Fox Renderfarm: Could you introduce the light design and the composition of this project? Adrian: I just focused on the details, the bounces, reflections, and tried to understand everything that was going on and make it on Max. For the direct lighting, I used a VraySun, a Vraysky and a blueish big sphere for the ambient light and a sunset HDRi for the reflections. Fox Renderfarm: How long did it take you to finish the work? Adrian: It was a total of six images and we had 4 months to make them all, but I wasn’t working full time nor every day, so I can’t tell exactly the time. Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process? Adrian: I asked the architects for more detailed plans, but they didn’t answer, so I ended modeling the Cabin from the references perspective for each image, and I think that it gave the images a nice little touch of realism. Left: Photographs by Kevin Scott, Benjamin Benschneider; Right: ArchViz by Adrian Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it? Adrian: Aside from the modeling methodology, I remember struggling with my old computer to get the renders done without crashes, which made me learn a lot about how to optimize the scene and render settings. Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career? Adrian: Once I finished my education at 24studio LAB they offered me an internship at their marketing and visualization agency 24studio. I’ve been there for 9 months now. Fox Renderfarm: Who or what project inspires you most in this industry? Adrian: If I have to choose only one, the Third and the Seventh by Alex Roman. It's beautiful, I remember watching it and think to myself... I want to be able to do this one day. The Third & The Seventh by Alex Roman Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills? Adrian: I’m still learning and improving, but I think experience and resources are very important for time-saving. At the end is all about finding the balance between how far can you push your images into realism and the time you have to make it possible. Fox Renderfarm: What’s your next step? Adrian: In my spare time, I’m learning and working on my own script for Max and also learning 360 photography to make virtual tours and my own HDRis. The next step would be learning how to photograph PBR materials or UE engine for real-time rendering, there’s a lot of interesting things to do and learn in this job. Fox Renderfarm: Have you ever used Fox Renderfarm previously? If yes, how do you feel about it? Adrian: I haven’t used any render farm yet, but I will definitely look into it for future projects. Fox Renderfarm: Any other things you want to share with CG enthusiasts? Adrian: It’s great to be part of such a nice and talented community and I hope that someday I could contribute to it as much as it has contributed to me. For more Adrian’s artworks: ins: https://www.instagram.com/adrianrubio.pro/ web: https://www.adrianrubio.pro/

    2019-11-08
    Top News
    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz
    Top News
    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS After reading 2 interviews with the winner and nominee for the 2019 Architectural 3D Awards, you must have been amazed by their great ideas and persistence in their ArchViz career. Today, we go on our exploration in the creation of ArchViz by talking to Mr. Alvaro Arroyo, nominee for Student Image category. - Alvaro Arroyo - From: Spain - 3D Artist - School: School-ing CREDITS: - School-ing - Adán Martín - Eduardo Rodríguez - All of the School-ing students - 3D Collective Alvaro’s work delivers a sense of melancholic atmosphere while the composition is with coherent layers. The moment he created this artwork, he was still a student, however, he has already stepped into the ArchViz industry and put his whole heart in it currently. Let’s read the interview to know more about the creation of the nominated work, and how he sees the shift in his life. Fox Renderfarm: Hi, Alvaro, would you please give a brief introduction about yourself? Alvaro: Hi, my name is Alvaro Arroyo Cerdá, a 27-year-old 3D Artist from Valencia (Spain). I´m an architect from the Polytechnic University of Valencia (UPV) and now I´m working full time in the architectural visualization industry. Polytechnic University of Valencia Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards? Alvaro: It is definitely a great honour. Just the fact of having my work recognised in the world's most important awards of the industry is an amazing feeling. A few months ago I couldn't imagine all these things were going to happen. Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition? Alvaro: This image is part of a project that I was working on in the school, so besides this one, more images have been made. Each one has the architecture as the base, and then I tried to experiment (with) different moods for all of them, creating atmospheres that fit my purpose. Other 2 pictures for the same project In this artwork, I had the idea of creating a melancholic atmosphere where nature and modern architecture might get together. I added some women playing music inside the house just to emphasize that idea. Fox Renderfarm: Could you introduce the light design and the composition of this project? Alvaro: The light design is just based on a foggy HDRI, and I used the Vray environmental fog to mitigate the light and exposure of that HDRI. In terms of composition, I had a clear idea of having the house entry in the center of the image, and for that, the shape of the building was so helpful. I had the forest and nature on the foreground, just playing with its colours and wildness, and introduced those broken branches on the right to avoid a flat image. The road on the left was a great element to avoid it as well. Finally, I placed some forest on the background to make them disappear in the foggy day. Fox Renderfarm: How long did it take you to finish the work? Alvaro: Probably it took between two and three weeks to do that image, but it's hard to tell because it was part of a bigger project, so modeling the architecture and texturing were the longer parts. Clay render Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process? Alvaro: Maybe the most interesting part was when I was trying to achieve the mood that I had in my head for this image. As I saw the first results, my idea was to place myself inside that environment to keep improving all the details and have a humid atmosphere like the one we have when just stopped raining. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it? Alvaro: Of course, I think is part of the process and in my case as a beginner, I had much more difficulties. The hardest part was to recreate a realistic wild forest because it was so close to the camera, and I solved it working a lot in the vegetation materials and placing the nature elements very carefully in the scene. Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career? Alvaro: I have been actively learning from January of this current year, so just ten months. They have been really intense months as you can imagine. I made the decision when I realized that the part of the architectural work that made me happier was to visualize unbuilt architecture and where I can use more of my creativity. Fox Renderfarm: Who or what project inspires you most in this industry? Alvaro: Well, Adán Martín has been the real inspiration for me in this industry. In fact, studying and learning from him in School-ing has been the best decision I could have made to start in Archviz. Maybe Csaba Banati, Karim Moussa or Thomas Dubois are artists that inspire and motivate me because their creative mindset of facing new challenges representing the unbuilt is just awesome. Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills? Alvaro: I think that in an industry like this, always changing, is so important to have a learning attitude towards everything. Use our creativity to solve our working problems will make an artist much better. In my short experience, I have been trying to make works where I can always learn some new things, to have my mind active. Fox Renderfarm: What’s your next step? Alvaro: As I said before, keep learning every day new techniques, new software and the best visualizer I can be to fulfill all my expectations that are coming. Now, I am focused on my new job as a Junior 3D Artist at Kilograph and that is where my mind is. Fox Renderfarm: Have you ever used Fox Renderfarm previously? If yes, how do you feel about it? Alvaro: Not really because I didn't have the chance to use them because my short career in the Archviz industry, but definitely I´m going to do it from now on. Fox Renderfarm: Any other things you want to share with CG enthusiasts? Alvaro: Well, just encourage people that are starting in the industry, like me, to work with passion and determination to create great illustrations. I will be happy to keep meeting people of this industry because is always a pleasure for me to meet such talented people, so feel free to contact me on social media to share thoughts about our works. And finally, I hope you saw the rabbit in my image, did you? Alvaro’s Instagram @arc.alvaro

    2019-10-30
    Top News
    The Virtual Production: A New Era For Filmmakers
    Top News
    The Virtual Production: A New Era For Filmmakers

    Virtual Production, a next-gen workflow with a set of real-time tools for cinematographers, is combining real-time technology hardware, software to help filmmakers visualize their films on set, like Avatar, which was one of the first films using virtual production. What’s more, there are plenty of visual effects films like The Avengers, Kong: Skull Island, Star Wars: The Force Awakens, Rogue One: A Star Wars Story, Doctor Strange, where the power of virtual production can come in. Virtual production tends to be used to help visualize complex scenes or scenes that simply cannot be filmed for real, which can refer to any techniques that allow filmmakers to plan, imagine, or complete some kind of filmic element, typically with the aid of digital tools. Virtual production tools in live action tend to relate mostly around the capturing of action, often with simul-cams or virtual cameras. These are effectively screens acting as virtual cameras that can be tracked just like motion captured actors are tracked, so that someone looking at the screen – a director – can see an almost-finished composed image of what the final shot may look like. But it’s not just about being able to visualize these synthetic worlds, it’s also about being able to change them quickly, if necessary. Which is why real-time rendering and game engines have become a big part of virtual production, and why real-time rendering and live-action filmmaking and visual effects have started to merge. The film The Jungle Book Flimmakers can also use virtual production to control the environment being filmed in – typically a green screen with fixed lighting and cameras that can be easily tracked. There are several systems that allow for real-time graphics to be ‘overlaid’ over presenters and interact with them. The ABC series, Once Upon a Time In SIGGRAPH 2019,Fox Renderfarm was honoured to interview Aaron Daly, the Virtual Production Artists for Netflix, who shared his working experience and thoughts about virtual production with us. We were also honoured to have , President of Daly Realism, to host an exclusive interview with Aaron. Aaron Daly ·VFX Technical Artist for Netflix ·Virtual Production Artist ·CBS Corporation Technical Artist and Previs Artist for CBS Corporation (2017-2019) ·Technical Artist for Last Call Games(2014-2018) Works: Stranger Things (Netflix), Death Note (Netflix), Strange Angel (CBS) Leonard: Hi, this is Leonard Daly again, and I'm here with Aaron Daly. I'll let him introduce himself. Aaron: Hi, my name is Aaron Daly. I am a technical artist and virtual production artist in real-time engines using most of the Unreal Engine. I currently work on a Netflix original series production, and I've worked for CBS and been on many shows before. I got my start in games, mostly working in VR. I started with VR educational content and then I moved to CBS to do VR experiences for TV shows and games. I worked on things like Stranger Things and Death Note, and a CBS show called Strange Angel, and a couple pilots that didn't get to earth. That is mostly my background and who I am. Aaron‘s works Leonard: SIGGRAPH has changed over the years and in particular what brings you to SIGGRAPH this year and what have you noticed these changes from previous years? Aaron: Every year I feel that SIGGRAPH has a sort of theme. A lot of what I feel the theme of this year is has been a lot of virtual production technologies. You're seeing a lot of companies out there using Unreal, using real-time technologies to previz and find solutions for the television shows and movies. And that's why I'm here to kind of see the latest and greatest in technology for virtual production. And I particularly enjoyed companies like GlassBox who are making their own virtual production, virtual camera to kind of streamline the process through Unreal. GlassBox‘s virtual production Leonard: You mentioned that there's lots of new virtual productions this year in virtual production technologies, is there anything here that you see that's gonna particularly solve a problem, or perhaps and is there anything that has been extraordinarily difficult for you to solve recently? Aaron: One of the biggest kind of problems is what I end up doing a lot is working in a previz environment. So, I'm trying to get the best-looking fastest thing out there, so that the filmmakers can have notes and come back to me. The whole point of using real-time technologies is that you don't need to wait around to render or anything like that. It's going to be right there, so one of the main issues for me and things that I've been trying to solve is how to get motion capture technology in the engine. There's a lot of companies out here that are using motion capture technology whether you use optical-based motion capture for movement like a OptiTrack or motion capture like that, or you use inertia-based motion capture like a Rokoko or an Xsens suits. I found that the Rokoko and Xsens suits type is more valuable because you're not gonna need to have a huge footprint to kind of get a setup up and running, it's gonna be much cheaper entry level than OptiTrack or anything like that. OptiTrack’s motion capture technology Rokoko’s face capture Leonard: We're here at the Fox Renderfarm booth. Have you heard of Fox Renderfarm and have you had any use for that and in related to your real-time work? Aaron: I have heard of Fox Renderfarm. Unfortunately, I've never personally had any use for it. Working a lot of real-time technologies, I am not needing to use a lot of , but I hear the great thing. They do great work. Leonard: Is there anything in particular you'd like to say to the people of Shenzhen or any place else about your experiences here at SIGGRAPH? Aaron: The only thing I'd have to say is the future of virtual production is gonna be amazing, and I'm really excited for what it has to offer.

    2019-10-23
    Top News
    Interview with Cheng Lei, Telling a Dream about Travel in Architectural Visualization
    Top News
    Interview with Cheng Lei, Telling a Dream about Travel in Architectural Visualization

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDS The CGarchitect Architectural 3D Awards, sponsored by Fox Renderfarm, is the largest and most prestigious awards event for the architectural visualization industry, attracting entries from top studios, freelancers and students from around the world. Fox Renderfarm is honored to introduce the winner of the Film/Animation(Student) category, Mr.Cheng Lei and his team from China who love animation. - Cheng Lei - 3D Instructor - From: China - School: SAN WEI KONG JIAN (3D Space) TRAVEL CREDITS: Artistic Director: Gang Liu Producer: Huifang Li Instructor: Cheng Lei, Xiaoting Qin, Hua Chen 3D Artist: Xinhe Wang, Na Ding, Xudong Wang, Shuxin Yan, Zhiyu Wang, Zekun Feng, Feifei Chen, Xiaojiao Wang, Danyang Jin, Zesen Liu, Yumeng Wang, Yangjun Wang, Yinxu Niu, Yuxin Yang, Dan Xiong, Sipei Sheng, Siqing Duan The winner team comes from SAN WEI KONG JIAN (3D Space), an educational institution teaching UI design, game design, film, and television advertising animation, architectural parade animation and more than 20 categories of courses. With the passion of animation, the students spent a total of two months discussing creative details, storyboards, models, material and light rendering, and post-production editing. Finally, they finished the original 3D architectural animation, which received international recognition. Behind the scenes of TRAVEL It’s the second time for SAN WEI KONG JIAN to win the CGarchitect Architectural 3D Awards. The students from SAN WEI KONG JIAN won the award last year for their excellent work About Y Chair, which is the first CGarchitect Architectural 3D Awards for Chinese student team. About Y Chair Here’s the interview between Fox Renderfarm and Cheng Lei, one of the instructors of the winning work. Fox Renderfarm: Hi, Cheng, would you please give a brief introduction about yourself and your team? Cheng: Hi, Fox Renderfarm, my name is Cheng Lei, I am an animation teacher. I come from Xi 'an, the ancient capital of 13 dynasties in China. All my team members are college students are from different universities in Xi 'an. Fox Renderfarm: How do you feel about winning this award? How do you feel about the D2 Conferences this year? Cheng: Of course, I am very surprised to win this award. I am very happy that my students can be recognized by the internationally renowned competition. It is their honor. This year's D2 conference was a great success and everything was arranged in perfect order. Thanks to the organizers and sponsors, it allowed me to see the wonderful works of different artists and promoted the mutual communication between the industry, which was a good learning opportunity. Fox Renderfarm: What’s your inspiration for this amazing project of Travel? Why did you select this project to participate in the competition? Cheng: My inspiration came from a sentence on the Internet a few years ago: "the world is so big, I want to see it." It was a resignation letter from an employee that went viral because of its unusual content. I asked my students if they wanted to make a film about travel, and they were all interested. Students in the animation class can only make two animations a year. They (can only) use the time of winter vacation and summer vacation (to create animation). Usually, they have a lot of courses to learn, there is no time to make animation. So there were only two animations, and we chose the one that is better. Fox Renderfarm: The whole film is led by different kinds of animals transformed from a resignation letter, any ideas behind that? Cheng: That letter of resignation actually represents the dream (in sleep) and dream (wish) of the Protagonist, taking the Protagonist to travel around the mountains and rivers, who gives up work to find the most authentic self. Fox Renderfarm: The scenery sites shown in the video are designed to illustrate the word “TRAVEL”, any ideas behind that? Cheng: Before the production, we asked the students to make the animation as delicate as possible. Because we wanted to take the animation to participate in the architectural 3D Awards which is about architecture, we chose to illustrate every character of the word “TRAVEL” in the form of architecture. About the shown architecture made, we did refer to many different architectural styles around the world, and then made up our mind about which to use and how to use them. And we tried to use mountains and rivers to demonstrate the idea of traveling around. Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process? Cheng: The thing that’s unforgettable in the whole process is the adjustment of these animals because the students were not very good at character animation. Have you ever seen a cow walk on two feet, the deer flapped its front feet like a bird? Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it? Cheng: The most difficult part is the paper crumpling animation. At last, we chose real shooting. We shot photos while folding once at a time, which was a bit like stop-motion animation, and finally synthesized into 3d scene through post-production. Fox Renderfarm: SAN WEI KONG JIAN devotes to the education of CG creation in China, how do you feel about the integration of Chinese culture and CG creation? Cheng: 3D Space (SAN WEI KONG JIAN) is an educational institution specialized in art design training. We welcome all of you to exchange ideas and learn from each other. Culture is diverse, and cultures from all over the world bloom together. It is because of regional cultural differences that a hundred schools of thought of artists' works contend. The national culture is the world culture, can combine their own national culture and modern computer animation to present to the world, is very meaningful. Fox Renderfarm: How long have you been in the 3D instruction field? And how did you make the decision to step into this industry? Cheng: I've been in CG for 8 years, just because I love it. Fox Renderfarm: Who or what project inspires you most in this industry? Cheng: From the moment I saw Up, I fell in love with animation, but somehow I got into the architectural animation industry. The two people who influenced me most were Alex Roman and Bohong Deng. Alex Roman and his work Bohong Deng and his work Fox Renderfarm: Have you ever used Fox Renderfarm previously? If yes, how do you feel about it? Cheng: I have used in China before, but never Fox Renderfarm, but I will use Fox Renderfarm in the future, thank the sponsors, I think it will make our rendering work better. Fox Renderfarm: Any other things you want to share with CG enthusiasts? Cheng: Don't give up your pursuit and love of works because of others' malice and incomprehension. Good works take time and endeavour. Thanks.

    2019-10-22
    Top News
    ‘Ne Zha’ and ‘Upin & Ipin’ Officially in Running for 2020 Oscar Nomination!
    Top News
    ‘Ne Zha’ and ‘Upin & Ipin’ Officially in Running for 2020 Oscar Nomination!

    Congratulations to the 32 animated features in running for 2020 Oscar nomination. Two of them have chosen Fox Renderfarm’s , they are, Ne Zha, produced by Chengdu Coco Cartoon and Beijing Enlight Media Co., Ltd; and Ipin & Upin: The Lone Gibbon Kris (short for Upin & Ipin), produced by Les' Copaque Production Sdn. Bhd. Besides, another Chinese animated feature White Snake produced by Light Chaser Animation Studios is also listed. (From left to right: Ne Zha; Ipin & Upin; White Snake) Both Nezha and Upin & Ipin have made massive box office success in their home country. As of October 2019, Nezha and Upin & Ipin rank respectively as the top and 2nd highest-grossing animated film in their local box offices of all time. Besides their commercial success and popularity within the local markets, being listed in the Animated Feature race in the Oscars demonstrates that their extraordinary stories and productions resonate with people from all walks of life regardless of age, race, and culture. Fox Renderfarm is wholeheartedly happy for our customers’ breakthroughs and their recognition among the world stage. And as a world-leading services, is our endless pursuit. Because nothing is more delightful than seeing the progress and thriving of the whole community. And we are sincerely looking forward to more cooperation around the world! Congratulations to all the contenders! The full list of the 32 animated features is attached below, check out to see the animated movies you can’t miss this year. Posted: Wednesday, October 16, 2019 - 10:00 32 ANIMATED FEATURES SUBMITTED FOR 2019 OSCAR® RACE Thirty-two features have been submitted for consideration in the Animated Feature Film category for the 92nd Academy Awards®. The submitted features, listed in alphabetical order, are: - “Abominable” - “The Addams Family” - “The Angry Birds Movie 2” - “Another Day of Life” - “Away” - “Buñuel in the Labyrinth of the Turtles” - “Children of the Sea” - “Dilili in Paris” - “Frozen II” - “Funan” - “Genndy Tartakovsky’s ‘Primal’ – Tales of Savagery” - “How to Train Your Dragon: The Hidden World” - “I Lost My Body” - “Klaus” - “The Last Fiction” - “The Lego Movie 2: The Second Part” - “Marona’s Fantastic Tale” - “Missing Link” - “Ne Zha” - “Okko’s Inn” - “Pachamama” - “Promare” - “Rezo” - “The Secret Life of Pets 2” - “Spies in Disguise” - “The Swallows of Kabul” - “This Magnificent Cake!” - “The Tower” - “Toy Story 4” - “Upin & Ipin: The Lone Gibbon Kris” - “Weathering with You” - “White Snake” From: `https://www.oscars.org/news/32-animated-features-submitted-2019-oscar-race`

    2019-10-21
    Top News
    Juhaidah Joemin, Great Woman in CG
    Fox Talk
    Juhaidah Joemin, Great Woman in CG

    As one of the 1st-generation practitioners of the CG industry in Malaysia, Juhaidah Joemin devotes to the development of the CG film and television industry in Malaysia. She is also the co-founder and Managing Director of Giggle Garage Sdn Bhd, who has produced numerous popular animated TV series for children. Fox Renderfarm was honored to have an interview with Juhaidah, who shared the aspiration and interesting stories along her CG journey. Juhaidah Joemin - Managing Director/Executive Producer of Giggle Garage - Representative Office Manager of Al Jazeera Children's Channel (2007-2011) - Head of Special Projects/Producer of MDEC (2003-2007) Works: Cam & Leon the series (2018) Kazoops the series (2016) Boing The Play Ranger the series (2011) Origanimals the series (2010) Saladin the series (2010) When Juhaidah was a child, she was so fascinated with cartoons and animation, which became the inspiration for starting her career in the CG industry. She first ventured into the field of animation by obtaining a degree in Film and Animation from Multimedia University, which is the first university to teach animation that time in Malaysia. Inspired by the vision of making the industry starts, Juhaidah decided to join Malaysia Digital Economy Corporation (MDEC) after graduation. It was 2000 when there were few companies proposing in the post-production and commercials, but none on content in animation. So, Juhaidah joined MDEC to learn more about the industry, as well as to have experience in this field. Citing agencies such as MDEC as one of the key supporters of her success through training and mentoring, funding and international market access, Juhaidah stressed that she would not have reached such heights without MDEC’s help. Fueled by her strong passion for storytelling and creating a whole new world out of her imagination, Juhaidah set up Giggle Garage in 2010 with three other staff. She is taking a role as Managing Director and Executive Producer, overseeing creative development and project execution for the company's original IPs and co‐production properties of children and family entertainment. Giggle Garage has since created nearly 10 different animated series including Kazoops, Cam & Leon, Boing the Play Ranger. Kazoops is a Netflix original which is broadcasting in 180 countries in 21 languages and is a co-production with Australia & UK. With 120 and 42 countries airing Boing the Play Ranger and Cam & Leon respectively, Giggle Garage is making waves around the world as an animation powerhouse and proud Malaysian export. Kazoops Cam & Leon Boing the Play Ranger With so many outstanding animated series, the animation studio won several prestigious awards in the animation field including Asian TV Award in 2016 for Best 3D Animation and the Grand Prize for ASEAN-Japan Character Competition 2016 for Origanimals, an original homegrown TV series created by the studio. Juhaidah’s success empowered women in the animation industry, a male-dominated field with a known glass ceiling for women in it. She was nominated for The Malaysian Women’s Weekly’s Great Women Of Our Time 2013 in the Arts & Media industry. What's more, during the Minggu Usahawan Nasional 2019, Juhaidah, representing the entire team at Giggle Garage Animations, won the Women Entrepreneur Icon (Digital) at the Women Entrepreneur Convention. Speaking on winning the award, she expressed her surprise and pleasure that there was an acknowledgment from ministries onto local entrepreneurs, especially the female ones, in the digital entrepreneurship field. As an outstanding female entrepreneur, Juhaidah is a major catalyst in helping Malaysia develop into a hub of world-class creative content production and made great contributions to the CG industry. Now, let’s know more about the stories behind her great woman power from the exclusive interview with Fox Renderfarm. Fox Renderfarm: Please introduce yourself. Juhaidah: Hi, Fox Renderfarm. My name is Juhaidah Joemin, I'm the Managing Director of Giggle Garage Animation. We are based in Cyberjaya, Malaysia. Fox Renderfarm: While you worked on MDEC, any projects that you are most proud of? Juhaidah: When I was with MDEC, I actually spent about eight years with them. And during those times, I was with this department called the Creative Department within MDEC. And what happened is they wanted to create a project that will represent the nation or the creative industry of Malaysia. So, I was given a task to start this project and start putting together the team, the creative team, the production companies. And the project is called Saladin, Saladin TV series. And this is the first fully animated TV series that was having co-production with the outside country at that time. And I was handling this project. We put together all the resources and we managed to convince the Al Jazeera Children Channel, the Qatar government to invest, to co-invest initial. The project nominated for International Emmy Awards for kids category and this is the first of a kind, first nomination for Malaysia, for a project that was created just to put together the entire animation industry. So, of course, there's something that I'm really proud about. Fox Renderfarm: Could you introduce your own company and projects? Juhaidah: Our company Giggle Garage, the name, of course, comes from our own inspiration where we wanted to create a place where it is happy, you giggle, you laugh all the time, and a place where is friendly enough for everyone to work together, and creating content to entertain kids and families. So, that's what the definition of the company name - Giggle Garage. We started off about nine years ago with our first IP called Origanimals. This is a preschool show of two seasons and after today we managed to actually get it broadcasted in more than 120 countries around the world. We won a number of awards for it as well. And after that, of course, moving on, we actually went to produce more original content. We co-produce with our partners. We have partners in South Korea, we have partners in Australia. So, I think after today we probably have completed about five titles, five TV series, and we have two more on the way, plus a few more under developments, of course with ten IPs actually within the span of nine years. Space Nova(co-produce with Australian team) Time Traveler Luke(co-produce with Korean team) Fox Renderfarm: Being an entrepreneur, any challenges when building your own studio, developing your own IP and even marketing it? Juhaidah: Definitely, the challenges are there, on a daily basis. But also, being a start-up, I guess the main challenge of the first challenges is the cash flow. When you start a company, you cannot run without cash. And this is the first hurdle that we went through. So of course, we started off the company providing services and all just to get the cash going, the company going. But at the same time, we also received help. There is a funding program for IP under MDEC. So, we actually benefited a lot from this program. They provide training, mentoring, market access that takes us to different markets to basically get exposure and market our show, as well as providing funding for the show. So, at least, this helped us to basically move on to the next stage. Fox Renderfarm: Could you introduce the program for cultivating young CG artists? Juhaidah: There is a number of programs in Malaysia that are cultivating young CG artists as well as young entrepreneurs, those who want to start their own business and all. And one of these is called, it used to be called the IPCC, the international creative IP challenges, and now it's called the DiCE. So, it's the same program. It's open to the entire creative community to submit the proposal, their ideas. And basically, once you are shortlisted, then you'll be pitching in front of the industry panel. And every year there will be a selection of between 5 to 8 projects to receive a grant from MDEC to produce the IP into a three-minute trailer, for example. And not only they are doing it on their own, the industry partners will be actually put inside the panel as mentors. So, for the span of six months, the industry panel will take the young creators through mentorship, like step by step, so that they understand what it needs to create the content. So, this has been done, I think, (for) more than 10 years right now. And, of course, there's a source of program for companies that are a bit bigger, a bit more matured and are ready to go into production. And there's a source of program that supports that. So, I guess it helps everyone to basically move to the next stage of their company growth. Fox Renderfarm: Have you heard about Fox Renderfarm? Juhaidah: Well, of course, we used it before. So, it's familiar. In fact, we are really thankful that there are such facilities out there. Because, definitely, companies like us, we are producing content on a daily basis, like delivering 4 episodes a week for TV series, so the use of a render power is there, the needs of it is there, so we definitely need a lot of this kind of facilities around to help us produce our show. Fox Renderfarm: Any other things you want to share with the CG enthusiasts? Juhaidah: Creating your own content or creating a CG content, it can be fun sometimes because you are pursuing your passion, your love of animation and all. But it can be tough sometimes, even the toughness doesn't go forever. You'll get through it. Then you'll get to another new circle, new experience. The entire journey, it is an experience that everyone can appreciate. Even for us, after nine years, we are actually still learning about new technology. Every day, there is a new software or a new skill that we need to learn. So, that's why I'm excited about this industry because you never stop learning, you never get bored with it. And at the end of the day, if you're doing what you like, it's almost like you are living a good life, I guess.

    2019-10-18
    Fox Talk
    Interview with Carlos Costa Blanes, Nominee for 2019 Architectural 3D Award by CGarchitect
    Top News
    Interview with Carlos Costa Blanes, Nominee for 2019 Architectural 3D Award by CGarchitect

    As a world-leading , Fox Renderfarm, is always willing to support our CG community. As the Gold Sponsor for 3DAwards 2019, we are glad to hear that the 3DAwards this year was a massive success. 3DAwards is the largest and most prestigious awards event for the architectural visualization industry which attracts entries from top studios, freelancers and students around the world every year. Both the winners and nominees have been announced on CGarchitect’s website. Congratulations to all the winners and nominees! Today, we are honored to talk with Mr. Carlos Costa Blanes, nominee for Student (Image) Category, who steps into the Archviz industry from a student of Archaeology. He tells us how he makes the shift and more about his nominated artwork. - Carlos Costa Blanes - 3D artist at Pictury Archviz (http://www.pictury.net/) - From: Sevilla, Spain - School: Nuevas Profesiones Nominated Work http://3dawards.cgarchitect.com/gallery/showcase/32972 Fox Renderfarm: Hi, Carlos, would you please give a brief introduction about yourself? Carlos: Hello, my name is Carlos Costa Blanes and I am a 23 years old 3D artist based in Seville (Spain). I hold a BA in Archaeology though today I do nothing related to it, and afterwards I studied a two years’ 3D generalist course, ending up specializing in ArchViz through online self-learning. Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards? Carlos: It is by far my biggest achievement. I am really happy and proud about it; I could not imagine a better way to start my professional career. It has definitely helped a lot. Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition? Carlos: I made the artwork with the idea of submitting it to the competition, so from the very start, I knew this would be the image. When looking for inspiration for a project, the amount of ideas and possibilities can be overwhelming. So, I decided I would restrict myself to the rainy/foggy mood. While working on the project, I came up with the idea to draw a parallel between today’s modern architecture and native tents with those accentuated triangular shapes and added elements that refer to the jungle/forest ecosystem, like the flying parrots or the boats. Fox Renderfarm: Could you introduce the light design and the composition of this project? Carlos: The light in the 3ds Max file, it is simply based on an HDRi with no global volumen material as may seem. It is later in Photoshop where most of the tricks happen, using a colored ZDepth element for the overall fog and exposing certain parts of the sky in order to achieve the overall look of the image. It was important for me to have the colour palette defined from the very beginning, knowing I wanted to play with the orange-blue scheme as complementary colours. Regarding the composition, I had the idea of a lake scene in order to enhance the reflections of the buildings. In order to avoid a flat image, I used some rocks on the foreground and mountains in the background. The buildings were simply located following the Rule of Thirds and I used three of them as I thought that would give the best visual result. Fox Renderfarm: How long did it take you to finish the work? Carlos: Probably between 20 and 25 hours in total, from the research for references until the post-production. Fox Renderfarm: What software, renderers, plugins did you use in this work? Carlos: I created the scene on 3ds Max and rendered it with Corona. The vegetation scattering was achieved using iToo Forest Pack. Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process? Carlos: I really enjoyed and spent a lot of the time trying to achieve a fog that I was happy with, as well as playing with the colours until I got the exact tones I wanted for the scene. There are so many shades of blues and oranges so it took me some time to decide. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it? Carlos: As I said, the main difficulties were the fog and deciding on the colours. I spent quite some time playing with different combinations. Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career? Carlos: I have been actively self-learning about ArchViz since September 2018, so one year ago. Later that year, I contacted Pictury (www.pictury.net/) - a studio whose artwork I really liked and who were, luckily, based close to my hometown - and did an internship with them from February till June. After the internship, I started working with them professionally since July. I made the decision to step into architectural visualization because I always enjoyed the process of shading and texturing. Besides this, I really like producing photorealistic images. As I like to experiment with photography in my free time, the photographic component of the industry also appealed to me. Fox Renderfarm: Who or what project inspires you most in this industry? Carlos: There are so many amazing artists out there; sometimes it can even be frustrating to look around on different profiles on , some people are so good. However, I feel like we should look for inspiration in other areas in order to create something original and not fall in trends. Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills? Carlos: The thing I consider most important today, in order to keep up to date with the evolving industry, is to never stop being a self-learner. The technical component of this industry is quite complex and deadlines are demanding, so you really need to be up to date with the latest tools and technologies in order to reduce production times and focus more and more on the artistic side of it. I think what makes the most differences between great and greater artists is the light and composition knowledge. There are more and more artists with outstanding technical skills, so I think it is the artistic side that makes the difference. I bought myself a camera just to learn photography and further develop my skills to produce CG images. (Photos by Carlos Costa Blanes from Instagram @costablanes96) Fox Renderfarm: What’s your next step? Carlos: I want to learn as much as possible right now. I think the industry is changing because of the steadily developing procedural techniques, real-time render engines and AI learning, so my focus would be to study those techniques. At some moment, I would probably also enjoy - I do not know when yet - to work abroad and who knows, to have my own studio at some point. Fox Renderfarm: Have you ever used Fox Renderfarm previously? If yes, how do you feel about it? Carlos: Not yet since my professional career in ArchViz only just started. I have not had the need to use it as a student - I normally always met my deadlines! But I think being nominated for the awards is a great chance to try it. Fox Renderfarm: Any other things you want to share with CG enthusiasts? Carlos: Feel free to contact me on my different social media, I am happy to meet people in this same industry. And by the way, there is a hidden frog on the image. Can you spot it? More Carlos Costa Blanes's artworks: Artstation: https://www.artstation.com/carloscos96 Instagram: https://www.instagram.com/ccostablanes/ (3D Artist Account) https://www.instagram.com/costablanes96/ (Photography Account) Please stay tuned with Fox Renderfarm, more interviews of the winners and nominees for CGarhcitect Architectural 3DAwards 2019 and industry insights will be brought to you on our website and social media channels!

    2019-10-17
    Top News
    Fox Renderfarm, Your TPN Accredited Cloud Render Farm
    Top News
    Fox Renderfarm, Your TPN Accredited Cloud Render Farm

    Fox Renderfarm has reached another milestone in the year 2019. With the relentless efforts and commitment to build a more secure that better protect the privacy of our beloved customers, Shenzhen Rayvision Technology (Fox Renderfarm’s company) has successfully completed MPAA’s Content Security Best Practices and officially become a TPN Trusted Partner! What is TPN? Trusted Partner Network (TPN) is a joint venture between two major entertainment industry giants, the Motion Picture Association of America (MPAA) and the Content Delivery & Security Association (CDSA), the worldwide leaders in third-party entertainment industry assessments. MPAA is a non-profit American trade association with the goal of promoting effective copyright protection, reducing piracy, and expanding market access. While, CDSA, is the international content protection association that protect entertainment media throughout the supply chain, both pre and post release. As one of the most authoritative film and TV content protection corporation, TPN assessment is well acknowledged by conglomerates like Walt Disney Studios, Universal City Studios, Warner Bros., Netflix Studios and so forth. Why do we need TPN? Content and data security have always been a global concern in the movie and TV industry, especially after a serial high-profile pre-release leaks in 2017. Those included the theft and release of “Orange Is the New Black” season 5 episodes from an audio post-production firm and an episode from “Game of Thrones” season 7 that was traced to employees at a data-management vendor working with 21st Century Fox’s Star India. The hacking nightmare continued after Netflix refused to pay the requested ransom. The hacker group The Dark Overlord uploaded much of “Orange Is the New Black” Season 5 online through illegal file-sharing service and kept posting arrogant and even scolding messages online. Huge damage was caused to Hollywood’s major production studios and to the health of the whole industry. Trusted Partner Network (TPN) is a new, global, industry-wide film and television content protection initiative. The TPN program helps companies prevent leaks, breaches, and hacks of their customers’ movies and television shows prior to their intended release and seeks to raise security awareness, preparedness, and capabilities within the industry. It functions as a global clearinghouse that will set security standards for entertainment production and distribution companies. Partners who pass an independent assessment conforming to those industry best practices will be listed as “trusted partners” in the TPN directory. “Creating the films and television shows enjoyed by audiences around the world increasingly requires a network of specialized vendors and technicians,” MPAA chairman and CEO Charles Rivkin said in a statement. “That’s why maintaining high security standards for all third-party operations — from script to screen — is such an important part of preventing the theft of creative works and ultimately protects jobs and the health of our vibrant creative economy.” How does TPN work? The TPN assessment process is highly rigorous with detailed security requirements on the physical security, asset management, content life-cycle, enterprise security, risk assessment, vulnerability management, security operations and incident response, policy & procedures, human resources processes, and most importantly, infrastructure. Moreover, the assessed Vendors are required to do the annual re-assessment every year to continuously improve the security system to better meet the TPN assessment standards. The assessment reports are shared within the TPN platform and can also be shared with existing and potential customers at the vendor’s discretion. Fox Renderfarm x TPN Fox Renderfarm’s mission is to be the best with powerful render capacity, thoughtful customer service, secure data protection and flexible pricing scheme. “Your governance program (i.e. Management System) was impressive. It was very thorough from a policy and procedure perspective,” Mr. James Bourne, TPN Assessor, commented, “Rayvision (Fox Renderfarm’s company) has adopted and implemented the MPAA’s Content Security Best Practices with precision...you are now TPN Accredited.” As a TPN Trusted Partner, Fox Renderfarm will persist its steps to enhance the solutions to be more customer-friendly and also be one of the safest.

    2019-10-07
    Top News
    Interview With Leonard Daly, Creating A New Future Of Websites
    Fox Talk
    Interview With Leonard Daly, Creating A New Future Of Websites

    Web-based 3D multi-media is becoming an important part of many websites. 3D on the web offers the advantages of seeing the information from a variety of viewpoints in a manner not possible with other media types. As a 3D/VR Systems Architect, Leonard Daly has made many contributions to the 3D multi-media industry. He founded Daly Realism in 1996, which can help businesses with project management, website development, secure business-to-business communications, elearning, and web-based 3D and multi-media content. With his extensive background in Web and other technologies, Leonard Daly developed Daly Realism to handle businesses needs for eBusiness and Business to Business (B2B) transactions, project management, technical strategy development, web development, information visualization, advanced web technologies, and web-based multi-media content. Knowing that the key to a successful project is quality management and leadership, Leonard Daly has developed a number of tools with proven success records for assisting in the management of projects. Daly Realism’s latest work is XSeen - a VR/3D library in JavaScript that uses THREE.js for rendering. XSeen is the first declarative language for the VR/AR/MR — xR Web. It incorporates the ability to seamlessly integrate HTML with your 3D environment. It uses HTML-like tags and attributes that are fully integrated into the DOM and manipulatable with JavaScript. It works with all of the standard JavaScript frameworks including jQuery and React. XSeen is also the JavaScript library that implements the XSeen language. It is built on top of THREE.js and other open-source web tools and platforms. It loads all standard web model formats, including glTF, THREE json, OBJ, and others. You can use the THREE editor (local-link) to create scenes that are loaded into and XSeen web page to be displayed in a browser. Fox Renderfarm was honoured to have an interview with Leonard Daly in SIGGRAPH 2019. Leonard Daly ·President of Daly Realism ·Independent Internet consultant ·3D/VR Systems Architect ·Designer of XSeen ·Co-author of “X3D: Extensible 3D Graphics for Web Authors” Fox Renderfarm: Can you introduce yourself? Leonard: Hi, I'm Leonard Daly, I'm an independent consultant here in Los Angeles. Daly Realism provides consulting services to small businesses in the area of 3D systems, architecture and data management in the cloud. Most of our work is related to website production and development. In 3D systems, I've been doing a lot of work with web standards organizations including W3C on the just released and what they call “VR complete” webXR Device API specification. I've also worked with Khronos on glTF, and looking forward to working on their new effort in the e-commerce area. In the past, I've also worked with the Web3D Consortium on the X3D specification. Fox Renderfarm: Can you introduce your latest development to us? Leonard: In conjunction with SIGGRAPH this year, version 0.8 of Xseen was released. Xseen is a library written in JavaScript. It is fully open source, including open source documentation that runs in the browser. It takes code that looks very much like HTML and allows you to display 3D content. It runs in the phone, on the desktop, in the tablets and it gracefully degrades depending upon the hardware and support available. So that on the phone you have full access to the orientation sensors and the camera, while on the desktop it's a more fixed environment, more suitable for working with the mouse. There’re two demos available, both are available through QR codes. The top, the first one is a VR demo. Its complete environment there is computer-generated background and model; and the second QR code is the same model presented through your phone to see wherever you happen to be. Fox Renderfarm: Can you introduce your team? Leonard: Xseen has been under development for about two years. At this stage is just myself with a couple of other contributions from other people interested in it. This show has been productive and I've talked to at least three people. One has expressed very strong interest in developing two portions that will be needed for future releases. Fox Renderfarm: Have your meet any challenges during your development? Leonard: The biggest challenge today on Xseen has been adjusting the model lighting to match the scene in incorporating various mechanisms. It hasn't been incorporated yet but the current under-development version is using spherical harmonic lighting which is very easy to manage, collect and project into the scene, and just light the model. Due to the development of Xseen, we will include not only the spherical harmonic lighting, but also integration and simultaneous localization and mapping, or also known as SLAM algorithm, so that the models can be tracked and located in physical space, as opposed to just relative to the orientation of the phone. Other features include fully web componentizing the systems and making sure that everything is fully integrated with the DOM API that's available in all web browsers to HTML pages. Fox Renderfarm: Have you ever heard of Fox Renderfarm? Leonard: My work with Xseen and other 3D applications have been exclusively within the browser. So, I personally have not used Fox Renderfarm, although I have heard of the company. Many of my associates within the Los Angeles Chapter of ACM SIGGRAPH do use for their purposes in episodic TV, movies and advertisements. Fox Renderfarm: Any other things you want to share with the audience? Leonard: As a long-time member of Los Angeles Chapter of SIGGRAPH, I wish from all of us to the people of Shenzhen a great day and happy year.

    2019-09-30
    Fox Talk

    Key Words

    search
    Malaysian Animated Films|Indiajoy|Art Competitions|Architectural Visualization|CGarchitect Architectural 3Dawards|Best cloud rendering services|Render cloud|VFX|Upin & Ipin|Green Book|Fox Renderfarm Interview|Mission Mangal|Kre8tif!|Fox Renderfarm Mini Program|CG|Florian Renner|CG Tech Summit Malaysia|Zhang Yimou|CSFF 9th|film works|cloud rendering|Golden Horse Award|Shadow|SIGGRAPH Asia 2018|Morrigan Flebotte|VWArtclub Annual *Contest|animation works|Asswad Mouhamad|IMax Studio|Boonie Bears|Renderosity|Gary S. Kennedy|Evermotion Challenge 2018|Brian Beaudry|Alita: Battle Angel|Bobby Bala|Mohit Sanchaniya|Katapix Media|Flying Car Productions|Razer|The Shipment|FoxRenderfarm|CG Tech Summit|Alpacalypse Productions|halloween|Hum3d Survial Car Challenge|Federico Ciuffolini|Ralf Sczepan|Iavor Trifonov|Clarisse|CGTS Malaysia|Isotropix|C4D|Tomasz Bednarz|V-Ray|Cinema 4D|MAXON|siggraph caf|Evermotion challenge 2017|CGTrader Space Competition|Henrik Lein|film of the year|Le Anh Nhan|Planet Unknown|Fox Renderfarm 2017 Achievements|CSFF|Julio Soto|boar 2017|Deep|SIGGRAPH Asia 2017|Chris Sun|Glass Cage|Fox Renderfarm|Making Life of Bri' n Chris|anthem studios|The Rookies|Peter Draper|Makuta VFX|Baahubali 2|CG Competition|hum3d contest|enchantedmob|CG Studios|Academy Awards|RAYVISION MILESTONES|CGVray|weeklycgchallenge|SketchUp|siggraph 2017|Chris Buchal|SIGGRAPH Asia|LightWave|Indigo Renderer|Rafael Chies|V-Ray RT|CPU Rendering|NVIDIA Iray|Chaos Group|OctaneRender|Redshift|Vray|STAR CORE|CICAF|VR|Mr. Hublot|Ribbit|Blender Cycles|GPU Rendering|Linux|Monkey Island|LuxRender|HPC|Render Farm|RAYVISION|Life of Bri|WORLD LAB|Michael Wakelam|3D Rendering|Online Render Farm|Alibaba|Baahubali|阿里雲|VAX|Malaysia|Aliyun|2015 Hangzhou Computing Conference|Oscar|SIGGRAPH|CGTrader|Kunming Asia Animation Exhibition|Evermotion|RenderMan|

    Categories


    RAYVISION News

    RAYVISION Projects

    RAYVISION Lectures

    CG Challenges

    Top News

    Blog

    Fox News

    Fox Talk

    Hot Spots

    Recent News List


    SIGGRAPH Asia 2019, Exploring the CG Dream

    SIGGRAPH Asia 2019, Exploring the CG Dream

    2019-12-06

    Fox Renderfarm Desktop Client Version 5.0.5.3 is Released!

    Fox Renderfarm Desktop Client Version 5.0.5.3 is Released!

    2019-12-06

    Fox Renderfarm @ VFX Summit 2019, the largest VFX event in India

    Fox Renderfarm @ VFX Summit 2019, the largest VFX event in India

    2019-11-27

    Ejen Ali, One of Malaysia’s Top 3 Animated Films will See You in the Cinema Soon

    Ejen Ali, One of Malaysia’s Top 3 Animated Films will See You in the Cinema Soon

    2019-11-25

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

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

    2019-11-13

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

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

    2019-11-08

    See You In Indiajoy 2019, India's Biggest Media & Entertainment Festival!

    See You In Indiajoy 2019, India's Biggest Media & Entertainment Festival!

    2019-11-06

    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    2019-10-30

    The Virtual Production: A New Era For Filmmakers

    The Virtual Production: A New Era For Filmmakers

    2019-10-23

    Partners

    Medias

    VARIETYBIDNESSETCYAHOODIGITALCCTV6 NEWSpeople.cnBaiduSOHU.comsinaCAIJING.COM.CNtoutiao107cine.coment.163HUXIUylzblchinaventure.cn21st Century Business HeraldiheimaCBNNewspengpaizhejiang onlinedzwwwicaijing
    Foxrenderfarm

    Serviço Potente de Render Farm

      Consultoria Empresarial

      Contato: William Zhao

      Email: williamzhao@foxrenderfarm.com

      null

      Media Contact: Rachel Chen

      Email: rachel@foxrenderfarm.com