Interview with Curry Tian, Student Academy Award Winner, Director and Versatile 3D Artist
Fox Renderfarm Interview
Fox Renderfarm, as the world premier cloud rendering services provider, is beyond excited to have an in-depth conversation with MoGrapher/ Director/ Fashion Photographer and also our beloved client - Curry Tian.Curry TianMographer/ Director/ Fashion PhotographerFrom: ChinaWon the 2020 Student Academy Award for "Simulacra"She won the 2020 Student Academy Award for “Simulacra”, and other 10 international awards.!2020 Student Academy Award-!2020 Student Academy Award for “Simulacra”Meanwhile, her portfolio is quite contentful and impressive, such as Mercedes-Benz, Canon, and Beats, etc.!Mercedes-Benz, Canon, and BeatsShe is open-minded and always willing to try new things. Her NFT artwork sells quite well on SuperRare, a marketplace to collect and trade unique, single-edition digital artworks. Moreover, her latest NFT creation, CCisDreaming, which debuted during Art Week in Miami in December, 2021 and was rendered with Fox Renderfarm has earned her a great reputation, even Grimes reposted the artwork to root for her. !CCisDreamingFor her popularity in the MoGraph industry, Maxon, Motion Plus Design, Motion Design Awards and many other brands and events sent their invitation to Curry to ask her to share the production of her artworks and insights about CG creations.!Curry Tian - Motion Plus Design + MaxonLuxury Italian maison, Tod’s teamed up with Curry to reimagine their bag - the Skirt Bag, resulting with striking images which speak to the versatility that both Curry and the bag embodies.!Curry Tian - TodIn our interview with Curry, she talked about how she grew to be an artist stepping foot in various fields, the production details of her award-winning artwork and NFT artwork, her opinion on NFT art, and her sincere advice to CG artists. This is definitely an interview you should not miss. Fox Renderfarm: Could you introduce yourself?Curry: Hi Fox Renderfarm, I’m Curry. I’m a research scholar at Harvard CAMLab as a CG artist lead. Beforehand, I also do 3D motion design and directing. Fox Renderfarm: Could you share with us your education and working experience? How did you become a slashie holding various roles including director, 3D artist, fashion photographer, and so forth?Curry: My educational background is very ordinary and typical. I was born in Shijiazhuang, China. I majored in Design and Visual Communications, and Journalism and Communication when I took my undergraduate in Tsinghua University. At that time, I worked on a lot of narrative and graphic design content, realizing that storytelling would bring more possibilities in design when I was researching journalism and media images. So I started to learn Cinema 4D, fashion photography and live-action filming.!Curry Tian!TAI KOO LI - Curry TianPhoto by Curry (2016)After I undergraduated, I took my Master‘s degree in Animation & Digital Art at the University of Southern California. And that is when I officially stepped foot in motion design. Since I thought the film market in the US was better and I was eager to find a job, I got the chance to get in touch with Motion Plus Design and some top-tier artists in this industry, earning a bit reputation with my labels on.Curry Tian x Motion Plus Design!Exquisite Corpse 2020 © Curry Tian-1!Exquisite Corpse 2020 © Curry Tian-2!Exquisite Corpse 2020 © Curry Tian-3!Exquisite Corpse 2020 © Curry Tian-4Exquisite Corpse 2020 © Curry TianI chose to work in an advertising agency in the US after graduation. Since I didn’t have much vision about my career, I went back to China and worked in the ad industry. However, due to the high pressure in the ad industry and my lack of motivation in the highly intensive input & output process, I got some fresh air in Harvard at the moment.!Detective Chinatown Main Titles, 3D Design Curry Tian-1!Detective Chinatown Main Titles, 3D Design Curry Tian-2!Detective Chinatown Main Titles, 3D Design Curry Tian-3!Detective Chinatown Main Titles, 3D Design Curry Tian-4!Detective Chinatown Main Titles, 3D Design Curry Tian-5Detective Chinatown Main Titles, 3D Design: Curry Tian Fox Renderfarm: What is the inspiration of Simulacra?Curry: Frankly speaking, Simulacra is about an elderly Buddhist woman recalls a ritual from her past, undertaking a journey of duality expressed through her many identities.!Simulacra!Simulacra -1!Simulacra -2!Simulacra -3!Simulacra -4But from what I’m seeing now, Simulacra is not that integral fundamentally. It is based on the denial of my proximity - I didn’t feel like expressing myself through Simulacra, instead, I created something fictional and metaphysical. Thus, Simulacra is a combination of what I’m fond of with multiple sections, such as, Won Buddhism, Butoh, an integrated context of Eastern and Western culture, and so forth.!Simulacra -5!Simulacra -6!Simulacra -7!Simulacra -8Of course, there were some practical intentions behind it. I did want to make my name, want to try the integration of live-action shoots and 3D art, and want to show my skillsets in 3D creation. Meanwhile, the core of its narrative ought to bond with my cultural background.!Simulacra -9!Simulacra -10!Simulacra -11!Live action Motion captureLive action / Motion capture Fox Renderfarm: How was the pipeline of Simulacra?Curry: I used Cinema 4D and Redshift mostly. Some simulations were done in Houdini. The composition of the live action and 3D is made in Nuke. Then, character design in Daz Studio, clothing design in Marvelous Designer, texture design in Substance Painter.!Simulacra -12!Simulacra -13!Simulacra -14!Simulacra -15 Fox Renderfarm: Have you met any difficulty when creating Simulacra?Curry: In hindsight, there aren’t many obstacles narrative-wise. The problem was that I was a one-girl team in 3D production, I had to make all the CG work on my own. Thus, I decided not to do all the craft myself anymore, but to cooperate with others in my later career planning.!Simulacra - Curry TianOn the other hand, my workflow took many forms and I usually break down my time. For example, if I was about to make one shot tonight, I may not even have a very clear picture of what I was going to make. Therefore, my later creation will focus more on visual narrative instead of solving technical problems. Fox Renderfarm: Please introduce your NFT artwork Illuminate the Void.Curry: I was invited to participate in the NFT art program themed “Ignition” initiated by Motion Plus Design. Personally, I am obsessed with the term “duality”. In this perspective, ignition connects with darkness. Besides, that the elements of the female body and language and power were added in this creation which is also very visually driven. In my imagination, it will be like what Samuel Beckett and Thomas Stearns Eliot would create, giving off an aura as Roland Barthes described that artwork has, even though its audiences don’t really care about the story behind.Much emphasis was put on the lighting and texturing. The pipeline was much the same as the one applied on Simulacra. One Houdini artist helped me with the simulations, like the growth of the body and the fog. After the simulation in Houdini, we exported it directly into Cinema 4D using Redshift's proxy. There are many SSSs in it, so I asked a friend to help with the rendering which was quite time-consuming.!Motion Plus Design - Curry Tian - 1!Motion Plus Design - Curry Tian - 2 Fox Renderfarm: As an artist, what’s your opinion on NFT art?Curry: To be honest, I am quite new to the business operations behind it. Whereas, I’ve met many excellent artists and seen plenty of crossover artworks while attending the events. I don’t know if this is brought by my strangeness to this new field or its innate order of value. I’ve sold 6 pieces of artwork without much promotion, and the first few pieces were sold relatively quickly. Plus, I don’t know the buyers in person so far. Therefore, as an artist, I treat NFT art as a good business to earn some money.!Supreme Pole-02, Owner veritaskami(Left) Supreme Pole-02, Owner: veritaskami(Right) Supreme Pole-01, Owner: veritaskami!SIMULACRA-01, Owner veritaskamiSIMULACRA-01, Owner: veritaskamiBesides that, the value of art is something worth contemplating both by me and the whole society. Some people asked me why I only took out 6 pieces to sell since I have numerous personal works and my pieces sell well. I’ve always been pondering on NFT art. It provides a platform to let us realize that digital artists have their own social context, at the same time, digital art has the aura as Roland Barthes mentioned, and the value of artworks.!SIMULACRA-02 - Supreme PloeSIMULACRA-02, Owner: veritaskamiSupreme Pole-03, Owner: aoi_vault!THE IMITATION STONE 01-The Impurity of the Body, Owner aoi vaultTHE IMITATION STONE 01-The Impurity of the Body, Owner: aoi_vaultAfter consideration, I selected the pieces which I thought were appropriate to be presented as artworks and put them on sale. Selling my daily practice is not something I would agree on. Now, NFT art has also become my creative motivation, inspiring me to think about what I want to create and what I am pursuing. So, maybe after twenty or thirty years, I hope my NFT artworks are still valid but not something ironic. Fox Renderfarm: How to improve CG techniques and artistic sense?Curry: When making CG, I think one essential thing is taking shortcuts. Many people are surprised at how simple it is when they see my project file. I rarely use Substance Painter to draw texture, but choose procedural texture to make it seem organic. Of course, this won’t be feasible if you are making something with high-definition requirements. But for beginners, it is a considerably effective way.!Supreme Pole © Curry TianSupreme Pole © Curry TianDuring making Simulacra, many of the files were left unorganized, and the scanned data was very heavy. A rigorous pipeline is necessary, such as what I mentioned before, Redshift’s proxy. You can make each object a proxy and connect them into Cinema 4D instead of the redundant transferring between software which also results in heavy files. All this is to get a light file before rendering.!Simulacra © Curry TianSimulacra © Curry TianTechnically, I encourage artists to think bottom-up. That is, if you are able to master a skill in a short period of time, it will greatly boost your confidence. After strengthening your skill sets, the top-down thinking pattern seems more viable.!Supreme Pole © Curry TianSupreme Pole © Curry TianSpeaking of artistic sense, I find it a bit intangible and not easy to describe. It is something beyond the shape and form. You cannot reluctantly pursue it, however, it can be improved without that much effort. The most important thing is to be focused. No matter you are a dancer, a Buddhism scholar, or a CG artist, the fundamental truth beneath is that, being successful means you’ve sacrificed many things, and have dedicated yourself to that specific field. There doesn’t require following any trend but your true passion. That’s also something I will keep on doing. My advice is to do more and say less if possible.!Supreme Pole © Curry Tian -1Supreme Pole © Curry Tian Fox Renderfarm: Any new step?Curry: I’m working on some personal projects, commercial ones where I am mainly responsible for directing, and also some projects combining 3D and live action.!CANON EOS R5 8K Promotional Video © Curry TianCANON EOS R5 8K Promotional Video © Curry TianOther than that, my current work is more about academic research, thus, I want to do something academically valid with abundant visual language. However visual language is a tool to present texts and narratives. Of course, this tool has to be sharp and worth-seeing and can make the audiences wow about it. Daily practice is something I won’t miss. I’d like to explore new things, like theatre. But I will mainly work on the combination of 3D and live action. Fox Renderfarm: Any artists that inspire you?Curry: Given the fact that my thinking pattern is much based on the storytelling and the texts, I am more into classic artworks. Rem Koolhaas in architecture, Robert Wilson, Peter Greenaway, and Dimitris Papaioannou in experimental theatre, Pina Bausch in performance, Jacques Lacan and Nietzsche in philosophy are all the artists that offer me a lot of inspiration. Learning is the most effective way for a person to “take advantage of” this society, you can gather a big amount of information about this society in a short period of time.CCTV Headquarters, designed by Rem Koolhaas!Shakespeare-s Sonnets, directed by Robert WilsonShakespeare's Sonnets, directed by Robert Wilson!The Baby of Mâcon, directed by Peter GreenawayThe Baby of Mâcon, directed by Peter Greenaway!The Great Tamer, directed by Dimitris PapaioannouThe Great Tamer, directed by Dimitris Papaioannou!The Rite of Spring, choreographed by Pina BauschThe Rite of Spring, choreographed by Pina Bausch!Jacques Lacan (left), Nietzsche (right)Jacques Lacan (left), Nietzsche (right)Recently, it occurs to me that my surroundings are something that left a great impact on me. So I am also writing now, which is a practical way for me to get myself organized. I gradually gained a more profound understanding about the environment where I grew up. Whether good or bad, my surroundings shape my thinking pattern. Fox Renderfarm: How do you feel about Fox Renderfarm?Curry: Many of the artists around me mentioned Fox Renderfarm. As for my experience, the pipeline in Fox Renderfarm really makes sense. Their staff is really patient, helping me solve technical problems. Fox Renderfarm: Any other things you want to share?Curry: It is important to be objective. Creation doesn’t seem to have a strong connection with your life and other methodology you adopt in your life. I gradually discovered that they do have a relevant connection. You can use creation as a way to get yourself together if you haven’t formed a well-organized order in your life. Reversely, when you confront a big challenge in creation, you may find solutions in some other aspects other than creation itself. Since a challenge may not be the challenge itself, it can be a projection of something not going on well in your life. Don’t rush if there is an obstacle, check out from some other perspectives, don’t push yourself too hard.!Design-Semi Permanent 2019 © Curry TianDesign-Semi Permanent 2019 © Curry TianSurely, you should always keep on creating. Saying without practicing doesn’t make sense in the CG industry. I learned my skills through persistence. Again, don’t rush, you can definitely make it if you want.!Saṃsāra © Curry TianSaṃsāra © Curry TianLast but not least, communicate with others. There are tons of excellent artists out there. Reach out to them and see how they think and create. And thank Fox Renderfarm for inviting me today. Let’s learn and progress together!ContactsWebpage: https://currytian.com/INS: https://www.instagram.com/curry_tian/ Behance: https://www.behance.net/currytian Superrare: https://superrare.com/currytian/creations
Interview with Adam Belfer, Founder/COO of Cartuna, Which Made the Amazing SpongeBob Portal Chase Series Come True
Fox Renderfarm, as the world-leading cloud rendering services provider, is super thrilled to support the SpongeBob Portal Chase animated series, which is made by Cartuna, an award-winning full-service animation studio producing world-class content for television, feature films, music videos, shorts, and commercials.!SpongeBob Portal Space Series!SpongeBob Portal Space SeriesMr. Adam Belfer, Founder/COO of Cartuna, had an exclusive interview with us, in which he shared how his team has made this amazing series come true. Moreover, Adam talked about how Cartuna has progressed into a multi-content creation studio with an impressive portfolio. Fox Renderfarm: Hi Adam, thank you so much for accepting our interview! Could you give us a brief introduction? Adam: My name is Adam Belfer and I’m one of the founders of Cartuna, an animation studio based in Brooklyn, New York. !Adam Belfer - Cartuna Fox Renderfarm: Congratulation on the new SpongeBob animation? How did you come with the idea of making this series? How many episodes will you deliver in total?Adam: This was an idea that was started by producers at Nickelodeon. They had made a few episodes in 2D but wanted to increase the production quality and create something in 3D. The idea was to create a new villain – a slug monster – who steals all the slime that powers Nickelodeon. It’s up to a group of characters from various Nickelodeon cartoons to band together and beat the slug. Along the way, they meet other popular characters from other Nickelodeon cartoons while they navigate through different video game worlds. !SpongeBob Fox Renderfarm: What software and plugins did you use for making this series? How long did it take to make each episode?Adam: We mainly use Maya to make the 3D animation, Substance Painter for texturing, Redshift for render engine. We also use plugin Studio Library to efficiently key animation. It took us about 7 months to complete all of the episodes. On average, it would take us more than one month to produce one episode.!SpongeBob Fox Renderfarm: Could you share with us the pipeline of the creation? Adam: At the beginning, it starts with storyboards and everything else will be based on that. After completing the pre-production, we move into CG production which includes modeling, texturing, rigging, previs, animation, lighting, rendering, and compositing. We also have a lot of 2D fx which is composed during the very last stage. !Pre-production - SpongeBob Fox Renderfarm: What are the most unforgettable scenes to you in this Spongebob series?Adam: The final episode (episode 6) is the best. The whole series builds into a climax. The showdown between our heroes and the villain is well worth the payoff. It’s the most artistically ambitious and the most exciting and action-packed. Seeing all the characters we met along the way team up to have one final fight scene was very rewarding. !Final Boss!SpongeBob - The Final Boss Fox Renderfarm: What’s the most difficult part of making this series? How did Cartuna solve it?Adam: Creating an entirely 3D production remotely was an interesting challenge. File sharing and communication became very important as we were not able to be in one location due to the pandemic. Having tools like Slack for communication, Google Drive for file sharing, and Fox Renderfarm for rendering all were essential to make this series run smoothly. !SpongeBob Fox Renderfarm: In creating the Spongebob animation series, did Cartuna do anything to optimize the productivity and efficiency of the cooperation among your team?Adam: We have built several pipeline tools specifically in Maya, so while we are working on it, some of the repetitive but time-consuming jobs can be resolved by a simple button, which makes the 3D production much more efficient. We also build certain naming rules and workflow for our production, so every single file can be organized well and easily accessed by the artists.!SpongeBob - 3D Production Fox Renderfarm: Could you introduce Cartuna to us? How many members are there in Cartuna?Adam: There is 6 full-time staff at Cartuna. We are unique in that most of our studio is made up of producers, writers and editors. For each production we have a rotating group of artists based on the style of the project. For example, on Portal Chase we had 30 artists. This included directors, storyboard artists, modeler/texturing artists, 2D animators, 3D animators, lighters, compositors, sound designers and more. Fox Renderfarm: How did you and your team constantly form the unique visual style and keep it uniform in all your works?Adam: We had a concept artist start before anyone else. Our art director / director made sure to do their research and development before the rest of the art team started. From there, the background designers and modelers, as well as the 2D FX artists all contributed to the unique look – putting their own personal style to make something one-of-a-kind that all meshed together into one uniform style. https://www.youtube.com/watch?v=3Er9IwxBrZENormani’s 2019 VMA performance of “Motivation” © Cartuna Fox Renderfarm: Cartuna has a very contentful portfolio both original and branded ones. What is the most unforgettable project that you have created respectively (original and branded)?Adam: Cartuna started as a studio that produced exclusively original projects. Facebook Watch bought one of these first shows, Human Kind Of. It was a project made in-house and the series order validated what we were building. That project was later nominated for best Animated Television Production at the Annie Award and lost to BoJack Horseman (it was also in competition with Bob’s Burgers, Big Mouth and others). To even be in the same class as those shows was awesome. !Human Kind OfHuman Kind Of (Watch Full Series)The branded piece we love the most, besides Portal Chase, is our SpongeBob 360 piece. It was amazing to figure out how to build the pipeline for that project and it was our first time working with SpongeBob which was an iconic cartoon for us all growing up. Go 360° Inside the Krusty Krab! Fox Renderfarm: Any new steps?Adam: We’re pitching some original shows and we hope to get one sold next year. And we’re doing a bunch of awesome client work – including a new SpongeBob 360 video (and hopefully more Portal Chase in the future too). Fox Renderfarm: How did you encounter CG? Could you share with us your education and career experience?Adam: The majority of my animation career has been working in 2D animation, so it’s been a relatively new path working in CG. Before building an animation studio, my background was in marketing, digital communication and PR – and I had a liberal arts education. I’ve always had a passion for cartoons and building things, so working with my brother we formed Cartuna and have been happily making animation for 6 years. https://www.youtube.com/watch?v=l7OqPcPaxbYLil Nas X’s 2019 VMA Performance of "Panini" Fox Renderfarm: From your resume on LinkedIn, we found that you were working on law, why did you make the change and choose the CG industry?Adam: I entertained the idea of law when I was in school, but ultimately found that type of education too rigid and not as creative. I come from an entrepreneurial family so I always wanted to start my own business. I wouldn’t say we’re exclusively in the CG business now, but more broadly in the animation industry. We try to distinguish ourselves as a studio by not having a set house style, so CG has been something we’re happily learning and enjoying making more projects in that art form. https://vimeo.com/350853814Under Covers (A Stop Motion Animated Film) Fox Renderfarm: Any artwork or artist inspires you the most?Adam: Van Gogh’s Irises inspired me the most. While Van Gogh was living in the asylum, he created the piece from nature in the asylum’s garden. All of the Irises in the painting are blue. There’s only one in the corner which is white. In my opinion, it represents Van Gogh’s uniqueness and difference among the art style of the artists at the time. It may also tell Van Gogh’s loneliness and eagerness to be understood. The painting really touches me. Being an artist, we all want to be unique in a certain way, but also want to be accepted in the world and understood by some people who will recognize you.!Irises © Vincent van GoghIrises © Vincent van Gogh Fox Renderfarm: How do you feel about the cloud rendering services provided by Fox Renderfarm? Adam: The Fox Renderfarm team was always willing to work with us and meet our needs. The output was professional-grade and the prices were affordable. We have tried out a few different services, and we felt Fox Renderfarm best suited our needs for this project. Fox Renderfarm: Anything else you want to share with CG enthusiasts?Adam: In addition to Portal Chase, check out our project My Squishy Little Dumplings (also with Nickelodeon). We’re constantly growing our CG Portfolio and excited to take on more in 2022. If any CG artists are looking for work, we’re always willing to collaborate!Let's Get It Popping! (Music Video) | My Squishy Little Dumplings
The Donkey King, the Highest-grossing Animated Feature Film in Pakistan Released in China
film of the year
Congrats The Donkey King, the highest-grossing animated feature film in Pakistan, on getting premiered in China on November 19th, with a dubbed theatrical release in over 10 other countries around the globe. When the ruler of Azad City suddenly renounces the throne, a down-on-his-luck donkey wins the nation's first election, and is crowned The Donkey King, therein a fun story unfolds.!The Donkey KingAs an old friend and the only cloud rendering services provider to The Donkey King, Fox Renderfarm, a top-tier cloud render farm, is thrilled to connect to the director Mr. Aziz Jindani again. !Aziz JindaniAziz Jindani- Director of The Donkey King- Founder/Non-Executive Director, Talisman AnimationsGiven the fact that The Donkey King is the first film from Pakistan in recent times to get a wide theatrical release in China, Mr. Aziz expressed his excitement to and hope for this amazing cultural communication: “So I would hope that the Chinese audiences are able to connect with the content and hopefully, it is the beginning of more content exchange both ways to advance our cultural ties between Pakistan and China. ” Fox Renderfarm: Could you briefly introduce The Donkey King?Aziz: In Pakistan, It is the highest-grossing animated feature film. This is the first Pakistani animated feature film that has been dubbed and has been released in over ten countries. So we've launched prior to this in Spain, in Greece, in South Korea, Russia, Ukraine, Peru, Colombia, Ecuador, Turkey. Fox Renderfarm: What is the inspiration for The Donkey King?Aziz: I got this inspiration earlier, but I think I later on figured out that The Donkey King’s story and narrative are very similar to this allegorical story by the name of Animal Farm, which was written by George Orwell. So I think the narrative style is allegorical like what you're seeing and what you are meaning are two different things. So that's why we say The Donkey King is a film for the entire family from kids who are at 9 to people who are at 99, for people who are kids and kids at heart. And a lot of this inspiration came to me from the socio-political situation in Pakistan. We're having this dialog about the socio-political setup and a lot of inspiration is locally driven. And I think it resonates with everybody in the developing countries because we are all sharing that experience. So I think the surrounding is the inspiration, frankly. Fox Renderfarm: Why did you choose donkey as the protagonist?Aziz: Well, why did we choose donkey is a very important question, a lot of people asked me. There are 2 things about a donkey. The term donkey is associated with hard work. They're probably the most hard-working creature. But at the same time, you can call someone a donkey metaphorically as an insult, but you can also say it lovingly. And in our local culture, in the Pakistani and Indian literature, I’m not talking recently, I’m talking about over the last 100 years, the donkey has been used as a metaphor to tell a lot of stories. There’s one film that’s been made on donkey years back in Pakistan. There are books written using the donkey as a metaphor in India-Pakistan literature. The donkey has been used as a metaphor. It is a symbol for close to 100 years. Because it's both endearing and hard-working, you can use it to abuse somebody or with your friends. It has multiple meanings. In the US, the Democratic Party has a donkey as their sign, too. The donkey has got global resonance. There's something intriguing about the donkey. Fox Renderfarm: How is the pipeline of The Donkey King?Aziz: We worked on a traditional pipeline. All character designing, all modeling, all environment design, entire animation and lighting, everything has been done locally in Pakistan. For the rendering services, because we had to render out more than 150,000 frames. And that is where we leveraged our association with Fox Renderfarm.To pull that out, without their support, we wouldn't have been able to do it. Fox Renderfarm: Did you search for any references when doing the character design?Aziz: For character designing, the number one choice that we made, ours is an allegorical and a symbolic story, so we go bi-part versus four-part, like a humanoid type of animal, so the donkey stands on two legs. It doesn’t do like the real donkey, It’s more human-like. That was the fundamental design choice we made. Because we are showing donkeys and other animals, to some extent, I think it would be unfair to say that, any animal-based film that you make and you're not inspired by Zootopia, I think that person is lying. We watched a lot of Zootopia. And we sought what inspiration that we could. Because of the fur on the animals, the rendering time per frame was much higher. We were doing it on 2K, and that is where there was a big challenge. Once again, as I said, we reached out to outsource rendering collaboration with Fox Renderfarm. Otherwise, we wouldn't have been able to put it out. Fox Renderfarm: How did you manage to release The Donkey King in China? Anything to share with Chinese audiences?Aziz: First of all, I am very excited that The Donkey King is getting premiered in China. And given the economic collaboration between Pakistan and China, I think this is another step forward. Even our films are getting exported, I believe, this is one of the first films that is getting released at that scale (in China). On November 19th, it's opening with about 5000 sessions. So I'm very excited about that and really looking forward to that. Across genres, whether animation or non-animation, It is the sixth highest-grossing film ever (in Pakistan). we are thankful for our audiences in Pakistan. I think I’m very pleased.!The Donkey King -1My collaborators in China, we connected with them. They showed interest in the film. It was a long process. It took about two and a half to three years. There's a certain level of documentation that needs to be done for the film board who approved the film. We had to make sure that we're getting on the certificate of originals on the copyright and the entire chain of title. Because we were doing it for the first time, we were not very familiar with how to do it. Learning that has also been a great experience. That making sure we are getting all the documentation to the Administration of Foreign Affairs here at the Chinese Embassy in Pakistan, It took a lot of doing and then came forward and everything got passed, I can’t tell you how happy I am. And finally, it has seen the light of the day in China. Probably, it is one of my biggest achievements I would say. And my message to the Chinese audience is, I have been to China a lot of times. I used to work for Procter & Gamble. I used to work on this brand called Safeguard, the soap bar. I’ve been to China at least 50 times, and I only find love when I go to China. Between Pakistan and China, We just not only share a border, we are not just part of the Belt and Road Initiative, I think our hearts are connected. There's the China-Pakistan Economic Corridor. With this collaboration and love that Pakistan and China share and respect, I think this is graduating to cultural exchange. So I would hope that the Chinese audiences are able to connect with the content and hopefully, it is the beginning of more content exchange both ways to advance our cultural ties between Pakistan and China. Fox Renderfarm: How do you feel about the cloud rendering services of Fox Renderfarm? Aziz: Rendering this film with the scale, with the fur, and the rendering time that it was taking, it was unfeasible or unthinkable for us to be able to pull this out locally. And I think we were lucky to find Fox Renderfarm as a collaborator. We almost rendered 60 to 70% of our film there. And I think if it was not for that collaboration, we wouldn't have been able to pull this film in the time that we did. So big shout out to Fox Renderfarm for their contribution and making The Donkey King a reality. Fox Renderfarm: Anything you want to share with us?Aziz: Please make The Donkey King a success in China. And long live Pakistan-China friendship!
How to Make a Abandoned Space Station in 3ds Max
Fox Renderfarm, as a world-leading cloud rendering service provider, sponsored the 31th CG Boost Challenge themed on "Abandoned Space Station Challenge". And we are glad to have an interview with the 3rd Place winner, Cesar Verastegui. His work stands out for its strong composition and lighting.Here comes our interview with Cesar, in which we could find out how he created the amazing work with 3ds Max, Vray and Photoshop.!CG BOOST!Abandoned Space Station - Cesar Verastegui© Cesar Verastegui Cesar: “I created several panels and cables that were the basis for the whole scene. A lot of geos, so I had to create several proxies to handle it.“- Cesar Verastegui- Architect- Monterrey, Mexico- Artstation: https://www.artstation.com/cesario76 Fox Renderfarm: Hello Cesar, thank you for accepting our interview. Could you please give us a brief introduction? Cesar: Thank you for this interview. My name is Cesar Verastegui, a 3D artist from Monterrey Mexico. My main work is Architectural Visualization for International Projects, so, these kinds of challenges are always a good way to do something with a lot of design liberties. Fox Renderfarm: Congrats on winning 3rd Place in the CGBoost Abandoned Space Station Challenge, how do you feel about it? Cesar: Great. I wish I Had more time to put it on, and maybe obtain a better place, but I'm glad of how the image resulted. I am still making changes on it to improve what I did not like that much. Fox Renderfarm: Could you share with us the inspiration behind your artwork? Any References?Cesar: I saw a film called Aniara. The third act of the film, it was an inspiration, to follow the theme of the challenge. Abandoned, derelectic...this was my main visual resource, talking about lighting and mood. I made a blocking scene and then worked from there.Aniara - Official Trailer Fox Renderfarm: This image’s strong and calm composition and modelling is incredibly pleasing to look at, how did you make them?Cesar: Main light source, with almost no bounces, to reflect this to be in space. The emptiness of no skylight….the very subtle fog...tilted camera….that was the idea….to look….abandoned…. Fox Renderfarm: The gloomy atmosphere does a great job in making it a beautiful vista, how did you make the color use and lighting?Cesar: I tried to make a blue light from some bounce of the planet, and the white sun, not in the frame, but hard shadows light coming from the big broken window. No more lights, to make it look dead inside….long time abandoned….so is Mainly blue and some white….!Abandoned Space Station - Cesar Verastegui Fox Renderfarm: How long did it take to finish the artwork? What is the most challenging part? How did you solve it?Cesar: Two or three weeks of my freetime. It was mainly to practice some modular modeling, something right now I'm breaking to avoid obvious repetition. After a while, the geometry and polygons were a headache….I solved this with several proxies, so the scene could be manageable.I created everything from scratch, and then played with that, as a kitbash.!Modeling - Abandoned Space Station - Cesar Verastegui Fox Renderfarm: Could you share with us your educational and work experiences?Cesar: I am an architect myself, but everything 3D I learned after I finished school, I only learned autocad at that time. I learned 3ds Max by myself in the 2000s. Right now the Internet has training for everything, so You can learn whatever you need., investing little money I think.I worked in a couple studios in Monterrey Mexico, and in Miami and Orlando for 5 years for ArchViz Studios. Right now I am freelancing from Monterrey. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Cesar: I used to wake up very early to study, only to study, but the most I learned was from the community and coworkers. Try to solve your challenges by researching yourself, ask anyone in the forums...that can save you a lot of pain in the future. Fox Renderfarm: Any artwork or artist inspires you the most?Cesar: When I need inspiration I only open Artstation, cgsociety, 3dtotal….any galleries for current artists, and it is incredible what new generations are doing...of course films and everything with vfx…. Fox Renderfarm: Is there anything you want to share with the CG enthusiasts?Cesar: Do not get overwhelmed with all the talent out there... Do your thing, and be critical in your work….I hope that helps-!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui!Abandoned Space Station - Cesar Verastegui
Creating a Bomb in the Attic With Maya and ZBrush
Fox Renderfarm Interview
FGT Art, initiated and organized by the best cloud rendering services provider Fox Renderfarm, is a program that encourages all Fox Renderfarm users to share their talents and get awarded monthly. We are glad to announce that the FGT Art October Winner goes to Sascha Bähr.War is over © Sascha Bähr !War is over © Sascha Bähr!War is over © Sascha Bähr -1Based in Germany, Before 3D training, Sascha worked in the advertising industry. He has experience with large projects and has developed a good eye for quality and design over the years. With a great passion for 3D art in a long time, he became a student at Pixlvisn media arts academy, specializing in Lighting.Here comes the interview with Sascha, in which he tells us how he created the excellent artwork.- Sascha Bähr- Lighting, Texturing, Lookdev Student/ Mediadesigner- Neuss, Germany Fox Renderfarm: Congratulations on being the October winner of FGT Art, 2021! How do you feel about it?Sascha: I am very happy and honored to have won. As a student taking my first steps into the 3D industry I'm also happy that all the effort and energy I put into a project is recognized. It shows me that I'm on the right track. Fox Renderfarm: Could you share with us your inspiration/references/moodboard of your project “War is over”?Sascha: For my first demoreel project, I decided to do an interior. Since I'm a big fan of the 50s/60s style, I wanted to steer my setting in that direction. I thought about the concept myself and started with a rough sketch at first. Over time, new, better ideas came along and the project changed. I wanted to depict a larger conflict. The whole theme can probably be understood under the term "war and hope".!War is over © Sascha Bähr -2 Fox Renderfarm: How long did you finish the work?Sascha: Since I created the scene almost entirely by myself, I had to learn a lot during the process to improve my skills. It took me about 7 weeks to achieve this final result.Software used: Maya, Arnold, Substance 3D Painter, Nuke, ZBrush, Photoshop, Adobe Illustrator and Davinci Resolve for video editing. Fox Renderfarm: We could see flowers and characters on the bomb, could you share with us the design and modeling process?Sascha: For this scene I thought of a little story. Someone built the bomb in the attic at the beginning of the war. The individual parts of the bomb were delivered in the various boxes. The builder gave this bomb the name "Devil's Gift" and sprayed it on the bomb. The bomb was completed but never detonated. Over time, the bomb began to rust and one of the cylinders containing the explosive liquid broke. From this broken cylinder grows the flower, as a sign of hope. The shot of the scene was taken when the war was over.I assembled the bomb from various references of atomic bombs. I created the illustrations on the bomb in Adobe Illustrator and Photoshop. In Substance 3D Painter I created the texture of the bomb and added the illustrations.!War is over © Sascha Bähr!War is over © Sascha Bähr!War is over © Sascha Bähr!War is over © Sascha Bähr Fox Renderfarm: The lighting and compositing of the environment is amazing, how did you set that?Sascha: First, I thought of a small story. As a thematic conflict I chose war and the resulting hope. For the design of the attic I chose the 50s, 60s.After some research, the color palette was clear to me very early. The colors from that time, or much more the colors from the 2nd World War were drab and not very saturated. The desaturated factory palette of the textures helped me to get the threatening "war character" into the scene. The only "saturated" color should be the flower growing out of the bomb.In conjunction with the environment and the camera, I built the scene in such a way that guidelines are created, which increase the focus on the hero object. This makes it easier to add a "focus" later during lightingI also made sure that the main lit area in the room is in the center of the image.!War is over © Sascha BährMy goal was to convey the feeling of hope with light. For this I chose warm colors for the light entering through the window. The environment outside the light should seem more threatening. For this I chose a cold color temperature.For the final touch I added godrays in Nuke which I rendered in Maya/Arnold. I integrated the dust particles into Nuke using the particle system and linked them to different shapes, so as not to always show a repeating dust particle or just a sphere. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Sascha: For me as a student, it was very difficult to reach this level of quality at first. The lighting and compositing can very quickly look fake or too cartoony. In my case, it was good to work on other tasks periodically to get a fresh look at the whole. Fox Renderfarm: We have received your excellent Entry, The cold grave, for FGT3D Explorer Challenge, could you introduce the project to us?Sascha: At the beginning, I thought about what comes to mind first when I hear the word “Explorer”. Quickly familiar scenes from Indiana Jones or Jurassic Park were in my head. I wanted to create that "adventure" feeling when you have discovered an old mystical and forgotten place and the viewer is the first to be back there in a long time. I also try to challenge myself with new things in each new project. With "The cold grave" I wanted to deal with the theme of "ice". That's how the idea with the mystical ice gate came about.!War is over © Sascha Bähr -8 Fox Renderfarm: How do you feel about studying at PIXL VISN media arts academy?Sascha: It's a great feeling to learn with so many like-minded people. The thought of being able to work at a well-known film studio after my training is what really drives me. Fox Renderfarm: How do you improve your CG professional skills?Sascha: I think that studying and understanding references is one of the most important things for me. After reaching one's current limit, it is worth its weight in gold to get the opinion of experienced artists and improve through the feedback. Fox Renderfarm: How do you feel about the cloud rendering service of Fox Renderfarm?Sascha: Many of my projects would not have been possible without the fast and intuitive rendering service. It is easy to use. If you have any problems or questions, the competent service helps you very quickly. Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Sascha: It is a satisfying feeling to have completed a project in which a lot of work has gone into. I think all the work is paying off and making me a better artist. In the future I hope to work with other 3D enthusiasts to grow together.https://www.linkedin.com/in/sascha-baehr-3dhttps://www.artstation.com/artwork/xJ84z1
Meet Award-winning Art Director at AWS, Amaru Zeas
FGT3D Hunter Challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, received lots of excellent entries! We are so glad to have an interview with Amaru Zeas, one of the Professional finalists, with his amazing artwork “LIFE HUNTER”. LIFE HUNTER © Amaru ZeasAmaru: Have you ever imagined what the Amazon Rainforest will be like in the year 2172? Global warming is real. The worst impacts of climate change could be irreversible by 2030. The 20 warmest years on record have been in the past 22 years. More than 1 million species are at risk of extinction by climate change. We use more of the earth's resources than it can renew.- Amaru Zeas- Art Director at Amazon Web Services (AWS)- Seattle, Washington- Honors & Awards1. CG Render image of the week2. Top 100 of the Best 3D Artists around the World3. Best of Substance art of 20163D World Feature!Golden Trophy © Amaru ZeasGolden Trophy © Amaru ZeasRider 49 © Amaru Zeas3D Artist Magazine Feature!Ferrari 156 © Amaru ZeasFerrari 156 © Amaru Zeas!F1 641 © Amaru ZeasF1 641 © Amaru Zeas!Luck © Amaru ZeasLuck © Amaru Zeas!3D Artist - Amaru Zeas© Amaru Zeas!Sweet Colors © Amaru ZeasSweet Colors © Amaru ZeasGreen Library © Amaru Zeas!Disintegration © Amaru ZeasDisintegration © Amaru Zeas Fox Renderfarm: Hi, Amaru! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?Amaru: My name is Amaru. I am a CG-Artist based in Seattle, Washington. I'm currently employed as an Art Director at Amazon Web Services (AWS). My hometown is Cuenca, Ecuador. My friends, family and especially my wife know my biggest passion is to craft CG art.I've always wanted to do 3D art for movies or video games since I was a little boy. I came to the United States to pursue my ambition, and it has been incredible so far. I recall going to the library while I was in 3D Art School and spending several hours reading and looking through 3D Artist Magazines. I told myself, "Someday, I’ll have my work published here." Now, after working in the industry for more than 12 years, I’m happy to say that my work has been published in 3d world magazine and many more around the world.I spend a good amount of my free time engaged in personal projects, which I approach with a lot of dedication and passion.UE_Reel © Amaru Zeas Fox Renderfarm: How long did you finish your project, LIFE HUNTER?Amaru: LIFE HUNTER was, without a doubt, my most ambitious personal project to date. In less than three months, everything was completed by a single artist. Because I work full-time as an artist, I had to come up with a plan. It was challenging at times because I worked 4-5 hours after work and at least 20 hours on weekends. I created and schedule on my whiteboard in my home office, which allowed me to be better organized and finish the project. Fox Renderfarm: What software and plugins did you use?Amaru: When I work on a personal project, I try to use as many 3D software as possible in order to stay current with the latest tools and technologies. For this project I used Unreal Engine 4.26 for rendering, set dressing, layout, particle effects. Mega scans to create quick and realistic rocks, grounds and some tree trunks. Speedtree to model the main tree of the film. Maya to model the futuristic hover and the drone. Substance Painter to create all the textures. World Creator to create height maps to build the mountains. Mixamo to download fast animations for the pilot. Finally, one of my all-time favorite software; DaVinci Resolve for final composition and color grade. Fox Renderfarm: What’s the inspiration behind your artwork?Amaru: My mother has always been a huge inspiration in my life, and she has always encouraged me to use my work to give back to the community in some way. In recent years, I've spent a lot of time researching two essential topics: education and global warming. I really wanted to create a more intricate and lengthier story this time. I wanted to produce something about global warming, more along the lines of a futuristic narrative about what will happen if we continue to abuse the Earth the way we do now. This is a call to action. Fox Renderfarm: How did you make the modelling?Amaru: For modelling I used Maya Autodesk for the hover and the drone. Speed tree for the hero tree of the film and some tree trunks as well. I utilized photogrammetry models from Megascans to build the landscape.!LIFE HUNTER © Amaru Zeas Fox Renderfarm: The environment scenes are excellent; how did you make it?Amaru: Most of the environment assets are photogrammetry assets from Mega Scans, a great library of highly detailed assets. That allowed me to be more creative and build the environment faster without spending too much time modeling every single rock and ground. !LIFE HUNTER © Amaru Zeas!LIFE HUNTER © Amaru Zeas Fox Renderfarm: The lighting and rendering catch our eyes. How did you manage to set them?Amaru: I really enjoy doing lighting and compositing, it is one of my favorite stages while producing CG art. I tend to use very contrast lighting and intentionally use stronger lights in order to draw your eyes to the correct place of the shot. Shadows are very important as well as they can help you occlude objects that might cause distraction. Lighting and compositing are two of my favorite steps of creating computer-generated art. I like to employ high contrast lighting and purposefully use brighter lights to bring your attention to the focal point of the photo. Shadows are also very significant because they can help you obliterate distracting elements.!LIFE HUNTER © Amaru Zeas!LIFE HUNTER © Amaru Zeas!LIFE HUNTER © Amaru Zeas Fox Renderfarm: Did you meet any difficulty in the process? How did you solve it?Amaru: It usually takes longer to produce anything when you're trying out new technologies for the first time. I had a lot of technical challenges with the Unreal Engine. To begin, I intended to use a gaming engine to create a cinematic film in 4K quality with the greatest possible geometry and texture fidelity. Many of the issues I was able to overcome by experimenting with different ways, searching the internet, and communicating with a few others via blogs. Fox Renderfarm: Any artists or artworks inspired you most?Amaru: Usually I do tend to visit some of the greatest CG artist’s work to get inspiration like Marek Denko, however for this project I was heavily inspired by 3 of my most favorite films, Mad Max Road Fury, Blade Runner 2049 and 1917, the last one for the amazing camera work. Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey?Amaru: My background in the industry has been everywhere from working on commercials and live action to video games, as well as architectural visualization and Hololens. Now for the first time I am working on animated films. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Amaru: I encourage all artists to create the things they love. When you’re paid to do what you’d be willing to do for free, you find fulfillment and purpose in your career. It might take longer than you think to catch your big break, so be willing to put yourself out there and never give up.
Interview With FGT Art September Winner, Modus Vivendi Animation Team
Fox Renderfarm Interview
FGT Art, initiated and organized by Fox Renderfarm, is a program that encourages all Fox Renderfarm users to share their talents and get awarded monthly. We are very pleased to announce that the FGT Art September Winner goes to Modus Vivendi Animation, created by a small team of 5 university students - Jonathan Hans Christian, Olivia Dharmawan, Richardo Surya Christopher, Neeshma Sadanandhan and Ng Ser Ting.Here’s the interview between Modus Vivendi Animation Team and Fox Renderfarm, in which we can find out how they created this wonderful video. Modus Vivendi Animation Fox Renderfarm: Congrats on winning the FGT Art September Winner, 2021! How do you feel about it?Modus Vivendi Animation Team: We’re super happy to hear that we won the September FGT Art Competition! Working on this film was really tough, not only due to the strict university deadlines we had to meet but also because the whole project was done remotely due to the Covid-19 Pandemic. So it’s definitely a proud moment that we were able to achieve a winning prize with this film despite all the challenges we faced! Fox Renderfarm: What’s your inspiration for Modus Vivendi Animation? Jonathan: So the team was originally just Neeshma and me, and we were thinking of doing some kind of fight scene for our final film at uni. Neeshma: What Jonathan and I had in common was our interest in Sci-fi and action, so we decided on a concept set in a dystopian world with a story that involves some sort of emotional or physical conflict. Later on more talented members joined the team and the concept developed further. Fox Renderfarm: Could you introduce the pipeline and task allocations to us?Modus Vivendi Animation Team: Each of the members undertook different areas in CG that they were interested in pursuing. The task allocations were as follows:- Jonathan H. Christian: Character Animation and VFX- Olivia Dharmawan: Character Animation and Modelling- Neeshma Sadanandhan: Character Animation and Rigging- Richardo S. Christopher: Modelling and Texturing- Ng Ser Ting: Modelling and Texturing- Richardo was the Art Director of the film. Most of the visual elements in the film came from his vision of a Sci-Fi dystopian world. The concept art of both the main characters as well as several aspects of the environment creation was done by him. - Neeshma was the Project Manager who took care of keeping things organised and hosting weekly meetings to keep deadlines in check and the line of communication open. Fox Renderfarm: What software and plugins did you use for the animation?Modus Vivendi Animation Team: We used Maya for all asset creation, animation and rigging. Arnold was the render engine we used. All procedural modelling and VFX was done using Houdini. Substance Painter was used for texturing. Fox Renderfarm: How did you make the main 3D character, such as modelling and texturing?Modus Vivendi Animation Team: Here is the original concept design of the main character of the film ‘Iona’ created by Richardo: !Original concept - Modus Vivendi AnimationThe character model was created by Ng Ser Ting based on the above concept. A lot of changes were made to the model based on changes in story and also for rigging purposes. The character model was further improved and polished by Ser Ting recently and the latest model looks like this:!Modus Vivendi Animation!Modus Vivendi Animation!Modus Vivendi AnimationHere’s some VFX experiments that were done for Modus Vivendi by our VFX Artist Jonathan:Iona Arm Sparks Smoke Bomb Dust VFX Iona Cloth Sim Fox Renderfarm: The body movements and facial expressions in this animation are realistic, how did you make it?Neeshma: When I created the character rig for Iona, I tried to do my best to maximise her physical and facial flexibility. It was quite a challenging process because the rig was made completely from scratch, but this allowed me to edit it easily to fit the specific needs of her animation. Here is a screengrab showing the number of nodes it took to rig one side of her smile:!Modus Vivendi AnimationRegarding the animation process, I always start with references. For instance, Iona does a lot of parkour and action scenes - I collected a long list of video references from the internet to try to study the movements and try to mimic it in a believable way. For facial animation shots, I often filmed myself performing the scenes and try to mimic and exaggerate from there. I also usually sketched over playblasts of Iona and made notes of the thoughts or emotions she must be feeling when I wanted to create really specific facial expressions. Fox Renderfarm: The environment modelling is really excellent, any references?Modus Vivendi Animation Team: Olivia Dharmawan, Richardo Christopher and Ng Ser Ting created the environments seen in the film. The film had 3 main environments which included an Alleyway, a Highway and the interior of an abandoned Diner. The main inspirations for these environments included dystopian Sci-fi animated productions such as Love Death and Robots, Cyberpunk, Nier Automata. In terms of real world references, we were also influenced by apartment structures in Hong Kong, Japanese signage and alleyways in South Korea. Here are some renders of each of the environments shown in the film:Alleyway:!Alleyway -1!Alleyway -2!Alleyway-3!Alleyway-4Highway:!Highway-1Diner:!Diner!Diner Fox Renderfarm: The sound, music, and voice put the finishing touches to the animation, how do you make it?Modus Vivendi Animation Team: Sound for the film was done by a talented duo that we hired for the project. The soundtrack was created by Barney M-L and the SFX was done by William Biggs.The main character Iona’s voice was performed by Julie Park. Barney M-L: “On the music side it was a super organic process - even though we were on the other side of the world we made opportunities to share work and feedback and this meant we could still chisel the marble together if that metaphor tracks. Even though it was a dystopian setting and narrative, the story breathes life into the machines, I tried to reflect this through a mix of organic and electronic sounds."Here, William Biggs goes through his process of creating Sound for Modus Vivendi:Sound Design Breakdown - Modus Vivendi (Film) Fox Renderfarm: What’s the plan for the full film of Modus Vivendi?Modus Vivendi Animation Team: The film is currently in the process of being polished and rendered. The team members had certain areas that they wanted to improve in the film which included - the addition of two animated shots, the improvement of lighting and changes in the layout of some environments. We are hoping to release the full film at the end of this year or at the beginning of next year, so keep an eye out! Fox Renderfarm: Could you have a brief introduction to FROZEN Fan Animation?Neeshma: The Frozen fan animation was a collaborative project between Jonathan and myself. I created the character animation and Jonathan added the cloth simulations and particle FX to add a magical flair to the animation!I originally created the short animation because I was very inspired when I first saw Frozen 2 in the theatres. The facial animation in the movie was incredible and I wanted to push myself to achieve something similarly emotive. Here’s what the video looked like before and after VFX was added and Rendered with Fox Renderfarm:Before VFX:WIP Elsa Animation After VFX: FROZEN Fan Animation | Breaking Down - performed by Sulene Fleming Fox Renderfarm: How did your team communicate and cooperate with each other to improve efficiency?Jonathan: We have a discord server for sharing references, notes, gdrive links, etc. We also use discord for weekly meetings, which really helps us stay on track. Fox Renderfarm: How did you encounter CG? Could you share with us your educational and career experience?Jonathan: CG is literally everywhere these days so it would be a surprise if a person has never encountered CG. I have been a fan of films and video games since I was a kid. Never thought I would be studying animation. In fact, when I came to Melbourne, I was going to study Product Design. However, I thought I already love movies and video games and I was interested in how they were actually made, so I changed my mind and applied for an animation course instead.Neeshma: I’m originally from a 2D Animation background and was very scared of CG at first! But when I started seeing how flexible and visually beautiful 3D Animation was becoming over the past few years, I thought it was worth getting into. Looking back, I think deciding to learn 3D Animation was one of the best decisions I’ve ever made! Fox Renderfarm: Any artworks or artists inspire you the most?Modus Vivendi Animation Team: Animated shorts from a series on Netflix called Love Death and Robots and games such as Overwatch and Valorant were the main inspirations for our animation. We were aiming to create stylized models with semi realistic textures, and I think that the titles I mentioned incorporate such style really well. Fox Renderfarm: How do you feel about Fox Renderfarm’s cloud rendering services?Modus Vivendi Animation Team: We’re incredibly thankful for Fox Renderfarm’s rendering services! When we were working on Modus Vivendi, we were very anxious about how we could afford such a visually complex and long film with the low budget we had as students. Of all the different render farm options we explored, Fox Renderfarm was the most affordable one we found. To add to this, Fox Renderfarm’s customer service team always got back to us fast on our queries and were incredibly helpful everytime. We hope that more students find this service! CREDITS:Jonathan Hans Christian: - https://www.artstation.com/vixorarts- https://www.instagram.com/vixor_arts/ Olivia Dharmawan:- https://www.instagram.com/nullnol_/ - https://www.linkedin.com/in/olivia-dharmawan-9b611a1a6/?originalSubdomain=au Richardo Surya Christopher:- https://www.linkedin.com/in/richardo-christopher-659935169/?originalSubdomain=au- https://www.artstation.com/ric-arch Neeshma Sadanandhan:- https://linktr.ee/Neeshma Ng Ser Ting:- https://www.artstation.com/serting/ - https://www.instagram.com/serting Julie Park:- https://www.julieparkvo.com/ - https://www.linkedin.com/in/julie-park-8112a9b6/ William Biggs:- https://www.williambiggsaudio.co.uk/ - https://twitter.com/willbiggsaudio Barney M-L:- https://www.barneyml.com/
Introducing the Founder of Motion Plus Design, Kook Ewo: We Create Events and Curate Digital Art
Fox Renderfarm Interview
Born in 1979, Kook Ewo is the founder of Motion Plus Design, the largest festival for Motion Design Art - with regular events in Paris, Los Angeles, Tokyo + 15 cities. The festival is promoting the art of motion design across the world by creating international events and sharing its best resources. Kook is also a Title sequence designer for cinema & TV and used to be a regular teacher at Gobelins School in Paris.Kook Ewo - Reel 2013 - Classical Version As the best cloud rendering service provider in CG industry, Fox Renderfarm is dedicated to fostering the development of the visual arts industry. We are glad to be one of the sponsors of Motion Plus Design. Here‘s our exclusive interview with the Founder, Kook Ewo, in which he talks about what we can’t miss about Motion Plus Design and his unique experience & insight into motion design.- Kook Ewo- Founder of Motion Plus Design- Paris Fox Renderfarm: Congrats on the successful Motion Plus Design Paris 2021! Could you give us a brief recap about the highlights in the Paris 2021 event?Kook: This edition was a great success thanks to the amazing lineup of Artists Maurice Fransen, Arc4G, Magali Garcia, Mattis Dovier, Simon Holmedal, Fanny Rollot, Eric Brocherie & Cedric Klapisch and Ambre Collective! Trailer here. This year we could also feel that the NFT world was part of the game. Motion Plus Design Paris 2021 Trailer Fox Renderfarm: We’ve all been through a tough period of time since the COVID outbreak, what challenges has Motion Plus Design been facing since the COVID-19? And how did you deal with it?Kook: Yes, the COVID outbreak was hard as we were about to launch new events in many cities in 2020. That said, before COVID arrived and between lockdowns, we did Motion Plus Design editions in Paris, Los Angeles, Taipei, Barcelona, Berlin, Istanbul and we finished the year with an “Online” Tokyo Edition, for the first time. Many other cities were scheduled later, but they’ve all been cancelled. In 2021, events are slowly coming back to cities, but this is still very complex to deal with each country's policy about Covid.The Good news about 2021 is definitely NFTs: for the first time in our industry, Motion Design artists can actually sell their work! And the funny fact is that we know very well 2 of the most popular artists in this world, as we invited them to our events: Beeple and Pak! So we took a lot of time to study… and then we launched “ignition”, the first NFT Motion Design Collection, featuring 20 amazing artists from all around, all to be sold on the SuperRare NFT website. At the time I'm talking to you, most of them have been sold.IGNITION, THE FIRST NFT COLLECTION OF MOTION DESIGN ALIVE © Beeple !Cube © PakCube © Pak Fox Renderfarm: Please give us some info about the upcoming event in Los Angeles, and what we can’t miss?Kook: Motion Plus Design Los Angeles 2022 will happen on March 26 at the mythic Montalban Theater, Hollywood. I can’t reveal the lineup right now but I can tell you should be around! Fox Renderfarm: What’s your vision for Motion Plus Design?Kook: Motion Plus Design’s purpose will always be to promote the greatest Motion Design Artists. This means we will still invite the best of them around the world, curate collaborations between them, curate NFT collections with them and create an Art Center with them. Fox Renderfarm: Could you share with us your career experience and how you established Motion Plus Design?Kook: I started from zero. I had no drawing skills, no experience, no network. I learned Motion Design by myself in 1999 (mostly After Effects, Photoshop, Illustrator and Premiere from Adobe), then after 2 years, I taught those tools in training centres. Ironically some of these (older than me) students gave me my first jobs in TV! Then I had the chance at 25 to work on the Blockbuster “Silent Hill” directed by Christophe Gans. I've made the title sequence for this film, which opened for me the doors for American film directors such as Vincenzo Natali, Paul Solet, Oren Jacoby, Betsy West and Guillermo Del Toro! I owe everything to Christophe Gans! Then I started Motion Plus Design, then the team grew up with years, then it became worldwide.Silent Hill: Revelation 3D End Title Sequence by: Kook Ewo Fox Renderfarm: From your portfolio, we know that you have also been involved in many films and TV productions, which of them is the most unforgettable for you? And why?Kook: Hard question! Every title sequence has its own story and relationship with a specific director. One of the most unforgettable for me was for the TV series The Strain from director Guillermo Del Toro: i shot pieces of meat that were supposed to be tongues of Vampires. The set was really “handmade” but still, it did work! The best souvenirs I got are actually shootings when we talk about title sequences…The Strain (TV series) / Title sequence directed by Guillermo del Toro Fox Renderfarm: What software and plugins do you use mostly in motion design?Kook: As a title sequence designer, I still use mostly Adobe After Effects, Photoshop, Illustrator, Premiere and a little bit of Cinema 4D. That said, most motion designers now use 3D softwares as Cinema 4D, Houdini, Blender, 3ds Max, Maya…. I wish I could learn them all… but I just have too many things to do already! Fox Renderfarm: What do you think are the important factors that make a MoGraph project great and outstanding? Could you give some advice to people who want to step into or new to the CG industry?Kook: What makes a Motion Design project interesting to me is its authenticity, its own personal way of telling things. Sometimes it can be very subtle, a new type of animation, a way of mixing unexpected ideas together. There are a lot of influences and trends out there that a lot of people are trying to mimic. I’m not against that but an outstanding project to me is the one that goes out of these roads. The only advice I could give to new people is: allow yourself to mimic as long as it’s for technical learning reasons, but then try to “find yourself”. Fox Renderfarm: Any artworks or artists inspire you the most?Kook: I’m a huge fan of all the Artists I invited to Motion Plus Design. You can find all their conferences and interviews on Motion Plus Design website for free. Now if I had to choose, the one that inspired me personally the most is the Genius Artist Somei. To me, he “got it all”: the style, the rhythm, the choreography... I sincerely think he’s one of the most talented people on earth.Beeple | LOS ANGELES 2019 R I G H T - A Reverse Film Produced by SOMEI DESIGN Fox Renderfarm: Anything else you want to share with the CG enthusiasts?Kook: I would just say: please take time to learn about the NFT world. I think this could change a lot of things and we all should embrace that! Thanks for reading!
How Rao Jinyu, SCI-Arc Graduate Integrates Children's Psychology with Architecture to Create Her Unique ArchViz Project in C4D
C4D, architecture, children’s psychology, softness, and female perspective… What will you think of if you see all those words together? Miss. Rao Jinyu, a graduate of the Southern California Institute of Architecture (SCI-Arc) created her unique architecture design by integrating all these elements, delivering warmth and comfort.!ParadoxicalThe first 4C Architecture and Design Creativity Exhibition themed Paradoxical was successfully held in Shanghai in July and August 2021. Fox Renderfarm, as a TPN-Accredited cloud rendering services provider, is honored to be the sponsor of this event and have the chance to support the emerging and vigorous architects in China.!Paradoxical PosterPoster Among the exhibitors, Fox Randerfarm is very glad to have had an interview with the brilliant Designer and Director Mr. Xin Liu. He discussed how he shifted the boundary of physical and virtual worlds in 3D art through his designs and creations.!Shifting the Boundary of Physical and Virtual Worlds in 3D Art Introducing Designer & Director, LIU XinShifting the Boundary of Physical and Virtual Worlds in 3D Art: Introducing Designer & Director, LIU Xin(1)Shifting the Boundary of Physical and Virtual Worlds in 3D Art: Introducing Designer & Director, LIU Xin(2)Besides, Fox Renderfarm has also invited another outstanding architect Miss. Rao Jinyu to our interview.- Rao Jinyu- Architect- From: China- Master of Architecture II, SCI-Arc- Bachelor of Architecture, Shanghai University Unlike the conventional architecture we generally see which is solid and cold, the architectural artworks by Rao are of bright colors and soft materials. You will always find some surprising objects in her projects, such as stuffed toys, inflating balloons, or scattering flower petals. From the objects she chose to her unique design language, audiences can easily sense femininity, a romantic atmosphere, and a sense of comfort.!Grow Back to the Eden © Ran Jinyu (Rao’s Undergraduate Thesis)Grow Back to the Eden © Ran Jinyu (Rao’s Undergraduate Thesis) In fact, the younger brother of Rao has suffered from manic depression for a long time. She always accompanied her brother to do the therapy. In the meantime, her interest in children’s psychology grew, and she hopes to help them through her architectural design. From Grow Back to the Eden, her undergraduate thesis to Soft Architecture, her graduate thesis, she gradually explores and researches the possibility of the environment of the institutions for children’s psychotherapy.!Paradoxical - Rao JinyuSoft Architecture Animation In our interview, Rao shared her inspirations, pipeline, and other ArchViz production details with us. Moreover, she discussed the differences between the learning methods for Architecture in China and America, artists who inspire her, and her empathy and care for children’s psychology.Exclusive interview with Jinyu Rao Fox Renderfarm: Hi Jinyu, thank you so much for accepting our interview! Could you briefly introduce yourself?Rao: My name is Rao Jinyu. I would like to perceive the world sensitively from a female's perspective, and my architecture design is my inner monologue to the outside world. Fox Renderfarm: How did you constantly form your colorful and romantic design language?Rao: I learned children's painting when I was a child. The colors of children's images are very bright and vivid, which improves my sense of colors and cultivates my aesthetic appreciation. I am a sensitive and emotional person, at the same time, I am quiet and introverted, so I hope to express my feelings with vivid colors and by creating a romantic atmosphere. I may be a pessimistic person, but when creating, I prefer to use bright colors. I like to design romantic things to express my inner expectations and things that will make people happy. My work is a reflection of what is in my mind.!Soft ArchitectureSoft Architecture Student: Jinyu RaoAdvisor: Florencia PitaPre Advisor: Jackilin BloomCultural Agents: Jasmine Benyamin Fox Renderfarm: What is the inspiration of Soft Architecture?Rao: This is my Graduate Thesis. I designed it as a children's psychological counseling center. There is an institution in the United States called Children's Institute, a children's psychotherapy institution. I want to put my soft building in the middle of its courtyard, which is a reconstruction program. The target audience of soft architecture is children, who like to play in giant inflatable installation toys that are soft. Soft objects are more attractive to children, and they can help children improve their mental health.!Soft-Architecture-Front-&-Back-Render!Soft-Architecture-Front-&-Back-RenderSoft Architecture Front & Back Render !Location - Rao JinyuLocation Fox Renderfarm: What are the references for Soft Architecture?Rao: Harry Harlow's Monkey Love Experiments - I learned about this experiment while I was doing my undergraduate thesis. It concludes that softness can substitute for the love provided by the primates’ parents to their children. So I chose to achieve psychological healing by making the buildings soft.!Harry Harlow's Monkey Love ExperimentsCute Aesthetics - This inspiration comes from the article "The Cuteness of the Avant-Garde". It reckons that soft materials can be more easily shaped according to humans’ affective demands. That means pinching in different places of soft materials can get desired deformations. From this point of view, soft things interact with people, and it responds to a human’s psychological needs, unlike a cold wall which is unable to provide any response. So I infer that soft touches are helpful for psychological healing.!Cute Aesthetics Fox Renderfarm: Why did you add Yoshitomo Nara’s painting of children in your artwork?Rao: The protagonists of Yoshitomo Nara's paintings are all little girls. From the expressions of these girls, you can see the helplessness of the children. Children may understand everything that happens in the adults’ world and they need care and love. Maybe they don't like the way their parents regulate them, but they can only express it through helpless expressions.!Yoshitomo Nara Fox Renderfarm: What is the inspiration of Wearable Architecture?Rao: When the COVID-19 epidemic outbreak just began, the instructor of my work - Hernán Díaz Alonso, CEO of our school, showed us a video of a music festival. Everyone who participated in the music festival was in a balloon which also became a kind of isolation.!The Flaming Lips - Assassins of Youth Live ShowThe Flaming Lips - Assassins of Youth Live Show Fox Renderfarm: Could you share with us the different forms and functions of Soft Architecture?Wearable Architecture Rao: Wearable Architecture is mainly a balloon.!Wearable ArchitectureClothes - When the balloon is deflated, it can be used as clothes with beautiful pleats.!Wearable Architecture -1Architecture - When the balloon is inflated, it becomes a big space that can shelter people. It can float in the air, water, etc. It can turn each Ferris wheel carriage into a room and renew the abandoned amusement facilities when it is inflated.!Wearable Architecture!Wearable ArchitectureLandscape - The surface of the balloon is a hydroponic system that can absorb the smog in the air and turn it into plant food. The plants will be scattered on the ground after the explosion to renew the abandoned amusement park/city and become a landscape system.!Landscape!Landscape!Landscape Fox Renderfarm: What is the reference for the material of Wearable Architecture?Rao: I saw 2 photos. The creator pours oil paints of different colors together. The green and pink paints slowly blend together and form the beautiful transition effects on their verges. The pictures are taken at that very moment. When I was creating Wearable Architecture, I considered the permeability and sealing of the building. And I also needed to assess the position of windows and walls, so some parts were simulated as translucent gel material. I made the darker parts transparent, such as the parts in pink, brick red, mint green and so forth. In this way, the open part of the building is very organic, stretching along the boundaries between different colors.!Wearable Architecture!Wearable Architecture Fox Renderfarm: What software and plugins did you use for Wearable Architecture?Rao: Cinema 4D + Octane renderer. And I’ve used a lot of dynamic simulations in C4D.Cloth Simulation - for the pleats and soft parts of the cloths.!Wearable ArchitectureSoft body- for the inflating/inflated balloons.!Soft bodyX-Particles - It is used to make the scattering effect of blooming flowers after the explosion. Each flower is a particle, so it can be made with the particle simulator.!Soft body Fox Renderfarm: How did you encounter CG?Rao: When I first entered the Southern California Institute of Architecture (SCI-Arc), it was the Graduate Thesis Exhibition. I found that 70% of the artworks in the exhibition contain animation. I never thought about using animation to present architecture before. Still, I found animation a very powerful medium, since it can be made as movies and TV series, and it is also a very good way to demonstrate architecture. Fox Renderfarm: What is the main difference between the learning methods for Architecture in China and America?Rao: Architecture education in China pays more attention to basic knowledge. It mostly discusses architecture itself and has fewer connections with other disciplines. In the past, when I was taking my undergraduate in China, I often had to produce an A1 big picture with a lot of architectural analysis drawings: site analysis, landscape analysis, architectural function analysis, and conceptual analysis... On the one hand, it can lay a solid foundation for students. On the other hand, it can make them think more clearly.While the learning methods abroad will be more straightforward. I haven't drawn any analysis charts since I came to the United States. Whereas, here they pay more attention to architectural expression. It is no longer necessary to produce densely packed pictures or read pictures but more to intuitively observe and feel the architecture itself.I have always wanted to design children's psychotherapy spaces. My undergraduate thesis, "Grow back to the Eden" is also a children's psychotherapy center. There are many tiny houses on a mountain. The architectural methods are adopted based on the residential relations between parents and children at different stages in order to solve the problems of children’s psychology.!Grow Back to the EdenGrow Back to the Eden When I got to graduate school, I used a more simple and straightforward method - I directly made the building soft. Nevertheless, I wouldn’t make it that way in my undergraduate studies, and I don’t think it is feasible for me to do so at that time. Fox Renderfarm: Any artist or artwork inspires you the most?Rao: First of all, the mentor of Wearable Architecture, my principal, Mr. Hernán Díaz Alonso. He has a great influence on me in many aspects such as my speculative logic.!National Museum of World Writing © Hernán Díaz Alonso!National Museum of World Writing © Hernán Díaz AlonsoNational Museum of World Writing © Hernán Díaz Alonso Also, Wang & Söderström, they focus on the digital representation of physical materials, which is called Phygital Materiality.!Wang & Söderström!Wang & SöderströmIDENTS © WANG & SÖDERSTRÖM And I particularly like Gaudí's buildings. His buildings’ shapes are round, mellow, and very colorful.!Casa Milà © Antoni GaudíCasa Milà © Antoni Gaudí Casa Batllo © Antoni Gaudí !Sagrada Familia © Antoni GaudíSagrada Familia © Antoni Gaudí Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Rao: CG is a very cutting-edge and emerging way to present architecture, and it will have a huge market in China and will be constantly growing. Like Wang & Söderström that I mentioned earlier, they all make digital materials and express architecture in new media. It has great potential in the crossover expression of architecture. For CG enthusiasts, there is a lot to explore. Architecture can be linked with many fields to make fascinating effects. Just like what you can see in this 4C Architecture and Design Creativity Exhibition.!4C Architecture and Design Creativity Exhibition in Shanghai!4C Architecture and Design Creativity Exhibition in Shanghai!4C Architecture and Design Creativity Exhibition in Shanghai4C Architecture and Design Creativity Exhibition in Shanghai Rao’s contact:Email: email@example.comLinkedIn: www.linkedin.com/in/jinyurao Portfolio: https://issuu.com/raojinny/docs/portfolio_issue WeChat：lianjunshui INS: raojinny
How to Make an Escheresque Nightmare in 3ds Max
Fox Renderfarm Interview
What’s there in the dark? A pink tentacle monster with yellow eyes, trying to catch me when I sleep? Oh, no, just a heap of clothes. !CG BOOSTFox Renderfarm, as a world-leading cloud rendering service provider, sponsored the 30th CG Boost Challenge themed on "Monster in the Closet". And we are glad to have an interview with the 1st Place winner, Tom Doizy. His work stands out for its Escher composition effect, the fisheye effect and delicate details.“Out of time or space, neither awake nor asleep, reality melts into nightmares… Can’t wait for the alarm to ring.”!Monster in the Closet - Tom Doizy© Tom Doizy Fox Renderfarm: Hello Tom, thank you for accepting our interview. Could you please give us a brief introduction?Tom: Hi, I'm a 25 years old french CG enthusiast, currently living in Réunion island, and improving my CG knowledge with a perspective of making a living from it. Indeed, after working in scientific research and woodworking, I am now fully engaged in this long-standing passion that is CG for me. Fox Renderfarm: Congrats on winning 1st Place in the CGBoost Monster in the Closet Challenge, how do you feel about it? Could you share with us the inspiration behind it?Tom: I'm really happy about this challenge. I feel like I have succeeded in sharing the great pleasure I had in making this image. I’d like to thank my roommates and friends who deserve those congratulations too for their precious help. This is my second participation in a CGBoost Challenge. I did submit an entry for the previous one, « Treehouse », which has already been a great experience. After that, when the new topic « Monster in the closet » came up, I went through some research. Yet, I was not inspired enough and decided not to participate. Two days later, while looking at some M.C. Escher artworks with something else in mind, I felt unsettled by what I saw. It gave me the same exact disturbing feeling that a monster in a closet could evoke for me. I have found it interesting to make people feel this uneasiness without explicitly showing what causes it. I therefore started to blockout a scene with this idea leading my way.!WIP 01 - Monster in the Closet - Tom DoizyWIP 01 !WIP 02 - Monster in the Closet - Tom DoizyWIP 02 !WIP Override - Monster in the Closet - Tom DoizyWIP Override !Treehouse © Tom DoizyTreehouse © Tom Doizy Fox Renderfarm: The camera angle you chose is quite unique and made the artwork outstanding, why did you choose this angle? Is there any special consideration for the composition of the whole picture?Tom: The choice of this camera angle was one of the major ideas when I was designing the image, it was actually the first element I set up in the scene. I wanted the child surrounded by his nightmare. The overlooking fish-eye makes him crushed by all the walls of his bedroom. It also helped to show him being drawn into a vertiginous bottomless pit. Fox Renderfarm: There are many details on the floor, how did you make the scratchy effects of the wooden floor? Did you model from scratch?Tom: Like the camera angle, I had this floor in mind from the beginning. I first modeled a simple wooden floor, with separated planks, then I used a particle system, made with TyFlow, to create this effect. After tweaking the parameters several times, I finally got a result I was happy with. Fox Renderfarm: The interleaving effects of the space add some surreal touch to the artwork, how did you achieve that ?Tom: I tried to take advantage of working in a virtual world to be able to create impossible spaces. So after some head scratching and rotations in every possible direction, I certainly came up with the least coherent scene I've ever done, as these views demonstrate !!Viewport 01 - Monster in the Closet - Tom DoizyViewport 01 !Viewport 02 - Monster in the Closet - Tom DoizyViewport 02 Fox Renderfarm: The numerous doors make the lighting sophisticated, could you elaborate on some more details about the lighting design?Tom: The only lighting in the scene came from the doors and the bedside lamp. Given the angle of the scene, its geometry and the extreme fish-eye, the lighting knowledge I had was not relevant.Because the door lighting tended especially to drag too much attention, I had to try a few different approaches, to play with the opening of each door, to test many distances and intensities for each light... Fox Renderfarm: What software and plugins did you use for the artwork?Tom: My main 3D software is 3ds Max, I used V-ray as renderer and Photoshop for the final compositing. The only plugin used in this scene is TyFlow for the wooden floor. Fox Renderfarm: How long did it take to finish the artwork? What is the most challenging part? How did you solve it?Tom: I estimate that I spent about 100 hours on this project, spread over 3 weeks, and most of that time was dedicated to polishing details.One challenging part was to make the fish-eye effect. The settings in my software did not allow me to distort the image that much, so I had to point my camera at a spherical mirror to get the effect. The drawbacks of this trick were that I could not use any render passes to help the composting process. Also I could not use hidden lights to enhance the details I wanted (because they were still shown in the reflection), and the rendering time was considerably longer: the 4K version took nearly 24 hours to render.!Monster in the Closet - Tom DoizyMonster in the closet 4K Fox Renderfarm: How did you encounter CG? Could you share with us your educational and work experiences?Tom: I discovered CG during a school internship at the age of 13, and I have never stopped since. I've been spending an increasing amount of time on it for the last 2 years, and the more I explore this world, the more I like it. After graduating from French highschool, I studied science, which led me to work for a year in electrochemistry research. I then studied cabinet making for a year and worked in this field for another year. I stopped this job a few months ago, and I am now training full time in CG. Here are some examples of personal and professional work I recently did.!Concept by Johanna Gregoire -3!Concept by Johanna Gregoire -4!Concept by Johanna Gregoire -5!Nature morteNature morte !Nature vivanteNature vivante (Johanna Grégoire (pro) – Nature morte and Nature vivante (personal)) Fox Renderfarm: Any artwork or artist inspires you the most?Tom: I would say Chopin! Sure it's not actually visual artwork, but I often listen to his pieces while working. Fox Renderfarm: Is there anything you want to share with the CG enthusiasts?Tom: Yes ! For the 3ds Max + Vray or Corona users, there is the excellent Adán Martín youtube channel, where I basically learned almost everything I know about texturing. There is also Unmesh Dinda from the channel PiXimperfect who is to me the best photoshop teacher I can think of.
How to Create a 3D GK Figure in ZBrush and 3ds Max
FGT3D Hunter Challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, was started in June, 2021 and sponsored by our amazing sponsors, including Corona Renderer, TopoGun, Friendly Shade, Graswald, Raysync, Textures.com, Texturebox, iCube R&D Group and Marmoset. After the selection by our jury, 3 Professional artworks and 3 Student artworks were picked and would be awarded the prizes provided by our amazing sponsors. Congratulations to all the winners! And thanks to everyone for participating!!FGT3D Hunter Challenge is now open for submissions!The third place winner in the Professional category of the FGT3D Hunter Challenge goes to ManWai Chuk with his work, Guide Man. “His image gives me the creeps, no one would want to be hunted by this hunter, high details on the textures, lighting and rendering is matching the creepy character, even though the rendering is designed to be a GK figure, but still the scary character and the lighting key gives one hideous feeling.” Our judge Ben Cheung said, who is also one of the 2020 VES Awards Nomination Judges.Let's find out how ManWai made the amazing artwork through the exclusive interview with Fox Renderfarm.Guide Man © ManWai Chuk Fox Renderfarm: Hi, ManWai! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?ManWai: Hi everyone, my name is Manwai. I come from Taiwan. I am interested in 3d characters. I'm very happy to participate in this competition. Fox Renderfarm: Congratulations on winning 3rd place in the Professional Category of the FGT3D Hunter Challenge, how do you feel about that?ManWai: I am glad that my creation can be affirmed & like my style. Fox Renderfarm: How long did you finish the work, Guide Man?ManWai: It took me about 2 months after I got off work. Fox Renderfarm: What software and plugins did you use?ManWai: I usd Zbrush, 3ds Max, Substance painter, Photoshop Fox Renderfarm: What’s the inspiration behind your artwork?ManWai: Guide Man is taken from my old work Skeleton Centaur. I wanted to give it a different identity. Guide Man leads the dead to the path of judgment. This time, I return to my favorite Japanese dark style. Abandon the use of more aggressive weapons and exaggerated shapes, and instead use small-soldier-style armor and weapons. The simple and expressionless mask and the centaur structure are the characteristics. Carrying the faint light, I want to give a restrained and oppressive atmosphere.!Guide Man © ManWai Chuk!Guide Man © ManWai Chuk!Guide Man © ManWai Chuk!Guide Man © ManWai Chuk!Guide Man © ManWai Chuk Fox Renderfarm: The unusual design of this character caught our eye, as did the depth of field effect, and the presentation of the character as if they were a miniature model from a table top game. How did you make it?ManWai: I usd Zbrush for modeling, 3ds Max for topo & UV, Substance painter for texture. I like the depth of field effect strongly. Substance Painter Iray is great and simple. I rendered and made a miniature model effect in it. Fox Renderfarm: High details on the textures, lighting and rendering is matching the creepy character. How did you make it?ManWai: Textures are made in Substance Painter. Lighting used HDRI in Substance painter and rendering in IRAY. I tried the Marmoset Toolbag to render, but Substance painter is better.!Guide Man © ManWai Chuk!Guide Man © ManWai Chuk!Guide Man © ManWai Chuk Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?ManWai: I exported the FBX format and encountered an uneven surface. When exporting FBX, uncheck Keep edge direction of Geometry. Solve this problem. It took me a lot of time to find it.!Guide Man © ManWai Chuk!Guide Man © ManWai Chuk!Guide Man © ManWai Chuk Fox Renderfarm: Any artists or artworks inspired you most?ManWai: I learned a lot of 3D skills from artists Zhelong Xu& Johnnyxiao.!Welcome to The Strange Planet © Zhelong XuWelcome to The Strange Planet © Zhelong Xu Old Jungle Warrior © Johnnyxiao Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey? ManWai: School education teaches me the basics of art. I worked in post-production and learned the concept of animation synthesis. And learned 3d modeling, mapping and animation in game companies. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?ManWai: Do your own creation and learn from it. Fox Renderfarm: What do you think of the FGT3D Challenge, any suggestions for us?ManWai: Hope that there will be more diverse challenge themes in the future. Fox Renderfarm: Do you have any advice for future participants in the competition?ManWai: Regardless of the result of the game. You can learn from it. Just do it.
Creating A Cartoon Character For AAA Games in ZBrush and Maya
Fox Renderfarm Interview
FGT3D Hunter Challenge organized by the TPN-Accredited cloud rendering services provider, Fox Renderfarm, was started in June, 2021 and sponsored by our amazing sponsors, including Corona Renderer, TopoGun, Friendly Shade, Graswald, Raysync, Textures.com, Texturebox, iCube R&D Group and Marmoset. After the selection by our jury, 3 Professional artworks and 3 Student artworks were picked and would be awarded the prizes provided by our amazing sponsors. Congratulations to all the winners! And thanks to everyone for participating!!FGT3D Hunter Challenge is now open for submissions!The first place winner in the Student category of the FGT3D Hunter Challenge goes to YanniCk Knöller with his work, Hunter Game ready.“The rendering of the various materials is very well done. I especially like how fabrics, like the thin pink one on the broken stuffed animal, the character's jacket and the large patch on the arm, look. Also, the dark humor with the giant blade and the stuffed animal game is well done.” One of our judges, Miho Aoki said, who is the Associate Professor of Computer Art University of Alaska Fairbanks.Let's find out how YanniCk made the amazing artwork through the exclusive interview with Fox Renderfarm.!Hunter Game ready © YanniCk Knöller Hunter Game ready © YanniCk Knöller - YanniCk Knöller- Junior Character Artist- France Fox Renderfarm: Hi, YanniCk! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?YanniCk: Hi, I’m from Spain, I’m living in Paris. One year ago I finished my degree in 3D video games, and now I’m with my Mentor Juan Novelletto to improve my work, and we are making personal projects such as new characters. Fox Renderfarm: Congratulations on winning 1st place in the Student Category of the FGT3D Hunter Challenge, how do you feel about that?YanniCk: Thank you. I am pleased to have won the Hunter Challenge. Thanks Wenxu Xu for the awesome concept.!Hunter © WenXu XuHunter © WenXu Xu Fox Renderfarm: How long did you finish the work, Hunter Game ready?YanniCk: At the beginning the principal objective wasn’t to finish the character. My objective was understanding all the pipeline and workflow from my Mentor. And it took me a few months. Fox Renderfarm: What software and plugins did you use?YanniCk: I used Zbrush for the sculpt, Marvelous designer for the clothes, Maya for the Uvs maps, Adobe Substance 3d for the bake and textures, Photoshop for some retouch shapes and making alphas, Marmoset toolbag 3 for the final render.!Hunter © WenXu Xu!Hunter © WenXu Xu!Hunter © WenXu Xu Fox Renderfarm: What’s the inspiration behind your artwork? Any references?YanniCk: Since I was a child and teenager I loved painting Warhammers and other collectibles, I read some fantasy books, like Inkheart from Cornelia Funke, and classic films, like The Lord of the rings. And my first game, which inspired me a lot, was Monkey Island. And this project was born with the concept/illustration of Wenxu Xu. Fox Renderfarm: The render has great character design and eye popping detail on the cloth design. How did you make it?YanniCk: Many many hours in Marvelous design, with a lot of references to real clothes. And a lot of feedback from Juan.!Hunter © WenXu Xu-4 Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?YanniCk: Being my first work oriented to triple A Games. I found some difficulties as follows: The clothes and the final render, I solved them thanks to Juan, he gives me a lot of feedback and tricks, to make my work better.!Hunter © WenXu Xu-5!Hunter Game ready © YanniCk Knöller Fox Renderfarm: Any artists or artworks inspired you most?YanniCk: There are too many to name all of them. But some of them are: Daniel Cockersell, Maria Panfilova, Marco Plouffe, Daniel Bel, etc. Demon Bust - Chief © Daniel CockersellAbduction © Maria Panfilova!B.3.T.L. Insectoids © Marco PlouffeB.3.T.L. / Insectoids © Marco Plouffe!Carnage Premium © Daniel BelCarnage Premium © Daniel Bel Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey? YanniCk: I’ve made a change in my life, from passionate High Gastronomy to learning 3D video games. I finished my studies only last year, and because of Covid I couldn’t have an internship, to practice what I learned in LISAA, in Paris. I was lucky to find a great artist who is teaching me to continue my training. Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?YanniCk: The two most important methods that I have learned are:The first, to create a Reference Guide of the Concept, looking for real ideas of the clothes, shoes, armors and all the things that the character has.That gives you a clear idea of what you are going to sculpt.The second, to make a blockout, to put all the things that the character has without any detail. looking at the silhouette, the negative spaces and then it’s much easier to start working. Fox Renderfarm: Do you have any advice for future participants in the competition?YanniCk: To enjoy the hard work they need and take references from the works of other professionals.
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