·李昭樺，兔將創意影業（The White Rabbit Entertainment,Inc.）CEO，畢業於英國劍橋大學資訊工程圖學博士。
創始人李昭樺，生肖屬兔，也偏愛兔子，公司創立於2011年的兔年，英文TWR，縮寫自The White Rabbit。2011年，兔將由執行長李昭樺與同學壹行三人在臺大資工系的壹間教室裏創辦成立。秉承著“讓觀影者仿彿進入另壹個奇幻世界”的初衷，就此展開了兔將的逐夢道路。
Fox Renderfarm：可以和我們介紹下這部作品的 pipeline嗎？團隊如何分工合作的？如何把控預算的呢？
Fox Renderfarm：SIGGRAPH 2019剛剛結束，大會中推出了很多“黑科技”，開源軟件發展態勢也不錯！對於這些新技術是怎麽看待的？覺得未來的視效行業應該是怎麽樣的發展趨勢？ 李昭樺：特效行業在本質上來說是個需要大量人力與時間的產業，隨著科技的與硬體的進步，可以有效的的減少人力與時間上的成本需求，AI最近壹直都是業界研發的壹個重點，如何用深度學習來取代人力來處理壹些枯燥的工作，讓Artist本身可以更加的FOCUS在創作上面；但隨著軟件的進步，Artist本身解決問題的能力也逐漸下滑，在未來也許有壹天AI可以顛覆整個創作的流程，但以現階段，我們內部還是著重於Artist本身解決問題能力的培養，讓Artist有靈活的思路與作業模式，盡可能的不去太過依賴軟體。Blender今年的更新的確令人驚艷，但開源軟件有壹個最大的壞處，往往在遇到軟體的重大問題時開發團隊無法提供有效且即時的支援，在Production這種快節奏的環境之下，並不是壹個最佳的選擇，並且在這樣的狀況之下，公司往往需要培養壹批Blender的TD來開發專屬工具，來應對專案的多樣化的內容，無疑會在人事上提高成本。但相對來說，希望藉由開源軟體的壯大，可以給壹些軟體開發公司適當的警訊，更加用心地去經營線上的主流制作軟體，開發出更穩定更進步的更新版本。
Fox Renderfarm：對瑞雲(Fox Renderfarm) 的服務體驗及評價？ 李昭樺：我覺得Fox Renderfarm給予兔將最大的幫助是在服務的部分，每當有問題時，不管任何時間，總是會有親切的窗口來幫助我們排解問題，讓我們的渲染可以順利的完成。
"Upin & Ipin" Won The Best Feature Category at ANIMAZE 2019
Upin & Ipin
Upin & Ipin: The Lone Gibbon Kris (Malay: Upin & Ipin: Keris Siamang Tunggal) (short for Upin & Ipin), produced by Les' Copaque Production Sdn. Bhd., rendered by Fox Renderfarm, has won the Best Feature category at the Montreal International Animation Film Festival 2019 (ANIMAZE).
ANIMAZE is an international film festival and conference dedicated to exploring the world of animation in all its diversity. Filmmakers from over 65 countries working in a wide range of genres and styles converge on Montreal in the summer. Proudly, the mischievous twins Upin and Ipin are now the winners of the international film award.
In this fantasy film, Upin, Ipin and their friends find a magical kris which transports them into a fictional country known as Inderaloka. Here they meet various colourful characters from Malay folklore and help them battle an powerful villian. Les' Copaque, the production company of Upin & Ipin, elected to create its own unique intellectual property based on traditional Malaysian mythology, but told in an energetic, child-friendly way.
The production of Upin & Ipin took 5 years to complete, and the cost is almost RM20 million, making it the most expensive Malaysian film ever made. Fox Renderfarm’s reliable and high-efficient service helped a lot in its rendering process. As a local animated film in Malaysia, Upin & Ipin’s award means a lot to the Malaysian animation industry.
Here we congratulate on Upin & Ipin’s great success in gaining international recognition and sincerely look forward to working together for the next project soon again!
SCAD Hong Kong's Digital Media Senior Show 2019 Supported by Fox Renderfarm
On May 31, as one of the distinguished alumni of SCAD, Ben Cheung, Deputy General Manager of Fox Renderfarm, was invited to SCAD Hong Kong’s Digital Media Senior Show 2019.
Fox Renderfarm, a leading in the CG industry, has served lots of leading special effects companies and animation studios from over 50 countries and regions, including two Oscar winners.
In the event, Fox Renderfarm offered support to digital media senior students of SCAD Hong Kong, helping more students to achieve a solid career start in the CG industry.
2019 Digital Media Senior Show discovers imaginative works and exceptional designs from the departments of Animation, Visual Effects, and Interactive Design & Game Development. It provides a fantastic opportunity for students and enterprises to engage with each other and help students deepen understanding of digital media.
Here are the animation works from 2019 digital media senior students.
My Friend Chameleyon
Chameleyon is Carly’s best toy pal. One day, as they were playing, Carly’s greatest fear, Sharketron the robot vacuum happened to join in. As she unconsciously went to hide, she leaves Chameleyon behind. When Carly realised that Sharketron was approaching Chameleyon, she had to make the decision of overcoming her fear to save her best friend.
- Director&Producer: Pamela Lai
- Sound Designer: Rian Leung
- Main-On-End: Sheryl Chan
- Concept Artist: Raven Chau, Pamela Lai
- Modeling Team: Noah Catan, Pamela Lai
- Rigging Team: Yan Chau, Pamela Lai
- Texture Artist: Rico Lee, Pamela Lai
- 3D Animator: Pamela Lai
- Lighting & Rendering: Pamela Lai
- Compositor: Noah Catan
- Special Thanks: Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
Bear and Bunny
The short is focused on a day in the life of a bear living in a city of bunnies. His office day is mundane, though the struggles of fitting in still plague him. He’s often just at the wrong place, at the wrong time, which is his office, at basically any time.
- Diector&Producer: Hugo Setyadji
- Concept Art: Hugo Setyadji
- Character Modelling: Hugo Setyadji
- Environment Modelling: Hugo Setyadji Kayla Man
- Rigging: Hugo Setyadji
- Texturing: Hugo Setyadji
- Animation: Hugo Setyadji, Ciara Maloto, Michelle Hui, Stanley Soendoro
- Lighting & Rendering: Hugo Setyadji
- Composting: Hugo Setyadji
- Music Composer: Daniel McCormick
- Special Thanks: Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
The Divine Infection
"The Divine Infection" is a dark and surreal story of a girl who was tortured by a cult in the past. She returns to the church many years later in order to reunite with her snow leopard daemon and erase the scars the cult left behind.
Director’s website: www.christinestevens.me
- Animation: Andre King, Christine Stevens
- Modelling&Texturing: Nick Levene, Leoncio Soler, Christine Stevens, Ian Tse
- Music: Ho Shan Lam
- Rigging: Hugo Setyadji, Christine Stevens
- Sound Design: Irene Chan
- Voice Acting: Elena Lorenzo
- Special Thanks: Chris de Boer, Jake Zhang, Bryan Bentley
- Produced at Savannah College of Art and Design
Here are the artworks from junior students, including animation and visual effects.
Savannah College of Art and Design
The Savannah College of Art and Design was founded in 1978. Offering more degree programs and specializations than any other art and design university, SCAD is uniquely qualified to prepare talented students for professional, creative careers. SCAD is one university - offering degrees in Atlanta and Savannah, Georgia, Hong Kong, and online via eLearning, with additional study abroad opportunities in Lacoste, France, and other locations. Each SCAD location provides a new experience, and students can choose to study in any location, at any quarter during their education.
SCAD Hong Kong offers the area’s largest concentration of art and design degree programs in the heart of the Sham Shui Po district, where a fusion of ancient heritage and Western influence inspires visitors from around the globe. SCAD offers degrees in more than 40 areas of study, as well as minors in more than 60 disciplines.
In Hong Kong, timeless tradition merges with the high-tech. SCAD Hong Kong offers students every resource imaginable in the UNESCO award-winning former North Kowloon Magistracy building, a grand courthouse fully restored and revitalized by the university. Features of the transformation include a library, digital labs and studios, darkrooms, a green screen studio, and sound design and editing suites.
Interview With Blow Studio, One Of The Animation Producers Of Netflix’s Love, Death & Robots
Love, Death & Robots, is an American adult animated anthology web television series on Netflix, consists of 18 stand-alone episodes, all under 20 minutes long and all produced by different casts and crews. Now, Fox Renderfarm is so happy to have an interview with Blow Studio, the animation producer of “Three Robots” in Netflix’s Love, Death & Robots, and honorable to provide services for “Three Robots”. Here is the interview regarding “Three Robots” between Blow Studio and Fox Renderfarm.
Fox Renderfarm: We noticed that you provide production services for commercials, TV shows, short films, and many other formats related to animation, so can you please give us a brief overview of Blow Studio?
Blow Studio: Blow Studio is an animation and VFX production company formed in 2011. We provide production services for commercials, series, short films, and many other formats related to animation. In addition, we are always looking for personal projects to push our limits.
We have worked on projects for brands such as: Netflix, Chanel, River Island, Johny Walker, MTV, Izze, Axe, Rdio, Sanex, Vimeo and others.
Fox Renderfarm: Which part is the most important in production of this project？
Blow Studio: All production stages are important. Every step must have an even quality so the final product is balanced. Considering the type of story, if we had to choose a fundamental area of this episode that required a greater effort from us, I think we would choose animation.
Fox Renderfarm: Can you share with us the challenges in the production of this short film?
Blow Studio: The animation was a challenge because we had to animate about 120 shots mixing styles. We had to invest a lot of effort in this area in order to take forward the project
Another challenge I would like to highlight is the making of a realistic talking cat. Modeling, shading, rig, animation, hair...everything required the highest quality to make this character credible. The cat was the most complicated character of this episode and we are very proud of the result.
Fox Renderfarm: How do you like this short film? Which part do you think is the most interesting?
Blow Studio: Three Robots is the most important project we have made at Blow Studio. We love the story, the tone and the visual design. If we had to choose one sequence, maybe it would be the abandoned house. It's a very funny part, with a delicious animation and hilarious lines. Also, here is when we meet the cat, a character that will be the key at the end of the story.
Fox Renderfarm: What do you think of Netflix's animated series Love, Death & Robots?
Blow Studio: We are fans of "Love, Death & Robots" and we are completely into adult animation. Before the series, back in 2017 we release a short film called "Alleycats", and it goes in the same tone of "Love, Death & Robots". This is a short film where we did what we wanted to: ninja cats slicing their heads through the alleys of the city with a dark vengeance background reflected in the story. So yes, this is the kind of things we love to do.
We needed someone to stand for this kind of animation, and Netflix did the bet. We just hope they continue investing in this type of content because it looks that it's something people was asking for.
Fox Renderfarm: Which episode do you like the most in season 1 of Love, Death & Robots? Why?
Blow Studio: All episodes have a very high level of quality and something to highlight, so it's very difficult to choose just one. But if we had to, we will surely choose "Three Robots" because making it was very satisfying and it is like our little baby.
Fox Renderfarm: Speaking of rendering, please tell us more about your overall experience with Fox Renderfarm?
Blow Studio: It was a pleasant surprise to work with Fox Renderfarm. We had to outsource some parts of the render in order to deliver on time and allowed us to meet our deadline. Sure we will work again with them if we need to.
Fox Renderfarm: In closing, is there any interesting behind scene story you would like to share with us?
Blow Studio: Thanks to 'Three Robots' now we are cat experts. We had to do a very laborious study of them to reach this quality, and we really don't know how much hours we had to spend watching references for animation, the hair, the anatomy, the behavior of the skin, etc.
And we just wanted to say that it has been an adventure and an honor to be part of the production team of this amazing project along with the best CG studios today.
Fox Renderfarm: Thank Blow Studio for taking time in this interview, looking forward to seeing more and more wonderful works produced by Blow Studio.
The Difference Between The Desktop App And The Web Submission
- The desktop App only can support some kinds of software at present.
Presently, the desktop App only can support 3ds Max and Maya in Windows. We will support more and more software in the future, iOS and Linux will be coming soon.
- Web submission supports can support most of the common software.
The website submission can support most of the common software, such as 3ds Max, Maya, SketchUp, Cinema4D, Blender, Softimage, Lightwave, Clarisse. The user who hasn’t installed the above CG software can also submit, and Windows, iOS and Linux operating system all are supported!
Note: You can even provide the software, renderers and plugins which was not listed above since we can’t list all of them here.
The Shipment Win Best VFX
Berlin Science-fiction film Festival is the first international festival of Science-fiction Film in Germany. It has shown about 200 independent films from over 30 countries in the past 2 years.
The 2018 Berlin Science-fiction Film festival vote has come to end of a phase, but much professional staff has anticipated the winner of the Berlin Science-fiction film. For the VFX and animation industry, the most concerned prize is the Best Visual Effects. Today let us share the film which has won the Best Visual Effects---The Shipment.
The Shipment has also been selected to Tribeca film festival which is ranked one of the top 10 film festivals in the world as well recently in New York. It is really proud to say that the render of this film is supported by Fox Renderfarm. Let us watch this film together.
- Name: The Shipment
- Country: Canada
- Language: English
- Release Date: 21 October 2018 (Australia)
- Also Known As: Cargo
- Filming Locations: Vancouver, British Columbia, Canada
The film tells the story about a widowed cargo hauler Aedin Katar and his young daughter Zohra.
Aedin Katar is an ex-slave trader struggles to live a reformed life as a lowly interplanetary cargo hauler. While transporting a shipment of alien livestock to a distant planet, their ship encounters a mechanical failure and must land at an old spaceport. Unable to afford the repairs to their ship, Stranded and broke, he faces his dark past and difficult ethical choices in a desperate attempt to provide a better life for his daughter.
Being a sci-fi film, The Shipment needs a tremendous amount of VFX and rendering. The film is entirely self financed by the director Bobby Bala, Who is also the CEO at Flying Car Productions, and it is over budget. Fox Renderfarm has provided rendering power with a significantly discounted rate for this film which is over 40,000 frames. Bobby mentioned in the interview that "Fox Renderfarm was critical to the success and completion of our film The Shipment. Their customer service was excellent and their services, we were grateful to find Fox which surpassed our expectations. Without their affordable rendering options, we would not have been able to complete our independent sci-fi film which has recently been chosen as an official selection at the prestigious Tribeca Film Festival in New York."
Here we also have an interview with Katapix Media which teamed up with Post-VFX to tackle the bulk of the Post production, Tasked with more than 390 shots for this film. Carlos Duque who is the Co-founder of Katapix Media tells us it was a Learning experience working on this project. They had short notice to put together a team and train some of the crew so they could be on par with the quality requirement, Bobby definitely has an eye for detail so they needed to beat his expectations.
Carlos also introduces some challenges of the production:
Our company (Katapix) is based in Medellin (Colombia), we’ve been in the industry for more than 15 years doing CG and VFX for tv and advertising, and started Katapix 5 years ago with a goal in mind, Feature films, The Shipment brings us closer to that goal, so this project was a welcome challenge. As every project it had its ups and downs but nevertheless was super fun and now that we see the results and all the selections and awards it’s getting, you realize it was all worth it!!
One of our biggest concerns was rendering times, since we are a small company and we knew this was going to be super render intensive, so we looked for a reliable , because their price/benefit are more important, their staff was there for us 24/7 not via email or forums, we actually had direct contact with our account manager and a group of TD’s willing to help us regardless of the hour. It was an overall great experience to work with them and we still use Fox Renderfarm as our sole render solution.
The Shipment has brought home the award for Best Visual FX from Berlin Sci-Fi Film Festival and thrilled to be a Tribeca 2019 Official Selection! At the same time, it is also Honoured to be an official selection of Idyllwild International Festival Of Cinema, Irvine International Film Festival, Fantasporto - Porto International Film Festival, Bermuda International Film Festival, The European Independent Film Festival & Irvine International Film Festival, Miami Sci-Fi Film Festival, and so on. Looking forward to its release in China.
“Upin & Ipin: Keris Siamang Tunggal” Rendered With Fox Renderfarm
“Upin & Ipin: Keris Siamang Tunggal”, produced by Les’ Copaque Production Sdn. Bhd. has been on screen in Malaysia on 21st March 2019. This film was rendered by Fox Renderfarm.
This is a 100-minute feature film of adventure, family and fantasy genre, with a very interesting story. The details of the movie are as follows.
“Upin & Ipin: Keris Siamang Tunggal” is Les’ Copaque Production Sdn. Bhd.’s third feature film.
Les’ Copaque Production Sdn. Bhd. was established in December 2005 to spearhead Malaysia’s animation industry and specialize in producing high-quality 3D animation and IP production.
Les’ Copaque Production has spent five years producing their second full-length 3D animated movie “Upin & Ipin: Keris Siamang Tunggal”.
Before this feature film, “Upin & Ipin” is the longest-running Malaysian animated series and the most popular IP in South Asia with over 12 million audience on Facebook. The series is currently on its 13th season in production.
This new adventure film tells of the adorable twin brothers Upin and Ipin together with their friends Ehsan, Fizi, Mail, Jarjit, Mei Mei, and Susanti, and their quest to save a fantastical kingdom of Inderaloka from the evil Raja Bersiong. It all begins when Upin, Ipin, and their friends stumble upon a mystical kris that leads them straight into the kingdom. While trying to find their way back home, they are suddenly burdened with the task of restoring the kingdom back to its former glory. With help from Mat Jenin and Belalang, Upin, Ipin and their friends must overcome a series of challenging obstacles in this action-packed, magical and humorous adventure film produced by Les’ Copaque Production Sdn. Bhd.
“Upin & Ipin: Keris Siamang Tunggal” is the most expensive movie in Malaysia, costing an estimate of 20 million ringgit (around US$4.92 million). The movie is 100 minutes in duration and took a production team of 140, including 12 lighting and rendering artists, and 5 years to complete.
Over 50 different species of animals were created. It is also the first time Les’ Copaque Production has had hair groomed for over 70 rigged characters. There were a lot of technical challenges that the production team has to overcome. For example, one dancing shot has a crowd of 120 characters at once, with some heavy shots that have more than 180 rendered layers, etc.
During 5-year long production, the team has had three major upgrades in regards to their hardware and software in order to deliver the complexity of the film. The longest shot in this film has 722 frames and it took 100 rendering nodes and 2 months.
As a leading provider, Fox Renderfarm’s reliable and high-efficient service helps Les’ Copaque Production in its support of the 3D feature film “Upin & Ipin: Keris Siamang Tunggal”.
The technical team of Les’ Copaque Production greatly praises the high-quality rendering service. They said: “We are very satisfied with Fox Renderfarm’s 24/7 real-time technical support, reliable download and upload speed, the user friendly webpage interface, and very simple desktop client app for our alternative option. For example, we have some frames that took 3 days to render locally, and after we submitted to Fox Renderfarm’s , it was completed in 2 hours, which greatly saved our time and budget. More importantly, the reliable and quality rendering also guarantees the quality of this film.”
“We use this mentality to the way we do our work, in giving our best in creating our own Intellectual Property (IP) with the highest quality possible.” This is the Mission of Les’ Copaque Production Sdn. Bhd.
Personally, I really like this mission statement. We look forward to the release of “Upin & Ipin: Keris Siamang Tunggal” in China and more countries in the world. It is our hope that the “Upin & Ipin” series will bring joy to more and more people, they will understand and enjoy the culture of Malaysia, and we expect nothing less than excellent work coming from Les' Copaque Production Sdn. Bhd. in the future.
Interview with Chris Buchal Regarding Glass Cage
Glass Cage, a new film about female social issues which produced by Chris Buchal just been released (Check the Glass Cage video at bottom). Chris and his team had overcome so many difficulties and didn't give up the film even under very serious budget problem, what a tough team! And power for its VFX part. Here is the interview regarding this new film between Chris Buchal and Fox Renderfarm as below.
Fox Renderfarm: Hi Chris, would you please give a brief introduction about yourself?
Chris: Sure thing! Hi! I'm an English Major from University of Oregon. I've been making films for about 5 years now, and I am self-taught in visual effects, editing, cinematography, and post production. I've made commercials for some major brands, and have been building out my portfolio for past few years to hopefully apply for more commercial agency work, while I work on a feature script.
Fox Renderfarm: Sounds wonderful. So when and how did you get into the film industry?
Chris: It all started when I wrote to a craigslist advertisement and applied to have a job helping write the technical questions for the food safety manual that restaurant workers study before taking an exam. From there it evolved to editing videos, and from there the creative realm. My first year I made 20 pretty terrible comedy films, and then took the level up to a more professional and polished final product.
Fox Renderfarm: Haha, very interesting experiences. Then what is your most satisfied work in these years and why?
Chris: The short commercial piece "Baquon," because I made it with my best friend in my kitchen, it was a successful commercial, and it was a love poem to Bacon. It also made us some money.
Fox Renderfarm: Congratulations! OK, how did you and your team members come out the idea of making the female empowerment film?
Chris: The original concept was based on something my friend at the time, Cheree Marks, came up with. I wanted to do something with projection mapping and the female form, because at the time glass sculptures were on the table of the female form, and Cheree suggested body issues, and then agreed to work with me to help formulate a script that would enable us to tackle these social issues, and hopefully provide strength to women who struggle with them. Then the glass sculpture artist dropped out and we decided to use a mannequin of the female form, which was a blessing in disguise because it made the projection mapping more legible.
Fox Renderfarm: You guys are so much warm hearted! We highly appreciate your work for women. Would you please tell us what’s the Glass Cage about?
Chris: Glass Cage is a mother-daughter bedtime story about growing up in the world. It's a story about self-love and not giving into societies sometimes skewed expectations. It’s a movie that tackles different social constructs, and provides hope for how a woman can overcome them by being brave and staying true to themselves, and not letting the opinions of others sway themselves from the love they must have for themselves. Women are incredibly strong, they give life, and yet society oftentimes tries to take their inner light away from them.
Fox Renderfarm: That must a great inspiration for women. While how many team members for the Glass Cage and how you guys cooperate with each other?
Chris: This was a rather large and ambitious project. We had no budget, and a lot of visual effects, but luckily members of the team such as Ray Kelley, Celeste Leizer, Tim Riva, John Williamson, Shepherd Duff, Michael Mavromatis, Paul Turcott, and Andrew Williamson all were willing to dedicate their visual effects knowledge and time to help accomplish some of the more advanced CGI. I created all the projection mapping assets, and did a lot of the compositing work. This film was a labor of love, and thanks to the producers/cast, and crew who all donated 4 days of their life to make this possible. The cooperation worked the way most film sets work, a lot of phone calls, favors, and just the generosity of other people. Without them this film could not have been made.
Fox Renderfarm: We are really impressed by the effort of all the members involved. Besides, what difficulties you met when making it?
Chris: There were a lot of difficulties with this project. We had no budget. We had about $100,000 of rendering/VFX time. We wanted to finish the film in 4k (in hindsight 2k would have been smarter). At various points people dropped out or dropped the ball, which happens on projects with no budget, and we also had several random cloud server crashes and hard drive failures that thankfully were avoided by triple backups. Backup your data! There was some lack of clarity on the time commitment the project would take, and so some people had to drop out due to personal reasons, but all in all, this is par for the course with a no budget film. It was the effort of a lot of kind talented and generous people, and thanks to Fox Renderfarm, we were able to render out our films title sequence using Maya/Vray and 4k finishing.
Fox Renderfarm: Anyway, the good news is the film is finally released. So where would you plan to submit/release the film?
Chris: Ideally it will get passed along the festival circuit before being released online, and backed by some female organizations who support its message
Fox Renderfarm: Great, we sincerely hope the Glass Cage would have a perfect result. As for the rendering phase, why choose Fox Renderfarm as the partner and What you think about us?
Chris: Fox Renderfarm was an absolute lifesaver. We are a no budget, VFX heavy film. We simply don't have enough CPU power or render hours to export at 4k all the visual effects in the film. Thankfully Shelly Yu, responded to my request for a sponsorship proposal with grace, tact, and charm. Fox Renderfarm worked tirelessly, and patiently with us as we slowly compiled the work of multiple artists across the globe into the film’s final title sequence, as well as a few of the "Glass Cage" CGI shots. Without Fox Renderfarm, we wouldn't have these elements in the film. They worked with us tireless overcoming technical hurdles, and even language barrier. They were really caring and just an incredibly supportive experience. I hope to be able to employ them sometime in the next year or two on some vfx heavy commercial projects should the opportunity arise.
Fox Renderfarm: Besides the previous child abuse film “The Cycle Starts And Stops With You” and the just released female empowerment film“Glass Cage”, do you have any idea for your next film?
Chris: Yes, a female dynamic due comedy feature script is in the works, as well as maybe two more short films and proof of concepts. One involves the future of virtual reality, and the other is an alien invasion proof of concept. We also have another short film in post-production about cell phone addiction.
Fox Renderfarm: Looking forward to your next film soon. OK, anything else you would like to add or say?
Chris: Thanks again to Fox RenderFarm, and anyone who worked on or donated time to Glass Cage. Couldn't have finished the film without you guys.
Enjoy the Glass Cage video now!
Glass Cage from Illustrious Productions on Vimeo.
Horror Movie “Boar” Rendered by Fox Renderfarm to be Released Soon!
Directed by Chris Sun, an Australian horror film producer and produced by Slaughter FX, the horror movie "Boar" that Fox Renderfarm participated in will be released in Australia in November 2017 and will be enjoying its World Premieres on November 23 at the Australia’s Monster Film Festival.
The "Boar" film shows Australia's adverse and beautiful natural landscape, yet lurks a dark and horrifying threat in this picturesque setting — a fierce beast that is ruthless, destroying the environment, massacring creatures, suck their blood, defend his territory by barbaric forces and brutally kill any creatures that hinder it.
The giant BOAR was a myth, a legend brought to life in a drunken pub tale. The thing about myths and legends, they are usually made up of partial truths, and in this case, complete and terrifying truths. Tearing a path of destruction through fencing and livestock, locals haven’t a clue of the chilling death that lurks in the striking Australian outback. The Monroe’s are on a road trip to reconnect with a life they left behind several years ago. Seeing old friends and loved ones bring the tight knit family even closer together. A spontaneous decision to picnic along the shores of a cool river three hours from town brings them face to face with death itself. A BOAR of staggering size with a taste for blood is cutting out a crude home in the bush, and has marked this area as his. Nothing can stand in its way, nothing can stop the destruction. While the boar continues its savage rampage, the Monroe’s settle in for a quiet afternoon, and an evening of wild pig and roo spotting. As they are slowly and savagely stalked and slaughtered by the beast, the fight for survival becomes as animalistic and brutal as the animal itself.
During the cooperation, we learned that producer Chris Sun is keen on terror, bloodiness and courage-inspired theme for his productions. Most of the horror films he directed were shot through the actual scene, giving a strong and real visual impact as well as sensory experience. He has won the "Best Director", "Best Screenplay", "Grand Jury Prize" and other honorary awards and can be said to be widely known in Australia.
Nearly 85% of the director's film, "Boar," was filmed using actual results. The technical problems added more workload to his project. In post-production, the provided by Fox Renderfarm responses in a timely manner with the smooth rendering process, it has greatly reduced the film output time, significantly improving the overall efficiency of the film letting the film release to be on schedule.
Universal Pictures Australia is currently working with other major global film companies for worldwide release. Stay tuned for the premiere at Melbourne's Lido Cinemas, at 23:00 on November 23, 2017 (local time).
Come and watch "Boar" trailer and feel the charm of Chris Sun's horror movie now!
“Baahubali 2: The Conclusion” Rendered by Fox Renderfarm Became The Highest-grossing Indian Film in History
When the historical Indian epic blockbuster “Baahubali: The Beginning” was released on July 10th, 2015, it immediately earned a good reputation worldwide and set a box office record for Indian films of 2015.
After the success of “Baahubali: The Beginning”, “Baahubali 2: The Conclusion” broke the record again, it debuted in the US as the third top box-office draw, making nearly $13 million despite playing in barely 400 theaters. It earned $120 million during its first week, making it the highest-grossing Indian box-office release of all time around the world. It remained in the US box office’s Top 10 over the weekend, hanging on at No. 7 and earning nearly $3.25 million, bringing its estimated two-week tally in the U.S. and Canada to more than $16 million.
As the most powerful partner of Makuta VFX, the joint cooperation on the Baahubali project was highly satisfactory.
A rousing piece of fantasy fiction set in an ancient kingdom, its locations are extravagant. The battle sequences are convincingly bloody. The special effects are so ambitious for Indian audiences. There are muscled heroes, winsome heroines and plenty of dance numbers — all hallmarks of Bollywood.
“Baahubali 2: The Conclusion” is such a visual spectacle that it has to be seen on the big screen! Go to the cinema to enjoy the visual feast!
Why Various Studios Chose FoxRenderfarm?
RAYVISION is a global technology company specialized in cloud computing services for rendering in the entertainment industry. Pioneering the world's premier self-service (a Rayvision overseas cloud render farm service) are the leading commercial render farms in the world with hundreds of thousands of users worldwide.
Since the foundation in 2009, Fox Renderfarm has earned a good reputation for its quality performance, great customer service and flexible pricing scheme. The following video will show the interviews with various CG studios, special effects studios and animation studios. They will tell you why they choose Fox Renderfarm to render their projects.
Interview with Rafael Chies: The Man behind Tribute to Monkey Island
Or you can feel free to check the full work on Rafael’s behance gallery here. And thanks so much for Rafael to share some time and give us an interview as below.
: Hi Rafael, would you please give a brief introduction about yourself?
: Hello! I was born and currently living in Brazil. I always loved cartoons, fantasy and everything that’s wacky and absurd. I mean, real life needs some magic! When I was a kid, I was always drawing, messing with Lego, Play-Doh, playing video games and exercising my creativity but I never thought I could do this for living.
: OK, so when and how did you get into the CG industry?
: When I finished high school and went to college, I joined a starting course that proposed mixing technology and art. There I found a whole new world of animation and digital art. That time a friend told me about an internship on a small local TV Station and I applied. I started working there with motion graphics and learned a lot. Someday I opened Maya and it completely amazed me so I decided to take some classes, slowly I was abandoning After Effects and Premiere and becoming a 3D artist.
: What are some major projects you have worked on?
: Back in 2010 I started working at Santa Transmedia, a Brazilian production company focused on advertising. I started as junior 3D artist and became CG Supervisor two years later. There I worked in some interesting projects for many nice companies like Honda, Chevrolet, LG and more. At middle of 2014, HypeCG invited me to work as Lookdev Supervisor at a new TV show called “Dino Adventures”, that was a great experience! After one year, when finished the first season of the show I decided that was time to new experiences and became a freelancer artist, a couple months later, the guys of Privateer Press invited me to work as Lookdev and environment artist in a five minute cinematic. It's been amazing and I’m currently in the last month of production!
: That’s really amazing experiences and the work you finished. Then what tools you use? And any preferred one?
: I mainly use Maya, Zbrush, Substance Painter and Photoshop. To render I use V-Ray and Redshift.
: That’s great, and would you please share some details about the just finished work: Tribute to Monkey Island?
: I spent many years totally focusing on my professional projects and career and thought that was time to start doing more personal works, where I could totally express my feelings and taste. Also this way I could show my skills as lookdev and environment artist. I always loved adventure games, especially from Lucas Arts, but Curse of Monkey Island have a special place in my heart. I used Maya to block all the structure of the restaurant and planning the scene. Most of the assets were modeled directly inside Zbrush, from spheres\cubes and Dynamesh, then exported the low\mid poly version to Maya. The textures I made on Photoshop and Substance Painter. All the rendering was done in Vray inside Maya. I broke the render in several parts to have more control in post and optimizing the render time.
: Good work indeed. Then what media/website picked and shared this work? And how do you feel about it, excited?
: A Making of will be online soon at 3DTotal, also made interview for 80 Level. On Artstation this project got Picks gallery and Trending Gallery, CGSociety, Evermotion and other important media also shared my work! I'm so happy with the feedbacks of this work, especially when people that played this game when child comes to me and said that loved this piece, it's incredible rewarding! Makes me want to work harder and harder!
: Congratulations! So what do you think about Fox Renderfarm’s rendering service? Happy with it?
: I'm really happy with it! It's totally easy to use and the 24/7 support is awesome, helped me a lot!
: We are so honored! BTW, is there something you are currently working on or are excited about starting?
: I have one more Monkey Island project that I'm about to start! It's an awesome scene, I think that is gonna work really nice in 3D!
: That’s wonderful, we are desperately looking forward to your new work. Anything else you would like to add or say?
: Thank you so much for supporting me! Keep doing this great service.
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