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 JinyuIn 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.Soft Architecture Animation 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: firstname.lastname@example.orgLinkedIn: 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.
Grab the LAST Chance to Enjoy the Most Easy-to-use Cloud Rendering Service at a Very Favorable Price
In the spring of 2021, Fox Renderfarm launched the Evergreen Program to benefit more individual artists and SMEs, which will prosper with the CG community as a whole hand in hand.!Evergreen Program PosterUp until Oct. 21st, we have supported more than 800 artists and SMEs around the globe. Moreover, half of them still choose Fox Renderfarm as their rendering partner after getting the coupons and discounts. Fox Renderfarm appreciates your trust and support. We believe that by holding our hands together, we will grow and prosper in this rough period.We've decided to prolong the Evergreen Green Program by one last month, which will end on Nov. 25th, 2021. So any artist who is still hesitating, please grab the LAST chance to experience the most easy-to-use cloud rendering at a Very Favorable price. 3 steps to get the coupons/Gold Membership1. Since the program aims at new users, so please accomplish the registration on the upper right corner;!How to sign up in a render farm2. Click “Recharge now” in the dashboard;!render farm special offer3. Choose the “Evergreen Program” tab on the recharge page, and enter the amount according to your needs.!Fox RenderfarmGrab the LAST chance, and let’s grow together!
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.
How to Create a Prometheus-style 3D Character in ZBrush
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!What a well-designed and executed piece. The first place winner in the Professional category of the FGT3D Hunter Challenge goes to Hideyuki Ashizawa with his work, Elf Hunter. “This image stands out. The level of the character design and rendering materiality is fantastic. The dark theme successfully blends a sense of danger and charm - or I would rather say, the danger becomes the charm. Besides the character, which occupies most of the composition, I am also impressed by the pattern in the background. The seemingly discursive design of the pattern makes one think that the creator is paying tribute to the style of the movie Prometheus. Most importantly, the sophistication of the image does not just stay on the surface. The complexity and richness of the image also make the viewers want to explore something more profound, which is the character’s spirituality and ontology. The world the character lives in is not something that can be comprehended and processed with our banal human mind.” One of our judges, Frank WANG Yefeng said, who is the Assistant Professor in the Art Department from Rhode Island College.Let's find out how Hideyuki made the amazing artwork through the exclusive interview with Fox Renderfarm.!Elf Hunter © Hideyuki AshizawaElf Hunter © Hideyuki Ashizawa Fox Renderfarm: Hi, Hideyuki! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?Hideyuki Ashizawa: My name is Hideyuki Ashizawa. I live in Japan. I’m now 47 years old. I started making 3DCG for fun in May of 2018. My regular work is composing game music and creating sound effects for games. I've engaged in game production for about 27 years. Fox Renderfarm: Congratulations on winning 1st place in the Professional Category of the FGT3D Hunter Challenge, how do you feel about that?Hideyuki Ashizawa: Thank you for choosing me as number one! I couldn't believe it when I saw my name. I was so delighted! My wife and kids were as happy as I was to hear it. Fox Renderfarm: How long did you finish the work, Elf Hunter?Hideyuki Ashizawa: It took three days from idea generation to rendering. Fox Renderfarm: What software and plugins did you use?Hideyuki Ashizawa: ZBrush, Teya Conceptor, Keyshot, Affinity Photo Fox Renderfarm: What’s the inspiration behind your artwork?Hideyuki Ashizawa: Hans Ruedi Giger most influenced me. As for the film, Alien and Hellraiser affected me a lot.!GALERIE MUSEUM HRGIGER Fox Renderfarm: The level of the character design and rendering materiality is fantastic. How did you make it?Hideyuki Ashizawa: I can't draw at all, so I started creating with ZBrush from the beginning.Before I made it, I had an image in my head and used ZBrush and Teya Conceptor to shape it. I use Keyshot for rendering and Keyshot procedural textures for the textures.!Prometheus!Elf-Hunter-Hideyuki-Ashizawa-Keyshot!Elf-Hunter-Hideyuki-Ashizawa-ZBrush Fox Renderfarm: The dark theme successfully blends a sense of danger and charm. The seemingly discursive design of the pattern seems like you are paying tribute to the style of the movie Prometheus. How did you make it?Hideyuki Ashizawa: Prometheus is one of my favorite movies. When viewed from the side, it looks like a bad picture, but the objects are layered back and forth to represent the scene. I placed them so that the shadows would come out nicely when rendering. I completed it, seeking balance, which I think is intuitively good for me. Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Hideyuki Ashizawa: Nothing particularly difficult, but I tried to express what I liked as much as I could. Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey? Hideyuki Ashizawa: I have taught myself 3DCG for three years. I make 3DCG as a hobby, and I have no work experience in 3DCG.!3DCG © Hideyuki Ashizawa© Hideyuki Ashizawa© Hideyuki Ashizawa!3DCG © Hideyuki Ashizawa© Hideyuki Ashizawa Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Hideyuki Ashizawa: I'm learning by purchasing tutorials from Artstation and Gumroad. Like my regular job of composing music and creating sound effects, I enjoy learning a lot from my favorite artists' works. And I feel that I can pursue what I like and get good results. Fox Renderfarm: What do you think of the FGT3D Challenge, any suggestions for us?Hideyuki Ashizawa: We all live in a challenging world. I want to thank you for holding such a fantastic contest. It was very inspiring to see the works of artists from all over the world. I hope you will continue to hold this contest in the future. Fox Renderfarm: Do you have any advice for future participants in the competition?Hideyuki Ashizawa: I create as a hobby, so I can't give any advice on skills, but if you pursue what you like and create as you like, I'm sure there will be people who will appreciate your work. Chances will come. So, although I know that creating is hard work, I truly hope you can continue to be a creator for as long as possible.
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Diwali, or the Festival of Lights, is India's biggest and most important holiday of the year. The festival usually lasts five days and is celebrated during the Hindu lunisolar month Kartika (between mid-October and mid-November). People create patterns called rangoli on the floor using colored powders or sand to celebrate the festival, which is as important to Hindus as the Christmas holiday is to Christians.!Indian Diwali1200 630To celebrate this special holiday, we provide a Diwali special offer for Indian users, which is up to 50% off!- Date: October 18th - November 10th (UTC+8)- Rule: Recharge and get extra 50% CPU coupons or extra 25% GPU coupons!- Details:1. Render coupon’s validity time: 1 year2. The offer applies to any user within the official pricing scheme.3. Please contact your account manager to get the extra render coupons.Have a happy and safe Diwali!
How To Make a Stylized Character For Games 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 of the Student Category is Antoine Destailleurs! Congratulations! His artwork, The Hunter, stands out for its great design and detail to the armor and human-like body.“The use of colors and the contrast between the flexible fabric and metal parts are very effective. The character looks to have powerful arms and legs while being very lightweight. The design makes me believe that the character must be able to move extremely fast and jump high. It makes sense the character's name is Swift.” One of our judges, Miho Aoki said, who is the Associate Professor of Computer Art University of Alaska Fairbanks.Here’s the interview between Antoine and Fox Renderfarm, in which we can find out how he created this wonderful 3D Hunter.!The Hunter © Antoine DestailleursThe Hunter © Antoine Destailleurs - Antoine Destailleurs- 3D Character Artist @Asobo- France Fox Renderfarm: Hi, Antoine! Thank you so much for accepting our interview! Could you give us a brief introduction about yourself?Antoine: Hi, I’m Antoine Destailleurs. I'm 25 years old and I’m currently working at Asobo as a Character Artist intern in order to validate my Master’s Degree. I learned 3D modeling at Supinfogame RUBIKA, a school located at Valenciennes, France. I’ve always been interested in creating characters and playing video games so I mixed both of these passions into what is now my work! Fox Renderfarm: Congratulations on winning 3rd place in the Student Category of the FGT3D Hunter Challenge, how do you feel about that?Antoine: Thanks, I’m really happy to bea part of the winners of this challenge, everyone did a really great job! Fox Renderfarm: How long did you finish the work, The Hunter?Antoine: The Hunter was part of the work I did for SWIFT, my graduation project, so I didn’t not really count the hours I put into it but I guess that it took me around 2 month from the design to the final 3D model. Fox Renderfarm: What software and plugins did you use?Antoine: I only used Zbrush for modeling, 3D Coat for the retopology, 3ds Max for unwrapping my model and having a clean scene to work on to prepare my bake and finally, Substance Painter for the baking and texturing of my character. Fox Renderfarm: What’s the inspiration behind your artwork? Any references?Antoine: My main inspiration to design my character’s body was Alita. I loved how subtle and elegant her arms looked so I tried to keep that in mind. And for the outfit there was no major reference but I'd say that I found some inspirations in Dishonored, Assassin’s Creed and Middle-East culture.!FIRST CONCEPTS - SWIFT!designing classes - swift!designing classes - swift Fox Renderfarm: Great design and detail to the armor and clothing, and then what sets it apart for me is on top of this human-like body we have the surprise of their head seemingly being made from magical green fire! How did you make it?Antoine: Thanks, this cosmic energy was one of the main features of our characters. I made it using cylinders, fire textures that tiled on the UVs and some emissive, nothing complicated here. But The in-game trails were actually created by Nicolas Ceriani, who’s currently working as a VFX Intern at Riot Games. He created our VFX using Shuriken from Unity.!designing the body -swift!key poses tests - swift!swift!swift!swift!swift Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Antoine: No particular difficulties, but I learned Hard Surface modeling in Zbrush with this project so I actually spent more time than necessary on the character’s body but that’s part of the learning process ! We also had a massive rework of the art direction during the pre-production so I had to design new characters to fit our newly established art direction. Here again, no particular difficulties but it took a lot of time. Fox Renderfarm: Any artists or artworks inspired you most?Antoine: For this project, as I said earlier, Vitaly Bulgarov’s Alita was a major inspiration. But in general I spend a lot of time browsing Artstation to find fantastic characters to inspire me. Fox Renderfarm: Could you briefly tell us your educational and work experience along your CG journey? Antoine: I’ve recently finished my studies at Supinfogame RUBIKA in Valenciennes, France. During which I had to do multiple internships. I did my first internship as Pixel Artist for a game developed by Clean Cut Games called Hairdash. Then I did two internships at Appeal Studios as a 3D Character Artist this time. I learned a lot about character creation and had the opportunity to work on an ambitious next-gen game that will be announced during THQ Nordic’s digital showcase. And finally, I’m currently working on A Plague Tale: Requiem at Asobo as a 3D Character Artist intern. Here again, I’m learning a lot about character creation! I don’t know if my internship will result in an employment yet, so if someone’s looking for a Character Artist… hey :) ! Fox Renderfarm: Do you have any recommendable learning methods to improve professional skills?Antoine: I’ve learned a lot of things just by watching speedculpts and conferences on youtube. You can find all the knowledge you need for free on the internet so just look for it ! Also don’t be afraid to fail and keep working! Fox Renderfarm: What do you think of the FGT3D Challenge, any suggestions for us?Antoine: I think it’s a great opportunity to discover new artists and to expose your work to people ! No suggestions, it was great! Fox Renderfarm: Do you have any advice for future participants in the competition?Antoine: Just do your best to have a result that satisfies you and on which you've learned new stuff!
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