The global box office champion throne has finally changed hands after ten years! Kevin Feige, Chairman of Marvel Film, announced at the San Diego International Comic-Con (SDCC) on July 21st that the Avengers: Endgame's global box office has passed Avatar. The highest global box office record of 2.789 billion US dollars in film history created by James Cameron’s sci-fi film was broken. The Avengers: Endgame glory reached the top of the global film history box office championship. In the first round of the ‘Avatar' show in 2009, the global box office score was 2.749 billion US dollars. In August 2010, ‘Avatar' re-released, increasing the global box office total to 2.789 billion US dollars. ‘Avengers: Endgame' has been madly sucking money from all over the world since the release on April 24, and has successively updated the record of the major box office. The film began its second round of global re-released from June 28th. The re-released version added special eggs at the end of the film, attracting the attention of a large number of fans. With the power of re-released, the ‘Avengers: Endgame’ finally to break record of ‘Avatar’and become the new champion of the box office. At the same time, Disney's new live-action version of ‘Lion King’ was finally released in North America this week, the premiere reached 78.5 million US dollars at the box office, beats the ‘Spider-Man: Far From Home’, which co-produced by Sony and Marvel, reached the top of the box office list champion in North America Friday. According to industry forecasts, with the release of North America, the global box office of ‘ Lion King’ will break through 300 million US dollars this week, will pass the highest box office record of Disney's ‘Beauty and the Beast'. In any case, it seems that ‘Avengers: Endgaem’ has surpassed ‘Avatar’ to become the box office champion of the film history, and its position in the short term is solid.

As the first Chinese animated film released in China's IMAX theater, NE ZHA(哪吒之魔童降世) has assembled China's top domestic animation team, and produced for three years. The film has more than 1,400 special effects shots, nearly 80% of which are composed of special effects shots, and this well-received animated film will be released on July 26, 2019, in mainland China. Ne Zha, which is one of the most rebellious young heroes in Chinese legends, the film NE ZHA is adapted from the classic Chinese mythology, but the subversion of the traditional image has been subtly adapted to tell the story of what happened. The story of the devil Ne Zha, who refuses to admit life. This animated film is directed by Yu Yang (Dumpling), a brilliant director in Chinese animated film industry, launched by Horgos Caitiaowu Pictures Co., Ltd, Chengdu Coco Cartoon Co., Ltd. and Octmedia. At the same time, Fox Renderfarm also provided services for the film, escorting the final result of the production. The animated film ZE ZHA subverts the traditional image, which has been well received by everyone since its publication, and the production team is really painstaking about this film. As the film's release time is approaching, it has also released official trailer and posters. After the film Monkey King: Hero Is Back and White Snake: Origin, will ZE ZHA become another good work at the Chinse animated film history? Let’s looking forward to the box office.

This work is a tribute to Stan Lee and Overwatch, especially for Stan Lee. I had this idea after watching Avengers: Endgame. I wanted to make a hero about mice, a fat rat hero. The human being constantly expanding the city, making it harder and harder for animals to get food, this superhero might can not fight against the Thanos, but in the eyes of all the animals who are wandering in the streets and sewers, the fat rat who sent food to them every day is the greatest hero. This work is using Cinema 4D R20, rendering in its built-in ProRender renderer, synthesize in Photoshop (barrel distortion, color correction, halo and flare). I hope everyone likes this C4D tutorial. The following is the entire breakdown of the production process. I hope it can help everyone's creation. ## 1. Reference materials: Before I made it, I looked for references in Google Picture. I used the mouse Jerry and The Flash as a reference. ## 2. Character production I first built up the general feeling with geometry, and adjusted the composition to determine the ratio between the character and the scene. At this time I have already met my final picture. I connected the characters of the cube and the ball into a whole, and then converted them into geometry. But I think there is still something missing, this role is not enough cute. So, I used my waist and stomach as reference to adjust the model. In order to see the structure of the character and the refined model, I first removed the VDB Mesher, and used the color blocks to distinguish the approximate color blocks directly on the model, and then carved the details on this basis. Especially the part of the expression, the depiction here is very important. The next step is to deal with the chaotic VDB model in order to make other parts such as clothing accessories. Here I am not in a hurry to do a fine topology. I used Instant-meshes to do the automatic topology. The result is not very good, but the production speed is very fast. It is enough to use the split model. After re-topology, return the completed model back to C4D and continue. I split the new model out of the part of the garment and the mask. The mask is relatively simple. I re-topped it and made the thickness with the fabric generator. Now we can see the expression of the character. The re-topology of the clothes is more troublesome. I used the same method as the eye mask to make the jumpsuit. Gloves are made in the same way as the body. The geometry is then stitched together, then the VDB is meshed and finally engraved. ## 3.UV and texture The model has reached this precision, and I am slightly refining the texture of the body. And after the re-topology and finishing of the UV, I added some texture to it, and also used the Body Paint to make a fine drawing. ## 4. Rendering test I added a mousetrap to the background and tested the rendering. I made the background of the pure green sky, took two photos of the outdoor and the indoors, put them on the PS and stacked them to see the general feeling. But I feel that I need to add an angry chef behind the scenes. Ok, now re-create a chef model, I only made a big model structure and expression. Output the rendering of the chef, synthesizes it. Next is the Logo of The Flash, "M" for maxon & Mouse, the same applies to the geometry to make a VDB grid and then a simple topology, split the UV, and then import BodyPaint to make metal. But when synthesizing, I felt it was a bit empty on the chest, so I added a spatio-temporal engine like the Overwatch, add some tentacles, lightning, broken pieces, and tested the rendering again. ## 5. Hair After adding hair to the character, I turned the hair into a solid model, but the exposed part was not very large. Part of the costume adds some structure and outer protective gear, and refines the space-time engine on the chest. ## 6. Final rendering After rendering, perform simple toning and glow in the PS, and then increase the radial blur. By: Ge Yan

I suddenly had an idea to make a robot with C4D. But this is just a rough idea, I need to find some reference pictures. But in the beginning, I don't have to worry about making it first. The idea is very important. I want to do what I want first, what does the robot look like? What is its purpose? What I want to do is a service robot, which has a very cute shape. So I plan to use rounded corners to construct the overall shape. So I am looking for a reference picture on this basis. ## Initial sketch After looking for a lot of reference pictures, I already have a rough sketch in my mind. I draw down the sketch, and this sketch is used in the process of making the model. Probably, you can enrich the details on this basis. ## C4D production You can import the sketch into C4D in JPG format and then create a robot model based on the sketch. I first created the body of the cylinder making a robot and then added some details to the body. The production of the lamp in the middle of the body is relatively simple. I recreated a cylinder and turned it into a subdivision, adding details to make the body's lights. Then, according to the same production method, the place where the robot shoulders move and the body link are made with a sphere. The shoulders are also made with new spheres, then add subdivisions and details, and the arm is made in the same way. The details that need to be paid attention to are made in particular, especially the spacing of the slits that must be squeezed in. The part of the finger is very simple. I remove the faces on both sides of the cylinder, then squeeze all the faces out of thickness and then copy an adjustment direction and node. After the three knuckles are finished, a new sphere is added to the middle part to make the joint. Next, make a device on the arm, you can create a new cube, drag the node to modify the overall shape. The two raised parts on the device are randomly added, which can be played at will. Copy one arm after one arm is done. Now the part that makes the robot to connect the waist is made in a very simple way. However, there is a buffer bearing in the place where the wheel is linked. This size can be grasped by itself. The wheel is made using a disc and then made according to a realistic tire model. Making a wheel cover is very simple. The model of the robot head is very simple, that is, the semicircular sphere plus the C4D's own sphere is used as the eye, and then the tire and the previous part are spliced. Now that the robot is missing something, I want it to be placed on the plate with one hand and a towel. And there is one less thing in the place where the hands and arms are connected. Just add it up now. ## Post-production adjustment Be sure to adjust later in the rendering. The robot uses C4D's default renderer to make the final rendering results, and then adjusts the effects of light and shadow in a later way.

## Exclusive Interview 1 Make "Dragon Ball Z" Great Again CG artists remake the legendary manga in 3D The nonprofit project, Dragon Ball Z Legacy, supported by Fox Renderfarm, is going to be a 3D animation video clip featuring some of the best manga and animated moments. The team members, a group of international artists, all contribute to the project in their free time. It is our honor to have an interview with the team leader, Olivier Schmitt. Moreover, Olivier shares us with the making of the Goku. Fox Renderfarm: What’s your original intention of creating the team project? Olivier Schmitt: The original intention of our team is to create a very beautiful 3D animation of Dragon Ball Z... ## Exclusive Interview 2 The CG Boost Cute Warrior Challenge Winners Announced Interview with the Champion, Kenji Aito On July 3, 2019, the CG Boost Cute Warrior Challenge, sponsored by Fox Renderfarm, announced the final list of winners. Congratulations to 11 entries with the most votes by the jury. First place: Teddy The Halberdier Bear by Kenji Aito see more→ Fox Renderfarm also had an interview with the Champion, Kenji Aito, a funny and creative CG artist. Fox Renderfarm: What inspired you to come out the idea of making the work "Teddy The Halberdier Bear"? Kenji Aito: First I was re-watching from scratch Game of Thrones... ## Fox' Big News SIGGRAPH 2019 Fox Renderfarm Will See You In Los Angeles! We're proud to be exhibiting at SIGGRAPH 2019 28 July-1 August, in Los Angeles Looking forward to meeting you！ Register Now! Please contact us for appointments: Director of Client Relations Gordon Shaw +86 186 8159 3969 gordon@foxrenderfarm.com Fox Renderfarm Campaign Fox's Got Talent! Over $10,000 in prizes Show off your impressive 3D artwork which was rendered at Fox Renderfarm by entering Fox's Got Talent! You can also share your images with us by mentioning us on Twitter (@foxrenderfarm) OR onFacebook (Fox Renderfarm) with the hashtag #FoxsGotTalent to get free $20 credits from us. Award-winning animation: Mole by Jakob Scheidt watch more→ Submit here! Visit Fox's Got Talent for more information.

The French animated film Minuscule: Mandibles from far away(minuscule les mandibules du bout du monde) is officially announced will be on-screen on August 23rd in mainland China. The jungle version of the poster was also exposed in the news. It is reported that Minuscule: Mandibles from far away comes from the original team - directed by Thomas Szabo, Helene Giraud. The story tells of the friendly ladybugs Cox and Junior to help the friend black ant Mandible escape the interception of red ants, unfortunately from the snowy France to the summer of the South American Caribbean. They used their courage and wit to escape the claws of the spiders in the rainforest, and met the local ladybugs, and together with the caterpillars, they drove away the humans who invaded their homes. At the same time, Junior's bravery is also a harvest of love, hoping to stay in the beautiful Caribbean. What choices will Cox and Junior make? The TV series of Minuscule: Mandibles from far away is an encyclopedia of the insect world. The first film Minuscule: Mandibles from far away connects a variety of insects in the jungle from the perspective of a ladybug, showing the audience a wonderful microscopic world. Minuscule 2: Mandibles from far away follows the previous timeline and the new adventure is about to begin. The sequel still focuses on the tiny but not small lives in our lives. It not only continues the real scene + CG picture presentation mode of the "small insect big world", but also strengthens the plot on the basis of the previous work, enriching the relationship between the characters. Emotional association conflicts make the character image more full. It is worth mentioning that the film adheres to the style of without dialogue. This is the temperance expression of the anthropomorphism of the animal and the restoration of animal life.

Rendering is a very important part during the 3D production. This step will generate the final image including information such as models, scenes, textures, vfx and lights. Rendering in film and television effects is computationally intensive and requires a lot of server computing, especially for animated film production, where rendering time is almost a big challenge. So for the producer, is a good choice. ## Why the render farm can make you work faster and better? The render farm is also called the conputer cluster. It refers to the calculation method of a supercomputer built with an existing CPU, Ethernet, and operating system. The render farm are consist of thousands of servers. is an upgrade on the render farm. We can upload the material to the cloud and use the render farm for calculations remotely. And the server will distribute the files to multiple servers and render them according to the uploader's choice. For example, a 10 second special effect lens, 10 hours for a single machine rendering, then if you use 10 machines to render, then the rendering time becomes 1/10. ## Cloud rendering has the following advantages 1. No geographical restrictions, wider market scope, lower idle rate and cost savings. 2. Render farm with better server configuration to ensure user safety and efficiency. 3. Control the rendering progress anytime, anywhere. The emergence of cloud rendering has almost swept the CG industry. It not only brought great changes to the CG industry, but also provided strong support. For the fast-paced modern, it is more convenient, which is why more and more people choose the to render that works.

Realistic performance is not the whole of 3D art. 3D technology is constantly developing. This is the important driving force for 3D character artists to create. In film and television works, the visual development of characters is the most crucial step. Jung-Won Park is a 3D character artist from South Korea, specializing in 3D modeling, character modeling and rendering. This time, we based on the Mulan, the 2020 movie, we will create techniques such as creating realistic and delicate skin textures and high-quality 3D character model rendering. The main used software and renderer are Maya, Arnold, ZBrush, Substance Painter, Mari . ## 1. Model creation Before the model is created, the reference material collection and basic model adjustment must first be performed. Then, perform basic model disassembly UV, heavy topological operation, and detail engraving. This step is very important. ## 2. Texture Drawing Draw a model, refine the color texture, and drawing texture of the head and neck, face, forehead, arm and other body parts. Then draw clothing, accessories, and swords. If you don't know the material of any item, please check your reference picture or find a satisfactory reference. ## 3.Displacement map The Displacement map is the most important part of the entire texture drawing process. Zbrush & Mari software is required for collaboration and in-depth analysis of TexturingXYZ displacement map settings. ## 4. Camera principle and lighting Camera principle and lighting adjustment, this step can make the works infinitely close to the real world. It is necessary to properly set and test the ratio of scene to real world, camera parameters, and basic lighting. ## 5. Highlighted texture creation Create highlight texture, including marking the model's highlight position, making primary high-light reflections & secondary high-light reflections, and perfecting the highlight texture. ## 6. Skin material The skin material is made to match the principle of light as much as possible. ## 7. Eye creation The creation of the eye is believed to be a diffcult things for many students. First, create eyeball models, iris materials, and perform UV splitting, use PS to create scleral texture to create scleral materials. And finally, handle inner corner detailing. ## 8.XGEN fur creation XGEN makes fur, which is the only way to pursue delicate results. Before making a production, first analyze the fur making ideas. Then, create the upper eyelashes, eyebrows, fluffy hair on the face, the top area of the hair, the hair of the forehead bangs, the hair on the face, and the fine hair on the back of the neck. Among them, the use of Fibermesh for hair styling, the application of random expression of hair distribution, increased hair volume, and the creation of ponytail will be the focus of learning. ## 9. Body and clothing materials Use UDIM to create displacement texture for apparel gloves and master Substance to Arnold. Draw the displacement texture of the arm, highlight texture, and perfect the hand coloring material. ## 10.Posture adjustment Model rigging and posture adjustment, adjust Pose in Zbrush, learn to use Maya's "transfer". ## 11. Light rendering Light rendering can be combined with a variety of advanced rendering, such as Arnold. Apply HDRI lighting, add lighting layouts, adjust DOF & chromatic aberrations, handle rendering noise and finish. ## Skin, detail, light There are 3 core contents of character visual performance. Rendering how to obtain high-quality image performance, in the texture part and the rendering part of the work of the model artist's level of high judgment, Park Zhengyuan's skin, hair, lighting rendering performance is called crafts level. SSS skin texture production,

Octane for C4D is really powerful, especially in addition to the easy-to-use and high-quality rendering of the Octane renderer. Another important reason is speed. Today we use an existing C4D model file to share how to use Octane to make these beautiful night illuminator scene. ## Preliminary idea The first thing to do is to figure out the approximate effect to be presented and the position of the light source. I want to do something that glows on the stone in the night, and the objects are as transparent as glass. So there will be some illuminants and some auxiliary light sources. With these ideas, you can light it up. ## Lighting adjustment What I want is the effect of the night, so first open the sky color and adjust it to black. The black sky will make us see more clearly. Then add a light, and in the rendered window we can see the effect of the real-time lighting. Rotate to adjust the light to achieve a desired effect. Then change the light to an effect that is not visible when rendering. Check camera visility in the Visbility of the light. Reduce Power to 5 and change the color to blue. Now that the main light source is available, start adjusting the auxiliary light source. The auxiliary light source does not need to be too strong, reducing its Power to 5 and changing the color to bluish. Two lights will give the scene model a corresponding feel. When adjusting, remember that the highlights of the objects on the stone should also be noticed. Throughout the process we have to constantly adjust the light to find the best results. After the rendering test, the highlights are still a bit bright, then we need to adjust the power of the lights again. After the test, the main light was not bright enough, and it lacked some contrast with the auxiliary light. I raised the main light source again. It now looks like contrast. Now I find that the lower right corner is darker, so I need to add another light to it. Lower Power to 5, change the color to bluish, render, and continue to adjust the light level. ## Material First of all, the main body of this model is stone, and then there is some bright light on the stone. So first give the stone a black material, but don't be too dark. Don't make the reflection of the stone too strong, raise a little Float, and add a displacement map to the stone to make the bump. This effect can also be achieved by adding noise. Noise can look for a stone-like one, then change Amout to 3. For better results, you can also add noise Into Diffuse. Now we can see that the stones are already bumpy. In the process, we can adjust other values to make the noise produce some different changes. You can break the link to the texture before proceeding to the next step. Re-create a new diffuse material to make the light, remember to remove the DIFFUSE of the shader, just keep the light. Next, add an RPG to the shader. I hope the stone will emit a yellow spot, so change the shader to yellow. Now we can mix the two shaders. So create a shader and blend the noise with the two shaders. Adjust the size of the noise to control the yellow display to see the effect of the integrated rendering. Now that the stone's departmental effect is ready, we can hide it to adjust the part above the stone. Create a new glass ball, then give it blue and adjust the 3S to the shader. The part of the value needs to be fine-tuned. Modify the display of the Density control color and increase the specular depth of the glass to reduce the black portion. But the color is not enough, you need to add another color and change the Density to 100. But I need the position of the stone below the model to be more like glass, so I have to rebuild a glass material and blend it with the previous material and add a gradient. Look, the effect is now closer to my expectations. All models use clones, so we only need to modify the UV of a model. We need the model above is 3S below the glass, so we need to give the UV a gradient, adjust the gradient to achieve the effect we need. ## Finally adjustment Adjust the final effect in the Octane Settings. Bloom power and Glare power directly affect the final result. But I found that the yellow part of the stone was a little less, so I changed its Power to 500. Well, it is now closer to the ideal state. To achieve the desired result is not a quick process and needs to be adjusted step by step. Keep trying other methods, maybe there will be good results. And, what matters is not the result, it is the process of learning.

I am very happy to share with you the production process of the work of Redemption. I have shown a way of thinking and process of making this work. And I also learned something new from the project, I hope everyone can learn something from it. The software used in this work is Maya, Zbrush, Marvelousdesigner, SubstancePainter. Collection of materials Collecting the information you need is a very important part of the project before it is started. This is a very important part. I have been collecting enough information before I start the next step. But some of my friends, they will look for reference materials while making this way, it will take more time and effort, and the effect is not very good. I think that while doing the reference, it is better to take a day or two to collect and classify the required materials, so that you can also collect your own database. ## Production ### 1. Composition The composition of the work is very important, directly affecting the final effect. I use a relatively small composition of the work of "Redemption", which is very interesting in the composition. ### 2. Model At the beginning of the production, I will quickly build a simple model, not too detailed, all models are as simple as possible, the sooner the better. This stage of production I try to control in one day. At this stage, I need to complete the simple and fast, then determine the angle of the camera and arrange the lights. ### 3. High poly workflow The high poly workflow phase is a very important part. Whether it is game production or film and television model production, the high poly workflow stage is very important. After the large shape and the composition of the screen are determined, I will start from the main body of the character and proceed progressively according to the composition and the primary and secondary relationship. According to the principle of subject, local, subject. Some common brushes and some post-production texture aids used by individuals as follow, ### 4. Texture I used the more popular PBR process in drawing the texture. Substancepainter is the most common drawing software for this type of texture drawing. The character face and skin use Mari. Character skin replacement, skin color is made in Mari, Mari is a very powerful software. ### 5. Render and post-synthesis This work uses the Anorld for Maya, and the entire rendering process takes about 4 days. In addition, a separate AOV layer is rendered to facilitate further modification of the color and scene atmosphere in the PS. The above is the whole process of the project of "Redemption", I will introduce it to you here. I also found some deficiencies in the production, I hope that my production can give you new ideas, we can all learn new things in the project. BY: Qi Gong