The Teaser Trailer for Forgotten Bloodlines: Agate Is Out

2021-01-29

Films

The teaser trailer for Forgotten Bloodlines: Agate is out, which is rendered with the best blender cloud rendering services provider Fox Renderfarm! It’s a realistic CG documentary film, directed by Max Bellomio, focusing on prehistoric creatures of the Agate Fossil Beds in the Miocene, narrated by the wonderful Nigelmarven, coming in 2022.

The stars of the film are Daeodon and Moropus. Over the course of the story, we see them grow and struggle over multiple years in a changing environment, in a time when the forests of the Oligocene are shifting to extensive prairies in North America in the early Miocene.

The film is roughly 40 minutes long and will be animated almost entirely in Blender, with some real footage used throughout to enhance the realism.


3D Tutorials: How to Make Dogs in Togo(3)

2020-08-31

VFX

The digital environment in the film

What we mentioned above are all about the production of CG sled dogs. There are many natural environments in the film, some of which are fully synthesized digital landscapes, and some are enhanced effects after real shots in Alberta, Canada. The two main scenes are Wheat Kinley Mountain shooting at Fortress Mountain, Alberta, and frozen Norton Bay shooting at Lake Abraham, Alberta.

Real shot material

  1. Shooting across a frozen lake in Alberta, relying on a lot of roto to complete

The reason why I chose Lake Abraham in Alberta as the location for shooting the unstable frozen lake is that the blue ice here is very clean and clear, and the place is large. It's just that the weather on the day of the shooting was not very compatible. Two days later, the lake was covered with snow. Fortunately, the production team took a lot of reference photos within these two days.

Nearly 95% of the shots are related to the sled dog and the owner Leonhard Seppala. To facilitate production, the entire sled team, sled, protective gear, fur, clothes, and Leonhard Seppala's hair need to be rooted separately, taking into account the sled dog body behind the team The cold atmosphere is stronger than the sled dogs in front, and the roto has to be created in layers.

A real shot of sled dogs, replacing the environment and enhancing the atmosphere

Under normal circumstances, it is sufficient to project the roto layer on the character's body trajectory or vehicle trajectory and then superimpose on it, but at this time the hair details are very complicated. You need to project the roto on the card, build a sled system as a card binding, and then add Each layer of particle FX, snow, atmosphere, etc. In addition, the snow and ice produced by the sled and sled dogs flying forward are simulated in Houdini and filled with some 2D elements.

Real shot

Final shot

  1. Cracked ice

The design of the ice-breaking lens is very complicated. The live shots were taken on a flat ice surface, so some ice flipped shots can only be done in full CG, while those non-CG shots used a method of destroying the lens track to make the ice surface look more" be more active, limit it to the range that does not destroy the parallax, use 2D techniques to constrain the fixed camera on a floating ice cube, or move the camera on the ice material, add 2D floating, and make the effect look less stable.

Moreover, the material itself was shot on a flat ice surface with different light, and the lighting conditions are constantly changing with time. Therefore, the material of each version is different. It is necessary to keep these materials consistent and guide the ice surface. Fragmenting piece by piece is also a long and complicated process.

  1. Simulate huge ice cubes

In the sequence of the sled dog team crossing the frozen lake, huge blocks of ice will gradually rise as the ice surface breaks. The production team used procedural methods as much as possible to guide the shape of huge ice cubes. When there are a large number of huge ice cubes, there is no way to bind each piece individually, and it is impossible to carry out carving, texture, and appearance development processing on each piece. This will limit its shape and size. Once you want to make it If you modify it, you have to go back to the previous step and recreate it. So they created a new Cascade system that allows the layout department and the environment department to create huge ice cube layouts on a shot-by-shot basis.

The Layout department created a very basic proxy shape in Maya and used Maya's curve tool to draw a huge ice shape, stretch it, place it in the scene, add binding constraints, and set up rough animations in the floating ocean. The environmental team has created a very practical toolset that can procedurally model huge ice blocks through basic geometry, generating broken edge details, internal bubbles, cracks, and faults in the ice layer. With the help of new tools, the work of the production team is basically all day shooting during the day and farm rendering at night.

If you need to change the size or shape of the huge ice cube, go to the Layout link to redraw the curve and give it to the next process. The visual effects link will also simulate the interaction between huge ice cubes and water, including details such as bubbles and splashes, and finally, render in Clarisse.

  1. The environment of other mountains

In the film, the growth of Togo is described in the form of memories of Laosai, part of which takes place among the mountains. The production team took a lot of very beautiful mountain views and modified them on this basis. For example, when shooting in Fortress Mountain, Alberta, the director thought the environment was good but there were too many trees, so some processing was done in the later stage. For another example, in the shots of the settlers' houses, there are no Alaska mountains in the real shots, and they need to be added later.

Real shot

Final shot

When designing the background, compared to the cumbersome work of drawing a large number of digital landscape maps, the production team adopted a 3D method that combined digital high-modulus, lidar scanning, and photogrammetry technology.

In the end, the mountains that we saw close to the lens were sculpted, textured, and look-dev processes were completed. There were also some Clarisse renderings of trees, leaves, and rocks. In general, there was indeed a lot of background work that needed to be processed.


3D Tutorials: How to Make Dogs in Togo(2)

2020-08-28

VFX

The dogfaces system for sled dog facial capture

In order to produce the final version of the sled dog animation, DNEG also explored the dog's motion capture and spent time developing the Facial Action Coding System (FACS) system specifically for the face of the sled dog.

  1. Research and development of sled dog motion capture

In the early stages of production, DNEG used well-trained sled dogs for motion capture in Animatrix Studios. We usually see actors wearing professional clothing for motion capture. This time the same process happened on sled dogs. The way the equipment is worn and how to set tracking marks on the fur is very technically challenging. Although these motion capture data were not used in actual production, it was still a good learning experience for the production team in the future.

  1. Research and development: dogFACS system

In order to have a detailed understanding of the facial muscles of sled dogs, and to clarify the working direction of facial binding as soon as possible, DNEG also started dogFACS research very early. Since there is a human face-catching system, there can also be sled dogs. The researchers categorized all sled dog expressions, and drew facial expressions based on the dogfaces system, including "mouth raised" and "wrinkled nose". For example, a growl is "upper lip lift", "wrinkle nose", "wrinkle lips" "The expression of these three actions combined together. Facial control schemes based on these expressions can enable animators to activate or counteract individual expressions, thereby creating more detailed and believable animations.

DNEG’s binding department has re-developed the entire four-legged binding system to simulate higher standards of real performance, including a new front leg module, which has the function of “fixing limbs” so that animators can imitate most animals. The fixed state of the front leg when the weight is on the leg; the reconstructed spine setting is also included to improve the realism and function of the animation. In general, the binding process requires a lot of effort. It is necessary to work closely with the animation department to develop and improve the four-legged binding standard, and always draw inspiration and direction from research references.

  1. Roaring time

There is a scene where a little partner named Ilsa in the sled team roars at Togo, and Togo immediately subdues Ilsa. Please note that the seemingly real performance here is actually a CG shot.

In the actual shooting, the dog handler used a "snarling device", which uses a rubber band and a prosthesis to open the sled dog's mouth. It is said that the sled dog who plays Ilsa is very docile and very coordinating with the whole process, but its eyes and constantly wagging tail reveals its extremely happy state, and it doesn't look angry at all.

Real shot material

The effect after replacing the CG head

The production team decided to use a real shot of the body + CG head to solve it, and designed some conceptual images of the sled dogs being angry and fierce. This production process is very challenging for riggers, modelers, and animators. They need to accurately grasp the subtle facial animations of sled dogs, and Ilsa's head production is more detailed and precise than Togo. After all, the lens is mainly In performance Ilsa.

Real shot material

Final shot

The most useful part of the dogfaces system is this close-up shot of Ilsa's rant. FACS expressions and mixed expressions are linear, while the sled dog's mouth and nose can be moved at will. In order to have the authenticity of proper micro-motion, the production team added many small details next to its nose. It is said that when the roaring scene animation test was shown for the first time, it was played side by side with the real shot material, and most viewers could not see that it was fake.

Real shot material

Final shot

  1. Sled dogs skating on ice

There is a plot in the film. The sled dog team braved the snow and cold to cross the unstable frozen lake under the leadership of Togo. When they returned, the ice surface was torn apart, and the sled dogs were moving forward quickly while their feet were slipping.

The DNEG team also began to find some materials on the Internet about sled dogs slipping or falling, to provide a reference for finding the unstable feeling of sled dogs standing on the ice. These materials will be put into the rough cut of the animation processed with Time Editor to create a suitable effect for the overall shot like building blocks, and also help them determine the performance of the sled dog in some specific shots. From the perspective of animation quality and details, this method should belong to a relatively advanced blocking.

  1. Animate multiple sled dogs

The above-mentioned ice skiing. In addition, there are 11 sled dogs in Togo. The behavior of the sled dogs in the team is different from individual performance. For this reason, DNEG has developed a binding system to determine each The distance between the sled dogs in the team, if the distance is too far, part of the system will be displayed in red. Although this system is not super accurate, it can still provide the team with an approximate range.

The production team carried out some layout development work when processing the animation, set up many different cycles and different speeds for the state of the sled dog action, and input them into the binding system so that the layout effect can be freely switched and loaded before loading The method of setting animation after binding is much more convenient.

The Layout department can set up the sled animation according to the selected sled dog sport Cycles and speed while ensuring the work efficiency while achieving the authenticity of the effect as much as possible. It seems that this part of their work is also very convenient.


Virtual Production:Past, Present, and Future(3)

2020-06-09

Behind The Scenes

The Evolution of Virtual Production

Virtual production applied in the industry in early times with less coverage. In the early 1990s, Hollywood used virtual production to make dynamic storyboards, which is the current Previz.

360 degree super static instant short technique used in The Matrix

Titanic was released in the United States on December 19, 1997, followed by Matrix in 1999, Matrix 2 and Matrix 3 in 2003, and Transformers 1 in 2007 and its sequels. These films had made a good application and promotion of virtual production, especially the use of Motion Capture and Motion Control.

Combination of motion capture and real-time rendering

Virtual production is well known to the audience after the release of Avatar in 2009.

On December 16, 2009, Avatar and its Pandora brought the audience a beautiful feeling, making the virtual production familiar to the public. The director can directly see the compositing scenes instead of the traditional green screen in the monitor, which makes it refreshing.

Avatar takes virtual production to the mainstream

When the whole movie is shot on a green or blue background, there are more than 2000 scenes need to have post-production, including editing, VFX, sound and others; and the staff needs to match the shots one by one according to the script description. Hence, demands have driven the development of technology. After Avatar was completed, virtual production was integrated into a commercial module.

The Outlook of Virtual Production

Although there are many technical problems that need to be improved for virtual production, the development trend has been established and will be prosperous with the rising trend of the global box office.

The live version of The Lion King fully uses virtual production

The driving effect of Hollywood VFX films has made more and more directors and filmmakers recognize and contact this field, and use this new technology in their creation.

A material library for virtual production is needed in the near future.

Cultural and historical monuments, natural sceneries, and others have already become frequent visitors to the movie screen. However, all cinematography must go to the site at a high cost. The schedule of the actors is also difficult to coordinate.

Real-time compositing scenes in the monitor

Virtual production can solve the problem and reduce production costs.

For example, when shooting the Colosseum in ancient Rome by virtual production, the actors perform in the virtual shed, directly utilizing the scene of the beast in the material library for cinematography.

Movies are the art of creation. Using photos as a background can not meet the need for cinematography technology. A three-dimensional model needs to be built with real textures. Light simulation, such as early morning, dusk, or noon effect, can also be performed as needed. Then put them into the model library, transfer to the virtual production system according to the needs of creation, and let the camera flexibly choose the required angle to shoot according to the needs of the script.

The establishment of the material library is a huge digital project, which not only includes all kinds of materials but also enables clear retrieval and calling. This project requires continuous investment and construction. We can build a framework through special groups, formulate technical standards, and incorporate the conformity into the database. We can also commercialize it for a fee to make this material library enter a healthy development track and grow slowly.

Only green screen props are needed to simulate the interaction with the virtual scenes

In the future, more and more traditional studios will be transformed into virtual studios. Within the scope of human control, 24 hours of cinematography can be provided and will not delay due to any weather.

Here is a common sense of virtual production. The scenes built by traditional studios are fixed. The replacement of reality scenes takes one day or a few days, but that of the virtual scene only takes a few minutes. In the performance area, the modules can be assembled outside the venue in advance in the studio.

The production of Disney's Mandalorian brings virtual production into the LED era

The actor's schedule is very tight. Any accident, such as illness, injury, and so on, will disrupt the normal cinematography plan. The virtual production will make the scenes in the script in advance, and quickly call different scenes according to changes, coordinating the process of the crew to make filming more humane and more efficient.

Virtual production has a very good prospect. The continuous improvement of virtual production builds a proper platform to improve the quality of filming. Creativity can be presented in a better way, bringing audiences a better viewing experience.


Virtual Production:Past, Present, and Future(2)

2020-06-08

Behind The Scenes

The Birth of Virtual Production

From the perspective of time and popularity of the application, the application of TV should be earlier than that of movies.

In 1978, Eugene L. proposed the concept of "Electronic Studio Setting", pointing out that future programming can be completed in an empty studio with only personnel and cameras, and the sets and props are automatically produced by electronic systems.

Virtual studio technology widely used by current mainstream TV media

After 1992, virtual studio technology realized. As a new technology, the virtual studio became a hotspot in TV studio technology. At the IBC exhibition in 1994, the virtual studio technology debuted in various TV broadcasts.

Virtual background can be changed with the lens in the virtual studio

The Virtual Studio System (VSS) is a new TV program production system that has emerged in recent years with the rapid development of computer technology and chroma key.

F1 program presents a demonstration effect through virtual scenes and props

In the VSS, the position and scenes of the cinematography are transmitted to the virtual system in real-time. The green screen (or blue screen) is cleared by chroma key to replace the pre-made virtual three-dimensional space model. Then the host or actor of the picture emerges with the three-dimensional virtual scene into a new picture. Finally, the compositing video can be displayed on the TV in real-time.

Using virtual studio technology for remote virtual dialogue

Actually, the virtual scene does not exist in reality, but the technology that seamlessly integrates with the real shot characters makes the virtual studio a reality.

The world's first reality show using virtual production


Virtual Production:Past, Present, and Future(1)

2020-06-05

Behind The Scenes

This sharing is collected by the TPN-Accredited cloud render farm, Fox Renderfarm. We hope that can help you in learning knowledge in Film and TV production.

Virtual Production is an emerging film and TV production system, including a variety of computer-aided film production methods designed to enhance innovation and time-saving. With the help of real-time software such as Unreal Engine, traditional linear processes can be transformed into parallel processes, blurring the boundaries between pre-production, production, and post-production, making the entire process more fluid and collaborative.

Virtual production in real-time LED video wall

Since Avatar released in 2009, virtual production emerged as a new field from the digital revolution of the film industry, bringing a new perspective to viewers and professionals.

The virtual production of Avatar

The large-scale use of green screen(or blue screen) filmmaking has made it more and more important for directors to see the real-time composition of performance and virtual space. As directors could implement instant guidance on live shooting by virtual production, the technology is gradually applied to production.

Real-time combination in the green screen

The Definition of Virtual Production

Let’s describe virtual production simply. When the actor performs in front of the green screen (or blue screen), the screen is directly replaced by the virtual scene made in advance. Then the director’s monitor is presented with scenes in real-time composition which can only see in the late stage of the production process. This is called virtual production.

Virtual production sets and motion capture environments

The History of Virtual Production

The development of virtual production is inseparable from the progress of computer technology. In the 1940s and 1950s, computers were in the mainframe stage. In the 1960s and 1970s, they gradually transformed into small computers. Owing to the limitations of the hardware, software, and talent base, virtual production carried forward slowly during this period.

IBM-PC launched by IBM

Microsoft was founded in 1975, and later developed the Windows operating system; Apple was established in 1976, using Apple's own System x.xx/Mac OS operating system; in 1981, IBM introduced IBM-PC, which greatly simplified the hardware architecture and oriented ordinary people. Because the development of the operating system is still in the DOS stage at this time, the speed of popularization is still very slow.

Spielberg on the monitor to view the virtual production effect of Number One Player

In 1982, SGI was established in the United States. Jurassic Park, Titanic, Toy Story, The Lord of the Rings, and others are all having a close connection with it.

The Lord of the Rings set & VFX compositing

In 1995, SGI acquired Alias Wavefront, which is the predecessor of MAYA software. In 1991, Microsoft introduced the Windows 3.0 multi-language version of the operating system. A few years later, Win95 was launched, realizing a real graphical operating interface. Hence, the development of computers entered the fast lane.


Boonie Bear Won the 2019 Licensing International Asian Licensing Awards

2020-01-08

Films

On January 6th, 2020, Fantawild Animation was invited to participate in The 2019 Licensing International Asian Licensing Awards ceremony, organized by the Licensing Industry Merchandisers’s Association(LIMA) in Hong Kong.

Relying on the performance and innovation of authorized cooperation projects such as "Boonie Bears", "Boonie Bears: Blast into the Past" and "Boonie Bears: Boonie Cubs", Fantawild Animation obtained the "Entertainment Property of the Year – ANIMATED".

Regarding the award, Shang Linlin, the Executive President of Fantawild and General Manager of Fantawild Animation said: "Thank you for the recognition of the Licensing Industry Merchandisers’s Association. At the same time, I also want to thank the many partners who have worked with us for their trust in "Boonie Bears" and Fantawild Animation. In the future, Fantawild Animation will continue to innovate and breakthrough, and work with more high-quality partners to promote the innovation and development of the authorized industry, and create more high-quality "Evergreen Carnival IP" brands for consumers in China and the world, and bring a world-class entertainment experience. "

In terms of movie IP authorization, Fantawild Animation is an enterprise that was started earlier in mainland China. Starting from the second big movie of 2015, “Boonie Bears:Mystical Winter”, Fantawild Animation has successively cooperated with various well-known brands such as INFINITI, Mengniu, China Resources Sanjiu, QQ and other types of movies to design various types of cooperation. A series of market initiatives, such as movie exclusive gallery, movie clever implantation, joint marketing during CNY, and advance planning and production of main props, allow the products in the movie to enter the major sales channels simultaneously when the movie is released.

In the coming Chinese New Year, the seventh major movie "Boonie Bears: The Wild Life" will meet with mainland Chinese audiences. The audience can not only see the Logger Vick that become handsome and strong, but also appreciate the magic and various natural landscapes that people have transformed into various animals.

https://licensinginternational.org/news/winners-of-2019-licensing-international-asian-awards/


Star Wars Baby Yoda, Mysterious But So Cute!

2019-11-20

Films

The most popular original content of Disney Plus on the line must be The Mandalorian. Despite the broadcast of 2 episodes, this Star Wars derivative drama has quickly occupied the hot topic list of major social platforms, and the Rotten Tomatoes Tomatometer scores and MTC media scores remain high.

In the series, the green-skinned baby, who looks like Master Yoda, quickly captured the hearts of Star Wars fans around the world. A series of "The Mandalorian" art concept maps images were exposed online today, and director Jon Favreau also personally shared a cute Baby Yoda’s setting map.

Baby Yoda’s concept map

The Mandalorian was developed and produced by Jon Favreau of Marvel's universe. The director of the series The Thor, Taika Waititi, also will be directed one episode of The Mandalorian and it is reported that the second season has been renewed before the premiere.

The series is starred by Pedro Pascal, and other casts include Gina Carano, Nick Nolte, Giancarlo Esposito and Carl Weathers, and the Agents of S.H.I.E.L.D.’s Ming-Na also announced that she will join.

The series The Mandalorian happened after Star Wars: Episode VI - Return of the Jedi when Master Yoda died. According to the plot setting, Baby Yoda is only 50 years old at this time, certainly not Master Yoda himself, then what is its identity? What is the relationship between it and Yoda? These unsolved mysteries may gradually unfold as the story continues.

Master Yoda


Witness The Godzilla: The King Of Monsters On The 3D Screen

Witness The Godzilla: The King Of Monsters On The 3D Screen

2019-05-21

Films

The third film in Legendary’s MonsterVerse, Godzilla: The King of Monsters, will be released on May 31 in the IMAX 3D format in over 600 IMAX theaters nationwide. In an interview, director Michael Dougherty, the film stars Vera Farmiga and Millie Bobby Brown chatted about the IMAX 3D experience in an interview, and enthusiastically recommended the audience to the IMAX theater to experience the burning sense. The monsters spurred the king of the battle to fight for hegemony.

Director Michael Dougherty bluntly said that he had already known Godzilla since he was three or four years old. As the director and Godzilla’s fans, he repeatedly recommended the IMAX viewing experience: “A film with many huge monsters like this, going to the IMAX version may be the best choice. In his opinion, "There are many special effects in the movie, as well as action scenes, and of course giant monsters, so you need to watch it on the big screen. IMAX theater is your best choice. ", "Must see the IMAX 3D version"!

When talking about the most exciting IMAX moment, the female host, Milly Bobby Brown, vividly said, "I think the most incredible scene is Godzilla and Ghidorah face off against the battle, you must watch it on the IMAX big screen. Only by watching the IMAX version, can you see how realistic they are." Godzilla and his ultimate nemesis, the three-headed King Ghidorah, in the rain, the showdown is breathtaking, the three-headed Ghidorah is cruel, one trick the lock throat pushes Godzilla to the ground, and the adrenaline rush of high-burning moments is expected to be on the IMAX big screen.


Prooi Exposure \City Behemoth\ Version Poster

Prooi Exposure \City Behemoth\ Version Poster

2019-03-12

Prooi

Prooi, directed by Dick Maas, stars by Abbey Hoes, Mark Frost, Sophie van Winden, it is an adventure and action movie that will release on March 22, 2019, in China. Recently, the film released a poster of "City Behemoth", the mysterious murderous lion is full of blood and mouth, and will soon engulf the city.

Film director Dick Maas has been working on the shooting and research of action suspense movies for many years. Prooi is the work he has worked hard in recent years.

Prooi tells that in Amsterdam, the police found the body of a family that was cruelly killed. The police had no clue about the case. But the veterinarian Lizzie of the Amsterdam Zoo suspected that this should be a large lion through the wound. But initially Lizzie's speculation was not taken seriously by the police until more and more victims were killed in the same way, and there is no doubt that Amsterdam has become a hunting ground for predators. The police assigned the hunter Jack and Lizzie to hunt down the murderous lion, and Lizzie's boyfriend, a TV reporter, was also tracking the case. Lizzie was worried about the safety of her boyfriend in addition to tracing the whereabouts of the lion, and the lion was hungry at this time. Unbearable...

In the "Urban Behemoth" version of the poster, the huge mysterious lion is almost two-thirds of the picture. It appeared in the back of the city of reinforced concrete, opened the blood basin, and seemed to immediately swallow the skyscrapers and urban people into the mouth. The dim tone of the whole picture and the giant fangs in the lion's mouth add to the danger, making people shudder. Below the poster, the police hunter wearing protective clothing had a complex and complex look with fear and firmness. He was nervous and dignified, holding a shotgun in one hand and clenching his fist in one hand, ready to fight with the bloodthirsty lion.

However, in front of the mysterious lion, the hunter's body is too weak, and the two form a sharp contrast, which also reflects the horror of the violent lion. As for the final result of the confrontation between the lion and the hunter in the city, what is the final result? Announced in the film.


Peter Jackson Builds A Real-Life City of The Sky In The End of The World

Peter Jackson Builds A Real-Life City of The Sky In The End of The World

2019-01-10

Films

The new sci-fi epic Mortal Engines, which was produced by the famous director Peter Jackson, who directed the The Lord of the Rings and The Hobbit series, today released the Mortal Engines notice and role poster. The future world globe will become the "hunting battlefield". The tow city chased each other on the hunting battlefield. In order to seize more resources, London is more willing to fight the anti-traction alliance in the end of the battle. The speeding city, the giant airborne wing, and the killing of the nuclear weapons of the Quartet have made the epic battle of the glory shocking enough to subvert the audience's imagination. In the character poster, the four characters of the two camps are waiting for each other. The film will be released nationwide on January 18.

The new preview shows the audience the future world under the last days of the invasion - the era of traction. After a human war, the world’s resources have dried up. The surviving humans began to build cities on the giant wheel. The city of London swallowed and killed small towns in order to plunder rare resources. The earth also became a cruel and bloody hunting ground.

On the other side of the globe, there is a magnificent airport. A group of righteous people form an anti-traction alliance. They advocate colonization on static land and support their own population with their own resources. The images of life and death, weapons explosions, air battles, and defensive wall collapses between the cities in the trailer all reveal the cruelty and heroism of this doomsday war.

The advent of this doomsday war has also rewritten the destiny of everyone. The four protagonists in the character posters made a choice of destiny between the threat of war and the erroneous war. The terrible childhood experience of the heroine Hearst Shaw made her a woman who longed for revenge. But as the danger approached, she suddenly found herself part of the mystery of the war, and suspense identity sparked expectations. Tom, who grew up in the city of London, became the partner of Hearst's escape on the road. When they met the anti-traction alliance's main rebel army, Anna, their life trajectory changed completely. They will face the film villain Valentin.

Valentin was once respected by the people of London for his brave adventures and important discoveries. His research on the past made him think about the future, but in order to achieve his "goodness", he did not hesitate to do many evil things. It is his ambition that has pushed the world to a new and dangerous situation. In the face of the world to be destroyed by the City of London, Hearst, Tom and Anna joined forces against the anti-traction alliance and embarked on a journey to fight for peace and freedom for mankind.

The excitement of the battle of righteousness and evil is evident in the notice, and the founder behind this is Peter Jackson. Building a virtual world is what Peter Jackson and his team are passionate about and good at. They used six movies to create a stunning Middle-earth. This Mortal Engines also brought a new concept beyond imagination to the audience. The scene of the earth as a city hunting ground is breathtaking, and this huge hunting ground in the future world is a barren wasteland in Europe. When shooting the hunting ground, the crew built the set through scaffolding, polystyrene material, tons of mud and rubber paint. It is a vast organic land, criss-crossed with huge cracks and is full of destructive power. Traction tires left by the city. It is this desolate scene of the end, showing the different future worlds of Mortal Engines.

Mortal Engines is produced by Universal Pictures of the United States and will be released nationwide on January 18.


China Film Administration Release New License Logo

China Film Administration Release New License Logo

2019-01-09

Films

The China Film Administration has launched a new version of the “Dragon Logo”. The wording of the note has been officially changed from the Film Bureau, State Administration of Radio, Film & Television to the China Film Administration. The new Dragon Logo has not only been upgraded in visual effects, but also shortened its duration from 5 seconds to 4 seconds.

Recently, the China Film Administration has launched a new version of the Dragon logo (publication license), and the Film Bureau, State Administration of Radio, Film & Television , which has been officially changed to the China Film Administration. The new version of the Dragon Logo has also upgraded the visual effect of the pattern, and the duration has been shortened from 5 seconds to 4 seconds.

Beginning on December 12, 2018, the movie with new Dragon Logo has been released one after another. The Photographer is the first film to receive the new Dragon Logo. The recently released Bumblebee release license is “(电审特进)字2019第001号” and the words "国家电影局 CHINA FILM ADMINISTRATION". Previously, the remarks in the film screening Movie Release License were all the Film Bureau, State Administration of Radio, Film & Television.

The new version of Dragon Logo

Old version of Dragon Logo

In addition to the Film Bureau, State Administration of Radio, Film & Television changed to the China Film Administration, the time is shortened to 4 seconds, the new version of the Dragon Logo pattern is accompanied by the Golden Sands animation effect, while the old version does not; the new version of the Dragon Logo pattern is the embossed stereo effect, while the old dragon logo is flat, with some light and shadow effects. The new version of the Dragon Logo is dark red, and the old version of the dragon is red.

In the mainland of China, the film's title "Movie Release License" is often referred to as the "Dragon Logo" because it has a yellow dragon-shaped logo on the red background. According to Article 20 of the Movie Industry Promotion Law, which came into effect on March 1, 2017, legal persons and other organizations that produce films shall place the obtained film screening license mark at the beginning of the film.


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    Email: gordon@foxrenderfarm.com

    Marketing Contact: Rachel Chen

    Email: rachel@foxrenderfarm.com