Star Wars: The Bad Batch, An Original Animated Series Launched Exclusively on Disney+


Animated Films

Check out the brand-new trailer for Lucasfilm’s “Star Wars: The Bad Batch,” an original animated series launching exclusively on Disney+.

The Bad Batch follows the elite and experimental clones of the Bad Batch (first introduced in The Clone Wars) as they find their way in a rapidly changing galaxy in the immediate aftermath of the Clone War. Members of Bad Batch—a unique squad of clones who vary genetically from their brothers in the Clone Army—each possess a singular exceptional skill that makes them extraordinarily effective soldiers and a formidable crew. In the post-Clone War era, they will take on daring mercenary missions as they struggle to stay afloat and find new purpose.

“Star Wars: The Bad Batch” makes its debut on Tuesday, May 4, with a special 70-minute premiere, followed by new episodes every Friday starting on May 7.

Wish Dragon, You Can Make A Wish Without Gathering Seven Dragon Balls!


Animated Films

Receiving cumulative revenue gross of US$25.89 million at the Chinese box office, Wish Dragon, the first original feature developed and animated by China’s Base Animation, co-financed by Sony Pictures Animation, rendered with Fox Renderfarm, the best render farm in the CG industry, hit Chinese theatres nationwide on January 15th and will be released on Netflix internationally later this year.

The film was written and directed by Chris Appelhans, starring Jackie Chan, telling the story of Din, a working-class college student with big dreams but small means, and Long (Jackie Chan), a cynical but all-powerful dragon capable of granting wishes, set off on a hilarious adventure through modern day Shanghai in pursuit of Din’s long-lost childhood friend.

Wish Dragon, a 2021 computer-animated comedy film, we can make a wish and get a pink hairy dragon without gathering seven dragon balls!

Wish Dragon is in theaters now! Go and discover the greatest wish of all with your families and beloved ones!

Disney and Pixar's Animated Film Luca Arrives In June 2021


Animated Films

Disney and Pixar invite you to experience the best summer ever, as the first release in 2021, Luca, which is a coming-of-age story set in Italy.

Luca(2021) tells the story of the unforgettable growth journey that two boys on the Mediterranean coast of Italy experienced in the summer full of ice cream, pasta aroma, and motorcycle riding. They look like boys on the surface, they become sea monsters when they jump into the sea!

Enrico Casarosa directed the film, and he was nominated for an Academy Awards for the animated short film La Luna. Andrea Warren is the producer ("Toy Story 3"). It will be held on June 18 this year. Released in North America.

Looking forward to the sun, blue sky, and waves this summer, go to an Italian seaside town and experience the wonderful summer trip of the sea monster boy. This will be the best summer!

Enjoy the new trailer of Luca!

Wish Dragon Will Be Released on Netflix Internationally


Animated Films

Receiving cumulative revenue gross of US$20 million at the Chinese box office, Wish Dragon, the first original feature developed and animated by China’s Base Animation, co-financed by Sony Pictures Animation, hit Chinese theatres nationwide on January 15th and will be released on Netflix internationally later this year.

The film was written and directed by Chris Appelhans, starring Jackie Chan, telling the story of Din, a working-class college student with big dreams but small means, and Long (Jackie Chan), a cynical but all-powerful dragon capable of granting wishes, set off on a hilarious adventure through modern day Shanghai in pursuit of Din’s long-lost childhood friend.

New Trailer for Raya and the Last Dragon


Animated Films

Walt Disney Studios Drops New Trailer and Images for ‘Raya and the Last Dragon’, will be in theaters and on Disney+ on March 5th, 2021.

“Raya and the Last Dragon” takes us on an exciting, epic journey to the fantasy world of Kumandra, where humans and dragons lived together long ago in harmony. But when an evil force threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, that same evil has returned and it’s up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. However, along her journey, she’ll learn that it’ll take more than a dragon to save the world—it’s going to take trust and teamwork as well.

“Raya and the Last Dragon” features an outstanding voice cast, including Kelly Marie Tran as the voice of the intrepid warrior Raya; Awkwafina as the legendary dragon, Sisu; Gemma Chan as Raya’s nemesis, Namaari; Daniel Dae Kim as Raya’s visionary father, Benja; Sandra Oh as Namaari’s powerful mother, Virana; Benedict Wong as Tong, a formidable giant; Izaac Wang as Boun, a 10-year-old entrepreneur; Thalia Tran as the mischievous toddler Little Noi; Alan Tudyk as Tuk Tuk, Raya’s best friend, and trusty steed; Lucille Soong as Dang Hu, the leader of the land of Talon; Patti Harrison as the chief of the Tail land; and Ross Butler as chief of the Spine land.

Learn more:

A Sharing of How to Make of Disney/Pixar’s “Soul”(3)


Animated Films

Fox Renderfarm, as the best-animated film render farm, will still shares with you the process about how to make Disney/Pixar's "Soul" by 3d artists Carldrifter. And this is part three of the article.

  1. Create volume

The staff uses Houdini to create the volume of each frame and provide the IDshader with volume-type signals. In order to ensure that the animation can correctly read the translucent volume information, most of their workflow is based on the camera. Each character is composed of several separate volumes; most of these volumes will have partial or complete self-masking, which can create a cleaner effect without layering. For example, the teeth and tongue are precisely cropped based on the camera to match the movement of opening the mouth. The eyeball is a surface model, not a volume, so we create a mask map instead of cropping the eyes.

Other material features such as eyes, eyebrows, cheeks, and lips are volume objects; many are projected from the camera. They use this to adjust the color and shader and adapt to the shader. We then calculate the corresponding volume normal based on the surface model normal and the camera projection. For the soft normal volume, they converted the surface to SDF, extended the SDF, added an average blur, and then converted the SDF back to the Surface to get the smooth normals mapped back to the original model.

For all backgrounds and other roles in the soul, the staff created the Houdini network to achieve this effect, such as the two roles on the right in Figure 1. They only need certain specific controls. Because each role has its own specific form, most of them share the same topology, which can greatly carry out batch linear management. The same applies to the soul cluster role of the remaining clusters.

For the production of expression lines, the left and middle in Figure 4 are extruded to generate extrude based on the camera directly through the original mesh. For the contour line, the dot product between the model normal and the camera angle is obtained.


Their Houdini network generates many precise volume channels. This requires a lot of and frequent calculations. So a system called Houdini export was created to realize batch parallel data calculation in the rendering farm. The system can be highly adjusted, allowing different departments to make different precision arrangements according to their needs.

In the early production, character artists used Pixar's existing visual effects process. visual effects artists also use volumes that require a lot of calculations. They have developed parallel calculations and work methods for large amounts of data storage. Other departments export a USD file with animation, each frame is stored separately, but this cannot be used immediately in parallel processing. Because there is a race condition when the file is written out. In turn, Pixar's visual effects artists used the tool USD Stitch Clips to stitch each frame into USD value clips.

A Sharing of How to Make of Disney/Pixar’s “Soul”(2)


Animated Films

This time, Fox Renderfarm, as your best cloud rendering service provider, will still shares with you the process about how to make Disney/Pixar's "Soul" by 3d artists Carldrifter. And this is part two of the article.

  1. Look Dev

The setting of the soul is similar to the light and shadow effect of prisms for light reflection. The difficulty lies in creating a balanced appearance between softness/lightness but with sufficient clarity so that shapes and expressions can be easily recognized. This is to ensure that the character achieves 3S effects while not being overly hard-surfaced.

They wrote a custom material node, IridescenceDriver or IDriver, to achieve the purpose of the dual Henyey-Greenstein volume shader to achieve this non-real lighting effect. In general, the IDriver material reads a custom color through the model normal to set the color of albedo, which is used to set fake diffuse and specular. In order to make the character look softer, the normal details of the model are filtered out.

For the smaller and more complex shapes of the face, they modeled and set up animated lines to highlight contours or wrinkles.

The rigging also outputs lines to enhance the details of hair and clothes. They added contour lines to the characters' hands to enhance the recognition of gestures and actions, and make the actions clearer. This is the contour line extracted by dotproduct calculation through the vertex normal direction and the camera angle direction. The animator has additional parameters to control the visibility, density and thickness of these lines.

The protagonist Joe has some accessories to reinforce its characteristic mark in the soul world. For example, his hat is like a part of his body, so the effect of the hat looks the same as the body. However, although his glasses are necessary, they are inanimate, so they are colorless. The hard edges of the glasses keep it translucent and have obvious readability. The hair of the crowd soul in the background is also set like Joe's hat, and most of the accessories are desaturated with a little rainbow color, such as Joe's glasses.

A Sharing of How to Make of Disney/Pixar’s “Soul”(1)


Animated Films

Pixar's latest movie "Soul" is an animated film directed by Peter Dougherty, dubbed by Jamie Fox and Tina Fey. The film tells the story of Joe Gardner, who dreams of becoming a jazz pianist, meets the world-weary soul 22, and they return to the real world to find the meaning of life.

This time, Fox Renderfarm, as your best render farm, will shares with you the process about how to make Disney/Pixar's "Soul" by 3d artists Carldrifter. And this is part one of the article.

Many audiences are curious about how the soul character in "Soul" is realized, which looks like volume, but how can the volume retain such a precise shape, including how to set up the binding animation? In fact, these are all technical challenges faced by Pixar.

I collected some information about how Pixar created such a form. I admire Pixar's challenge and breakthrough spirit.

The core process is to create a surface model to generate specific lines, such as contour lines and wrinkles → volume creation, that is a character is created by several parts of the volume → develop IDshader custom color shader based on normal control → USD cache rendering.

The core process uses Houdini. We can see in the detailed technical breakdown below.

The soul characters in Disney/Pixar's "Soul" all have a very special appearance, which is used to mark that they have entered a unique world. This setting brings many new challenges. Every production staff in the art department, including modeling, texturing, lighting in the VFX department, software development, etc. work together to bring these interesting characters to the screen. The world of "Soul" is abstract and ethereal. This requires a balance between visual clarity and design appeal.

Since the characters in the animation still use the surface for rigging and animation, a key challenge is to propose a new representation that meets our visual needs. In order to achieve the soft volume state and dynamically changing lines, the production staff established a system to generate this data in Houdini programmatically. They need to perform rigorous data calculations to get accurate values. They developed an automated system for managing this calculation in a configurable way while keeping the downstream rendering data in sync with changes in the character's performance.

GKIDS Drops English Dub Trailer of “Earwig and the Witch“ with Theme Song Debut


Animated Films

Earwig and the Witch, the first 3D CG animated film from the legendary Studio Ghibli is directed by Goro Miyazaki and produced by studio co-founder Toshio Suzuki. GKIDS, the acclaimed distributor of multiple Academy Award®-nominated animated films, unveiled its English dub trailer for legendary animation house Studio Ghibli's latest feature, EARWIG AND THE WITCH.


Growing up in an orphanage in the British countryside, Earwig has no idea that her mother had magical powers. Her life changes dramatically when a strange couple takes her in, and she is forced to live with a selfish witch. As the headstrong young girl sets out to uncover the secrets of her new guardians, she discovers a world of spells and potions, and a mysterious song that may be the key to finding the family she has always wanted.

The new trailer features the world debut of six-time Grammy-Award winner Kacey Musgraves' English language cover of the film's original theme song, “Don't Disturb Me.” It also highlights the voices of the English language cast which includes Richard E. Grant (Can You Ever Forgive Me?, Gosford Park), Kacey Musgraves' first vocal acting role as “Earwig's Mother,” Dan Stevens (Eurovision Song Contest: The Story of Fire Saga, FX's Legion), and Taylor Paige Henderson as “Earwig.” GKIDS also released today its English subtitled version of the EARWIG AND THE WITCH trailer, in the original Japanese language.

Earwig and the Witch is slated to air on NHK in Japan December 30, 2020. GKIDS will release the film in North America in early 2021.

Raya And The Last Dragon Will Be In Theaters In March 2021


Animated Films

Raya and the Last Dragon, produced by Walt Disney Pictures and Walt Disney Animation Studios, will be in theaters in March 2021.

In a realm known as Lumandra, a re-imagined Earth inhabited by an ancient civilization, a warrior named Raya is determined to find the last dragon.

Click and enjoy the trailer.

The Croods: A New Age is set for release in theaters on November 25, 2020


Animated Films

See what is ready for your Thanksgiving!!! The long-awaited The Croods: A New Age (also known as The Croods 2) is set for release in theaters on November 25, 2020. As the next evolution of cavepeople comedy-adventure produced by DreamWorks Animation and Universal Pictures, it tells a story that the prehistoric family the Croods are challenged by a rival family the Bettermans, who claim to be better and more evolved.

👇Click and enjoy the trailer.

Studio Ghibli Announced CG Animated Feature ‘Aya and the Witch’!


Animated Films

Studio Ghibli announced their first-ever full-length CG animated feature ‘Aya and the Witch’!

The film is based on Diana Wynne Jones' 2011 children’s book Earwig And the Witch. Hayao Miyazaki is once again responsible for planning the project with his son Goro taking on the role of director, lauded Ghibli producer Toshio Suzuki will also be overseeing the project. According to reports, Aya and the Witch will not be seeing a theatrical release but will rather be premiered on Japanese television channel NHK sometime this winter. It is currently not clear how Studio Ghibli’s first CG film will be released internationally.

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