Art Wanted! Featuring: Fellipe Beckman

Monday, October 10th, 2016 by N. Herget


Fellipe Beckman submitted this fluffy companion to our “Art Wanted” campaign. He took the time to share his experiences with RebusFarm and Ephere's Ornatrix (newly also supported for Maya at RebusFarm) amongst other things. Enjoy!

Hey Fellipe, just tell us a bit about yourself! Where are you from, how did you start out working digitally, what inspires you?

I was born in São Luis of Maranhão, a town in the northeast of Brazil. In my teens, I really liked drawing and dreamed of working with comic books once. Having seen movies like Jurassic Park and Toy Story, the magical world of visual effects took a hold on me even up to today. I would have loved to work on Toy Story 2 or 3 myself, just because these movies are amazing!

The digital tools more and more kind of replaced my traditional side, but it meant a big step for my artistic development.
So, after a complicated and ever-changing period of time, in 2004 I finally started to professionalize.
However, I do not my consider myself an artist. My job is like any other, the difference is that I'm having fun while doing what I passionately love.

Concerning inspiration, I'm mostly inspired by things that I just can't put into words. When it comes to a personal project, I enjoy doing things that will challenge me. My creative process is simple, I like to spend some time researching references, watching movies. Everything is a font of inspiration.

What are some of the projects you have worked on or clients and studios you've worked with?

I recently worked for Studio Roof from New York on a TV commercial for Honda. Thanks to my great friend Rafael Ghencev who invited me to the project, I worked in the modeling and texturing of the environments.
Apart from this, there are a few other projects I can't talk about because of contractual reasons.

What would be your main advice to someone who wants to start a career in digital art?

Expect it to be a long journey, full of ups and downs, stay focused and always critical with your own work.
It took strength and endurance to achieve this dream and still this path seems lengthy and not easy.
Also: Stay humble. The simple fact we are doing art doesn't make you or me better than others.

As your portfolio shows, you seem to be on the fluffy side of the 3D community ;)
What challenges you most about hair and fur grooming in 3D?
What are your experiences using Ephere's Ornatrix? RebusFarm just recently started to support it for Maya also.

Thanks for this cute portrayal of my work :D
There was a challenge regarding hair and fur only in the beginning. Using Ornatrix, all the tools are right there and you just need an understanding of how hair and fur works in real life to put it in CG.
Ornatrix is a powerful tool, Marsel ( Marsel Khadiyev, Cofounder and CEO of Ornatrix) has done an incredible job and I had the pleasure of accompanying the development of the 4th version during my time working with them.
Besides, I usually work with 3Ds Max, Zbrush3D Coat and Photoshop.

Having used our render farm service for rendering the bear, tell us about your experiences. What would you say are the advantages of using our render farm?

RebusFarm saves me a lot of time! The technology behind it is just amazing, you have to use it yourself to see how amazing it is!
The project itself was a 3-nights-challenge. I wanted to create something within a short period of time and apply things I was studying at the time.

Is there anything else you'd like to add?

Just want to thank the RebusFarm for this opportunity, you guys are doing an amazing job.

Thank you, Fellipe!

You'd like to join our Art Wanted campaign? Send in your work, rendered at RebusFarm to This email address is being protected from spambots. You need JavaScript enabled to view it. ! Check Art Wanted for details.

3D Artist of the Month October 2016

Saturday, October 1st, 2016 by N. Herget


New RebusFarm 3D Artist of the Month in October is Léandre Hounnaké from Lyon, France.

His winning image of a Southern Ground Hornbill impressed our team and the community by its stunning level of realism!
Léandre is a professional 3D artist and co-founder of CG studio PIXEL 23. He is specialized in hyper-realistic illustrations for advertising, product and architectural visualisation.

Please check out his portfolio on Behance and read below what it takes
to create those awesome images!
Also, check the bottom of the page to sneak peak into the future of the "3D Artist of the Month" contest! *

Hello Léandre, thank you for taking the time!
We'd like to get to know you a little better. Please, tell us about yourself, your art and your workflow.

Originally I graduated in law, but as drawing and painting always were a passion of mine, I decided to study at the Art School in Lyon. Art has always been a very important part of my life and this opened the door to the world of graphic imaging for me, especially in 3D. Overall, it further trained my eye to improve my skills as a concept artist.

Generally, my eyes are my main "tools". Working in the field of photorealism, careful observation of the real world and research are very important in order to achieve high-grade realistic results.

Concerning software, I mostly work with 3ds Max which I've been using for 8 years now. I also use V-RayCorona Renderer and KeyShot as rendering engines. I finalize the images in Photoshop.
Mudbox and Sculptris also make up my precious arsenal of tools when it comes to adding details and certain complex textures.

Why did you choose the "Southern Ground Hornbill" as a subject?

I love nature and I'm passionate about animals, birds in particular. As a kid I even wanted to be an ornithologist!
The biggest challenge in creating this image was of course making the bird look as realistic and natural as possible.

Have you already rendered at RebusFarm ? What do you like about RebusFarm?

Up to this point, I haven't had the chance to work with RebusFarm, yet. Thinking about it, it seems to be a very interesting option, though.
The rendering stage is the most time consuming part of the production pipeline for a lot of 3D artists and studios, lacking the proper hardware resources.
RebusFarm gives the opportunity to significantly reduce rendertime at an affordable cost.
I'll definitely take using RebusFarm Render Service into consideration for the future!

Furthermore, I greatly appreciate the opportunity RebusFarm gives artists all over the world to promote their work by the "3D Artist of the Month" contest.

You thankfully provided detailed Making-Of material also! Let's see the Southern Ground Hornbill evolve, step by step.

Having decided on the concept, I spent quite some time collecting a lot of reference images.
This gave me a feeling for properly working out every aspect about sculpting, texturing, shading and lighting.

I started this piece in Sculptris. I love this software because it's free and simple to use. It feels like working with clay, really natural. You almost forget about the technical things. I did the retopology in 3ds Max.


Mesh / 3ds Max

After  retopologizing the mesh, the bulk of the sculpting was done in Mudbox. I love it for its simple uncluttered interface.
On this new mesh I started refining and sculpting details because it had clean topology and UVs.
Sculpting was real fun, and so was the texturing.

Sculpting & texture / Mudbox

As mentioned before, the biggest challenge in creating this image was getting the bird look realistic and natural. I really enjoyed the texturing process and creating feathers and so on, I couldn't stop perfecting it.

Feathers / 3ds Max Hair&Fur

Creating the feathers I used Hair&Fur and I put Vray Material inside Hair&Fur mr Parameters. Additionally I used Multiscatter to distribute the feathers. I rendered it directly in V-Ray.

Thank you, Léandre!

* There can only be one winner but the concept of the "3D Artist of the Month" the way it is now leaves too many high-level works unmentioned! We want to change this and we'll rethink the concept of the competition. We'll let you know soon!

You want to be our next featured 3D Artist of the Month during the upcoming month and win 250 Renderpoints? Then, just visit our facebook page, upload one of your self-made 3D images and send us a personal message containing your email address. We'll choose the best image and contact the winner.


Art Wanted! Featuring: Bryan Talkish

Wednesday, September 7th, 2016 by N. Herget


Over the last few weeks you might have noticed, we have the new “Art Wanted” campaign up and running!
Joining forces with our community, we want to show & share what we can achieve together, with each other at their best!

This time, we'll take Art Wanted a step further, as we'd like to introduce to you talented RebusFarm user Bryan Talkish from Already been chewed studio a little bit closer.

Check out his Art Wanted submission "Bog Scallops" — a personal project rich in detail and with a funny story behind, rendered at RebusFarm:

You can also find Bryan on behancevimeo an instagram.

Despite his tight schedule, thankfully he found the time to answer some questions about his personal background and the story of "Bog Scallops".

Bryan, thank you so much for giving us an insight on your work and who you are. So, let’s go way back. Where were your born and raised? What was young Bryan like  and how come he became a digital artist in the end?

I was born and raised in a small town in Northwest Pennsylvania. Young Bryan was an outdoorsy kid — catching fireflies in the summer, and sledding in the winter.
I remember drawing a lot, keeping sketch books filled with drawings ranging from landscapes, to characters inspired by the old-school marvel universe, to sci-fi scenes inspired by NES box art.
It wasn't until later when I got my first computer that I found my fascination with the digital world.
I recall buying a bare-bones editing software that was more for audio than video, but it came with an importer that allowed 320x240 clips on the timeline.
I kind of hacked it to export very low res mpegs and avi files. From here I collected clips from my favorite movie scenes and edited them into trailers, or cut a sequence of drawings together to form animations. I think this was the very early steps into where I am now.

Fast forwarding several years, after graduating with a BFA in Cinema and Digital Arts, I started working as an editor at a production studio located in Pittsburgh, PA. The job was part-time editorial at first, but it soon became a full-time position with motion design work added into the mix.
When After Effects came into the picture I shifted gears to design and animation. The software gave me more creative freedom and opened up a lot of doors into the motion, design, and VFX world that I wasn’t getting from an editing standpoint. It created this realization of where I eventually wanted to end up — working with 3D.

I remember becoming overwhelmingly inspired by artists posting their work to sites like vimeo and behance, and reading behind-the-scenes articles on community blogs and in magazines.
The research inevitably brought me to my true software of choice, Maxon’s Cinema4D. It was at this point that I saw how 2D, 3D, and post compositing worked so closely with each other in the production workflow.
Over the years of venturing through the world of motion and design as a full-time and freelance artist brought me to Dallas, TX where I work at Already Been Chewed as Lead Motion Designer.
Here we create visuals for clients such as Nike, Nixon, and Vans, to list a few.
One of my favorite campaigns I’ve worked on in recent history was the Nixon and Star Wars collaboration. Nixon had sought out Already Been Chewed to create a full animation campaign showcasing their new line of watches revolving around the Star Wars universe (C3PO, R2D2, Vader) .
We worked closely with Nixon and Lucasfilm through the whole creative process, developing several animated teasers and trailers to promote the light and dark side sets.

In my spare time I continue to work on self-initiated projects when an idea sparks, ranging from :10s micro shorts to longer animations between :30s and :60s.
Doing this allows me to get things out of my head, flex some ideas, play out scenarios, and creates this nice contrast between client work.

How would you describe your art style?

I like to keep my art style flexible, on it's toes, and ready to tackle the challenge of whichever style a project calls for, whether that be a 3D cel animation feel, in the realm of detailed-realistic, or even stop-motion. I don't see myself as someone with one distinct art style, but more like someone who can assess the techniques involved to get a certain look, then put it into action. I can say I do enjoy 3D surrealism and the stark graphic novel look.

What movie/and or game from the past do you wish you had worked on and why?

There's a beautiful game that was recently released called 'Inside' by PlayDead games. The artistry involved is absolutely stunning. The style has this dark storybook feel that creates an unsettling, yet luring sense of mystery during urgent and dire situations, and at the same time a certain stillness or calm. I found that the frame compositions, colors, use of light, and rich atmospheres led my eye to exactly where the creators intended me to look at any given moment. It's really cinematic. The way events unfolded, and the way the camera followed characters through this world allowed players to stop, look, and appreciate the art behind it.

Is there something you are currently working on or are excited about starting, that you can tell us about?

There are two projects I'm working on right now that I’m pretty excited about. I can't go into too much detail, but one revolves around virtual reality and the other is a super short involving volumetric fog, clouds, and wind streams careening off, flying by, and enveloping a high speed car in a stark, retro inspired style.

An early concept frame from 'Abyss Vaulter'

You used our render farm service for rendering this project. Have you used RebusFarm before and what are/were your experiences. What would you say are the advantages about using a render farm?

In the past I relied solely on network rendering and single machine rendering. As the projects grew in scale I saw how taxing it was not only in time needed, but on the machines themselves. Rendering put them in high-temperature situations over multiple days and nights, creating a massive strain on each one. Rebus freed them of that intense sprint to the finish line and shaved days off the turnaround.
One of my favorite aspects of using Rebus is the plugin. Sending scenes to the farm and then getting them back is a breeze. It’s incredibly helpful to see which files are uploading and which files are downloading as they render in the corner pop-up screen. A nice real-time feature. It reminds me a bit of dropbox.
After crunching some numbers on 'Bog Scallops' and coming up with some lengthy render times, it was pretty clear to go with Rebus for the rendering. I didn't want to put my machine through the gauntlet over that much time, so I uploaded all the scene files and had the entire project rendered in a matter of hours.
At Already Been Chewed, we looked towards Rebus' services to render some of the Nixon x Star Wars collaboration spots. Going this route lifted the render-time versus deadline scenario. We researched a couple other render farms beforehand, but once we tested Rebus, it was a unanimous decision.

Thank you, Bryan!

Now, back to "Bog Scallops" and its making-of. As we already mentioned, there is a nice story behind.
Let's follow this trip from the depths of the sea of inspiration up to
the final result.

The origin story of Bog Scallops is on the ridiculous side. It began after a conversation about a menu item (sea scallops) unexpectedly escalated into the questioning of what other types could exist if not from the sea. This, in turn, somehow evolved into a story about a rare species of mollusk found only in the remote reaches of swamp-like climates that were said to contain a powerful alternate energy source. An energy source so potent that just one could power an entire city for years.
The conversation ended there, but I couldn't shake wanting to see this story happen in some form.

Before jumping into the software I created a sequenced shot list describing the action in each frame and the type of camera angle/move. After I locked down the shots, I started designing key elements, such as the main characters and important objects from sketches I had mocked up.
I remember starting with the boat because it was the easiest to visualize trolling through the lit-up bog and would create a nice center point for the following elements. I then moved onto creating the environment — first underwater, then above, placing the boat I had created into the scene to get the right scale.
After this came Bob, the robot caretaker, and so on. When all the main elements were designed and ready for final placement, I created a series of style boards for all the key moments. With these finished and in the can, I finally moved onto animation.

The animation process was divided into 2 types of files: The master scene/shot file that acted as my final render, and sub-scenes, which contained only the objects that needed to be animated and any objects that interacted with them while keeping everything else out. This allowed me to preview the animations much faster in my viewport, make detailed changes, and then transfer them into my master scene —swapping out the static objects with the animated ones.

After Effects compositing

Preview Scenes

When all the scenes were animated and previewed as a full lo-res edit in my timeline, I sent them off to Rebus. After getting them back I swapped the lo-res preview renders out with the hi-res, applied all the compositing, and kicked out a final.
The final was then sent out for sound design — done by my friend and partner in crime, JM Cifonie, who has been doing all the audio for my animations for the past 4 years. Along the way I sent him style boards and preview animations so he could get a feel for the scenes. This helped him create, prepare, and collect sounds while the project progressed.

You'd like to join our Art Wanted campaign? Send in your work, rendered at RebusFarm to This email address is being protected from spambots. You need JavaScript enabled to view it. ! Check Art Wanted for details.

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3D Artist of the Month September 2016

Thursday, September 1st, 2016 by N. Herget


New month – new Artist of the Month at RebusFarm! Rostislav Nikolaev from Moscow is September's lucky winner.

He originally created his winning image for the architectural rendering competition “Project Soane” earlier this year.
Given only a simplified 3D model of the building, Rostislav and his team created their version of the Bank Of England – built by Sir John Soane at the end of the 18th century and won Best Video! Congrats!

As it's always interesting to know the story behind, we asked Rostislav to tell us something about his background in general and his amazing project.

Rostislav, thank you for taking the time! We'd like to know more about yourself and your work. Your skills, what kind of subjects you like most to create in 3D, your experiences and so on. Go ahead!

Thank you! I started working in 3D visualization by the end of 2010. I got an architectural education but unfortunately, the institute didn't really inspire me to become an architect. Anyway, I've always liked to make beautiful-looking projects, so I got into learning visualization. Finally, I moved to Moscow to start working full time.

At the same time, I studied at the State Of Art Academy in Italy, which inspired me to officially found my own studio.
This enabled me to do both, commissioned work and my own creative projects.
In the studio, we offer all kinds of services, concerning the field of 3D: exterior and interior visualization, videos, 360° panoramas, interactive visualization with a full immersion in Unreal Engine.
Please, check our portfolio on Behance and Vimeo.

Personally, I'm into doing the small, natural details. Enriching a project with this breath of life it takes to become even more realistic.


Let's now talk about your winning image. Which software did you use for the work? Is there something special to mention about the creation process and the programs?

We used a standard set of programs to keep the workflow smooth: 3dsmax, Corona, Adobe Photoshop and Adobe After Effects, that's it. Concerning the process of creation, we wrote a small making-of on Behance, check here.

What is the idea behind the picture you've handed in for our Artist of the Month contest?

As usual, I did an extensive research, as I wanted to create a very detailed visualization. I looked up archival photographs and drawings, watched movies. I even played “Assassin Creed Syndicate” as it has one mission to be completed in the Bank of England.
To memorably distinguish my works from others', I filled the hall with ghosts and animals and flooded it with water.
I like to see historic architecture being put into modernized contexts, as e.g. “La Iglesia Skate” in Spain.


For the video, I originally had the idea of a ray of light, sliding over the architecture. Making it new and renovated instead of old and abandoned. But there was just not enough time for this. The main task was a straight reconstruction, so my final video doesn't have this memorable “twist”.

You've worked with Rebus Render Farm in the past. Please tell us more about your experience. What do you like about rendering at RebusFarm?

We've worked with RebusFarm a couple of times as big projects always need to be rendered fast. We use top assembled computers which do not have enough capacity for large projects, though.
Fortunately, there's RebusFarm. You can always run a test render in advance and see if you set up the scene correctly, which is very convenient. I like the fact that everything is automated, the entire process can be monitored online constantly.

In conclusion - is there anything else you'd like to add about yourself and your projects?

About a year ago, I participated in the competition "Vineyard”, wherefore I studied Unreal Engine.
I'm a fast learner and I really like this program.
Interactively walking through your project is amazing. Especially with virtual reality glasses by Occulus Rift - I did not expect the effect of the glasses to be so realistic. So now in the studio, we can also implement projects in Unreal Engine and virtual reality.

I always wonder how other visualizers manage their personal projects. I know myself that in the middle of doing a commercial job, there are no resources (time, energy, inspiration...) for personal work. For me, each personal project means working a few months in the evenings and at weekends. I'm very lucky to have my wife supporting me. She also works in the studio and tolerates all these crazy schedules.

Coming back to the “Project Soane" contest, working on it was extra-challenging for me, as I was also preparing for a big triathlon! :D

Thank you, Rostislav!

You want to be our next featured 3D Artist of the Month during the upcoming month of October and win 250 Renderpoints? Then, just visit our facebook page, upload one of your self-made 3D images and send us a personal message containing your email address. We'll choose the best image and contact the winner.


3D Artist of the Month August 2016

Monday, August 1st, 2016 by Nadine Obst


We´re pleased to inform you about our 3D Artist of the Month August 2016, the very talented Fabian Flenker with his magical image of a girl riding a bee.

Fabian is a 26 year old 3D artist and motion designer from Germany. From a young age he wanted to express his ideas and creativity, wanted to make it touchable and share it with others. Initially, it was wild tinkering and mostly pen and paper were his tools. Then later, these tools were often replaced by spray cans till he finally discovered Photoshop. He first started with composition and stop motion clips till there was a "Big Bang" at an age of 19 years. He attended his first 3D animation course and soon realized that this is what he wanted to do in the future. He told us that he´ll never forget the first time he rotated a simple cube in Cinema 4D. The same evening he downloaded the trial version and watched tons of YouTube tutorials.

After the first small successes the next few years Fabian continued his education always driven by his passion: "Gradually I improved my skills, got some bigger projects and the chance to work for top brands. Today I turned my passion into a career and do work as a full-time 3D artist for the design agency "ideengestalter" and also as a project based freelancer. Sure, after some time there is a basic knowledge, but what I love about my job is that it is so versatile that each new project is accompanied by new technical challenges. Maybe that´s the reason why this job is so exciting. You never stop learning, never stand still."

Fabian also told us that Maxon, the creators of Cinema 4D, are using some of his artwork for their marketing material. And by the beginning of this year he also won the "German Design Award" for his showreel created at "ideengestalter". He was definitely surprised: "The project, which makes me the most proud is the one I did for Adobe last year. The guys of Adobe asked me to make a customized 3D artwork for their 25th Anniversary TV commercial. It was really a lot of fun to work with them and see my work showcased next to the ones of the world´s top artists!" 

In 2016 he took the spare time to start a new personal project: "I took all the spare time to put my focus on product design and founded the label looma. The job as a 3D artist is great, but if you always design keyvisuals or doing some animations there is only an digital output or a flat print. But to see your 3D designed object in real life, to feel it and hold it in your own hands, this really brings a different aspect to it. It´s really nice to create innovative new products and continue using my 3D skills for the construction or website renderings."

We asked our 3D Artist of the Month August to tell us about the creation process of his winning image: "I mostly used Cinema 4D (Bodypaint 3D, Sculpting, Vray for C4D) and Photoshop for post production. Next to the daily business, it´s sometimes nice to do your own thing. This specific project was initiated as a spare time project. I wanted to make something completely different with lots of modeling and texturing work included. Something quite colorful and fantasy like. After my daily journey through the artwork on Behance and some quick scribbles the idea of my image "Wonderworld" was born. The project was splitted into different phases. Each element was modeled and textured as a single piece."

"First I started modeling the creature. A mixture of a motorcycle, airplane and a bee. For modeling anatomical parts I took many reference images from the web. After the basic shape of the bee was finished I added the details like the seat, engine and the wings. The second part was the girl riding the bee. I had a short shooting with my little sister and took images of her head and face as modeling reference and for painting texture maps. The basis mesh was adjusted using C4D sculpting tools. To make her movable I built a simple character rig."

"As one of the last steps I created the environment, modeled many vegetation objects like mushrooms and stones. And for the light setup I used a simple sun and an hdri for more depth. I also used some models of libraries like Evermotion.

All in all I cannot say how many hours I spent on this project, but there were many long nights with only me and C4D, spread over many weeks. I was so happy when I finished each single model and scene and was finally able to celebrate the wedding of each separate component." 

The image was created last year, but Fabian never had time to publish or share it in a reasonable way, so he chose to enter our 3D Artist of the Month contest at last: "I thought this contest would be a great opportunity for me to share details about my work with the RebusFarm community. I often receive the newsletter from RebusFarm and read the winner interviews of this contest. It´s always nice to see the work of other artists and get a closer look into the making. And I am a huge fan of your service. I have used your render farm for some years now. As a new user I received some free Renderpoints and when I first rendered I was really amazed about the easy installation and fast rendering. For me as an first time user the speed was inconceivable and opened whole new possibilities. Today I still use your service for commercial projects with tight deadlines. Renderings like 30000x10000 pixel or animations: No problem for Rebus! And if my clients understand the process and necessary power needed for 3D visualizations, there is also no problem to forward the render costs. All in all: Great support! Fair price! Fast rendering!"

You want to be our next featured 3D Artist of the Month during the upcoming month of September and win 250 Renderpoints? Then, just visit our facebook page, upload one of your self-made 3D images and send us a personal message containing your email address. We'll choose the best image and contact the winner.