Art Wanted! Featuring Juraj Talčik & Veronika Demovičová

Monday, March 13th, 2017 by Julian Karsunky

Today it’s our great pleasure to give you an insight into the work of Juraj Talčik and Veronika Demovičová, the equally charming and talented couple behind Talčik & Demovičová, the renowned digital boutique specializing in high end photorealistic imagery of contemporary architecture and design. Hailing from Bratislava, Slovakia, the 3D-duo has quickly gained a reputation for their stunning visualization and keen eye for detail, currently sporting over 35k likes on Facebook. For our Art Wanted! feature, Juraj and Veronika talk about managing their own studio, real live and digital sources of inspiration and “PC monkeys”.

First and foremost, thanks to the both of you for taking the time to talk to us about your work! Together you founded and are now successfully running “Talčik & Demovičová”, your very own studio. Considering the collaborative effort required, how do you divide responsibilities between the two of you on a daily basis? 

Juraj: Most of the time it’s quite fluid, really! Generally speaking, Veronika is more of a designer, picking the pieces when we’re given free reign to do so, while I am more technically orientated, improving our workflow and doing research. On the creative side it depends on who is more involved in our respective projects, but she’s great in composition and I specialize in lighting and materials.

Veronika: I am also the one who makes sure the company runs well business wise and is paying taxes on time :-) Although we do have an accountant who helps with that kind of stuff. Juraj is the one who communicates with our clients. A big incentive for clients to work with companies of our size is that they get to talk directly to the very person who actually does their image, instead of going through a proxy like an account manager or senior partner who then gives the job to an intern.


Juraj Talčik & Veronika Demovičová

What were the biggest obstacles you had to overcome in your joint career thus far?

Juraj: With all the horror stories about “clients from hell” I often read about online, we consider ourselves very lucky for having always had great work relationships with our clients. But of course it’s never without complications entirely and educating clients often takes considerable energy. While most of them trust you enough to allow very smooth workflows, some might have very strong visions that are just not feasible or plain impossible to execute.
One of our most common peeves is coloring: Guys, I’m sorry, but it’s not possible to have that magical golden sunset mood and yet still have every material appear perfectly neutral like a D65 balanced swatch.

Veronika: Obtaining the necessary trust and freedom is crucial in finding success in any creative endeavour. The worst thing to happen to creators is when they let themselves become mindless button pushers or “PC monkeys” as I like to call them. There are also the occasional clients who think that they could do your job better than you, though thankfully in our field that’s a rather rare occurence.

Skypark by Zaha Hadid

Together you’ve managed to become household names in the industry, your work in contemporary architecture and set design is held in the highest regard. Since allegedly yesterday’s failures are today’s success, how did your studies go?

Juraj: I wasn’t exactly successful in finishing college, but it provided the necessary groundwork for me to build on later. I figured out where my focus lied rather early and spent all my time making images instead of studying. Eventually I started selling my services to some of my classmates. At the time, that felt revolutionary to me and it never devolved to a mere job since. More importantly though, it´s when Veronika and I became not only a couple but also started working together as well. It has always been a mutual effort between the two of us. We just „rebranded“ recently to make it more obvious.

Veronika: I pushed a bit further, actually finishing my architectural degree :-) Back then, juggling work and school projects at the same time was quite challenging. On top of that, a lot of my teachers looked down on my work, which often made me feel frustrated. So finally getting out and focusing purely on work was a great relief.


N°58 Classical Stockholm apartment

Nowadays both of you are also working as lecturers yourselves, imparting your extensive knowledge to aspiring 3D artists all over the world. What’s some advice you’d give to people just starting out in the field?

Veronika: Strive to create something that impresses a wider public than just the CGI community – you should aim higher than a scratched shaderball! It’s a very technical field, yes, but the primary focus should still be creativity.

Juraj: Today it’s simultaneously easier and harder for those new to CGI than it was back when I first started years ago.There’s a tremendous amount of resources readily available, ranging from in depth tutorials to assets as well as props, scripts and tools, so you can get up to speed much faster. On other hand, there’s less room for experimentation and discovery. Finding your individual approach through trial and error might be less efficient, but it certainly yields more personal and unique results. Notable examples of this can be seen in the works of today’s senior artists such as Marek Denko, who despite never having had access to any kind of tutorial whatsoever, keeps publishing absolute jaw-dropping projects on a yearly basis. A majority of the industry in contrast seemingly uses a cookie cutter approach and produces works that while often technically excellent, are somewhat lacking in soul and thus ultimately just not very note-worthy.

What subjects in CG do you like the most? Which software do you prefer?

Veronika: I really enjoy when our CGI work overlaps with the real world, especially in relation to interior design and photography. When we get to pick pieces to populate our scenes, choose a theme for it and shoot in the field: references, hdris, backplate photography – all that good stuff. Lately we’ve been experimenting a lot with photogrammetry, scanning complicated props to make the scenes feel more natural.

Juraj: I like technical development a lot, how we’re getting exceedingly closer to realism and interactivity. My original inspiration for going into this field was my lifelong fascination with computer games and the imaginary worlds therein. For me, that has always perfectly matched with architecture and we’ve been seeing more and more of it lately, with architects advising or straight up building the environments for games and movies. So real-time in general is very exciting to me. It’s not something we’re fully concentrating on quite yet though, as there’s still so much to learn and to do with classic still imagery.

Talking software, Corona Renderer is what continousely makes our life easier. I’m also a big fan of Unreal Engine and am awed everytime a new update is released.

As avid users of our rendering services, what has your overall experience with RebusFarm been like so far?

Juraj: RebusFarm is great in that the entire process of using a renderfarm is really user-friendly. You don’t have to concern yourself with manual FTP uploads, calculating costs and similar inconveniences. Any time and effort saved on the technical side is a big plus in my book. Used in conjunction with a renderer like Corona, the plugin pretty much becomes a one button solution.

You can also shoot them an email at 2 AM on a Sunday night and receive a reply within 5 minutes…only to realize it was a user error :-).


Classical Apartment by Jessica Vedel

Previously you’ve mentioned creating your own video tutorials in the near future. How are those plans coming along?

Juraj: Yeah, well that :-) Sadly, when it comes to projects such as this one, my „near future“ commonly becomes “a long time”, as the goals I set for myself are so dauntingly high that they ultimately deter me from starting. It’s just so much easier for me to keep answering shorter, more singular topic requests in forums or messages. I still want to do it though…I think I’ll just stop making promises and refrain from talking about it altogether to not embarass myself further.

Any other upcoming projects you’d like to talk about?

Veronika: While imagemaking will remain our bread and butter, we’re branching out with some new things on the side that are still tangent to CGI. It has to do with our hobbies and is the logical conclusion of combining the fun with the useful. Business is pleasure when you’re getting paid for something you would do regardless! Not giving away any more right now, but when the time comes, we’ll tell you all about it :-).

How to join Art Wanted!

You'd like to join our Art Wanted campaign, get featured on our blog and win 50 RenderPoints on top? Submit 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.

An interview with animator and director Richard Bazley

Monday, March 6th, 2017 by Nadine Obst

We got the chance to talk to award winning animator and director Richard Bazley about his latest movie, his career at Disney and his creative vision. His current project "Predawn" is crowd funded and all proceeds go towards homeless charities. RebusFarm really liked the idea and decided to support his altruistic endeavors. We’d be happy if our users take similar action and donate to his Indiegogo campaign

Hi Richard, thank you for taking the time out of your busy schedule. First of all, can you tell us about yourself and your work as an animator and film director, please? 

You’re welcome and of course! It has been and still is quite a journey. I started off in the film business many years ago when Disney was making "Who Framed Roger Rabbit?" in London. I did a test and was lucky enough to be hired as a so-called "inbetweener". There was so much to do, I was even animating some scenes by the end of production although I didn’t have the title at that time. After the film finished their studio in Camden closed and Disney wasn't going to bring me over, so I went to Don Bluth Studios in Ireland, which had been set up by a team of former Disney animators. After working on several films I rose up to "directing animator" and then Disney contacted me again and offered me a job animating on "Pocahontas" in LA. Their next film was "Hercules" and I was "directing animator" on that one, too.

You also worked as an animator on blockbuster movies such as "The Iron Giant" and "Harry Potter and the Prisoner of Azkaban". What was it like to work on such major productions?

Whilst at Disney I heard that Warner Bros were working on a film based on a book by Ted Hughes. I had pitched an idea based on the same book to Don Bluth whilst there but he had turned it down. When I heard about Warner Bros plans I was very curious, so I talked to them and Brad Bird, directo, and writer of "The Iron Giant" invited me to go over and see him. He pitched it to me and I was fascinated by his take on it. They offered me a role as directing animator and I went over to work on "The Iron Giant". Upon its initial release, the film flopped at the box office. Yet, thanks to DVD sales and word of mouth over the years, it is now considered a classic.

It was an interesting time in the animation business overall, to say the least. I had been a traditional animator until then. Pixar had just come out with "Toy Story" which was to ever change the landscape of the business."Osmosis Jones", the next film up at Warner Bros was a mixture of live action and animation. I worked on the character "Drix", a terminator character which destroyed viruses whose design was based on a pill. It soon became clear that due to the nature of the design, (a cylindrical character with a cross on it), it would be tricky to hand draw it. It seemed to make sense that it should be executed in CGI much like the Giant was in "The Iron Giant" with a toon render to make it fit with the rest of the characters. Up until then, I had only done 2D characters, so presumed I would be moved onto another character but was asked to be the lead instead! With just three months to go, I was trained in Maya and headed up a team of 20 artists. It was my acting skills they wanted and that seamlessly translates from 2D to CGI. It was a huge task but it gave me the CG skills I needed further along the way.

Fast forward a few years I was back in England animating as a freelancer on the "Hippogriff" on "The Prisoner of Azkaban" for the last few month of production. It was good to get yet another insight as to how a studio works, especially a live action production. It was around this time that I also started storyboarding a lot. Combined with my previous experiences, this significantly helped me move forward to directing. I’ve been steadily looking at "the bigger picture" more and more. I wanted to tell stories as a whole as opposed to, just concentrating on a few seconds here and there. Not that there´s anything wrong with that, it was just that my goals had changed.

What advice can you give young artists just starting their careers in CG and animation business?

Just soak it all up! Be a sponge. Learn something new each day. You can learn from the negative experiences as well as the good. I still think drawing is a great fundament even if you aren’t drawing as a CG animator. It can help you understand form, gesture, and movement. Life drawing, in particular, is a great craft to master. As an animator, you can never observe and people watch enough. I would often go down to Venice Beach to watch all the different types of people and sketch all day. 

What is or was your favorite software to use when animating? 

It’s amazing that someone like me even uses software. I come from a generation when you just had your pencil, a sharpener, paper and an eraser! So for me, it’s all about ease of use and the more intuitive the software the better. I am comfortable now with Maya and most of the CG packages when it comes to animating. Modeling and texturing I leave to the experts in this field. For storyboarding I love the intuitiveness of Sketchbook Pro and for assembling boards Toon Boom Storyboard Pro.

Now lets talk about your latest project "Predawn", "a love story set in the world of the homeless". What drove your interest in this particular subject?

I had been directing a short live action project in Bath with the renowned director of photography Gary Young. I was considering various opening shots for the beginning of the movie and found myself in Parade Gardens looking up at The Empire Hotel. In the foreground are the magnificent Colonnades. I could see what looked like a bundle of rags and noticed some movement. On closer inspection, I could see there were several sleeping bags where the homeless had camped. The contrast was shocking to me. All in one shot, luxurious rooms for the wealthy and below stone floors and sub-zero temperatures in the winter. It just got me thinking. So I started doing research. I stopped and talked to many of them and they all had stories. Gary and I also spent some time going into Bath and he took some magnificent portraits. All the homeless were very friendly, very personable and eager to share any information they had.

Can you go more into detail about the story behind "Predawn"?

It’s a simple love story set in the gritty world of the homeless. It’s a condensed portrayal of time, much in the same way as Danny Boyle´s "127 hours". A girl misses her last train home and decides to kill some time unaware of what a dangerous area she’s in. A young homeless lad offers to walk her to a local café where she will be safe. He has to attend to his dog on the other side of town and promises to be back early the next morning to walk her back to the first train. But he gets tangled up in a series of unforeseen events in which his dog is kidnapped, he is beaten up and even drugged. The movie has a suspense filled ending and keeps you at the edge of your seat all the way through!

Can you talk about your cast member Sam Kirkpatrick who has been homeless himself? I presume this has been an important part of the decision-making process. Why did you choose him in the first place?

Actor  & musician Sam Kirkpatrick AKA Sir Real
My directing partner Gary and I had been kicking around a few ideas. I had been doing some research and thought it would be good to have some music created by those that had been homeless. I came across a news article that included Sam Kirkpatrick and a music video he had done. It was very good. However, when I went to his soundcloud I discovered that he had numerous tracks which I thought were even better! I thought he had huge talent. Now normally I am a Classic Rock fan and don´t listen to Rap but something about his music connected with me. The words rang "true". Why? Because he had lived on the street, lived what he was talking about and I felt that. Music can be good whatever the genre and good music is good music. I just hope by making this film we can introduce Sam Kirkpatrick AKA Sir Real to a wider audience.

 

How can our readers support "Predawn"?

Donations to our Indiegogo campaign are as low as £1, so every penny counts. Also simply sharing the link or news and updates will help hugely. As a bonus, there are cool perks for everyone ranging from posters to software, computer bags, graphics tablets and original art. Some of the art has been created by top graffiti artists Zase and STEWY from Bristol, the capital of graffiti in the UK. There is even one perk where Zase has done a large piece of graffiti on cardboard so if you have a very large wall you could have your very own graffiti in your house!

Though the most important thing is to remember who we are doing this for. Homelessness is on the rise here and in many other countries. In the US it has gotten to an outrageous level but I believe here we still have time to turn it around and aim for zero homelessness. 

Graffiti Art by Zase
Graffiti Art by STEWY
Richard Bazley at the Emmy Awards
 

In closing, is there anything else you’d like to say? Are there other current or future projects you’d like to mention? 

I do hope people will have a look at our campaign and if it touches them to make any kind of contribution. You never know where it will lead. The last project I was involved in as a director was the crowdfunded "Lost Treasure Hunt". That went on to receive two Emmy nominations and won multiple awards including "Best Writing" at the "Shanghai (Magnolia) TV Awards".

"Predawn" is a wonderful low budget indie film. We have a lot of freedom on this one. We do have a number of other larger budget films in the works, too. One is "The Chimeran", a sort of cross between "Planet of the Apes" and "District 9" two of my favorite movies. This one will require a lot of animation and a lot of rendering as well!

However, for me, great films are those that move us, no matter the cost. Films for me are a way of reflecting life and if a possible way of enabling social change.

3D Artist of the Month March 2017

 Wednesday, March 1st, 2017 by Nadine Obst

Congratulations to the very talented Julien Accettola from France for winning our 3D Artist of the Month Competition in March 2017. His freshly emerged creature "Monsterfly" was sculpted based on a cartoon character "Lester" designed by CreatureBox for "Inktober 2016".

Ever since he was a child, Julien had a lively interest in video games and cinema. He became interested in 3D two and a half years ago. Although character modeling is his passion and he´s fascinated by comics and superheroes, he started with modeling 3D furniture at first: "Some day, one of my best friends got my attention on ZBrush, a software for digital sculpturing. This was a huge revelation to me! I never thought I´d be able to realize a sculpture thanks to a software. It really was like modeling with clay and since that day, I couldn´t stop working on creating different monsters and anatomical creations using my computer." Like many other artists, Julien is self-taught and learned a lot by watching tutorials, documentations and by sharing his experiences with the CG community. But his eagerness doesn´t stop there. He also recently started to study human anatomy: "This is rather difficult work, I keep learning every day in order to make my anatomical creations the most realistic possible." You can find his work on ArtStation and follow him on Facebook and Instagram.

As mentioned before, Julien is keen about using ZBrush for modeling. He also uses substance painter for textures and V-Ray and 3ds Max for depictions. Photoshop for compositing. He told us his image "Monsterfly" was very different from what he used to model before: "The idea of a cute but terrifying small monster just attracted me immediately. I wanted to place it in a basic 3D environment which was completely new to me. Normally, I only use simple backgrounds for my creations."

Julien told us that he used to be an IT specialist but hopes to make a living out of his passion in the coming years: "It is important to always question yourself and to accept the criticism and improve constantly. You should never give up even if what you may face is difficult. Especially, you have to preserve the fire in your soul, the passion, because it allows you to move forward and enhance yourself."

Thank you Julien and all the best for your future. We are sure there´s a lot ahead for you!

 

Scene 3ds Max


Texturing Substance Painter



Pass Vray compositing



Topology Zbrush

 

HOW TO JOIN OUR MONTHLY CONTEST

You want to be our next featured 3D Artist of the Month during the upcoming month and win 250 RenderPoints? Just visit our 3D Artist of the Month competition page and submit your entry. We'll choose the best image and contact the winner.


 

Interview with Marsel Khadiyev about Ephere's Ornatrix

February 13th, 2017 by N. Herget


RebusFarm's family of cooperation partners just grew by one more well-known member: Ephere's Ornatrix now comes with 100 RenderPoints per license!
We are happy Marsel Khadiyev, Ephere's CEO and founder was open to talk about the enthusiastically celebrated and powerful plugin.

Hi Marsel, thank you for taking the time! Tell us something about you and your work at Ephere, please.

My name is Marsel Khadiyev, I am the CEO and founder of Ephere Inc., we are a small company who specializes in making tools for the visual effects industry. Our focus is hair, fur and feathers creation, simulation and rendering.

How did it all start? What was the original idea behind Ornatrix? How long have you been in business?

Ephere started in 2003 when I was working in a small studio in Toronto as a modeler. I have been long interested in all aspects of realizing 3d characters. While working on 3d cartoons I realized that user-friendly hair was something both challenging and badly needed in the industry.

So I quit my job there and started Ephere. Immediately I worked on Ornatrix and a few other tools inside 3ds Max. I wanted to make a hair tool that closely fits in with 3ds Max' existing pipeline for polygons and curves. This meant it had to behave similarly to Edit Poly, Edit Spline, and other beloved 3ds Max gems. After creating and releasing the initial version of Ornatrix, I could see it being adopted and loved by the 3ds Max community.

Since then we released many new versions for 3ds Max and it is widely used by freelancers as large studios. We have also integrated Ornatrix into Maya, releasing it in the middle of 2016.

These past 14 years in business taught me a lot. They allowed me to gather and work in a tight group of very talented programmers and designers and to evolve Ornatrix with our other tools into something powerful enough to be in all kinds of productions.

What can you use Ornatrix for? What is special about your plugin's integration in Maya?

Ornatrix can be used to model, animate, and render hair, fur, feathers and even vegetation. It is designed to allow intuitive artistic control over the hair grooms while utilizing a non-destructive parametric workflow. We support hair creation from scratch all the way to the final production render with a bouquet of tools carefully designed and honed over time.

We carried over the Ornatrix philosophy and adopted it to work seamlessly within Maya. Each Ornatrix operator is a Maya node; you can use existing tools like the Node Editor to shape and rewire your grooms. For hobby users, we added a hair operator stack view which really simplifies the workflow. One can add and remove operators while being able to change any part of the groom at any time.



Which software & renderers does Ornatrix support? Are you planning to include more for the future?

Ornatrix fits into Maya like a glove. We support inter-operability with Maya's own tools like nHair and Nucleus simulations. We also seamlessly handle Maya curve conversion to hair and hair conversion back into curves. Ornatrix imports and exports into Alembic which makes it very useful as a part of a bigger pipeline. It also has a big exposure for Python and MEL so writing extensions and additional tools is easy.

We provide native support for all popular renderers such as V-Ray, Arnold, Redshift, Renderman RIS, Octane, mental ray and Maxwell. Ornatrix can be readily converted into geometry or nHair and work with any other rendering method as well. We have a very close integration with RebusFarm which I will go more into detail about below.

Currently, Ornatrix is available for 3ds Max and Maya. We are working hard on improving our tools with active development and support for our clients on these platforms. We would like to extend support for other software as well, however, we do not have plans for this at the moment.

Any special features you'd like to go more into detail about?

There are so many. I think the main strength of our products is their artist-friendliness. Whether you just want to add a basic groom to an existing model using our Grooms creator/generator feature, direct hairs interactively using our Surface Comb operator, or generate feathers and trees using our Mesh from Strands operator, Ornatrix has you covered.
At the same time, Ornatrix is designed to be extensible and versatile.

Head over to our website to find out more about the powerful toolset which we offer.



How easy can I place feathers, fur, and hair into my 3D scene with Ornatrix? How much effort does it take to create an authentic/realistic look & feel? Are there any limits?

The only limit is your imagination and familiarity with Ornatrix. Thankfully we offer plenty of tutorials in addition to our documentation to help with the latter. Head over to our website and our YouTube/Vimeo channels to see Ornatrix in action solving various problems.

You can start by simply selecting a surface, like a character mesh and use one of our presets to instantly create a groom for your character. The groom will contain needed operators and settings to achieve desired effects and can then be tuned to your liking. We have grooms for fur, hair and feathers. You can create custom groom presets as well from your existing hair models.

Tweaking parameters, combing and sculpting the hair using our brush tools and adding effects is all that is needed to create convincing, realistic hair.



What about the rendering process?

Rendering is a snap. All supported renderers should just pick up and render whatever hair you have in the scene.

Our collaboration with RebusFarm allows clients to render their scenes with Ornatrix hair quickly, efficiently and affordably.
Every new Ornatrix user receives 100 free RenderPoints to help them get started.
Due to RebusFarm's tight integration with both, 3ds Max and Maya, the rendering process is a breeze.



Who uses Ornatrix?

Many big name studios have adopted Ornatrix into their pipelines. Among them are Framestore, Disney Animation, Capcom, Blur, Rockstar Games, Platige, Ubisoft, Unit Image, Scanline VFXWB GamesSony Imageworks and much more.

Are there any special productions Ornatrix had been used for you can talk about?

Just about any project from Blur over the past decade utilizes Ornatrix for their stunning game cinematics. Their recent Elder Scrolls, Star Wars: The Old Republic and Halo Anniversary trailers are good examples. Ornatrix Maya has been most recently used in Resident Evil 7 spots by Capcom. Ubisoft also used Ornatrix for last year's Tom Clancy's: Division trailer.

To get a full list please see the „Made with Ornatrix“ playlist on our YouTube channel.

Anything else you'd like to mention?

We want to thank RebusFarm for their generous offerings to our clients and for being super quick in their support.
Having a render farm of this caliber improves the lives of many artists on a daily basis.

Thank you, Marsel!

Also check out our Art Wanted Feature with Ornatrix and RebusFarm user Fellipe Beckman!


 

3D Artist of the Month February 2017

 

Wednesday, February 1st, 2017 by N. Herget

 


New RebusFarm 3D Artist of the Month in February is NARRATIVE, a CGI studio from Australia! Congratulations!

NARRATIVE is based in Sydney and mainly focusses on architecture competition entries.
Check the studio's portfolio of stunning exterior ArchViz projects on www.narrative.graphics or Instagram!

The studio was founded by ArchViz artist Neil Paul, shortly after hustling through architecture school, holding a few jobs and spending long nights with 3ds Max and Photoshop.
Neil now is the studio's art director and we're glad he could find some time to talk about his winning image.

Dealing with open spaces visually transforms Neil's self-understanding as an artist the best way possible:
"I really like working on exterior scenes especially aerials, masterplans, larger architecture scenes and landscape architecture.
I think that it's hard to pinpoint a definitive subject with such images and the focus is open for interpretations. Everyone has a different take and I quite like this openness for interpretations."



Always keeping one's perception open, channeling every sensual input and melting it together in one image is the perceptible essence of the studio's works. Driven by a steady interest in learning and skilled with a fluid visual palette, every input emerges into these large-scaled and beautifully detailed projects.

When talking about "The Star Sydney" Neil's holistic approach in architectural subjects shows through once more: "It was important to me that the image had many focal points, multiple stories and clusters of activity as a city is a kaleidoscope of countless experiences."

He goes on further about the creation process: "Rather than accidental pockets of light and shade, I chose to work from a darker starting point and used light to emphasize parts of the image. The art direction came from composing the city first, then we simply added the tower to the scene.This way of setting up the project backward gave the direction to present the new tower. Since it has to be one with the city, the best way is to start with the city.
Both the dawn and the night scene were made up of a lot of photos and a couple of different renders -  it was hard to render everything." says Neil.



Technically the image was made using 3ds Max, VrayForest Pack Pro and Photoshop: "Vray is an invaluable render plugin for its speed, accuracy and its ease of use (kudos to the slider preset!). Can't live without Forest Pro, and Photoshop makes anything pretty. I work a little like a matte painter so this workflow works best for me."



Neil hasn't used RebusFarm yet but is keen on doing so.

Happy rendering, Neil!

You want to be our next featured 3D Artist of the Month during the upcoming month and win 250 RenderPoints? Just visit our 3D Artist of the Month competition page and submit your entry. We'll choose the best image and contact the winner.