Indholdsfortegnelse for July 2019 i 3D World

Paul Roberts Paul works as a training manager at iToo Software and is a regular in the pages of 3D World, this issue teaching us about Forest Pack. www.itoosoft.com Maya Jermy Maya is a 3D artist and animator based in the UK. She started her career in 2012 remaking and animating characters for Oddworld.mayajermy.artstation.com Pietro Chiovaro Pietro is an Italian 3D artist who creates 3D assets and environments, and is currently working on an opensource game. pietrochiovaro.artstation.com Ant Ward Industry expert and regular 3D World contributing artist Ant returns this issue to show you how to add foot controls to your rigs in Maya. www.antcgi.com Ian Failes Ian is a regular contributor to 3D World, and in this issue he finished up his in-depth series on DNEG, this month focusing…

1. A miniature world: “The details that really captured the feeling of a miniature world come about by softening certain higher detail and merging parts to convey the size,” says Elastic director Andy Hall. “We also did a lot of work with the shaders that add the swelling of paint in crevices that happens when working at the size. It’s all the things you try to avoid when painting a model, which we wanted to capture because that adds the charm to the detail.” 2. Lensing: “Camera lensing and movement also added to the effect, making sure that the limitations you would have on a physical set of that size were taken into consideration, and impacted how we would move the camera through a scene,” adds Hall. 3. Further effects:…

FOLLOW THE VIDEO www.bit.ly/3DW-248 AUTHOR Dahlia Khodur Dahlia pursued her MFA in illustration and fine arts and worked with production companies to create storyboards for TVCs and animations. She now teaches design, illustration and VR art at several universities in Lebanon. www.artstation.com/dahlia In this tutorial we are going to learn how to create a 3D modeller-friendly character design sheet. By 3D modeller friendly, I mean a very clear and accurate detailing of the character’s clothes and accessories, and a body proportions guide to help with setting modelling boundaries. The full sheet will include close-ups on the character’s items, some expressions to get a full idea of how the face should be rigged for animation, texture presentation, front, back and side views, colour options, functionality, and 2D modelling wireframes. Harajuku shapes…

Many of us zone out on our commutes, whiling away the minutes with our smartphones and magazines, but surely anyone would notice a monkey swinging through the window, or a flock of ducks disembarking at the station. You would certainly be hard-pressed to avoid spotting an enormous, beautiful elephant tromping alongside the train cars. The TV short, Adopt Marie, sees a zoo’s worth of vibrant animals flood out of an arriving train and into the arms of eager caretakers. But when a clearly distraught woman and her two young children emerge from the train car, nobody pays attention to them, nobody bothers to help. This scene drives home a message from the Czech non-profit charity, Women for Women, for a campaign that supports single parents and their children: shouldn’t we…

Concept art is a crucial part of the creative process when creating 3D environments and characters. There are many aspects to consider when illustrating your concepts, but here we’re going to focus on the language of shapes with specific regard to characters. What story can your concept art tell about your character? Robin Fuller, artistic director at Immersive Studios, explains. UNDERSTANDING SEMIOTICS Firstly, it’s important to have an understanding of semiotics. Essentially, our brains are pattern-finding machines that quickly interpret meaning from the world around us via the things that we interact with and sense through sight, hearing, touch, etc. Through semiotics we can examine and gain a better knowledge of the relationship between the things that we sense and the meanings that we ascribe to them. We can break…

PRICE £930 / $995 | DEVELOPER NewTek | WEBSITE www.lightwave3d.com AUTHOR PROFILE Rob Redman Rob is a 3D artist and creative director, working across TV, film and print. When not in the studio he is often found presenting at various events, or editing this magazine! www.pariahstudios.co.uk FEATURES Full DCC Excellent internal renderer THE LIGHTWAVE HUB LightWave runs as two main applications, connected by the Hub. First off there is Modeller, where you do all your asset creation, modelling work and UV mapping. Then there is Layout where you construct your scenes, set up cameras and lighting and do the animation. Not many other options work this way, but it makes a lot of sense. I first used LightWave back when it shipped on the Amiga platform, where it grew as…

1. Making things for real To help make Venom’s end titles, GenPop filmed real textures, including inks and dyes that were puppeteered to move in interesting ways. 2. Inky goodness Ink splotches informed the GenPop team on how Rorschach and inky details should look. These were captured and then manipulated digitally. 3. Burn for art Clear acetate was burnt and filmed as elements for the Venom end titles. In the final frames, the burning was used as a transition element.…

1. Go deep but know your exit point: Due to the quantity of volumes in each shot on Crimes Of Grindelwald, we had to composite every shot using Nuke’s Deep feature. With Deep, renders don’t need to have hold-out mattes because these will be created in the compositing phase. Deep data is, however, extremely large and cumbersome. My first rule when using Deep for compositing is, therefore, to use Deep tools quickly and exit as soon as possible. If you’re just compositing in Deep for holdouts then it’s best to pre-comp all the holdouts and do the rest of the composition flat, because you only need the alpha generated from the Deep data. This bypasses the processor-heavy work of Deep compositing. When compositing with Deep colour, try and define your…

FOLLOW THE VIDEO www.bit.ly/3DW-248 AUTHOR Pietro Chiovaro Pietro is a freelance 3D artist and YouTuber. An expert in the creation of game assets and environments, he shares many of his creations on his channel. pietrochiovaro.artstation.com There are many important elements in the creation of a realistic architectural building in the digital 3D world. One of the most important things that every artist needs to understand when involved in an architectural project is the perception of the building as a ‘representation’ of what it should be like in the real world. In the creation of an architectural building, there are many elements that could help us to achieve a photorealistic look. Often when beginner artists start working on architectural buildings they’ll model elements that are not visible in the final render,…

Established in 1994 and with studios in Prague and Budapest, Universal Production Partners is a robust visual effects and post-production house with three primary divisions. Beyond advertising, UPP also specialises in VFX work for feature films and television along with digital imaging services. UPP’s feature work has become more prominent in recent years, and the stunning Blade Runner 2049 is the current feather in the studio’s cap. The studio handled lifelike CG characters for the film, including head replacements for key actors during fight sequences, and also performed set extensions and added seamless atmospheric elements to certain shots. Along with other vendors, UPP’s work was celebrated with the 2018 Academy Award for Best Visual Effects. Since then, we’ve seen UPP’s talents at play in a pair of Dwayne “The Rock”…

PRICE $30 | DEVELOPER The Pixel Lab | WEBSITE www.thepixellab.net AUTHOR PROFILE Rob Redman Rob is a 3D artist and creative director, working across TV, film and print. When not in the studio he is often found presenting at various events, or editing this magazine! www.pariahstudios.co.uk FEATURES Runs in Cinema 4D natively Easy-to-use attribute-based controls Adapts standard primitives as well as editable geometry COMPATIBILITY As is the nature for many Cinema 4D plugins, Trypogen works happily with many of the native tools and geometries, meaning you can stay parametric longer. In real terms you could create a ‘look’ with Trypogen, then drop any primitive into it to get a roughly similar outcome on a very different topology. Sometimes a product comes along that doesn’t, on the face of it, offer…

Antony Ward Since the early 90s Antony has worked for many of today’s top game and VFX studios, and has written three technical manuals and many online tutorials. www.antcgi.com Simon Edwards Simon works freelance at 3DArtvision. He has worked professionally both as an architectural visualiser and 3D artist for 20 years in Holland and the UK. www.3dartvision.co.uk Maya Jermy Maya is a 3D artist and animator based in the UK. She started her career in 2012 remaking and animating characters for Oddworld: Abe’s Oddysee - New ‘n’ Tasty. mayajermy.artstation.com Pietro Chiovaro Pietro is an Italian 3D artist who creates 3D assets and environments, and is currently working on an open-source game. pietrochiovaro.artstation.com GET IN TOUCH EMAIL YOUR QUESTIONS TO rob.redman@futurenet.com SOFTWARE: AUTODESK MAYA IS THERE A WAY TO SPEED UP…

Margot Kowal, Poland Pietro Chiovaro replies This issue I will show you an easy way to create a plastic material using Substance Designer; even though this material is really simple, the final result is really impressive. For this type of material, I selected the Physically Based (Metallic/Roughness) Graph Template and kept the Metallic output since it is necessary for this substance. At this point we can start to add the nodes useful for this material, so from the Substance Designer library we need: the Fractal Sum Base and the Dirt 3 noises (these two are the base elements of the texture of the material), the Height to Normal World Units filter, two Levels filters, a Warp filter and the Gradient Map filter, which will give colour to the material. Now…

You may know Smoke & Mirrors as a studio that specialises in a number of disciplines, including design and animation, shoot supervision, colour grading, VFX and CGI. But they also have a dedicated print studio that focuses on high-end design, retouching and photography. It was this department that was tasked with creating a piece based on just one word: mavericks. “To me, the artists in our industry are insanely talented and aren’t celebrated enough, so I knew I wanted to utilise the opportunity as a celebration of the imagination,” explains Hannah Barnes, PR manager at the studio. It was at this point that the idea for the piece began to take shape: “Their astounding creativity is embedded into the right side of their brains.” Barnes knew that she wanted to…

PRICE $895 (one-time fee) / $39.95 per month / $179.95 every 6 months | COMPANY Pixologic | WEBSITE pixologic.com AUTHOR PROFILE Glen Southern Glen runs SouthernGFX, a small Cheshire-based studio specialising in character and creature design. He’s been using and training ZBrush in the UK for over 18 years and is a Wacom Ambassador for the UK and Ireland. www.southerngfx.co.uk FEATURES Snapshot 3D for creating geometry Non-photorealistic rendering New ZPlugins including ZColor and Intersection Masker NON-PHOTOREALISTIC RENDERING For illustrators and designers, non-photorealistic rendering can really help your work stand out from the crowd. After you have created your models and done the initial BPR render, you can use a huge array of filters and overlays to create line art, halftone imagery, textured pieces and even really stylised art. Lots of…