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3D World

3D World October 2020

3D World magazine is the world's biggest-selling monthly title for the 3D artist covering all aspects of the CG creation, inclduing animation, visual effects, vidoegames and architectural visualisation, and includes expert training in apps such as 3ds max, Maya, Cinema 4D, ZBrush, LightWave, Vue, Photoshop and After Effects. Every issue the magazine features an artist showcase, making of features and reviews of new products.

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United Kingdom
Future Publishing Ltd
$9.08(Incl. tax)
$84.48(Incl. tax)
13 Issues

in this issue

2 min
how can i create a metal material using substance designer?

Pietro Chiovaro replies In Substance Designer, we have an easy and really powerful way to create a basic metallic material. Even if this material is simply composed of a few nodes, the result that can be achieved is incredible and useful for many other materials. For this type of substance, I selected the Physically Based (Metallic/Roughness) Graph Template, and I kept all the default outputs since they are necessary for this material. At this point we can start to add the required nodes, so from the Substance Designer library we need: the Fractal Sum Base noise (this is the main element of the texture of this material), the Height to Normal World Units filter, four Levels filters and the Gradient Map filter that will give colour to the metal. Next we have to…

1 min

ARTIST João Victor Ferreira SOFTWARE ZBrush, Maya, XGen, V-Ray, Photoshop João Victor Ferreira is a character modeller, rigger and tools developer working across feature films and advertising. It took him four weeks to complete work on this friendly character piece. With his prior experience in tool development, Ferreira was able to write a script that would randomise the position and rotation of the leaves on the ground, meaning he wouldn’t have to do it one by one; “it’s always good to save time,” he tells 3D World. Ferreira also favours using a falloff map inside the diffuse channel for the VRayFastSSS material, creating what he calls, “a subtle velvet look in the skin.” This, mixed with a V-Ray Blend Material, allows Ferreira to better adjust the specular reflection. The look development phase begins in Maya, where…

2 min
anatomy of a scene: peter rabbit

1. STORYBOARDS The first pass storyboards for this Peter Rabbit scene were drawn in pre-production by the story team. These drawings are the essence of the shot and were used as a guideline for the action and timing on set. You can see that the framing changes a lot from these boards to the final film, but the story beats are there. 2. ANIMATICS After the plates were shot, the story department completed draw-overs of the sequence on the footage as a guide. As you can see, the scale of the rabbits and their depth in 3D are hard to get spot-on in a 2D drawing, so now layout needs to build everything and begin our process of creating an awesome composition. 3. LAYOUT, PART 1 The elements come together in Maya. The bike prop…

2 min
how to get a job in animation

1. WHAT I’M LOOKING FOR ON THE REEL I’m looking for potential. I’m looking for work on the reel that I find interesting – that I find believable – in terms of either its weight or its acting. I am making decisions on whether I feel that the applicant has demonstrated a style appropriate for the film we’re making. If I see a great stop-motion reel and that’s not what we’re doing, I will still put down a reminder of it in our recruiting database and note, ‘This person’s amazing, reconsider at a later date’. 2. WHAT TO PUT ON YOUR REEL The reel does not have to be long. Put your best work up front. Catch my attention – I’m looking at a lot of reels. A lot! For Peter Rabbit 2,…

8 min
visualising the universe

Donna J. Cox has long been on the cutting edge of jaw-dropping scientific visualisations as director of the Advanced Visualization Lab (AVL) at the National Center for Supercomputing Applications (NCSA). Cox and her team have created visualisations for museums, exhibits and even feature films. Through her work, Donna Cox has seen scientific visualisation as not just something that inspires awe, but also has great educational and research utility. Donna J. Cox is also a professor at University of Illinois’ School of Art and Design, College of Fine and Applied Arts. I spoke with her in Brisbane during the SIGGRAPH Asia conference in November last year. “The NCSA AVL works with domain scientists and our artists and technologists receive massive supercomputer simulation or observed datasets,” explains Cox. “We create data readers and…

1 min
hal, the supercomputer

At the end of my interview with Prof Donna J. Cox, I handed her one of my new business cards, which has an image from the movie 2001: A Space Odyssey on the back. She loved it, as do I, and she pointed out that this production was one of the most successful articles of the popularisation of science through media. Cox also revealed that the computer in 2001: A Space Odyssey, HAL, was ‘born’ in Urbana, Illinois. And when her university got the Cray supercomputer at the beginning of NCSA in 1985, they used to call it HAL. “NCSA even had Arthur C. Clarke piped in from Sri Lanka to be part of the opening ceremony,” she adds.…