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3D World Christmas 2016

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.

United Kingdom
Future Publishing Ltd
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£6.85(Incl. tax)
£44.99(Incl. tax)
13 Issues


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spotlight on our contri butors

Pascal Blanche Pascal is a senior art director at Ubisoft Montreal. This issue he reveals how to improve your ZBrush character creation process. Discover his advice on page 26. www.pascalblanche.deviantart.com Guilherme Henrique As an art director at Blender Guru, Guilherme knows Blender inside and out. On page 62, he explains how to texture an environment using Blender’s node system. www.meltinglogic.com Emilie Stabell A character and environment artist at Media Molecule, Emilie shares her process for creating a unique 3D illustration on page 30. www.emiliestabell.com Pietro Chiovaro Pietro is an Italian 3D artist. For the last few years, he has worked creating 3D assets and environments. This issue he joins how Q&A team to share his advice for rendering glass in Blender. www.bit.ly/215-pietro-chiovaro Varomix Varomix is an experienced Clarisse artist and on page 42, he explains how to set up…

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the best digital art from the cg community

ZRÍNYI’S CHARGE 3D ARTIST Zsolt Ekho Farkas SOFTWARE LightWave, Photoshop, After Effects Taking two months to create in his spare time, Zsolt produced this masterpiece based on the painting by Peter Krafft. Zsolt says he used “pure old-school modelling” to create the scene. “My plan was to create a proper animation with cloth and fluid simulations, and with moving characters. But the tests were barely visible, so I skipped them. And I would have run out of time with the project, because I had to finish it before the 450th anniversary of the siege.” When not creating epic scenes of historical events Zsolt runs his own small graphic-design studio and works in the games industry as an environment artist. He’s also recently begun working in the film industry on some new VFX projects. So what did Zsolt…

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making of moana

DISNEY DIRECTORS John Musker and Ron Clements TEAM SIZE 700 artists LOCATIONS Burbank, Hollywood, the South Pacific WEB movies.disney.co.uk/moana The heroine of Disney’s latest animated feature is a teenage princess named Moana, who tries to save the mysteriously land-locked people of her South Pacific island by sailing into uncharted waters. The story might have turned out rather differently had writers and directors Ron Clements and John Musker not taken their own journey to the islands of Polynesia. One of the legends they discovered was that after sailing for 3,000 years, the Polynesian voyagers had stopped sailing for 1,000 years. This gap in exploration sparked the story that became Moana. “The big turning point was learning about the emphasis on navigation,” says Ron, “and that right now in the South Pacific, there is a feeling that their [the islanders’] identity may be…

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fire and water

During Moana’s journey, the young adventurer encounters a living volcano, the Lava Witch. “I can’t ever remember a character being that challenging,” says co-head of animation Amy Smeed, talking about the fiery lava monster. “We did the character performance with her. Then effects added the lava. If we had too much lava, it distracted from the performance.” Thus, artists from the effects department always participated in lava monster animation dailies. “There was a lot of collaboration,” Amy says. “They might say that if she stays this speed, the lava will go crazy. And we might say, ‘But we need her at this speed to sell the acting’.” A technique called ‘foundation effects’ helped. Effects artists would build a library of fully realised, ready to render smoke plumes and lava splashes flowing from the Lava…

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making a scene

It’s often worth taking note of the entire process that goes into creating a CG animated scene to understand the different roles. Every shot starts at the same point, with storyboards (top image). These are drawn by story artists and are the first visual representation of the film’s story anyone will see. They are placed side by side in sequence, so that they convey scenes and deliver a rough sense of how the story unfolds. It’s here that the beats of the film are set. The pre-visualisation phase in the CG animation pipeline, known as Layout, allows artists to place cameras and characters in an environment to block out shots in a three-dimensional space. The layout pass is based on the storyboards and precedes character animation. Using the blocking established in the layout…

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