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3D World3D World

3D World February 2019

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.

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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13 Issues

IN THIS ISSUE

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editor’s welcome

As much as we love to help you learn the coolest new tricks and techniques, sometimes it’s great to sit back and discover how a giant city on wheels was made. Thankfully, this issue, we have all of the above!rob.redman@futurenet.comFREECritter Collection from Creation Effects!When you sign up to a print subscription – turn to page 26. ■…

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spotlight on our contributors

Greg BartaGreg is a VFX artist and scientist with a passion for cinematic scientific visualisations. On p40 he guides us through creating a procedural terrain.scivfx.artstation.comMartin NebelongMartin is a freelance artist living in Denmark, with more than 15 years of professional experience. On p46 he continues his hard-surface tutorial.www.artstation.com/martinityIan FailesIan is a regular contributor to 3D World, and this month he goes behind the scenes of sci-fi film Mortal Engines on p18.www.vfxblog.comMaya JermyMaya is a 3D artist and animator based in the UK. She started her career in 2012 remaking and animating characters for Oddworld.mayajermy.artstation.comMatthew NovakMatthew Novak has worked across many disciplines and is currently a lead 3D generalist at Scanline VFX in Vancouver, Canada.novakcg.comMike GriggsThis issue 3D artist Mike Griggs gives us the lowdown on modelling application MoI and continues…

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showcase

GUNCRAWLERARTISTTomi VäisänenSOFTWAREMoI 3D, 3ds Max, Corona Renderer, Photoshop“Most of all I enjoy modelling and designing, that’s my bread and butter. It’s the most creative and challenging part of working,” explains 3D artist Tomi Väisänen. Tomi has almost a decade of experience in 3D art and currently works at Wargaming in Helsinki.Outlining his creative process Tomi says: “First of all I gather references to inspire me and give a hint towards the direction I’m taking. After that, I start blocking out all major forms, when I’m at least somewhat happy I’ll start the modelling.”Tomi usually works in 3ds Max, MoI 3D and ZBrush at the same time, combining the best bits from each software. He continues: “When everything is modelled I start playing with lighting and materials. Most of my lighting…

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the firepower behind mortal engines

The film opens with the traction city of London chasing down a smaller oneIn Mortal Engines, director Christian Rivers had to move a massive city. And not just any city. In the future world of the film, the entire remnants of London have been placed on enormous tracks and been motorised. Not only that, London attacks other smaller and more vulnerable cities on wheels.To pull off that stunning imagery, and also flesh out a steampunk world that has been ravaged by a war and extreme geological movements of the Earth, Rivers looked to the artists at Weta Digital who, among many other challenges, had to find ways to animate these enormous machines in photoreal landscapes.3D World found out from key members of Weta Digital’s team – visual effects supervisors Ken…

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texturing a future world

The physical sets built for Mortal Engines helped inspire the 3D texturing approach by Weta DigitalSince the film happens some time in the future, after a massive war and geological event, it was important for Weta Digital to reflect the passage of time in its texturing of 3D objects. The constructed sets for location shooting also provided inspiration.“We factored into our material templates how certain types of material would corrode, which was a big part of the texturing,” says visual effects supervisor Luke Millar. “Places like London had a brown rusty oxide, while Airhaven, which was more heavily aluminium based, would have a different kind of corrosion which was more white aluminium oxide.”Artists used Foundry’s Mari for 3D texturing, with individual look decisions based very much on the different materials…

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the art of mortal engines

(All images © 2018 Universal Pictures)When director Christian Rivers came to Mortal Engines, there was already a wealth of artwork relating to the future world imagined by author Philip Reeve, including by Reeve himself, who had rendered his universe in very much a Victorian ‘steampunk’ look.What was added for the live-action film were very practical designs that allowed whole cities to move, or airships to glide by. This work was carried out underneath production designer Dan Hennah. Mortal Engines’ art department included, of course, contributions from the legendary Weta Workshop, who informed set decoration as well as prop builds.Amongst the designs was that of the airborne city, Airhaven. Here the art department utilised HoloLens Holographic, a mixed-reality toolset that helped visualise the complex structures of the city. By wearing the…

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