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 / Tech & Gaming
3D 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.

United Kingdom
Future Publishing Ltd
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19 Issues


1 min.
spotlight on our contributors

Greg Barta Greg 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.com Martin Nebelong Martin 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/martinity Ian Failes Ian 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.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 Matthew Novak Matthew Novak has worked across many disciplines and is currently a lead 3D generalist at Scanline VFX in Vancouver, Canada. novakcg.com Mike Griggs This issue 3D artist Mike Griggs gives us the lowdown on modelling application MoI and continues…

4 min.

GUNCRAWLER ARTIST Tomi Väisänen SOFTWARE MoI 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…

9 min.
the firepower behind mortal engines

In 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 McGaugh, Luke Millar and Kevin Smith, and animation supervisor Dennis Yoo – how…

1 min.
texturing a future world

Since 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 of this post-apocalyptic world. Recalls Millar: “We’d say, ‘Well, this needs to be made of steel,…

1 min.
the art of mortal engines

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 HoloLens headset, artists could navigate…

9 min.
how dneg does… animation

So far in 3D World’s look behind the scenes at DNEG, we’ve explored the visual effects studio’s work in visual development and creature creation. Now we turn to animation; DNEG employs a global group of animators to bring to life animated creatures, characters, vehicles and many other elements for the studio’s feature films and television shows. And DNEG’s 20-year visual effects history certainly has some animation highlights. Significant work on John Carter, released in 2012, involved huge numbers of characters and set the scene for the VFX studio’s animation expertise. In more recent times, the central performances in Venom, Pacific Rim: Uprising and Deadpool 2 evidence more of the major contributions DNEG has made in the field. And episodic work for shows such as Fungus The Bogeyman and Black Mirror’s ‘Metalhead’…