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3D World3D World

3D World December 2017

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


access_time1 min.
spotlight on our contributors

Tom Box Tom is one of the founders of Blue Zoo and on page 34, he shows off some of the cutting-edge 3D projection work the studio is creating. www.blue-zoo.co.uk Pedro Conti As well as his work on Disney’s Moana, Pedro created a gorgeous image for us, along with accompanying tutorial, which starts on page 44. www.artstation.com/pedroconti EJ Hassenfratz EJ Hassenfratz is an Emmy Award-winning 3D artist, whose clients include Apple and Microsoft. He shows you how to create cartoon cel shading on p40. www.eyedesyn.com James Morris On page 92 you’ll find James’ review of the Ryzen workstation. He draws on two decades as a technical writer, specialising in content creation gear. www.webmediology.com Oscar Juárez Oscar is an archviz specialist, creating in many apps but has a keen interest in Unreal. He shares some of his secrets with us on page 50. www.fibrha.com Mike Griggs Mike…

access_time3 min.

THE CRYSTAL PALACE 1900 ARTISTSimon Edwards SOFTWARE3ds Max, ZBrush, Marvelous Designer OnyxGarden, V-Ray and Photoshop Architectural visualiser, Simon, spent roughly two months researching and creating this incredible image. The majority of the image was modelled using 3ds Max with V-Ray, plus additional ObjectID and Depth passes. As Simon explains, “ObjectID was very important in order to isolate different areas for varied treatments in Photoshop (especially with the glass) and then ZDepth was used for additional scene depth with those treatments. The scene is rendered using a V-Ray physical camera with a small amount of distortion applied. I didn’t like the distortion on the high balloons so they were rendered separately and without distortion and then composited back into the scene later in Photoshop.” With a scene of such magnitude, you’d expect some areas to…

access_time7 min.
essential tips for realistic lighting

AUTHOR Djordje works as a generalist TD at Double Negative, usually focussed on lighting and the development of how projects look. When not working, he is being inspired by films, especially Korean cinematography, and music. djordjeilicvfx.com Lighting is fundamental in any project you work on. At the most basic level, it’s a way of making objects visible. But speak to any cinematographer, and they will tell you how lighting is much more. Lighting enables you to bring mood to a piece and set the tone. It allows you to subtly manipulate the viewer to look where you want them to and draw attention to specific areas. It is also a way to elevate your work out of the 3D realm, giving the warmth of an oil painting or the feel of a photograph.…

access_time6 min.
the secrets behind 3d scanning

Whenever you see a comic-book hero flying through space or crashing through a wall, chances are they’re a digital double of a real actor expertly crafted by a visual effects studio. But how is an actor’s likeness captured with such absolute photorealism? These days that’s often the domain of 3D scanning providers, which rely on portable – and often custom – photogrammetry rigs that they can bring right onto the set. That way they can whisk actors in and out of the scanning process and generate a CG model of their face and body as fast as possible, helping save the film studio a lot of expensive production time. One company in the 3D scanning services fold is Vancouver-based Pixel Light Effects. Using its mobile photogrammetry setup, the studio recently scanned principal…

access_time4 min.
how to scan someone in less than 5 minutes

Imagine you’re on location with little equipment and only a few minutes with your actor. Getting an accurate scan and generating a useable CG model is now possible with just a smartphone and a laptop running Agisoft PhotoScan software. LA-based Emmy and VES Award-winning visual effects artist, Johnathan R Banta, from Agrapha Productions (http://agraphafx.com), breaks down his five-step ‘RapidCapture’ photogrammetry process, taking advantage of professional tools. STEP 1. GET THE ACTOR READY Have your actor sit or stand (either is fine as long as they remain stable) and fix their gaze on a point in the near distance. Try to avoid direct sunlight or hard shadows. Our example here was in a room with fluorescent tube lights, but any ambient illumination is fine. Clothing does not matter too much, but try to avoid solid colours,…

access_time9 min.
the making of mamoon

Ever wondered what happens when you mix Maya character animation, projectors, hand-held cameras and lots of polystyrene blocks? London-based multi BAFTA award-winning animation studio, Blue Zoo did, and then found out! Its short, Mamoon, is the latest offering from the studio’s in-house animated short film programme that was established in 2012, designed to push the studio into new creative directions, while nurturing both the in-house talent and a creative culture in the studio. “Generally, agencies request work that features heavily in our showreel” explains Tom Box, co-founder/managing director. “So the short film programme helps us to push the studio forward, experimenting with new technologies and styles without commercial pressures. Over the past five years, the programme has been a great success with short films gaining worldwide recognition and bringing a wider…