EXPLOREMY LIBRARY
searchclose
shopping_cart_outlined
exit_to_app
category_outlined / Tech & Gaming
3D World3D World

3D World December 2018

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
Read Morekeyboard_arrow_down
SPECIAL: Save 40% on your subscription!
BUY ISSUE
£6.43(Incl. tax)
SUBSCRIBE
£44.99£26.99(Incl. tax)
13 Issues

IN THIS ISSUE

access_time1 min.
welcome

Big shark movies are nothing new, but this issue we delve beneath the surface of The Meg, which takes on VFX of monstrous proportions. Elsewhere we bring you a detailed tutorial, helping you create stunning sci-fi environments like our cover image.rob.redman@futurenet.comFREE Critter Collection from Creation Effects!When you sign up to a print subscription – turn to page 26. ■…

access_time1 min.
spotlight on our contributors

Trevor HoggTrevor is a regular contributor to 3D World, and in this issue he has investigated the depths of VFX creation for The Meg on page 28. http://bit.ly/TrevorHoggOscar JuarezOscar is an archviz specialist creating in many apps. This issue he shows you how he created our stunning cover image, using 3ds Max and Photoshop. www.fibrha.comPietro ChiovaroPietro is an Italian 3D artist who creates 3D assets and environments, and is currently working on an open-source game. pietrochiovaro.artstation.comMartin NebelongMartin is a freelance artist living in Denmark. Since he got his VR headset, 3D is becoming an increasingly bigger part of his work. www.artstation.com/martinityMichael TschernjajewMichael works for New Communication, a leading creative agency in Germany. This issue he shows you how to use C4D to create monstrous machines. new-communication.deMike GriggsMike Griggs is a…

access_time4 min.
showcase

CAT RIDERARTISTLuo Qi ShengSOFTWAREZBrush, Arnold for MayaInfinity Studio’s art director Luo Qi Sheng’s breathtaking image was created and finished entirely in ZBrush, with no additional tools used. “When I have an idea I’ll sketch it out as soon as possible, before collecting reference pictures, artwork, and whatever can inspire me. Next I block it in ZBrush, sculpt the shapes, add secondary details, and finally the fine details.”Luo has around seven years’ experience creating video game characters, finding inspiration in fantasy movies, oil paintings and the work of master artists. Reflecting on the finished product Luo says: “I’ve always liked animals and beauty, but this is the first time I’ve incorporated them into one work and I enjoyed everything about it.”● artstation.com/luoqishengMONTAGUE RATSBONE IIIARTISTJavier DiazSOFTWAREZBrush, Maya, Mari, Redshift3D, Yeti, Mudbox, Substance…

access_time9 min.
production designing with the pros

THE PROSBen Mauro, Valerian senior concept designer and art directorMartin Macrae, Framestore head of art department, who oversaw the studio’s designs for Blade Runner 2049Kim Taylor from Animal Logic, The Lego Ninjago Movie production designerFelicity Coonan from Animal Logic, The Lego Ninjago Movie art directorThe worlds you see in your favourite live action and animated features are the end results of hours, days and months of work by CG and visual effects artists. But those worlds also had to start somewhere, and that’s typically with concept artists, art directors and production designers.It’s with these artists that many early decisions get made about building the aesthetics of a world. With feedback from other filmmakers, they implement a vision for how visual themes in certain landscapes are made clear and can be…

access_time1 min.
life in the big city

CONCEPT: This concept frame by Framestore established the orange alien-like landscape of future Las Vegas, and the remaining decrepit architecture. “We concepted everything with a certain level of natural destruction, scuff marks, rips, sand drifts and discolouration – anything to dull it all down and make it feel more hostile,” says Martin Macrae.CG ASSETS: Framestore then added its 3D architecture, which were ultimately inspired by Syd Mead’s original designs for the first Blade Runner film. “As the design process got more and more complex, so did the 3D models we were building; we had to section it off into separate areas to make it more manageable,” notes Macrae.The location was swathed in orange light and had remnants of current Vegas as well as new, futuristic, structuresLIVE-ACTION: On a stage in…

access_time1 min.
welcome to the jungle

THE SMALLEST DETAILS: Animal Logic production designer Kim Taylor asked, ‘What would a jungle look like to a Lego mini-fig?’ That meant plant and rock designs resembled backyard foliage – things a child might also find to build the world with. Taylor macro-photographed and scanned leaves, small trees and even moss (as seen here) for reference.QUICK CONCEPTS: The timeline to get Lego Ninjago made was tight, which often meant environments were designed quickly in 3D, sometimes even using the VR tool Tilt Brush. “I also used to get my camera and shove it underneath a bush to see what worlds were down there,” says Taylor. “I really wanted to capture that micro-world on the big screen in this film.”CLOSE TO FINAL: Animal Logic’s art department took concept and test shots…

help