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3D World3D World

3D World July 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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FREE! VIDEO AND ASSETS Turn to page 98 SUBSCRIBE Subscribe to 3D World and get both the print and digital editions. Turn to page 56 for the latest offers! If you’ve ever felt the need to expand your skillset and take the leap from CG artist to filmmaker, then this is the issue for you! Inside you’ll discover artists who have done just that; some use short films to hone their CG skills, while others are making it in Hollywood. On page 33 they share their advice, kit and processes. Also, in this issue’s tutorials, you can master the software needed, including Houdini, Blender and ZBrush. If animation is your thing, we’ve visited Pixar to discover how its latest short, Piper, is revolutionising feather animation. Plus, learn from the masters, as ILM and the VFX…

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spotlight on our contributors

Dan DeLeeuw Marvel Studios’ visual effects supervisor leads the talent being interviewed this issue about the work done bringing Captain America: Civil War to the big screen, including details of animating Spider-Man, Black Panther and Giant-Man. www.bit.ly/dan-deLeeuw Steve Lord Steve Lord is an award-winning artist, who has created models and sculpts for Rhythm & Hues, Odd World Inhabitants and Frank Frazetta, to name just a few. This issue, on page 58, Steve shares his workflow for sculpting a creature concept using ZBrush. www.loox.artstation.com Alan Barillaro The director of Pixar’s latest short animated movie, Piper, sits down with us to reveal the effort the animation studio is making to revolutionise how feathers and fur are animated. Turn to page 44 to read our exclusive interview. www.bit.ly/alan-barillaro Julian Santiago Julian is a 3D artist at Optima Digital. As an in-house 3D generalist…

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artist showcase

GET PUBLISHED EMAIL YOUR CG ART TO ian.dean@futurenet.com Visit the online Vault to download extra process art for these projects: www.3dworldmag.com/vault/3dw209 I don’t take care about topology, UVs or stuff like that because all my work is focusing on concept art and illustration SB-87 ARTIST Santiago Betancur SOFTWARE ZBrush, KeyShot, Photoshop This 3D illustration took Colombian artist Santiago two days to create using kitbashing techniques. He used assets downloaded from the Badking library (www.badking.com.au “My work is focused on concept art and using these tools I can go through the process more quickly and produce great results,” he says. The SB-87 project was created for an online course in which Santiago shares his concept modelling process. With this project, he wanted to explore the happy accidents that can happen; “the kind of stuff that get more life and details…

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can gopro vfx films succeed?

The big issue The use of GoPro set the tone for Hardcore Henry but it was difficult for the team to work with I see it as a groundbreaking piece that I’m very proud to have supervised Dan Cayer, VFX supervisor, Zero VFX The one-shot, low-budget, 90-minute action movie filmed on a GoPro, Hardcore Henry is pushing back on the expectations of independent filmmaking. “It’s always great to work on something unique. Especially something like this: an independent film that no one sees coming,“ says Don Libby, CG supervisor at Zero VFX, who worked on digital stitching and CG effects for the film’s stunts. “I see it as a groundbreaking piece that I’m very proud to have supervised and been a part of for Zero,” agrees Zero’s VFX supervisor Dan Cayer. Legion VFX’s…

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self-made animated films just got easier

ERASMUS BROSDAU Erasmus is a senior 3D artist and cinematic director at Crytek and has been involved in the development of Film Engine. www.erasmusbrosdaucrevado.com. We live in a time where everybody can make movies and distribute them quickly Artist Erasmus Brosdau recently released the five-minute ‘prologue’ for his Warhammer 40K fan movie, The Lord Inquisitor. What sets the film apart is the use of a new animation and filmmaking software called Film Engine, the successor to Cinebox, developed by Crytek. “I’m assembling all the scenes, doing the lighting, cameras, particles and rendering in Film Engine, in real time,” says Erasmus, adding that Film Engine goes further than other software to deliver final image quality, instantly. “Some people already get crazy about real-time path tracer rendering software like Octane or V-Rray RT, but once you…

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pixar unveils its new animation tech

ANDREW STANTON Andrew is an Oscarwinning filmmaker based at Pixar Animation Studios. His film credits include Finding Nemo, A Bug’s Life and Finding Dory. www.bit.ly/209-stanton Using Presto, the animators were able to ‘draw’ Hank’s complex tentacles Finding Dory is only a month away from its release so we’ve gathered together the key facts that have been revealed to build a picture of what this release means for Pixar and its development of RenderMan RIS. With the new technology available to Pixar and developments in its proprietary software, Andrew Stanton reflects on how things he struggled with on Finding Nemo are now taken for granted on the production of Finding Dory. “There’s one shot I think in Nemo where the camera goes around a bend in the glass of a fish tank in the dentist’s office…