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3D World July 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.

United Kingdom
Future Publishing Ltd
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£6.85(Incl. tax)
£44.99(Incl. tax)
13 Issues


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spotlight on our contributors

Brodie Perkins Character artist and toy sculptor Brodie’s Mango the Mad is this issue’s cover star. Turn to page 40 for Brodie’s expert advice on creating action figure articulation. www.brodieperkins.com Paul Roberts Paul works as a training manager at iToo Software. Learn about procedural modelling for architectural environments with his tutorial on page 48. www.itoosoft.com Greg Barta Greg’s sciVFX study project aims to use cinematic scientific visualisations to encourage people to take action and help our planet. Learn more on page 60. www.artstation.com/scivfx Mike Griggs Experienced 3D and visual effects artist Mike explore materials’ Diffuse properties over on page 66, and reviews the latest Substance Painter update on page 94. www.creativebloke.com Ian Failes Ian is a regular contributor to 3D World, and this issue he has delved into the worlds of incredible invisible VFX on page 18 and Altered Carbon on page 28. vfxblog.com Adolf…

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DYSTOPIAN RIDER ARTIST Paul Braddock SOFTWARE Maya, Hard Mesh (Maya plugin), Marvelous Designer, ZBrush, RealityCapture, Megascans, Substance Painter, Redshift, Photoshop VFX artist Paul Braddock has over 15 years’ experience working for Animal Logic in Sydney, Australia. This mysterious image was completed in a few weeks’ worth of spare time, largely consisting of early mornings and weekends. “All of the clothing was created with Marvelous Designer. I used photogrammetry, and scanned my own motorcycle boots and gloves. The midground rock formation is from my local beach. In Maya, I use a plugin called Hard Mesh for hard-surface work, and all texturing was done in Substance Painter,” explains Paul of his software choices throughout the process. As a child of the Eighties much of Paul’s inspiration comes from that era’s plethora of pop culture. “Nature is an endless source…

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invisible effects

The Commuter © 2018 STUDIOCANAL • I, Tonya © 2017 NEON and 30 West • Three Billboards Outside Ebbing, Missouri © 2017 Fox Searchlight Pictures • The Greatest Showman © 2017 20th Century Fox • Darkest Hour © 2017 Focus Features “DIGITAL VERSIONS OF THE CHARACTERS FIGHTING WERE CREATED TO AID THE TRANSITIONS BETWEEN THE PLATES, AS WELL AS THE ENVIRONMENTS AND TRAIN INFRASTRUCTURE” Stephane Paris, Cinesite’s The Commuter visual effects supervisor Most of the major feature films and television shows you see covered in the pages of 3D World are of the effects-driven variety, filled with incredible photoreal computer-generated characters, vast digital environments and complex effects simulations. But in recent times more and more films and television series are featuring effects of a different kind – invisible ones. They are the effects…

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the show must go on

“The CG tent shot is an important one because it reveals the new life of Barnum at the end of the movie,” discusses Rodeo visual effects supervisor Martin Lipmann. “The director wanted first to reveal the tent as a reflection on a water puddle, and then see three kids stepping in the puddle as they run towards the tent. First we shot the three kids in a studio against a greenscreen. “From there we re-created the entire environment from scratch. We matchmoved the children to create all interaction with the puddle, the snow and also to get shadows and contacts on the ground.” This frame shows the CG tent and ground plane asset. “The entire environment, including the Brooklyn Bridge, was modelled, textured and lit,” explains Lipmann. “We used CG crowd animation…

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the invisible effect of grime

The original plate with actress Lily James as Elizabeth Layton. Framestore was called upon to add dirt to buildings to help establish the 1940s era. “The big challenge of adding dirt to buildings is to make it look realistic and not ‘painted’,” says visual effects supervisor Stephane Naze. “We didn’t want to get a 2D feel to the buildings, or make it seem like we’d added something to the surface.” To help with adding actual grime and dirt to the buildings, Lidar scans of each building were acquired. This gave the studio a 3D representation of the geometry on which they could re-project textures. It also helped facilitate shots with camera movement and in doing any further era fixes for the shots. The intent, of course, is that the audience should…

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