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3D World3D World

3D World June 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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editor's welcome

This issue is crammed with training covering Maya, VR animation and more, as well as our regular Q and A section. We also take you behind the scenes on Black Panther and Star Trek: Discovery! On top of that you’ll find out how to make blockbuster-quality projects on only a modest budget. rob.redman@futurenet.com EMAIL rob.redman@futurenet.com WEBSITE 3dworld.creativebloq.com FACEBOOK www.facebook.com/3dworldmagazine TWITTER @3DWorldMag SAVE UP TO 47% When you sign up to a print subscription – turn to page 26.…

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spotlight on our contributors

Antony Ward Since the early 90’s Antony has worked for many of today’s top game and VFX studios, as well as written three technical manuals and many online tutorials. www.antcgi.com Maya Jermy Maya is a 3D artist and animator based in the UK. She started her career five years ago remaking and animating characters for Oddworld: Abe’s Oddysee. www.mayajermy.com Martin Nebelong Martin is a freelance artist living in Denmark. He has been working as a 2D artist for 15 years. You can find his VR tutorial on page 56. www.artstation.com/martinity Glen Southern Glen runs SouthernGFX, a small Cheshire-based studio specialising in character and creature design, and is also a ZBrush trainer. www.southerngfx.co.uk Simon Edwards Simon works freelance at 3DArtvision. He has worked professionally both as an architectural visualiser and 3D artist for 20 years in Holland and the UK. www.3dartvision.co.uk Mike Griggs Mike Griggs is a…

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CAPRI GETAWAY ARTIST Jake Williams SOFTWARE 3ds Max, Corona Renderer, V-Ray, Phoenix FD, Forest Pack Pro “As an artist I strive to find a good balance between tech and art,” says Jake, who spends his days working as lead visualisation specialist at WeWork in New York. For this creation Jake wanted to achieve the effect of a wide-angle fisheye lens, which does not currently exist within Corona, leading him to take a unique approach. “This led me to an old-school method of building the whole scene in reverse and pointing the camera into a mirror ball,” Jake explains. To work around further limitations he created a duplicate scene using V-Ray to get elements such as shadows, raw lighting and multimattes, before combining the two in Corona. Finally, the Phoenix FD Ocean Tex was employed to create…

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big vfx on a budget

Remember when a movie budget topping $100 million was big news? Today, no one bats an eyelid to those sort of numbers. It’s simply assumed that, to have good-enough CG to satisfy the multiplex masses, you have to spend the GDP of a small nation. Or do you? Every now and again, we’ll spot something online that looks like a blockbuster, but was actually made by small team working on a shoestring. Admittedly, we’re talking short films, not three-hour epics, but even so, the level of artistry on display can be mind-boggling. You often can’t help wondering: just how on earth did they do that? Over the next few pages, we chat to the teams behind four such projects to find out the answer. “WE FOCUSED STRONGLY ON SCENE OPTIMISATION AND REDUCING RENDER…

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mixing hand-drawn and cg

“For VIA, the environments were hand-painted in Photoshop in layers and those layers were imported into After Effects, where I created the parallax and did all my compositing and effects,” says Izzy Burton of Blue Zoo. “The 3D modelling, rigging, animation and rendering was in Maya. The hand-drawn 2D animation was Photoshop again.” Not all of this was in Burton’s technical comfort zone, but that was partly the point of the project. “Where there were gaps in my knowledge or skills, I managed to teach myself, with a little advice here and there from colleagues. There was a fair amount of redoing things when I made silly mistakes, but it was honestly the best way to learn the software.” “One of the biggest challenges was integrating 3D characters with the painterly 2D…

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filming a fall

“What I was most happy with in A Drop is a technique I wish other people would use more often,” says Vanhoenacker. “I found that if you track the shot perfectly, you have a direct connection between the virtual world and what was shot. So you put that as a setup inside your world, then make the characters you’ve shot go at the speed and trajectory you intended, and create a virtual camera. That has some restrictions, because you can’t go sideways or it will feel like this is flat footage in a 3D world. But as long as you stay roughly where the initial camera was, or at least along the same Z-axis as this camera, you get the illusion across. “This virtual camera can pan left, can pan right,…