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3D World3D World

3D World May 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.

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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13 Issues

IN THIS ISSUE

access_time1 min.
welcome

Editor’s welcome What’s hot this issue Try 5 issues for only £5! Get print and digital editions every month, turn to page 38 ZBrush is an undeniably powerful tool to use in a character pipeline, so put your own skills to the test with our superb cover tutorial from Dan Roarty and upgrade your sci-ficoncepts. Also, don’t miss our incredible behind the scenes look at the phenomenal visual effects and animation on show in Ghost in the Shell! Amy Hennessey, Editor in Chief amy.hennessey@futurenet.com SPOT LIGHT ON OUR CONTRIBUTORS Dan Roarty Dan is a lead character artist for the Gears of War franchise at The Coalition in Vancouver. On page 46 he reveals how to improve your character renders. www.danroarty.com Arik Newman Arik is a freelance artist that has worked in 3D for ten years, specialising in creatures and…

access_time4 min.
showcase

CHROME CITY ARTIST Mike Johnson SOFTWARE 3ds Max, V-Ray, Photoshop “What inspires me as an artist are beautiful worlds in film and television, and concepts,” explains Mike Johnson, a full-time lead scene assembler at Blur Studio. “I really love the feeling when you see an image or film that takes you out of your day-to-day life, and for a second you forget where you are.” Fortunately for Mike, his day job means he has plenty of opportunity to play with shading, lighting and compositing. In fact, creating the atmosphere for Chrome City was his favourite part of the project. To make the image, Mike created the silhouettes for the buildings and filled them in. “Once I defined a style, I started replicating buildings and creating new silhouettes,” he reveals. “Then, I established the composition and lighting…

access_time11 min.
ghost in the shell

nder the direction of Rupert Sanders (Snow White and the Huntsman) and benefiting from the Oscar-winning visual effects expertise of Guillaume Rocheron (Life of Pi), anime classic Ghost in the Shell gets a live-action upgrade. “In total we had 1,200 shots,” states Guillaume, who had four months of post-production to complete the visual effects. “MPC did 900, Atomic Fiction was responsible for 70, and MPC Creative in London [the graphic design branch of MPC] did a lot of the holographic work. It has been a great film with a reduced post-production time.” U Ghost in the Shell revolves around covert law enforcement cyborg (Scarlett Johansson) hunting an internet terrorist (Michael Pitt) in futuristic New Port City, where inhabitants are cyber-enhanced. “One of the big design elements of the original is Hong…

access_time1 min.
explore a new workflow

There’s always something new to learn in 3D art, no matter how experienced you are. You might want to experiment with new ways of working, or perhaps discover new software and tools. We can all get in a rut, even without realising it, and often choosing to break away from your usual workflow to try new things will reap many rewards. This issue, we asked experienced industry artists for their advice on how to freshen up ways of working. Whether it’s revamping your tired portfolio by embracing Substance Suite for a more current, modern mix of work, or discovering a new way to rig in Maya, there’s always something you can do to push your workflow and your art to the next level. Even something as simple as exploring how to better…

access_time3 min.
creating a portfolio with substance

For new 3D artists, the road to obtaining that dream job in the film or games industry is a bumpy one. The landscape of technology alone used in these industries changes rapidly. Artists can often find themselves faced with difficult decisions early in their education. Sometimes these decisions are as simple as which software to learn first. Other times, the software they decide to learn is influenced by cost factors. Think for just a moment about the investment that a student might make both in terms of time to learn an application in addition to money. Now multiply that by five different software packages. A primary 3D package, a sculpting application, a dedicated texturing application, a premium rendering plug-in and, of course, Adobe Photoshop. That barrier to entry really is extremely…

access_time4 min.
switch to a tablet and forget your mouse

hile a mouse is widely considered the ‘default’ mode of interacting with your computer, that doesn’t necessarily mean it’s the most efficient or the most natural. The truth is, your mouse is hurting you – both in the figurative and the literal sense. Many of us work at a computer for long periods of time and have experienced pain or discomfort in our hands, wrists or forearms at some point while working, but may not have stopped to consider why. Your forearm is made of two bones – the ulna and the radius. The natural resting orientation for these bones is achieved when your palm is held sideways, like you’re making a thumbs-up gesture, or reaching Wout to shake someone’s hand. When you place your hand on a mouse, you…

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