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3D World3D World

3D World May 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

Pietro Chiovaro Pietro is an Italian 3D artist who creates 3D assets and environments, and is currently working on an open-source game. pietrochiovaro.artstation.com Vito LaManna Vito has a following on YouTube for his Fusion training, and rightly so! You will find his fantastic Fusion tips piece on page 42. bit.ly/con-fusion Oscar Juárez Oscar is an archviz specialist, creating in many apps. This issue he is back as part of our Q&A panel, which you can find on page 72. www.fibrha.com Dora R. Fitzgerald Dora received an MFA in Film from Columbia University and a Ph.D from the University of Texas San Antonio. She teaches visual language on page 26. www.uiw3d.com Tom Box Founder of Blue Zoo, Tom discusses the studio’s AnimDojo programme to help budding animators level up their skills, on page 86. www.blue-zoo.co.uk Mike Griggs Mike Griggs is a 3D and visual effects artist with…

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MODERN DUTCH INTERIOR ARTIST Martijn Bayens SOFTWARE Blender, Unreal Engine 4 Martijn Bayens, currently studying gaming architecture and design, created this interior scene in 20 hours using only Blender and UE4. “The way I created this scene is actually simple,” Martijn says, explaining that he modelled the outer walls first before heading onto the interior walls, placing the windows, creating the floors and ceiling, and finally adding the extra details. “When the modelling is done I start up Unreal Engine – I always use my lighting template. “What I like the most about creating this project is that when I imported it in Unreal Engine, it looked very bad and you always doubt yourself, but after I added materials and built the lighting it looked very good and that feels great.” sneye.artstation.com MAËLYS, THE STEAMPUNK EXPLORER ARTIST Leandro Sakami SOFTWARE ZBrush, Maya, Substance…

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down the rabbit hole

PETER RABBIT DIRECTOR Will Gluck ABOUT Based on the classic children’s books, Peter Rabbit follows the story of a family of rebellious rabbits and their comical feud with a vegetable garden owner RELEASE DATE Out now Will Gluck’s Peter Rabbit, based on the characters created by Beatrix Potter, is the latest movie to go the way of the CG/live-action hybrid. But just what is involved in making a film where most of your characters need to be added later? How do you plan, how do you shoot with live-action actors, and where do you start with animation? 3D World asked Animal Logic how Peter Rabbit was put together, from planning the shoot, to filming with stand-ins, building a whole raft of adorable CG characters and then animating them. It’s a lot more work than you might think, and…

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stuffies, stand-ins and sticks

HERO STUFFIE “This was a beautiful furred stuffie that cost a lot and was designed to be an accurate lighting reference,” outlines Will Reichelt. “It was actually furred with real rabbit fur that the props department sourced as a cured pelt that they then covered over the model. We would wheel that out for every setup to shoot HDRIs and other reference.” DIRECT INTERACTION When the actors needed to hold a rabbit, or be pushed and pulled by one, there were other options. One stuffie was more sandbag in nature and was covered in a bluescreened material. Another method was to have a bluescreen performer on set who would literally poke and prod at the actors with hands or sticks. KEBABS A series of rabbit outlines attached to sticks were utilised for camera framing. “We…

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the tech behind the bunny

1. FUR Peter’s fur was handled with Animal Logic’s Alfro tool, a grooming application that had been developed over several productions including Legend of the Guardians: The Owls of Ga’Hoole and Walking with Dinosaurs 3D. The tool is built inside the studio’s proprietary procedural animation and simulation engine known as ALF, where a feather creation pipeline, Quill, also resides. 2. CLOTHING Each rabbit wears a distinctively coloured jacket, and many other animals also sport clothing in the film. For this, Animal Logic relied on its Weave toolset. It works by overlapping curves and displacement shaders to represent a particular piece of clothing. Artists follow the shape of a sewing pattern during modelling that is effectively ‘stitched’ together to form the final article. 3. RENDERING First developed at Animal Logic to render a couple of scenes…

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a primer of film grammar take three: camera movement

AUTHOR Dora R. Fitzgerald received an MFA in Film from Columbia University and a Ph.D. from the University of Texas San Antonio. Her academic interests include film spectatorship and grammar, and race and representation in cinema. www.uiw3d.com In this third and final instalment of our visual language series, we will examine the function of camera movement. As much as anything you can do as a director, the movement of your camera through virtual space is your chance to covertly narrate your story. Because your camera movement speaks through space, and the audience is sometimes unaware of it, it is one of the most powerful cinematic devices you have at your disposal. Camera movement is one of the great narrative strategies available to filmmakers – whether animators or live-action directors. To be successful you must…