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3D World3D World

3D World November 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.

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

IN THIS ISSUE

access_time1 min.
spotlight on our contributors

Gaurav Kumar Since discovering ZBrush, self-taught sculptor Gaurav has slowly shifted from hard-surface modelling to purely sculpting and texturing characters. artstation.com/harrygk Oscar Juarez Oscar is an archviz specialist creating in many apps, but has a keen interest in Unreal. He shares some of his secrets on page 74. www.fibrha.com 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 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. www.mayajermy.com Ian Failes Ian is a regular contributor to 3D World, and in this issue he has investigated how MPC creates creatures for the big screen. www.vfxblog.com Mike Griggs Mike Griggs is a 3D and visual effects artist with vast experience across the…

access_time4 min.
showcase

DEAR FABRICIO ARTIST Pedro Conti SOFTWARE ZBrush, 3ds Max, V-Ray, Ornatrix, Photoshop “It took me around three and a half days to create the whole piece from concept to final product,” says freelance director, CG supervisor and 3D artist Pedro Conti. This endearing image was a gift for his wife, who is 38 weeks pregnant with their son. The sculptures were based on their ultrasonography pictures and a little plush monkey from Pedro’s childhood. Pedro has 13 years of industry experience to draw from on personal projects like this: “I ran a company called Techno Image for seven years,” he reveals. More recently he has worked on Disney’s Moana and currently freelances for companies like Dreamworks, Universal Studios and Aardman. “I spent more time thinking about colours, layout and composition than on fancy 3D techniques with…

access_time10 min.
creature tales how mpc crafts its characters

With films such as The Jungle Book, Alien: Covenant and Blade Runner 2049, MPC has established itself as one of the leading studios for delivering photoreal characters. Helping the studio achieve that status is a specialised group inside MPC called The Character Lab that’s behind so many of those photoreal assets. 3D World asked several members of The Character Lab for their expert takes on modelling, rigging, grooming and lookdev from specific assets made for those recent films. Here they talk about the tools and techniques behind their work, and provide their practical tips for delivering the most photoreal creatures and characters possible. RE-IMAGINING AN ICONIC SPECIES MPC senior modeller Damien Guimoneau was responsible for the high-resolution sculpt of the terrifying CG Xenomorph that appeared in Ridley Scott’s Alien: Covenant. It was a…

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how to sculpt an alien

1. Dealing with damage: We needed to have damage variations for the Neomorph after it had been shot at. I created the bullet wounds on the Neomorph and tried to keep them connected, whilst keeping in mind that the creature was growing from baby to adult in seconds! In ZBrush the Morph target is extremely useful for this kind of thing, you can create all of the damage you want and also restore what you want to keep intact with the Morph brush. It was also interesting to create the thickness of the blood in this model, I then created a mask and passed it on to MPC’s texture artists 2. When you need super-detail: This is the sculpt I used for the final displacement, showing the muscle fibre and bone…

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the key steps to planning a successful rig

1. Reference is key: Whenever I pick up a new character I start gathering a lot of references such as slow-motion videos, skeleton images, and learn about the species history and specifics on Wikipedia/YouTube. I have been looking at birds recently; I’m trying to gather a lot of knowledge about their anatomy and how it defines their motion, for example the role of the wishbone and how the pectoral muscles are involved in the lifting of the wings. I like to be informed when I start working on a character so I can rig it with confidence and also assist other departments like animation if questions come up. 2. Some first steps: I start by placing skeleton geometry inside the model followed by a joint layout, skin cluster and a first…

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furtility at work

Furtility is a GOP (Geometry Operator) based fur system with an interface that allows you to stack the operators and even nest them, which we do when clumping fur in levels. When you create a fur system, by default there is a distributor node which allows you to distribute fur across a geometry. There is also a width GOP to set the root and tip width of the fur and a colour GOP to preview a root and tip colour. You can adjust how far up the curve the root width is used by adjusting the bias and offset values. Almost all attributes can be adjusted using an in-house plugin we have for Maya called Paint. In Paint we can create canvases on the geometry and create channels to connect into whatever…

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