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3D World3D World

3D World October 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.

United Kingdom
Future Publishing Ltd
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13 Issues


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spotlight on our contributors

Syawish A Rehman Syawish is a visual effects and motion graphics artist based in Pakistan. On page 82, he shares how to make disintegration effects. www.goo.gl/4qtzIz Madeleine Scott-Spencer Madeleine is a creature and character designer and texture painter who currently resides in London. Read her ZBrush review on page 94. www.maddiemonster.com Andrew Entwistle Andrew is a freelance artist with over ten years’ experience. Turn to page 36 to read his Unreal tutorial on game environments for Tethered. www.aentwhistle.com Steve Jarratt On page 92 you’ll find Steve’s review of LWCAD. He draws on years of experience as a writer and user of 3D animation software. en.wikipedia.org/wiki/Steve_Jarratt Paul Hatton Paul leads a studio of visualisers based in the UK. On page 81 he shows you how to speed up your renders, with V-Ray. www.cadesignservices.co.uk Mike Griggs Mike Griggs is a 3D and visual…

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THE RUNNER ARTIST Greg Rogers SOFTWARE 3ds Max, Corona, SIGERSHADERS, Fuse, Photoshop and Mixamo With this image, Greg found a process to capture his inner child. Using Adobe Fuse to develop the 3D soldiers, he explains that, “Once the soldiers had their poses, placing them in the scene felt like playing with action figures as a child.” This wasn’t the only enjoyable part. For Greg, “using Vitaly Bulgarov’s Megastructures set (https:// vitalybulgarov.com) to create the environment… was the most rewarding. I only used four materials to texture the scene. The rest were created in Photoshop using textures.com and photobash.org. This was my favourite part, the story comes alive as you move textures around the scene.” www.GregRogers3D.com THE LETTER ARTIST Hyeon Jin Park SOFTWARE Maya, ZBrush, Substance Painter, Quixel and Nuke Inspired by the PS4 game,The Order: 1886, Hyeon Jin Park created this piece as…

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journey’s end

WAR FOR THE PLANET OF THE APES DIRECTOR Matt Reeves COUNTRY United States ABOUT Apes fight back RELEASE DATE Out now WEB http://bit. ly/2tEQHeX Answering the question of how primates came to conquer the Earth in the 1968 sciencefiction classic, Planet of the Apes, is a prequel trilogy that features Rise of the Planet of the Apes (2011), Dawn of the Planet of the Apes (2014) and War for the Planet of the Apes (2017). The three movies introduced the world to a genetically modified chimpanzee named Caesar who left behind his lab experiment origins to go on to become a powerful leader. The films also propelled Weta Digital to the forefront of being able to convey emotion through entirely synthetic characters. “When we did Rise of the Planet of the Apes, Caesar was being created for…

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location, location, location

In addition to all of the live-action photography, CG augmentation was needed for building environments. “The Hidden Fortress is one of our big environments in the film,” remarks Weta Digital Visual Effects Supervisor, Dan Lemmon. “A portion of the exterior we shot in British Columbia but we ended up digitally adding the waterfall and all of the interior. The baskets, totems, sconces and torches were built off of designs or pieces that the prop master or set decorator had put together with the production designer.” A significant element that needed to be simulated was the waterfall. “A big part of making it feel believable had to do with building the terrain underneath the waterfall, such as the rocks, channels, and interruptions the water flows over. By making the surface underneath…

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all hail caesar

Key to the portrayal of Caesar is the motion capture performance of Andy Serkis. “It’s always great working with Andy because he is the character, so for us the technical aspect of it is twofold,” explains Weta Digital Senior Visual Effects Supervisor, Joe Letteri. “The fidelity of knowing that you’re getting as accurate information as possible but also the robustness because we keep going into these harsher locations and needing to capture more characters interacting at the same time. Then on the backend, once we get all that information we have to take it and turn that into Caesar. There’s an artistic quality to it that we’ve learned on how to translate Andy’s performance of the Caesar character. That goes for all of the apes as well.” Nuances are incorporated…

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ecosystem of totara

War for the Planet of the Apes enabled Weta Digital to utilise a new ecosystem modelling tool, called Totara, for the first time. “It’s a way of growing not only a tree but the whole forest realistically,” explains Weta Digital Visual Effects Supervisor, Dan Lemmon. “Rather than building a tree and placing that tree by hand, you scatter seeds across your whole mountain and then those seeds sprout, grow and compete for resources. You’ll actually simulate the whole ecosystem for 80 or 100 years. Some trees will die, branches will fall, and you end up getting a distribution of much more realistic forest. Two trees are growing side by side and their branches will avoid each other and develop more on the outside surfaces. There a lot of these details that…