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3D World3D World

3D World September 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

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 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 EJ Hassenfratz Motion graphics designer EJ is a MoGraph expert and shows you how to excel at using the Voronoi cutting tools on page 48, a great way to add interest to a project. www.eyedesyn.com Martin Nebelong Martin is a freelance artist living in Denmark. He has been working as an artist for 15 years. You can find his VR tutorial on page 60. www.artstation.com/martinity Ian Failes Ian is a regular contributor to 3D World, and in this issue he has investigated Framestore’s use of Mandelbrots, as well as the Ziva physics engine. www.vfxblog.com Mike…

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BMW M4 2014 ARTIST Aref Razavi SOFTWARE Autodesk VRED, 3ds Max 2018, V-Ray 3.6, Photoshop “The first time I looked at the BMW M4 2014 it amazed me with its perfect design. As it was too expensive for me to ever buy I brought it into reality with software like 3ds Max and Photoshop,” says Aref Razavi. A director of Zavir Studio in Iran, Aref Razavi spent three days crafting this image. “I used the BMW model from the Forza video game and imported it into the VRED application,” explains Aref. From there he produced around 80 unique shaders, such as scratched metal, fingerprints and raindrops. Last-minute adjustments in Photoshop helped to give the image its photorealistic finish. Having spent the last few years of his 18-year career in architectural visualisation, Aref is inspired by the details,…

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fanatical about fractals

Plenty of filmmakers are always looking for ‘organic’ forms to represent alien worlds or magical moments in their movies. So it’s perhaps unsurprising that they would seek to embrace fractals. After all, fractals tend to look like naturally occurring and infinitely repeatable objects, yet can often be simulated with mathematics. And so it is that several recent films, including Doctor Strange, Suicide Squad, Guardians of the Galaxy Vol. 2, Lucy and Annihilation have adopted fractals – especially three-dimensional ones – to help tell their stories. And they’ve seen use in immersive projects too, where fractal simulations can help realise complex forms for users to explore. 3D World asked some of the visual effects studios tasked with making complex fractals – particularly Mandelbrot and Mandelbulb sets – how they went about tackling these…

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enchanted mandelbulbs

There’s a moment in Suicide Squad when the Enchantress (Cara Delevingne) builds a ‘fractal engine’ with her newfound powers. Above her, massive pieces of Mandelbulb grow and form and rotate above. That was made possible thanks to effects simulations from Sony Pictures Imageworks. The fractals look came out of discussions on set, after early concept art and reference included diverse geometric patterns. Imageworks turned to Houdini for the generation of the Mandelbulb forms. Visual effects supervisor Mark Breakspear says plugging in the right maths into Houdini was not the trickiest part of this work. Instead, he recalls, “the thing that slowed us down for a time was reorienting our logic on how we control or animate them. We had to learn that Mandelbulbs are created using ‘power,’ and that they animate in…

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method’s mandelbrots

One of the major challenges in using pure fractal equations in visual effects shots is being able to adapt to the specific imagery that directors have in mind. Thus, many studios start with the maths and then go through an art direction process. That’s what Method Studios did for a sequence in Doctor Strange dubbed ‘The Magical Mystery Tour’ when the central character finds himself inside a psychedelic-looking realm. Various shots, such as Strange encountering multiple iterations of his own body parts, were inspired by fractal-like imagery. “It’s all formula to get this Mandelbrot looking a certain way,” explains Method Studios visual effects supervisor Olivier Dumont. “The problem with that is, it looks great, but it’s not very controllable in terms of what type you want to achieve. It’s more like a…

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how to make a mandelbulb

Matt Ebb (mattebb.com), an FX lead at Animal Logic with credits on films such as Guardians of the Galaxy Vol. 2, Avengers: Age of Ultron, The Lego Movie and Prometheus, outlines how to quickly visualise a fractal in Houdini using a signed distance field volume (SDF). 01 USING SDFS In each voxel, an SDF stores the distance to the nearest point on the surface. Houdini can interpret these distances, and visualise the derived surface as 3D geometry. This is very convenient since most fractal formulas take the form of a ‘distance estimation function’ – given a point in space, the function returns the distance to the nearest point on the fractal implicit surface. This means that you can put the results of the fractal function directly in each voxel and it will…