3D Artist No. 134

Houdini has come on in leaps and bounds over the last few iterations, with each new version bringing not just new tools, but a better user experience. 17.5, the latest version from SideFX, is the most artist friendly yet, but still manages to offer new techniques and tools. With this in mind we talked to two Houdini experts who have shared their tips for getting the best out of the software, one from a more technical perspective, the other more art led, so you can set up simulations or create stunning art like our Vampire Cat cover image. This issue we also start a series of exclusive behind-the-scenes access to MPC, one of the biggest studios around. The first instalment focuses on their character concept work – head back for more…

ALUTA ROMA alutaroma.com Aluta is an industry expert, with a keen eye on the art as well as the tech. This issue she offers her tips to make the most of Houdini, to recreate our amazing cover image of a Vampire Cat. Turn to page 42. RAINER DUDA rd-innovations.de With a decade of experience, Rainer, who owns a CG studio in Germany, is an industry veteran. In this issue, he shows you how to maximise the mood-invoking ability of volume lighting. Head to page 50. JONATAN MERCADO www.jonatanmercado.com Jonatan Mercado comes to the pages of 3D Artist with a wealth of CG skill and knowledge to share. This issue he shows you how to create a suburban house, step by step. Turn to page 58 to read his tutorial. MARTIN NEBELONG artstation.com/martinity Martin is an artist who has turned his attention…

Tips collection Make the most of your Houdini 17.5 projects with our expert tips, from Greg Barta and Aluta Roma Three CGAxis premium models Grab these free ornamental plant models for your projects Textures from 3DTotal.com Download a selection of high-quality sky textures Tutorial files, video files and screenshots Learn the latest techniques and tools from our industry experts Head to bit.ly/3DA-134 to download your files SIGN UP to our newsletter to get the latest news, stories and training from your favourite 3D magazine…

Milan Vasek milanvasek.com Milan is a Czech 3D artist and ceramist with several years of experience in VFX and lighting of animated feature films. Software Softimage, Arnold, ZBrush, Houdini Work in progress… ”I created this picture as an escape from my everyday commercial work, where I have to make more complex and realistic stuff. I enjoy making things simple, without complex models and textures. Just simple shapes, colours and light. I grew up in the Beskid Mountains, where sheep used to be very common. I also spent a few years in Iceland, that probably influenced my choice of theme”Milan Vasek, Shepherd’s Island, 2019 Muhammad Murtaza Saeed bit.ly/2MhNiht Muhammad has been working as a character designer and 3D artist for over three years. Software ZBrush, Maya, Mari, Photoshop, V-Ray Work in progress… “I make a lot of fan art in my free…

3 D art has become a vital tool in advertising, opening up a new world of possibilities for agencies that want to promote a product or service. To determine 3D’s place in the world of advertising, 3D Artist spoke to London-based designer Design Lad, as well as several artists from post-production studio Smoke & Mirrors, who have been creating VFX for commercial projects since 1995. Mike Chapman, creative director at VFX powerhouse The Mill, also shares some unique insights. “CG brings limitless creativity and engaging imagery that can make a product look more enticing than its actual reality,” says Design Lad. “It’s a great tool for brands as you can produce unique and memorable advertising at a more cost-effective price than building props and having video or photoshoots.” Danny Holden, senior CG…

Red Bull’s Charge Ahead campaign depicts a climber defiantly scaling a mountain amidst harsh conditions and tough terrain. Realising this incredible feat came with its own challenges for Smoke & Mirrors’ Bangkok studio. “We used digital matte painting and 3D compositing to put the main character inside a harsh mountain environment,” explains Shakeri. Making each shot as believable as possible proved particularly demanding for Shakeri and the team. “Many elements needed to be added in,” he continues, “each one little by little adding more realism to the picture until it finally became believable.” The team then had to prepare each of the elements and combine them into the scene, “matching all the shots to have a believable film was the biggest challenge,” Shakeri recalls. Another huge challenge presented itself in the form…