3D Artist No. 111

3D Artist magazine is a luxury title for fans of 3D software and the phenomenal images that can be created. Each issue is packed with advice and inspiration for 3D devotees, all written by first-class artists. The tutorials give readers valuable insight into the techniques used by 3D professionals, while interviews and features focus on the latest projects being created by commercial studios and freelancers. 3D Artist looks at the entire 3D world, from TV and architecture design, through to film work, concept art and character development. The unique 'Workspace' mini-mag is for people training for a 3D career and shines the spotlight on 3D university and college courses, in addition to specific career advice from experts in the field, interviews with 3D studios and recruitment agencies, plus tips for anyone starting out as a freelancer. Please note: Digital versions of the magazines do not include the covermount items or supplements that you would find on printed editions.

United Kingdom
Future Publishing Ltd
Back issues only

in this issue

1 min

As one of the biggest animation studios in the world, Pixar has been creating inspiring and innovative films with RenderMan since 1988. Its two feature releases in 2017, Cars 3 and Coco, are just two examples of their technical prowess being taken to yet another level with industry firsts. RenderMan is the first commercially available renderer to ship with a physically based model for subsurface scattering. Now that RenderMan is being used at ILM and MPC as well as Pixar, you can truly achieve blockbuster effects in your home. So we’ve gone under the hood with Pixar’s big release for 2017, RenderMan 21.5, and with the summer hit Cars 3 to find out how Pixar makes the unreal photoreal. We’ve also collated 30 fantastic Maya tips this issue, including some from…

2 min
the expert panel

TREVOR HOGG plus.google.com/108424549491918904365 Going under the hood of Cars 3 and Pixar’s spectacular new effects, Trevor Hogg finds out how the studio managed to render thousands of lights and create realistic mud effects. Find it on page 24. 3DArtist username N/A JAMES CLARKE amzn.to/1KQv25f James returns this issue with an insider look at what makes RenderMan the incredible tool it is and discovers the tech behind some of its amazing industry firsts for shading. Read it on page 34. 3DArtist username N/A FARID GHANBARI renderburger.com Taking us through his workflow of texturing and lighting a photorealistic still-life scene, Farid explains how he utilises Maya and Substance Painter to add details on page 50. 3DArtist username Farid ARA KERMANIKIAN kermaco.com Ara explores the processes of working on a 3D scanned model from a professional photogrammetry studio this issue, and teaches us his pro techniques for…

3 min
the gallery

“This project is based on Belle’s house from the classic Disney animation Beauty and the Beast. I made this personal project as a study to focus on improving my skills as an environment/look development artist. I haven’t used any pre-made models or textures because I wanted to push myself as hard as I could to learn new techniques” Rafael Z. Chies, Belle’s Cottage, 2017 Rafael Z. Chies artstation.com/artist/rzc Since he was a child, Rafael has loved art. Now he can do what he loves and also pay the bills! Software Maya, ZBrush, Substance Painter/Designer Work in progress… “This image was inspired by Sir William Rothenstein's The Doll House. I think it is important as we move forward with technology to not lose focus of where we came from; all my work somewhat relates to this idea.…

9 min
rendering a driving force

For the past decade, the passion project for John Lasseter has become the most profitable franchise for Pixar Animation Studios, with Cars (2006) and Cars 2 (2011) combining to earn more than $1 billion at the worldwide box office and generating $10 billion in merchandise sales. Getting handed the keys to the beloved stock car Lightning McQueen for his third lap around the cinema circuit is Brian Fee who makes his directorial debut on Cars 3. “Being a story artist previously at Pixar was an excellent training ground,“ observes Cars 3 director Brian Fee. “You sit down and have a conversation with the director. Most of the time you get the script pages. You talk about what they’re hoping to get and convey, then as a story artist you lock yourself…

1 min
the evolution of a shot

1 Over the course of production artists created over 80,000 storyboards with 10,102 making it into the final sequences. This particular one was drawn by story supervisor Scott Morse to provide a rough idea of what the shot would look like. 2 Heightening the sense of imminent danger is concept art illustrated by Laura Phillips. Key additional elements include the stadium setting, muted colour pallet, Miss Fritter serving as a light source, rubber tyres and McQueen in the mud pit. 3 The concept art enters the digital realm with the different environmental elements and characters given shape and texture via modelling and shading. There is also the opportunity here to explore the various perspectives of the shot. 4 Facial expressions and body language are added as the animation team manipulate the character rigs…

2 min
muddling through

Pixar talks about how the mud effects were developed for the demolition derby scenes “The entire scene is seven minutes of cars sloshing around in mud and that’s something they had never had to do before,“ remarks director Brian Fee. “The effects team went to town spending a long time researching and developing all of the tools that they would need.“ The hardest effect to develop was the mud. “It was more difficult for our effects team than for anybody else to get it to look right in the computer,“ states supervising animator Bobby Podesta. “Our effects supervisor Jon Reisch would consistently say, ‘It’s not really a liquid or a solid. It is somewhere in-between.’ To do that in the computer and make it look right and believable is trickier than…