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3D World3D World

3D World August 2016

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

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spotlight on our contributors

Eva Ng Eva is a London-based freelance 3D artist who specialises in lighting and compositing. This issue she reveals how cloud rendering changed her life, plus she explains how to create shaders with advanced specular reflections using Maya, on page 32. www.eva-ng.com Christian Alzmann ILM concept artist Christian Alzmann can boast Star Wars, Terminator and Indiana Jones on his CV, which now also includes Warcraft. On page 36 Christian joins other ILM artists to reveal what it took to bring Blizzard’s orc hoard to the big screen. www.christianalzmann.com Scott Mitchell Scott is a senior animation art director at Ubisoft, and on page 48 he joins other professionals to reveal what they look for in new portfolios and showreels. Your career in VR, video games and animation just got a helping hand. www.linkedin.com/in/scott-mitchell-95421a2 Dominik Capodieci Dominik is a…

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showcase

GET PUBLISHED EMAIL YOUR CG ART TOian.dean@futurenet.com Visit the online Vault to download extra process art for these projects: www.bit.ly/vault-210-film 3D WORLD VIEW “The lighting is beautiful in this scene, as Christian manages to give his sci-fi environment a warmth and realism that is often missing in genre scene illustrations.” IAN DEAN Editor I came to the conclusion that the scene needs the clouds. For one they break up the otherwise monotone look and give a sense of scale FROM HERE I CAN ALMOST SEE THE STARS ARTIST Christian Hecker SOFTWARE Vue, Daz, Photoshop A freelance artist working in illustration, Christian Hecker’s focus for From Here I Can See The Stars was detail and atmosphere. Creating the image in Vue and kitbashing together the scenery, Christian was able to create this sci-fi scene with incredible detail. The downside was the…

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will you render your next project using the cloud?

Cloud rendering has been the big issue for many artists, particularly those working remotely or in small studios. The big player in the market is Google Zync, but newcomers such as the UK’s Yellowdog are also catching on. To uncover how feasible it is, we caught up with lighting and compositing freelancer Eva Ng, who turned to the cloud to hit deadline on her final project at Gnomon School of Visual Effects. Her project, NYC Village, is an information heavy still-life scene of a New York street – beautiful but problematic when rendering on modest hardware. “The image was broken down into foreground and background render layers, but because I had trees in my scene, it became very intense,” explains Eva. “When I did initial render tests, the renders were coming…

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what does the future hold?

The nature of the industry means the appetite for processor cycles for rendering will always be more and more voracious. From increasing in resolution, 360deg and complex VFX, so anything that makes this easier to access will be a winner. Hence the attraction of cloud-based solutions to offer ‘infinitely’ expandable processing powers. This can also be harnessed for real-time work, whether it be for traditional games or VR. The recent ILM XLab demos are living proof of that high quality, real-time graphics can be delivered to low-end platforms and devices. The limit will be the size and reliability of the pipe that you send it down. You will always have to acknowledge that there will be security issues with cloud rendering. As a result, there will be resistance to putting sensitive material…

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making a lucid nightmare

Axis are no strangers to working on big franchises and have carved out a name for themselves creating dramatic game trailers. With Games Workshop’s Warhammer 40,000: Dawn of War III, the team at Axis, led by director Abed Abonamous, needed to stay true to a strict art style of the franchise while pushing the boundaries of what was possible. “We looked at the game art, but also a lot into the extremely deep WH40K lore for inspiration,” explains Abed, who animated the game trailer in Maya with shading, lighting, rendering and FX completed using Houdini. Compositing was done in Fusion. “Instead of going for a self-contained, conventional plot we wanted to take a few steps back and convey the mood of that universe, its futility and gloominess. One of the very…

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new software

MARI GOES FREE The Foundry has released a free, noncommercial version of Mari, its awardwinning texture painting software. A staple of the VFX industry, Mari is an essential tool, and you can now learn it at your own pace – and at no cost. Visit www.thefoundry.co.uk to download a copy. FABRIC 2.2 IS OUT The latest version of Fabric Engine has added Python support to Canvas visual programming, making the system accessible to a wider range of technical directors and technical artists. As an added bonus, Fabric for Modo is part of this release. Watch a demo online here: www.bit.ly/210-fabric ENLIGHTEN TO ARCH-VIZ Global illumination technology, Enlighten, is stretching out from game development to add arch-viz users to its roster, and Yugen, an Australian firm that specialises in creating life-like, 3D property designs is first…

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