Future Publishing Ltd

Tech & Gaming
3D World

3D World August 2019

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
Frequency:
Monthly
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13 Issues

in this issue

1 min.
spotlight on our contributors

Martin Nebelong Martin is a freelance artist living in Denmark, and is the artistic director of MasterpieceVR. On page 54 he explores rigging a character in VR. www.artstation.com/martinity Trevor Hogg This issue, Trevor dives into the world of Pokémon in our cover feature on page 18, and gets the lowdown on the VFX behind American Gods on page 38. linkedin.com/in/trevor-hogg-77a78024 Ian Failes Ian is a regular contributor to 3D World, and in this issue he explores the cutting-edge visual effects of short-form TV projects on page 24. www.beforesandafters.com Maya Jermy Maya is a 3D artist and animator based in the UK. She started her career in 2012 remaking and animating characters for Oddworld. mayajermy.artstation.com Adam Dewhirst Adam Dewhirst is a build supervisor for Double Negative London. He has over 15 years of experience in VFX spanning games, film, TV…

4 min.
showcase

GOD PAN ARTIST Baolong Zhang SOFTWARE Maya, ZBrush, Photoshop, Unreal Engine 4 The biggest challenge that professional 3D artist Baolong Zhang faced on this project was creating the character’s photorealistic hair. “He’s got very curly hair that required a lot of attention,” explains Zhang. “I used ZBrush FiberMesh to create the main volume of hair, then the smaller hairs were hand-placed. The shorter facial furs were created with XGen in Maya.” Throughout the project Zhang was inspired by the photography of Cristian Baitg Schreiweis, and he particularly enjoyed searching for further references. “I started searching for more references like Greek statues and paintings,” he says. “It’s fun to put these together in 3D, especially with Unreal Engine 4.” Elsewhere he finds inspiration in nature and classic art. Finding an interesting subject is crucial to getting a good start…

8 min.
pokémon go to the movies

When preproduction for Pokémon: Detective Pikachu started in January 2017, the original plan was that principal photography would commence in August 2017, but that was later shifted to January 2018. “There is no version of us making this movie without that full year of prep, as Pikachu alone took us six months [to develop],” states production visual effects supervisor Erik Nordby, who previously collaborated with filmmaker Rob Letterman on Goosebumps. “Doing 60 characters in any movie is an absolute massive outlay of time, energy and resources, and add to that the necessary rounds of approval with The Pokémon Company. We spent four to five hours almost nightly for about four to five months calling Tokyo and also made trips there. You can’t force the trust that allows for compromises.” HUMAN OR…

2 min.
steps toward approval

“It was extremely dispiriting and there were many moments where we asked, ‘How are we going to crack this?’” reveals production VFX supervisor Erik Nordby. “We kept pushing, specifically with Pikachu until we started to see a glimmer of light at the end of the tunnel. Then we found small successes, leveraged those successes to figure out other Pokémon, and then came up with this methodology that we needed to adopt.” There were four basic phases. “The first one being a chunk of great-looking 2D concept art that felt photoreal further than what we would typically do with creature art,” remarks Nordby. “The second would be this super simple 3D incarnation of that 2D concept art. We would rig it and do a quick turntable. That would be approved not only…

1 min.
not so heroic

“We would often from the Western point of view swing the pendulum too far,” explains the film’s production VFX supervisor Erik Nordby. “Charizard is a good example. It would be subtle things. We would push Charizard into something that felt too heroic, and that’s a temptation with a lot of the visual effects houses as well. The idea of making these things feel real is that they would take it and alter the silhouette.” “Early on we learned that as soon as you alter the silhouette, you’ve turned your back on the Pokémon itself,” reveals Nordby. “That was made clear in a lot of the time we spent with the original creators.” The conversations needed to be translated; however, a universal language proved to be extremely useful. “We would watch them…

9 min.
sci-fi and cgi on the small screen

It’s probably not that surprising that just about every sci-fi or superhero show today utilises CG and visual effects. Indeed, some characters in these types of shows are often entirely digital, while the locations and environments in these series are regularly synthetic, or a mix of real locations and manufactured places. 3D World looks at The Orville, Weird City, Doom Patrol and The Flash, and talks to the visual effects studios involved (Pixomondo, FuseFX, Artifex Studios, Encore) about how their VFX brought these sci-fi and comic-book stories to life. THE ORVILLE’S OUT-OF-THIS-WORLD ENVIRONMENTS Seth MacFarlane’s The Orville follows the crew of the titular space vessel as they carry out missions in space and on far-flung planets. That premise immediately calls for extensive digital environment work, and much of that is provided by visual…