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3D World3D World

3D World September 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
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13 Issues

IN THIS ISSUE

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spotlight on our contributors

Donovan Douglas CG veteran and industry trainer Donovan makes his debut in 3D World with the first part of a rigging course, to help you work smarter and faster. www.donoman.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 Pat Imrie Pat is a 3D/VFX artist specialising in modelling and digital sculpture. He has over ten years’ experience working in TV, previs and high-end VFX. www.patimrie.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 and commercials. www.instagram.com/dewhirstadam Ian Failes Ian is a regular contributor to 3D World, and in this issue he explores the making of Pixar’s Toy Story 4 on page 18. www.beforesandafters.com Mike Griggs Mike Griggs is a 3D and…

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3d world

EDITORIAL EDITOR Rob Redman 3dworld@futurenet.com PRODUCTION EDITOR Rachel Terzian DESIGNER Ryan Wells STAFF WRITER Brad Thorne SENIOR ART EDITOR Will Shum ACTING EDITOR-IN-CHIEF Claire Howlett CREATIVE BLOQ EDITOR Kerrie Hughes CONTRIBUTORS Trevor Hogg, Mike Griggs, Ian Failes, Pietro Chiovaro, Antony Ward, Maya Jermy, Pat Imrie, Tanya Combrinck, Donovan Douglas, Robin Fuller, Adam Dewhirst COVER IMAGE Rob Redman ADVERTISING Media packs are available on request COMMERCIAL DIRECTOR Clare Dove clare.dove@futurenet.com SENIOR ADVERTISING MANAGER Mike Pyatt 01225 687538 michael.pyatt@futurenet.com ACCOUNT DIRECTOR George Lucas 01225 687331 george.lucas@futurenet.com INTERNATIONAL LICENSING 3D World is available for licensing. Contact the Licensing team to discuss partnership opportunities. HEAD OF PRINT LICENSING Rachel Shaw licensing@futurenet.com SUBSCRIPTIONS EMAIL ENQUIRIES contact@myfavouritemagazines.co.uk UK ORDERLINE & ENQUIRIES 0344 848 2852 INTERNATIONAL +44 (0) 344 848 2852 ONLINE ORDERS www.myfavouritemagazines.co.uk GROUP MARKETING DIRECTOR, MAGAZINES & MEMBERSHIPS Sharon Todd CIRCULATION HEAD OF NEWSTRADE Tim Mathers tim.mathers@futurenet.com PRODUCTION HEAD OF PRODUCTION US & UK Mark Constance PRODUCTION PROJECT MANAGER Clare Scott ADVERTISING PRODUCTION MANAGER Joanne Crosby DIGITAL EDITIONS CONTROLLER…

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showcase 

CONSOLE CUBES ARTIST Johannes Larsson SOFTWARE Maya, Photoshop, Arnold, Substance Designer The Game Assembly art teacher Johannes Larsson began working on this image to practise rendering with Arnold, as well as learning how to create materials using Maya’s shader graph. He worked on and off during his free time for around two months. “What I found to be really iterative was using Substance Designer for the micro noise in the plastics and rubber on the different cubes,” Larsson tells 3D World. “With minimal work I could make noise to fit another cube’s material in no time. I studied the plastic surfaces of the console controllers that me and my friends owned, then found reference materials for the rest online to try and make the surface feel as real as possible.” The trickiest part of the process…

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introducing fusion studio 16!

Fusion has been used to create the visual effects and motion graphics on thousands of Hollywood blockbuster films and television shows. Fusion Studio 16 is a massive update that brings all of the improvements made to Fusion inside DaVinci Resolve to the stand alone version of Fusion. As well as dramatically faster performance, the interface has been completely updated. New GPU Acceleration All 3D operations are GPU accelerated, making Fusion much more responsive and interactive. In addition, there are dozens of GPU accelerated tools such as time effects, dissolves, stereo 3D tools, vector motion blur, corner positioning, color tools and more. B-spline and bitmap mask operations are accelerated, as are the planar and camera trackers. Work Faster with Nodes Fusion uses nodes to represent effects and filters that can be connected together to easily…

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the tech of toy story 4

It was nearly a quarter of a century ago that audiences got a glimpse of the future of animated feature films, when Pixar unveiled the world’s first fully CG animated movie Toy Story in 1995. Since then, the technology – and artistry – behind Pixar’s many releases has soared to new levels. All that technology, artistry and storytelling ability is there on the screen in director Josh Cooley’s Toy Story 4, which now sees Woody, Buzz Lightyear and a host of other characters out in a much wider world. It’s a film that, thanks to Pixar’s increased firepower (including the physically based path-tracing architecture now in RenderMan), was simply not achievable before. Over the next few pages find out how the studio made some of the most complicated scenes and characters in…

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breaking down a scene

1. Storyboards Here, artists at Pixar draw key frames for the scene in which Woody, with Forky, run into Gabby Gabby and her ‘helpers’, including Benson, inside the antique store. The boards suggest possible set positioning, camera angles and character poses, and often get edited into ‘story reels’ to review the film before any actual animation production is carried out. 2. Layout Pixar’s camera and staging team take the storyboards and early set builds to place virtual cameras. That further informs more set and prop builds and allows for decisions to be made about character movement, framing, lensing and general shot composition. An important part of staging in the store was to show the toys’ point of view, compared to that of humans. 3. Lighting and rendering After animation, Pixar’s lighting department handles lighting the…

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