Future Publishing Ltd

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3D World December 2018

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.

United Kingdom
Future Publishing Ltd
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£6.85(Incl. tax)
£44.99(Incl. tax)
13 Issues


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spotlight on our contributors

Trevor Hogg Trevor is a regular contributor to 3D World, and in this issue he has investigated the depths of VFX creation for The Meg on page 28. http://bit.ly/TrevorHogg Oscar Juarez Oscar is an archviz specialist creating in many apps. This issue he shows you how he created our stunning cover image, using 3ds Max and Photoshop. www.fibrha.com Pietro Chiovaro Pietro is an Italian 3D artist who creates 3D assets and environments, and is currently working on an open-source game. pietrochiovaro.artstation.com Martin Nebelong Martin is a freelance artist living in Denmark. Since he got his VR headset, 3D is becoming an increasingly bigger part of his work. www.artstation.com/martinity Michael Tschernjajew Michael works for New Communication, a leading creative agency in Germany. This issue he shows you how to use C4D to create monstrous machines. new-communication.de Mike Griggs Mike Griggs is a…

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CAT RIDER ARTIST Luo Qi Sheng SOFTWARE ZBrush, Arnold for Maya Infinity Studio’s art director Luo Qi Sheng’s breathtaking image was created and finished entirely in ZBrush, with no additional tools used. “When I have an idea I’ll sketch it out as soon as possible, before collecting reference pictures, artwork, and whatever can inspire me. Next I block it in ZBrush, sculpt the shapes, add secondary details, and finally the fine details.” Luo has around seven years’ experience creating video game characters, finding inspiration in fantasy movies, oil paintings and the work of master artists. Reflecting on the finished product Luo says: “I’ve always liked animals and beauty, but this is the first time I’ve incorporated them into one work and I enjoyed everything about it.” ● artstation.com/luoqisheng MONTAGUE RATSBONE III ARTIST Javier Diaz SOFTWARE ZBrush, Maya, Mari, Redshift3D, Yeti, Mudbox, Substance…

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production designing with the pros

THE PROS Ben Mauro, Valerian senior concept designer and art director Martin Macrae, Framestore head of art department, who oversaw the studio’s designs for Blade Runner 2049 Kim Taylor from Animal Logic, The Lego Ninjago Movie production designer Felicity Coonan from Animal Logic, The Lego Ninjago Movie art director The worlds you see in your favourite live action and animated features are the end results of hours, days and months of work by CG and visual effects artists. But those worlds also had to start somewhere, and that’s typically with concept artists, art directors and production designers. It’s with these artists that many early decisions get made about building the aesthetics of a world. With feedback from other filmmakers, they implement a vision for how visual themes in certain landscapes are made clear and can be…

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life in the big city

CONCEPT: This concept frame by Framestore established the orange alien-like landscape of future Las Vegas, and the remaining decrepit architecture. “We concepted everything with a certain level of natural destruction, scuff marks, rips, sand drifts and discolouration – anything to dull it all down and make it feel more hostile,” says Martin Macrae. CG ASSETS: Framestore then added its 3D architecture, which were ultimately inspired by Syd Mead’s original designs for the first Blade Runner film. “As the design process got more and more complex, so did the 3D models we were building; we had to section it off into separate areas to make it more manageable,” notes Macrae. LIVE-ACTION: On a stage in Montreal, cinematographer Roger Deakins shot a plate for the scene in a heavily smoky environment, with partial set…

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welcome to the jungle

THE SMALLEST DETAILS: Animal Logic production designer Kim Taylor asked, ‘What would a jungle look like to a Lego mini-fig?’ That meant plant and rock designs resembled backyard foliage – things a child might also find to build the world with. Taylor macro-photographed and scanned leaves, small trees and even moss (as seen here) for reference. QUICK CONCEPTS: The timeline to get Lego Ninjago made was tight, which often meant environments were designed quickly in 3D, sometimes even using the VR tool Tilt Brush. “I also used to get my camera and shove it underneath a bush to see what worlds were down there,” says Taylor. “I really wanted to capture that micro-world on the big screen in this film.” CLOSE TO FINAL: Animal Logic’s art department took concept and test shots…

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in deep trouble

By digitally recreating a 75-foot long prehistoric Megalodon, filmmaker Jon Turteltaub (National Treasure) has sought to craft a shark-versus-man thriller that can stand apart from the genre-defining Jaws released in 1975. The Meg stars Jason Statham as rescue diver Jonas Taylor as well as cast members Li Bingbing, Rainn Wilson, Ruby Rose, Winston Chao, Cliff Curtis and Jessica McNamee; they have to work together in order to save the world from a massive predator that has been inadvertently unleashed from the oceanic depths of a deep ocean trench. “Jon is always driven to make something that’s entertaining, compelling and has a broad appeal,” states The Meg visual effects supervisor Adrian de Wet who previously collaborated with Turteltaub on The Sorcerer’s Apprentice (2010). “He likes to shoot from the hip.” The movie…