Future Publishing Ltd

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Future Publishing Ltd

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category_outlined / Tech & Gaming
3D World3D World

3D World May 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.

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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13 Issues

IN THIS ISSUE

access_time1 min.
welcome

We have a great selection of insights and training this issue, from our giant Fusion tips piece and a tutorial on modelling to 3D print. We also have a fantastic tutorial from Victor Hugo, showing his process for creating his stunning cover image. We love it so much we are giving all of you a poster to celebrate!rob.redman@futurenet.comSAVE UP TO 47%When you sign up to a print subscription – turn to page 32. ■…

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spotlight on our contributors

Pietro ChiovaroPietro is an Italian 3D artist who creates 3D assets and environments, and is currently working on an open-source game.pietrochiovaro.artstation.comVito LaMannaVito has a following on YouTube for his Fusion training, and rightly so! You will find his fantastic Fusion tips piece on page 42.bit.ly/con-fusionOscar JuárezOscar is an archviz specialist, creating in many apps. This issue he is back as part of our Q&A panel, which you can find on page 72.www.fibrha.comDora R. FitzgeraldDora received an MFA in Film from Columbia University and a Ph.D from the University of Texas San Antonio. She teaches visual language on page 26.www.uiw3d.comTom BoxFounder of Blue Zoo, Tom discusses the studio’s AnimDojo programme to help budding animators level up their skills, on page 86.www.blue-zoo.co.ukMike GriggsMike Griggs is a 3D and visual effects artist with…

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showcase

MODERN DUTCH INTERIORARTISTMartijn BayensSOFTWAREBlender, Unreal Engine 4Martijn Bayens, currently studying gaming architecture and design, created this interior scene in 20 hours using only Blender and UE4.“The way I created this scene is actually simple,” Martijn says, explaining that he modelled the outer walls first before heading onto the interior walls, placing the windows, creating the floors and ceiling, and finally adding the extra details. “When the modelling is done I start up Unreal Engine – I always use my lighting template.“What I like the most about creating this project is that when I imported it in Unreal Engine, it looked very bad and you always doubt yourself, but after I added materials and built the lighting it looked very good and that feels great.”sneye.artstation.comMAËLYS, THE STEAMPUNK EXPLORERARTISTLeandro SakamiSOFTWAREZBrush, Maya, Substance…

access_time8 min.
down the rabbit hole

PETER RABBITDIRECTORWill GluckABOUTBased on the classic children’s books, Peter Rabbit follows the story of a family of rebellious rabbits and their comical feud with a vegetable garden ownerRELEASE DATEOut nowWill Gluck’s Peter Rabbit, based on the characters created by Beatrix Potter, is the latest movie to go the way of the CG/live-action hybrid. But just what is involved in making a film where most of your characters need to be added later? How do you plan, how do you shoot with live-action actors, and where do you start with animation?3D World asked Animal Logic how Peter Rabbit was put together, from planning the shoot, to filming with stand-ins, building a whole raft of adorable CG characters and then animating them. It’s a lot more work than you might think, and…

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stuffies, stand-ins and sticks

HERO STUFFIE“This was a beautiful furred stuffie that cost a lot and was designed to be an accurate lighting reference,” outlines Will Reichelt. “It was actually furred with real rabbit fur that the props department sourced as a cured pelt that they then covered over the model. We would wheel that out for every setup to shoot HDRIs and other reference.”DIRECT INTERACTIONWhen the actors needed to hold a rabbit, or be pushed and pulled by one, there were other options. One stuffie was more sandbag in nature and was covered in a bluescreened material. Another method was to have a bluescreen performer on set who would literally poke and prod at the actors with hands or sticks.KEBABSA series of rabbit outlines attached to sticks were utilised for camera framing. “We…

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the tech behind the bunny

1. FURPeter’s fur was handled with Animal Logic’s Alfro tool, a grooming application that had been developed over several productions including Legend of the Guardians: The Owls of Ga’Hoole and Walking with Dinosaurs 3D. The tool is built inside the studio’s proprietary procedural animation and simulation engine known as ALF, where a feather creation pipeline, Quill, also resides.2. CLOTHINGEach rabbit wears a distinctively coloured jacket, and many other animals also sport clothing in the film. For this, Animal Logic relied on its Weave toolset. It works by overlapping curves and displacement shaders to represent a particular piece of clothing. Artists follow the shape of a sewing pattern during modelling that is effectively ‘stitched’ together to form the final article.3. RENDERINGFirst developed at Animal Logic to render a couple of scenes…

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