Tech & Gaming
3D World

3D World February 2020

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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13 Issues

in this issue

1 min.

There has never been a more exciting time in visual effects. I remember when it seemed every month brought new innovations and never-before-seen spectacles. But, in many ways, today’s visual effects industry is more exhilarating and more apt to surprise given the sheer size and scale of what we as a community produce each year. We are all racing off in different directions, building the future one innovation at a time. Having just celebrated Avatar’s 10th anniversary, I’m reminded of how radically we changed our pipeline to live up to the audacity of James Cameron’s vision for the film. And we’re deep into another reimagining for the Avatar sequels. Today, facilities and research teams all over the world are finding new and innovative ways to incorporate machine learning and A.I. GPU…

6 min.
the gallery

LEAD ARTIST, ART DIRECTOR, WETA WORKSHOP WETA WORKSHOP LONG SERVICE AWARD I was asked to come up with an award for Weta Workshop staff who have been with us for 10, 15 and 20 plus years. I wanted to make something I would want to hang on my wall, and that would truly represent the type of place Weta Workshop is, so it became a very personal project. My bias in most design work is to push towards simplicity and elegance over excessive detail. I like bold forms that hide, or are supported by clusters of detail. DR. GRORDBORT’S - THE ROBOT FACTORY Most of my work starts in 3D – even concept and illustration. I like to flesh something out in space before committing to an idea. Often I won’t bother doing a…

9 min.
welcome to weta

With the release of The Fellowship Of The Ring, the world had been completely awestruck by how Peter Jackson and Weta had brought Tolkien’s impossible world to the big screen. By the time all three films had screened, The Lord Of The Rings had won 17 Oscars, including three subsequent wins for Best Visual Effects. All from a studio that, only eight years before, had been formed out of one leased Silicon Graphics Indigo computer – featuring less processing power than today’s average smartphone – set up in a suburban dining room. Overnight, Weta had become a national treasure with an international reputation. Today, Weta has grown from being just a handful of enthusiasts working purely on Peter Jackson’s films into several separate companies working for a range of clients, each…

1 min.
women at weta

This is my favourite trend! Women at Weta and in visual effects as a whole are now more confident that their voices are being heard. I love that I can walk into a room and joke, wow we need more women at this table! And everyone agrees and works to find ways to make that happen. It’s not taboo to talk about how the industry needs to do something about having a greater variety of artists represented. I recently went to a talk by Geena Davis on the power of inclusion, and she said something that really stuck with me – if you see it, you can be it. That’s a great tagline for this industry. If more young girls in school see a woman in a visual effects supervisor or producer…

2 min.
weta through the years

1987 Peter Jackson directs his first feature film, Bad Taste. It was completed over weekends in four years, while Jackson worked as a photo engraver at The Evening Post. RT Effects is born, made up of Richard Taylor and Tania Rodger working in the back room of their flat. 1989 Taylor, Rodger and Jackson collaborate together on Meet The Feebles. 1991 Taylor and Rodger supervise the creature, miniature and gore effects on Jackson’s third film, Dead Alive. 1993 Jurassic Park is released, inspiring Jackson with what can be done using digital effects. 1994 Jackson, Taylor, Rodger and Jamie Selkirk team up to start Weta, originally called Wingnut Effects and Technical Allusions. Weta Digital’s first project is Peter Jackson’s Heavenly Creatures – Kate Winslet’s first feature film. 1995 Peter Jackson’s The Frighteners pushes Weta Digital artists to compete on a world stage…

7 min.
under the skin

Over the past few decades, Weta Digital has been continually innovating in the area of digital humans, especially digital faces. Now, with Ang Lee’s Gemini Man – which saw the creation of present-day and younger CG versions of actor Will Smith – the visual effects studio’s artists have crafted what may well be Weta Digital’s most photorealistic synthetic humans yet. Several factors made this possible, including the approach to the performance-capture of Will Smith, translation of capture data to CG puppets, animating the character, and the rendering of the final imagery using the studio’s proprietary spectral renderer, Manuka. All of that – plus other techniques – helped Weta Digital deliver digital humans that would be shown at 4K and 120 fps, and in stereo. In addition to this, two new developments helped…