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3D World

3D World August 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.

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United Kingdom
Future Publishing Ltd
4 812,13 ₽
13 Выпуск(ов)

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1 мин.
editor’s welcome

I think it is fair to say that Pixar is one of the best-loved animation studios in the world, having built up a reputation not just for beautiful imagery but also for top-class storytelling, and at the end of the day that is what we are all about. No matter what form our art takes, it is all about engaging with the viewer to tell a story. This issue is a special one, as almost every page is dedicated to the wonderful work of Pixar and RenderMan. We introduce you to the teams who share their insights and workflows to explore what makes Pixar so good at what they do. What matters to many of us is learning how to make our own projects as good as those we see in the…

1 мин.
spotlight on our contributors

Dylan Sisson Industry veteran and Vertex speaker Dylan Sisson shows you how to use RenderMan to create NPR renders. www.dylansisson.com Eugene Riecansky Eugene is working on launching his new online creative school, but takes a break to write a Houdini tutorial for us. www.wherelightningstrikes.com Dan Scanlon Dan took some time out to talk to us about directing Onward, Pixar’s movie that forced the team to act with their legs. twitter.com/MrDanScanlon WEBSITE 3dworld.creativebloq.com FACEBOOK www.facebook.com/3dworldmagazine INSTAGRAM @3DWorldMag TWITTER @3DWorldMag…

3 мин.
the gallery

ARTIST Ana Ramirez JOB TITLE Shading artist, Pixar The skeleton images were done during Inktober 2019. I have loved the folklore of the Day of the Dead since I was a young girl. I love this time of year and Inktober was a challenge and excuse to keep painting more skeleton-themed art! I have also been inspired by florals since my mum is a floral designer/decorator, so it comes naturally to me as I grew up surrounded by flowers. Usually for my personal art I am inspired by the beauty of nature, as well as some horror/mystery. My favourite themes! • Instagram: @florecitasdelcampo ELOTE BOY ARTIST Alex Pimwong JOB TITLE Story artist in residence, Pixar Inspired by my love of Mexican food and specifically elotes, I had this weird dream that I was flying among giant Mexican street corn with giant pink…

12 мин.
the quest of a lifetime

For the past 34 years Pixar has been at the forefront of computer-animated film, pushing the boundaries of technology and storytelling alike. Now, on their 22nd outing, the pioneering studio is finding new ways to hone their craft and enchant audiences around the world. Onward introduces two teenage elf brothers, Ian and Barley Lightfoot, and their quest to spend one more day with their dear departed father, using what little magic is left in the world. The film is a deeply personal one for its director, Dan Scanlon. “The story is inspired by my own relationship with my brother and our connection with our dad who passed away when I was about a year old,” he explains. “He’s always been a mystery to us. A family member sent us a tape…

2 мин.
onward and upwards

The spark It starts with Dan and I in a room, just two of us, and we start talking about ideas. That’s when we hit upon Dan’s story and realised how powerful it was. That storyline about loss, grief and those people left in your life who support you, we both thought that could connect with a lot of people. Story time We bring on a head of story and slowly add a few story artists. Availability is always an issue at Pixar because we have multiple films in production at once. The goal within the first two years is creating a treatment, an outline, and then a first draft which we use to put the movie up in story reels. It’s a very skeletal crew at that point, we usually just have…

1 мин.
monsters film school

Sequels can be a tough nut to crack for any director, prequels tougher still. So when Dan Scanlon made his Pixar directorial debut with a prequel to the beloved Monsters, Inc. it proved a steep learning curve. “A prequel is a hornets nest in a way,” Scanlon tells 3D World. “You get the characters that you get and you can’t change them wildly because they have to hook up to the next film.” As the filmmaking process got underway Scanlon came to realise that the art of a prequel is in meeting the characters as different people and surprising audiences with the backstory of how they got to where we saw them last. Scanlon worked with Kori Rae on Monsters University, kicking off a creative partnership that would continue into Onward.…