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3D World

3D World October 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

This year has been different to say the least. Society is changing in many ways and it is easy to overlook some of the effects these changes are having. Social distancing has meant that cinemas, theatres, film sets and TV studios have had to either close doors, or work in a severely limited way. Here at 3D World we try to explore all areas of 3D, from the models and renders created by the talented community, through to the amazing work done for TV and for high-end projects, like Mulan, created by teams of hundreds. Mulan is a stunning reimagining of the classic Disney animation and is laden with visual effects, both obvious and extravagant, as well as invisible. This month, we take you behind the scenes to investigate the process. The music…

1 мин.
y-wing redesign 2020

ARTIST Encho Enchev SOFTWARE 3ds Max, V-Ray, Photoshop Work on the intricate 3D model of this Y-wing design took Ubisoft senior 3D environment artist, Encho Enchev, just three days to complete. Enchev built the model in 3ds Max, before rendering in V-Ray and applying finishing touches in Photoshop. Often working on vehicle concepts in his spare time, Enchev particularly enjoyed creating something that could belong in the vast Star Wars universe. He also took the opportunity to embrace more colour and contrast; “most of my projects are very muted and desaturated,” he tells 3D World. In his day job at Ubisoft Enchev will begin projects by making rough sketches to present his ideas to the art director. Next he creates a low-poly 3D model to figure out the correct proportions and composition for the piece, continuing…

1 мин.

ARTIST João Victor Ferreira SOFTWARE ZBrush, Maya, XGen, V-Ray, Photoshop João Victor Ferreira is a character modeller, rigger and tools developer working across feature films and advertising. It took him four weeks to complete work on this friendly character piece. With his prior experience in tool development, Ferreira was able to write a script that would randomise the position and rotation of the leaves on the ground, meaning he wouldn’t have to do it one by one; “it’s always good to save time,” he tells 3D World. Ferreira also favours using a falloff map inside the diffuse channel for the VRayFastSSS material, creating what he calls, “a subtle velvet look in the skin.” This, mixed with a V-Ray Blend Material, allows Ferreira to better adjust the specular reflection. The look development phase begins in Maya, where…

1 мин.
flak cannon

ARTIST Gregory Trusov SOFTWARE Marmoset Toolbag 3, Photoshop 3D artist Gregory Trusov spends anywhere between five minutes and half an hour on his intricately detailed props and weapons. Trusov’s previous experience consists of some procedural modelling and VFX work in Houdini during his spare time. This highly detailed flak cannon render is a tribute to the Unreal Tournament first-person shooter video game. Assembling the lighting rig was a highlight of Trusov’s process. “I don’t use a classic lighting rig in my scenes,” he tells 3D World. Rather than opting for fill or key lights, Trusov chose to use a large number of lights for this image. “Most of them are directional and omni lights. Each of them affects only a small part of the asset.” Throughout Trusov’s flak cannon project there are around eight to…

1 мин.
drag zone-c

ARTIST Thorsten Folkers SOFTWARE Orontes Engine, World Machine, Quixel Suite, Substance Painter Thorsten Folkers and his brother are in the midst of creating their own indie sci-fi racing game, entitled DRAG, launching on Steam this year. While Folkers works on the art, his brother acts as engine developer and programmer, as well as the creator of the pair’s proprietary game engine, Orontes Engine. This particular level took Folkers a year to create. “The structure is completely modular,” he explains, “the reason for this approach is a very high texture resolution on the metal support, despite its size. The whole structure is placed along a spline using path deform and a custom script to avoid any tilting. We also developed a fifth static shadow cascade spanning the entire level. This allows us to render shadows in…

1 мин.

ARTIST Ana Mendes SOFTWARE ZBrush, Blender Freelance 2D and 3D character artist Ana Mendes spent a week, on and off, working on this cool character design. Mendes began learning 3D in 2013, starting to work professionally around 2014, primarily creating art for games and figurines. She was able to use this experience to create a unique and striking character design. Mendes used ZBrush to sculpt the character and Blender to render the image. She notes that creating the character’s initial design was a highlight of the entire process, along with sculpting the hair. “Most of my inspiration comes from anime, fashion, books, or sometimes even a random conversation can give me ideas of what to do next,” Mendes tells 3D World. The creative process then begins with a sketch on Photoshop or directly in ZBrush. “I…