Antony Ward creates a cute robot to demonstrate the principles of rigging a rotating track, in a series of nine videos…

These videos accompany a tutorial in 3D World issue 154, where you’ll find additional context and detail for this project.

Download scene files for this Maya tutorial (ZIP, 5.1MB)

Find out more about 3D World 154

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Alex Telford explains how to create a library of mouth shapes and other expression components, in a series of 14 videos…

These videos accompany a tutorial in 3D World issue 154, where you’ll find additional context and detail for this project.

Download scene files for this Blender tutorial (ZIP, 3.8MB)

Find out more about 3D World 154

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Mike Griggs shows how to project textures onto objects to speed up your modelling workflow, in a series of five videos…

These videos accompany a tutorial in 3D World issue 154, where you’ll find additional context and detail for this project.

Download scene files for this modo tutorial (ZIP, 82.9MB)

Find out more about 3D World 154

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The latest version of Pixologic’s digital sculpting app is announced with enhancements to FiberMesh, Best Preview Render, and the interface, as well as the addition of Vector Displacement Maps and the NoiseMaker plugin

Last month, Pixologic released ZBrush 4R2b. In addition to enhancing the Best Preview Render (BPR) capabilities of ZBrush, the upgrade patch also added innnovative and exciting features such as FiberMesh and MicroMesh.

Today Pixologic has announced the upcoming release of ZBrush 4R3. This update includes new features and expands the features introduced in previous versions. As Jim Thacker writes on CG Channel, “Our hopes of ZBrush 4R2d2 are dashed… Lots of cool tools, though, including the NoiseMaker plugin.” (Ha, ha, ZBrush 4R2D2!)

Alongside many features and enhancements, ZBrush 4R3 will now be released with NoiseMaker, the procedural texture-generation plugin.

This powerful enhancement to ZBrush 4R3 allows you to create a wide variety of noise and patterns. With over 25 parametric generators, limitless combinations, and the ability to work in both 3D and UV mode, NoiseMaker is looks like a neat solution.

NoiseMaker uses interpolated masking per polygon for an accurate display of noise and patterns even on lower polygon meshes. It also features a larger preview window and new masking capabilities to provide multiple scaling options to your noise.

NoiseMaker, the procedural texture-generation plugin, will now be released with ZBrush 4R3

Enhancements include:

FiberMesh
Significant advancements to the FiberMesh settings provide you with greater control and flexibility. Curve modifiers have now been added to a number of FiberMesh settings including: Length, Coverage, Gravity and Color Profile. Revolve has also been added as a new setting. Textures applied to FiberMesh and MicroMesh objects can now be transparent (true black pixels will be hidden), allowing even greater diversity in their use. FiberMesh settings can now be saved and loaded as needed it. In addition, various FiberMesh presets will ship with ZBrush 4R3. These presets can be pre-viewed in Lightbox, as well as modified and shared amongst ZBrush artists. Once you have styled your FiberMesh to perfection, export the fiber guides to other applications for further use. Moreover, fibers can also be exported as unique vector displacement maps to be rendered in external applications.

Vector Displacement Maps
ZBrush 4R3 will export both 16-bit and 32-bit Vector Displacement maps, providing you with a powerful and easy way to export your sculpted details to other programs for rendering. Take full advantage of the capabilities inside rendering engines by using maps to displace the surface in any direction, including undercuts.

BPR to Geo
You can now convert your MicroMesh and FiberMesh renders into actual geometry with a single click. The resulting geometry can be further edited. With the additions of the dot preview and Spin Edge features, control the direction of any MicroMesh before rendering or converting into geometry for future edits.

Interface Enhancements
Sub-palette sections will allow you to control the length of each sub-palette simply by collapsing or un-collapsing sub-sections. Show what you need, when you need it! Moreover, a new Magnify option allows you to zoom into portions of the canvas or interface. This is especially useful when recording videos or turntables.

Render Enhancements
With the ability to cast shadows and silhouettes based on any Micromesh and FiberMesh (including fibers with a transparent texture applied), the ZBrush 4R3 BPR (best preview render) rendering system takes your final image a step further.

Auto Updating
ZBrush 4R3 will include a new web-enabled update feature. Enjoy “click of a button” access to check if new updates or plugins are available from Pixologic. Never miss a new plugin or enhancement!

There’s no more talk of the remeshing solution, codenamed QRemesher, but despite this R43 looks to be a significant update. As usual, the update will be available free to registered users – it is due to ship on 28 February 2012.

Check out the full list at ZBrush Central

Read our in-depth ZBrush 4 review

Want to learn how to sculpt like a pro using ZBrush?

Master the secrets of Hollywood’s digital sculptors with this essential guide to ZBrush, brought to you by the creators of 3DTotal and 3D World magazine.

Suitable for every level of experience, ZBrush Essentials is your complete guide to digital sculpting.

Inside, the world’s leading 3D artists reveal their trade secrets, taking you from basic modelling to advanced detailing and texturing in easy stages.

The bookazine contains 24 complete tutorials, written by veterans of movies from X-Men 3 to Clash of the Titans. The accompanying DVD provides project files for each tutorial, including over 10 hours of video training.

To buy the ZBrush Essentials handbook, containing 228 pages of ZBrush advice, visit My Favourite Magazines

Chaos Group announces V-Ray for Softimage, the newest addition to the company’s suite of innovative rendering solutions

V-Ray for Softimage includes ICE support, quick and accurate global illumination, complex mesh support with V-Ray Proxy, versatile shaders with V-Ray materials and much more…

Now you can manage scene memory and efficiently render massive amounts of geometry using V-Ray Proxy objects.

Press release excerpts

With support for Softimage’s award-winning ICE system, dynamic geometry, and V-Ray Proxy objects, V-Ray for Softimage supports the size and complexity of even the most demanding scenes.

“The future of high-end VFX work lies in integration: a single pipeline with multiple modeling applications. V-Ray for Softimage brings that vision a step closer. The power of ICE, the elegant animation and rigging tools now work with the most advanced renderer on the market. ‘One V-Ray on all platforms’ is a strategy that makes sense for small and large 3D shops alike,” said Kamen Lilov, Chaos Group Product Manager, V-Ray for Softimage.

Watch the overview on YouTube

Key Features in V-Ray for Softimage

Geometry

• Render particles,strands,hair,and geometry produced by Softimage’s ICEsystem
• Manage scene memory and efficiently render massive amounts of geometry with V-Ray Proxy
• Render dynamic geometry such as displacement, proxy objects,fur,and hair
• Use all geometry animation and deformations applied through animated parameters and keyframes,
  the Animation Mixer, and ICE-based simulations

Shading

• Create materials based on physical properties using V-Ray’s versatile shaders
• Use built-in Render Tree procedural shaders, computational, and logic nodes
• Simplify the texturing process and eliminate the need to assign UVs using Ptex
• Simplify the creation of complex multi-layered automotive paints using the VRayCarPaintMtl
• Render hair and fur with unprecedented control, quality, and speed using the VRayHairMtl

Lights & Illumination

• Create simple, artifact-free image-based lighting using the Dome Light
• Create realistic illumination using physically-based lights, including IES lights and texture-mapped
  area lights
• Emulate real-world atmospheric lighting conditions using the V-Ray Sun and Sky system

Cameras & Optics

• Render true 3D motion blur using the V-Ray Physical Camera
• Create fast and accurate depth of field with bokeh effects using the V-Ray Physical Camera
• Import displacement maps from Nuke to match lens distortion

Shading

• Create materials based on physical properties using V-Ray’s versatile shaders
• Use built-in Render Tree procedural shaders, computational, and logic nodes
• Simplify the texturing process and eliminate the need to assign UVs using Ptex
• Simplify the creation of complex multi-layered automotive paints using the VRayCarPaintMtl
• Render hair and fur with unprecedented control, quality, and speed using the VRayHairMtl

For more information on V-Ray for Softimage and to download the demo, visit the Chaos Group’s site

Read a full list of features in V-Ray 1.5 for Softimage

Contents and downloads for the latest issue of 3D World: This issue you’ll discover expert tips from great 3D animators and how to find your ideal animation school. Plus rigging for games, modelling and texturing hands, setting up tank tracks in Maya and more

Buy the magazine
On sale now at My Favourite Magazines
On sale in UK newsagents: 29 February 2012
On sale US newsstands: From 31 March 2012

Buy the digital edition
On sale 29 February via the 3D World Magazine app (iOS)
On sale 29 February at Zinio (Windows, Mac, iOS, Android)

Find out what’s in the magazine
Find out what’s on the disc (print edition only)

This issue’s files and videos

Maya tank tracks tutorial by Antony Ward

Watch the videos and download files on this Maya tutorial’s own page

Blender phoneme tutorial by Alex Telford

Watch the videos and download files on this Blender tutorial’s own page

modo projection mapping tutorial by Mike Griggs

Watch the videos and download files on this modo tutorial’s own page

Game character rigging tips by Antony Ward

Download reference screenshots (ZIP, 1MB)

Hand modelling tutorial by Mike Griggs

Print edition: the video is on the disc
Digital editions: please visit www.3dworldmag.com/claim to request your videos

Questions & Answers

Download reference screenshots for James Cutler’s depth-of-field Q&A for 3ds Max (ZIP, 531K)
Download scene files for Tom Skelton’s spray paint reveal Q&A for After Effects (ZIP, 201MB)
Download scene files and screenshots for Alex Telford’s spline Q&A for Blender (ZIP, 1MB)
Download reference screenshots for Glen Southern’s retopology Q&A for ZBrush (ZIP, 950K)
Print edition: videos for Q&A are on the disc
Digital editions: please visit www.3dworldmag.com/claim to request your videos

In the magazine

25 top tips on animation

Discover must-have animation tools, essential instructional books and insider tricks of the trade with these tips from leading industry professionals past and present

Get Ready for Animation

Kick-start your CG career with an animation course from one of the world’s best-known schools. Find the right college and qualification for you with our in-depth guide

Rig tank tracks in Maya

Antony Ward shows you how to rig tank tracks for a robot character, working with expressions to make the rig easy for an animator to use

20 character rigging tips for game artists

Discover the key points that you should keep in mind when rigging a new character with this collection of expert tips for games artists

Projection mapping in modo

Find out how to create a realistic textured scene in modo quickly and efficiently using the software’s projection mapping capabilities. Bonus: This tutorial includes 51 minutes of video training*

Model and texture a hand

Mike Griggs demystifies the art of modelling the human hand, sharing his techniques for creating the basic model and adding textures

Create and use phoneme libraries

Lip-sync like a pro as Alex Telford reveals how to set up a pose library for facial expressions and talking, and use it to animate a character. Bonus: This tutorial includes 152 minutes of video training*

On test

KeyShot 3, MentalCore 1.0 and Monsters GT 7 for After Effects

Also in this issue

• Questions & Answers
• Australian studio Iloura explains the techniques involved in creating numerous creepy creatures for horror film Don’t be Afraid of the Dark
• Our resident CG curmudgeon, Mental Roy, has it in for students as he takes on the horrors of learning 3D animation
• Inspirational artwork from readers and shortform commercial projects

On the disc (print edition only)

Discover V-Ray 2.0 with 46 minutes of video on the leading render system from Chaos Group. Plus 29 surface textures with multiple maps from Photosculpt, and videos for this issue’s Fundamentals tutorial and Q&As.

*Digital edition: please visit www.3dworldmag.com/claim to request your videos

Find out how Pixomondo used a combination of 3D software to create this abstract dance-infused spot to promote the 2012 Grammy awards. Watch the full commercial here too

International VFX company Pixomondo recently collaborated with advertising agency TBWA/Chiat/Day to create this spot featuring electronic musician and Best New Artist nominee Skrillex.

Based on the We Are Music campaign, the ad is filled with liquid metal pulsating to Skrillex’s beats.

Pixomondo first got involved with the project after receiving a treatment and mood animatic from the agency. Creative director Simon Mowbray explains, “Matt Kalish – director from Chiat – had a specific style in mind, and provided a lot of reference material accompanying his animatic and written brief.

“Our designer Alex Yoon executed a short test sequence which the agency fell in love with – this helped answer a lot of questions about the approach we’d take as well as the look and feel. However, we were coming up with solutions and new approaches all the way to the end.”

After nailing the look and feel of the spot, production got underway with Pixomondo handling everything from the design through to execution – including match-moving and camera tracking of the live-action, ingesting the mo-cap data from the live-action dancer and applying it to a biped used to emit the liquid-metal particles.

To create the intricate effects, the Pixomondo team found that more than one piece of software would be required.

“We threw everything at it: Cinema 4D, 3D Studio Max (mostly Particle Flow, Thinking Particles and Fume), ThinkBox Frost to create the liquid metal mesh sequences, Maya, Flame, After Effects, Frischluft, Nuke…,” Mowbray explains.

Well choreographed tools

The combination of tools allowed the team to create the exact style they were looking for.

“Cinema 4D was the primary software for lighting, mostly because it allowed us to get the look we wanted very quickly, as well as the ease of sharing camera data with After Effects,” says Mowbray. “3ds Max with Thinkbox Frost was invaluable – it generated beautiful meshes from Particle Flow efficiently and with lots of control.”

Every aspect of the spot was managed meticulously, right down to the direction in which the liquid metal moved.

“The most impressive aspect of this spot was probably having the ability to direct the action of the metal flows,” Mowbray explains. “Even though it was all mo-cap driven particles – with all the associated randomness – we were still able to determine how each distinct shot should flow and had a lot of aesthetic control for such a simulation based project.”

Watch the promo

Like this spot?

Watch Pixomondo’s VFX showreel online

We think you’d also enjoy this high-adrenaline post: Amazing Cinema 4D breakdown animation

Check out the selection of other awesome ads on our commercials page

Have your say

Seen a great CG commercial and want to know how it was made? Let us know via Facebook, Twitter or email and we’ll do our best to find out for you.

The Blender Foundation has released the latest version of its open source 3D app – check out the bimonthly update now

The Blender Foundation’s February update is out! Version 2.62 sees notable improvements to the Blender Game Engine and Cycles Render Engine, Boolean operations and more.

Among other things, the Cycles Render Engine now supports render layers and passes, multi-GPU rendering, and border rendering.

The Boolean modifier now uses the Carve library, which should give much improved results. The Carve library is more stable and fast than previously too.

The motion-tracking tools have been updated and there are new UV-editing tools including an advanced interactive stitch tool, a tool to compute seams for islands and sculpting tools to grab UVs and relax or pinch unwraps.

Read the full new feature list for Blender 2.62

Download Blender 2.62

3D World has a new editor! Let Richard Hill know what you think of the magazine and website…

I’ve been asked to become 3D World’s latest editor, so it’s now my privilege to lead the 3D World team of writers, artists and designers in bringing you the best possible mix of expert tutorials and inspiring artwork in print, in digital and online. I’m looking forward to the challenge, and I hope you enjoy what we come up with.

The team and I have loads of ideas, big and small, for how we can improve 3D World – but we want to know what you think. How can we make 3D World better? What do you want to see more (or less) of? What aren’t we covering that you’d like to read about?

Whether you have a view about the magazine (in print or digital forms), the print edition’s disc, this website, our videos, our Twitter feed, our Facebook page, our Essentials specials or anything else we publish, we’re listening. Your views on anything to do with 3D World, down to the smallest detail, are always welcome – but with a fresh editor in place, now’s the perfect time to make your voice heard.

Please add your comment below, tweet @3DWorldMag or email me with your thoughts. Thanks!

Richard Hill
Editor, 3D World

One-man 3ds Max developer powerhouse, Marius Silaghi, has released a new modelling system that allows you to quickly and easily create models

Marius Silaghi has been very busy of late, with the release of Projection Painter for Max and FiberMesh to Splines, and now he’s released Form, a new ZSphere plugin.

We caught up with Silaghi last week to ask him about Form for 3ds Max. You can read the full interview by following the link below.) When he spoke to us, the core of the plugin was ready but there were some features to work on – for example, adding a symmetry mode.

Benefits to users

“In an normal modelling environment it may take hours to produces a model that with this system can be produced in minutes,” Silaghi told us.

“When modelling traditionally you very little artistic freedom to play with shapes and volumes. You have to worry about topology constantly, but with this system you can scale, rotate, reposition and combine parts of your mesh very easily.”

Want to see how Form works? Watch the videos below…

Form 1.0: Overview

Form (alpha version): Deformers

Form (alpha version): Symmetry

Read the interview with Marius Silaghi

Form costs $50 and is available on Marius Silaghi’s personal site