3D World

Friday Animation Fun! Panoptiqm’s squirrel spot

Kulsoom Middleton — Fri, 24 May 2013 14:19:57 +0000

Check out this lovely piece of animation featuring a photoreal squirrel from Polish animation studio Panoptiqm

We caught up with Krzysztof Krok, co-founder of new animation studio Panoptiqm to ask more about this wonderful in-house project.

“The creative director of the film is Artur Marcol who also was responsible for the quality of the animation,” says Krzysztof.

“We also asked our friend Mariusz Sieńko (DOP) to handle the shooting day.  Piotr Orliński did the modelling and Marcin Kłusek was responsible for camera match moving, grooming and rendering fur. I was responsible for final animation and compositing.”

“For the first few months [of starting the studio] we only worked on a cartoon animation,” says Krzysztof Krok. “It turned out that there is a strong need for a realistic animation. We thought it was a good idea to work on a squirrel.”

Hope you enjoy the short animated spot. See below for a video of the final comp too.

The project took about two months of work hours and was created using Maya. “We wanted to work on fur system. It was the first time and we did it completely with standard Maya fur and Mental Ray,” explains Krzysztof.

“It took us some time to style it right because all aspects of direction and character is derived from maps without guide curves.  We are aware there are many faster ways to do it, but we used this as a lesson and now we are ready to use other tools.”

Maya fur was the most useful plug-in: “As it is built into the Maya system and we did not have to buy any other plugins. What’s more it gave us possibility to render it in Mental Ray,” says Krzysztof.

The technical challenges

“The biggest challenge was to shoot a sequence of the tree in the right timing,” explains Krzysztof. “We did some test shots with a small ball on a stick that we used as a pretend jumping squirrel.”

“Then we started to shoot without the stick in a different timing. Unfortunately, after shooting day it turned out we had to do some time remapping as the squirrel had to be faster and more dynamic than we planned,” Krzysztof says.

“The animation of the squirrel also was very challenging, perhaps not technically, but we spent a lot of time observing them and the animation process was very time consuming. ”

Finally we worked on the squirrel’s fur in Maya’s built-in system.

The fur is made from three fur systems (one for base look, second for some randomness and third for whiskers).

Attribute maps used for the spot. Poor little skinned squirrels!

Image showing the passes

and the final comp:

For more information see the website: Panoptiqm

Love photoreal animals? Want to learn the secrets of the Life of Pi’s Bengal Tiger created by Rhythm & Hues, and all the current CG techniques for creating realistic animals from Fido, IPL and more?…

…THEN CHECK OUT THE NEW ISSUE OF 3D WOLRD – ON SALE NOW!

Siggraph 2013: Technical Papers preview videos

Kulsoom Middleton — Fri, 24 May 2013 11:30:18 +0000

Watch the fascinating new trailer for Siggraph 2013 featuring cool new technologies, showing jaw-dropping simulations, experimental graphics and more…

The technical papers showcased in the Siggraph 2013 technology trailer will be presented at this year’s conference in California in late July.

The trailer contains some very interesting experimental technologies and there are some great topics, ranging from ‘Propagation of Light Acquiring Reflectance and Shape from Continuous Spherical Harmonic Illumination’ and ‘Scalable real-time volumetrics’ to ‘GI with Radiance Regression Functions’ and ‘New Approach to Handwriting Beautification’.

If the narration stumps you slightly, don’t worry, the real beauty is in watching the unbelievable animations: there’s an automatic animation tool, a clever new hair graphics system, and a simulation of wet, dense snow (right at the end of the trailer) – convincing stuff from The University of California, Los Angeles and Walt Disney Animation Studios.

Enjoy!

Below are just a few highlights from the Technical Papers program:

The Structure-Aware Hair Capture work by Linjie Luo, Hao Li and Szymon Rusinkiewicz is extremely clever stuff.

Their system reconstructs coherent and plausible wisps aware of the underlying hair structures from a set of still images without any special lighting. Take a look:

Also of note is the ICTGraphicsLab’s work on Acquiring Reflectance and Shape from Continuous Spherical Harmonic Illumination:

And this tech, from C. Lawrence Zitnick, tidies up your sloppy handwriting. Great, if like me, you have OCD tendencies!

Siggraph 2013 Technical Papers program

The 40th Siggraph conference will be held in Anaheim in late July.

The Siggraph Technical Papers program is the premier international forum for disseminating new scholarly work in computer graphics and interactive techniques.

At the conference, paper authors provide brief overviews of their work in the Technical Papers Fast Forward event, then they present their complete papers in 22.5-minute sessions that include 4.5 minutes of Q&A.

For more information, visit the Siggraph site

Training review: Painting Realistic Skin in Mari 2.0

Rob Redman — Thu, 23 May 2013 13:19:26 +0000

Rob Redman discovers whether Gnomon’s latest training course offers anything to Mari artists

PRICE: $79

FEATURES

DVD-ROM or digital download
333 minutes

DEVELOPER: The Gnomon Workshop

Painting Realistic skin in Mari 2.0 is a title that slightly undersells what the course has to offer. If all it did for the price was showing you how to press the right buttons and get the logistics right, it would be a good deal, but this course has so much more to it.

It is obvious from the outset that the author knows his stuff, and he has a very watchable presentation style. The course covers everything you need to know about painting skin, including gathering high-quality references and grading photography for best results, as well as looking closely at each area needed, from displacement to sub-surface scattering.

The skills you will pick up from watching are a great benefit, but what is more valuable is that you will understand why you are doing what you have learned to do. This means you can apply all that new knowledge to any project, not just a clone of the one in the course.

UV unwrapping still scares many artists but this video, which guides you through the use of UV Unwrap, shows which tools you need. What is particularly good is that, unlike so many other tutorials I’ve seen, this one isn’t just a video of the user interface manual.

It is this approach and the way it is presented that makes this one of the highest-quality CG courses I have ever seen. You learn how to do everything, but more importantly you learn why, and it is this transferable knowledge that is invaluable to you as an artist.

If you are looking to learn how to paint realistic skin, not just in Mari, then you can’t get better training than this

RATING 5

Rob Redman is a 3D artist and trainer, and is 3D World’s technical editor

Discover the 30 best 3D movies of 2013 at our sister site, Creative Bloq.

Game dev focus: Get the lowdown on Microsoft’s new Xbox One

3D World — Thu, 23 May 2013 11:26:28 +0000

The new Xbox One has an 8-core CPU, 8GB of RAM, 500GB HDD, HDMI in/out, 802.11n WiFi, USB 3.0 and a Blu-Ray drive, but what does all this mean for game artists?

This is the top story on lots of tech sites at the moment, and we looked to sister sites Games Radar and TechRadar to find out more about the new console.

Of course, lots of the coverage on the tech sites so far has been about the Xbox One’s design – some love the clean front face, others are not so keen on the ‘boxy’ styling – but we’re interested in the technical specs and the support from middleware providers.

If you missed the launch event, don’t worry, TechRadar has created a video of the best bits here:

According to Games Radar: “The technical specs are impressive. The Xbox One couldn’t become the ultimate media machine without the hardware to support such a claim–luckily, it is. For starters, it’s got 8GB of system memory (the standard for a typical gaming PC), an 8-core x86 processor (the same architecture found within the PS4), and 500GB of internal storage in addition to a Blu-ray drive.

It also comes packed with three separate operating systems: one dedicated to gaming, a kernel of Windows 8 used to power applications like Internet Explorer, and a third that will connect the two, creating seamless transition between games and other apps (or even a combination of the two via a split-screen interface).”

Microsoft is saving some news for E3, so there’s no GPU news yet, but it’s been rumoured that it could be an 800MHz processor with 12 shader cores.

So that means the Xbox One’s performance will be roughly the same as the Playstation 4, and a little ahead of the Wii U.

According to Wired: “Quantifying graphical performance is notoriously squishy. That being said, Microsoft touts the Xbox One as delivering 8 times the graphic performance of the 360.”

Middleware support

There’s also news that leading middleware providers have pledged support for the new Xbox One.

Currently the tools announced as compatible with the new Xbox include CryEngine 3, IKinema RunTime, Allegorithmic’s Substance Engine and Enlighten. Of course more will come.

Talking to us previously about Allegorithmic’s support for PS4, founder Sebastien Deguy, said: “Instantaneous play is key for next-gen games on consoles as it’s all going to be digitally distributed.

“Thanks to Substance engine, it is possible to significantly reduce the texture size in the initial download, texture being the biggest issue on this matter.

“Starting to play as quickly as possible is a true challenge for game developers and they need solutions to help them achieve that.

“Substance is one of them and it’s already used by hundreds of 3D Web games and MMOs.”

The Xbox One Kinect

According to TechRadar: “The Xbox One Kinect will come with the system instead of being an accessory. This should encourage developers to make games that use the motion sensor because the entire Xbox One audience will have one – not just a fraction of the console owners, as was the case with Xbox 360.”

XBox and XBox Live

According to Games Radar: “As part of Microsoft’s grand reveal of the Xbox One, the company gave their first details on the future of Xbox Live, which they say is completely redefined. First off the system will use more than 300,000 servers to run a new Live that will adapt for gaming with cloud services. Though the company didn’t give any specifics on file size, Xbox One content will be available and stored in the cloud, and that includes game saves that can be accessed “anywhere.”

“Part of that cloud service includes a dedicated game DVR that will be recording games as you play them, which sounds like PS4′s share powers, though we don’t know how much the Xbox can record. Apparently Achievements are changing as well, meant to be dynamic, changing to tell a player’s gaming biography, not just what they beat. And it has been confirmed that your Live profile and Gamerscore will be transferable to the Xbox One. Plus the friends list will be expanded to 1000 total friends. Lastly among the fleeting details, developers will be able to to work in “living” and “persistent” worlds. Could this be laying the groundwork for an MMO down the line?”

The Xbox One will be released later this year, but there’s sure to be more coverage at E3 2013.

Meet the 3D Artist: Marcello Baldari

3D World — Thu, 23 May 2013 09:24:18 +0000

Marcello Baldari is a 3D artist, keen on videogames and model collecting. Let’s find out his influences and look at his cool CG art

3D World: When did you first discover your talent and decide to become a 3D artist?
Marcello Baldari: I’ve always been keen on videogames and model collecting. I used to love painting and drawing when I was a child but I couldn’t figure out what my future would be.

One day I read about using Blender for videogames on a computer magazine cover and from then on I started gathering information and I downloaded Blender to follow the traditional tutorial of creating a cup that I think everyone did at the very beginning! I was fascinated by that world and I knew I’d finally found my way in life.

3D World: Do you remember what your first piece of CG was?
MB: Yep – a ‘horrible’ tea cup with Blender!

Download the open-source software, Blender, to find out if it suits you
Read about the VFX in Blender’s movie, Tears of Steel

3D World: Where do you find inspiration?
MB: I find inspiration from everything around me, but in particular from books, artbook, films and documentaries.

3D World: Who or what has influenced your work?
MB: Studying other artists’ work is a great help for many artists: their art can help you to define your own. Even as a 3D artist, I love concept art and it is actually influences my work a lot. I’ve been following artists such as Kekai Kotaki, Daniel Dociu and Richard Anderson.

3D World: Do you think you have developed a certain style of work?
MB: I am inspired by other famous artists but having your own style and the right workflow is certainly of primary importance.

When I start a new project I don’t pay attention to any boundaries or the method I’m going to use but just try initally to get inspired by things around me. During the production, the schedule is important to me: I try to give myself tight deadline which keeps me disciplined and trained for when I get work from clients.

3D World: What is your favourite 3D software?
MB: ZBrush. When you find a way to work that you enjoy, it’s awesome!

Find out everything you need to know about Pixologic’s ZBrush here: see ZBrush art, read reviews, plus there’s info on useful books, tutorials and more

3D World: What’s your favourite film?
MB: The Lord of the Rings…why? Orcs, orcs, orcs!

Fancy sculpting your own orc? Check out this guide to making an Orc
Or follow Scott Spencer’s ZBrush tutorial to creating an alien with DynaMesh

3D World: What’s your favourite animation?
MB: Every single year animation films are better in terms of both plots and techniques. Watching a Pixar production at the cinema is always a great experience for me, but How To Train Your Dragon has impressed me most because I love its character design.

3D World: Any words of advice for aspiring artists?
MB: I’m young to give advice, I would rather be receiving it from your readers!
I can just say that you really need to have a huge passion for what you decide to do in your life, otherwise you will never get the best results out of yourself.

▲ This image, Ink Warrior, was created with a technique that Marcello calls ‘Polysketch’, which is drawing with polygons

3D World: What software did you use to create Ink Warrior?
MB: To create the Ink Warrior I used ZBrush for sculpting and polypainting and Photoshop for the compositing.

3D World: How long did it take you to create the image?
MB: It took me about two to three days to create this image.

3D World: Did you use any unusual or notable techniques?
MB: The real challenge with the Ink Warrior was to try to mimic a style like concept art rather than traditional 3D illustrations. I wanted everything to look like a sketch, a ‘dirty’ dynamic line, but with everything in 3D.

But yes, I used a technique which I call polysketch because it is like drawing polygons. I used polypaint and composited in Photoshop.

3D World: What did you most enjoy about creating the image?
MB: As a modeller and character designer, the step I liked best was definitely the speed sculpting in ZBrush for characters.

3D World: What do you do for a living?
MB: I worked in Turin for an animation studio producing an animated film and two feature films.

Before that, I worked in Milan for several spots/commercial studio. Last year I followed a drawing, sculpting and anatomy course and now I am collaborating with some guys for a videogame.

My dream is to move from here, maybe abroad for something very interesting.

3D World: What experience do you have in 3D?
MB: I have been doing 3D for five years, mainly as a digital sculptor, modeller and texture artist, but my previous experiences include lighting, compositing and rendering.

For software I use ZBrush and Maya. I often use Maxwell Render, MARI and 3D Coat.

Follow this tutorial to light your scenes in Maxwell Render

Another image created with Polysketch and inspired by Blood Bowl Orcs games.
I used ZBrush for sculpting, polypaint, textures and rendering; Photoshop for the compositing.

Piranha – pictured at the top of the page – is a cartoon-inspired character from the movie How To Train Your Dragon. I used ZBrush for sculpting, polypaint, textures and rendering; Photoshop for the compositing.

▲ Dreadnought

A character inspired by Warhammer. I used Maya for modelling and texturing, Maxwell for rendering, ZBrush to sculpt the skull and Photoshop for the compositing.

▲ Marcello chose the Food Chain as the title of this project because it expresses the evolutionary process, he says

The style that I used in Food Chain is based on cartoons. I paid attention to certain details that make them more photorealistic. I used ZBrush for sculpting and rendering, Photoshop for the compositing.

For more information about Marcello Baldari, please see his personal website: marcellobaldari.com

Plug-in review: Newton 2.0

sjarratt — Wed, 22 May 2013 13:54:33 +0000

Offering updated functionality and stacks of potential, this system is absolute genius, says Steve Jarratt

PRICE: $250 Upgrade $99

OPERATING SYSTEM: Windows / Mac OS X

MAIN FEATURES

Create bodies from After Effects layers
Apply collision, friction, bounciness, gravity
Six body types for various physics effects
Four joint types for object linking
Generates separate comp with keyframes

WEBSITE: www.motionboutique.com

Your options for generating believable natural movement in After Effects are pretty limited, apart from the odd particle system or getting clever with expressions. But while After Effects isn’t really designed with physics simulations in mind, that didn’t stop two French developers from making one. Newton was released in 2011 and brought a full rigid-body physics engine directly into After Effects – and now Newton 2 adds extra functionality and an updated user interface.

Newton works with layers, so text, masks and shapes can all be used as objects, which will collide, attract and repel, or form joints with one another. Once your layers are defined and arranged, you’ll find Newton at the bottom of the Composition tab, rather than the usual Effects menu. A separate window opens up which features a large preview window, a duplicate list of your layers, and various panels for controlling the simulation.

The workflow is nicely straightforward: select your layers in the preview (or in the Layers panel), then make them static, dynamic, kinematic and so on. To see the effects of the simulation, just hit Play – it really is that simple. Newton 2 is designed to run as real-time as possible. You can tweak the settings to help – for example reducing mesh complexity or using the new Convex Hull option, which speeds things up by ignoring cavities and indents (so if you want to have your letters neatly jigsawing together, leave this option off). You also have control over the solver accuracy, gravity and so on.

By connecting each letter to a Mask layer with Spring Joints, you can get the text to realistically bob up and down. Extruding it in 3D means this sequence is done entirely in After Effects

CHOOSE YOUR BODY

There are several types of physical bodies available: static bodies remain stationary and are unaffected by other elements. Dynamic bodies react to external forces, falling under gravity and colliding with other objects. Kinematic bodies are animated using AE keyframes and can trigger effects but remain unaffected by the physics. Dormant bodies remain static until touched by a moving object, at which point they become dynamic.

The movement of AEmatic bodies is partially controlled by keyframes, but they are allowed to divert from this according to whatever forces are applied and the amount of damping and tension you apply. For example, an object moving from left to right will attempt to reach its final keyframe, but can be diverted by gravity or other forces – think of the keyframed destination as a goal, rather than a set position.

Adding joints is a similarly simple task: [Shift]-select the two objects in question, then click the type of link you want. You can then define anchor points, set angle limits, even add motors to create rotational movement.

Distance joints act like a solid connector rod; Pivot joints act like a hinge; Piston joints constrain the movement to one axis, so no matter what force is applied the object will only move along that axis; and Springs are, well, springy. By mixing and matching these various joints you’re able to create all manner of set-ups, from ragdolls to ropes and chains to sprung trapdoors. You’re pretty much limited only by your imagination.

This update also adds magnetism, producing an object that can attract or repel others as necessary, which can also be used to create basic flocking motions. One really nice feature is the Velocity Tool, which lets you very quickly apply motion to a selected object. It acts like a Bézier handle, controlling speed and direction by the length and location of the control line, and an on-screen curve shows the object’s path, taking gravity into consideration. The Velocity Tool takes all the guesswork out of adding movement to an object and is easy to use.

These cogs were animated in Newton: the large cog is driven by a motor, while the other two are turning because of the physics engine. They’re more natural looking as a result

In all, Newton 2.0 is simple to use and really good fun, providing the kind of animation usually reserved for bullet-style 3D systems. And because it generates keyframes, you can always use simple objects to drive more complex imagery – such as the position of a particle emitter – or go in and edit the keyframes manually.

One of the biggest issues is actually not with Newton at all but After Effects: it can often take longer to prepare the assets for Newton than to run the simulation itself. Every object needs to be on its own layer, which can be a lengthy process for complex scenes, and you need to make sure the anchor points are located on each object, not the layer centre, otherwise you get some really odd results.

SAVE YOUR SETTINGS

Fortunately, you can just replicate objects onto a single layer and Newton will split them up for you. I also recommend picking up the Array script from www.aescripts.com, which simplifies this process. However, once you’re set up, getting Newton to do its thing is easy.

Although Newton has an Auto Load/Save settings option, it’s still a little tricky to experiment on the hoof. If you save the settings, then you can’t move objects around in AE – they revert to their previous position – but if you don’t save the settings you have to set up your bodies and joints every time you go back to Newton. So although it’s fun to play around with, you do really need a pretty firm idea of what your end result is going to be, otherwise it can be a time-consuming exercise moving between the two environments.

However, these are minor and largely unavoidable niggles in what is an impressive and brilliantly useful addition to After Effects’ armoury. Frankly, it’s a miracle that it works at all, let alone as well as it does, and I’ve barely scratched the surface of what’s possible.

These shots show the effect of an object with Magnetism applied with positive and negative values. The smaller circles are attracted or repulsed accordingly

Newton won’t be useful for everyone, but the time it takes to set up and tweak, compared with a fully 3D bullet-style solution, makes it a really attractive option. And although the physics engine only works in two dimensions, when allied with After Effects CS6’s new extrusion options and ray-tracing engine, you can create some very realistic 3D scenes. It’s easy to see how you could create all manner of projects, from a simple bouncy cartoon logo through to funky idents or animated infographics for a presentation. Newton comes with some great scene files, a fully animated user guide – and a solid 3D World recommendation.

PROS

Fast, accurate results
Joints have user-defined anchors
Excellent docs and scene files

CONS

Tricky to experiment as you go
Takes time to set up

Newton 1.0 was ingenious and Newton 2.0 is genius. It’s a must-buy for any serious After Effects artist, offering stacks of creative potential

RATING 4

Steve Jarratt has been into CG for many years. He’s a regular contributor to 3D World and edited the magazine for two years

Free 3D software! Discover seven top tools to download today, at Creative Bloq.

3D arch-viz: The Way of Sound

3D World — Wed, 22 May 2013 11:34:21 +0000

Artist Jorge Adrian Fernandez shows how he created this lovely arch-viz render of a Pioneer mixer using 3ds Max, V-Ray, Photoshop and Fusion

Jorge Adrian Fernandez has been working as a 3D modeller for seven years. In that time he’s learnt several skills such as camera mapping, particle flow, rigging characters and animation, among others. Here we take a look at his work entitled The Way of Sound, and Jorge shares his process:

“In order to create the image I used 3D Max 2011, rendered it with V-Ray 2.0, and Photoshop CS5 and Eyeon Fusion 6.2 was used for the post-production,” says Argentinean arch-viz artist Jorge.

“The complete process took me around 28 hours. I didn’t use any remarkable techniques, although I did paint the textures by hand in Photoshop.”

“The image was based in a free Sketch up model, I retopologized it and then I made other changes based in reference images.”

▲ Jorge used reference images found on the internet, to get the realism he wanted

My image shows the Pioneer brand, which I used in the back area of the mixer. For this I used an image from the Pioneer site as reference.

▲ He modelled all the parts for the Pioneer mixer using 3ds Max

▲ The material base for the mixer

“In general, what I enjoy the most when creating an image is looking at the end result. But I also have lots of fun when modelling an object, as I always try to make new things and think out of the box,” says Jorge.

▲ Textures for the mixer. Some of these were hand painted by Jorge

▲ Setting the light

▲ The light set up in V-Ray

“What inspires me the most is a good old challenge; music and photography are also great allies and I always get inspired by the excellent work of artists such as Bertrand Bernoit.”

[Ed:] We also love Bertrand’s work. His first work was shown in 3D World in 2006, and boy has he progressed! To see a stunning piece of arch-viz by Bertrand please check out the following link: Masters of Arch-Viz

▲ The camera set-up in V-Ray

▲ The render setting in V-Ray

▲ The wireframe

▲ The colour renders

▲ A close-up render of the finished mixer

For more about Jorge, please visit his Behance profile page or you can email him at jorgeadrianfernandez@live.com.ar

Pick of the Week

3D World — Tue, 21 May 2013 15:47:00 +0000

Polish, polish, polish. That all-important element which raises the quality of every production is in abundance here. Rob Redman loves it

Find Me If You Can is a simple advert but feels like more. The premise is easy to follow and does a good job of delivering the message that is intended but isn’t what made me like it so much.

What I love is the polish. A lot of time has been spent making this look as high quality as possible. The city environment is beautiful, with lovely lighting and a depth of detail that is just right, while the interior is clean but not sterile.

The focus switches to the product itself smoothly and as a properly thought-out element, not just a bolt on.

The animation is maybe a little slow for some, or at least there are too few changes of pace but that does let you eyes move around the scene and take in the surroundings, as well as the focus.

Hope you enjoy watching it too

Rob

About the author

Long-time 3D artist Rob Redman has been working in the field of VFX and motion graphics for over a decade. He is Technical Editor on 3D World magazine.

3D art gallery: Blender and simple shapes create a magical result!

3D World — Tue, 21 May 2013 15:05:17 +0000

This Blender image from the latest issue of 3D World is reader art at its best! It’s colourful and full of life!

Artist: Jonathan Ball
Title: Exodus from Delta B-56
Software: Blender, Photoshop

“I spent about three to four weeks working on this image, in-between working on my other projects. It was created with Blender using the Cycles engine, and was composited in Photoshop, where I used the Z-depth map I created in Blender.

“I enjoy the compositing and final adjusting in Photoshop: it can totally transform an otherwise flat render. For the modelling, I used simple geometric shapes that are then blended and adjusted using Z-depth maps. For this particular image, I had to cut the image up a lot to save on render times. I like to make all my images suitable for decent-sized prints, so I need large render sizes.

Read an in-depth interview with Jonathan from Poked Studios, where he shares his technical secrets and inspirations

“By trade I am a freelance illustrator and graphic designer, and have been lucky enough to see my designs used in many commercial projects. I would love to develop my passion for modelling further by becoming more involved in animation work.

“It’s very difficult for me to specifically describe what inspires me as an artist, but I love the complexity of a big city, the simple graphics of 1980s videogames and the organic delight of exotic plants. In my work I just try to combine all of those aesthetics.”

Get published

If you would like to see your work featured in 3D World, email us, attaching a low-res version of the image

Buy the latest issue of 3D World now! Includes an FMX 2013 show report, expert tips on creating CG animals, and more!

3D World — Tue, 21 May 2013 14:16:57 +0000

Contents for the latest issue of 3D World (170): FMX 2013 roundup; CG animal techniques; video tutorial on Stereo 3D; better vehicle renders and more!

There are numerous ways to buy 3D World magazine now. From picking up the print version in your local newsagent to buying one of our many digital editions, it is easier than ever to lay your hands on a copy.

All versions – both print and digital – come with all videos and tutorial files included.

Buy the magazine

BUY THE PRINT EDITION

On sale now at My Favourite Magazines

On sale in UK newsagents: 21 May
On sale US newsstands: From 27 June

BUY A DIGITAL EDITION

Newsstand edition
On sale 21 May via 3D World Mag app

Google Play edition

▲ On sale 21 May at Google Play (Android, Chrome)

Kindle Fire HD edition

To buy the Kindle Fire HD edition, you have to download the Amazon AppStore app and search for 3D World.

Nook edition
On sale 23 April at Nook

Zinio Reader edition
On sale 21 May at Zinio (Win, Mac, iOS, Android)

IN THE MAGAZINE

FMX 2013

▲ A round up from FMX 2013 in Stuttgart of the technologies, approaches and strategies that are shaping the FX industry

CG animal techniques

▲ The digital animal kingdom is evolving. Mark Ramshaw speaks to some of the studios responsible for creating the new breed of computer-generated beasts

BlackSmith Studios

▲ The story of how a leading arch-viz and VFX studio was founded in the Middle East

Stereo 3D skills

▲ We look at the technical processes you need to master for the stereo 3D entertainment revolution

TRAINING | PRACTICAL TUTORIALS TO BOOST YOUR 3D SKILLS

Creating your own studio

▲ Setting up a scene in VRaySoftBox with instant lighting feedback

12 car rendering tips

▲ Make your next CG car look the business using 3ds Max and V-Ray

HDR images

▲ Light your scenes more accurately with HDR image-based lighting

UV and texture in C4D

▲ Using Cinema 4D’s BodyPaint 3D to create textures simply and easily

Questions & Answers

▲ Our experts tackle your questions on Maya, C4D and V-Ray

On test

Modo 701: A welcome update with an impressive set of new features
Newton 2.0: Updated functionality and increased potential
Paint Realistic Skin: A new course on painting your models with reaslistic skin textures
Let’s Create! Pottery Lite : A cheerful app that lets you create pottery models for 3D printing

Shortcuts: the best new student animations

▲ Stardust is an emotional and groundbreaking animated short

Also in this issue

Projects: This issue’s round-up includes a molten lava monster, marauding Vikings and a dream bike ride
Inspirational reader artwork: Get inspired by our selection of CG artwork from around the globe
Short Cuts: Stardust is an emotional and groundbreaking animated short
In Focus: A modern tribute to The Bride from Bunuel’s cult film Un Chien Andalou
Freeze Frame: The CG dragon that fought the world’s most famous secret agent

Downloads

This issue’s downloads include videos on creating a virtual studio, stereoscopic 3D, Maya and V-Ray

Fantastic reader artwork

▲ Images and opinion from you – the 3D World readers

For a chance to get your work in 3D World, you just need to get in touch!

Rachel Spooner and Kulsoom Middleton are always searching for cool CG projects, so get involved and send us your shorts (CG ones!), 3D renders, breakdown videos, commercials and any other things you think we should be showcasing.

Rob Redman, our technical editor is always on the lookout for tutorial ideas and technical experts to write for us. So, if you have a project you’d like to share, and you fancy teaching 3D World readers, get in touch!