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ZBrush substance Designer 4 LOOK! 3Ds max marvelous designer
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April 2014

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New theory
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The virtual camera explained
Create this cover! How to texture and light Render realism for film VFX
a complex character with Daniele Scerra Modo MeshFusion reviewed

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Turn to page 68 for
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A new-look magazine for a new era
of inspirational advice and CG art

Regular readers may notice a difference in
the magazine this issue… it’s had a facelift
and our new mantra is ‘Inspiring CG Artists’.
It’s our call to arms every issue to present
you with the most amazing new CG art,
projects, news and tutorials – a motivational
message to learn and improve. Our tutorials
are easier to follow and every issue we’ll
cover new software – this issue we create
leak effects in Substance Designer 4. Plus
in the new Develop section we cover
Meet the team the latest R&D and CG theories from
Rob Redman academics and professionals in the industry,
So many people are
intimidated by UVs, but starting with the quest for reality in CG.
there’s no need. Turn to
page 66 to learn how to unwrap your Now that’s inspirational.
meshes in just a few easy steps.
Kulsoom Middleton
I am generally not a fan & SAVE 50%
of MMOs, but when I Subscribe today to
saw the Shadowmantle enjoy two years’
update for Neverwinter, I had to find Ian Dean, editor for the price of one.
out more about its CG. Turn to page 88. Turn to page 50 for more details of this
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Darren Phillps
To see loads of inspiring
new art, head over to Email Website
the Showcase section,
which opens with my favourite, James
Suret’s demon creature on page 11. facebook twitter @3DWorldMag

3D World April 2014 3

com www. Texture and light a complex figure.jrs3d. Denis is a CG generalist with 15 years’ specialises in creating mechanical characters and finds it the best way to transfer drawing experience in the film. He originally studied classical painting techniques. as well as Animum3D Online School and has worked on game industry since 2001. His work has been featured in prestigious publications including Spectrum. TV. Digital. In his tutorial on page 60. He is also a modelling tutor for has been a professional in the VFX and video his hand to compositing in step-by-step guide in this issue’s tutorial section. He is currently Turn to page 70 for Titouan’s tutorial on mastering hard games industry for 10 years and is a senior character artist at working in Prague as a VFX www. Daniele www. Denis surface sculpting skills to create a still life in ZBrush.creativebloq. www.tridanstoirm. mental ray Our cover artist this issue. He gives a reader his advice in Q&A on page On page 84. looks at the theories behind correct use of virtual cameras.3dworld. He also turned www.danielescerra. Daniele shows you how to use Maya and Photoshop to give a ZBrush illustration added . ZBrush. working for Guerrilla working on the pipeline and fixes. and of course 3D World. We think his android Follow the model hits all the right notes – feminine with an edge – and her mix of human and machine workFlow! characteristics has been beautifully realised. On page Titouan Olive Dan Crossland Denis Kozlov Titouan is a freelance lead character artist who Dan has been sculpting digitally for seven years. Exposé. Photoshop. see his website for Daniele’s FYI at www. is an illustrator and 3D artist. advertising. Triumph Studios and 3D WorlD April 2014 4 www. skills to digital. Ninja Theory.kozlove. Jose channels his Games. www. His anatomy tutorial series begins on page 78. He now owns Khitan the unique workarounds and scripts Fred used on the project.teria. spotlIght on our contrIbutors Fred Burdy Jose Rodriguez Mao-Lin Liao Fred wrote and directed the short film Tríd an Jose is a senior character artist for Gameloft Character and look development artist Mao-Lin Stoirm and was lead 3D artist. game in ZBrush for animated films and video games. Dan has worked in the video and education industries. FX and matte painting.digitalia3d. Turn to page 60 To see more of Daniele’s work. working with international publishers and receiving several awards. and he has since made the move into the digital art field. Over the years he has also worked on films as a technical director in character animations.khitandigital. Turn to page 30 to discover feature films and video games. featured artists Meet the CG experts and artists who have contributed to this issue cover artIst artIst Daniele Scerra soFtware Maya. influences and experience to create an incredible character.

com/app-support +44 (0) 207 042 4176 Victoria. Fraser +44 (0) 1225 732359 Renee Dunlop. c ontrib ut o r s l i cen si n g Aiman Akhtar. Duncan Fraser. Dan Crossland. Distributed in the trade MarketIng executIve UK by Seymour Distribution Ltd.quilter@futurenet.facebook. you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine. MarketIng executIve Andy Velasquez.creativebloq. Tituoan Olive.foley@futurenet. Tel +44 (0) 207 042 4000 (London) www. We export and license our publications. Rose Got a question about your print subscription? account Manager Suzanne Smith Email: 3dworld@myfavouritemagazines. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. Denis operatIons edItor Kulsoom Middleton productIon Manager Mark Constance art edItor Darren Phillips mark.052 We are committed to only Digital us & canada: subscrIbe at www. Future plc is a public Chief executive Mark Wood company quoted on the Non-executive chairman Peter Allen London Stock Exchange Chief financial officer Zilah Byng-Maddick (symbol: FUTR).erak@futurenet. Alvin Weetman. Philippa Newman philippa. No part of this magazine may be used or reproduced without the written permission of the publisher. Entertainment.myfavouritemagazines.rai@futurenet. The registered office of Future Publishing Limited is at Beauford Michael Williams. agents or subcontractors shall be liable for loss or damage. Alexandra Geary alexandra. Gary Got a question about your digital subscription? senIor sales executIve Victoria Sanders Web: www. Daniel Foley daniel. group MarketIng Manager – technologY Beren Neale. Paul Tysall. including licensed editions worldwide and in any physical or digital format throughout the world. Mar keti n g Rebecca-Louise Daniele Scerra.tozer@futurenet. Hugues Tel +44 (0) 1225 442 244 (Bath) © 2013 Future dIgItal desIgn Dan Oliver ManagIng dIrector oF Future produces high-quality multimedia products which reach our audiences twitter: @3DWorldMag editorial Pr i n t & Pr o d ucti o n edItor Ian Dean productIon controller Marie Quilter technIcal edItor Rob Redman facebook: www. regina.constance@futurenet. group art sales dIrector Charlie Said call our uk hotlIne 0844 848 2852 +44 (0) 207 042 4142 charlie. Future attracts over 50 million consumers to its brands every month across five core sectors: Technology. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council). BA1 2BW. If you submit unsolicited material to head oF trade MarketIng Visit www. Tel +44 (0) 207 429 4000 InternatIonal account Manager Lenka Ondrejova account Manager Julian Tozer sub scr i b er s +44 (0) 207 042 4273 julian.yourfuturejob.geary@futurenet. Future cannot accept any responsibility for errors or inaccuracies in such information.768 forestry and chlorine-free A member of the Audit Bureau of Circulations manufacture. Creative and Sports & Auto. Future Publishing Limited [company number 2008885] is registered in England and Wales. 30 Monmouth Street.futureplc. neither Future nor its employees. lIcensIng & sYndIcatIon dIrector Regina Erak Fred Burdy. . Jose Rodriguez. Mike Griggs. as far as we are aware. M Scott Spencer. +44 (0) 207 042 4122 Suzanne. Renato Gonzalez. Gerard Dunleavy.futureplc. certified Jan-Dec 2012 is c irc u l atio n Printed in the UK by William Gibbons. on mobile and in print.said@futurenet. 2 East Poultry sales Manager Jas Rai us hotlIne 1-800 428 3003 +44 (0) 207 042 4219 Jas.716 using magazine paper The ABC combined print which is derived from and digital circulation for well website: 3dworld. Nicolas Wirrmann Futur e Pub l i sh i n g l i Mi ted se nior creat iVes head oF creatIve & desIgn group Declan Gough edItor-In-chIeF. contact us 3d w o r l d Mag azi n e Future publIshIng 30 Monmouth Street. Any material you submit is sent at your own risk and. All rights reserved. BA1 2BW telephone: +44 (0) 1225 442244 email: enquiries@3dworldmag. Print 8. Mao-Lin Liao. although every care is taken. creatIve & tech Steve Gotobed FIlM & gaMes Nial Ferguson creatIve dIrector Robin Abbott chIeF executIve Mark Wood edItorIal dIrector Jim Douglas sub scr i Pti o n s a dVert ising subscrIbe onlIne James Whitaker London EC1A 9PT. 3D World is the registered trademark of Future Publishing Limited. correct at the time of going to press. All information contained in this magazine is for information only and is.

Issue 180 Contents Our complete line-up for this digital month’s 3D World Subscription Buy the latest magazine and back issues for iPad and iPhone today! 8 artist showcase Discover the best digital art from the CG community 21 Community 22 The big issue How valuable are industry awards? 26 ARTIST’s WORKSTATION Mike Griggs shows us his studio 30 SHORT CUTS Fred Burdy on Tríd an Stoirm 30 short cuts Fred Burdy tells us about Tríd an Stoirm 36 Studio profile Glowfrog’s rise to the global stage 40 In focus Jose Rodriguez shares his workflow 44 artist Q&A All your software queries solved by our panel of CG experts Features 52 the tracking field 59 Tutorials 8 Artist showcase Improve your CG skills with practical Discover some of the outstanding new art from the CG community tips and tutorials from our pro artists 83 Develop Theory. plus industry insights from the experts Regulars 38 Letters 50 print Subscriptions 65/82 iPad subscRiptions 74 Next Month 40 in focus 44 artist Q&A 52 the tracking field Jose Rodriguez reveals his working process Your software queries solved by our experts Rebecca-Louise Leybourne’s mocap pipeline 3D World April 2014 6 . research and reviews.creativebloq.bit.

com . Tutorials 60 sculpt a complex figure Daniele Scerra shows you how to light and texture ZBrush characters 66 core SKILLS: UV unwrapping Overcome the mental barrier to UV unwrapping with this essential guide 68 reimagine a character Gerard Dunleavy explains how he reinvigorates his creative process 70 hard surface sculpting How to use ZBrush’s hard surface sculpting tools with Titouan Olive 75 key technique: fluid leaks Nicolas Wirrmann creates fluid leaks with Substance Designer 4 76 photoreal modelling Gary Weller reveals how to create photorealistic models and scenes 78 ANATOMY PART 1: the torso Sculpt the torso in the first part of Dan Crossland’s anatomy series 60 texture and light a complex character Follow Daniele Scerra’s tutorial to recreate our cover illustration Develop 84 theory Denis Kozlov explains the theory behind using a virtual camera 88 Debrief Delving into the development of the MMORPG Neverwinter 90 Realism R&D Renee Dunlop discovers the science of creating realistic VFX 88 Debrief Cryptic’s Andy Velasquez on Neverwinter Reviews 94 SUBSTANCE DESIGNER 4 96 Meshfusion for modo 97 the ARCHVIZ TRAINING DVD 97 X-PARTICLES 2.creativebloq.5 98 my inspiration Frazer Churchill reveals the visual effects scene that got him into VFX 90 critical reality 94 substance designer 4 Renee Dunlop talks to top researchers Allegorithmic shifts the focus of its texture-processing app 3D World April 2014 7 3dworld.

Looking at the finished image I think I managed to make the demon look quite imposing and fierce.” You can see more of James’s work online FYI at www.zerojs.cgsociety. He has picked up freelance work on small indie game projects. creating low-poly models.dean@futurenet. “Originally I wanted to create a necromancer-style character with a large demonic Visit the online Vault to download extra process art for these projects: www. Photoshop “I enjoyed sculpting the face and skin of the demon the most. “This image turned out very differently from my initial concept. after sculpting the demon I decided he was too interesting to be the secondary character in the image. However.” says get published Email your CG ART to ian.” says web designer James 3D World April 2014 8 www.showcase artist showcase The best digital art from the CG community The Binding Artist James Suret Software used ZBrush.3dworldmag. and James is now focused on improving his sculpting.facebook.” While his CG art is purely a hobby for . so I removed the necromancer character and created a mountain environment for the demon. James is eager to keep learning and make it as a CG artist. “As soon as I put the eyes and teeth in it really came to life.

com/3dworldmagazine . As soon as I put the eyes and teeth in. it really came to life 3d world view “The scale and atmosphere here is immense.facebook. but it’s really held together by James’s engaging demon design” Ian Dean editor 3D World April 2014 9 www.

” says Elena. I used photo reference of different dogs to study the anatomy and to catch an overall feeling of the animal. Since the man’s hand should be lying on Cerberus’s shoulder. concept artist Elena Bespalova concentrated on the design and clarity of forms. before I could start sculpting the dog and the .facebook. Hades. “You can say I did all the parts almost in an old-school way.” explains Elena.” says the artist.hellstern. God of showcase the Underworld Artist Elena Bespalova Software used Maya. “I usually like to complete the face of the character first. “I found the work creating Hades really refreshing. “I had to pose the Cerberus base in the right place around the Hades character.cghub. The project gave me a huge WORKING WITH SYMMETRY boost as it gave me the opportunity to “Work on Cerberus took the practise techniques and media that I was most time. Keyshot While working on this piece. To sculpt it without not familiar with.” reveals Elena.” says Elena 3d world view “The still and stoic form of Hades mixed with the dynamic movement of the creature’s tail is just fantastic” Kulsoom Middleton operations editor The project gave me a huge boost as it gave me the opportunity to practise techniques and media that I was not familiar with 3D World April 2014 10 www. Once the sketching process was done. The next step was to make the base shapes and place them into the scene. but in the end it FYI at www. Symmetry was a bit of a You can see more of Elena’s portfolio work challenge. it was a necessary task. from base shapes in Maya to sculpting volumes and details in turned out well. ZBrush. Elena began to model the head.

mood and colours over details. which focuses on gesture and narrative elements when posing the early model. “My favourite tool is Transpose Master in ZBrush for posing the main 3d world view “The lighting and texture ensures this take on Deathstroke feels unlike any other. Alessandro looks for references “of specific moods and colour . and my sources are mostly digital paintings. Deathstroke’s Revenge Artist Alessandro Baldasseroni Software used 3ds Max. I choose to paint or do a photo collage of the background elements. Deathstroke’s Revenge is based on the model used for the cinematic.” adds Alessandro. ZBrush. I can’t wait to see more in the series” rob redman technical editor 3D World April 2014 11 www. V-Ray. When work begins on lighting. where he has worked for seven years. This filters into his CG illustration. His latest project was influenced by work done for the Batman Arkham Origins cinematics.facebook. Photoshop Alessandro Baldasseroni is a lead character artist at Blur Studios.” says Alessandro as he reflects on his influences. Mudbox. Based on the mood and environment. but influenced by the artist’s own Revenge series of illustrations. “I tend to privilege form. See more of Alessandro’s personal FYI work at www.eklettica. traditional artworks and photographs.” says the artist.

facebook.” says Rudolf Herczog who creates CG art such as Valhalla. So he used an old version of Bryce “and its highly useful terrain editor” to make the terrain objects to import into C4D. Photoshop “Believe it or not. columns and arches. and also used a few dirt maps for walls. “I wanted the scene to have a slightly monochromatic look to it.” says Rudolf. “Once I was happy with the look of the foreground. one background and one foreground. I work in construction and normally nowhere near computers and computer graphics. adding: “I played around with a few textures and different filters. but still have a little editor bit of colour here and there 3D World April 2014 12 www. Valhalla showcase Artist Rudolf Herczog Software Cinema 3d world view “The atmosphere created by the simple lighting helps to convey the scale I wanted the scene to have and gives the church a fantasy feel” a slightly monochromatic Ian Dean look.rochr. “The trickiest part in the scene was to create decent terrain objects. in his spare time. I made copies of some of the parts.” says Rudolf. who uses Cinema 4D Prime. scaled them up quite a lot and used them for the background with additional models and ornaments. Maxwell Render.” Discover more of Rudolf’s personal work and FYI his freelance projects at . but still having a little bit of colour here and there. a scene inspired by ruins of a church.” Rudolf used a simple Maxwell sun to light the scene on two layers. which lacks sculpting tools.


in fact. inhabited by someone and that its daily use blends well with the apartment’s interior design 3D World April 2014 14 www.showcase I tried to add some details and hints to show that this house .

angelofernandes. “Before .com 3d world view “The warm lighting. Hague Apartment Artist Ângelo Fernandes Software 3ds Max. Marvelous Designer. I defined the project’s aesthetics and searched for references and then started modelling what I needed. one without a human touch. “Since I had total freedom on this project. So I tried to add some details and hints to show that this house is. I decided to take the opposite direction. give this arch-viz scene personality” Ian Dean editor 3D World April 2014 15 www. especially when I see sunlight affecting the textures and materials of a particular space. which creates a feeling the spaces are uninhabited. V-Ray. minimalist architecture inspires me. In his line of work clients often want a clean aesthetic. such as the children’s art pinned to the fridge.” Ângelo says he’s inspired by everything around him: “In particular. inhabited by someone and that its daily use blends well with the apartment’s interior design.facebook.” Planning is vital to Ângelo – “it helps me to save time and to avoid making mistakes” – and so this is where Hague Apartments began. quirky décor and subtle details. Photoshop “For this project I wanted to create a warm and comfortable environment. in fact.” says architectural visualisation artist Ângelo Fernandes.” See more of Ângelo’s work and process FYI at www.

” For more of Dimitrije’s work and process. Once the character model was completed. “Also I used the excellent tool Ivy Generator for the vines. ZBrush was used for the modelling and texturing of the stone elemental character.  Kulsoom Middleton “I tried to create something different from operations editor what you usually think when imagining a ‘Stone Elemental’ – not a hulking .com 3D World April 2014 16 www.empyrealred. FYI visit www. and also the background and blocking of the main scenery.facebook.” reveals Dimitrije. I used physical Sun and Sky for lighting the scene with some fill light to get the final look. Dimitrije used the ZSphere rig to pose the character.showcase I tried to create something different from what you usually think when imagining a ‘Stone Elemental’ Stone Elemental 3d world view Artist Dimitrije Leonidov “Dimitrije has Software created a unique Maya. “After that the character was decimated and sent to Maya. a protector that is a gentle and reclusive creature.” says the artist. but a guardian of nature. I Dimitrije has been working in CG art for over particularly like the seven years and has been involved with video use of Ivy Generator game and mobile game projects for the last to add some organic two. ZBrush interpretation of a fantasy standard. He created this image as an entry for texture to the scene” the Stone Elemental Contest on the Gnomon Workshop Forums.

milkpresso. “I used rob redman one main light to set the tone.” says Benoit. I did Benoit’s latest work not want to paint or texture 3D World April 2014 17 www. Climbing in the gym. I it’s no surprise that created simple shaders for everything. Discover more about Benoit and MilkPresso FYI at www. mental ray. Photoshop This charming scene was created as part of I loved finding fun situations to put the Benoit Regimbal’s day job as art director for MilkPresso and hidden in it are characters 3d world view characters . opportunities to make this interesting opportunities to make this interesting. so I feels so lively” focused on different colours and shaders to make everything pop. jumping in the pool. and some omnis technical editor to change the mood in areas of the building.” Benoit used mental ray to render the scene: “I still have lots to learn in mental ray to optimise my render time – hopefully I can fix that for the next piece.” he says.facebook. “I loved finding fun situations to put the “With 15 years’ jumping in the pool. Citylife Artist Benoit Regimbal SoftwarE 3ds Max.” “Once the main modelling was done. “Climbing in the experience as a gym. there were so many characters in.” says Benoit. from the Korean studio’s web comic Daily Life. there were so many character artist in the video game industry.

of the scene. V-Ray. and Gilvan’s two-step I like to visit photographic sites and social rendering process” networking sites looking at my friends’ travel photos.showcase I like to visit photographic websites and social networking sites looking at my friends’ travel photos. Ian Dean See more of Gilvan’s CG art on his blog editor FYI at www.ng3d.” says Gilvan.blogspot. Photoshop “The scene has many textures and materials. made but ultimately I liked the result. I take some as reference Davis Street Artist Gilvan Isbiro Software 3ds Max. I take some as reference.facebook. “So I divided it in two: 3d world view first I rendered the foreground and then the I really enjoyed creating the “I love the depth material of the street. possible by the detail “To achieve this detail I researched . which caused problems when rendering.” says Gilvan 3D World April 2014 18 www. it was quite laborious.



dean@futurenet. CONTENTS Community News and views from around the international CG community 22 awards ceremonies 24 3d printing 26 Artist’s workstation Celebrating the value of industry awards Michael Williams creates a bespoke guitar Mike Griggs shows us his creative studio 28 making the monster 30 Short cuts 34 Industry insight MPC’s muscle sim work for 47 Ronin Fred Burdy on his short film Tríd an Stoirm Pixar’s real-time preview rendering setup Get published Email your CG ART to ian. tweets and comments Jose Rodriguez shares his workflow 3D World April 2014 21 Visit the online Vault to download extra process art for these projects: 36 Studio profile 38 readers’ Letters 40 In Focus Glowfrog’s rise to the global stage All your .

com .Communit y The big issue 3d world’s CG awards Keep an eye out in upcoming issues on how to enter the 2014 CG Awards! Magic Light Pictures has been nominated for a VFX Oscar for Room on the Broom 3D World April 2014 22 3dworld.creativebloq.

“It’s a reward for the effort on the award. nominated for its the Oscars’ shortlist – that also helps or a short film. Framestore had a team at the British Animation Awards (BAAs). Certainly each award I are thrilled that Room on the Broom are a fantastic way of highlighting grabs the limelight. We organisations. “It is studios who win.” Beakus. media Find out more of this year’s Oscars at and entertainment at Nvidia. an awards show is a defining moment. A dream for 24-hour says: “I think it’s very news channels. it’s Industry acknowledgement especially advantageous at the bake a shout out to other “Knowing that Nvidia’s technology has off. specific.” 3D World April 2014 23 3dworld. they offer CG workers important that both the the chance to step out of the shadows filmmaking and VFX communities and be noticed. and I could film itself grabs the limelight. adding: “Wider than that. principally focused on the nomination which makes it difficult to recognise of Bill Nighy in our short The Hungry everyone individually. team brilliantly excellence within the of the bigger picture Joni Jacobson.” five – of the Best Visual Effects films Awards are important but we should of the year. led by directors industry. So while the work represented in such a small elite win an award at the audience. Awards are our association with there’s always another story behind Into Darkness and Oblivion has seen it a light on talent always good for our some great work that the scenes. has an audience. and awards such as the news of the awards stretch beyond its Oscars and VES are a great way of Thoughts & opinions from the experts native industry?” says Steve Smith from celebrating their achievements. “Having our the animators who by the industry and of innovative visual to the VFX on Iron Man 3. nominated for multiple awards For Gravity. Or do they? recognise the achievements of their Industry insiders “The question is always. edited and previewed. Whether they British Animation make the film. mind I think it’s important to remember while the director of the film (the that really the collective team effort is Steve Smith Michael Rose Greg Estes animator) wasn’t named. of over 440 people working on the “The press for this year’s BAAs movie over a period of three years. We set out did not make the fifth year running every film nominated process. there and skill you’ve put in to your work. and we’re delighted outstanding achievements and are many others that can it’s about seizing your moment in the spotlight to reach as many people as who watch them avidly. whose work on Star Trek principally to shine Lachauer. executive They are animation.” says profile as much as the night itself.nvidia. FYI our site: www. blogs. for the spotlighted by the Oscars nomination within our industry company. off’ – the review process that creates video. because our work is showcased to studios that they’re been instrumental in producing what an audience of our peers who are often on the map and is considered to be one – let alone all also our potential clients. World War Nvidia technology – including London. out of the hundreds that reflect on the work of studios in a are filmed. bigger. music quality and integrity. and everyone Beakus Magic Light Pictures Nvidia highlighting a key issue of awards involved should feel very proud!” www. For for Best Visual Effects was powered by but Joni believes that it’s also the ‘bake it’s an advert. regardless of whether to produce films of final nominations. CG ceremonies have never been supervisor at Framestore. there group of visual effects companies the BAAs it’s a huge list quite a number are many others that can take pride draws attention to the quality of work accolade.” making great work. “With this in ceremonies – who get’s noticed? Make a speech “[The value] depends “Martin Pope and “Awards ceremonies So while the film itself For many. Greg Estes. For us. At this years . so it’s great when Z and Pacific Rim are based Framestore. The big issue Celebrating the value Publicity for Beakus’s short The Hungry Corpse has focused on Bill Nighy’s of awards ceremonies Oscar nomination Every year we applaud the work of the industry. is a wider sense – the process of an awards huge honour and boost to the morale selection can help raise an industry’s of everyone that works at Nvidia. the for everyone who worked so hard to praising the talents of individuals and possible with the news.” says Steve. and so exist Max Lang and Jan we are very proud of While the films make the headlines. what’s being magiclightpictures. series work.” Steve adds. industry executive. and for of other films too. For they are recognised both terrific examples work on Gravity and its contributions raise a studio’s profile. a sector of the industry.” in being part of the bigger picture.creativebloq. It’s take pride in being part actually care is neither here nor there!” Awards are the next had a very talented really a celebration of That’s a feeling shared by best thing to a Bafta. how far does members. even making the BBC News. and in fact producer at Pixomondo. so let’s accept the wider value of awards events A wards season is upon us and the Chris Lawrence.creativebloq. we are doing and distinguishes us in the producers and a very positive way.’ says Joni. has been nominated. Making the awards is great.

so I had an idea personally designed guitar became what I had to deal with when modelling 3D jewelLery reality. design Paul Liaw. if it was too thin the body would threshold.shapeways. keen guitarist and ago Michael had designed his own The original design was created saw the chance to guitar but unless he made it as a rock in AutoCAD. so for printing Michael combine both of star. From high functions ensure ambition to the high street. Michael previews enable you Michael embraced the technology contacted the printer Shapeways to submit print jobs Williams and used it to achieve (www. so a guitar maker would create recreated it using 3ds Max. open new doors and opportunities. Over 15 years and began . range of high-quality “Meanwhile I’m preparing some new materials available [guitar] designs that can be printed on Out of print Printer Michael’s advice is to first create some ecosystem small samples and print them out Photoshop CC before you begin a big project..” Michael explains. It’s best supports the most to print out some small strips (4x1cm) popular desktop at various heights so you know what 3D printers.” be too weak and would easily break. they Adobe adds will come… and play 3d printing Photoshop CC’s 3D printing options The ease of 3D printing has enabled Michael Williams One-click to achieve his rock star dream of a bespoke axe Solution Photoshop CC’s Automated Mesh W e’ve heard for some time how Repair and Support 3D printing is going to make it Structure Generation into the mainstream.Communit y 3D printing 3d printing If you make it. but the dream of owning my much easier. as the MakerBot “At this moment I’m waiting for my Replicator.bit. the latest models will be generation of affordable printers will produced reliably.” says Michael. to find out with confidence. jewellery Fifteen years later the rock star dream has designer says: “My design process is so been and and also Ultimaker 2 to arrive. the shell of the Now Photoshop users can upload 3D models to the Sketchfab 3D service.creativebloq. out in parts and put together… well that’s the plan. I can automate the process using the least personally designed guitar became reality amount of material without going “If it was too thick it would have cost under the printable a lot. hopefully in the supports the full middle of February. such you’re dealing with. 3D World April 2014 24 3dworld.” says the artist and musician. Michael is also a bespoke electric guitar. his ambition of owning a about their requirements for the sculpt. his passions.” Upload to See more of Michael’s guitar designs at the web FYI www. See Michael playing his and embed them in 3D-printed guitar at their Behance profile www. while accurate Michael Williams has Before starting the model.bit. My later the rock star dream has been and first 3D print was a phone holder made gone. but the dream of owning my of the same material. “Fifteen years a certain thickness and strength.” www. A freelance using Sketchfab. he had no way of seeing his dream “For this design the body needed instrument made whole.


this was due to my curiosity to challenge the brief. which means I have a 3D World April 2014 26 3dworld. architectural walkthrough which was specified to be across the television. it makes switching between 3D apps (which I do a lot) much more straightforward. but using a Cintiq changes everything for the better – the 22in setup of a freelancer device is a good size and portable(ish) for my specific two-centre home setup We drop in on CreativeBloke’s HQ to see how Mike Griggs has created an environment to manage his busy workload I work for a range of clients from my two-centre One of the key advantages that a freelancer can offer over a Artist profile home setup which comprises The Shed and the larger agency is the ability to change workflows. so usually no two days are the Power to the freelancer same. I also create concept Octane. also do a lot of writing for magazines. This is because Dropbox syncs across my Mac as important as creativity to be a successful freelancer. recently I was commissioned to do an mograph artist working I use my laptop. (my current core applications are Cinema 4D. HQ. and the nine hotkeys are easily remappable Artist’s workstation Wacom Cintiq I have been using Inside the tech-savvy tablets for years. design industries.creativebloq. which along with a Dropbox Pro account with Packrat While it’s important to invest in hardware and software (which keeps a copy of deleted Dropbox files indefinitely). or a supplied Mac or PC. which can Mike Griggs is a Night Desk. which I love. Communit y Artist’s Workstation 3Dconnexion SpaceExplorer I’m always disappointed when a 3D app is not 3Dconnexion-enabled. and is why I went freelance in the first To ensure this flexibility I have fibre access at CreativeBloke place all those years ago. but it ended up being rendered in exhibition and digital VFX for a range of creative agencies. I where workflows are more fixed. Pro. I move between these setups as the benefit both the freelancer and the client. VFX and day progresses. my laptop and my backup Mac. visualisations for heritage clients such as the National Trust which would not always be possible in a studio environment www. My recent work is primarily corporate mograph and rendered in VRayforC4D. Modo and are the backbone of my workflow and also enable me to the Adobe Creative Suite). websites and application documentation. flexibility and productivity are sleep at and a range of international museum design . 3D concept. or sometimes I work on site where For example.

and laptop I have ever it is expandable owned.twitter. It’s powerful.creativebloq. and Cuda-capable Oasis Mango Medley with a ridiculously Motion Graphics good screen and it’s For Icon-World and VCCP Live. Artist Portfolio FUJI X100s You can’t see the Fuji as I used it to take the picture. FYI please contact him at 3D World April 2014 27 3dworld. The ‘Beast’ has made a MacBook huge difference to Pro Retina my productivity and This is easily the best image . 2012 Mac pro I bought this as a refurbished unit. the ability for a freelancer to keep pace work. It goes motion graphics elements generated in Modo with me everywhere. It has never been a better as it challenged me in areas where my day-to- time to be a 3D artist! day creative work usually doesn’t. 3 bus-powered drive live work folder. which helped convince everyone of the validity of the proposed fun addition to building work. early in 2013. I loved writing the Fundamentals piece with a small studio is finally here. If you’d like to know more about Mike’s freelance work. a series of very light. having a fast and offer over a larger reliable online infrastructure is the one investment that I would recommend to any freelancer – it will make your life agency is the ability to easier and more productive. One of the advantages I also have hotspot capability on my mobile devices so I can work when I am on the train. With the reduction in PC component costs. as well as the potential power of This is my favourite image from my 3D World cloud rendering. I switched from a huge DSLR setup to the Fuji and an Olympus OM-D E-M5. as well as VPN into the that a freelancer can Mac Pro from the laptop from wherever I am. advances in change workflows Creature Design for 3D world GPU and CPU rendering. Small cameras make photography fun again Cliveden House: Slide to save the south terrace For this National Trust commission I created a visualisation in one day using Modo. with any of my work assets instantly shareable with a client. if I need the power of the ‘Beast’. and After Effects were used for a huge HD along with a 2TB USB display on the banks of the River Thames. which is up to date on whatever Mac. Along with a good backup system.

” says Nicolas.bit. we VFX supervisor Nicolas oversaw production of was supposed to be an enslaved creature who was hanging skin.” explains Nicolas. but he’s not shape. a demonic The animators wanted to make the As the demon took shape. Nicolas’s character of gigantic . interesting animated character that “We had to write a muscle system The end result was a “combination viewers could believe in.” interesting movement. which enabled several of automatic simulation in the rig and meant a character who’s carrying a bit muscles to be modelled as a simple hands-on modelling. Oni needed a new direction.bit. skin and muscle movement as accurate team wanted to recreate the effects of The initial concept had been as possible.” www. See more of MPC’s work on 47 Ronin of body motion. “To all that.” had weight when it moved and that the on top of the animation as they spotted The challenge was to create an pectorals were affected by gravity. would be more added extra details by modelling blend shapes to the animation – we ended over 250 shots at MPC for 47 Ronin. and that in the rig. so we designed a character who was powerful and could sexy – in a graphical sense up with hundreds of extra little models fired by the rig. added to the rig and animated to get as much detail as we possibly going to the cause damage. with and realised there’s more muscle twitching. According “We looked at body builders Nicolas Aithadi to MPC’s VFX supervisor Nicolas Aithadi: “The Oni We decided a bit of fat. of weight. would be more sexy up or to the right – it created some very samurai epic 47 Ronin was the twitching – in a graphical sense. stop-motion 3D World April 2014 28 3dworld.” says MPC’s VFX supervisor Nicolas Aithadi VFX interview Making the muscles of a monster for 47 ronin How MPC created hundreds of muscle sims to ensure its CG demon had the power to impress on the big screen A midst the epic sweeps across a muscular character wasn’t very deformed too.” muscle animation of its Oni. and creating create a more believable animation. forced to fight. this meant adapting moving tendons across the muscle to modelled but the MPC team felt the existing tools MPC use.” explains Nicolas. interesting. the team would add more detail so people felt bad about killing him. but at the same time After hiring a model to act out the look like he had been abused for years. “This was more interesting in terms motion of the actor. new workflows to ensure the muscle role. but we decided a bit of fat. when his thigh moves grand fantasy landscapes. up it would automatically move his belly MPC’s cherished achievement in with hanging skin.Communit y “It was something we all Interview wanted to do and ended as one of the most complex bodies we’ve managed to make. “he’s strong. “We found explaining: “The muscle could be FYI at www. dynamically – these reacted to the could.” he adds. quirks in the performer’s muscles.” says Nicolas.


and editor so on.Communit y Short Cuts short cuts Irish myths flood our get published thoughts in Tríd an Stoirm Email your short to ian. analyse the polygon density to create producer toolbar for that purpose with buttons to and reapplied the animation to it. creating and naming scene control.. compositor but also apply the dynamics and cache Would you say Softimage was vital? but also to emit foam particles. mental ray This project was huge. of a young woman trying to bring her He also turned his hand drowned husband back from the dead. But the thing that made it work was Softimage. the pipeline and fixes. ICE is a great tool for generating particles and geometry procedurally.creativebloq.. handle the renders. .tridanstoirm. Any other touches you can reveal? Katie McGrath that made some scenes unstable – destructive aspect of the workflow: I generated particles on contacts performance animation being lost on some controls you can keep on tweaking the model between objects (rocks and boat) and – so I wrote a script that fixed that: It even after it’s rigged and it handles the sea itself that created nice splashes. country imported a rig with the characters’ it perfectly. You learn so much on a project like this! and render layers. and Kennedy and worked on creating the Otherworld and Banshee. and so on used it as a base. to compositing in Nuke We caught up with Fred to find out under the lead of John about the influence of Irish myths. Fred Burdy so I built tools inside Softimage for director & writer importing characters. creating and Lee Hickey naming scene and render layers. It was a lot of little scripts that Softimage has great animation tools. both for shading it in a foamy texture. Steve Lynch smooth. but incredibly powerful. ZBrush definitely the ICE deformation! Nuke.. different types of controls. After the geometry had been deformed. Fred Burdy’s short 1 Fred Burdy wrote and Tríd an Stoirm (Through directed Tríd an Stoirm the Storm) tells the story and was lead 3D artist. Also. copying the animation themselves. which was a customised ICE compound creating a Tessendorf deformation vital and generating particles from the statistics crests of the waves. so How did you create the stormy sea? I used ICE inside Softimage to deform Did you learn anything from creating production time I built tools inside Softimage a simple grid to create the waves’ Tríd an Stoirm? 15 months animation. imported a blank clean one. Software long as the topology doesn’t change. called aa_Ocean. and any tweaks you have I was able to do a bit of relighting in to it. When you have a big project Sean McGrath you need consistency. deleting the messy referenced on top of that keep working nicely as Nuke to fine-tune the look of the sea. but we had a few issues easier. a bit of a procedural bump to give lead animator really helped to keep the process built-in IK/FK for every bone you create. I used ICE to Watch the seven-minute short online FYI at What software did you choose? I use Softimage as my main package at my work at Windmill Lane. There is a plug-in that does There was a lot of trial and error – for importing Discover how Fred Burdy used some unique workarounds and scripts to bring Celtic folklore to life in his new short Artist profile Created in Windmill Lane. that very well for Softimage. but I wanted a bit more different techniques for rigging the characters. I added Yanak Thakker them.dean@futurenet. some nice detail. The shapes adjust all by Since I rendered a bunch of passes. I found a simple version of the deformer on SI-Community. Referencing characters was and that made rigging the characters music really helpful. I used it for the 3D World April 2014 30 and several revisions of the master shader. www. Ireland controls only. a weightmap of the crests..tridanstoirm. It is great because it’s easy to use. How did Softimage help the production of Tríd an Stoirm? team This project was huge (140 shots). I built a little character. which I used John Kennedy import characters. One vital feature was the non.

and the pillars with displacement on them. but the characters are not fully detailed and are painted in a . sea. very graphic way 3D World April 2014 31 3dworld. In order to make it work in terms of animation I cheated a bit: the sea was flattened with a lattice around the boat.creativebloq. hair. almost like long- exposure shots 7The animation is 100 per cent keyframed. Fred wanted to create calm scenes. That was a lot to handle for mental ray.” 5 6 6For the second 7 half of the short. The feeling I wanted to convey was that the boat was magically driven. It was movies. There was everything in that scene: Rain. not affected by the storm. instead he how closely the team and setting up and hair system with used to create the deformed a simple followed the visual rendering the sets instanced stripes sea and the crests grid to create the ideas behind the directly in Nuke of cloth on the render of the waves waves animation fantasy designs 2 3 4 Key scene: Creating A perfect storm “One of the hardest scenes was when the Banshee and the woman are on the boat approaching the gigantic stone pillars. foam. 1The team were 2 The fearsome 3 ICE was used to 4 Fred didn’t want the 5This concept art able to save time Banshee character’s generate particles sea to be a big water from the short’s by importing a 3D ‘clothes’ were and geometry simulation like in VFX production shows Camera in Nuke created using a procedurally. two characters with their simulated clothes. Then I brought in the characters and cached the simulation of their clothes bit by bit.



so that London’s Cinesite can’t ignore. the RenderMan pipeline is still ongoing a few lights. FYI system: creative and technical talent. It’s a very exciting time. “There is a reason that you rarely see 60-second CG ads – they’re difficult After Monster’s to get done on a typical commercial Industry insight Clockwork VFX’s animation is a must-see spot The future of preview renders is here Pixar’s graphics pipeline for real-time preview rendering.” Antony. texturing and preview renders rendering capabilities were tested as the 13-strong team worked for five weeks to complete the animation. has changed slightly. to develop better Clockwork’s lighting. they are hours’. we jumped on OptiX saying: ”Cinesite’s growth within the tracing into the RenderMan pipeline and we’re very excited about where it’s region will also attract local and global has proved a successful venture.pixar. Thus the OptiX The relationship between Pixar and excite you.” hesitated to adopt OptiX as it could Learn more about Nvidia’s OptiX have affected control or quality. based around OptiX.” says creative looked to Nvidia director/co-founder Jason Tomlins. with high quality. “One Nvidia researcher is here so of work and a talented team of home we look at the preview and much that we have given him ‘office grown and international visual effects Bill Polson the final and . and the sets they saw in the movie theatre for ability to do huge scenes. then why not apply for a role real-time renders give us a real-time Nvidia has never been stronger. but there’s an air are collaborating on a scene with of coincidence about Pixar and Nvidia 100.” says Bill is director of identical. if those OptiX and RenderMan. managing director.000 models. and a real-time lighting its brand new www.” “We’ve been able to craft a consistent Cinesite’s CV includes Robocop and lighting and shading model between Collaborative effort Jack Ryan Shadow Recruit. “I think at the new studio? “We’re opening up prediction of what the final render will our collaboration will get deeper. I think our pipeline had to change a announced the launch of For Pixar the option to adopt the new bit before OptiX made sense.” there is a big difference between a development of new The move to incorporate OptiX into real-time demo with a small scene and Cinesite is hiring for technologies. model is vital.cinesite. that happened. Jobseekers should apply industry strategy at we see the final render has For the future.” says in a new location. “This changed even more competitive having a global relate to the final render? The need our fundamental assumptions about presence is now a necessity. Pixar had Monsters University. is heading in the right direction cinesite is hiring for new Montréal studio T he question for all CG animators However. See it at www. going. with Monsters University working with preview renders Pixar started using RenderMan’s ray- As the visual effects industry becomes is always the same: how does it tracing more and and has meant Pixar’s own production environment where half a dozen artists Montréal studio © 2012 Paramount Pictures. predictable manner to final render. But where he oversees the cannot achieve (yet) on the GPU. If we look closely time for each visit. Communit y Industry insight Clockwork VFX makes a wacky race animation Visual effects and CG animation studio Clockwork VFX worked with Toys ’R’ Us to launch the Monster 500 brand. Nvidia OptiX system for interactive ray. so that decisions then we realised that OptiX might fit Antony Hunt.” says Pixar’s Bill Polson. Folks sign up to get a slice of artists. and one for a consistent lighting and shading shading and scene organisation. Pixar production schedule.” adds Bill. minute-long fully CG spot. added detail and complexity that we decisions to be made in real-time. with a new award look like. The result is an action-packed. “If Bill. Once the new Montreal studio. “That’s why our OptiX moving in the same direction. Pixar Animation Studios. demos have been so amazing: people RenderMan gives Pixar control over see the software running on the same all rendering. Pixar want all artistic at 3D World April 2014 34 3dworld. Cinesite’s made based on preview translate in a well where it would not have before.


VFX work for the TV visualisation to VFX with aplomb. Back He came to London in 1992 and and film industries in the 1990s. and www.” impressive resumé that includes the CGI renderings. The Queen of Pop was a close country Making a mark friend of one of the interior designers. Nigel Hunt was studio worked for Sega before getting a job and arch-viz projects Nigel Hunt a jobbing 3D freelance artist statistics as an architectural illustrator using 3DS for its growing list Nigel is the owner and plying his trade in .Communit y Studio profile studio profile glowfrog: working on both sides of the pond Beren Neale reports on the boutique studio that can turn its hand from architectural visualisation to VFX with ease F rom the interior design of started out as a visualisation company. motion graphics. Nigel soon found himself so did the workload.glowfrog. Glowfrog is a architecture for five years following strands. Madonna’s New York apartment. 3D World April 2014 36 3dworld. The defunct Millennium Dome may reimagining of the Millennium Dome. The O2 became and a growing body of VFX production one of the most successful concert and post-production work that’s Company Size venues in the world. drafting 3D visualisations and then Director hired. Freelancers were based production outfit.” says Nigel. a five-year project The origins of Glowfrog are far more where Glowfrog worked with a design humble and more personal. and helped The O2 with marketing It’s a star-studded entry on an viz. including 15 architectural firms. photography & film have had a universal panning. arch. designers. “Glowfrog team. but after work for the London 2012 Olympics. a UK. “We’ve been involved since 2001 of Light album. map.creativebloq. directing Glowfrog into the worlds 11-50 Then came work on the London 2012 of television and film. then joined animations for design proposals for Nigel Hunt Glowfrog was born. production one year of opening. UK It was Glowfrog’s work on The O2 and Nigel and his newly founded Arena and the Greenwich Peninsula studio Glowfrog went on to create set Specialties Regeneration that helped put it on the designs for music videos from the Ray CGI environments. As Nigel’s ambition grew Glowfrog Studios. matte painting. Glowfrog’s business Madonna’s flat to effects for but prior to it starting I worked in is divided into two disaster shows. complex studio that can leap from architectural in my father’s footsteps. CGIs during the construction. VFX. (DOS version) creating 3D models of of global clients creative director of Working alongside interior buildings. Athletes’ Village.

work on Madonna’s New York pad. broadcast and property marketing. visit: www. head of visualisation Nik Van Herpt.” says more into film and TV visual Rebecca. Among the growing ranks are VFX producer Rebecca Marie Perry. Channel’s Seconds From Disaster Glowfrog created 101 shots for the National Geographic Channel’s Project briefs are getting more is one of my favourites. In total. “Software has taken such As visual effects producer a huge step towards achieving realism. Nik Van Herpt and Nathan Juno. visualisation.” If the cap fits. The Millennium Bridge and the Swiss Re Tower (the Gherkin) in London.” says Nigel. including property we’ve become an integrated interactive and augmented reality.” exciting time to be in this industry because it’s only going to get better. with 2014 lining up to deliver like Glowfrog to achieve photorealism VFX on our first feature film and a on challenging budgets.” says Nigel.creativebloq. programs and plug-ins have allowed us to work faster and better Sao Paulo Loft Visualisation Office briefing This pitch image for consultancy client Dar Group was produced by Founded in the 1990s by Nigel Hunt. “This business model all the VFX and graphics for this two-hour special for the History seems fitting for Glowfrog’s move is here to stay. “allowing smaller studios effects.” says Nik. What’s The Earth Worth? Though it’s a cliché for a studio to competition. film production. Stripped-down budgets “Why? 300 VFX shots and the viewer to focus on how the weather was formed. Enough said. “We are expanding us to work faster and better. studio portfolio Software has taken such a huge step towards achieving realism. “We used GrowFX for 3ds Max Glowfrog’s early projects include to build the bespoke trees and plants. their hands. In recent years is has also expanded into a full production and post-production . offering a holistic approach that includes VFX. including explanatory graphics.. are exacerbated by the heavy opportunity to blow stuff up on subsidies playing a bigger part in TV international television. whereas our film good to see that the team still find and TV side has incorporated more fulfilment in the simple things. a new generation of creatives with One sea change has played into widening skillsets. Although Glowfrog has ventured The studio is progressing in areas into more technical projects that go which enhance its existing portfolio: “In beyond producing CGI. which enabled the demanding. into visual effects.” says Nigel. so learning how to 3D World April 2014 37 3dworld.. and technical director/3D artist Nathan Juno. Growing from the need to match clients’ increasing demands and larger projects. today Glowfrog has a broad client base in film. Rebecca Marie Perry programs and plug-ins have allowed explains. “Our post services and a documentary/ work for The National Geographic Worst Weather Ever drama production unit. as it anticipated work within these shifting sands and the change in industry and hired low margins helps. and Glowfrog has to Nigel Hunt worked with freelance artist Mike Griggs to produce describe its progress as ‘organic’ it adapt or die. disaster show. this equated to over 35 minutes of CGI shots.” and film production. it’s production agency.glowfrog. Add to that an For more details of Glowfrog’s increasing international platform of FYI projects. It is a really 26-episode drama series. motion and interactive graphics.

but you may also want to try Sculptris. messy this issue reviewing Substance and books on the subject for Designer 4 on page 94. link: www. tweets and comments free modelling software. and to ian. complimenting Carolyn Henry or books that may help me? Get a back issue today at  the design. @3DWorldMag Great design and . There are some great Cheap modelling software Siggraph papers on the subject. proved a hit with Carolyn that are so often cluttered.creativebloq. a plea for help with Send your mails. but hurry! this letter to appreciation for our (old) design… Website Facebook Twitter 3dworld. Are you the designer? Susie Jenkins www. love the organisation. There are still a few copies left design that I feel moved to send information contained within. the www. 3D World April 2014 38 3dworld. 179? So cute! The obvious choice is the hugely Rachael Williams popular Blender. a free public Ian replies: Will do Rachael! That beta ZBrush alternative from the cover is one of our favourites too. NURBS to polygons during that period. It is such a beautiful sharing the layout and the took place in the mid-1990s.bit.Our reader’s letters Community this month include inbox praise for Pascal Blanché’s stunning cover last issue. James Blinn. passed on your email to some of big names that helped layout. after art department!” such as Ed Catmull.bit. I’d like to focus layout called ‘Understanding I’m impressed! Thanks for on the major changes that Did you miss issue 179? the camera’. The This is the first time I’ve seen or font is beautiful with the image CG research… help! heard of 3D World magazine.creativebloq. Your layout has You should also consider trying I’m part of the Motion Graphics a clear hierarchy of information. I feel like I can finally breathe. It is a breath of fresh air. Can you recommend any sites of our March issue. of the camera lenses – and that I’m a student working on a When I followed the link.bit. Pixologic. the image is simply marvellous! What dissertation about the CG first image I saw was a two-page a great render. advantage of free trial downloads I saw your post and followed the There is a nice grid and the to see which one best suits you. especially the birds. we have just changed It’s probably a good idea to that… hopefully you like the new also look into the transition from layouts as much as the old. us with a comment: “One for the change the industry at that I’m just starting out so I don’t including this one on Subdivision have a huge amount of money to Surfaces in Character Animation: spend. but can you suggest any I feel calm when I look at the Griggs. For a digital iPad Or could you please pass this Ian replies: Thanks. Alvy Ray Smith Mike’s cheap or free modelling software that I can use? Cute crow creatures Mark Dobson Can you please just pass on my congratulations to Pascal Blanché Ian replies: There’s some great for his beautiful cover from issue free modelling software out there. spending time surfing the web He created the camera render Bui Tuong Phong. Mike Ian replies: I’d start by googling www. I a spread of software by taking Worldwide group on Google+. visit along to whoever designed it? The author of that tutorial.dean@futurenet.bit. Carolyn. As for background information. colours work well together.facebook. same developer. Understanding the and seeing other typical websites for that tutorial and he’s back – all have great YouTube videos camera.

. .Communit y In Focus I love sculpting the high-resolution details and the compositing work to bring the picture to life 3D World April 2014 40 3dworld.

” 1 Creating the base This character’s armour design is highly detailed so to be able to model every part I need to support it over the character’s body. then I created a basic model for each piece and finally added the detail in ZBrush. and for that I had to discover the body beneath the armour.  FYI and sculpts at . called Heavy Knight. especially cinematics by Jose Rodriguez is a on the render between Blur and Blizzard. he often experiments. in focus making Heavy Knight Artist Jose Rodriguez channels his influences and experience to create an incredible character T his project. films and video games. Overall the artist says there are two areas to his work he particularly enjoys: “I love sculpting the high- 2 resolution details and the compositing work to bring the picture to life. 3D World April 2014 41 3dworld. their technical level.creativebloq.jrs3d.jrs3d.” He is also a modelling and then ZBrush was used to create See more of Jose’s character models tutor for Animum3D all details for the displacement maps. To work on this I created different primitives simulating the basic shape. When it comes to his influences for was based on a character design Heavy Knight and work in general. size and position of the props. senior character artist freelance projects. Jose concept of an elite heavy knight says: “The awesome work of different for the universe of Twilight Monk by 2D and 3D artists is a great ZBrush to create hard surfaces for his props. Trent Online School and has While Jose says he works in a very has worked on feature traditional way. was created in 3ds Max with V-Ray every movie from them. Senior character artist but the best inspiration comes from the Jose Rodriguez spent six cinematic work done by some game artist Profile months on and off working companies. mixing techniques in 3ds Max and www. 1 2 Working with multiple objects By design there are several overlapped objects in the character’s waist. The base aesthetic and atmosphere is unique in for Gameloft Madrid. A fast drawing and a basic model helps me to understand the anatomy.

and then I use Topogun to make a better adjustment. it’s time to add details like the cracks.creativebloq. When I’m happy that the geometry is correct. I always try to achieve an of different armour pieces organised geometry that can be and giving colour to a rigged and animated. but having that kind of geometry helps a lot a real challenge. a fast overpaint helps you to know how to place them. In this case in other parts of the process. I add the skulls. this is a monochrome design can be personal preference.Communit y In Focus 3 Adding details Once I have the shape and position of the shoulder pad. two colours and different shadings are the key. These are modelled in ZBrush with DynaMesh and I use ZRemesher to get a basic geometry. 3D World April 2014 42 3dworld. 3 4 5 functional 4 geometry 5 Colour study The character is a Even though the original idea full-armour figure with a lot was to create a still .

7 6 8 9 Compositing The final challenge Working the 8 render passes was to drive the viewer’s For the render stage I extracted just attention to the small head a few passes so that I could mask between all the metallic them and play around with them reflections of the armour. 6 Defining the pose 7 Background I want a simple The character’s pose is a rigid one as the background to give weights are centred the leading role to the due to the armour’s character. and using Soft and finally applied a Bend Selection I play with the modifier to give it a curved rotation and move each aspect – something fast piece until it reaches a convincing pose. The set creation bulk. but I go traditional couple of bricks. 9 it and force a whitish and finally Reflections. separate the background Zbuffer for a depth-of-field effect. To achieve this I decide to Ambient Occlusion for visual detail. I select the mapped. 3D World April 2014 43 3dworld. frontally instead. I made a to pose the figure. I could use ZBrush was really fast. instanced them armour pieces. I darken Shaded Subsurface Scattering for the skin effect and shadow tinting. from the character. apply to create a straight wall an EditPoly modifier in 3ds Max. and simple.creativebloq. reflection below the face. at the compositing stage: Shaded Diffuse for Colour and .

cghub.3dpeyote. I modelled the eyes. understanding of the and now owns Khitan Digital. Bay resort on the North Shore of Oahu. ask if he would mind me using the rig for www. Next I used DynaMesh. Detail sculpting Mao-Lin Liao wedding. and sculpted Email your questions to muscular structure and the overall Hugues Giboire A 3D artist with more than 20 years’ experience in the CG industry. I took Joel’s skeleton into ZBrush. www. as well as working as a www. Chris shot a clean backplate. Chris set up his tripod and shot the clean underlying shapes. backplate. Aiman creates visuals for the advertising industry doing high-end 3D photo integration work. Hugues is a BAFTA nominee for artistic achievement in video games. then the bridal party was briefed – run for your lives! appended a ZSphere and used ZSketch to create a base mesh on shapes. Before that.khitandigital. variation looks development artist. teeth and tongue in get in touch Modo and appended them as subtools in ZBrush for detailed sculpting. Duncan is currently working on a top-secret film project.creativecrash. anatomical landmarks Aiman replies first.duncanfraser. After this. I added high-res Your software queries solved by our CG experts Duncan Fraser A sculptor for Iloura in ZBrush | Modo Renato Gonzalez Renato is an animator How can I integrate renders into my photos? from Chile specialising in Doug extensively with For my image I found an excellent T-Rex ZBrush for studios and skeleton rig posted by Joel Anderson on companies. the bridal party was briefed – M Scott Spencer run for your lives! M Scott has worked Start by gathering a lot of reference. EXPERT PANEL Artist Q&A Aiman Akhtar Currently working for Clutch an integration project. then detail scales and This image was created for my wrinkles. form. and he consented.dean@futurenet. I emailed him to concept designer at Weta Workshop. he worked in the video games industry. including 3D World April 2014 44 3dworld. needs to help define the A character and look. our wedding photographer. found the location near our pretty but is useless Mao-Lin has worked wedding venue at a beach on Turtle if it doesn’t help our in VFX and video games since 2001. US Expert tip character development Don’t take shortcuts and currently working as a freelance Define large shapes and artist in the entertainment industry.creativebloq. with none of us in the shot. claws. trying to decide the look I was after. www. www. First Chris Simons.

including Mask. as Once I have the T-Rexes positioned and they reflect the spirit of my work. (Adjust the layer order. I decide to custom-lit and coloured HDR image. the enhance the shadows and highlights. opacity sphere. then took texture map. I have plane to Shadow Catcher. scaled. read length.creativebloq. which enhances the look of the Raking. I used characteristic dark crown to the rim of the iris. I spend a . it’s best to shoot a spherical physically-based renderer can do the job it is panorama at your photo location. FoUR Finishing touches primarily the choroid. an additional half sphere covering the foreground. I used the ZRemesher to add some I applied various materials onto the guides and speedily created an excellent model and exported them as layers in retopologised mesh. When each component use several ID passes and paint masks to is modelled with its own index of refraction. After sculpting. recreate the underlying structures with a simple approximation of the connective tissues. and is a perfect way to pose my sculpted T-Rex. and Spray strokes wrinkles and scales. focal accurate eye. modelled eye responds more naturally to light. (I had designed to do: simulating reality. less than a millimetre thick. Import Files Into Stack Script to bring in all The geometry is a simple double-sided the renders. In Photoshop. scales and wrinkles. This enables me to see the backplate in the render preview window.) I also bring in the clean opening that nearly connects below the backplate photo and use that as my base. I create a directional light for the My renderer of choice is Octane Render from sun and set the shader of the ground Otoy. I export out the three poses as I love working on characters. I exported this as an Photoshop to create the final diffuse Understanding how an eye and its elements works will . I used different Next I Polypainted and used Cavity brushstrokes to add variation. I do a 30-frame animation of a T-Rex chase and create three key poses. I export physically accurate eye? my T-posed T-Rex into Maya and add a smooth bind to the . In order to use its full potential. I input papers on the these parameters in my Modo camera subject such as: and one of the photos as my environment bit. as this fibrous connective After lighting I rendered out several passes layer acts as a dark chamber and gives a for compositing. On top are overall effects. I rear side of the choroid. I generated a in a circular pattern to add vague detail.objs. make them look as though they have a life beyond the screen. Both and reflections. octane render TWO Rigging and Posing The T-Rex skeleton rig works as a base How do I model a mesh for my ZSketching. Under the right lighting with the backplate above. After painting Jenny Stephens. using the Standard sculpting detail from my DynaMesh onto brush with the Drag Rectangle stroke the new mesh with UVs and subdivisions. the lens magnifies to reveal the sand effects. displacement map and base texture and then masked and carved using the map. The eyes of THREE directional lighting my characters are one of my centres of focus.Step-by-step Integrate 3D renders into a photo One Real-world and CG cameras Successful 3D/photo integration requires Expert tip aligning your software camera properly Research the topic with the real-world camera. camera and lens type data. The final step was to help you create a physically accurate render it back into ZBrush to project all of my integrate it with the photo! 3D World April 2014 45 3dworld. then a layer for conditions. outer edge of the iris. I had the To understand how tripod height from the shoot and Chris’s to create a physically RAW images had the frame size. colour set to frontal projection through the same camera. then flattened the model to reflect Dam Standard brush. with an and mode to suit. the UVs and apply the displacement. assemble them in Modo and observe lot of time creating them and trying to the impact they have working together. Crosshatching. then the bridal party in the retina.obj to make my UVs in Modo.) The new Modo HDR Light the iris and the vascular system of the sclera Studio plug-in allowed me to click right are sculpted to a level of detail sufficient onto my models in 3D space to create a to withstand relative close-ups. to make do with HDR sphericals I could The fundamental task is to create a more find online to approximate the lighting precisely modelled external envelope. and several scale alphas. For an ideal to create a physically accurate eye so that the integration. That’s when I decide to have more than Hugues replies one T-Rex. UK weights.

Artist Q&A
Expert tip
Find the balance
Our eyes are more sensitive
to contrast than colour
intensity, so to find the right
balance between diffuse and
specularity, convert both your
reference image and your
rendered portrait into black
and white and compare the
results – it will be easier to
see what’s wrong than
with a colour image.

Alex is the first of six
portraits that Mao-Lin
plans to create in the
coming years

ZBrush | Maya | Arnold Step-by step Making the perfect portrait
How do I set about modelling One Preparing the model
Before adding details, separate facial
a realistic female portrait? features to quickly isolate and work on the
detail. Prepare your model by unpacking
John Davies, UK the UVs, then apply Auto Groups With
UV in ZBrush. Now you’re ready to sculpt
without the extra step of drawing a mask
Mao-Lin replies to refine the sculpting area. This is not the
Making a realistic female portrait has always final UV layout for texturing but a quick
been something that was at the top of my way to navigate through your mesh.
to-do list. It’s going be a long journey, and
doing it properly is always going to require Two Skin Shading
a lot of time and patience. Arnold Skin Shader is an excellent skin
Although this final image is not 100 per cent shader, and works best in real world
photoreal, it’s a decent attempt. This project was the units. Tweak the basic parameters like
ideal test case for me to try Arnold Renderer, and to SSS Radius Multiplier to get the desired
combine my knowledge of ZBrush FiberMesh and subscatter effect. The default is 10, but I
Maya for realistic face and hair rendering. found it a bit waxy for my model. A young
Keep in mind that it’s hard to work on something that female has slightly more subcutaneous fat
everyone is so familiar with. The pitfalls of working on a compared with a male, so I use a value of
photoreal face are that you can become blinded by your 5 for female and 4 for male characters.
mistakes when spending so many hours on the details.
One of the tricks that really helps me is to keep a Three Hair and grooming
small mirror at my desk to check any flaws and reset To keep hair manageable, we need to
the image in my mind. split the FiberMesh into clumps to select
When you have worked for long periods on a project, them later. Switch to PolyFrame mode, and
it can make your mistakes hard to spot. Our brains [Ctrl]+drag on half of the hair to create a
simply filter all that information away and we begin to mask. Go to Mask>Polygroup>Groups to
create a Polygroup base on your mask. Try
Working on a photoreal face, you can to work symmetrically and split everything
into eight equal chunks. Eight parts is a

become blinded by your mistakes when good start, as we can always add more.

Four Portrait Lighting
spending so many hours on the details My goal was not to make it look like a
perfect beauty shoot with typical studio
fill in the gaps and see what isn’t there. To train myself softbox lighting. My main light source
to observe my work more objectively, I often use was a HDR image from a room with bright
Lightroom or a real mirror to flip the image, and then windows, which gives the image’s base
scale it down to thumbnail size. lighting natural reflection and highlights
This helps me to filter out the large amount of detail in the eyes. It simulates colour bleeding
in the face and lets me focus on composition, and of the environment that really helps to
whether it looks realistic or not. integrate her into the background.

3D World April 2014 46

MayaFluids is used to
create realistic floating
ash and dust in the scene

A rim light can
really help to give
your figure definition

ZBrush Maya 1
How do I start creating How do I add more
an imagined creature? atmosphere to a scene?
James Oscar, US Jordan McCarthy, Ireland

M Scott replies Renato replies
When trying to create a character
from the imagination I find DynaMesh
One of the important points
within a composition is 2
is a great sketching tool. This allows atmosphere. Although in
you to ideate directly in ZBrush with this scene it is minimal, small
no concern for the underlying mesh volumes. details like smoke or fiery sparks will
DynaMesh also frees you to carve negative increase the power and depth of the
spaces out of the model. The holes in the crest scene. In the case of this image, Warrior,
of this creature’s head were created by using one of the things that attracts attention is
the InsertCylinder brush. When inserting the the smoke that subtly emanates from the
cylinder into the DynaMesh, hold down the Alt inside the character.
key and the mesh will be subtracted instead of To recreate this effect in full within
added to the mesh.
When setting up a character for rendering
Maya, the best option is MayaFluids. To
set the scene to have more control over 3
in ZBrush, I always use at least two lights. In the simulations and less impact on the
this image there is a key light at the right side hardware, there are two important steps:
of the image and a rim light placed to the left first, select all the geometry that will
and behind the model. This rim light helps be interacting with the simulation and
carve the figure out from the background, create a new Render layer, then under
adding definition and depth. Enable shadows Preferences, change Playback Speed to
on the key light and adjust the shadow angle Play Every Frame.
(Render>BPR Shadow). I set the angle slider to To simulate the smoke, create a 3D
20 to help create a natural soft shadow edge. Container by going to Dynamics>Fluid
Effects>Create 3D Container, select
the entire interior structure of the 4
character, and select Emit From Object.
Using DynaMesh, you Go to Dynamics>Fluid Effects>Add Edit
can carve out negative Content> Emit From Object. Now select
space for unusual effects the exterior parts to establish them as
colliders by going to Dynamics>Fluid
Effects>Make Collide. This is the basic
setup to start the smoke effect.
Finally we stylise and give more life to
the simulation. To do this we generate an
‘air field’ by going to Dynamics>Fields> 1 Change Playback Speed to Play Every Frame in
Air to aim at the sides of the smoke. the MayaFluids Preferences menu.
Then we will create a ‘vortex field’: go 2 Creating a 3D Container and then setting the
to Dynamics>Fields>Vortex to control interior and exterior colliders is important to
the curvature of the wind. An important setting the smoke effect.
detail is changing Volume Shape to
3 Set the ‘shape’ of the smoke effect by
Cylinder, as this will focus the effect
adjusting the wind.
where you want it.
Once the simulation is complete, with 4 Once done, you can easily adjust each of the
different fluids settings for each part of fluid’s setting to offer unique results.
the character, I now have much more
dynamic results in the final scene.

3D World April 2014 47

Artist Q&A
Expert tip
Review your art
Upon reviewing this
image the next morning,
I decided it looked a
little too clean so I dirtied
it up a bit. I added a
noise layer, overlayed
some thin horizontal
ZBrush | Maya lines and used a
dirt brush.

How can I model a tactile
superhero costume?
Daniel Simons, US

Duncan replies

© 2014 Marvel. All rights reserved.
Using Skottie Young’s Spider-Man image,
I start by laying down a ZSphere base or
skeleton for the character. ZSpheres are an
excellent way to start a character, especially
a stylised such as like Spider-Man – or my version here,
Spideyman. They help you get a handle on proportions
and you discover very quickly what is and isn’t working.
Next, I use Maya to construct a quick chimney for the
base and continue adjusting the pose until I am happy.
I make a few more adjustments to the posing of the
hands and convert the ZSpheres to a mesh, then start
sculpting some of the cloth folds and wrinkles. I also Step-by step creating the comic hero’s costume
add the secondary chimneys and the antenna.
Once I am happy with the ‘vibe’, I export out the One Getting started
body and used Topogun to retopologise and export In ZBrush, I divide the new suit up and
the new body into Maya. I also retopologise sections project the details from the old body sculpt
of the body and head, so I can get Edge Loops where onto the new mesh. I import the web
pattern mesh, turn off Smooth and divide
ZSpheres are an excellent way to start a it up a few times. Once I have roughly the
same division levels as the suit, I project

character, especially a stylised character. the web pattern down to the suit so they
adhere to the cloth folds and wrinkles.
I then mask out the web pattern and
They help you get a handle on proportions extract the mesh to get some depth. Next,
I mask out the rims of the eyes, extract
I need them for the web pattern on the suit. This is one them and sculpt them a little so they have
area where I deviate from Skottie’s original image. He a nice hard bevel.
had a thin web pattern, but some things don’t translate
well from 2D into 3D, so I decide to go with a thicker Two Adding definition
and chunkier pattern. I then export out the new web I want more definition in both the spider
pattern mesh and jump back into Maya. symbol and the eye rims, so I export them
In Maya I select all of the faces and extrude them on out and retopologise them. I then reimport
all axes individually to create smaller faces with a frame. and divide them up. The spider symbol still
I then delete the inner faces so all I am left with are the needs more pop, so I mask and extract it,
‘frames’. I export out all of the frame mesh and go back separating the edge into a new Polygroup.
into ZBrush to concentrate on Spideyman’s suit… I then isolate this Polygroup and grow
the selection until I have a nice thick rim
around the border of the symbol. I mask
the border, select the rest of the symbol
ZSpheres are a great and deflate the inner section, creating
way to work on a a nice hard rim that really makes the
stylised character symbol pop.
with expressive
movement Three Creating texture
To create texture variation between the
suit and the more rubbery parts of his
outfit, I select the body subtool at the
lowest subdivision level. Using the UV
Planar function, I unwrap each face of the
mesh to overlap so they use the same UV
space. Then I jump back up to the highest
sub-division level and assign a waffle type
alpha as a texture, and mask the mesh
using the texture’s intensity. Then I deflate
the inner part of the waffle mask, invert
it and inflate the waffle ridges. Finally, I
polypaint the whole suit.

3D World April 2014 48

3D World April 2014 49 3dworld. This gives the model a much more realistic skin look. I take a thin film in order to create mild colour pride in making sure that everything variations. more How do I model a bokeh effect? of the vascular tissue is visible in the skin. the Starting from a cylinder that I then specks that catch the light will bloom deformed and sculpted. To model. When painting a creature’s skin. then I don’t have then used as input co-ordinates to skin. This image was rendered using BPR. In this specific generate the thousands of instances it appear on features case. assign an M Scott replies emissive material This character bust has Polypaint to your dust applied to create a skin texture. I spray in warm colours in the cheeks and lips while David Gooding. I can simply model it. turn on WaxPreview the background under Render>Render Properties. I wanted to use is modelled to scale. I tend not to leave anything possible. I decided to fill the volume of the takes to create a convincing effect in with a thinner surface scene with dust. velvet background of the scene The material created for the speck has to create an effect reminiscent of the soap-bubble characteristics: firstly it is stars against the night sky. add a simple subsurface scatter effect. To bokeh effect against make this effect visible. works (above). ZBrush Do you have any advice on skin texturing? Expert tip Add blur effects Mark Jacobson. Since this character has a lighter skin tone. Once out of focus. separated by light transparent Hugues replies speck with convoluted shapes offering passes of the base tone. US To create a more convincing bokeh effect. I used a simple emitter and that using an unbiased renderer offers: If filled the scene with particles that were When painting the I don’t want to fake it. By layering passes of warm and cool colours. US spraying blues into the beard line and recesses of the eye sockets. It texture can be created with just Polypaint. which is less than the negative space of the blue a millimetre in diameter. This is one luxury In Maya. and secondly it is finished with to the post-processing . warm colours will to. use the Wax Modifier on the Dust specks floating Material setting. be sure to Maya | octane render modulate colour temperature across the face. present in the scene. I select the Basic Material in the scene create a then set the Wax Modifier Strength to 36. dependent on the viewing I want the viewer to see is physically angle of the surface. very specular to reflect as much light as In general. a very realistic skin In one of my recent personal more surface area for the light to hit. I created a dust into a fairly convincing bokeh effect.creativebloq. the final render.

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it is an essential to get production of state-of-the-art this part of the process right first systems over the last decade has time. even and admire the end result of just for reference of physically characters such as Gollum from accurate 3D movements. complete with realistic emotions Motion capture might not be and movements.creativebloq. com/thatmocapgirl tracking field Rebecca-Louise Leybourne shares her expert tips on the most overlooked. visual effects and film post-production pipeline – and industries. the artists in many industries. On stage she runs real-time and head- mounted cameras. each one as vitally waters of the technology may give important as the next to achieve you the advantage over other the high-quality result required.wix. beacreativebex. is of The Lord of the Rings trilogy benefit to animators and 3D or the Na’vi from . that have been suitable for every project you brought to life by capturing a undertake. in order to avoid any time- enabled the creation of photoreal. importance of the data and the But while we celebrate results that it can give you. disturbing repercussions further computer-generated characters along the line. but learning the human actor’s performance. 3D World April 2014 52 3dworld. just testing the stages.Feature The tracking field Author profile Rebecca-Louise Leybourne Rebecca-Louise is a motion-capture tracker the at The Imaginarium. The development and as such. applicants when applying for jobs. This is creation of each of these digital especially true within the games creatures would not have been industry (where experience of possible without a journey using motion-capture data is a through a pipeline of several desired skillset). but vital parts of the motion-capture pipeline M otion-capture technology Data reconstruction and tracking has become a regular is the often-overlooked first fixture in today’s task in the performance-capture games.

creativebloq. mocap in action Rebecca-Louise reveals that “blood. sweat and tears went into tracking Xbox One’s title Ryse: Son of Rome” 3D World April 2014 53 .

and to stream the bones’ length and performance to a real-time rotation. This enables the day of capture. to capture to check for noise the highest quality data . operator to check if multiple the marker layout actors’ skeletons and props are labelled correctly. marker is. using exporting the file. playing preparations are taken into back the movement consideration to ensure the motion-capture system and in half speed and software are performing to the trusting your eyes best of their abilities. which is used reconstructed later in post- production. capture conditions and can sometimes Optical data captured from a help to recover hard-to-reconstruct data shoot is stored as raw 2D data 3D World April 2014 54 3dworld.feature The tracking field It’s important in tracking to learn the labelling setup and know how each marker Labels define what role each marker can influence others plays in the skeleton of the human body around it Quality control Capturing motion Capturing motion has many similarities to the processes While many steps of that are carried out on film sets the process can be every day. someone else for allows a 3D representation of performed on the a fresh look before an actor’s labelled skeleton to be viewed live. this is not an exact a labelling skeleton representation of what will be (VSS). calibrated to create However. This is then visualisation system or game engine to puppet a virtual avatar. after carrying out a from the range pass the file on to range of movement (ROM). Also. marker labelling movements or swaps Reconstructing data A character skeleton is always useful.creativebloq. but rather a draft to define what each Settings can be altered to suit extreme preview of the final outcome. and positioned on the helps them to spot any missing actor to predict the markers. Vital pre-production automated. of movement. Recently the implementation (VSK) is created it’s a good idea to of 3D previews in the capture software.

a manual the camera alignment. such data swap as the hands touching together. These labels define what role check against reference footage checking the rotation of the floor each marker plays in the skeleton is always recommended when plane. graph editor The graph editor should be familiar as it’s similar to graph editors in other 3D software. labelled skeleton to be viewed live Deciding which markers to use to influence and recreate data is key. the resulting Swaps in data are often data can get confused caused by using an automated labelling tool or sometimes. However. It shows the keys and movement of individual markers. finding the marker an identity associated as a barcode to define different stage centre. Where markers are in close proximity. and requires a reconstruction to be done at least once a day the captured movements onto process – combined with a while shooting. or by looking real world and how that aligns predefined rig. problem marker and uses their 3D previews in capture software now movement to determine the new allow a 3D representation of an actor’s movement of the missing marker. as variations in a primitive rig. as it it into continuous takes information from at least three markers surrounding the 3D trajectories After carrying out a range of movement. A system calibration is a the calibration. and finally. if the markers come into close proximity to each other. which also assists with the underlying skeleton. teaches the capture software Labelling trajectories which will try to label a character three important steps: showing The labelling process tags these based on the ROM created on the cameras their position in the trajectories using a generic the day of capture. to give each for a labelling plate (which works with the digital realm. can alter and negatively affect can influence others around it. These calibrations have of the human body. Most motion-capture software technique whereby the operator will come with an auto labeller. problem makers Optical data Motion-capture post-processing is stored as raw software offers a range of techniques to fill gaps with the 2D data and then most accurate representation of where the marker actually reconstructed to convert was when . actors). translating actors of a similar body shape or 3D World April 2014 55 3dworld. It’s important in calibration of the system taken on temperature and movement of tracking to learn this labelling the day of shooting – to convert it the equipment and props on set setup and know how each marker into continuous 3D trajectories. the skeleton can get confused. A rigid fill is usually the most effective. such as inner knees touching.

as well as enabling multiple people to work on one file. care and precision cleaning the noise Noise is fairly common on the hands and feet. When cutting the keys to remove . When there is enough data to visual effects. cameras with vision. be lost to some or all cameras. the pipeline. have to be manually cleaned or an actor moves. However. to a position. the more manually cleaned or fixed and labelled within the jitters and other inaccuracies reliable the data. or interacts with other Post-processing be exported for the next step in actors. where a marker is and has to be manually cut out Within the software used. filters can be added to character management improve the data. This means the more original performance. but these can dampen the movement if used too excessively. constantly improving the Inaccuracies in data are which can mean insufficient quality of the data captured on often caused by occlusion of information is captured.creativebloq. does a particular before the data is ready fixed before the data is ready to stunt. being tracked by a minimum of of the graph editor from any certain scripts or tools three cameras at any time. view of a markered performer in for a reliable reconstruction. The role of data tracker is a specific volume. but not enough is still required. the gap made must be filled by taking influence from other noise-free markers surrounding the problem marker. post-processing capture system has a 360-degree produce a marker. which markers it is influencing to move can be applied to enables the reconstruction of in a way which is untrue to the automate the 3D data. jitters and other inaccuracies have to be size are reconstructed workflow. when same file. This can mean working on one priority skeleton then exporting them separately once completed to speed up the delivery time to the next part of Most data gaps. A motion. If a file is particularly noisy throughout the entire movement.Feature The tracking field Cutting keys to remove noise requires thought. This is called ‘noise’ are carried out correctly. 3D World April 2014 56 3dworld. Each camera data with sporadic keyframes to ensure post processes tracks a 2D view and is targeted often occur. the marker’s visibility can to be exported While today’s systems are the production process. as with most elements of the physical marker. but most data gaps. stage. Character management allows you to control which skeletons can be viewed or edited in a file.

skeleton solving The end result of a tracked file will be accurately labelled trajectories with minimum noise and no gaps. results are reliant The solved on the consistency of quality. When a marker is blue is it unlabelled and requires manually connecting to the correct label. the end exact proportions results would not be possible without this vital process. 3D World April 2014 57 3dworld. which traditionally could not be achieved without the technology. and while the process skeleton fits the might seem repetitive. data with sporadic keyframes can occur unlabelled markers Each marker in a marker set is named into relevance to where it is on the body and then split into left and right. As a solve is reliant on the markers’ accuracy.creativebloq. Here the RTHM3 is red in the list highlighting that there is no marker currently connected to this label. but not enough for a reliable reconstruction. Like any pipeline. a swap or noise can affect the movement of the markers. The end result enables physically accurate 3D animations to be applied to characters and aids an understanding of the movements and limitations of the human body. Motion capture data tracking requires an eye for detail. patience for reaching perfection and fast turnaround. Performance capture allows you to take those limitations and apply them to characters. based on the positions and movements of the new post-processed makers. to be created. which will manipulate the authenticity of the performance when it is later retargeted onto a CG character. of the performer When there is enough data to produce a marker. even somewhat tedious. therefore the solve. This will allow a solved .


com/vault All you need for our tutorials 66 Core skills 68 REIMAGINE A CHARACTER .com/vault An essential guide to unwrapping UVs Marvelous Designer makes cloth easy to add this issue’s video tutorials and associated screenshots and source files to your personal library of downloads Download videos and tutorial files in three simple steps 1 GO TO THE VAULT SITE Your Vault account holds your 3D World issues. then your new issue joins your collection 3 Download your files Get the files you need whenever you want.3dworldmag. Contents Artist Tutorials Practical tips and tutorials from pro artists to improve your CG skills in the Vault www. as well as any other Future titles that use Vault 60 sculpt a complex figure 70 hard surface sculpting 2 Choose your 3D world issue Use light and texture in you characters Creating an asset for a still life in ZBrush You’re asked two simple questions to verify your with no need to store CDs or clutter up your hard disk permanently Download video from the Vault if you see this icon 75 key technique 76 MODEL PHOTOREAL Scenes 78 ANATOMY PART 1 Make fluid leaks in Substance Designer 4 Techniques for creating a hyperreal image Sculpt the female torso for 3D printing 3D World April 2014 59 www.

push inside the eye sockets and extrude the nose and lips.3dworldmag. especially the nostrils. A 3D artist/graphic heads. mask the inferior (lower) lip and extract the following hypothetical skull Click TO PLAY Video www. books and different helmets. for the best results. Add some depressions above the lips Texturing that follows the shape of the facial muscles. I wanted to use a dominant designer and illustrator sketching 1 start with a sphere 2 Detail the nose and lips Using a DynaMesh sphere with low resolution. especially To add more realism. inserting my models also be a combat android! work has appeared in I particularly like to create as works in progress to test the For all the assets you need go to magazines. His that perfect concept. I often use ZBrush to make the textures. so it’s important is to start adding details to brush. www. Artist profile perfectly defined idea of the final excessively on every detail and giving the impression she was Daniele Scerra result. bodies and armour in the aspect of a scene is. the impression of a gentle and has worked in film along in order to work towards I then use Maya to finalise my gracious girl… even if she could and special effects. create more shapes to resemble the nose and mouth. and I sometimes work of the pipes inserted in the head. pushing the mesh Sculpting want to add details but just obtain a general shape to the inside. For the and move both cheeks and chin with the Move brush Lighting mouth. and then move Rendering superior (upper) lip. with the peculiar detail sculpting in 3D without having a mesh. Daniele sculpture and the pose as I go hard or elegant as .youtube. I try to use art I decided to create a sweet if the base is made by directly as many details as I can in the character. Using the Clay brush. The most important inspecting something to the right. Keep the decisive shapes and then add small details around Topics covered DynaMesh details very low at this stage. in my eyes. and then www. For this cover complex task. also using big lights and shadows.Tutorials Texture & light a character follow the video When you see the play symbol click the link! Maya | ZBrush | Photoshop | mental ray Texture and light a complex figure Daniele Scerra reveals how to use Maya and Photoshop to give your ZBrush illustration added impact C onceptualising a female wigs to give an exotic touch of the modifying the scene accordingly character can be a really sci-fi or fantasy to the character. Using the Move shape. projects. as you don’t the nose. 3D World April 2014 60 www. modifying the the light as with it I can make it colour – pink – to underline since 1991. start The face still doesn’t have an interesting or beautiful by sculpting a basic head shape.bit.danielescerra. the cheekbones to create the eye trade publications.

com/3dworld .3D World April 2014 61

Finally.bit. use the Append brush to add a cylinder and a sphere. inserting the shape of the clavicles and sternomastoid muscles. Click TO PLAY Video www. duplicate and modify it several times and then position each one with care. deform it to create the ear and then sculpt a hole for the ear auricle Click TO PLAY Video . Using DynaMesh. leaving a generic geometry shape. raising the cheekbones and adding dimples around the mouth. but my goal is to get an understanding of the general look. creating the helmet and pipes is the fun part. start to add details using the Pinch the shape of the brush – this tool will be helpful for defining both the eyes and eyelids eyes and mouth. At this point I’m still sketching. Add a cube using Append. and then with the Move and Clay brushes massage the shape until it sort of resembles cat ears. and then start to sculpt the eyelids and the general shape around the eyes. Then add volume to the shoulders and breast. Sculpt the eyes Next. which will later be reshaped with the Move 3 Adding ears and eyes Using the Append subtool add two spheres as references for the eyeballs. add the shape of an ear.Tutorials Texture & light a character Create the ear Starting with a cube. inserting the shape of the clavicles and sternomastoid muscles 5 Creating a helmet For me. I create a single slim model. add round shapes and then mechanical-looking ones. add a monitor screen for the pipes to plug into. merge the first part of the body with the roughly modelled Using DynaMesh. Expert tip The eyelashes To give more realism to the eyelashes. Use the Curve Tubes brush to insert the pipes. then melt the geometries using spheres for the DynaMesh and define the inside hole for the ear eyeballs then sculpt auricle. Next. 3D World April 2014 62 www. merge the first part of the body with the neck. add a cube and deform it until it approximates Using Append.bit. Using the Clay and Mallet brushes. 4 the neck and shoulders After defining the face in a more feminine

use Unfold to open the UVs correctly.bit. I use Softlight both times to maintain the soft tones and morbid whites Click TO PLAY Video without burning Two Ambient occlusion For this composition I decided to insert the Ambient Occlusion immediately on several of the layers. and use Cutting Edge down the vertical axis. www. try to find the best position faster method: I start to trace the curves with the One Export the basic model for the hands before you transform the mesh and Topology tool at the points where there should be I use the MasterBeauty pass as start to sculpt.bit. then I rebuild the mesh with ZRemesher. Next. extracting the maps as 4K meshes. Using Symmetry. I select the front and the back parts of the head and helmet as separate mesh Click TO PLAY Video 6 Arms and hands 7 Retopology This time I chose to use ZSpheres to work on the Once you’ve determined the high-res model. Click TO PLAY Video In-depth Textures Using Photoshop Click TO PLAY Video for final comp www. I choose UV. to simulate the plastic surface of the android’s body and head. to cover the body angles. Three Android skin & hair The last setup is to use a Fresnel pass in several different modes. For the face I like to use a more traditional and give a more sensual pose. calibrating in them Multiply mode or as masks for colour correction. Using ZSphere enables me to rebuild the mesh with low-polys to create the relative rapidly see the sketch I have in my mind. 3D World April 2014 63 www. As she is an android. arms and hands.bit. I export the models to ZBrush where I use a photo reference to paint and project textures over the 8 UV and mapping For the UVs I use Maya. which is also useful for inserting will also play with the pipes. Always try to approach retopology with different to pose the hands near the chest. the hands and longer method. and to add shine to the hair.bit. . Click TO PLAY Video www. For the helmet I use a her hair. In Maya. use the Planar Mapping Projection (set to Project From) in front of the face and then. In my idea. a base and then multiply the subdivision levels twice. as a model would with vertices where I want them.

which may vary the texture a more realistic way. set a background IBL with an HDRI image Replace the and three area lights – one to the 11 Render passes 12 comp in Photoshop I always try to set a fast scene. so I play with the lights until I passes: it’s time to develop the textures extracted from ZBrush to create more contrast for the helmet and generate the SSS. map. Specular. Color. the pupil and the sclera. tattoo over the arm. Depth. I Expert tip want the gaze of the viewer to look directly at the The eyes character’s face.bit. Using Materials mental ray. This part takes time. Shadow. to render in a few Searching for the optimal composition.Tutorials Texture & light a character 9 Photoshop textures Using Photoshop. Click TO PLAY Video www. are added in Photoshop. I want a look that resembles an illustration create a better effect. hit the correct mood. as it requires To define the eyes in parallel lighting work. 3D World April 2014 64 www. one to the materials using right and one at the front. In mental ray I choose these rather than a photo. start to set the lights over the base geometry. Shadow Raw. Ambient Occlusion. such as the serial number test the scene before creating the high-res image. and influences the overall image and character and Fresnel Object ID. I also create the textures for the Material X Passes for the rest of the models. with a Lambert material. Maya’s Render various passes in Photoshop. the crystalline lens. I test the minutes at an average definition. to rendered. I’m aiming for a non-photorealistic look. 10 Lighting and shading Once you’re happy with the model’s pose and have created the . I divided the model into four different meshes to simulate the iris. Reflection. even though the image View rendering is already quite interesting. specular and diffuse maps. paying particular attention to them and the face. After experimenting and the Misss Fast Skin finding the right mood. Small details. replace the materials using Shader and the Mia Click TO PLAY Video the Misss Fast Skin Shader for the skin and the Mia Material X Passes www. The background is essential Diffuse. but I can is still low-res and the passes are not completely get more useful passes for the final composition.bit. Pre-compositing is useful to composition.

S. scene files and more How to buy Download 3D World at www. and other countries. and download screen steps. textures. 3D World April 2014 65 iPad is a trademark of Apple to sign up for a trial . Sign up for a FREE digital trial subscription! Get two issues free with an annual subscription to 3D World on Apple Newsstand The latest issue is available instantly Receive a further 13 issues in your first year All issues download to your iPad automatically Read it on your iPhone for no additional cost Watch exclusive videos from our training artists. App Store is a service mark of Apple Inc.bit. registered in the U. and get two free issues *The saving is based on purchasing 14 single issues a year of the Apple Newsstand Edition.

com/vault 3D World April 2014 66 www. you a good idea. Topics covered but in reality it isn’t difficult. For all the assets you need go to UV unwrapping think about the best places to They are versatile and many www. in the CG industry. but to generate truly your texture placement. should make it easy to work with. then hiding a seam there is to photorealistic. Rob Redman and reflection. In this case I am using Grunge and organic randomness 3dworld. Many inside a NURBS object. designer with over While there are some Adding smoothing in your chosen mix and fuse shaders. It’s possible to get quite a either as images themselves or to Projection methods The important part of the long way towards your final control other shaders. and is a digital artist and specific areas of your models. the time will come enough. At first this will probably Included here is a simple toy be projected using standard Artist profile consist of adding simple colour model that you can download mapping types. If your character has modern shaders come close creating greyscale clay hair.3dworldmag. such as cubic. as is following any applications providing the will at some point need to apply natural folds in the character’s essentials. Maxon’s BodyPaint. which 3D shaders. and maybe some to practise on. For the believable materials you need people find the whole idea of UV UV unwrapping I am using to learn how to UV unwrap your unwrapping a daunting prospect. geometry and apply textures. materials and textures to your clothing or in the geometry. noise and you can have total control over under a null and then placed other tricks. do this simply. Rob is the technical editor bump. Materials process is to plan ahead and goal using procedural textures. but sooner or later you separate parts and each part while some are even volumetric of 3D World magazine. so constituent parts grouped angle of incidence. will need to add more detail to is fairly low resolution.creativebloq. Even with the ability to layer.tutorials UV unwrapping BodyPaint Core skills: UV unwrapping Overcome the mental barrier to UV unwrapping with this essential guide from Rob Redman U nless your job involves only put seams. with most renders of your models. bricks and tiles. procedural a decade’s experience techniques you can use to help application should be easy materials very often still look ‘CG’.youtube. The model is in planar or camera projection. such as wood . These can work. with the model’s can be approximated using UV unwrap your own when you need to learn how to Cinema 4D.

painting. like I did for the quick scribbles pictured with default texture sizes. It’s usually attached to polygons. others textures will take up substantially more space. or removing can be tricky. BodyPaint ships so keep in mind the memory overheads. The texture size options here. 3 Paint wizard 4 Painting textures Swap to the BodyPaint interface and run the paint At this point in the process you can start painting wizard. to avoid points around later isn’t too problematic. so you can easily change settings the technique. For this as normal. along with fresnel reflections. without needing to create a texture for each. Once you have painted your textures. you can open the textures in your Once you are back in your 3D program. or you can open the scene in an image editor are really going to be based on your final output.) not otherwise unwrap so easily. but the defaults should be fine. which is helpful if you want to separate an ear Wireframes (You can right-click and choose Run With Menu to (or any other complex piece of geometry) that may When taking a texture set some options. you can carry image editing program and paint whatever you on with your I went with simple colour and bump. into your image editor. You can use the built-in tools for 3D your choices. (after saving the textures. subtle bump. I drew the details quickly to demonstrate as you expect. Moving best to try to hide them away if possible. Load your textures back into choose using the tools you are most familiar with. right-click and choose Optimise. going to be based on your final output. but adding having to paint over them later on in the process. but remember channels to give the look of rivets that have colour that you don’t have to use them. bump simultaneously. 3D World April 2014 67 www. select your geometry in the that will be hidden. as larger with numerous preset brushes – some arty. All the other material channels will work tutorial. so keep in mind the memory overheads 5 Texture Painting 6 Back in 3D At this point. I your material and from then on it’s a case of working use Photoshop for most of my texture work.1 Clean up your mesh 2 Choose your seams The first part of the process is to clean up your Make a selection set of the edges that you want to mesh. you can also select entire edge Expert tip object manager. loops. to continue working in 3D. Ensure you don’t have any points that aren’t be the seams of your unwrapped . You more technical – while others even paint across Texture size options are can create textures for all channels. of course). To remove points that As well as choosing edges that are less prominent or don’t form polygons. screengrab your UV wireframe view so you can easily see what goes where. which will set up materials for you based on textures. Just add it to your texture and use a blend mode to aid visibility. In the save and then you can reload the textures again in end I used a large-scale noise texture to add some BodyPaint. or holes in your mesh.

on all the objects to get some With the basic shapes created.gerarddunleavy. Modelling top of. and added the final Sketching a base mesh for me to sculpt on clothing. I composited it together Topics covered build the character’s garments as Once I was happy with the in www. Next I exported my sculpt in nice topology. I sculpted further cloth details in ZBrush ZBrush | Marvelous Designer | Keyshot Reimagine a classic Game character Gerard Dunleavy explains how he uses a link to his  childhood to reinvigorate his creative process F ilm and video games are a major inspiration for me. and CG artist working I was inspired by The Legend of mainly in the advertising Zelda video game. used the program before. Gerard is a concept This character started out life as designer. which had a and film industries. I hadn’t because it produces a nice to detail and refine. to become Chubby Link.tutorials Character design refining the cloth After importing the base mesh from Marvelous Designer. as well as I was producing clothing with a to the character’s simple I then used the sketch as an image plane in ZBrush to be a template as I blocked out the the final composite with the was completed. His major impact on my childhood most recent work can be and led to an idea about a world seen in Thor: The Dark where Link didn’t do very much World and the adventuring and got a little out upcoming . Marvelous Designer. I used ZRemesher proportions using ZSpheres. of shape. background and to colour 3D World April 2014 68 www. ZBrush for more sculpting and For all the assets you need. go to Simulated cloth and Photoshop to complete refinement. but it’s photo-real quality to renders that I I used ZBrush for the majority very quick to pick up and soon thought would be a good contrast of the modelling. I imported it into touches and colour grade. matte painter a little drawing in my sketchbook. to quickly complex layered look with ease. I used Keyshot to render. After the modelling www. I then converted the model to a to Marvelous Designer to create For rendering I used Keyshot DynaMesh object and continued some simulated garments. Finally. even when I’m very busy on a project I will try and find the time to energise my imagination Artist profile by watching a film or playing a Gerard Dunleavy game for a few minutes.

3D World April 2014 69 www. proportion. to sculpt on chubby’s accessories DynaMesh and Insert Mesh brushes were used to create the accessories for Chubby Link deformation tools ZBrush’s ClipCurve brush and Polish Crisp Edges were used to create the sword and shield © 2014 . and complexity. you can and . All Rights Reserved. I layered you can export the export the body to more clothing on top clothing back into Marvelous Designer to add more interest ZBrush and continue to simulate the cloth. Create costumes in Marvelous Designer one Export the two Begin to three Take it back basic model create patterns into ZBrush Once you’re happy Next. create patterns When you are happy with the ZBrush for the base layers of with the result from character’s shape and clothing. like the vest the simulation.Nintendo.

weaponry and other main shapes.3dworldmag.bit. I choose 0. I choose 120 in Hdivide and 45 for Vdivide. but it also saves an tool has become revolutionary. with that in 1 load a sphere to start 2 create a bevel Start by searching for some good images – I can’t Click on Make Polymesh3D to make the sphere fully imagine sculpting something from scratch without editable. At this stage you your work (press [Ctrl]+[Z] and tweak the settings Using hard surfaces brushes could change the number of edge loops around the to create a nice bevel. 3D World April 2014 70 www.0486 for Thickness Inserting mechanical elements Click TO PLAY Video and accurate model since it will incredible amount of time when We now have the ability to use be featured up close. You’ll find loads of pictures part of the sphere. the we have to create a very detailed polygon. pushing the sculpt higher. which is a great subject for hard For all the assets you need go to digitalia3d. it creates a bevel with several Adding bevels using Panel Loops display the wireframe and in the Tool menu click on edge loops around your visible polygons. Click and drag holding [Ctrl]+[Shift] to hide using references first.00 for Elevation and I also unchecked Double. hit [Shift]+[F] to test it. Now under Geometry. We’ll then make use lead character artist mechanical elements. props. since the introduction surface modelling. Artist profile you’re asked by a client or by your brushes and functions to enable We’ll start from scratch to build Titouan Olive boss to create several quick 3D us to create clean. 0. hard surfaces the headphones blocking out the Titouan is a freelance concepts for robotic characters or for armour. as sculpt a pair of headphones – model. and video games. At the creating mechanical that before in 3D using the old very quickly and easily. modelling polygon by of hard surface modelling. end we’ll use some advanced characters in ZBrush box or edge modelling method The goal in this training is to functions and will refine the for animated films because it took much too . As you can see. or sculpt complete robots of some specific tools to sharpen who specialises in It was almost impossible to do and all kinds of mechanical shapes the surface when needed. Once you’ve found the EdgeLoop section and click on Panel Loops to Topics covered some. well as being really unproductive.tutorials Hard surfaces follow the video When you see the play symbol click the link! zbrush 4 R6 master Hard surface sculpting skills Titouan Olive shows you how to use ZBrush’s hard surface sculpting tools to create an asset for a still life S culpting hard surfaces is of new features to ZBrush will be the main element of a still not only much faster than exclusively dedicated to the task life scene so. start by loading a sphere. This object www. Undo Detailing using masks Initialize to expand the However. expand of headphones on the web.

3D World April 2014 71 .

then use the same masking techniques to give a better shape at the base of the the unmasked part quickly sharp. click and At this step. Hold now [Ctrl]+[Shift] and clicking on your mesh. then to invert it. doing it this way to find the right thickness. above part. Size done. Use the Pinch and Smooth brushes to refine further. repeat the same process to create a second Create another bevel using Panel Loops. this brush is perfect for hard surface sculpting. we need to cut the sphere to shape our hold [Ctrl] and click and drag on the plane surface. and under Polygroup click on Group Masked. Once you’re happy. inverse it (hold [Ctrl] and click erase it. Subdivide your soft part (you can use the transpose line to scale or to quickly move the unmasked part). create a mirror object by clicking on Duplicate and Polish sliders to create the soft part around the in the Subtool menu and place the new object just ears (as seen in the next step) and use the Inflate and beside the existing one using the Offset and Rotate DamStandard brushes to add more irregularities. When you’re mesh. Click TO PLAY Video www. select the ClipRect brush Now. tutorials Hard surfaces cut to shape Select the ClipRect brush in the brushes menu and draw a rectangular selection to clip the sphere 3 cut the sphere 4 create more bevels Expert tip Next. invert it (hold [Ctrl] and click on the canvas) the two other objects. 3D World April 2014 72 www. Continue to work using the Deformation. Panel Loops section to get a good result. If your edges are too oval look to your model. Check the proportions Trim Dynamic brush on the surface under the arch – and sculpt each side with the TrimDynamic brush. Place it in the middle. if you need it. draw a rectangular selection to clip the sphere. draw another mask and use the Inflate. click on the Append button and Draw a mask under the head band to shape the soft import a new . Refine the Use the Move brush to rough out the basic shape work and use the Polish Crisp Edges slider under and activate 7 import a new sphere 8 create a polygroup Under Subtool. [R] on your keyboard to enter Transpose mode.bit. To do this. drag on the canvas headphones. Hold [Ctrl] and makes it really easy to show or to hide them by a circular mask on the clipped surface. To do this. hit click on the canvas holding [Ctrl]+[Shift] and clicking directly on them. As you can see Panel Loops to make some tests and play with the settings before Hold [Ctrl] to draw a creates polygroups automatically. use the Offset Slider to Now switch to the Move Brush and use it to create an line to scale or to move move your selection inside the sphere and repeat this operation another time. You’ll need Creating masks bevel on the sphere. draw mask. you can use the Polish Crisp Edges slider just above to smooth those edges. move selection Use the Offset Slider to move your selection inside the sphere and repeat this operation another time You can use the transpose 5 subdivde your mesh 6 Create a mirror object Under Deformation menu. and drag outside of your mesh). Select click on Activate Symmetry and make sure X and Z this new polygroup and play with the options in the axis are checked and also click on the L Sym button. sliders under the Deformation menu. sharpen your mask holding [Ctrl] +[Alt] and holding [Ctrl] to in the brushes Under the Transform menu.

and click Press [L] on your keyboard to turn it on or off. you can use the LazyMouse function. This flexibility is one of the main advantages. But hard surface modelling is far from dead and I still regularly use this technique. Repeat the operation to Inverse your selection and use the inflate and create an articulation at the base. So I tend to use both: I use sculpting first to be able to make as many changes as I want. which is not always the case with sculpting. 3D World April 2014 73 www. Now. select IMM Ind Parts. the cube will be deleted. Click TO PLAY Video www. Let’s say you are not cube using the same technique. In the Brushes Mask the soft part of the headphones and draw menu. 11 Delete using a cube 12 rebuild using a cube Hard surfaces: The true force of hard surface sculpting is that you can change anything at any moment without Next. use NoiseMaker to add Step 6. I then push my Click TO PLAY Video sculpt higher and finally remesh www. choose the IMM MachineParts tools and functions available in Remember to place the cube correctly. model as you did previously. Draw a rectangular polish sliders. coupled with on the sides of your headphones to give them need to be fixed by hand at the DragRect and Alpha 25. And that’s it. but hold [Alt] as you insert it. Arrange the stripes inside the sphere end for a perfect result.bit.bit. which gives me a lot of creative my model with a clean topology. and drag on the canvas). now it’s really easy to when you next update your mesh. Work with a low resolution at first and increase it when you need to push details higher. as you needn’t worry about the underlying topology. because brush. then press [M] and some unmasked lines on it. select Piston02 and insert it between the ZBrush. Place it on the model and update regular lines. Don’t worry if the edges of the model are do and undo almost everything. your mesh to insert the screw (hold [Ctrl]. It’s a necessity when the mesh needs to be animated. Select IMM_MachineParts. modelling produces perfectly clean Refine the lines working on the soft mask. invert it and use the Inflate slider to add relief. You can now export your some stripes inside the sphere and click on Apply finished headphones into a still-life scene to study To Mesh. everything inside cylinders. reactivate lot of advantages over hard Here is how to simply erase and rebuild it: insert the X axis button and insert cylinders to rebuild the surface modelling. Next. Expert tip DynaMesh danger Take care about DynaMesh resolution. Now. but several things still parts using the Standard brush. such as Pinch or Inflate Insert a cylinder inside the new articulation to refine and insert another screw on the lower part of the it. Insert this shape if you feel you need it and duplicate this object to under the arch and insert the shape named Gear 14 create a mirror exactly as you did previously at on the half spheres. try to improve the area between the articulation in a pleasant way by inserting another Modelling versus sculpting worrying about topology. press [M] and choose HeatTransfer. ZRemesher is a good starting 13 Adding noise 14 finishing touches point to automatically generate a Add some noise to mimic the leather on the soft Finally. Select the headset and click on Clay Polish lighting and . axis before in the Transform menu. articulation. but uncheck the X Hard surface sculpting has a satisfied with the shabby look of the articulation. part with sculpting brushes. With the new a cube at joint. sculpt some decorations on the top and basic mesh. under Geometry to clean the edges of the model. Rotate the other subtools and adjust the headset. more style. still not completely clean 9 add the screw 10 Use brushes to refine Increase the DynaMesh resolution. we’ll arrange that soon. If you want to draw choose the screw. Also.

Issue 181 next month Brush up on your ZBrush FiberMesh skills with CG artist Rouhollah Toghyani issue 181 on sale 25 march Don’t miss ouT! Subscribe today: .

But there are still Axis then select the world axis product designer on some effects that are difficult to achieve by hand. In the baking window. and then we’ll use one of Create a new graph (right-click Position maps the filters from the library. curvature maps to determine convex/ select Bake Model the position map into the graph. Three Final settings Click on the Slope Blur node in your new graph and set the Samples parameter to 32 and the Mode to Min.fbx) in a new package. You could also use this technique if you wanted to create a brushed metal aspect over a whole object without worrying about the orientation of the UVs. Drag and drop the Slope to images by simulating Blur Grayscale filter from the natural effects library (type ‘slope’ in the search field). Painting such details by hand is a One Bake the position map Click TO PLAY Video Artist profile time-consuming task and texture artists commonly Link your UV mapped object (. I used a curvature map as leaks often come from small concave areas. 3D World April 2014 75 www. Change the Mode to One Allegorithmic as tool when creating the texture. on the package. change the colour mode to Grayscale and set the Output Format to 16 Bits Per Fluid leaks add realism along which the leak will be Substance products. Click on the node. and so on.3dworldmag. In my case. and used as masks in the authoring bake. normals.obj www. That’s pretty much it! You can now play with the dirt map input. Format to . go to your free online New>Graph). select by photorealism. These maps are generally extracted from the Position as the information to He works for geometry. Change Output File allegorithmic. Drag and drop Directional leaks library at www. The known as a texture compositing .ly/180-leakeffects Nicolas use a variety of tools to help them with this or .com directional leaks of fluids. but it also position map returns a greyscale offers mesh data baking tools allowing the user to value corresponding to the compute ambient occlusion. position and many more maps. Plug the position map into the second input and a dirt map into the first. we will first Two Create the leak effect Topics covered need the position map. then select Mesh baking For all the assets you need. artist fascinated concave areas. curvature. such as oil or water.bit. blending it with noises in order to randomly mask the leaks over the surface. follow Substance designer 4 the video key technique: When you see the play symbol click the link! Create leak effects Nicolas Wirrmann looks at how to make fluid leaks with Substance Designer’s mesh data baking tools T directional leaks exturing a 3D object most of the time consists of adding subtle details that would have been produced naturally by nature and the passing of time. world space geometry position in object space. One is oriented. In order to create a leaking effect. especially because of the UV orientation.png. and a new bitmap Substance Designer from Allegorithmic is mainly is added to your package. change the Intensity value in order to adjust the leak’s length. right- Wirrmann process: ambient occlusion maps to simulate dirt click on the mesh resource and Nicolas is a technical accumulation. Next.

Typically I use individual maps for Diffuse. I Topics covered the helicopter directly onto the reflect the origin of the product. which makes life channels for composition. I like to get For all the assets you need. For still images I render I want a domestic feel to these to photo’. go to Post-production can get lost when using alpha into the detail – in the model. so I recreate and started in 3D with a neater one. etc – means that mapping can be kept simple. tail. I’ve done my job right.3dworldmag. engineering drawings AgustaWestland in Yeovil and CATIA (CAD/CAM) data. and add a great pride in getting things right.agustawestland. retaining the subtlety took some time to get the clouds reality of your models. I have mapping and the background. I take The model is constructed like an levels and saturation. much easier when it comes to baseline render especially in animations. which in the right place too. Glossiness and Bump. I hope my tips can help add to the Rendering background. the www. My inspiration comes from the life components. which The hint of a panel line or slight www. creating CGI stills and The initial model always comes animation. This model uses around 350 maps in total V-RAY | 3ds max | Vue | photoshop model a photoreal helicopter scene Technical illustrator Gary Weller reveals the techniques he uses to create this photorealistic image of an AW101 T he image shown here is of an AgustaWestland AW101. Macromedia Extreme 3D World April 2014 76 www.tutorials Photoreal modelling Mapping Breaking the model down into individual components – cockpit. to do in Photoshop. sides and lower . If someone says ‘that’s a nice . cabin. He has been at in much too complicated and the the company for 25 years meshes are messy. a medium-lift helicopter used in both military and civil applications. The model Artist profile was created in 3ds Max using Gary Weller reference material sourced from Gary Weller works at photos. broken down into real. Airfix kit. bit of light bloom.max files. I’ll tweak the all add to the overall effect. it. I use four planar maps for mapping and reduces render means I have minimal post work distortion in the paint reflection times. Creating maps of the rotor motion blur. The background and reflection real world. and I try to recreate I use V-Ray for rendering the maps are created in Vue xStream. Reflection Level.

I prefer the sunlight to come from behind: it gives the opportunity for some nice highlights enhanced with a touch of bloom. 3D World April 2014 77 www. I use a Falloff cover just a portion three iterations as the map for the reflection. facing and side slots. but the eye takes them in because it expects those things to be there. Apply six planar the material ID Reflection – 24 for this UVW . of the mesh to reduce model will be viewed using the same map in blanks in the bitmaps. the rivet lines and vent holes. checking Bump. It creates good contrast in the clouds and on the ground too all in the detail It’s the small details that create a good overall effect: they’re not always noticed straight away. and give it mesh. It’s the rocks on the beach. close up in high res. some groups. the distortion on the glass and the trees Modelling the tail one UVW Maps two smoothing three bitmaps Start with a low-poly your geometry Create and apply mesh. Lighting This consists of a directional light for the sun and one dome light for the ambient. Glossiness and IDs. grouping polys Apply a TurboSmooth bitmaps for Diffuse. together with material Modifier.

youtube.tutorials Sculpt the torso 3D World April 2014 78 .

honing in on series. www. as this is For all the tutorial .co. go to years ago and finds it give each one our attention.dancrossland. This is the quickest method I these particular images are from 3DSK – I chose this have found – it frees you early on to experiment with model because her proportions are nice. Smoothing surfaces 3D World April 2014 79 the most immediate method of transferring drawing skills to Starting point I typically start new characters with a ZSphere The ZSphere rig will make that will hold the details more economically. can then be applied to other areas With a background in blocking in the model using a Here. plus you can place the points exactly at clearly see muscle groups and the bony landmarks. we will look the figure. I chose a model of average height and weight. figure look natural. so Sculpting forms are pretty much locked in early on. I’ll the most important part when it www. Dan discovered ZSphere base mesh. digital sculpting seven separate area’s of the figure to reference for the model. to make our and accurate sculpting. I will also Artist profile sculpting a character for 3D print. then briefly touch on posing roughly block in the torso. zbrush anatomy part 1: Sculpting The Torso Learn the core skills to sculpt accurate figures in the first part of this anatomy series from Ninja Theory’s Dan Crossland O ver the course of this discuss refining the figure before comes to reproducing an écorché tutorial series. adding veins and so figure. I Using reference the key bone positions so you know the proportions am going for a generic representation of a female. in part one of my anatomy of the figure in the forthcoming fine arts. as there’s no laborious box modelling involved and it’s a fun 1 MakE a Zsphere rig 2 Choose reference dynamic way to feel a For the character’s basic sculpt begin by making Later we’ll use ZRemesher to create a clean topology character’s proportions a biped with ZSpheres. which will detailing. before we look at how to be printed in consecutive forth.3dworldmag. our lives super easy when it comes to making base Spotlight is used to load in some reference images – meshes to sculpt on. I will cover gathering issues of 3D World. Dan has worked in the video games industry for 10 years and is a senior character artist at Ninja Theory. and we can Topics covered a basic mesh. to add feeling to the look at achieving smooth surfaces at dissecting the process of form and rhythms. which Dan Crossland In the coming tutorials I’ll cover up a watertight file for 3D print. Lastly we’ll set reveal my general process. We will issues of 3D World.

Exaggerate areas such as the clavicle. right amount of body fat for use in this exercise. adjusting our work in the previous session. Looking at the this also helps you to hint at the pose to give the rough-in stage references. which will give a very basic quaded grounding and feel to the figure as I work. brushes. tutorials Sculpt the torso Limited info This is exactly the same as using a limited palette in . as you don’t want to get bogged down get a good feel for the direction I‘m headed. loosely block-in the figure. Only use one level of subdivision by working over the entire figure at the early stages I ClayTubes. Natural model A nice-looking figure that reads well. before moving to are vague on photos and it’s easy to get lost in the the muscle Muscle direction Using the ClayTubes brush at the blocking in stage is great to break up the surface. Doing used at the mesh on which we will work. The areas where the bones are closest to the skin gives us a lot of information about how of the sculpt helps focus and flow. the main shapes. is relaxed and natural looking. we the at areas and muscle groups. focusing on character the correct weight and balance. look at the form directions construction. from the placements made to the figure here. limit yourself so you focus only on what’s necessary 3 Add the main masses 4 The bigger picture Expert tip Once you’re happy with the general dimensions I will go over all the body at this stage before Brushes used from the ZSphere rig. Later we will blend before we add them together are focused on large shapes and their placement. and make marks that respect these directions. These forms reference will ensure our success. them as we constantly work over the figure. the female figure I of the figure and to see how one muscle intersects chose has the correct height and weight. 3D World April 2014 80 www. Inflate at this stage. the hip bone. Don’t think about the écorché just yet. so they are always in the back of your mind. paying close of the muscles are as per our reference. The écorché can be made later undulations on a contour. This gives me a good The main brushes adaptive skin. I for now we only need to know where the placement sculpt in accordance with the figure. so we can start to hone in on muscle direction and so on Working on two separate 5 Rough in the forms 6 Use the bone landmarks Aim to block in only the major forms giving a strong Pay close attention to the bone landmarks and their models for the two halves foundation to ensure our success later. and Standard with unessential information. our eyes on symmetry. The aim is to attention to the shape around the hip and thigh area produce a natural-looking sculpt and following the to instil a good feeling of feminism. I find that are the Move tool. for now keep it rough. Keep your strokes light but precise. Work the whole model lightly and hint we should sculpt those areas to keep them realistic. start making a new focusing on the torso later. Work with Symmetry patella and the elbow on the model. turned on and resist the urge to divide the mesh. that is our ultimate goal 7 check the angles 8 Using photo reference Constantly check all views to give you a good read I used 3DSK photo as a source. with the with another.

but with practice it starts to make sense. smoothing out Back and forth You may find your model is looking blobby in certain areas due to all the pushing. I do the process again and again as I work to push the torso’s refinement. Once you are happy with reference books to understanding of what’s going a muscle. so now makes it easier to find the model’s attitude. Reference images will we can use to smooth out the only take you so far. I constantly check with my over the entire torso. This is a process of between the outline and the inner muscle. so this smooth out at a lower level. Carefully examine Finally. I am looking for the relationships included within those masses. at which point I subdivide. pulling 11 Focus on the torso and moving it’s undergone. you really have to study anatomy model. quite forcefully at first. and I feel this no overpowering masses of polys to pull around. By is a great time to give our model another level of focusing on the broad masses we will setup the subdivision to refine some muscle groups. will use the muscle chart from Step 8 as a guide to Because we over exaggerated block the muscle in. Expert tip Subdivisions Work broad changes at low subdivisions levels to keep the model from becoming lumpy later in the detail stages. the model can now take also be our base for the écorché side of the figure. as we get closer to a realistic surface one wraps around another and folds over another. helps to avoid blobby surfaces that can occur when a model is overworked at too high a subdivision level. Once you are happy with the anatomy reference to make sure I’m not mindlessly large masses. so checking the outline is a very effective method of checking 12 Rhythms and forms
 13 Check the silhouette the angles and shapes Try not to focus on minor details. Once we step back up the levels. we need to adjust the overall shapes at a lower level This is one of the hardest things to grasp with digital if we spot parts that feel incorrect. Also. the way self correction. Don’t This is a complex area to work on as everything worry. I generally model for refinement later on. there’s a simple technique hangs from this main trunk. 3D World April 2014 81 www. That way you have an emotional connection to the model. start to look at the secondary shapes sculpting a surface. It actually affects your decisions in the sculpt. we should save some time. Gradually develop your forms life into the character. 9 Add another subdivision 10 Shape the head At his stage everything is in place and there’s a Simplifying the head and face into basic masses good basic form coming through the model. which is good – and then on this more refined mesh. Torso contours The torso has very specific contours. check the silhouette of the torso to look for of your model ways to add to the overall attitude of the model. So we and give it a little smooth over. as this will earlier. its opportunities you might have missed to add more posture and . drop it down a level on under the skin to give your characters life. by having basic work until I can’t get any more out of the current facial forms sculpted in at this stage you can make level. we get some detail back.

ly/tdw-nook Google Play: www. video and features at the click of Now on Kindle! a button. 3D World April 2014 82 www. Kindle Fire. All editions include access to the content online via the Vault. PC & Mac: www. Includes the Vault! Download tutorial videos. while Zinio and the Kindle Fire nook editions include video and app store links. you can now access 3D World’s Please note: Resource files are available from issue 162 . Kindle Search for us on Fire editions feature streaming video and links. scene files and much more! Barnes & Noble nook: www. and on your desktop computer or Android phone W hatever your device.bit.bit. Try it today! Single issues and subscriptions are available and each purchase remains stored in your own unique magazine library.Subscriptions Digital & tablets Get a FREE digital trial subscription! Now you can read 3D World on your textures. 94 substance designer 4 97 Archviz Training DVD 97 X-Particles 2.3dworldmag. Contents Develop Theory. research and reviews plus industry insights from today’s experts 84 Theory 88 Debrief 90 critical reality Understanding virtual camera setups Delving into MMORPG Neverwinter The science of creating realistic VFX 96 MeshFusion for Modo Review of the boolean modelling plug-in Get published Email your CG ART to Visit the online Vault to download extra process art for these projects: .5 Review of the texture-processing app Evermotion’s latest training reviewed Insydium’s particle engine is rated 3D World April 2014 83 twitter.

the artists. I’ll be addressing these commonly set automatically by the or field of view abbreviate as AoV things here. of the camera are known. and the Anatomically. Nevertheless. game and education .) know your CG camera better. virtual horizontal and vertical angles slice the scene into portions based cameras are often overlooked by of view. In the final image’s aspect ratio. between them also provides us features and properties. so that you can get to software. TV. you may also find the CG image rendered (just like any other object). advertising.kozlove. who understandably near and far. or the pyramid of vision of the angles of view (horizontal and with its seeming simplicity. Put together these Once the position and rotation prefer to focus on scene Theory Behind the virtual lens VFX supervisor Denis Kozlov exposes the theory of the virtual camera to help you create faultless renders W hile there is hardly a position and rotation coordinates certain cases. it is two lighting and animation. clipping planes handy to quickly without them. vertical) which do the best job of behind the scenes both literally Clipping planes are designed to describing what exactly is going and metaphorically. which can and normally have little practical with the information about the either help or hinder you during significance as they are most final image’s aspect ratio. stays notional camera. One thing to watch for is or FoV respectively. The relation it possesses some not too obvious unneeded portions of the scene. that nothing gets unintentionally More often you would have clipped off – especially when one value for the angle (either The camera’s anatomy transferring a camera between horizontal or vertical). a CG camera is applications and/or drastically second one would be derived from described by three-dimensional changing the scale of a scene. A camera. (Angle the project. optimise rendering by excluding to be seen/rendered. www. 3D World April 2014 84 twitter. and two clipping planes: on depth for separate rendering. properties form the view frustum. He is currently working in Prague as a VFX supervisor. Develop Theory Author profile Denis Kozlov Denis is a CG generalist with 15 years’ experience in the film.

Whether the project allows tendency to make things harder. is Studying you need to match a live-action more complicated. Further you to set them arbitrarily or so this is where things start to get Light passes through the lens. Wide angles of view for a physical camera. However. This is J Bowen objects at a glance. leaving these values at their defaults without even considering Matching the cameras Wide angles facilitate dynamism Read up on the an adjustment is ignoring an In the first instance. life has a rough description of how it relates angles. to the angle of view (AoV). of the same type. but deviating from them if you need to match your virtual enables you to emphasise drama or camera to a real-world one? Simple setups other artistic aspects of the image. course observer. We’ll touch and drama while introducing zoom level in photography and upon this and the focal length distortions. from the focal point. to describe the and easily convertible. rotation and field with real cameras daily. and vertically. whereas narrow ones a subject for a longer discussion measures the AoV – horizontally. However. further away from the focal point Roy Thompson to the useful field of view – the However. Here is a very think of defaults to average camera of 3D editors. without using might rely on real-world a relatively small movement in an moving the eyes or the head. Grammar of a horizontal angle of 40-60° is conversion using the image aspect Moving the film closer to or the Shot often considered to correspond ratio as a coefficient if they differ. but makes of view is all you really need to things much less straightforward Revert from default know to perfectly match your when applied to the computer Every piece of software I can notional camera with the majority graphics world. we need to language of camera angles opportunity to improve the work. Far clipping plane: nothing gets rendered behind it X Near clipping frame: Y nothing closer gets rendered Horizontal angle X=800px of view defines the width of the rendered area =60˚ Y=600px Location and orientation: the basic properties View frustum common for is a clipped any 3D object Explaining the pyramid defined by the camera’s Vertical angle viewing frustum properties: only the objects inside of view limits the rendered The pyramid of vision of the notional camera it are rendered area vertically which is pretty much the same generally facilitate dynamism Because of this. which is a great describing the camera’s angles – compressing the space. Natural human field of view is check how each of the programs we’re matching the cameras with and drama. whereas narrow ones cinematography we use focal – which is another parameter allow for focusing on details and length instead. focused and projected flipped onto plate. to define marked as the lens’s focal length Camera Work angles should provide a decent the camera’s . The difficulty is that it is quite Lenses with a higher focal number making it more interesting and hard to measure the actual angles will have film located further away expressive overall. Position. this might not work. or do a simple word ‘film’ for nostalgic reasons. Framed Ink than we have room for here. which would (F) – the distance from the focal Video training starting point for representing an bring us to the second point: what point to the film. like focal area defined by the lens design and Hollywood Therefore the default camera length and aperture size. both or even diagonally? allow for focusing on details Marcos interpretation is based on what Then we can just ‘copy and paste’ Mateu-Mestre one would define as ‘seeing’ and the data if the measurement is a film or a sensor – let’s use the other individual factors. 3D World April 2014 85 twitter. convention for those who deal later in the article. camera parameters. However. makes different parts of the image & Christopher area in which we can distinguish as one of the programs you are appear sharper or softer.

a free camera can be rotated around the parent object. and remember that you may example. This method requires specification of the up-vector as well and often doesn’t export well. stick to the angle narrower its angle of view will be. benefit of using the focal distance which corresponds to a 35mm Finally. we should be mindful is that the picture size changes film. 3D World April 2014 86 twitter. The first thing to described. shake or simply recompose or height) is the dominant one. since no-one would is increased by the fact that with with a 50mm lens will look 1. that’s irrelevant for our discussion. geometrically the same. The better option is to A good thing is that lenses are for example – and not simply trust divide the focal length by two. and if the sizes are original image would change in notice is that focal length alone given in inches or millimetres. The usually marked with focal length the scripting manual. This size and proportions with allows you to add zoom. function uses degrees or radians. we double the AoV. So if.Develop Theory Measuring the AOV of a Camera Lens Focal length conversion between 35mm and digital X F X AoV=2 arctan F 2F Here’s the formula. the axis (horizontal or vertical) is size occupied in-frame by the angle of view. a 75mm lens from the same point. Free or non-target cameras are more straightforward and reliable in this sense. if you do need to use in front of the focal point – all camera has its own sensor size. it’s quite simple. focal length rather than the angle the angles and ratios will stay of view. with 35mm film there are issues of view rather than focal length Actually. shake Overscanning allows you to add coefficients for overscanning and rules for which dimension (width or simply recompose the image in compositing. it is usually the lens that as the actual area exposed to light when transferring your camera moves – not the film back – but (and this is the area that defines data between different programs. will have to interrogate all these The problem is that if you the image in compositing measurements to find out which were to increase the AoV. even have a choice. your 3D software will – render a wider image of the Knowing all this we can now probably have its own system for same scene so that the middle convert the focal length into the describing the virtual aperture part matches perfectly. – double-checking if the tangent half the width or height of the as it is often referred to in CG). there are times smaller than one shot with you will simply have to check the always physical aberrations. Alternative way to define a camera You can define the camera’s orientation by using the target. but the way we measure each variable since the film has a constant documentation on your particular The bottom line is that if you width (X).com/3DWorldMag . the longer the lens.5 actually guarantee this is the case. new image. the lens/camera model. but now Errors and aberrations which you can do. our the angle of view unless we know have to do a sum or two as well initial framing will not be exactly the film back size (or aperture size. AoV What makes it X complicated is not the maths. Usually is the important that the error of such conversions proportionally. non-linear proportion. Another thing we can change You also have the additional Rendering overscan in our setup is to put the film back problem that almost every DSLR However. so an object shot word here. the angle) is smaller. However. ‘physical’ cameras. there is a neat CG trick. you useful when using virtual camera projection techniques. about 24mm. and is especially zoom. This should be the setup will be simpler and As if this doesn’t make things hard used when you need to overscan correspond better to a CG camera. Even more confusingly. enough. For the purpose of following the target in an arc. for tells us absolutely nothing about Oh.

noise matching pixel-to-pixel in the the one in V-Ray. However. and that features no parallax changes in Replicating these features can will only happen when the camera the resulting images – that is. preserve the verticals. for example). cases it’s also worth considering centred around the cameras. it won’t that you multiply the output image centred (with the camera work. And as we’re touching on best to first project the image onto is one way to accent its scale and perspective issues. Too much to create a busy impression with experience. This is a handy trick pointing parallel to the ground upper frame in the example above. or to at least mimic this Trajectories objects are away from a camera. visit www. it’s all about the vertical centre of a frame. 3D World April 2014 87 twitter.kozlove. the aspects listed in reality is restricted to the especially with a wide lens.Arch-viz renders The correct way often preserve to stitch these the verticals. . render the straightforward manner. since it allows To see Denis’s showreel and not very good compositionally. which can be seen in the Effects resolution. the relative to each other. the more of them it takes to fill up the view. at the capabilities of a CG camera – virtual camera’s which is basically a simplification flight might make significance. which centred around doesn’t make for a the cameras great composition Natural selection Digitally replicate the imperfections of a film camera Aberrations Geometric-like distortion and chromatic-like diffraction So if you want to render a wider Unless you’re using some fancy instead of a full 3D solution. and compression centre. the further the a sphere. This is very useful for balance. Depth of field as it works in the same way in plane) and then reformat (crop out The right way to do so would be to and motion blur any application. As a consequence. while camera shader that does vertical also means that images rendered Artefacts preserving the initial render lines compensation for you (like in this way can be stitched Grain. It version of the image. and added to CG shots. you need to divide the the way to go is to expand the if you try to stitch them in a artefacts focal length by the same number vertical angle of view. This is a method Nodal panning of its real-life counterpart – and your shot look that’s used often in architectural Rotating our notional camera in the sidebar here I have listed unconvincing visualisation. while spinning the object causes light directions to stay the same relative to the frame. even the whole image look artificial and horizon line has to coincide with shape of the reflections don’t too clean. a camera rotating around an object produces a geometrically identical image as an object spinning in front of a static camera. animation from a still frame. another without changing its position effects that you might get with thing often desired in architectural mimics what is called a nodal film but which would need to be visualisation renderings is to pan in cinematography. In the end. the unneeded areas) in 2D. for the use of a 2D matte painting FYI work. behaviour with a distortion applied Camera movement Showing the scene from a low point. which results in an image that is visual effects shots. together seamlessly. In such first project them onto a sphere. all add a breath of life to the frame. This means it is often after the pan animation in 2D. We have been looking freedom in the to accent its scale and significance fewer assets in the frame. especially with a wide lens. but renders together that only happens is to first project if the camera is them onto a pointing parallel to sphere (as below) the ground. However. is one way practical to use foreground objects or telephoto (narrow angle) lens in this article will be useful in improving your artistic capabilities of the rig. is pointing exactly parallel to the the objects keep their positions but overdoing them can make the When rendering a turntable In a centred turntable render. it is by bright hotspots) point. The difference is in the lighting changes: with the rotating camera. Hopefully. the model needs to be lit from all angles. In a LENS FLARES Aligning the perspective rendering only a partial region of similar way. when creating a pan Lens flares (caused Showing the scene from a low the frame to save time.

com/3DWorldMag . He moved 20 June 2013 on to spear-head the (Shadowmantle: development and 5 December 2013) launch of the action MMO Neverwinter location as lead producer. in-house tools 3D World April 2014 88 twitter. software 3ds Max. USA www. Photoshop.crypticstudios. Xnormal. ZBrush. CrazyBump. develop Debrief vital statistics Project length Author profile Total development Andy Velasquez time: four years Andy joined Cryptic in 2008 to launch Star Release dates Trek Online.

the traditional We had many internal discussions about using the MMO style of tab targeting or traditional MMORPG style and if it would be the best for point-and-click. as the combat felt smooth and visceral. this is the direction we decided to go in for Neverwinter. We had an early prototype of this version to be more engaged in the game. 3D World April 2014 89 twitter. to choose between the different At one point. a small specialised team were researching and style we had used in the past on developing everything related to combat. to celebrate them. us was screaming out to try something new. what we were trying to do in Neverwinter and a bit of  all of but we knew with in their source of power. However. We couldn’t just have Rangers shoot magic arrows with arbitrary amounts of flash and bang on all of the FX and animations. Dragons are of great importance in Dungeon & Dragon lore. that’s right. overcome in development. This had worked Neverwinter. Working on our dragons with role-playing game company different styles and versions of Wizards of the Coast was an awesome experience as you combat systems and it was difficult could tell they take great pride in their signature monsters. we hit some problems. We couldn’t have Ultimately. Play Neverwinter for free almost all of our ranged attacks were arcane and not martial FYI at www. like The design and art teams had to iterate on the scale of the those we experienced with the environments and dragons many times. that combines well-paced action with 25 years of Dungeons & Dragons lore W hen we first started to one A new combat style develop Neverwinter. There was a big push for an Isometric style: so we’d Move something a little more visceral. We were prototyping a third type of combat at the time: Action. you could fire a Ray of Frost at an enemy and draw a thick icy beam with particle effects that would create a prison of ice when it made contact with the enemy. For example. we felt it just didn’t quite merge with well with our previous titles. we three the Hunter ranger’s FX look forward to using those The Hunter Ranger was by far the most requested class for lessons learned while expanding us to expand beyond our initial launch roster. It of combat. our previous titles. specifically the dragons. years to come. and big enough to be intimidating beasts. dragon and the Hunter Ranger. Rangers shoot magic arrows with arbitrary two the dragon took various iterations Another point of importance during development was amounts of flash and the look. The action they had counted them! combat has actually been one of Having the proper scale proved challenging as we needed the most complimented gameplay to make sure the dragons were appropriately sized for the mechanics in . and this fan the Neverwinter universe and favourite didn’t make it through development without its watching the game grow for many share of difficulties and challenges. Prior to the Ranger’s release in the Shadowmantle update. This allowed us to really emphasise the powers to create satisfying projectiles and impacts. we have a storyline bang on all of the FX coming later in the year just about dragons. we received feedback that the number of scales styles of combat. which felt and looked great. IP relative to the rest of our game. give it that classic PC D&D top-down something that required the player style of combat. in fact. but when trying was important for us to test many this style of gameplay out. yet small enough to fit There were difficulties to in our dungeons. size and sheer scale of our bosses. we needed something different. Before the development for Neverwinter kicked into we looked at the combat full gear. but we feel we on our Green Dragon’s neck was too many – yes. debrief Delving into Neverwinter Cryptic’s Andy Velasquez talks about the free-to-play MMORPG.playneverwinter. So again we worked with Wizards of the Coast to hone in on representing the Ranger’s martial arts abilities in a way that read well in the language of video games. but still felt appropriate to the lore and met the fans’ expectations. However. as we continue to develop and add content. made the right choice. the camera back.

creative and might involve a fake car explosion reality. as scary how little it seems to do. pulling up at the last Fundamentals for the synthesised stench of rotting perceived as true and real-world second. behaving up. Renee Dunlop talks to the researchers turning science into art R eality is open to There is a little puff of smoke that attempt to mimic proper interpretation. and doing so means Superman menacingly places a computer science at UC understanding the physics of the fist on each hip and stares down profile Berkeley says.” But from dramatic results. And precisely as it should in the real technical writer. such as in engineering in high velocity and comes to an abrupt . movement. science at UC Berkeley it has not experienced the same Rather than using a cloth simulation. Accurately but ten feet away. it’s actually James O’Brien. in fact they have been carefully reality is tweaked. And as James O’Brien. Yet regardless of how dramatic moment. Author profile bridge can safely support during the audience’s point of from that bridge would rarely blow and boring. live-action.cs. physics.berkeley. a car falling spectacle is seen as inaccurate skids to a stop on both feet. © 2013 Warner Bros. blockbuster movie. In the real world. each effect has to be the theatre armrests. a pivotal scene up.reneedunlop. In reality. controlling simulations his enemies the cape continues its James O’Brien is might be crumpled. The fabric flutters and and 3D artist. not recreate it. after a century of film. Imagine this scenario: the years working as script A military training simulation Entertainment tends to push simulation is flawless. professor of computer would keep it moving forward. but they almost never blow needed to maintain the sense of www. corpses. flipping over his head. “They real-world.” The same is true with an real-world dynamics are imperative realism while faking the cape’s exploding hand grenade. someone will simulations to get the proper simulating how much weight a just fall down dead. often to the point the wind. if a film is that has the audience clutching designed to avoid such reactions. The cape’s momentum fire. “When response? Superman flies forward you throw a grenade in a film it makes this fantastic eruption of to apply. All Rights Reserved. or forcing troops the spectacle. in that looks very unimpressive. and then altering those most cases. She is blood-drenched amputees and fake humans are conditioned to expect stretches as the cape whips in editor of the book limbs scattered. 2D with a hired cast of screaming ironically. slams to the ground and Film and Games. develop Realism R&D Realism R&D Critical reality Realism has been a major pursuit of CG research since its inception. that Renee Dunlop an earthquake could mean the doesn’t make a very exciting The beauty and the geek Renee has over 20 difference between life or death. but what alterations are of California at Berkeley. professor of believable. Superman’s cape was rigged to have a bone and deformation in it so the team could move it for the right position for comic book poses 3D World April 2014 90 twitter. junk. Superman rockets over Production Pipeline through a mock city filled with where this false information is the ground. world. professor of computer science at the University might be munched up into an unrecognisable pile of There are areas of simulation where Obviously this is not the desired effect. It’s a www.

 The camera and physics. MPC Film. “but the work director’s vision. physical model. a wider range of phenomena. the additional degrees photography. head of software. such as unmotivated object to land in a specific location simulation software. with more degrees of freedom sim technique used inside DMM what they really want is to create a pretty picture.  Also. However.” simulation that manipulated the Vancouver head about the numbers. DMM (Digital range of effects. context. correspond to real-world values they might not in reality because and give a highly realistic result.” reality might not deliver the Simulation fixes says Ben. fire is expected to deform. it’s a creative medium. it software (www. “as they enable the The DMM is connected at the shoulders. and larger parameter spaces and Kali. Anything that dwells in the world effects acceptable. MPC’s technical directors in a VFX simulations. Kali uses a gathering the information needed quality in-game the cape is free to keep going. the effects studios Ben Cole is the lead developer simulations can’t handle flexing. more finite element. Destruction development Universities are working with even All of these scenarios require There are two kinds of physics some sort of cheat. or . smoke. might not be doing what –  all that stuff is exceedingly difficult to pull off. has a variable degree otherwise adjusted. deceleration forces as the body. While the simulation used for destruction physically based simulation might effects in film: rigid body and more complex models than visual be scientifically accurate. and more accurate animation – water. Graphical Can you explain why? behind it there will still be Modeling and Animation of Brittle A lot of the physical scientific research goes into VFX.” than try to work with increasingly gravity make objects look like they are falling too fast or too slowly. but when the material of freedom. Vik Sohal and Mitchell 3D World April 2014 91 twitter. Even with a FEM The hardest thing in realism is matching the live-action such as stone. and Digital media recruiter and consultant – three dimensions of movement. James O’Brien and his look suits the project. All Rights Reserved. the behaviour is simulation. by so will need to be constrained or Do you look for science or art. MPC’s simulation bending or realistic fracture of materials. so better for CG features or gaming? I don’t (www. “Having simulation tools developed the original fracture director might think they want a replication of reality. the physical models work against the But often it is dialed but graduation student advisor Jessica depending on the assumptions Hodgins. a particular set of material published in Siggraph written I just care whether my clients will think that person’s parameters may be able to capture by Dr. Rigid the properties not represented. bodies do not allow for deforming rather than working with a strictly What do you look for in a reel for live action? or bending. To finite element-based approach. Ben Cole. and tuning the parameters of destruction in the resolve this. Rigid body destruction is not physically accurate. Pixelux co-founders Eric is inevitable in my opinion. system that Deformable fractures it stylised. are less appealing. often than not. Rigid body constraint accurate representations of links can be broken based on nature. That paper.” Parker. For rigid objects. such as wind or solver is definitely designed process. the TD working on and is a very physically accurate these simulations becomes forthcoming the simulation would need to apply simulation system. of software and It was about creating a tool that this time. Is it of to all this rich and powerful procedural modifications. the technical director wants and Finite element destruction. At the end of the A building collapsing might be profile we did integrating day it’s the eyes of supervisors and obscured in the dust. rather physics alone. Vancouver of Kali.© 2014 Remedy Entertainment.bit. explosions. dust. or both? comparison. A the lead developer was usable and controllable by to add artificial constraints to their continuity cut that requires an of Kali. rain. A Finite Element realistic enough that it integrates with live-action or is Method. Many studios still do forces or scripted connectivity. much of their simulations with Q&A with Stan Szymanski With only six degrees of freedom rigid bodies. says Ben. so Kali was built on the back of production of a much broader playback system only this point of connection has Pixelux’s software. while giving them access forces or other keyframed or where it would not land if left to moving-picture. choose to cheat or approximate three degrees of rotation.bit. it is often easier for TDs keeping the building in view. the results physics. for instance. “The Pixelux an increasingly complicated Xbox One title artificial forces. we often need to Quantum Break pins or simply counter-animate to work with quantities that make things behave in ways that the forward motion. requiring a  Ben Cole is MPC’s their API wasn’t just TDs which guide us the most.bit. was used for high been slowed down and the rest of Molecular Matter). Consider the cape example: at debris coming towards has It started with a 1999 PhD thesis really care about the physicality of refraction of water. other things it can’t easily Fracture (www. I’m looking at photorealism from an artistic view. a model.

one would be rigid. and the studio grabbed tetrahedron into a different shape. taking days to run a million elements. MPC’s Maya plug-in Normally a demolition simulation with such a variety of study. a ‘can-opener’ type of effect for the metal that would I was using a half-million dollar Tetrahedral Finite Element bend. but joined Man of steel and (other than safety glass) writing its own solution. MPC’s head of FX Joan Panis was able to At the time the process was MPC wanted to push that to a rough up a yacht destruction simulation. like an effect you’d find in a Tom that imagination and turns it into reality A single tetrahedron (tet). the structure formed Quantum comes up as elastic energy flinging director Zack Snyder. breakdowns outwards as they try to straighten And thus DMM was born. But the new goal was number of distinct. Joan says: very slow. Pixelux and X-Men: First Class The DMM-driven shot of the destruction of the yacht In X-Men: First Class there is a scene where Magneto. © 2013 20th Century Fox.” Once the shot was SGI workstation on my desk. Pixelux pyramid with a three-sided base. bending it further towards says James. sequences requiring an advanced as if it were a solid object made www. but in just around his work. creators film. the same MPC uses to make it viable for very large modelling or storing of internal at a macroscopic level. we interior. an Xbox 360. unusually advanced destruction Each tetrahedron can deform The same logic applies to glass. if you stretch a x-men: the other edge. them how to move and behave. and Any 3D artist is familiar with a completed the director showed it to the producers. of DMM simulation that necessitated porting DMM to energy. the sims were running in the mesh. Jerry whacks Tom in the teeth and they break Vik Sohal. the most advanced in this area time. is simply a type of element – a and Jerry cartoon. elastic energy. Kali was used to simulate the yacht’s composition. technology. It has no tension. the rigid body don’t have that kind of bending 3D World April 2014 92 twitter. One looks imagine scenarios.” object up into a finite or limited DMM tech pencil. Wood. tear and keep a sharp edge.pixelux. with virtually “Kali can cover a wide variety of materials. but together you have a structure www. MPC considered in limited ways.” 180-quantum splinters and pieces fly outward.000 elements in real this impossible superhero effect is completely real. develop Realism R&D MPC. Offline. individual in action a bowed shape until it hits the to run in real-time video games on elements. The reason is. Even if games and films. by now “For games. with multiple processors and were According to . about building software could handle around 300. According to to the internal forces trying to 180-xmen pencil. the 2D manifold wrapped who expressed concern that their insurance wouldn’t machine room on the big Origin around a 3D object representing cover the extent of the damage to the boat. But of materials would take a long time to run. the glass is the opportunity to potentially you can describe how it responds www. the profile developed DMM for If each tetrahedron didn’t allow energy stored in the bent glass Vik Sohal is one of the video games. This is because are assigned to the individual technology the energy that was stored in Sucker Punch and DMM tetrahedra. glass are all the materials involved that have to react Bunnell contacted James.” This was no small task. instead of continuing through to described Pixelux’s DMM For example. Sucker Punch whatever. When it breaks. All Rights Reserved. flinging the pencil. loose and drop out of his mouth to the simplest 3D shape possible. metal. driving the crack Entertainment. uses his super magnetism power to slice the yacht on which Shaw is staying in half. the pieces that were previously different optimised version of the each with equations telling Links to bowed are now free to flip and fly engine. enough that it starts to break. Whatever material properties using DMM themselves out. metal. the floor. This would be rigid-body Now imagine whacking a sheet technology used in 64-bit Linux and changing some simulation.000. DMM could simulate appropriately and realistically. Simulation takes that is a simple solution to a more like a real-world effect. convincing the viewer a professor at UC Berkeley and around is the reason it’s so rare to see research led to a paper by Eric that can deform and bend in a 180-steel a crack stop part way through Parker and James O’Brien that fairly complicated set of ways. element refers to breaking the gradually bending a wooden I had five gigabytes of disc space.bit. When you use rigid. “When I did the work no limit on CPUs or memory. be it rubber. A tetrahedral finite element method methods give you results akin to is a type of simulation method blocks falling into a pile. it MPC’s client. but it was simulation. “A finite Another example might be in the multi-million dollar range. the volume within. but MPC for reacting in the same way as the save a lot of time. if you number of tetrahedral elements. the size of a refrigerator the surface of that object. at software. of the internal data structures body simulation and there is no that stored energy is not visible www. machines. When glass is deformed Vik Sohal: “We had push it back to its original shape. of glass with a hammer.” tricky to get the ‘metal’ look as the supervisor wanted at Georgia Tech as a grad student. thousands or even breaking point. for its high-end film destruction one week. the other difficult problem. with no elastic farther through the glass. but finite elements represent the Our brains simulate reality.bit. plus build a slightly millions of separate tetrahedra. plastic. or that bowed shape is released. they would be flings the pieces from either side founders of Pixelux wanted to use it for rigid and therefore the results of the break.bit. had from those tetrahedra will behave break the pieces. First class a microscopic snapping in multiple locations as finite element system with an out of that material. co-founder.

Objects can developed its It has been discussed in two 500. folds or wrinkles should subconscious. For example. How it collapses that focused on modelling that coarsened back up to large ones. discretisation attached. Adaptive might use 10. that are higher resolution and a new method for lack of dynamism in the resulting akin to building a model with higher detail. realise it’s a polygonal mode. There is a pattern. causing it to requires crease formation such as For more on future technologies bend or expand strangely as it falls. paper accomplishes realistic of dynamic mesh back to the pencil example.bit. The As-of-yet-unpublished work by flinch. for the shattering Simulation (Siggraph Asia 2012) cover a wide area. if In the case of DMM. destroying a model that is not a don’t realise it’s a polygonal mode results add up. realm of reality on triangular simulations using the reasons can be barely distinguishable. in the subtle visual queues that paper. Once there is no longer as density or toughness can have Adaptive Sheets (Siggraph 2013) a need. The first movie solid volume – perhaps a surface Prof James O’Brien. a finite high-resolution crack propagation In the same way. This is an intuitive result. the same feeling of energy. a simulation of the ornament ‘toughness’ material setting is each other called ARCSim (Adaptive Refining might be half an 3D World April 2014 93 twitter.” can also be altered. the effects tend to look a bit bland. squint. “One of nearly identical situation. even if they can’t (www. refinement you bowed that pencil towards element destruction offers the such as in paper or aluminum your face. Several other universities of that stored tension and know plus the 14 different material are already building their research splinters flying towards your eyes parameters. For example. which regulate how on top of this code. even closer to the advanced students are working is not to see the triangles.bit. Plasticity has MPC first www. you want element simulation may have in thin shells. or Christmas decoration.” says that stress based on a number and helicopters Currently designed with film in James. Most physics or be adjusted to any on Sucker Punch Anisotropic Remeshing for Cloth of the triangles are large and number of unexpected behaviours. might require a ridiculous before it separates. and possibly better not see the triangles. number of triangles – for example. was occur and adds detail where quite put their finger on why one DMM-driven published in SCA covering the necessary without an underlying situation has more impact than a movies DMM technology. so you Like the millions of tetrahedra. other methods a tet-tet node intersection can take pushing DMM available online to use here. such as an eggshell the audience to have the same thousands or even millions. computer science at UC Berkeley that used DMM such as a glass window . for tetrahedra. modelling fracture effects.bit.000 – while this method behave according to real-world DMM/Kali system different papers. adding triangles as . You would each tet reacts to stress. one. and they don’t have quite smaller and smaller parts. turn your head in number of tets also affects how a post doctorate and a student is anticipation. the second which makes use Why is this important? Going smaller parts the detail is implicit. that will awareness of but the different first use triangle elements. multiple aspects too. done in Prof James into little pieces that drop neatly including a more natural fracture representing wrinkles and folds O’Brien’s lab.Images by Tobias Pfaff. those fine triangles will be the same effect. closer approximation to the kind refines the surface as the character current work being Instead the glass would fall apart of material you are simulating. with with added extensions. Here are a few the reaction wouldn’t be the volume enough. you would be aware rotation and movement degrees foil.this will How does dmm work? technology be faster and more efficient than my goals in this set of work is to DMM simulates the stress inside was Avatar. if you tessellate the user to a constant triangulation. Where using the same adaptive mesh- present your response would be a rigid-body simulation may have refinement engine to get very radically different. He and a team of in another it’s flying cardboard. as you would expect. then calculates trees breaking than anything currently available. DMM is helping James continues his research at In one scene it’s flying shrapnel.000 or and the period the high level of detail is blocks. “Simulation time is very of parameters. With Using the same simulation code propagation. If that energy wasn’t realistic your simulation is.siggraph. seven degrees of freedom. the open source software is fast. you will get a instead it dynamically adjusts and simulations from glass flying. folding paper. and only refine Much like a film set might have of the wooden that focuses on cloth simulation the area required during the a ‘stone’ wall made of Styrofoam beams in the (www. would be dangerous. picked up In 2009 a Parker and O’Brien be indistinguishable to reality. so you don’t each tetrahedra. Rahul Narain and James O’Brien behavior modelled in your shape With DMM. the smashing into mind. Real-Time Deformation and ARCSim calculates where the are hardwired into the human Fracture in a Game Environment cracks. It doesn’t limit the FYI head to www. Folding and Crumpling needed. movies move UC Berkeley. It’s into a pile on the floor. the result is O’Brien’s research One of my goals in this set of work. what determines how much stress and Coursing Simulation) and is The reason is. big parts you lack the detail. Without adding that tension. adjusting parameters such temple scene other. finite crumpling with sharp creases.

Software review

Software review

Substance Designer 4
Price £379 / $590 | company Allegorithmic | website

ince we last looked at artist a much more plausibly
Substance Designer, Alegorithmic is shifting realistic preview of the final asset.
shaders especially in game
development have officially moved the focus of Substance A substantial learning curve features
into next gen, with increased Substance Designer is definitely a
realism in consoles nearly
matching those seen in high-end Designer away from a tool that needs commitment from
the user, and does not have the Procedural texture
gaming PCs, not to mention the immediate drop-in ability of a 2D generator
phenomenal growth of graphics ‘do it all’ texturing tool bitmap editor such as Photoshop
power seen in the latest generation for a quick fix, (unless the texture Ability to bake
Author profile of smartphones, creating texture added features to version 4 to has been generated in Substance a wide range of
Mike Griggs assets that look realistic has simplify the nodal window. Designer, where changes can be image maps
Mike is a freelance become the norm, rather than The ability to compact material easily implemented as long as the
concept 3D, VFX the scene-crunching exception. outputs into a single output per nodal structure is logical). Substances work
and mograph artist So it’s great that Allegorithmic material rather than have one for The investment in learning with a host
working across is gently shifting the focus of every material channel is a huge can be recouped in the creation of 3D applications
television, exhibition Substance Designer away from boon to productivity, and new of bespoke libraries of substances
and digital design. a ‘do it all’ texturing tool, to an nodes, such as the Multi-Material and packages, which can be Physically based application more concentrated as Blend node, which can become shared amongst artists or used viewport
the texture-processing backbone the single master node for how a as starting points for new textures.
from 3D package to game engine. substance is applied to the model, This is true especially when using Allows
greatly enhances the workflow the Multi-Material Blend node, collaborative
Texture-processing power when using Substance. [See the where maps are used as the basis working
While a high-res 3D mesh will still In Practice boxout.] of a new substance.
need to be retopologised down to It is worth mentioning that Substance Designer, with its
a low poly game asset, Substance bitmap editing can now be handled reasonable cost and free plug-ins
Designer can handle pretty much directly in Photoshop with a new for Maya, 3ds Max, Modo, Unity,
everything else, such as generating live link directly into Substance UDK, Marmoset Toolbag 2, offers
normal and curvature maps, as Designer, which enables you to you a different way to create
well as being the generator for pick and choose which layers to textures and shaders for your
all masks and mattes you need to use from your .psd file. models and environments.
texture your model, which can be This new focus on productivity For existing Substance
easily previewed directly within in Substance Designer 4 is Designer users, the flexibility and
Substance Designer. enhanced by the new options productivity enhancements alone
This, as with the previous available in the 3D preview with are worth the upgrade to version 4.
release, is handled by a nodal a new physically based shader
workflow, but Allegorithmic has view available, which gives the 3d world's verdict

In this release
Allegorithmic has
added tools to
simplify the nodal
workflow window,
which could get a
little cluttered in
the previous version

3D World April 2014 94

The ability to compact material
outputs into a single output
per material is a huge boon
to productivity
The Multi-Material
Blend filter enables
you to easily control
which material goes
where on the model

in practice: using the new
multi-Material Blend Filter
Substance Designer 4 includes
a new Multi-Material Blend filter
to control which parts of a mesh
individual materials are applied
to. Here the inbuilt baking tools
can be used to generate normal
and vertex maps amongst others
as the basis for texture mattes
to define which material goes
where on a model.
As these maps are being
specified within Substance
Designer they are live, (and also
use the same normal tangent
basis as Unity) so if their
geometric input is changed to
a new geometry, the texture
updates on the fly to match the
contours of the new model.
An example of this would be
if an artist had created a look
for a soldier model for a game,
and this look needed to be
propagated throughout the rest
of the platoon. Normally this
would mean creating a bespoke
texture set for each member of
the platoon, but with Substance
Designer, any member of the 3D
team can open the substance
file created by the original artist
and just apply it to the new
model’s UV and have the texture
instantly reconform itself to the
new asset. This allows more time
for the design team to really
work on the subtle nuances of
each character in the platoon,
and therefore create more
convincing assets.

The new physically based
shader view gives you
a much more realistic
preview of the final asset

3D World April 2014 95

Software review

Software review

MeshFusion for Modo
Price £259 / $395 | company The Foundry | website

here was a time, not to long tightening and smoothing to get
ago, when the difference In MeshFusion objects everything just right.
between 3D modellers’
skill levels could be determined by can be viewed as a 3D Mesh creation Features
looking at the wireframe model of MeshFusion comes with a library
their masterpieces to see how well
the models’ topology flowed into tree, a schematic or via of objects, but any subdivided
model will do, as long as it’s quad- Modelling plug-in
each segment – how they had used based and has enough polygons for
edge weights and so on. But thanks the Fusion Strip view MeshFusion to ‘bite’ on. Boolean modelling
to MeshFusion those days are over, The fact that all of this system
because this handy program allows dragging and dropping meshes marvellous mesh creation happens
the creation of complex shapes from the item list, Modo has three in what was already one of the Advanced
through an advanced boolean new viewport configurations market’s leading modellers means viewport UI
process, which generates clean that come with MeshFusion, so that the entire Modo modelling
topology on the fly. resulting objects can be viewed workflow can be thrown at the Integrated nodal
The issue with booleans is that as a 3D tree, as a schematic or via MeshFusion creation process, and workflow
although they are initially quick the Fusion Strip view. when complete, the MeshFusion
Author profile to make, they can drag a system Using the MeshFusion tree view object can be frozen to create Allows basic
Mike Griggs down, especially if they are kept feels like modelling in the future. UVs or moved up the pipeline for texturing
Mike is a freelance live in the early prototyping stages By shift-clicking on any object in retopology if animation is required,
concept 3D, VFX of projects, and they also have a the tree view and dragging it to as well as used for 3D printing.
and mograph artist tendency to create ugly meshes. one of three coloured points on If you’re a Modo user it’s a near-
working across However, the way boolean the tree for union, intersection or essential purchase. If you’re not
television, exhibition processes in MeshFusion have subtraction design iterations are a Modo user, MeshFusion is an
and digital design. been integrated into Modo easy (and joyous) to implement. excellent reason to become one. is revelatory. As well as the Boundaries between objects are
straightforward option of easy to control as well, allowing 3d world's verdict

The power of
MeshFusion to
quickly iterate
designs by
dragging and
dropping objects
using the Tree
view is a fun
and powerful new
way to model
complex objects

The journey from groboto to meshfusion
Braid Art Labs’ GroBoto created beautiful boolean meshes in Modo, but had
an unconventional UI and never captured a big user base. This prompted
Braid to create a similar product for a wider audience: MeshFusion.

3D World April 2014 96

5 a fully or kill the E vermotion has long had a reputation for supplying Evermotion’s latest Main high-quality assets. Main effects.5 can Features engines available. and integration with This release has many new features define actions. which has a Fast rendering number of elements pre-attached. and Multi-Pass then simply add ‘questions’ to particles easy. instruction to get This product. allowing for magazine. designer with over It can be used on individual a decade’s experience Faster and easier elements. there is plenty of very Aimed squarely at 3ds Max and where you can follow along with useful real-world information so V-Ray users. wet a particle. different types. The course is thorough. X-Particles’ clearly laid out impressive fluid results and has a workflow makes playing with good selection of tools. including can add a question to find the life of adjusting settings feels natural. then at a specified time Fluids have been improved in mapping and a caching system. Aimed at the same Rob Redman Theory target audience. that no matter what application in and explains all about using These take you through from you use.creativebloq. but none make produce good results the process as logical and fun as Author profile X-Particles from Insydium. however. mostly training features Features aimed at the arch-viz industry. There While the course uses specific calibrating your monitor.rar files. as the download is a decade’s experience Post-production 6GB in multiple . five attempts (just in case you face 3dworld. Software review The Archviz Training DVD Price £100 / €120 / $163 | company Evermotion | website www.x-particle. digital artist and Lighting Once purchased you will need to designer with over make a coffee. First 3dworld.5 Price £156 / €189 | company Insydium | website www. the course jumps right the presenter.evermotion. For example. are also a number of video lessons software. and is a in arch-viz renders. Rob Redman Powerful caching The power of the engine is Rob is the technical system undeniable and it takes advantage editor of 3D World of . it is a fairly Rob is the technical comprehensive guide to getting editor of 3D World Modelling started and producing good results magazine. along with how problems). and is a Enhancements to millions of particles without digital artist and emitter object slowing down your system. the latest version. simulator but it is capable of some featured particle solution. 3d world's verdict 3D World April 2014 97 P articles can be complex to work with for visual While not a fluid sim. and so on.creativebloq. a skinner. such as working in linear colour and effects in various situations. new modifiers. is slightly started in arch-viz Author profile different. You have in the CG industry. to post-production and why you might use the using Magic Bullet Looks. 3d world's verdict Software review X-Particles 2. including setting up reference images and raise your game. It’s not a fluid making X-Particles 2. fluids when using its own add a particle system. but really works best in the CG industry. there is plenty to help you global illumination. you can change the particle group. starting with some basics. There are numerous X-Particles 2. you Cinema 4D is well implemented so and enhancements.

It was very inspiring to for his work on Scott awe of the way David Fincher used me as a VFX person. I was completely in stage. None of us would be doing this if we hadn’t seen the Star When Ed Norton is describing his disappointment with the be about creativity Frazer Churchill A VFX supervisor Destroyer flying over our heads in the cinema in 1977. and modern life in general. Dennis Muren. John Dykstra and walks through the Ikea catalogue experience. ARTIST profile similar. Apart from like David Fincher and has a BAFTA viewers in a speechless when I walked That’s the power of someone nomination for his message out of Fight Club. FYI his day job at 3D World April 2014 98 twitter. They may not 9000 . and he gets up and – the photorealism with over 15 years’ Visual effects George Lucas. Frazer is can distort reality. so he can conceive of being shortlisted for a disillusioned 30-year-old digital these kinds of shots at the script an Academy Award compositor. VFX but as a creative storytelling Find out what Frazer does for device I thought they were genius. passing through Ikea along the way… © 20th Century Fox 9015 M oments of inspiration for The future of VFX will be about 40-plus-year-old VFX creativity – the photorealism The future of VFX will people are probably very battle is won. Thank you banality of his life. and as a Pilgrim Vs The World. of his apartment it showed people battle is won a founding member offering creative As to a more contemporary that VFX can be used in very of Double Negative ways to engage inspiration. as well as treatment resonating with me as director. develop My inspiration My inspiration Frazer Churchill The VFX industry legend from Double Negative takes a walk down memory lane. to see visual effects be the most entirely photoreal used in this way.2fc. work on Children the film’s subject matter and he’s basically a VFX guy turned of Men. VFX in the movie. I was absolutely interesting ways.