Professional Documents
Culture Documents
net
WorldMags.net
WorldMags.net
EDITORS
WELCOME
Is it time to give your CG art
a bold artistic style?
SUBSCRIBE
& SAVE 61%
Now you can get the
best of both worlds!
Subscribe to 3D World
and get both the print
and digital editions.
Turn to page 34!
EMAIL
3dworld@futurenet.com
WEBSITE
3dworld.creativebloq.com
FACEBOOK
www.facebook.com/3dworldmagazine
TWITTER
@3DWorldMag
WorldMags.net
3D WORLD Christmas 2014
3dworld.creativebloq.com
TITANIC TEXTURES
Turn to page 44 for
tips on using the new
Substance Painter and
Substance Designer!
WorldMags.net
FEATURED
ARTISTS
COVER ARTIST
ARTIST
Amir Erfani
SOFTWARE
V-Ray, Photoshop
Amir is a 3D artist with a passion for automotive
design. He enjoys creating photoreal car art
with a game-style look. His personal projects
are a roaring gallery of supercars stunningly
rendered against neon lights and rain soaked
streets. We felt he would be the perfect person
to tackle this issues Lamborghini cover.
Wanting a unique car render for the cover,
and a tutorial that reveals something a little
different, Amir chose to focus on the creative
process of rendering; he discusses the ideas
of photorealism and nding a style of your own.
Starting on page 60 you can read how Amir
uses V-Ray to light and render a photoreal
render before using Photoshop in order to
add more drama to the scene. Follow Amirs
workow and be inspired to create renders
with more artistic air.
For more information on Amirs work visit:
FYI www.amirhossein-erfani.com
FOLLOW THE
WORKFLOW!
Turn to page 60 to
read Amir Erfanis
tutorial on lighting
and rendering the
Lamborghini.
Francesca Forzoni
Rafael Vallaperde
Nicolas Garilhe
Vikrant J Dalal
Daniel DAvila
WorldMags.net
3D WORLD Christmas 2014
3dworld.creativebloq.com
WorldMags.net
CONTACT US
3D W O R L D MAG AZI N E
FUTURE PUBLISHING
Quay House, The Ambury, Bath
BA1 1UA
telephone: +44 (0) 1225 442244
email: enquiries@3dworldmag.com
website: 3dworld.creativebloq.com
facebook: www.facebook.com/3dworldmagazine
twitter: @3DWorldMag
EDITORIAL
EDITOR Ian Dean
OPERATIONS EDITOR Kulsoom Middleton
ART EDITOR Darren Phillips
C ONT E N T TEAM
GROUP CONTENT EDITOR Tom May
COMMISSIONING EDITORS Martin Cooper,
Beren Neale, Julia Sagar
STAFF WRITERS Gary Evans, Sammy Maine
C ONT RIBUTO R S
Jonathan Ball, Cirstyn Bech-Yagher, Vikrant J Dalal,
Daniel DAvila, Renee Dunlop, Amir Erfani, Andrew
Finch, Francesca Forzoni, Fabian Frank, Pedro F
Gmez, Lee Griggs, Steve Jarrat, Denis Koslov,
James Morris, Mark Ramshaw, Jim Thacker,
Rafael Vallaperde, Ethan Wolfe, Alvin Weetman
S E NIOR CR EATIVES
EDITOR-IN-CHIEF, DIGITAL DESIGN Dan Oliver
GROUP ART DIRECTOR, CREATIVE & TECH
Simon Middleweek
CREATIVE DIRECTOR Robin Abbott
A DVE RTISING
ACCOUNT MANAGER Suzanne Smith
+44 (0) 207 042 4122 suzanne.smith@futurenet.com
C IRC U L ATIO N
TRADE MARKETING EXECUTIVE Daniel Foley
daniel.foley@futurenet.com
DIRECT MARKETING EXECUTIVE Charlotte Loyd-Williams
Charlotte.Lloyd-Williams@futurenet.com
HEAD OF TRADE MARKETING Richard Jefferies
richard.jefferies@futurenet.com
PR I N T & PR O D UCTI O N
PRODUCTION CONTROLLER Marie Quilter
marie.quilter@futurenet.com
PRODUCTION MANAGER Mark Constance
mark.constance@futurenet.com
L I CEN SI N G
LICENSING & SYNDICATION DIRECTOR
Regina Erak regina.erak@futurenet.com
SENIOR LICENSING MANAGER
Matt Ellis matt.ellis@futurenet.com
FUTUR E PUB L I SH I N G L I MI TED
HEAD OF CONTENT AND MARKETING, PHOTOGRAPHY,
CREATIVE AND DESIGN Matthew Pierce
DIRECTOR OF CONTENT AND MARKETING Nial Ferguson
CHIEF EXECUTIVE Zillah Byng Maddick
SUB SCR I PTI O N S
SUBSCRIBE ONLINE www.myfavouritemagazines.co.uk
CALL OUR UK HOTLINE 0844 848 2852
US & CANADA: SUBSCRIBE AT www.imsnews.com/3dworld
US HOTLINE 1-800 428 3003
SUB SCR I B ER S
Got a question about your print subscription?
Email: 3dworld@myfavouritemagazines.co.uk
Got a question about your digital subscription?
Web: www.futureplc.com/app-support
Printed in the UK by William Gibbons.
Distributed in the UK by
Seymour Distribution Ltd,
2 East Poultry Avenue,
London EC1A 9PT.
Tel +44 (0) 207 429 4000
2014 Future Publishing. 3D World is the registered trademark of Future Publishing Limited. All rights reserved. No part of this
magazine may be used or reproduced without the written permission of the publisher. Future Publishing Limited [company number
2008885] is registered in England and Wales. The registered ofce of Future Publishing Limited is at Beauford Court, 30 Monmouth
Street, BA1 2BW. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time
of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact
manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited
material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine,
including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your
own risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.
8,769
Visit www.yourfuturejob.com
WorldMags.net
WorldMags.net
ISSUE 189
CONTENTS
Our complete line-up for this
months 3D World
DIGITAL
SUBSCRIPTIONS
Get a free issue when you
subscribe! Or download a
back issue for your
Android device today!
www.bit.ly/3dworld-digital
8 ARTIST SHOWCASE
Discover the best digital art from
the CG community
17 COMMUNITY
18 IN A LEAGUE OF THEIR OWN
The rise of CG in broadcast sports
22 STUDIO PROFILE
Stop-motion powerhouse Laika
26 SHORT CUTS
26 SHORT CUTS
36 IN FOCUS
Jonathan Ball shares his techniques
40 ARTIST Q&A
All your software queries solved
by our panel of CG experts, this
issue includes Marvelous Designer 4
FEATURES
44 TITANIC TEXTURES
Tips on using the Substance Suite
54 A THOUSAND FACES
The Boxtrolls: Laikas 3D print
8 ARTIST SHOWCASE
Discover the most outstanding new creative work from the CG art community
59 TUTORIALS
Improve your CG skills with
practical tips and tutorials
83 DEVELOP
Theory, research and reviews, plus
industry tutorials from the experts
REGULARS
34 SUBSCRIPTIONS
81 NEXT MONTH
91 COMPETITION: ICLONE
40 ARTIST Q&A
44 TITANIC TEXTURES
WorldMags.net
3D WORLD Christmas 2014
3dworld.creativebloq.com
54 A THOUSAND FACES
WorldMags.net
TUTORIALS
60 RENDER A LAMBORGHINI
How to create photoreal vehicle
renders with artistic impact
Learn how to create vehicle renders with artistic impact with car enthusiast Amir Erfani
Create your own assets and materials in the third installment of this series
DEVELOP
84 THEORY: RENDERING
How to better understand
texture coordinates
92 DIGIMANIA: RENDERING
92 DIGIMANIA: RENDERING
REVIEWS
94 MARVELOUS DESIGNER 4
The cloth sim tool gets a revamp
95 MSI WS60-2OJ
The ultra-thin laptop impresses
96 INTERPRO IPW-HWE
A powerful machine that comes
at a price, will you be convinced?
97 LG 21:9 ULTRAWIDE
Two screens are better than one
94 MARVELOUS DESIGNER 4
Richard Edlund, the Oscar-winning engineer recalls working in a galaxy far, far away
WorldMags.net
3D WORLD Christmas 2014
3dworld.creativebloq.com
98 MY INSPIRATION
Keith Self-Ballard remembers how
his career began, with Myst III: Exile
WorldMags.net
ARTIST
SHOWCASE
The best digital art from
the CG community
GET PUBLISHED
EMAIL YOUR CG ART TO
darren.phillips@futurenet.com
FAST LANE
WorldMags.net
3D WORLD Christmas 2014
www.facebook.com/3dworldmagazine
WorldMags.net
EXPLODED VIEW OF
A FORMULA E CAR
ARTIST
Graham Murdoch
SOFTWARE
Modo, Photoshop
Graham Murdoch started his CG career in the
1990s using Alias Sketch! before migrating to
LightWave and now Modo, in which he created
this dauntingly complex model of a race car as
an illustration for Popular Science magazine.
Theres a ne line between inspiration
and intimidation, says Graham. Turning that
intimidation into inspiration is just a lot of hard
work and experimentation.
In this case, experimentation led to Graham
using some new techniques, including a Render
Boolean for some of the smaller screw holes in
the bodywork. It saved a bunch of ddly
Sub-D modelling, he says.
The car itself was created as a single mesh
item, then separated into layers to make
it possible to animate between different
congurations of exploded parts. It adds
another layer of interest to the process,
Graham notes.
Read Grahams quick tutorial at
FYI creativebloq.com/3dworld/cutaway
3D WORLD VIEW
Theres so much
to enjoy here. The
detail and the lengths
Graham has gone to
for this project are
incredible.
IAN DEAN
Editor
WorldMags.net
3D WORLD Christmas 2014
www.facebook.com/3dworldmagazine
WorldMags.net
3D WORLD VIEW
The character is
very strong without
being overly dramatic.
The subtle gestures,
the lighting and the
richness of the cloth
are a joy to behold.
KULSOOM MIDDLETON
Operations editor
A WOMAN
IN HANBOK
ARTIST Seungmin Kim
SOFTWARE Marvelous Designer,
ZBrush, 3ds Max, Hair Farm,
V-Ray, Photoshop
Two goals lay before Korean artist Seungmin
Kim as he began this four-week project: to
study V-Ray, and to create a Hanbok the
traditional local dress in Marvelous Designer.
While learning V-Ray took up 40 per cent
of Seungmins time, adopting Marvelous
Designer sped up his workow. Because
everything from modifying clothes to putting
in a crease [is] represented in real time,
Marvelous Designer is denitely an interesting
program for 3D character designers. If you
have a chance, try learning it, he says.
One unexpected challenge was nding
good design references for the Hanbok.
Seungmin turned to dressmaking books to
nd a pattern he could recreate in Marvelous
Designer and even learned to sew.
As well as recreating the clothing accurately,
a key challenge was conveying the personality
of the woman wearing it. When creating Asian
female characters, delicate facial expressions
and gestures are considered most important,
Seungmin says. Subtle expressions of the
eyes, nose [and] mouth, gaze, and nger
gestures can hold everything.
See more of Seungmins work on his blog:
FYI blog.naver.com/seungmingun
STITCH UP
Seungmin created the
costume in Marvelous
Designer, even learning
to sew in the process
WorldMags.net
3D WORLD Christmas 2014
10
www.facebook.com/3dworldmagazine
WorldMags.net
WorldMags.net
WorldMags.net
SHOWCASE
ISLAND
ARTIST
Ahmad Turki
SOFTWARE Maya, V-Ray,
Photoshop, After Effects
LIGHTING THE SCENE
I wanted to create a
simple light setup so
I used an HDRI image
with a directional light,
explains Ahmad
OCEAN BREEZE
For the ocean, I used a
standard ocean shader
from Maya [with] a Color
map for the cartoonish
look, says Ahmad
WorldMags.net
3D WORLD Christmas 2014
12
www.facebook.com/3dworldmagazine
WorldMags.net
3D WORLD VIEW
"While the colour
and detail is the
immediate eyecatcher, it's the subtle
composition tricks
that guide you around
the Island that make
this scene special."
DARREN PHILLIPS
Art editor
WorldMags.net
3D WORLD Christmas 2014
13
www.facebook.com/3dworldmagazine
SHOWCASE
LIGHTS
AND MATERIALS
The light setup is very
simple, says Luigi.I
use one VRaySun and
two VRayLights, and one
HDRI. Most objects
use V-Rays Standard
material, with V-Rays
skin shaders for the
frogs and gnome
WorldMags.net
3D WORLD VIEW
A scene full of
character and charm.
The detail on the
Gnomes rabbit ride
is wonderful too.
KULSOOM MIDDLETON
Operations editor
GNOME
ARTIST
Luigi Monaldi
SOFTWARE ZBrush, 3ds Max,
V-Ray, Photoshop
Based in part on the paintings of illustrator
Jean-Baptiste Monge, Gnome took freelance
artist Luigi Monaldi a total of 100 hours to
create. The portrait of a gnome riding his pet
hare is a wonderful image, with some fantastic
textures painted in ZBrush using the Standard
brush with CavityMask, along with the Spotlight
projection texturing system and Surface Noise.
The hares fur is also beautifully rendered:
I used [3ds Max Modier] Hair and Fur and
combed the hair with an imported spline, says
Luigi. Suitable maps were used for Tip Color
and Root Color to ensure fur colour felt realistic.
But despite the detail and effort gone into
creating the hare and gnome, Luigis favourite
part of the image is hidden at one side: I think
I enjoyed creating the frogs most of all, he
says. I was inspired by a card [from Blizzard
Entertainment game Hearthstone] called Hex.
Follow Luigis quick tutorial for Gnome at
F I www.creativebloq.com/3dworld/gnome
FY
14
www.facebook.com/3dworldmagazine
WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net
CONTENTS
COMMUNITY
News and views from around the
international CG community
How the rise of real-time graphics has changed the way sport is broadcast
Behind the scenes with Laika, the stop-motion studio responsible for The Boxtrolls
GET PUBLISHED
EMAIL YOUR CG ART TO
ian.dean@futurenet.com
Fusing mocap and photorealistic rendering The creation of Star Wars Rebels key art
WorldMags.net
3D WORLD Christmas 2014
17
3dworld.creativebloq.com
WorldMags.net
THE BIG ISSUE
T
Storytelling remains
at the heart of
sports broadcasting,
therefore if data
can be harnessed by
graphics companies
then some very
cool production
enhancements
will emerge, says
ChyronHegos
Jonathan Roberts
CG-powered dynamism
WorldMags.net
3D WORLD Christmas 2014
18
3dworld.creativebloq.com
WorldMags.net
Every graphic has to
be available in real-time
and also templated in
sophisticated ways, to
allow anyone to create
a stunning-looking
graphic with a few
button clicks, says
Thomas Nelson
INDUSTRY INSIDERS
Thoughts & opinions from the experts
MIKE WARD
European managing
director,
Reality Check Systems
Sports broadcasters
are under pressure
to create high
volumes of content
for distribution across
a growing number
of platforms, as well
as produce more
appealing content
that attracts and
retains viewers. As a
result, weve seen a
lot of experimentation
with virtual studios,
augmented reality
graphics and
centralised graphics
operations, in
addition to far greater
levels of production
automation in sports
broadcasting. The
rapid evolution of
technology is partly
enabling this. Drawing
on new hardware and
software innovations,
companies like RCS
are able to deliver
solutions like Data
Center, a cloud-based
data network that
culls and organises
real-time sports data,
which may not have
been possible two
years ago. Improved
rendering power and
speeds, as well as the
rollout of improved
broadcast resolutions
have also created
higher audience
expectations, and
also opened up
new opportunities
for networks.
WorldMags.net
3D WORLD Christmas 2014
19
3dworld.creativebloq.com
JONATHAN
ROBERTS
VP, EMEA sales,
ChyronHego
THOMAS NELSON
Business development
manager, Sports,
Vizrt Swizerland
Working with
sports is deceptively
tricky. To meet the
challenges that
sports bring, you
need to be good
at a couple of
things. The rst is
data visualisation.
Sporting events are
all about statistics
and incoming
information. You
need to be able to
take that information
and turn it into
something tangible
and understandable
by the audience,
and to do it as it
happens. Next is
easy usability. You
need to be able to
put the content in the
hands of an operator
and enable them to
make rapid changes
on the y as needed.
More and more
broadcasters have
also introduced
immersive graphics
into their real studios
over the past few
years, as a way to
create an augmented
reality experience
for the viewers and
to help tell their
stories in a better
way. Its now almost
a must-have for
sports broadcasters.
WorldMags.net
COMMUNIT Y
Project insight
PROJECT INSIGHT
ADOBE
MEETS MIXAMO
C
CHRIS JONES
Chris Jones has been
drawing, animating,
and music-making
virtually since the day
he was born in Bendigo,
Victoria, Australia.
www.chrisj.com.au
LightWaves
improvements over
the years have made
it possible for Chris to
push things further
Photoshop
embraces 3D
animation tools
NEW DEAL
Mixamos teamed
up with Adobe to
bring support for
3D characters with
skeletal animations
to the latest release
of Photoshop CC.
The other main tool hes been using on the project has
been Sculptris. Initially I had some trouble getting things
in and out of Sculptris without it crashing or messing up
the mesh, he admits. But after I pinpointed these issues
(it doesnt like single point polys, or UVs that overlap or
extend beyond the boundaries of the texture page for
example), its been fairly robust.
When it comes to the face itself, Chris was expecting
problems with eyes, he says. Theyre actually not as hard
as I thought. Its just a matter of scrutinising your reference
material and being meticulous about reproducing all
those details, which I seem to have a knack for.
The mouth, however, has been a much more difcult
proposition. Its a lot more exible and is capable of a
much wider variety of shapes, and were also very sensitive
to its subtleties. Skin has also proved tricky. Its about
the most complex material imaginable, Jones points
out. And youre at the mercy of the software to some
degree. If the lighting or subsurface scattering model
isnt accurate enough or doesnt offer enough control,
its never going to look completely convincing no matter
how great your texture maps are. My progress in this area
are still a bit rudimentary, so whether I can pull off a truly
lifelike skin remains to be seen.
Beyond that, Chris has yet to tackle hair and clothes, and
says ne tuning everything will be an on-going process.
You can follow Chris Jones's progress on the project
FYI at his website: www.chrisj.com.au
WorldMags.net
3D WORLD Christmas 2014
20
3dworld.creativebloq.com
IMPORT SUPPORT
Users of the
subscription-based
Photoshop CC now
have the ability to
import animated
3D characters in
COLLADA format.
For details, visit
www.mixamo.
com/workows/
photoshop-3d
RANGE OF
WORKFLOWS
Once imported
into Photoshop,
artists can use the
animated characters
for a number of
workows, such as
creating animations,
2D/3D compositing,
3D painting of
character textures,
and 3D printing.
WorldMags.net
WorldMags.net
WorldMags.net
COMMUNIT Y
Studio prole
STUDIO PROFILE
TRAVIS KNIGHT
Travis is president and
CEO of Laika, and also
worked as a producer
and one of the lead
animators the new
movie The Boxtrolls.
www.laika.com
STUDIO
STATISTICS
LOCATION
Portland, Oregon
TEAM SIZE
364
KNOWN FOR
Coraline
ParaNorman
The Boxtrolls
DIRECTORS NAME
Travis Knight
WorldMags.net
3D WORLD Christmas 2014
22
3dworld.creativebloq.com
WorldMags.net
STUDIO
PORTFOLIO
CORALINE
Laikas first feature film, 2009s Coraline, was the first stop-motion
animated feature film to be conceived and photographed in
stereoscopic 3D. The movie was nominated for an Academy Award
and a BAFTA Award for Outstanding Animated Feature and won the
Cristal Award at the Annecy International Animation Festival.
OFFICE BRIEFING
With an abundance of creative
personalities, Laika is a studio that
ourishes in the animation world.
Working on feature lms, commercials
and short lms, Laika focuses its craft
on the art of stop-motion, the team has
worked on a number of award-winning
movies including Coraline, ParaNorman
and the recently released The Boxtrolls.
Were freakishly obsessive. Were
consumed with esoteric and fetishistic
bits of minutiae, but thats what we do,
says president and CEO Travis Knight.
BRIAN MCLEAN
Brian Mclean is the
director of Laikas Rapid
Prototyping Department.
He has been instrumental
in the development of 3D
printer technology.
www.bit.ly/189-mclean
STEVE EMERSON
Steve Emerson worked
as the co-VFX supervisor
for The Boxtrolls. His
previous credits include
The Matrix Revolutions
and Transformers.
www.bit.ly/189-emerson
PARANORMAN
Laikas second feature film, the 2012 zombie comedy ParaNorman,
was the first stop-motion movie to utilise a 3D colour printer to create
replacement faces for its puppets. Over 40,000 individual face parts
were printed for the production. It took three to four months to craft a
new puppet from start to finish, not including design or testing time.
THE BOXTROLLS
Laikas latest film, The Boxtrolls, is a 3D stop-motion and CG hybrid
animated feature based on Alan Snows bestselling novel Here
Be Monsters. It introduces audiences to a community of quirky,
mischievous creatures whove lovingly raised an orphaned human boy
named Eggs in the cavernous home theyve built beneath the streets.
WorldMags.net
3D WORLD Christmas 2014
23
3dworld.creativebloq.com
WorldMags.net
COMMUNIT Y
Industry news
INDUSTRY NEWS
The Kickstarter
backers are best
placed to provide
useful feedback
GREG ESTES
Greg is responsible for
worldwide marketing for
the enterprise business
at Nvidia, focused on
the Nvidia Quadro,
Tesla and GRID GPUs.
www.nvidia.co.uk
WorldMags.net
3D WORLD Christmas 2014
24
3dworld.creativebloq.com
GPU acceleration
WorldMags.net
WorldMags.net
WorldMags.net
COMMUNIT Y
Short Cuts
SHORT CUTS
GET PUBLISHED
EMAIL YOUR SHORT TO
ian.dean@futurenet.com
Natalis, a student short that fuses motion capture and photorealistic rendering,
is an inspiring piece of work. Co-director Jan-Marcel Khn shares his story
JAN-MARCEL KHN
Marcel is the co-director
of Natalis. He lives and
works in the Stuttgart
area of Germany as a
freelance generalist on
feature films and spots at
local studios.
www.facebook.com/
natalismovie
VITAL
STATISTICS
TEAM
Directors/asset creators
Daniel Brkovic
Jan-Marcel Khn
Effects TD
David Kirchner
Rigging TD/animation
pipeline
Tom Ferstl
Surfacing/render
pipeline
Karsten Wagenknecht
Compositor
Johannes Peter
Music and sound
Johannes Helberger
Felipe Sanchez
Producer
Philipp Wolf
Cast
Evi Rejeki Riecken
COUNTRY
Germany
SOFTWARE
Maya, 3ds Max,
Sculptris,
3D-Coat, Mudbox,
ZBrush, Houdini,
MotionBuilder,
Vicon iQ, RenderMan,
V-Ray, Nuke
PRODUCTION TIME
20 months
WorldMags.net
3D WORLD Christmas 2014
26
3dworld.creativebloq.com
WorldMags.net
3 We had to create a
lot of blendshapes to
transfer the real facial
captured movements
from the actor to the
robots face
4 The creation of
the big storm was
challenging. Houdini
was used for the
simulation of the
destructive elements
STORM SIMULATION
The creation of the big storm where the main character Ea sees
her frightening visions about the future was a challenge. The
distinctive shape was dened by a procedural particle simulation
in Houdini, says effects TD David Kirchner. A relatively small
amount of particles was used for this base simulation. The
base particles were then used to drive a standard Pyro FX uid
simulation. Finally the uid simulation advects another particle
simulation. This nal particle simulation has a large point count
and was created to get more detail in the Mantra renderings. We
also added some rigid body simulations and stylistic elements.
6 A screengrab of
the proxy model of
the robot. The model
was swapped at the
rendering stage for
the high-poly model
7 Robot texturing
and bump map
creation was done
in Mudbox. We
found it great to
sculpt and paint
at the same time
WorldMags.net
3D WORLD Christmas 2014
27
3dworld.creativebloq.com
WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net
COMMUNIT Y
Industry interview
WorldMags.net
INDUSTRY INTERVIEW
KEITH KELLOGG
Keith is the animaton
supervisor of Star Wars:
The Clone Wars and Star
Wars Rebels.
starwarsrebels.wikia.com
CHRIS VOY
Christopher Voy is a
senior designer on Star
Wars: The Clone Wars
and Star Wars Rebels.
starwarsrebels.wikia.com
JOEL ARON
Joel is a VFX and
CG supervisor who
specialises in the field on
lighting and FX.
starwarsrebels.wikia.com
Animation supervisor
Keith Kellogg posed
the main characters,
such as Kanan Jarrus
WorldMags.net
3D WORLD Christmas 2014
30
3dworld.creativebloq.com
WorldMags.net
USING
THE FORCE
Lucaslms Keith
Kellogg shares his
top tips
WorldMags.net
3D WORLD Christmas 2014
31
3dworld.creativebloq.com
COMMUNIT Y
Education news
WorldMags.net
STUDENT PERSPECTIVE
Film school could be the place to launch
your career in VFX and animation. It
certainly was for Reece Sanders, who
recently completed a course
in Visual Effects for Film at
Met Film School and is now
working as VFX supervisor
on a new feature lm called Endemic.
Here, Reece provides a glimpse into
a day in the life of a lm student.
I remember seeing the trailer for
the rst Transfomers lm. Straight away
I thought: I want to do that. I began
the six-month VFX for Film course at
Met Film School. It was pretty intense.
We learnt theory and skills in the
morning and put them into practice
in the afternoon. For the rst three
months the focus was solely 3D work:
modelling, reference images, rules of
topology, rules of animation and looking
at rigging a character. We also did work
on dynamics using simple objects.
The last three months was purely
2D, focusing more on Nuke, compositing,
After Effects and putting 3D work on
live-action plates. This was the more
challenging part of the course for me,
because as a node-based compositor
Nuke was different from anything Id
used in the past.
Constantly producing practical
work meant that I had a ready-made
showreel on nishing my course as
well, which the lecturers at Met really
encouraged me to add to and develop
over the six months. Another great thing
about coming to study at a dedicated
lm school is the fact that all of the
lecturers had industry experience.
I got my rst job, making a promo
video for Dimitri Vegas in LA, less than
one month after nishing. Im about to
start work as the VFX supervisor on a
new feature lm called Endemic. This is
less than six months after nishing my
course at Met Film.
Id denitely recommend going to
lm school. But dont think it all just
comes of its own accord: working hard
and putting in the hours in are what
took my experience to the next level
and got me where I am today.
See Reeces reel: www.bit.ly/189-reece
Recent graduate Reece Sanders is
now VFX supervisor on Endemic
Students will
learn more in one
month than theyll
learn in four years
at university, say
Stephen Lohan
VFX SCHOOL
IMAGE IRELAND ON
INTENSIVE TRAINING
Ireland's only dedicated VFX school aims to revolutionise
training for careers in the entertainment industry
S
STEPHEN LOHAN
Stephen is CEO and
founder of Image
Ireland School of Visual
Communication.
www.imageireland.ie
WorldMags.net
3D WORLD Christmas 2014
32
3dworld.creativebloq.com
One-to-one training
WorldMags.net
WorldMags.net
WorldMags.net
CHOOSE YOUR PACKAGE
SUBSCRIBE TO
3D WORLD
Subscribe to our print edition, digital edition or get the
best value with our complete print and digital bundle!
WorldMags.net
3D WORLD Christmas 2014
34
www.3dworld.creativebloq.com
WorldMags.net
BEST
VALUE
BUNDLE!
SAVE UP
TO 61%
TERMS AND CONDITIONS Prices and savings quoted are compared to buying full-priced UK print and digital issues. You will receive 13 issues in a year. If you are dissatised in any way you can write to us or call us to cancel your subscription at any time
and we will refund you for all un-mailed issues. Prices correct at point of print and subject to change. For full terms and conditions please visit: http://myfavm.ag/magterms. Offer ends 31 January 2015.
WorldMags.net
3D WORLD Christmas 2014
35
www.3dworld.creativebloq.com
COMMUNIT Y
In Focus
WorldMags.net
IN FOCUS
UNICORN WAR
Jonathan Ball shares his process for building
on an old render to create something new
ARTIST PROFILE
Jonathan works full
time as an illustrator.
Hes been doing so since
2008, and has worked
on a lot of projects
for toy companies,
games and advertising
agencies, as well as
selling his own artworks.
www.pokedstudio.com
VITAL
STATISTICS
SOFTWARE
Blender,
Photoshop
COUNTRY
UK
PRODUCTION TIME
Seven days
WorldMags.net
3D WORLD Christmas 2014
36
3dworld.creativebloq.com
WorldMags.net1
REUSING
OLD ART
2 STAGING
THE SCENE
After modelling a
few new unicorns
to build the idea
in my head, I start
staging my scene,
and experiment with
angles and camera
settings. I add a
few extra details
to the closest parts
of the image to ll
out the setting.
WorldMags.net
3D WORLD Christmas 2014
37
3dworld.creativebloq.com
COMMUNIT Y
In Focus
WorldMags.net
RENDERS
3 TEST
I do some test renders to get
an idea of lighting. I add a large
plane with an emission value to the
left of the scene: this helps highlight
the edges of objects. I want to keep
things quite dark with some areas of
brighter light and colour.
3
4 EMPLOYING
LAYER MASKS
I render a Mist pass so I can
use it to control how other
render layers are blended in
Photoshop. You do this by
pasting the image into a
layer mask. Create a new
layer and click the New Layer
Mask button in the Layers
panel. In the Channels tab,
make sure the eye icon is
displayed next to the mask
channel. Paste the render
pass into the mask layer.
4
5
Z-DEPTH
5 USING
I start blending my render
passes by importing them on
separate layers in Photoshop.
I want the background to fade
off to some degree, so I use
the Z-depth pass Ive rendered
out, and paste it into a layer
mask in Photoshop. I now play
with the mask, making it lighter
and darker, and painting some
areas manually.
WorldMags.net
3D WORLD Christmas 2014
38
3dworld.creativebloq.com
WorldMags.net
6 ADJUSTING
RENDER PASSES
AMBIENT
7 ADDING
OCCLUSION
I add an AO pass,
using the Color Burn
blending mode. I play
with the colour and
saturation and layer
Opacity until I begin to
discover the tones
and feel Im looking
for in the nal scene.
6
PASSES
8 NEW
I add a Glossy Direct
pass using the Color Dodge
blending mode and set the
Opacity quite low. I also
render out a pass with a
custom rim material: a black
material with a Glossy
reection and Emission
mixed with a Fresnel value.
You can see the node
network for it on the right.
ADJUSTMENTS
9 FINAL
I assign this new layer pass the
Linear Dodge (Add) blending mode
in Photoshop. I make a few other
small tweaks and colour changes to
various layers until I am happy with
the nal image. Now my unicorns
are ready for war!
9
WorldMags.net
39
3dworld.creativebloq.com
WorldMags.net
ARTIST
EXPERT PANEL
Q&A
Cirstyn Bech-Yagher
Cirstyn is a freelance
CG artist and educator,
with over a decades
experience in 3D art. Her clients
include AMD and Daz 3D.
www.northern-studios.com
Francesca Forzoni
Frankie is a 3D artist
and visualiser in London.
She has recently moved
from working in post-production to
branding and packaging.
www.francescaforzoni.com
Mike Griggs
Mike is a freelance
3D, VFX and motion
graphics artist and
technical writer working across TV,
exhibitions and digital design.
www.creativebloke.com
Fabian Frank
FOLLOW
THE VIDEO
MPC CG supervisor
Fabian started his career
in VFX in Germany. He
joined the MPC London commercials
team in 2011 as a CG supervisor.
www.moving-picture.com
Ethan Wolfe
A recent graduate of
Purdue Universitys
Computer Graphics
Technology program, Ethan is currently
employed as a 3D artist in Chicago.
www.ethanwolfeart.com
PHOTOSHOP
How do I create depth of field in Photoshop
with a rendered image from Cinema 4D?
Macie Keyes, US
Francesca replies
GET IN TOUCH
EMAIL YOUR QUESTIONS TO
ian.dean@futurenet.com
EXPERT TIP
Create your z-depth
pass manually
By tweaking your camera
settings to achieve a smooth
gradient with your z-depth
pass, your retouching will
be more realistic. If you
are animating with a
separate render pass,
you can animate
depth of field.
WorldMags.net
3D WORLD Christmas 2014
40
3dworld.creativebloq.com
WorldMags.net
CLICK TO PLAY VIDEO
www.bit.ly/189-modo
EXPERT TIP
Use the Setup tab
Make your controllers
dynamic using the Setup
Layout when working
with deformers it adds
a wide range of exciting
possibilities to your
animations.
MODO 801
How do I modify models
while keeping their
original state in Modo?
WorldMags.net
3D WORLD Christmas 2014
41
3dworld.creativebloq.com
ARTIST Q&A
WorldMags.net
EXPERT TIP
Knowing Nuke
Nuke provides much
more control of
mattes when you
understand the
workflow.
MAYA | NUKE
How do I create a photoreal
lighting setup to create a CG
and live-action sequence?
Maria Principle, US
Fabian replies
A fundamental step for recreating lights
from a shoot or set is ensuring you have
taken HDRIs on the shoot day. In the case
of Assassins Creed, my example project,
because the foreground is mainly shot in a studio on
greenscreen and all the outdoor backgrounds, including
ships, ocean and islands are created in Maya, the use of
the location HDRIs is quite limited. Instead we have to
create a CG outdoor lighting from scratch.
The base is a HDRI of a night sky. Extract and remove
all direct light sources from the HDRI: you get much
better control over shadows and lighting, intensity and
direction using CG lights. Next colour correct the HDRI
in Nuke to match the graded plate as closely as possible.
Compare the black levels, mid-tones and highlights
but be careful to maintain the full range of the HDRI.
WorldMags.net
3D WORLD Christmas 2014
42
3dworld.creativebloq.com
WorldMags.net
EXPERT TIP
Creating buckles
Create loops for your
scabbards buckles or
rings by sewing rectangles
onto the blades edges.
Remember to smooth
them out by lowering
their particle
distance.
EXPERT TIP
Linear workow
Colour management
and linear workflow
eliminates much of the
guesswork in lighting,
shading and rendering.
Getting predictable
results from your
lighting setup will
accelerate your
workflow.
MARVELOUS DESIGNER 4
How do I create a simple
but realistic scabbard?
Robert Bellingham, UK
Cirstyn replies
Sometimes its easy to forget you can
shape and drape minor items as well
as larger ones in Marvelous Designer,
especially when it comes to fantasytype assets, such as shoes or boots and, as in
our case, a simple scabbard.
As you can see in the accompanying video
(downloaded from our online Vault), it is a
simple workow: Import your sword as an avatar.
Load the my pre-made, or your own, bounding
volume and arrangement points for draping.
Draw up your assets components using the
Polygon, Rectangle and Edit Curvature tools in
the 2D Pattern Design View. In our case, well
draw a rectangle for a simple locket at the top
of the scabbard, and then the outline of the
scabbard by tracing the swords blade before we
copy and do symmetric pastes for tweaking.
Next, assign the stiff, leather-based,
scabbard material from the asset-folder via the
Physical Property Editor, before nalising by
stitching it all together and watch the model
assemble itself after having pressed Synchronize
before Simulate.
You may of course bump into some issues as
you go rst of all, make sure your sword does
not rest 100 per cent on the oor when you
export it from your modeller. As cloth simulation
is collision based, your cloth may also collide
with the oor at the tip of the scabbard. To avoid
this place it slightly off the ground, as shown
in the project le. In addition, your cloth may
look or wrap a little bulky. You can solve this by
decreasing your garments particle distance.
If its still bulky, try tweaking the Stretch-Weft
settings a little. When youre all done, export
into, for example into ZBrush, as a welded object
for ZRemeshing and further detailing.
WorldMags.net
3D WORLD Christmas 2014
43
3dworld.creativebloq.com
FEATURE
Titanic textures
WorldMags.net
[ Tutorial ]
[ Company ]
Allegorithmic
[ Software ]
Substance Painter,
Substance Designer
[ Website ]
www.allegorithmic.com
[ More information ]
The creatures in this
article were created for the
Battle of the Titans contest
(bit.ly/titanscontest). To
follow the walkthroughs,
download the artists
project files from
www.creativebloq.com/
vault/3dw189 and trial
versions of both
software packages from
www.allegorithmic.com.
WorldMags.net
3D WORLD Christmas 2014
44
3dworld.creativebloq.com
WorldMags.net
UNCHAINED
FOLLOW
THE VIDEO
NICOLASS
EXPERT TIPS
Know your layers
In Substance Painter,
a single layer can hold
painting information
for each of its channels.
You dont need to create
separate layers for height,
diffuse, roughness and
so on: just select the
channel you want to paint
in from the Tool panel.
Make use of masks
You can use Effects layers
to create editable masks:
useful for adding dirt or
weathering quickly. Click
the Add effect button
in the Layers panel to
mask your material.
Its a non-destructive
workflow, and you can
edit the parameters at
any time. Even better, you
can still refine the result
by applying a regular
mask onto your layer and
painting into it.
Explore Fill layers
Substance Painter and
Substance Designer work
together like a charm. In
Painter, you can use Fill
layers to import a custom
material you have created
in Substance Designer:
to create one, click the
Add fill layer button in
the Layers panel. While
you wont be able to
paint onto this layer, you
will be able to edit the
parameters of the custom
material. This is a good
way to do quick retakes!
Custom channels
If your engine needs a
texture that isnt included
in the default set (Diffuse,
Height, Roughness,
Metal), you can add a
new map by clicking the
plus icon in the Document
Settings panel. You will
now be able to select
it from the Tool panel
and preview it in your
viewport via Solo mode.
WorldMags.net
3D WORLD Christmas 2014
45
3dworld.creativebloq.com
FEATURE
Titanic textures
WorldMags.net
OCEANUS
SELVES
EDDIES
WALKTHROUGH
French artist
Sylvain Castelanelli
has been using
Substance Painter
since the start of the year, and
used it in this project for 98 per
cent of his texture work; prior to
this he didnt have any experience
in Designer.
Substance Painter is
everything you could dream of,
he says. It is a pure pleasure to
use: simple, efcient, intuitive
and constantly evolving.
To create Selves, Sylvain
currently working at Wayny
Pictures as a 3D modeller on
animated feature lm Fauve
made use of Substance
Painters layers and masks
for non-destructive work and
particle brushes for creative
experimentation.
The hardest part for me was
to achieve the right balance
between texture projection
and direct painting, he says. I
wanted [the result to be] colourful
without falling into cartoon excess
that would have affected the
readability of the scene.
Sylvain is most pleased with his
Titans head, as it is central to the
concept of the creature. However,
he also has a fondness for some
of the scenes foreground details.
I have a soft spot for the sheep,"
he says. They make me laugh.
See a 3D view of Selves at:
FYI www.bit.ly/titanscontest
Vein textures
WorldMags.net
3D WORLD Christmas 2014
46
3dworld.creativebloq.com
SYLVAINS
EXPERT TIP
Topology counts
Good topology can
save hours of texturing
time, especially when
you start digging into
the powerful features
of Substance Designers
toolset. Think your model
through before you begin
sculpting, and always
keep UV mapping and
texturing in mind as you
work to avoid creating
problems later.
Topology counts
WorldMags.net
TUNDRASHIFT KRULO
I wanted my Titan
to be a large lizard,
mounted with a human
rider to help show
the scale, says Naughty Dog
character artist Adam Scott.
Initially I watched my favourite
childhood [cartoon], Dino-Riders,
which is where I chose the name
Krulo, after [Krulos], the evil
Rulons leader.
Adams next step was to gather
reference material, including
photographs of lizards, dinosaurs,
dragons, and some excellent
concept pieces from Pacic Rim
and [multi-player shooter] Evolve.
Work across meshes
WorldMags.net
3D WORLD Christmas 2014
47
3dworld.creativebloq.com
ADAMS
EXPERT TIPS
Work across meshes
Substance Designer is
very efficient for texturing
multiple similar objects;
once a node graph is
created, it can be used
to create textures across
multiple low-poly meshes
based on their unique
normal map inputs.
Tidy your graphs
Its very important
to keep your graphs
tidy when working in
Substance Designer.
Not only does it reduce
processing time but
it makes it easier to
make changes later in
the project. Its easy to
keep adding nodes like
mask generators, level
adjustments, hue shifts,
and detail overlays,
but doing so can make
your graphs balloon to
unmanageable sizes.
As I worked on my Titan,
I found myself going back
to graphs I had created
previously to trim the
fat. A big part of this
was grouping nodes,
which you can do by
right-clicking a node and
selecting Add Frame.
FEATURE
Titanic textures
WorldMags.net
INSANIA DEVASTATOR
Set proportions
PASHAS
WALKTHROUGH
ONE BASIC BRUSHES
I created the model in
ZBrush, using mainly the
ClayBuildup, Move and
Dam_Standard brushes.
FOUR UV LAYOUT
UV layout
Final render
WorldMags.net
3D WORLD Christmas 2014
48
3dworld.creativebloq.com
WorldMags.net
HYDRA
Madrid-based character
artist Javier Lpez
Sotoca spent six weeks
working on his Titan
in his spare time, tting the work
around his day job. It was a hard
month, he confesses.
Javier was under no illusions
that creating the creature his
interpretation of the hydra from
the lm Jason and the Argonauts
would be a tough task, not
least because he had never used
Substance Painter or Designer
JAVIERS
WALKTHROUGH
ONE CREATE A MASK
To create a worn metal
effect in Substance
Designer, start with a
simple colour map and
an occlusion map baked
from the high-resolution
model. Use this occlusion
map to create a mask,
add a Sharpen node,
then add noise to the
edges to make them more
irregular. You can use the
Edge Wear node for this.
WorldMags.net
3D WORLD Christmas 2014
49
3dworld.creativebloq.com
FEATURE
Titanic textures
WorldMags.net
KORONUS
ANTI-ALIEN DEFENDER
Self-taught freelance
character artist
Wandah Kurniawan
used the contest as an
opportunity to learn how to create
armour, drawing on concept
designs for Cryteks actionadventure game Ryse: Son of
Rome to create his Titan, Koronus.
Like many of his fellow
contestants, Wandah found
that it was the modelling work
that took up most of this time
on the project. It was my rst
time learning hard-surface
[techniques] in ZBrush, so I really
wanted to give my attention to the
sculpting, he says.
Fortunately, Substance
Designer ensured that the
texturing work went smoothly
in the time remaining.
Wandah made good use of
its features, including the ability
to generate dirt, rust and
scratches automatically, as well
as multi-material blending. I
particularly enjoyed multi-material
blending: it works well with SVG
masks, he says.
See more of Wandahs work at:
FYI www.kurniawan.wandah.com
WANDAHS
EXPERT TIPS
JAEHYUPS
WALKTHROUGH
ONE COMBINE NORMALS
To create rusty metal
in Substance Designer,
I began with a base metal
material. Substance
materials have Detail
Normal information
already. You can combine
the Detail Normal of the
material with the original
normal map from the
mesh using a Normal
Combine node. Use a
Transformation 2D node
to control the scale of
the texture detail.
WorldMags.net
3D WORLD Christmas 2014
50
3dworld.creativebloq.com
WorldMags.net
MITHALA (KREIKEN)
Currently a character
artist at Georgia-based
game developer
Xaviant, Kevin Murphy
spent a month working on
Mithala (Kreiken), his marine
Titan, regarding the project
primarily as a technical challenge.
The main inspiration was
to create a multi-material
character with a lot of texture
types, he says.
Not surprisingly for a creature
that blends humanoid and
invertebrate features, and
KEVINS
WALKTHROUGH
KEVINS
EXPERT TIPS
To set up Substance
Designer for work, I drag
and drop the .sbs file into
the Explorer and the .fbx
file into the 3D View.
THREE BACKGROUND
Blend switching
I like to bring a simple
target paint in for my
diffuse texture and use
a Blend node to turn
the main output on and
off to see how close the
final texture is to where
I want it. This also helps
to assess the result of any
drastic changes further
down the pipeline by
comparing the results
with previous iterations.
I prefer a neutral
background, so in the
Background Image rollout
(accessed via the icon
at the bottom left of the
3D View), I set Visible In
Viewport to False.
FIVE VIEW IN 3D
Right-click>View in 3D to
apply your textures to the
3D View and choose the
object and channel they
display in.
File import
WorldMags.net
3D WORLD Christmas 2014
51
3dworld.creativebloq.com
ADVERTORIAL
Promotion
WorldMags.net
A FREE
DIGITAL BOOK
FOR EVERY READER!
Everyone likes free stuff. So weve partnered with HP and Nvidia to bring you
a beautiful, 116-page digital book to download and its absolutely free!
Just head to www.creativebloq.com/HP-NVIDIA-book today
52
www.3dworld.creativebloq.com
WorldMags.net
MOVIE MAGIC
VFX and the studios
that produce them
are the new stars
of Hollywood.
Computer Graphics
Masters presents
projects where art
meets technology
PART 2: BROADCAST
PART 3: COMMERCIALS
www.creativebloq.com/HP-NVIDIA-book
WorldMags.net
3D WORLD Christmas 2014
53
www.3dworld.creativebloq.com
TV GRAPHICS
Explore the state of
the art in broadcast
graphics, from
virtual sets to realtime infographics
FEATURE
The Boxtrolls 3D printing tips
WorldMags.net
AUTHOR PROFILE
Barbara
Robertson
Barbara is an awardwinning journalist
specialising in visual
effects, computer
graphics, and
animation. Shes
based in the San
Francisco Bay Area.
@barbarobertson
BRIAN MCLEAN
Brian McLean is director of
Rapid Prototype, at Laika
Entertainment where he
has been instrumental in
the development of 3D
printer technology for facial
animation at the studio.
www.laika.com
WorldMags.net
3D WORLD Christmas 2014
54
3dworld.creativebloq.com
WorldMags.net
SCAN A MAQUETTE
We start with a clay sculpt, a maquette and
do a high-resolution scan. We want to pick
up every detail, all the hand and tool marks.
Then we print it. The 3D printers often soften
things. If you tried to print a square, it might
come out with slightly rounded edges.
Boxtrolls, Laikas
third animated
feature has earned
rave reviews
[ Film title ]
BOXTROLLS
[ Software ]
Maya, ZBrush, Topogun, Mari, Photoshop
[ Website ]
www.laika.com
WorldMags.net
3D WORLD Christmas 2014
55
3dworld.creativebloq.com
FEATURE
The Boxtrolls 3D printing tips
WorldMags.net
WorldMags.net
3D WORLD Christmas 2014
56
3dworld.creativebloq.com
WorldMags.net
BUILD EXPRESSIONS IN
CG AND PRINT THE PARTS
WorldMags.net
3D WORLD Christmas 2014
57
3dworld.creativebloq.com
WorldMags.net
WorldMags.net
WorldMags.net
CONTENTS
TUTORIALS
Practical tips and tutorials from pro
artists to improve your CG skills
IN THE
VAULT
www.creativebloq.com/vault/3dw189
68 GAME ENVIRONMENT
70 FLUID SIMULATION
Learn to create vehicle renders with artistic impact, with car lover Amir Erfani
WorldMags.net
3D WORLD Christmas 2014
59
www.youtube.com/3dworld
TUTORIALS
Render your own Lamborghini
WorldMags.net
RENDER AN EXOTIC
LAMBORGHINI
Follow Amir Erfanis guide to lighting and rendering to
create a dramatic illustration of a Lamborghini Reventon
ARTIST PROFILE
Amir Erfani
Amir is a 3D artist
with a passion for
automotive design.
He enjoys creating
art with a gamestyle look to it
www.amirhosseinerfani.com
EXPERT TIP
Power it up
Find the power angle and
best material and lighting
setup for your car. Theres
no formula for vehicle
rendering: what works for
one car is not necessarily
best for another.
COMPOSITION: This simple top view of a Ferrari will
look incorrect if we choose the wrong aspect ratio
1 BASICS OF COMPOSITION
TOPICS COVERED
Materials
Lighting
Rendering
Post-production
WorldMags.net
3D WORLD Christmas 2014
60
www.youtube.com/3dworld
WorldMags.net
WorldMags.net
3D WORLD Christmas 2014
61
www.youtube.com/3dworld
COMPOSITION CHOICES
I chose a back view and
left the top and bottom
parts of the image empty
because I knew text had
to be added around them
TUTORIALS
Render your own Lamborghini
WorldMags.net
SETTING UP LIGHTS
You might want to create
your materials rst, but I
prefer to set up my lights
before continuing. It can
save a lot of render time
2 LIGHTING SETUP
5 ADDING MATERIALS
EASY ENVIRONMENTS
Placing your sports
car in a photograph
If you need to present your
vehicle in a nice way but dont
have time to create a complete
3D environment, its a good
idea to put your vehicle in
an actual photo. This has the
advantage that theres no need
to model anything but your car,
but you have to make sure your
car matches with the image.
Perspective, materials, the
type and direction of the lights
you use, and the interaction
between the 3D model and
the photo the reections and
shadows must all be considered.
If you dont have an HDR image
for the background photo, I
suggest using the whole image
as a texture in the cars diffuse
channel and blending the result
into the surface in Photoshop.
This might sound a little weird,
but trust me: doing this has
saved me a couple of times
when I have been out of HDRIs
and backplates.
PERSONAL PREFERENCE
Which passes you render
depends on your personal
workow. You should
render only as many passes
as you need to create
the nal image
WorldMags.net
3D WORLD Christmas 2014
62
www.youtube.com/3dworld
WorldMags.net
EXPERT TIP
7 PHOTOSHOP COMPOSITING
WorldMags.net
3D WORLD Christmas 2014
63
www.youtube.com/3dworld
TUTORIALS
Integrate photography and CG
WorldMags.net
HOW TO BLEND CG
AND PHOTOGRAPHY
Rafael Vallaperde creates a realistic render of a mermaid
and a diver by integrating CG with photography
O
ARTIST PROFILE
Rafael Vallaperde
Rafael is a CGI artist
and director at Lightfarm
Studios in Brazil. He
has experience in the
advertising industry
and enjoys creating
art by blending art and
photography together.
lightfarmstudios.com.br
FOLLOW
THE VIDEO
If you see the Play icon,
click the link!
FINDING YOUR
COMPOSITION
Theres no right or
wrong way to find your
composition, but to me
drawing is the best way
to get it right; it is a
good way to grab a lot of
expression, especially if
you sketch it quickly
TOPICS COVERED
Modelling
Shading
Photography
CGI integration
Retouching
1 THE CONCEPT
2 BLOCKING OUT
WorldMags.net
3D WORLD Christmas 2014
64
www.youtube.com/3dworld
WorldMags.net
MERMAIDS EXIST
Rafael has made the
unreal real by mixing
CG and photography
to create this scene
WorldMags.net
3D WORLD Christmas 2014
65
www.youtube.com/3dworld
TUTORIALS
Integrate photography and CG
WorldMags.net
SEAMLESS INTEGRATION
Make sure the angle and light
match; the angle above all,
otherwise it wont ever feel right
and you wont even know why
EXPERT TIP
Tweaking in
Marvelous Designer
In Marvelous Designer you
can tweak your cloth a lot
and when youre ready to
go, make sure you lower
the particle distance on
your fabric to something
quite low like 3 or 1: using
Marvelous Designer is
processor heavy.
EXPERT TIP
Masking is
your friend
When Polypainting
make sure you mask
a lot. The masking tab
has some very powerful
masking algorithms
such as cavity
and occlusion.
WorldMags.net
3D WORLD Christmas 2014
66
www.youtube.com/3dworld
WorldMags.net
EXPERT TIP
8 FINAL RENDERING
After the shoot, we analyse the shot from two
perspectives, camera matching as per angle and
distortion, and lighting matching. The tail is posed to
match up with the models waist at the correct angle.
The camera and lighting are adjusted to match the
picture. This scene is quite heavy to render, but
setting the render to progressive helped to get rid
of all the noise as Modo keeps ring samples until
you call it done.
WorldMags.net
3D WORLD Christmas 2014
67
www.youtube.com/3dworld
ON THE SHOOT
Photographing the model
Most people think this image
was created using a large
budget, because of the quality
of the render, but it was actually
a budget production. We
rented a divers training pool,
hired some lights, a model
and a photographer, and that
was it. Mark Carter was the
photographer on this shoot.
(I have to say a big thank you to
him. Thanks Mark!)
We did the lighting setup
to mimic the 3D environment.
The model on the shooting is
Natasha Johnstone, shes done a
wonderful job. (Again, massive
thanks to her too.)
During the session we found
that it is very hard to control the
movement/acting. So we had an
approach that is very common to
fashion shooting, do it a million
times and comp it all into a
single shot.
POST-PRODUCTION WORK
Good retouching can take you miles
ahead from where your raw render
is, adding lots of detail that would
be impossible or unpractical to
model. When dealing with images
Photoshop is unbeatable. Add
bubbles to increase the sense of
movement on the tail and to help
create the illusion of depth
TUTORIALS
Build a game environment
WorldMags.net
GAME ENVIRONMENT
PART 3: MATERIALS
Andrew Finch shows you how to deal with assets and materials
for this video game scene, in part three of our six-part series
L
ARTIST PROFILE
Andrew Finch
Andrew is a senior
environment and
lighting artist at
Codemasters Game
Studio in Birmingham.
He has been in the
industry professionally
for seven years.
www.andrewnch.
carbonmade.com
TOPICS COVERED
Importing assets
Creating new materials
Creating PBS materials
Applying materials to assets
WorldMags.net
3D WORLD Christmas 2014
68
www.youtube.com/3dworld
FOLLOW
THE VIDEO
If you see the Play icon,
click the link!
WorldMags.net
USING TEXTURE
SAMPLES
Hold down [T] with
texture selected in the
asset browser to drop
a texture sample node
into the material
1 IMPORTING ASSETS
3 ASSIGNING TEXTURES
EXPERT TIP
Applying new materials
If you want to see what a
new material looks like on
a particular mesh that is
already in the scene, drag
and drop the new material
from Content Browser
directly onto the static
mesh in the viewport and
Unreal will automatically
apply the material.
6 SETTING UP MESHES
WorldMags.net
3D WORLD Christmas 2014
69
www.youtube.com/3dworld
TUTORIALS
Fluid simulation
WorldMags.net
FOLLOW
THE VIDEO
If you see the Play icon,
click the link!
CREATE A STREAMING
FLUID SIMULATION
Vikrant J Dalal explains how to create quick and
successful uid simulations for different liquids
ARTIST PROFILE
Vikrant J Dalal
Vikrant has worked in
the VFX and graphic
design industry for
eight years. He has
started his own VFX
studio, Project01
Design Studio, which
provides VFX, graphic
design and tutorials.
www.project01studio.
blogspot.in
EXPERT TIP
Do your R&D
Play with parameters
and daemons so that
you will be able to
see how a variety
of liquid properties
act, for example,
honey possesses
different properties
to water.
TOPICS COVERED
Fluid simulation
Scene setup
1 EXPORT GEOMETRY
WorldMags.net
3D WORLD Christmas 2014
70
www.youtube.com/3dworld
WorldMags.net
4 CREATE A SPHERE
WorldMags.net
3D WORLD Christmas 2014
71
www.youtube.com/3dworld
GREEN GLOOP
Learn how to create
quick and successful
uid simulations for
different liquids
TUTORIALS
Fluid simulation
WorldMags.net
HITTING SIMULATE
The time it takes to
simulate will depend on your
machines conguration:
you may need to reduce the
Fluid resolution to get a lowspec system to simulate
WorldMags.net
3D WORLD Christmas 2014
72
www.youtube.com/3dworld
WorldMags.net
WorldMags.net
TUTORIALS
Animating abstract patterns
WorldMags.net
FOLLOW
THE VIDEO
If you see the Play icon,
click the link!
A
ARTIST PROFILE
Lee Griggs
ARTIST PROFILE
Pedro F Gmez
Lee is a technical
author at Solid
Angle where he tests
and documents the
Arnold renderer.
www.leegriggs.com
Pedro is a software
engineer at Solid
Angle. He assisted
Lee with his XGen
experitse in here.
www.pedrofe.com
TOPICS COVERED
Organic modelling
Using primitives
Lighting techniques
Creating depth of field
WorldMags.net
3D WORLD Christmas 2014
74
www.youtube.com/3dworld
WorldMags.net
XGEN DESCRIPTION
You may need to modify
the Size attribute so that
the primitive size ts
the scene
CLICK TO PLAY VIDEO
www.bit.ly/189-arnold
EXPERT TIP
Randomising
the primitives
After adding the archive
youll notice that the
primitives are randomly
scattered over the plane,
but with the same size
and orientation, so youll
have to randomise the
orientation to make
it look right.
WorldMags.net
3D WORLD Christmas 2014
75
www.youtube.com/3dworld
MODIFYING THE
LENGTH EXPRESSION
Use the Expression Editor
Click on the Expression icon to the
right of the Length slider control.
You should see the following
length expression text in the
Expression Editor:
$a=map(${DESC}/paintmaps/
length);#3dpaint,200.0.
$a
Add the following line in the
Expression Editor before the last
line:
$a = 2*$a + rand(0,0.75)
Now the primitives will have a
length ranging from 0 to 2, and an
additional random value between
0 and 0.75 will be added. Click on
Accept when you are done.
ADDING DOF
In the nal image a value of
65mm was used. Select the
camera and go to the Arnold
settings. Select Enable DOF
and choose a focus distance. In
order to add shallow DOF to the
camera, increase the aperature
size. Adjust this value according
to the size of your scene
WorldMags.net
TUTORIALS
Model a complex scene in Modo
MODEL A DETAILED
ENVIRONMENT
Daniel D'Avila reveals how to build a complex
3D environment using Modos powerful tools
he Egyptian universe is
a fascinating subject to
consider for a modelling
environment project. From its
fantastic architecture to its god
statues, the elements are a good
ARTIST PROFILE
starting point for a fresh image.
Daniel D'Avila
Daniel is a 2D and 3D In this project Ill be combining
illustrator based in
a pyramid scene with the
Sao Paulo in Brazil
excitement of a theme park. Well
with 16 years of
be using Modo and its powerful
advertising industry
native render engine to help us.
experience. He also
The possibilities that this scene
owns DAvila Studio.
offer are exciting, and we need
www.davilastudio.com to ensure we dont get carried
away at the start, so begin by
collecting good references. A
good understanding of not only
Egyptian culture and icons, but
also how rollercoasters and theme
parks work is needed to make this
piece successful.
In this tutorial well be covering
the use of references along
with key techniques in Modo
and ZBrush to ensure that the
Egyptian theme park feels
authentic and accurate.
As well as showing how to
create the cutout of the park ride
to reveal the interior detail, its
important to focus on the realism
of the model, so well be exploring
ways to texture and light the
scene in Modo, and importantly
how to save time when modelling
TOPICS COVERED multiple objects like intricate brick
Scene modelling
work. With nothing left to add,
Render techniques lets buy a ticket to ride and start
Composition tips
the project!
For all the assets you need visit
Lighting & texture
creativebloq.com/vault/3dw189
Colour correction
WorldMags.net
3D WORLD Christmas 2014
76
www.youtube.com/3dworld
WorldMags.net
WorldMags.net
3D WORLD Christmas 2014
77
www.youtube.com/3dworld
WorldMags.net
TUTORIALS
Model a complex scene in Modo
4 SCULPTING IN ZBRUSH
WorldMags.net
3D WORLD Christmas 2014
78
www.youtube.com/3dworld
WorldMags.net
EXPERT TIP
Use ZBrush to model the Sphnyx. Start with a lowpoly model and focus on its basic silhouette and
shape, slowly increasing the geometry levels. Try
not to jump to a very dense mesh at once, but put
in as much detail as you can into each level. When
its done you can optimise with ZRemesher. Use
ZRemesher Guide brush to guide the polygon ow.
Draw the guides along the model and on edges you
want to sharpen. Open your UVs on UV Master.
EXPERT TIP
Using Bump maps
Normal and Bump
maps are great
friends of yours,
use them to avoid
unnecessary
modelling.
WorldMags.net
3D WORLD Christmas 2014
79
www.youtube.com/3dworld
WorldMags.net
TUTORIALS
Model a complex scene in Modo
TEXTURING
TIPS
13 COLOUR CORRECTIONS
Open all renders in Photoshop to start the postproduction renements and colour corrections. With
my shading passes and masks I can now apply the
sky and the sand dunes behind the pyramid. In this
case Surface ID a coloured mask will help you
to quickly and cleanly select each desired element
in the scene. To compliment the sandy tones in the
scene, I decide to create some elements in gold and
bronze-green to make the image more interesting.
14 FINAL ADJUSTMENTS
The nal touches include adding some extra details
like ame torches, smoke and sand. This creates
some bounce light coming from the torches ames
that adds texture and life to the walls. Clouds are
added one by one in the sky and the depth of eld
fog is controlled by a layer in Screen mode. The
last touch is a layer of black and white correction (in
Overlay Blend mode) that gives a subtle contrast to
the park. Then atten the image and youre done.
WorldMags.net
3D WORLD Christmas 2014
80
www.youtube.com/3dworld
WorldMags.net
ISSUE 190
NEXT MONTH
Master the mechanics of great game art
with our team of industry pros!
WorldMags.net
WorldMags.net
WorldMags.net
CONTENTS
DEVELOP
84 THEORY: RENDERING
92 DIGIMANIA
94 MARVELOUS DESIGNER 4
95 MSI WS60-2OJ
96 INTERPRO IPW-HWE
97 LG 21:9 ULTRAWIDE
98 MY INSPIRATION
Richard Edlund, the Oscar-winning engineer, recalls working in a galaxy far, far away
GET PUBLISHED
EMAIL YOUR CG ART TO
ian.dean@futurenet.com
WorldMags.net
3D WORLD Christmas 2014
83
twitter.com/3DWorldMag
WorldMags.net
DEVELOP
Theory
AUTHOR PROFILE
Denis Kozlov
Denis is a CG
generalist with 15
years experience in
the lm, TV, game,
advertising and
education industries.
He is currently
working in Prague
as a VFX supervisor.
www.kozlove.net
THEORY
TEXTURE
MAPPING
Procedural
3D textures
Three numbers or
UVW coordinates
are used for
volumetric
texturing, like
when applying
procedural
3D textures
The UVs
UV coordinates or texture
coordinates are used to map
texture along the polygon. For
each point of a three-dimensional
surface, texture coordinates are
nothing more but two numbers.
These numbers dene an exact
location of a point within a
The shader
Since raster images store nothing
but numbers (and often within
that very range of zero-to-one), the
WorldMags.net
3D WORLD Christmas 2014
84
twitter.com/3DWorldMag
A tile of texture
coordinates
represented as RGB
colours. Rendering
objects with this
texture and no
other shading
generates UVs
render element
WorldMags.net
RENDERING
THE SHADER
The Red and Green image channels of
this element are traditionally utilised
for storing U (horizontal) and V
(vertical) values respectively. The
Blue channel stays free and can be
used to encode some additional data
(like an objects mask or ambient
occlusion). The Red and Green values
display the exact UV values for each
pixel. And this in turn enables us
to map a texture after the render
is actually done.
An image textured
in compositing
using the UVs
render element
and the individual
objects masks
as discussed in
issue 186
Post-texturing power
In fact, much of the lighting can
be recreated in post as well from
additional elements like normals,
world position and z-depth. All
this, in turn, allows for creating
procedural scene templates in
compositing. As a basic example
of when you might use this,
imagine an animation of a book
with turning pages which needs
to be re-rendered with the new
textures every month.
A good compositing setup
using various render elements
would only need an actual 3D
scene to be rendered once, leaving
most of the other changes in
comp, which typically has more
interactivity and lower render
WorldMags.net
3D WORLD Christmas 2014
85
twitter.com/3DWorldMag
Lighting developed
for a previous
issues article solely
from the normals
AOV applied to the
same image as a
simple example of a
procedural shading
setup assembled
entirely in comp
WorldMags.net
DEVELOP
VFX insight
VFX INSIGHT
The technology
of Star Wars
Renee Dunlop reveals the technological prowess of Oscar-winning
legend Richard Edlund, one of the key engineers behind Star Wars
T
AUTHOR PROFILE
Renee Dunlop
Renee has over 20
years experience
working as a script
analyst, creative
and technical writer,
2D and 3D artist.
She is the editor of
Production Pipeline
Fundamentals for
Film and Games.
www.reneedunlop.com
PROFILE
Richard Edlund, ASC,
has won Oscars for
the VFX in Star Wars,
The Empire Strikes
Back, Raiders of the
Lost Ark, and Return
of the Jedi.
richardedlund.com
(Above) The
Millennium Falcon
is on a track
as its lowered,
simulating the
landing in the
Death Star. Richard
Edlund is left with
Doug Smith right
Building a reputation
Nothing gets done without
credibility, and in Hollywood,
its one of the hardest things to
establish. So there we were,
says Richard, a bunch of exhippies longish haired guys. I
dont even know if I was smoking
pot anymore at that time. We
all had great commercial reels;
John [Dykstra] had worked on
Silent Running and I had worked
on the Star Trek television show
and various movies. I set up Al
Whitlocks rst matte shot for a
movie that never went anywhere,
WorldMags.net
3D WORLD Christmas 2014
86
twitter.com/3DWorldMag
WorldMags.net
The Anderson
printer was
aquired for just
$14,000. On the
left is the aerial
projector, in the
middle, the main
projector and
the camera would
be mounted on
the right
RICHARD EDLUND
TM & 2014 LucasFilm LTD. All Rights Reserved
HOLLYWOOD
HISTORY
WorldMags.net
3D WORLD Christmas 2014
87
twitter.com/3DWorldMag
DEVELOP
VFX insight
WorldMags.net
A pick-up truck in
the parking lot was
used to capture
explosions on the
Death Star, using
the sun for the
key light
Lofty solutions
Dealing with the technology of
FX for Star Wars was interesting
because so much of it was
groundbreaking. Back in the 1970s
that could mean something as
simple as pulling a good matte.
John Dykstras idea was to shoot
everything with a front light/
back light, but Richard felt there
was a better solution. To shoot
the front light/back light, you
shoot the hero shot of the model
against black, and then you put
a white background behind the
model and then shoot a matte
pass. The problem with the matte
pass is that the blurred edges on
a back light matte are not going
to be anywhere near the same as
the blur on the hero pass, so your
mattes arent going to work. I said,
WorldMags.net
3D WORLD Christmas 2014
88
twitter.com/3DWorldMag
Richard Edlund
and Grant McCune
prepare to shoot
the sand crawler
by digging a hole
for the VistaVision
camera. The Death
Star, with a back
light that wouldnt
actually exist in
deep space
WorldMags.net
Richard Edlund met Joe Viskocil during Star Wars. Originally, the union
recommended Greg Auer, a Class 1 pyrotechnician. Grant McCune provided
a plastic 707 model for a test. The plastic was roughly a 32nd of an inch
thick, but Greg wanted to put a 12-inch length of primer cord inside the
same cord used by lumberjacks to take down trees. They would wrap it
around a 3 foot diameter tree trunk, says Richard, and it was so powerful
it would take the tree down with one charge. This cord travels at almost
the speed of light, and when it blows up its like the tree has been hit by
800 axes.
I talked him down to a piece about 5/8 -inch long. We were sitting behind
like a -inch Lexon glass, and I cranked my high-speed camera up to 144
frames per second. He triggered the blast, and boom, it goes off. The next
day in dailies, we viewed the model in centre frame and suddenly the screen
went black; the explosion was so powerful the model disappeared in less
than one frame.
Joes approach was a bit more conservative, but at the time he didnt
have a powder card. Since a Class 1 technician had to be on set, Greg was
hired, but the actual explosions fell to Joe. Joe and I worked out black
powder charges that were successful at 100fps, the maximum we could
shoot with the VistaVision high-speed camera. We shot most of the model
explosions in about two weeks and took a few more days for the Death Star
surface. Using black powder bombs and gasoline in moderate amounts, we
came up with some really nice explosions.
The shot used a high-speed VistaVision camera on a pipe rig mounted
in the back of a pickup truck. The camera weighed about 100 pounds and
though capable of handling 2,000 foot magazines, they used 1,000 foot
rolls of lm. As the truck sped by the Death Star model, it would hit an
electronic trigger, followed by an explosion a few milliseconds later. So
we got some pretty good explosions on the Death Star, by way of a pick-up
truck in our parking lot, using the sun for the key light.
On August 11, 2014, Joe passed away from complications of liver and
kidney failure. He came back for pyro shots in Battlestar Galactica and Ive
met with him a few times over the years. He was my buddy, a really good
guy. Rest in peace, says Richard.
WorldMags.net
3D WORLD Christmas 2014
89
twitter.com/3DWorldMag
DEVELOP
VFX insight
WorldMags.net
Space-age budgets
WorldMags.net
3D WORLD Christmas 2014
90
twitter.com/3DWorldMag
WorldMags.net
PRIZE DRAW
eallusion is a leader in
the development of 3D
cinematic animation
tools for consumers, students
and professionals. It provides
consumers with easy-to-use
avatar animation, facial
morphing and lip-sync solutions
for real-time 3D lmmaking,
HOW TO ENTER
In this prize draw, 3D World is offering you the chance to win one of four
product bundles of iClone Animation Pipeline, worth $499 each.
To enter, simply complete our online entry form at
www.futurecomps.co.uk/189_iclone.
Three lucky winners will be chosen at random after the
closing date of 31 December 2014. Terms and conditions apply: these
are available at the website: www.futureplc.com/competition-rules.
WorldMags.net
3D WORLD Christmas 2014
91
twitter.com/3DWorldMag
WorldMags.net
DEVELOP
Studio insight
STUDIO INSIGHT
Making rendering
child's play
Glasgow-based Digimania is busy reinventing how the CG
cartoon industry creates its content, says Steve Jarratt
AUTHOR PROFILE
Steve Jarratt
Ex-editor of 3D
World, Steve is a
freelance journalist
and CG artist with
an unhealthy plugin habit.
www.bit.ly/189-steve
BARRY
SHERIDAN
Barry is
RenderDigimanias
product director and
studio manager at
Bradley and Bee.
www.digimania.com
WorldMags.net
3D WORLD Christmas 2014
92
twitter.com/3DWorldMag
WorldMags.net
MARKET FORCES
Digimanias artists
create animations
to show off
RenderDms
strength and to
stress-test new
versions
No network rendering
ensued between Digimania, Red
Kite and animation studio Super
Umami. Storyboards were made
and reviewed, characters were
modelled and rigged, and we did
the bulk of the animation and
rendering using our software.
Fast results
Despite the app only being at
an alpha stage, the experiment
proved successful the entire
eleven-minute episode was
rendered in about three hours
on a medium-specced Dell PC.
Interestingly, the show is bookended by two sections rendered
with mental ray, in which the main
characters are seen in their play
room. They then enter the world
of a magical pop-up book, which
is the sequence generated using
RenderDm.
We had this nice comparison
where the same assets were going
down our pipeline and also down
a mental ray pipeline, says Barry.
To render a frame, mental ray
took 210 seconds we took a fth
of a second.
And while its clear that the
mental ray sections are of a higher
THE
FUTURE OF
RENDERDM
Digimania his no
shortage of ideas
As well as
incorporating
the Alembic le
format, it also
wants to support
OpenEXR and
OpenSubdiv. And
as for the next
game engine, Paul
Collimore suggests
that, Its more of
a question of do
we use somebody
elses engine, or
do we develop
our own.
ANIMATION
SYSTEM
To try out
Digimanias other
app, head to
www.muvizu.com.
You can pay 75
for Muvizu Play+,
or download
the free version
and then pay
to generate
animations using
in-app purchases.
With high-res
meshes and the
right textures and
lighting, youd
never guess this
was the output of
Unreal Engine 3
WorldMags.net
3D WORLD Christmas 2014
93
twitter.com/3DWorldMag
WorldMags.net
DEVELOP
Software review
SOFTWARE REVIEW
Marvelous Designer 4
PRICE Personal licence: $550 (about 344) | COMPANY Marvelous Designer | WEBSITE www.marvelousdesigner.com
I
AUTHOR PROFILE
Cirstyn
Bech-Yagher
Cirstyn is a freelance
CG artist and educator
with over a decade's
experience in 3D. Her
clients have ranged
from AMD to DAZ 3D
and Future plc.
northern-studios.com
A functional upgrade
Several other tweaks and
featurettes have been implemented
for easing the digital garment
creation workow: Basting and
Tacking enables you to test ts
before you nalise them, while
Layer Clone clones entire layers of
garment patterns, making padded
garment creation a snap. Multiple
Selection has now made it easier to
create rolled up sleeves and trousers
by allowing poly- or tri-selection
MAIN
FEATURES
QUADRANGULATE
Easing the
workow for
the ready-torender segment,
quadrangulate
turns tris
into quads
ONE-TO-MANY
SEWING
Easing the
workow on items
like waistbands,
cuffs and necks
WORKFLOW
ENHANCEMENTS
Small UI tweaks,
like Pattern
scaling, enhanced
copy/pasting
and arrangement
enhancements
show this is a
no-frills release.
LAYER COPYING
Layer copying
makes creating
padded garments
a snap
SYMMETRY &
SYMMETRY
MERGE
These muchrequested features
that signicantly
ease workow
have been added
WorldMags.net
3D WORLD Christmas 2014
94
twitter.com/3DWorldMag
WorldMags.net
HARDWARE REVIEW
MSI WS60-2OJ
PRICE 1,699 inc VAT | COMPANY MSI | WEBSITE www.msi.com
MAIN
FEATURES
Professional performance
Nvidia Optimus technology
switches between the two graphics
accelerators as required. The
graphics drive a 15.6in screen with
a 1,920 x 1,080 resolution.
Despite the svelte, relatively
light chassis, the WS60 still has
room for up to three hard drives,
although our sample was only
supplied with two. This took the
now traditional form of a SSD
for OS and applications, plus a
conventional hard disk for general
data storage. The SSD is a 128GB
Toshiba THNSNJ128G8NU,
which is a little meagre, but the
1TB Hitachi Travelstar 7K1000
7,200rpm hard disk should mean
you never have an issue with
running out of space. However,
there is no room for an optical
drive, so only a multi-format
memory card reader is available
for removable storage.
Rendering is excellent for a
laptop, with 7.02 in the CPU
portion of Maxon Cinebench R11.5,
and 648 in R15. The Cinebench
OpenGL results of 55.78 in R11.5
and 68.08 in R15 are excellent if not
desktop-beating. This is mirrored
by SPECviewerf 11 results of 64.48
in lightwave-01, 73.54 in maya-03,
and 47.46 in the SolidWorks sw-02
viewset. In the recently released
SPECviewerf 12, results are merely
good, with 17.37 in maya-04 and
40.52 in sw-03.
The WS60 acquits itself well in
all areas of 3D content creation.
AUTHOR PROFILE
James Morris
James has been writing
about technology for
two decades, focusing
on content creation
hardware and software.
He was editor of PC Pro
magazine for ve years.
www.tzero.co.uk
VERDICT
WorldMags.net
3D WORLD Christmas 2014
95
twitter.com/3DWorldMag
WorldMags.net
DEVELOP
Hardware review
HARDWARE REVIEW
InterPro IPW-HWE
PRICE 2,995 (ex VAT) | COMPANY InterPro | WEBSITE www.ipworkstations.com
T
AUTHOR PROFILE
James Morris
James Morris has
been writing about
technology for more
than two decades,
focusing on content
creation hardware
and software. He
was editor of PC
Pro magazine for
ve years.
www.tzero.co.uk
he frequency-enhanced
Intel Core i7 has become a
mainstay at the single-socket
end of the workstation market. But
the options have been stagnant for
a while. Now, with the release of
the eight-core version of the Intel
Haswell generation, theres a leap
in performance, and rst to show
us the potential is InterPro with its
IPW-HWE.
Currently, there is only one
eight-core Intel Core i7, the 5960X
Extreme. This runs at a nominal
3GHz, with a 3.5GHz Turbo mode.
However, InterPro has permanently
set the processor at 4.4GHz, and the
Corsair H80i CPU water cooling
system will easily cope with the
extra heat. As with all Core i7s,
the 5960X sports Intel hyperthreading, so its eight physical cores
are detected as 16 virtual ones, for
huge parallel processing potential
such as 3D rendering. InterPro has
partnered the top-end CPU with a
similarly meaty 64GB of 2,133MHz
memory, and this is another
technology rst as its DDR4 rather
A powerful performance
The IPW-HWE stormed through
the tests. The rendering results were
18.95 in Maxon Cinebench R11.5 and
1,696 in R15, with the former only a
third behind the fastest dual-socket
Xeon systems weve reviewed.
The OpenGL results of 129.08 in
Cinebench R11.5 and 188.23 in R15
are the highest we have seen by a
signicant margin. Highlights in
SPECviewperf 11 include 98.28 in
lightwave-01, 144.48 in maya-03,
and 81.81 in the SolidWorks sw-02
viewset, all of which are the fastest
weve recorded. In SPECviewperf
12, the IPW-HWE managed 54.3
in maya-04 and 95.95 in sw-03.
VERDICT
WorldMags.net
3D WORLD Christmas 2014
96
twitter.com/3DWorldMag
MAIN
FEATURES
WorldMags.net
HARDWARE REVIEW
MAIN
FEATURES
WorldMags.net
3D WORLD Christmas 2014
97
twitter.com/3DWorldMag
AUTHOR PROFILE
Paul Tysall
Freelance graphic designer
and illustrator, and former
magazine art editor, Paul
has extensive knowledge
of various professional
digital art tools from
hardware to software.
Between jobs hes
combining his design and
illustration with motion
graphics to broaden his
creative range.
studio_tysall.prosite.com
WorldMags.net
DEVELOP
My inspiration
MY INSPIRATION
Keith Self-Ballard
Art training manager at Blizzard Entertainment recounts working
on the Myst franchise and with memorable mentors
ARTIST PROFILE
Keith Self-Ballard
Keith is the art training
manager at Blizzard
Entertainment. Hes
a veteran artist of
the games industry,
who has worked on
a variety of PC and
console titles including
Myst III: Exile (PC)
and Saints Row.
www.eu.blizzard.com
WorldMags.net
3D WORLD Christmas 2014
98
twitter.com/3DWorldMag
At school Keith
was inspired by
the visuals in the
original video
game Myst. Later,
as a 3D artist, he
got to work on
Myst III: Exile
WorldMags.net
WorldMags.net
9000
9001
WorldMags.net
WorldMags.net