Tabla de contenidos para No. 103 en 3D Artist

“Downtown Life is the fifth image in my ‘Life’ series. This time I wanted to create a city that felt alive, from the big buildings to the dirty sidewalks, with characters going about their lives – doing mundane things such as going to work, to the dentist, or being a vigilante in a suit Benoit Regimbal, Downtown Life, 2016” Benoit Regimbal www.behance.net/benrc Benoit is co-founder and art director of MilkPresso and makes 3D illustrations Software 3ds Max, mental ray, Photoshop Work in progress… “VKK is a render from the model I sculpted at the 2016 ZBrush Summit sculpt-off. It was modelled in three hours using ZModeler and kitbash parts. I used the model with some changes to render some new images, including this one. It is a tribute to…

“The size and the design itself helped to focus on the pose and really helped the stylised look of the character” Guillaume Mollé Freelance senior character artist bit.ly/2iHu5U2 “It’s pretty rare in the freelance world,“ says Guillaume Mollé of being able to choose a witch as his subject for a render promoting the launch of Allegorithmic’s Substance Source library. To start with, Mollé modelled the head for the witch “since it’s really important in the final composition and for a character in general.“ He began with a sphere in ZBrush with DynaMesh on: “I have some base meshes for heads that I could have used, but I decided not to,“ he explains. “Existing topology tends to bind you to the technical side of 3D in the…

Our experts The best artists from around the world reveal specific CG techniques 3ds Max, V-Ray Patrick van Rooijen hecticelectriceindhoven.nl Patrick is a 3D artist with a passion for movies, games and comic books – Batman in particular! Reinier Reynhout  hecticelectriceindhoven.nl Reinier is a professional 3D artist with a long-standing passion for both photography and movies Houdini Thomas Hall bit.ly/2izrBGx Tom works at Escape Studios, one of Europe’s leading VFX, Animation and Game Art academies. NUKE Paul Champion www.behance.net/pchampion A trainer at Bournemouth NCCA, Paul splits his spare time between freelance and shopping for art. To illustrate the workflow of texturing and shading, we wanted to create a tutorial based around a helmet. We’re not big fans of creating UV maps, so we did it all in a procedural workflow…

The latest release of MARI is now available. Version 3.2 has an enhanced Node graph, improved Bake Point performance, connected mesh selection and reduced file sizes for OpenEXR. Users can now create and edit channels and layers using a visual Node graph that enables you to select and connect nodes directly. MARI’s Node graph has a left-to-right layout option called the Show Port List, intuitive navigation, configurable shortcuts, zoom-dependent level of detail and other welcome enhancements. MARI users can also benefit from a better performance as Bake Points free up space on your GPU with new non-destructive nodes. A Bake Point will change all upstream nodes, including procedurals, to a texture. If this texture becomes out of date as you work, you’ll be alerted and invited to update it. With…

The new version of PSD-Manager can allow for correctly reproduced beauty passes with a linear workflow in 8- or 16-bit PSDs thanks to a new adjustment layer that can match gamma corrections from 3ds Max. “[PSD-Manager] is designed so users just need a few clicks usually, but still have the flexibility if they need it. That is why users love it – they save so much time and provides them with an ease of mind for their creative decisions,” says creator Daniel Schmidt. PSD-Manager enables easy and flexible render element output for 3ds Max with hundreds of built-in presets. 3D Artist readers can get 15 per cent off until 21 February with the code PSD43DARTIST.…

01 Steampunk Gun by Pascal Deraed 3DA username Pascal Deraed Pascal Deraed says: “This was a really fun steampunk project with the purpose of studying advanced texturing. The entire scene was created and textured inside Blender Cycles and the lighting was achieved using Pro Lighting Studio from BlenderGuru.“ We say: This is a really intricately modelled and well-textured image by Pascal, and we’re big fans of the steampunk aesthetic. 02 Locomotive by Ruslan Anisimov 3DA username ars1024 Ruslan Anisimov says: “This is for my son, who is a big fan of the Chuggington children’s TV series. As a reference for my train I’ve chosen the amazing Soviet Locomotive 2-3-2V, which was built back in 1938.“ We say: The sense of motion in this scene is really tangible…

For over 25 years Fusion has been used to create visual effects on thousands of blockbuster films, TV shows and commercials. Fusion features an easy to use and powerful node based interface, a massive tool set, true 3D workspace and GPU accelerated performance all in a single application! Now with support for Linux, Fusion 8.2 is easier than ever to integrate into your existing VFX pipeline! Hollywood’s Secret Weapon Fusion has been used to create groundbreaking visual effects and motion graphics for Hollywood films such as The Martian, Thor and The Hunger Games, as well as on hit television shows like Orphan Black, Breaking Bad, Grimm and Battlestar Galactica! If you’ve ever gone to the movies or watched television, then you’ve seen Fusion in action! Work Faster with Nodes Fusion…

Image Engine seemed to burst onto the scene in 2009 almost out of nowhere with its visual effects for Neill Blomkamp’s District 9. The studio’s organic aliens helped garner that film an Oscar nomination, and began a multi-film collaboration with the director, with the equally impressive space visuals in Elysium and the titular robot in Chappie to follow. But Image Engine actually had its beginnings all the way back in 1995, working in design and television visual effects before branching out into film effects. Now it is one of the go-to full service VFX facilities, with experience on blockbusters such as Jurassic World, Independence Day: Resurgence and Fantastic Beasts And Where To Find Them, and the hit TV series Game Of Thrones. In 2015, Image Engine also merged with Cinesite,…

TIM BERGHOLZ Rhino Mech, 2016 Software 3ds Max 2017, Substance Painter 2, Photoshop, Marmoset Toolbag 3 Learn how to • Make a base blockout • Refine the silhouette • Use instances to save work and time • Create the low-poly model • Use different modifiers to achieve a high-poly model • Unwrap UVs • Bake support maps • Texture game-ready models in Substance Painter • Create wear and tear • Export textures to specific game engines • Render out your work in Marmoset Toolbag 3 Concept The mech is entirely my own creation and inspired by movies such as RoboCop and recent videogames such as Titanfall 2 or the latest Call Of Duty release Inspired by the recent battle mech trend in videogames such as Call Of Duty: Infinite Warfare…

This tutorial will be simulating a ship breaching through a body of water and splashing down, similar to a scene you might have seen in Miss Peregrine’s Home For Peculiar Children. It will run through a basic FLIP simulation, as well as secondary whitewater elements. We will run through a workflow of generating accurate collision geometry using VDB volumes, as well as optimising the simulation parameters. We will then cache the simulation to disk and use these cached volumes to simulate secondary whitewater elements foam and spray. We will look at a method for meshing the FLIP simulation to enable the simulation to be rendered, and finally generating Displacement maps to simulate an ocean surface. 01 Create FLIP Tank We will firstly use the FLIP Tank shelf tool, located in…

“One of the biggest changes with RenderMan 21 is the introduction of the new PxrSurface material” The new non-commercial RenderMan 21 brings many new and exciting features to artists, as well as continuing to improve upon some of its older features. It is clear that Pixar is looking towards the future with its latest release of RenderMan. It has now officially dropped the REYES rendering engine and is fully adopting the RIS path-tracing renderer. This change in direction means more focus will be directed towards developing a physically accurate ray-tracing engine. One the the biggest changes with RenderMan 21 is the introduction of the new PxrSurface material. This is where the bulk of the shading is done. PxrSurface is a production-ready übershader that provides artists with all the settings required…

DETAILING CONCEPTS The LB-378 motorcycle was an asset used in the short film Lostboy,directed by Ash Thorp and Anthony Scott Burns. The concept created by Ash did not contain a ton of detail but had a balance of shapes and form. I took some liberties with the silhouette to create the bike as you see it. As a bike rider myself, I’m interested in these machines. Patrick A Razo (Nino) ninosboombox.com Nino is a designer based in the LA area, working in concept art, costume design, fashion, illustration and graphic design Software MODO, KeyShot, Photoshop LB-378,LOSTBOY, 2015/6…

Appearing in dozens of commercials and campaigns, the eponymous mascot of The Famous Grouse adverts, Gilbert, has typically appeared as an animated creature with a white, clinical blank background. All this has changed, however, with Flaunt Production’s newest campaign. Working with the Leith Agency, Flaunt has created two adverts led by director Ben Craig and head of lighting Jon Neill that place Gilbert in his Highlands habitat. The two ads, ‘Perfectly Balanced’ and ‘Smooth’, embody Flaunt’s advertising portfolio in just 20 seconds each with their spectacular vistas, animation work and humour. You get a real sense of the charm thanks to the twinkle in Gilbert’s eye just before he winks at the camera. To re-create the environment that The Famous Grouse would be calling his home, Neill explains that Flaunt…

Dušan Ković Lead cinematic artist at Eipix Entertainment dusankovic.com A man packs up his life into bags and suitcases into a Beetle, and sets off on a new journey. One day he stumbles upon a beautiful sunset, and he can’t help but capture the moment with his old camera. This is Long Exposure, created by Dušan Ković for the Humster 3D Car Render Challenge 2016. It’s a tranquil scene, with Ković scouting for locations for his scene virtually on Google Earth, as he explains. “I had multiple interesting locations, but then I found Lake Bled, a beautiful lake in the northern part of Slovenia. There is a small island with a church in the middle of the lake, accessible only by boat. When I saw that, I got the…

Antoine Verney-Carron Student at ESMA artstation.com/artist/ antoineverneycarron Antoine Verney-Carron’s Dwarf Caiman used a combination of Maya, ZBrush, MARI, Photoshop and Arnold, with the modelling all done in Maya. To start, he gathered many photo references. “I knew that I would have to animate this model, so the topology was really important,“ he reveals. “I modelled the base mesh in Maya first so the topology and the overall proportions were pretty good before sculpting. I found this method convenient but I also could have done a DynaMesh in ZBrush, for example, and retopologised it later. “I did a quick setup on the base mesh to make sure that the topology was good enough for animation. If the topology of the base mesh was changed during the sculpt, I would still…

One of Image Engine’s most recent and complicated projects was David Yates’ Fantastic Beasts And Where To Find Them, a new entry into the Harry Potter universe.Here,the studio tackled several magical creatures, including a family of graphorns and a flying beast that likes to eat brains. Here’s a step-by-step look at how the studio modelled the graphorns. 01 Shoot the scene Newt Scamander (Eddie Redmayne) reveals the inside of his magically expanding suitcase to non-wizard Jacob Kowalski (Dan Fogler), which is home to scores of dangerous creatures. That includes the graphorns – horned, hump-back beasts with face tentacles. Redmayne and Fogler were filmed against a blue screen observing the animals. For some shots where Scamander touches it, he acted against a blue ‘stuffie’ in order to achieve the right kind…

Alex Figini Senior concept artist, BioWare bit.ly/2iHlOzm Who could imagine that just drawing for fun could lead to becoming a senior concept artist at a triple-A game studio? Well that’s exactly what happened to Alex Figini. Now based in Canada with over a decade’s experience, Figini is a concept artist originally hailing from London, England. His use of 3D for concepts has resulted in jaw-dropping, unique characters, but also a whole host of benefits to production workflow, “I’ve noticed the benefits in a production environment of creating concept sculpts as opposed to a 2D image. The application for the work goes far beyond what you can achieve with 2D. For instance, the models can be used to test in-game almost immediately, which is beneficial to many departments…

Tim Bergholz Tim started his career at Crytek in Germany. After moving to Canada and working for Ubisoft, he started his new job as senior weapons artist at Digital Extremes. In his spare time he writes comprehensive tutorials in which he shares his skills with others. Ultimate Weapon Tutorial, 2015 3ds Max, Substance Painter Tim’s most comprehensive tutorial so far, this was a 17-hour course that will teaches the full creation process of a triple-A first-person weapon without skipping any steps. Blade Tutorial, 2016 3ds Max, Substance Painter The kukri tutorial is Tim’s latest tutorial and, just like the grenade, it’s available as a free download on his website or free to watch on the ChamferZone YouTube channel. Ultimate Grenade Tutorial, 2015 3ds Max,…

Over the next 12 steps we will be compositing with the newly introduced Smart Vector toolset found in NUKEX 10. At the heart of the process are two new nodes: SmartVector and VectorDistort. The SmartVector node is designed to analyse movement in a shot and then automatically generate Motion Vectors, which can be used to distort patches and textures on complex moving surfaces. The VectorDistort node reads the rendered Motion Vectors and then applies warping to the source imagery. For really heavy scene files you can output ST-Maps for previews then hook up an ST-Map node to do the actual warp. The warping is reliant on both good Vectors from the SmartVector node and a good reference frame in the VectorDistort node. SmartVector provides an ideal solution for both day-to-day…

“The interface is still simple and easy to navigate, but it’s also a lot more fleshed out” We’ve been waiting for the third instalment in Marmoset’s Toolbag series for three years now, and we’re glad to say that it was well worth the wait. Toolbag 3 delivers highly requested features, such as animation support and global illumination, but also pleasant surprises like a baker and exporters linked to ArtStation, Unity and Unreal Engine. It’s clear from the start that Marmoset uses the predecessor as a foundation and mainly builds new features upon it. The renderer itself is more or less the same and while it’s still great, the visual impact can be disappointing when importing your first models. For us, it wasn’t until we imported a cellar project by Niclas…

“Details like the cameras, the burnout smoke and the scratches around the body I think contributed to make this Toyota GT86 look so realistic”Aldison Ymeraj, Third place This year’s Humster 3D Car Render Challenge resulted in yet another crop of incredible vehicle designs. Though stricter instructions were in place (works were only accepted if they were in a 3D environment), there were still 156 entries in the contest. 12 jury members were given the task to choose three winners: first place was won by Piotr Tatar for Nööburgring, second place was won by Lukasz Hoffmann for Inside The Inventor’s Barn and third place was won by Aldison Ymeraj for Toyota GT86 – Formula Drift. First place winner, Piotr Tatar, had always dreamed of driving a supercar on the most dangerous…

Chaos Group has revealed V-Ray 3.5 for 3ds Max’s latest features, with the production renderer now usable in the interactive production rendering mode. Other features include resumable rendering, which can enable V-Ray to continue with the previous render state even when interrupted. This is for backups or for completing fast preview renders. Adaptive Lights is a new method that helps with and accelerates scene renders with many light sources. AlSurface material is now available, and NVIDIA’s Material Definition Language is also supported. There is also now live VR rendering with the V-Ray GPU for HTC Vive and Oculus Rift. Default bit-depth for individual render elements can be set, too, for example, setting Diffuse to 16-bit and ZDepth to 32-bit.…