FREE! 500 cREdits FoR mattEpaint.com 3D WORLD mastER VR Use OcUlUs MediUM tO issue 228 scUlpt yOUr ideas 45 Christmas 2017 3dworld.creativebloq.com Christmas 2017 pages of training #228 set up lights iN uNreal eNgiNe ”No amouNt of teChNology is goiNg to save a bad story” – page 24 R mOtiOn gRaphics you using ReaLfLOW landm job get to grips with the kNife tool dREa g, AXIS , FREE! 6gb D-N e s from Top tip ore, and more t Frames ERcl ass mast oF REs ou d dER & VidE RcEs e n FEathE blE o e Rs sp Create r feathe ealistic rs usin the ha g ir engin e icaut g rick P Pier n w to i ho t yo u shows eatures in ce p cr create fast con r, Blende plus! F R om E t s sEcR c dREams 3dworld.Creativebloq.Com ElEcyteRxpi lore motion Territor f the future so graphic X-paRticlEs mattE painting substancE scan ISSUE 228 PRINTED IN THE UK £6.99 Get started with this all Use photo elements for Build custom substances, round particle plugin world building backdrops using your smart phone Editor’s wElcomE What’s hot this issue savE up TO 49% EDITOR’s When you sign up to a print subscription WELCOME – turn to page 26. This issue, get into VR Although not new, the resurgence in virtual reality is increasing and looks set to stay. We take a look at how it’s used as a narrative tool on page 18, then on page 48 you can learn how to create creatures within VR itself. We also give you top advice on landing your dream job, on page 28. Rob Redman, Editor
[email protected] spOTlIghT On OuR cOnTRIbuTORs Steve Jarratt Glen Southern Oscar Juárez Steve is a freelance journalist and CG Glen’s work covers everything from concept Oscar is an archviz specialist, creating artist, with an unhealthy addiction to art to motion graphics, and on page 48 in many apps, but has a keen interest 3D apps and plug-ins. Check out his you’ll find his tutorial on working in Oculus in Unreal. He shares some of his Octane Texture Pack review on page 96. Medium to create characters. secrets with us on page 80. www.blue-zoo.co.uk www.southerngfx.co.uk www.fibrha.com Pierrick Picaut Dhamindra Jeevan Mike Griggs Blender expert and 3D artist Pierrick Dhamindra’s artistic journey has lead Mike Griggs is a 3D and visual effects brings this month’s cover art, and the to an interest in art therapy; read his artist with vast experience across the tutorial to accompany it, which starts matte painting tutorial on page 42 industry. On page 72 he delves into the on page 34. based on a concept from his studies. knife tool. pieriko.artstation.com www.webmediology.com www.creativebloke.com EMaiL WEbSitE faCEbOOk tWittEr
[email protected] 3dworld.creativebloq.com www.facebook.com/3dworldmagazine @3DWorldMag 3D WorlD Christmas 2017 3 www.youtube.com/3dworld starting on page 8 FeatureS Exclusive behind-the-scenes access to the latest CG technology. Google ATAP director.Contents ISSUE 228 ChrIStmaS 2017 Free Pluralsight Unity Particle System Fundamentals course See page 92 ShowcaSe Discover the best new digital art from the CG community. about the innovative Google Spotlight Heed advice from a range of recruiters from top Stories and how they offer a new. unique way of telling an engaging narrative studios and find out how to land your dream 3D job 3D WorlD Christmas 2017 4 www. film VFX and video game art 18 vr: ChanGinG the story 28 Get your dream job in 3d We hear from Jan Pinkava.youtube.com/3dworld . designers of on-set interfaces. Images and videos from our Dick television series Electric Dreams tutorials and Q&A section 3D WorlD Christmas 2017 5 www.com/3dworld . about their exciting recent work on the Philip K. Pierrick Picaut guides Glen Southern gives us his tips for sculpting a us through creating this adorable bird image character in VR using the Oculus Medium software 76 your CG probLems soLved Pro artists solve your queries inSight 88 siGGraph asia Find out what’s in store at this year’s eastern CG conference reviewS 90 marveLous desiGner 7 How does this release fare? 93 Kitbash We discover if this model pack is as good as suggested 56 Create a LiQuid traiL aLonG a spLine Javier Santaella gives us a step-by-step guide to creating an image with a realistic flowing liquid trail along 94 Fusion 9 a spline using the RealFlow plugin for Cinema 4D Is it a worthwhile upgrade? 96 oCtane paCK inSight News and views from around the international CG industry We take a look to see how useful this material library is 97 pxL + dirt riG Does this grunge-making tool offer any use to C4D artists? regularS 26 subsCriptions Take advantage of the latest deals and offers 92 Free pLuraLsiGht Course Learn of Unity particles 84 sCreen dreams 98 Free downLoads We talk to Territory Studios. tutorialS Practical tips and tutorials from pro artists to improve your CG skills tutorialS 42 hiGh-res matte paintinG Discover a technical approach to digital matte painting 64 your smartphone is a materiaL sCanner Create 3D scanned materials with a DIY lightbox 72 basiCs: utiLise the KniFe Tips for using the knife tool 74 bootCamp: x-partiCLes Explore this Cinema 4D plugin 34 speed ConCeptinG 48 sCuLpt a CharaCter in virtuaL reaLity artiSt Q&a Using Blender’s sculpting tools.youtube. uk uK oRdeRLine & enquiRies 0344 848 2852 inteRnationaL +44 (0) 344 848 2852 editoR-in-chief Amy Hennessey onLine oRdeRs www. Oscar Juarez.redman@futurenet. E14 5HU matt. as far as we are aware. ISSN 1470-4382 We are committed to only using magazine paper which is derived from responsibly managed. transmitted or reproduced in any way without the prior written permission of the publisher. Mike Griggs. Bath BA1 1UA. neither Future nor its employees. correct at the time of going to press. Registered office: Quay House. Glen Southern .mathers@futurenet. Kate tim. Nikole Robinson. ciRcuLation Chris Eames.pyatt@futurenet. We assume all unsolicited material is for publication unless otherwise stated. This magazine is fully independent and not affiliated in any way with the companies mentioned herein.facebook. 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[email protected] editoRiaL diRectoR Paul Newman adVeRtising manageR Mike Pyatt aRt & design diRectoR Ross Andrews 01225 788204 michael. Issue 229 next contact us month 3d world magazine rob. The Ambury. If you submit material to us.com/3dworld . in any format published worldwide and on associated websites. inteRnationaL Licensing diRectoR Matt Ellis London. although every care is taken. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. We are not responsible for their contents or any other changes or updates to them. Tom May. bh2 6eZ @3dworldmag +44 (0) 1202 586200 Learn how to create editoRiaL editoR Rob Redman subscRiPtions emaiL enquiRies epic VR environments rob.redman@futurenet. Contact the International department to discuss partnership distRibuted by opportunities Marketforce. Pierrick Picaut. social media channels and associated products. 33 Richmond hill. Trevor Hogg. Future Publishing Limited (company number 2008885) is registered in England and Wales. stored. conforming to strict environmental and socioeconomic standards.co. agents. certified forestry and chlorine-free manufacture. The manufacturing paper mill holds full FSC (Forest Stewardship Council) certification and accreditation SubScribe today: www. Javier Santaella. Pietro Chiovaro. . com/3dworld .ShowcaSe ShowcaSe CG art to inspire The best digital art from the CG community 3D WorlD Christmas 2017 8 www.youtube. After bringing this into Maya.” www. Photoshop.” he explains. Maya. Substance Designer.artstation.” Elias explains of their mysterious ruins. The artist advises on the importance of pausing and stepping back when you feel that your work isn’t quite progressing as you had planned: “Whatever I am working on I keep in mind not to overdo pushing on if it seems it doesn’t work. Elias utilised a range of 3D software to create the various materials. and this image is only part of their larger project. “What I enjoyed most about this image is that I could have that feeling of immersion on a far-away and secluded environment to be explored. and if things need to be redone it’s okay. ZBrush.com/eliastsirides 3D WorlD Christmas 2017 9 www. “I love the process of gradually fleshing out something out of nothing in the proverbial blank canvas.com/3dworld .youtube. which were then grouped and textured in Substance Painter. I try to take a step back. Elias begins his work on a project by seeking out relevant references while listening to music of a similar mood to get him inspired. the individual rock pieces were sculpted in ZBrush. ShowcaSe CG art to inspire Mediterranean tower ruins aRTIST Elias Tsirides SoFTwaRe Unreal Engine 4. a square wall unit was built in a tileable manner. Substance Painter Environment artist Elias Tsirides has been dedicating his time to a Byzantine ruins environment creation over these past few months. Marmoset Toolbag. Substance Painter. He then used Photoshop for compositing. Photoshop Alvin works for a game company. including this ‘Creepy Doll’ project – making sure that the personality of the character comes through. Marvelous Designer.ShowcaSe CG art to inspire Creepy doll aRTIST Alvin Shih SoFTwaRe ZBrush. The same applies to the wrinkles of the clothing. so that the viewer can enjoy inferring and imagining the character’s story.com/shihalvin 3D WorlD Christmas 2017 10 www. Alvin states that “the biggest challenge was making hair and fur look convincing” – an important consideration for ensuring that the character and their details look realistic.com/3dworld .youtube. wool and cotton to make the cloth look convincing. I used some materials such as leather.artstation. He explains that he used Marvelous Designer to simulate the cloth. In Marvelous Designer. making 3D models for animation. painted the texture in Substance Painter and rendered the character in Marmoset Toolbag. “I am fascinated with all kinds of characters who have a charming story.” Alvin used ZBrush to create and pose the character. www.” This is also something he feels is very important when making his own unique characters. “I’ve always loved game and animation.” he states. which he states is a convenient piece of software that’s good for adding details to your work quickly and easily. “I used Marvelous Designer to simulate the cloth. . ShowcaSe CG art to inspire above and below aRTIST Matthew Trevelyan Johns SoFTwaRe A screenshot capture from Uncharted: The Lost Legacy by Naughty Dog, in virtual camera mode Matthew Johns has worked in the videogame industry for eight years. Now working as a texture and shader artist at Naughty Dog, Matthew Johns had the ability to capture this screenshot from the action-adventure videogame Uncharted: The Lost Legacy. Although the entire environment was created by a huge team, Matthew’s role was in the texturing and shaders. “The most notable technique that I used, that made the entire texturing process easier from my point of view, was the application of certain procedural shading options,” explains Matthew, talking about time-saving methods that were used in the creation of this environment. “For example, I employed heavy use of a slope blend technique to add details like grass, moss, lichen and erosion damage to the rocks. In simple terms, the shader is able to determine the slope value for a pixel and its relation to the world. With this type of control, I was able to instruct the shader to apply, say, grass to the top side of the rocks, moss and lichen just around the edges of the grass and the damage and erosion to the undersides. “From a composition point of view, I loved the idea of being able to show both the environment above and below the water line. To show that not only is there a beautiful world ready to be explored in full view, but that there is also another realm of possibility hidden just below the water’s surface.” www.artstation.com/trevelyan 3D WorlD Christmas 2017 12 www.youtube.com/3dworld ShowcaSe CG art to inspire 3D WorlD Christmas 2017 14 www.youtube.com/3dworld ShowcaSe CG art to inspire the observer aRTIST Julien Crochet SoFTwaRe 3ds Max.com/3dworld .” says 3D generalist Julien about lighting this unique image.youtube. V-Ray “I tried reproducing the mood of an early morning in Japan. I also used light coming from down the street to break the shadows.wixsite.” juliencrochet.com/portfolio 3D WorlD Christmas 2017 15 www. “So with artist Yoii’s character and rooftops as a focus point. I used a low sun to get soft shadows and also mostly diffuse reflections and a shallow depth of field to keep a smooth atmosphere. ” he advises. Reza used Marvelous Designer for the clothes. Photoshop Reza works full-time as a 3D character artist in Kuala Lumpur. Sometimes we just need to change the way that we are thinking.com/3dworld . Arnold. When creating this image.artstation. I'm thinking about all natural colours and lighting around us and how to make it in 3D software.ShowcaSe CG art to inspire silent aRTIST Reza Abedi SoFTwaRe Marvelous Designer. [The] real eye can capture details very quickly. Mari. and also freelances for game companies. he paid close attention to the details of the image. Reza says that “almost everything in this world inspires me. For instance. Malaysia. which he feels is the best software for simulating realistic clothing. Substance Painter. Maya. If you just go outside and look at around. if the human skin doesn't have as much detail as real skin.” www.youtube. stating that “photorealistic projects need lots of details and we need to pay attention to them. ZBrush. so when we are working on a realistic project we should always compare the details with real- world details. our eyes can recognise it as a CG object very quickly. you can find tons of references. when I'm walking I'm looking at everything. When it comes to looking for inspiration for his work. For further realism.com/rezaabedi 3D WorlD Christmas 2017 16 www. . . . in order for it to make sense. tHe iDeA in that direction. and carries on so that we can guarantee you presenting something that they want to watch. “You can have a ‘look at you’re a street magician or doing “VR OffeRS A SenSe trigger’ at a point where the action pauses until you’re actually looking street theatre you’re gathering the attention of the audience and then Of PReSenCe. Google ATAP director paying attention or distracted… theatre take quickly to VR because The Sonaria project was co-directed by Scot Stafford and animation studio Chromosphere.” explains Pinkava. That’s a challenge tHAt yOU’Re tRAnSPORteD have witnessed that important story event. 3D WorlD Christmas 2017 20 www. If you’re interested in telling a Technology can assist with the If you have a compelling idea that structured narrative you have to audience distraction factor so that is well-presented your audience is important story points are not going to pay attention.FEATURE VR: changing the story the business of making shows.” course. work harder to make sure that You try to cope with everybody’s Now your audience is inside the the audience gets the story you’re different ways of experiencing story world and what that means is trying to tell in the right sequence the space that they’re in.youtube. for any kind of filmmaker.com/3dworld . But of that they suddenly own the camera.” tO SOmeWHeRe elSe” “Then you can hope to structure more stories that make sense to the audience [whether] they are Storytelling in VR is more like a stage play than filmmaking. and also in VR. The beautiful world of Sonaria features a mix of creatures. the same old rules apply. It’s like if missed. and the story is made more immersive by being largely sound-driven. “It turns out that people from live Jan Pinkava. the idea that a question of. “Story movement. we put you in the audience. If you are given interesting exploration. “we’ve been evolving the developed a proprietary software and mixing 360 soundscapes in a way same storytelling concepts throughout. Google has of audio. “For our presenting a show in a space to an to touch things. “What you get is a presence meant much more and it authentic. resulting in technical innovation. “So for mobile.” notes Pinkava. “This viewer moving around the scene and We also have to constantly think about also includes tools to edit and control the story reacting properly to it. was our first show designed said. It is then you on a journey with the father sense of presence.” explains El Guerrab. Guerrab. we had to make it as close to playing a video as possible. on the other the new realities of AR and MR. We had to Spotlight on technology How GooGle innovates witH story always firmly in mind Filmmakers producing Google Spotlight showcase experiment for our audio animation.” able to look around and move a first-person perspective of being Google Spotlight Stories tend around a little bit. reverb and similar effects. that allows six degrees of freedom and will be moving the same way into end production of VR stories. “One look around. But from gaming. ‘Is that part of the and daughter for 20 years of their you’re transported to somewhere story or a game? When do those life. ‘What things crossover?’ Because it is a story we have you very much as a if you are part of a story? What if new kind of thing it challenges all third-person camera in a space and you are not just an observer but an of these categories. program that helps with the end-to. including but not limited 360 content for mobile. instant shutdown if you switch to something else. that means a whole passenger’s seat of this car and take thing that VR seems to offer is this other level of interactivity. which is the crux its interaction with the viewer. “This enabled us to shrink it to almost the size of a video codec. You can do everything different sense of when you are felt uncomfortable to be hovering that the experience suggests that in a VR situation. We evolved many of to artists and directors as creative Google Spotlight Stories technical our interactive tools to deal with the elements they can take advantage of. “But even then. pick things up and show Pearl. You expect to be able one.” states El Guerrab.” explains VR experience. with each format.” A rendering and animation engine was created because none of the off- the-shelf solutions provided the right amount of flexibility or performance. we have to work and edit non-linear stories starting from from the ground up as a room-scale hard on how to expose the possibilities animation clips or videos.com/3dworld . to stereo VR Along with producing plugins to: occlusion and real-time filtering and then room-scale VR. project lead Rachid El Guerrab. shift in this old 1980s sedan. Your sense of delivered in such a way that it feels perspective. FEATURE VR: changing the story they understand the business of you can do. audio engine. which allowed us to integrate into the YouTube app.” handle the high-detailed characters and of our R&D effort at Google. continuous non- linear streaming based on how you’re watching.” observes Pinkava. “Sonaria started as a technical 3D WorlD Christmas 2017 21 www. even though it’s a full real-time game. Son of Jaguar. we found that there then the experience has to be to be told from the third-person was too constraining.” The Sonaria and Son of Jaguar Stories carry on the tradition of each new title for Google Spotlight Stories. even a stylised above the gearshift. and many other similar challenges. This meant sub-second startup. People start you’re hovering above this stick actor in this story?’ That also comes having to push on the edge of that. and still downscale properly Stories need tools to support their technology.” notes El for Maya and Pro Tools. That Editor is a custom visual tool to create hand.youtube. from having a sense When is a game a story and when when you’re in virtual reality and of autonomy in a scene and actively is story a game? It makes it an 360 degrees of freedom and you’re doing something. creative visions and Google provides naturally we used various aspects of the “As GSS transitioned from interactive them with the technical expertise. In the mobile version of that else and it’s tempting to say. The how the same story plays out in all object-based or Ambisonic audio and show also pushed our rendering tech to these different outlets. you could feel that your being there to keep things short. We’re dealing with telling virtual reality stories.’ The idea is to do shorter format. What attention. face or just looking through the sense in so many different Pinkava. best put you in a seat of the car so that stories in this form it makes sense on.youtube. We’re constantly expanding the territory bit by rAchiD el GuerrAb. “From are] all kinds of problems we hadn’t day. “We something we don’t know how a new film-like format. in correlation to where the audio source is relative to the viewer. and has some new demand. As the perspective of putting you in a anticipated.” remarks Pinkava. ‘We’ve done one of long so it makes sense to think of a Sound has a major role to play in these before. the SCAle VR exPeRienCe” “The sonic landscape that you’re in is richly realistic and natural. we are doing is developing the tools Ambisonic binaural rendering and techniques and ideas of how “SOn Of JAGUAR WAS provides a true surround-sound environment. into shorter and shorter chunks. “We can’t rest on our window of the phone. GSS to where to look and what’s going bit of what kind of stories our 3D WorlD Christmas 2017 22 www.FEATURE VR: changing the story Justin Lin. Everyone’s time is cut challenge for full-on VR where you produced by Google be in that space and look around. the early say in filmmaking that sound is half to do each time. an alien in the remarks Pinkava. either in the way it looks or sounds.” Sounds are heard to tell stories in VR.” almost on the fly wherever you that authentic sense of space. technical project lead.com/3dworld . layered set of possibilities with and the Furious. and this is true again now. you can’t circumstances. vary when it comes to runtimes.” easy to get from beginning to end ways of music. a rational.” want to say. We can use it not only to inform you as way the story is structured or how interactive it is. which is a point to people are exploring how to present scene emotionally and guiding your push the technology forward. are able not just to look around but Spotlight Stories and depending on the quality of We want to present shows that are also move around the scene is to where a young the show and how compelling bite-size and can be experienced create sound designs that retain woman encounters it is maybe 20 minutes is great. sweet and with all of the other traditional octane action had a reason. That means it is days of cinema short films were the show but it’s more than half correspondingly difficult and [there the dominant form back in the in VR.” states Los Angeles. The next first live-action title with a VR headset on then you can distracted. Each show that we choose is slightly different DeSiGneD AS A ROOm. the you’re experiencing a show entirely lifestyle these days. You have a whole franchise The Fast Virtual reality experiences can without a huge investment of time. “If It fits better with our busy mobile sound that come into their own in directs Help. It’s a good idea to laurels and experience and don’t hold something to your face that try to go in that direction. sound is indispensable. “If you’re holding have time to be. A story that is “Every show we have published middle of downtown up a mobile phone board to your two to five minutes long makes has been new in some way. Everyone is surround sound with VR. but also put you in the scene known for high. ” states Stafford. and plastic tubing to capture swishes.” remarks Stafford.’” 3D WorlD Christmas 2017 23 www. • Mix between multiple sound fields who founded animation and design “Typically. between violins and viola.” recalls Scot Stafford. A day was spent based on gaze angle. “Towards the end of 2016 [GSS Scot Stafford technical project lead] Rachid El co-directed and Guerrab asked me to pitch an idea also composed for a show that was sound-driven the sound for from the start: an idea from within the project the internal team that would focus on pushing our audio tech forward. My second thought was. “I imagined a nearby Antarctic ice shelf separating the world of ‘above’ [wind. [In 6DoF viewers can get closer to things. (including a hydrophone). Ah. and encouraged him array. but for Sonaria I worlds above and below have totally to build every creature. This created ‘above’ or ‘below’ the ocean surface. to sound to embrace the shape’s 2D simplicity. ice cracking] and ‘below’ [immersive “tHe BeSt SOUnD CAme fROm An OlD seal song. we’d Scot Stafford. even if it didn’t work from a traditional a radial symmetry in the mix that. Feature VR: changing the story Spotlight on SounD How sound played a HuGe part in sHapinG sonaria’s narrative Ever since the release of Windy Day. I wanted this mix to focus through the ocean surface. “In order above is totally ‘dry. a water tank definitely the seal scene in the Underwater is highly reverberant. submerged darkness]. as • Trigger sounds of submerging CG animation standpoint. creative director of music and sound for Google Spotlight Stories chase a dozen creatures through as many acoustic environments.youtube. and look around and behind objects]. “The best sound came from crossing the threshold between above alone. we record non-diegetic according to camera position – the studio Chromosphere.com/3dworld . out wanted to arrange the ensemble in unique spatialised soundscapes. Unique achieved through a mixture of according to viewer orientation. Antarctic. speed of our head movement. all of swirls and bubbles that follow motion to create a convincing experience of which could be identified by sound on screen. using several boutique microphones “Our biggest challenge was • Move between acoustic zones. with cellos evenly distributed occluded sound sources. “Kevin wanted score in stereo. “I a circle around a double M/S mic • Roll off high frequencies of loved the idea. The release of Sonaria marks the co-directorial debut of Stafford who was also the composer and sound supervisor. the ability to move between these worlds just by sitting or standing. Pollen Music Group co-founder Scot Stafford has served as the creative director of music and sound for Google Spotlight Stories. krill crackling. ‘No way is this going to feel like a tech demo!’” A key inspiration was modular synth sounds of Weddell seals. always has an even or surfacing our heads as we break The sound design was primarily balance. In order to make the COnDOm AnD A yARD Of DUCt tAPe” experience more sound-driven. of this one shape.” reveals Stafford. audio features that allow us to: which intrigued co-director Kevin Dart what we do for film!” laughs Stafford. “My first thought was to focus on 6DoF sound. “And RUSSiAn COnDenSeR WRAPPeD in A most importantly. and world. so we sounds play at various volume levels Ambisonic sound fields and individual built specialised quad emitters that depending on the direction we sound objects for the environments turn each virtual speaker up and down approach the surface as well as the and creatures.” you rotate in 360. we built new shape in one of his earliest treatments a condom and a yard of duct tape. airy lightness. ocean spray. Stafford had drawn a teardrop an old Russian condenser wrapped in and below the ocean. “No amount who previously directed The Book challenge. Night). thing to take away from all of our creative director of sound. You’re going from scene to or medium.” observes Pinkava. It’s a fixed point in or Shine).” states Pinkava.” to be driving the technology. and better at it. “Jorge has a very Mexican something for a long period of save a bad story or undo a poorly story set in the world of lucha libre time you feel like you get better structured story.com/3dworld . I Patrick Osborne (Pearl). not Son of Jaguar by Jorge Gutierrez Each new show is a big the other way around. Mark Oftedal from Pixar days.FEATURE VR: changing the story The delivery of a special set of sunglasses results in Ella dampening everyone’s spirits whenever she puts them on in Rain or Shine directed by Felix Massie.” Stories need has an upcoming new title called into a game.youtube.” and exploration of how much we put their time. Justin which is an exploration of how far don’t think story is going away Lin (Help) and Felix Massie (Rain we can go with interactivity before any time soon. we as audiences still scene with a sound design that is taking full advantage of the space Google Spotlight Stories cover a range of around you in terms of the music. technology and VR storytelling as atmosphere.” • beautiful show called Sonaria feel that way in this process. energy and talent Along with working with can do with virtual reality sound. media. into a show to present us with Aardman Animation (Special There’s another one which I am something delightful and engaging Delivery). Mark Oftedal (Buggy working on with my old friend that usually has a beginning. the core of everything and if you “We also have some more internal “Because we keep pushing on the hold onto that you’ll be going in the experiments which includes a edges of what we can do it doesn’t right direction. It’s a rich experience want story. “Somehow if you do of amazing technology is going to of Life. end and a point to it. middle. Google Spotlight Stories something turns from being a story human experience. The story itself is Mexican wrestling. Whatever the technology glass. Shannon Tindle (On Ice). We want people who a conceptual form can support. from the Cardboard to mobile devices the sound effects and the sense of 3D WorlD Christmas 2017 24 www. It’s a fantasy journey develops it’s important for us all of various creatures in a stylised to hold on to what telling a story world that almost looks like stained really is. and this is that as this impressive and Kevin Dart’s Chromosphere in amazing technology is used and Los Angeles. The which is designed by Scot Stafford. 09 uSe yourSelf AS A ScAle You are in the scene you’re creating. Not only can you pick the model up and rotate it. relaxed workspace anywhere. just see if you can walk through! 10 combine wiTh TrADiTionAl ToolS Use your traditional 3D rendering packages for presentation of your VR sculpts. Quill and AnimVR. Some recommended tools are Oculus Medium. so use some of the tools you already know to make your work shine. overshadows an ice dancer’s debut 06 exPerimenT wiTh The move Tool in On Ice by Shannon Tindle. Feature VR: changing the story Pearl directed by Patrick Osborne enables audience members to sit inside a hatchback as a travelling musician and his daughter journey across the country over a 20-year period. 10 Tips FoR scUlpTing in VR workinG in vr comes witH many advantaGes and benefits. making the experience much more realistic. MasterpieceVR. so we can instantly show and explain our ideas to others visually and audibly. so Here are some key tips for really makinG tHe most of it 01STAy comforTAble when workinG Be sure to adjust the headset straps. 3D WorlD Christmas 2017 25 www. tilt it up and down and adjust the lens slider until the image is as clear as possible. 04 ProximiTy When sculpting you are in front of your model. For concepts it is an amazingly fast way to get your ideas down. there’s still no rendering solutions in VR. mouse or keyboard shortcuts. you have the full freedom of movement from your hands. but you can put it down and walk all around it.youtube. so make the most of it. 02 chAnGe The ScAle Remember that you can work on pieces that are tiny in your hands or a gigantic piece that dwarves you when you need extreme details. 07 Try ouT DifferenT SofTwAre Get to know different software options’ pros and cons. 03 ShAre your workSPAce With VR sculpting we are able to invite others into our workspace. 08 SPeeD uP your workflow Using hand controllers means no pen. Wondering if the door you’re making is tall enough? No problem. Compared to move tools in traditional 3D software. enabling you to build the scene with human scale in mind. As of now. An unwanted skating partner 05 TAke your work Anywhere It is quite liberating to simply put on a headset and work in a quiet. 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Get dream in your CoNTRIBuToRS Amy Smith, Head of Talent, Film, Framestore | Emma Audain, Recruitment, AXIS | Mario Aquaro, Head of Rigging, job AXIS | Sarah Tanner, Director of HR, Jellyfish Pictures | Natalie Tidey, Head of Talent Acquisition, Double Negative | Ian Kirby, Founder and Creative Director, The Sequence Group | Jon Neill, Head of Lighting and Compositing, AXIS | Bruce 3d Sutherland, Head of Animation, AXIS | Ewan Wright, Head of We spoke to recruiters at a Assets, AXIS | Dave Cook, CG Supervisor and Joint Head range of top studios to get of 3D, Jellyfish Pictures | Jorge Formigós, Generalist advice that will put you ahead TD at Double Negative | Milen Piskuliyski, Lead Texture Artist of the pack at Framestore Staff at work in the AXIS studios © aXis © milen piskuliyski Elf Archer, a project by Milen Piskuliyski, Lead Texture Artist at Framestore ou’ve got the talent searches. It’s good to state when careers fairs and industry events Above: A still from Y to land a top job in you’re available, too. so you can make contact in person, Halo: The Fall of 3D, but so do a lot of Studios post vacancies and and connect with talent acquisition Reach, an animated people. Sometimes details of events they are attending teams on LinkedIn. short produced by the deciding factor on LinkedIn and other social The Sequence Group in who gets the most exciting jobs media, so make sure you’re FIRST CoNTACT that’s part of Halo 5: isn’t what you can do, but how good following them. It’s also worth There are two key pieces of advice Guardians you are at telling people about it. keeping an eye on sites such as for putting your application This month, we grilled the very CreativeHeads, AnimatedJobs and together: it should be closely people who look at your showreel CG Meetup. tailored to both the studio and the and read your CV to find out what Framestore get just under half particular role in question, and you need to do to make a killer of their hires from their online you should try to find a way to application and get the job of your dreams. STARTING youR SEARCH “someone who works at a company you’re When it comes to finding opportunities, one thing is clear: interested in could get you in the door” you need to put a lot of effort into LinkedIn. Framestore, Jellyfish Amy Smith, head of talent, Framestore and Double Negative all mentioned it when asked how to find out about application process, around 20 per make yourself stand out. Natalie Right: The available roles, and Jellyfish said cent from referrals, and the rest at Double Negative recommends Sequence Group that most of their applications come through either in-person or online finding out interesting facts about Discussing work in from LinkedIn. Double Negative networking, so it’s vital that you the company you’re applying to, the video room told us that despite receiving a large work to expand your network and including them in your cover letter volume of direct applications, they keep in touch with the people you and explaining why you want to still often need to approach people already know. Studios regularly ask work for them in particular. This via LinkedIn if they are hiring in their employees for referrals, so will make you stand out from Far right: A still from high numbers, so you need to make just knowing someone who works the rest: “It shows us that you’ve a short produced by sure that your profile is up to date at a company you’re interested in done your research, and that your The Sequence Group so that recruiters can find you in could get you in the door. Go to the application is thoughtful,” she says. for Concord Pacific 3D WorlD Christmas 2017 30 www.youtube.com/3dworld underway quickly. X “Other common mistakes are sending the one that gives them just what I am very pushed for time – the us Dropbox or downloadable demo reels. Feature get your dream job in 3d danGer! don’t make these mistakes Time and again. CG Supervisor at not applying via our online application form. let your CV be “Generally. Recruitment.” Amy Smith.youtube. and if it’s password protected. Unless you’re just starting animation and a cover letter that X “If you provide us with a link to your out. the things that are relevant for photo-realistic work is unlikely to ensure this is included. make sure it’s quick to ever done on there – just include looking to make the move into more find your reel. so waTch ouT for ThaT! here are some oTher big no-nos: offensive content X “We quite regularly get questionable imagery and music with offensive lyrics. This is a single point of rejection for us. “clear. recruiTers see people making The same old gaffes. Axis a silly email address X “Have a credible email address. so get the action to speak to a recruiter uninvited!” Amy Smith. Framestore © the sequence group 3D WorlD Christmas 2017 31 www. don’t put everything you’ve doesn’t talk about why you are personal website.” Sarah Tanner.” Natalie Tidey. We will need to © Fall of reach. when I watch reels. The Top blunder was people forgeTTing To change The company name on Their cover leTTer. Head of this particular job. Talent Acquisition. the sequence group trust you with our clients’ work too!” Emma Audain. Head of Talent. Film. This should be a simple name-based email that can’t be mistyped easily. should even be tailoring your Jellyfish. It’s time-consuming.com/3dworld . but you says Dave Cook. Film. Director of HR. role. and your reel should reflect that. Studios don’t have time to and turning up at our reception and hoping showreel to the company and watch long reels. for example. something professional. put your best Head of Talent. Framestore. Jellyfish For your CV. specialises mostly in photo- focused” is the mantra to keep in real work. The recruiter be successful. they’re looking for. first ten seconds counts for a lot!” applying for every single job we have open. Be careful and sensible – this is a professional environment. Framestore breakinG an nda X “Never show work under NDA – always check you have permission.” says Amy. Double Negative is scanning a lot of CVs for key criteria and they’re busy – help MAKING A GREAT REEL causinG inconvenience them do their job. concise. “So a reel full of CG an inaccessible reel mind. Dave likes to see a wireframe and even a UV layout. no longer than two motion and demonstration of any but don’t lose sight of your real goal: at the offices of The minutes. provide an accompanying document describing what you did on the asset or in the shot. Jellyfish Picture’s art “[Do it] either in the reel itself by director Ross Burt providing turntables for models creating a character and showing the mesh. head of rigging goes into more detail. but Cook notes that it is also important to identify which elements of a shot you actually did: “This is especially true if you have shots from big © Jellyfish pictures shows that will be on quite a few folks’ reels. it gives the “Personally I don’t mind whether itself is easily accessible by putting person watching it an idea of your you have music or not. a secondary concern: “Watching a like what they see. the ability to synchronise structure should also be tailored which you should explain your role your reel with compelling music is to the company. prioritise that work. Sequence Group work to show. so it should be easy to think about how you’re going snappy because you’re trying to to share and work on any platform. “If you want to work on a talent beyond the content you’ve specific project style but you don’t MuSIC oN youR REEL created. “We see a lot of reels from certain schools/training programmes that look very.” BREAK IT DoWN “Always include a breakdown.” For models. keeping a skill they value in itself: “If you specialism. a breakdown of showreel that is well synchronised Right: Stills from a cut ruthlessly to keep the whole passes. If the cuts are too short and to look at it. 20 seconds. a good range of with the soundtrack sure is cool. The space for a text description in however. but I do care it on a streaming site such as potential and real aspirations. get someone what you can do. for rigging. very similar because everyone has worked on the same training pieces. or layering for Dennis and Gnasher in the lighting passes. but of the recruiters we spoke tricky judgement calls and put project where you can show to. that shows us you have at AXIS. have any work experience. clearly presenting your work”. Multiple The final consideration when rather than a showcase for your people from each studio are going selecting work for your reel is work. If that is you then it’s really worth thinking about how you could personalise these pieces and add your own twist to briefs you are given. . “It’s just frustrating!” contact details so it’s easy for Pictures working on worth thinking about the concept Mario of AXIS agreed that it is people to get in touch if they different elements of of ‘flair’. spend Music is a debate that comes up a When you’ve made all these time trying to build a personal lot. if the studio has a and what you have done.” The breakdown is vital for showing your working process. for you. to stand out from all the other work with the music then we can’t You should also put a simple Below: Production applicants whose work is high see what you’ve done.” says Amy. your reel together. make it.” says Amy of Framestore. If you still have a lot of animation interface. most said it wasn’t a priority. and that’s title card in the reel with your team at Jellyfish quality and fitting for the role.” if you have made a music video Vimeo or YouTube.” provide a separate breakdown that keep us watching beyond the first says Mario Aquaro. and for lighting. and how you achieved it. make separate videos Mario recommends adding For The Sequence Group.” says Ian Kirby. You can also look at working on a personal piece or two outside of school if you feel your reel could do with standing out more. that focus on different skills. showreel displayed thing short. and make sure the video a final production. or if this isn’t possible. an “Don’t worry about any clever else to look at it with fresh eyes incomplete work tells more than edits to music.” says Natalie of Double Negative. the text short and clear. You can can create a pulse to your work and “If you don’t have it.Feature get your dream job in 3d and most distinctive work first. Dennis and Gnasher. Sometimes. which interview. flow and movement. then a number of technical CG jobs feel comfortable and not nervous Getting your dream job is about will open up to you later down the line. of rhythm. teamwork achieving your goals. you’ll need to prepare the past. “Interviews in genuine interest in the company scene. THE INTERvIEW and initiative. work – such as FX and matte paintings onto recommends finding out what if you follow the advice we’ve laid plate photography – without the seams ever you can about the company’s out here and take care to avoid being visible to the audience. There are more opportunities to begin your career with an entry-level position as an environment artist.com/3dworld . and what the real-world lighting that surrounds us every or we shouldn’t or don’t care! All they like about working at the day. Once you challenge is in blending various stratums of Natalie from Double Negative have an opportunity in your sights. we yourself the best possible chance of colour. persistence and careful the work on your reel. Finally. technical and creative skill. and get out there and layer them into one final beautiful shot. you should have some “Really prepare carefully for questions ready to ask your liGhter how you want to present your work interviewers: all the recruiters Lighting artists do what you might to us and what you would like to mentioned this. The your way. Feature get your dream job in 3d Which role is riGht for you? Jon neill. sculpting. so spruce up your compositor approached things the way you LinkedIn. and able to really talk us through timing. riGGer/animator Riggers create the joints of a puppet. expect – they light – but that means far more say about each piece. lightning. keep in touch with your of all the departments before them and approached a challenge that came network. perhaps ask them about their and space to digital environments. 3D WorlD Christmas 2017 33 www.” Your company-fit is animators can then use to bend. how you would do something you’re interested in on social at the end of the process that take the work differently next time. Good luck! image composition. and asking careful consideration. environment artist This role requires a skilled artist with a broad background creating different types of assets using both hard surface and sculpted techniques. thoughtful questions. you. If you can grasp the complex physics of it means is that we want you to company. as well as the ability to troubleshoot technical problems. and so on.” attend industry events. bruce suTherland and ewan wrighT of aXis eXplain The main Job roles character artist You will be responsible for creating the main focus of any piece: the characters! You should have a thorough understanding of anatomy. It means working with highly complex this industry can be very informal. texturing and ©the sequence group shading. contort for three key things: talking in being assessed as well as your and direct movements. follow every company Compositors are the artistic maestros did. An ideal character artist is someone who can take a model from concept to fully realised CG character with realistic shading and grooming. how you media. so understanding of maths.” said Natalie. is a must. and the person who is interviewing render engines to give a sense of physicality which often catches people out.youtube. “At Dneg. so ensure that you and animators control the strings that move If your application and reel have have examples of how you have them. so don’t leave it out. why you preparation. real-world photography and value collaboration. you’ll give should have a robust understanding of important to them. replicating Informal doesn’t mean that you own experience at Dneg. while success as an demonstrating that you’re a good you need to give this some animator depends more on achieving a sense fit for the company. Compositors culture and what values are the common blunders. and the appropriate technical skill and knowledge of relevant software. Riggers need a solid detail about your work process. Rigging relates most directly to the done their job and got you an demonstrated these values in skeleton and musculature of a model. A thorough knowledge of modelling.” says Amy “Thoughtful questions demonstrate than simply adding fluorescent strip lights to a from Framestore. As Pierrick Picaut and I found this amazing original we’ll see in this tutorial. We had a DynaMesh in ZBrush without few free hours left and we started needing to update and remesh doodling some sculpts of birds.ly/vault-228-VR on the same model without the 3D WorlD Christmas 2017 34 www.ly/vault-228-vr Blender 2. get to the final post-production It enables you to sculpt without in Photoshop. Blender I'm a self-taught concept by Svetlana Bukanova. It’s like using one of my students.bit. We’ll also Foundation-certified thanks to Blender’s sculpting go over the hair system and how trainer and I produce tools and hair system.TuTorials Speed concepting Follow the video www.com/3dworld . Blender tutorials years Blender has become a We will spend some time lighting and courses. the project more fun.youtube. than seven hours. enables vertex painting. your model every time you get Author I felt pretty motivated about it stuck with polygon density.bit. which helps to make I'm also a Blender low for a 3D character output. Over the to cheat to rapidly create feathers.p2design. DownloAD your resources meaning that you can sculpt For all the assets you need go to broad details and very thin ones www. thinking about topology. competitive sculpting tool thanks and shading our scene and then www. which is pretty UV creation. enabling 3D artist and I now I achieved this artwork in less us to avoid painful retopology and work as a freelancer. Blender deals with heterogeneous mesh density. as Blender will generate geometry on the fly.7x | PhotoshoP Speed concepting Pierrick Picaut talks us through the process of how to rapidly visualise a bird character with Blender tools i made this project a while back need to average polygon density after a week of tutoring with on the whole mesh. Plus.eu to its dynamic topology system. TuTorials Speed concepting reAlism isn’t everything Picaut explains that there is no need to follow all the rules of the real world when it comes to lighting and shading when it comes to creating a very cartoonish character like this bird.youtube.com/3dworld . 3D WorlD Christmas 2017 35 www. reshape the Mirror Modifier and then the beak and draw the edge of the Subdivision Modifier. This makes it look less realistic. I can exit edit mode.youtube. despite it not I do a cartoonish character. but 03 shAPe the heAD I add a mirrored UV sphere and extrude inward some of the complicated to achieve such a result more appealing for my centre loops to create the iris and pulling clay in sculpt mode. eyelashes. pupil landmarks. but. final model. Using box modelling to create the base mesh. Note into sculpting mode and enable that the Detail Size option has dynamic topology using Subdivide changed in the latest Blender 05 3D WorlD Christmas 2017 36 www. This the mouth using the Crease and will provide me with a raw base standard brush. Using the detail level you will use if. as higher polygon generation while it was inverted in the previous version. I slightly increase mesh to start sculpting on. Relative Detail is distance eye dropper and click the area you (Ctrl+R) and remove the left half at all cost. To make based which I feel is really unnatural. apply landmark to work on. to be concerned about whether Whenever you're struggling to set eye on it. 04 refine ProPortions Using a very large Grab brush. I often put a bit of colour into the set landmarks such as the beak and eyes sockets.TuTorials Speed concepting 01 03 02 04 01 Block the BAse mesh I open the reference in the UV image editor and put it into cheat with reality When working on a Collapse mode and the Constant Detail option.com/3dworld . You can then easily figure out and set a Subdivision Modifier with need to have a pure much unnecessary geometry. In edit mode. It can be quite boost saturation and vibrance. Using simple extrusions is what happens in brush I rapidly adjust the base to be doubled. I keep the detail level as low as possible in this first stage. you want polygon density geometry. is very glossiness shader to proportion of the character. I cut the don't feel forced to you’re zooming in on your model the right detail value. Using handy to mix up large and thin parts of the body rapidly and set the basic shapes and gestures. the corner so I can always have an stylised character. to slightly revise proportion and lay down eyebrows. I can now sculpt around the eyes as I have a good 02 rough sculPting Once I have a decent base mesh. I go the detail level in this stage. I prefer to use Constant Detail as you don't need version and is now more intuitive. when proportions of my character and tried to nail the base shape of the character. for a level of 3 to get a very smooth white reflectivity. none of Subdivide Collapse mode will the current detail level of the clicked Modifier with clipping enabled the metallic shaders prevent you from generating too area. this the Grab brush and the Clay Strips example. want to work on. This will give you of it (X). I refine the general being my favourite method. (E) and Loop Cuts (Ctrl+R) I’ve real life. just use the base cube in half using Edge Loop respect shading rules or not. I’ve then added a Mirror things simple. This enables me to work with fur and feathers. so we won't smoothly with vertex painting and see any sculpted details here and avoid artefacts. I'm only concerned without losing details. this may result in fingers that look like sausages. I've then used a couple of decimate modifiers to 09 shADe the BoDy I create a new material for my character and load the cavity 09 3D WorlD Christmas 2017 37 www. I can easily change the gesture of the character without creating artefacts. I will also use this to get better colour transition 07 vertex PAinting Before I start vertex painting. 06 comPlete sculPting I can now increase Detail Size and sculpt details around the eyes 07 drastically reduce my polycount and the mouth. Whenever it comes to fingers or toes. and as my mesh density is still pretty low. 05 sculPt the feet I can now work on the feet. I always try to work with very exaggerated articulation 06 and tendons landmarks. I finally rework the general proportion with the Grab brush. I generate a first vertex polycount. Unfortunately. green and one blue as on the reference image and a fill light to avoid too-dark areas. one and brows area. In vertex paint this enables me to keep a decent mode (V).youtube. We often smooth our mesh while sculpting (holding Shift) and tend to get very rounded shapes. Having a strong base sculpt before sculpting keeps your fingers believable with correctly defined articulation. a more natural result. I set a rapid 4 position light set-up on the feathery parts of the body and switch back to the regular and harder brush to clean the eyes. Once I've finished colour layer using the Dirty Vertex creating these details I like to use option that will output me a black the Pinch brush to define hard and white cavity layer. TuTorials Speed concepting a Smooth Falloff. Even if our reference has very rounded fingers. I then create edges and refine detail features a new layer and start working with like wrinkles of the toes. You can disable dynamic topology when correcting curves in order to prevent vertices from 08 finish PAinting Using the Jitter and Spacing options of my brushes. The Pinch brush can be very painting palette available under handy for correcting curvature of your colour selector. With the Crease brush I dig some lines on the fingers and define claws. beak with a key light.com/3dworld . I've stored the colours nicely defined lines and a smooth I was using along the way using the 08 surface. I create collapsing and/or generating any variation in the painted colour to get unnecessary geometry. 2 rim light. large areas when used with a large brush size. painting my pinching with smoothing to get main colours. it's good to make them with this method as it will then be easier to adjust than trying to fix appearance problems. I then add flesh and smooth the entire thing. I ended up by the feet and face area as the with a mesh that had a 80% lower rest of the body will be covered density. I'm mixing the standard brush. so we will use fur instead and cheat a little later on.18 and 2.com/3dworld . I was creating and distributing real able to control the noise influence feathers on the body as this can be by creating masks using a separate very complicated when you want RGB node on my base colour to achieve a good result. I paint a mask before going into comb mode if you using a new vertex colour layer. Using a colour the character. Be aware that as soon node controlled with a colour as you start combing you won't ramp.youtube. 12 To achieve more variation in the colour I've overlayed a generated noise texture and revised my vertex 12 first lAyer of fur/feAthers When I started this project I knew colour painting. Note that you can then modified the Fresnel effect now load your vertex colour layer using the colour ramp to get a using Vertex Color nodes which doubled line on the very edge of make it more handy. Weight assigned to the enables me to drive a RGB Curves group will tell Blender where to node and mix it with the base generate strands from our first colour to make outward-pointing particle system. It's very coupled with a colour ramp. base colour using a Mix Color node. setting the length to 0. 11 ADD reflectivity I add a glossy shader and mix 2 roughness values using a Fresnel 13 comB AnD shAPe hAirs I can now comb the hairs I've grown before. to have a lighter chunks of vertices from the group colour and give more depth to my using selection tools in edit mode. I can work on curvature and glossiness. I'll first remove big normals and edges. As I can't correct base hair system. cartoony character.000 strands. weight painting mode. As it drives contrast ramp. 10 imProve BAse colour I like to add a Fresnel effect on the colour whenever I work on a I first create a hair system in the Particle System tab. I've Attribute nodes. I character even with our simple can then work more precisely using 13 diffuse shader. You mask and set a new glossy shader can modify it using combing tools using the same method as the first but it's better to start with a fairly one to control roughness. I need to recover these options. I advise mask the beak and claws using a you to save a copy of your model generated mask. time consuming. it will really help the contrast and overlay it onto my character to pop out of the picture. I use the Fresnel I start isolating the fur creating node using the facing option and a vertex group that will drive fur colour ramp to control it. covering some of I would have to find a way to avoid the spots generated before. This density. 14 3D WorlD Christmas 2017 38 www. I just can now mix different glossiness brush the character to get a nice values using these masks on my flow with the Deflect Emitter set to character to get the beak and claws the default value.TuTorials Speed concepting 10 11 and vertex colour using a pair of more shiny than the other parts. I then isolate the toes using have acess to the hair system base a separate RGB node to generate a option like length and number. I’m using two Hair BSDF nodes. This isn't realistic at all Note that you can edit the hairs as a Info node and connect the Intercept but I often use this trick to keep mesh instead of using the combing output to a colour ramp.com/3dworld . one for reflection and the other for don't be shy and ask for permission. I've created a rapid UV of the iris by projecting it from the front view and edited it 17 finish the eyes As the pupil is a bit too small. simple diffuse shader. I can now tweak my concepts. enabling the iris colourful even when in the brush. I've also added a bit of blue tint on the middle ring of 18 moDel the feAthers As I'm lazy. give a message to the artist and ask if I can use it. for inspiration and in Photoshop. shader before the Add shader to iris using a gradient texture to hairs are growing along the side of reduce the reflection influence. I the hair shaders react correctly. Most of them will be colour. smoothing everything out good concept artist. instead. I can then slightly brush 16 18 3D WorlD Christmas 2017 39 www.youtube. I finally added a then generate children strands with the interpolated option to give the fur way more density. I figured that I can system to use this material. I create a shape key that will enable we easily achieve a nice feather. I then create a hair transmission. TuTorials Speed concepting 15 17 This is a cool feature that will Don’t be shy with the Fresnel to also increase the eye mesh with a transparent shader prevent hairs from pointing inward You should spend contrast based on Fresnel effect. This way. I source you do so and know and resized the whole map so that it use a hair system on a basic shape the vertex colour and really increase that they are inspiring correctly fits the UVs. I use a generated me to change pupil size based on like fur system. So I just extrude a simple its brightness with a curve so that at least one person. so filters and then distort it to make way (as with Blend Shapes in Maya). I'm not a fibre texture in the miscellaneous the geometry in a non-destructive combing. I just send dot and then worked on my iris 14 shADe the hAirs It’s now time to add a new material slot to our character. You can now edit I can then add these on top of a to make sure the eyes are bright the hair strands in combing mode. happens when we play with the clumping option and testing the clump (0. I use the Hair and visible. I painted the pupil with a black using a Mirror Modifier. I don't want to model feathers. I just enable the control point me to add contrast from the root shadow. output a slightly emissive shader the feather root. mixed with a glossy shader to add and creating awful artefacts.18) and whatever art forums and galleries you can find to search procedurally. unwrap them and it a relevant name and tell our hair more than happy to let the iris to make it more interesting paint maps. I use an Add node to Fresnel effect. concept I would like to iris. make in 3D. So cube and make some Loop Cuts. I can some of your free overall reflectivity. Behance 15 colour the eyes As I couldn't succeed in generating the eye texture very light and sharp glossy shader to get crisp reflections. I've also generated system and set the vertex group to mix them together and use a mix a mask for the middle ring of the drive density and length. I then play then added a UV sphere around my flat profile. masking it and playing with an orangy colour. Again the goal here is not selection and size them on the Z to the tip of each strands by mixing to be realistic but to be efficient. and adding some strands manually whenever I find a cool it stretch towards the inside of the I can now update the right eyes here and there to avoid holes. Magic time exploring websites such as ArtStation.75) and profile factor (-0. 16 shADe the eyes I mix a basic diffuse BSDF with a glossy shader using our stylised create a vertex group assigning only the vertices on the centre line of the feather root. I axis to nearly zero so that they get a it with the base colour. youtube. I then directly input the Finally. I will use a tileable texture not necessary. transparent face of leaves in nature.600 x 1. Clay Strips and Crease brush to achieve this. I then distribute them using a hair system on the branch size to 200% on a base of 1. glossy direct and don't need to go crazy with bump basic shader. I can now slightly rotate the head towards the camera.080. AO. With a very light white brush I can reveal and increase a little rim lighting and reflection. mixing a simple diffuse with a transparent side facing the sun is generally more reflective. I then create a vertex group that will enable us to distribute small leaf particles to create the foam lichen. You can access all sculpting brushes 19 DistriBute the feAthers I can now shape my feather root in edit mode and put by using the number keys of your keyboard. 21 20 creAte the BrAnch This a straightforward step where we just need to roughly sculpt our branch with dynamic topology. I download 22 a texture from textures. emission) and create a File Output precision at this detail level. Hit the render button and load all the passes in Photoshop using only one of the faces of the feather how the overall image looks and Files>Scripts and load multiple using the Backfacing node.com/3dworld . I also check what is viewable by the camera so that I won't have to sculpt whatever won't be seen. I use the same shader as for selection the body feathers. I've used a jungle picture taken from the internet and blurred it a lot to create the background.TuTorials Speed concepting the top of it to get a better feather Brush rapid shape. I set the basic mesh to create a leaf. flatten it. use the high pass on one copy and overlay it to get a crisper and sharper picture. feathers to the head bone. And we're finished!.2. I then make some colour corrections. you could go with texture in a Bump node as we on the branch and rapidly set a combined. I just parent my shortcuts for your base mesh using automatic weight favourite brush that and then also parent the head will help you save time. I'm using the standard. I then set the Glossy Direct and Transmission pass to Screen or Add and set a black mask on it. I also try it for a while and add a two-bone rig just to be able you'll rapidly know to rotate the head. Shift+2… Just head. 1. This will fix some problems with the vertex image in the same document. 19 20 3D WorlD Christmas 2017 40 www. pushed the rendering 21 shADe the BrAnch I first shade the leaf. the wings and the tail. I then combine the pictures using AO in overlay mode to increase contrast. In the Render Layers tab I select a lot of render passes shader using texture alpha as a with some randomness. I then node in the node editor to save all mix it with a glossy shader using Fresnel as usual. scattering effect we see on the back sampling level to 600. to be outputted (which is really factor. while the background.com and rapidly model and project a very enable us to mimic the subsurface colour under the eyes. The little plus here is to add a translucent shader on 22 renDer AnD Post- ProDuction I launch a test render to check these passes as transparent PNGs. create a vignette and duplicate the whole picture.3… and also duplicated feathers among the Shift+1. there are dozens of Future bookazines to suit all tastes .Discover another of our great bookazines From science and history to technology and crafts. Use code 3DWORLD17 for 500 fRee cReDits at mattepaint.com . com/3dworld . middle ground to the background provided) in order to create their This particular piece is based later on as the project unfolds.bit. explores the paradox/parody of • Foreground stairs for a 3D transformation (www. These the highest resolution possible will explore the main tools and images are usually then projected in order to exchange and move techniques I use. since I will be of enabling the viewer to use their software packages such as Maya changing the elements in the own concept/images (or the ones or composited together in Nuke. I more of those homes. 3D WorlD Christmas 2017 43 www.com Dhamindra Jeevan My artistic journey stemmed from a passion for comic books as a kid.ly/vault-228-vr photoshop cc | accoUnt with mattepaint. rich. DOWnLOaD yOuR ResOuRces and was created to be used as • Middle ground field area that For all the assets you need go to part of an interactive journaling looks inviting.jeevan11. entheogens. an The only elements that were The video included goes online journal and thesis that needed to sustain the story were: through the entire process.com t he approach that was taken some of the insights gained from • A background element with with this piece of artwork entheogenic experiences. TuTorials High-resolution matte painting follow the video www. used in the VFX industry for wanted to explore the concept in This step-by-step tutorial digital matte paintings. peaceful and www. my website). It relates specifically to be released on the final version on the transition between mentors.com HigH-resolution matte painting In this tutorial we will explore a technical approach to creating a digital matte painting using high-quality photo references from mattepaint. with the hopes as layers onto 3D geometry in elements around. around a personal project.hanuman11. rice fields and is based on techniques In this particular vision. authOR www.ly/vault-228-VR experience in the hopes of sharing holds a futuristic-looking home. a 11+ year career in the film and visual effects industry and has now grown into a pursuit into the fascinating fields of art therapy. transpersonal psychotherapy and family systems. large mountains.youtube. own version.bit. character to be placed on (that will com). just because of that side the mask if needed. non-destructive I used mattepaint. I also have most working from background (sky) to definitely recommended. a hard solid brush (in this case I use I will often use this tool over the 02 WacOm tabLet pROpeRties anD phOtOshOp settings the chalk brush) to help blocking in more tricky areas.com/3dworld .TuTorials High-resolution matte painting 01 set up fiLes.470px. down.com because foreground lead us down to a dark Sketches were created to establish workflow I needed many perspectives and area that is then contrasted with the main elements. ‘undo/redo’ and ‘alt’ for the 04 cReate fLOW/ LeaD the eye 06 tRansfORm (DistORtiOn) tOOL The Transform tool within the colour picker and other tools that I The main idea with this image is Camera Raw Filter is extremely use often. for the next house further in the myself to drive the image. selected layers just because I find to stay connected to my original vision. background. and hit the ‘add mask’ button at the grading and setting up a high- This will help to view this in black bottom of the Layer panel to quickly quality baseline for the pictures or white. We thumbnail screenshots of mountain of different elements is resolution and also full exposure. I then have a walkway that leads us regions were used to paint in always easier when all started by grabbing thumbnails and into another house. the Camera Raw layer. Alt-clicking between both selections of areas that I want to use Filter in Photoshop is excellent for layers clips this onto the line work.000px x 6. This then leads us to of following the photography helps when re-using I move and rotate the main middle exit the image by the mountains that already exists. and a few The overall integration photographic elements at a high a bright element (the house). visual effects industry. This filter opens up another dialog A specific tool I like using is the and switch images around and copy box and takes a bit longer than Intuos3. instead or photo set. I also the image with the foreground interest. so it’s tablet properties. Using scale and perspective the stairs in the at 5. which is similar some values. add masks. This also Using the Move Tool (shortcut V). of the buttons programmed to foreground (closest to viewer). at 300dpi. ground image which will be the by blocking off the top corner of challenging enough to keep my such as the Camera largest part of the painting. keeps things the last filter (Ctrl+F). And so I use the Lasso Tool to grab large 05 cameRa RaW fiLteR When importing high-res RAW images. This way I can keep everything non-destructive basic adjustments simply because it has more flexibility and options. to lead viewers through the path useful to re-align distorted images 01 03 02 04 05 3D WorlD Christmas 2017 44 www. After getting thumbnails Raw Filter to grade all use the Show Bounding Box on my tree element. sketch anD pLan cOncept The document is created portrait use the least amount of sources in a 03 finDing high- ResOLutiOn cOntent/ bLOcking-in stage of the painting as they go through design elements.youtube. When creating my the sources are edited screenshots in order to block in the enough to have our eye searching own content. I find that allowing from the same photo perspective of the main element. perform certain functions. I then use this layer as a checker using an Invert adjustment it easier to quickly grab the corners and rotate/scale/transform. It is also a useful adjustments on-the-fly. like the ‘hand tool’ to move my document around. but the slider tab! I have those set to brush habit to put the main elements in results are more suited to high- size [bracket] and my Wacom set groups (shortcut Ctrl+G) and name quality pipelines such as in the to Force Proportions in the Wacom them to keep things organised. I tried a larger line sketch just elements evenly. It is also helpful to use before starting to cut and paint. Hue/ Saturation. Shifting the Purple Amount tends to overprocess the image action that creates a bunch of layers slider and the Green Amount slider and remove realism. In this case. For this I usually zoom into can be turned on and off are very useful… Filter capabilities. I use the Dehaze tool to bring back some clarity and 11 use custOm actiOns/tOOLs In order to streamline my workflow. After getting something solid. Color Balance.Hue/Saturation adjustment layers with masks generated by the automatic colour range selections One tool that I use often is the of Highlights/Midtones/Shadows. Stamp Tool using a custom brush. so I take full advantage of the Camera Raw and paste this into a new layer to use as a source. would be stamping in vegetation I use these different layers/masks using a scatter brush that emulates 10 the vegetation. I un-distorted states. Content-Aware Fill is also very useful (Shift+Backspace. I allow myself some to be renamed properly. I consequently use the Crop Tool (shortcut C) with the Delete Pixels button on (which It is important to follow light direction and luminosity as 08 Dehaze/basic expOsuRe I always start by lowering the always duplicate the layer before using it since it is destructive. exposure on elements that are work or lower the opacity of the the tools section). They are freedom to bring in a range in lights clipped in three categories: 09 and darks that would normally 1. I normally use: Curves.com/3dworld . TuTorials High-resolution matte painting 06 07 08 by drawing two axis lines that follow the verticals of the image. that have too much atmospheric and then bind them to keys on my then open the tool (Ctrl+Shift+A) perspective. You can see me as well as the tone blasted and playing with as many layer to blend it to the original. Photoshop does a really good job Let the sky dictate the lighting and use in the images. tool to be the most effective way of removing chromatic aberration in an image. 09 stamp using custOm bRushes anD cOntent-aWaRe fiLL 2. since it the 7:89min mark or vid 1) I use an tab. and Brightness/Contrast.youtube. I the most glaring part of the image vibrance in some of the images use actions that I have programmed (which is usually at the borders). houses and so on. and adjustment layers that are all usually gets rid of some of the since the matte painting won’t be clipped and put in a group ready chromatic aberration that we find hyper-realistic. I know that working with to be emulated.The adjustment layers that compete with each other. a grey sky will not the most balanced amount of all the areas of the image that need produce cool blue detail. Tip: doing this to several images to cut of the shadows (ex: of the sliders as I can to bring out you can use the Lasso Tool to select out excess data. 3D WorlD Christmas 2017 45 www. 3. and then mask out the parts that don’t you can find on the top panel of accurately as possible. I use this technique during the last phase of fine-tuning and when adding any tiny elements such as the trees on the very top of the large mountain in the background. In the video (at and go to the Lens Correction used sparingly though. and then copy-all 07 RemOve chROmatic abeRRatiOn I find using the Camera Raw Filter shadows). This tool should be Wacom or keyboard. 10 match cOLOR tOOL The Match Color tool can often be used to grade elements of bringing photos back to their visual checkers that need similar colour ranges. It can also be used 11 for clouds and trees in the far background.Visual checkers such as adjustment layers that 16-bit files will enable me to work with much more range. Adding this at the end of the image usually meshes everything back together. set to Content-Aware) to quickly patch unwanted elements such as wires.Copies of RGB channels that are The most common form of this pasted into masks. Once I feel like it colour correction folder that I leave matches or fits the desired look. I often put the values in RGB. Once I Tool/Magic Wand Tool to help with to clip the top one to the bottom have a mask that I am satisfied with. painting. I enables you to paint directly on the used this a lot to get selections of visible pixels. out quickly. There is only an overall values for light. Then.) actions file. They greatly reduce Darken/Lighten. I will often without having to extract or mask. menu from right-clicking. or lighting and use merge everything within the group. Darker Color/ file size instead of copying a layer Lighter Color. Midtones Quick Mask Mode.youtube. clicking on the Quick Mask icon. There is a lot more control in painting in the sections needed by using the Color Dodge and Burn tool after copying the channel that has the most contrast for the element that needs to be extracted. preferring dark/light values in the it to the Magic Wand Tool and the wrong areas. as well as a in the next step). and a tap of the shortcut X instead of using the drop-down Ctrl-clicking on the thumbnail of to switch between painting/erasing. and are integrating elements such as very useful for painting in shadows trees over a sky from another layer and light. destructive and also editable with before painting. I will often paint possible to keep things non- and Shadows that you must select in the areas with a brush that I want. grab the Rectangular Marquee 12 It should be noted that groups are Tool to select a box over the area I normally created in Pass Through want to adjust. There the channel loads up the selection Note that I have everything I want is also the option to use the that can then be used to create an selected painted in red by double. I have the shortcut ‘/’ unwanted wires and then used the mapped onto this and even have it Content-Aware tool to stamp them as a button on my Wacom. 13 3D WorlD Christmas 2017 46 www. what I need with a brush. are very useful for and making adjustments. I tend to use a Hue/ I also use the custom tools such Sat adjustment layer as an oval soft brush set to Color set all the way down Dodge and Burn to help me with to greyscale to check extracting masks (further explored my values. I will create a mode which allows any adjustment Curves adjustment layer which will layers that aren’t clipped onto a automatically put that box in the layer to affect any layers below and mask. I will prefer being able to paint with the to use custom brushes. and then go into these groups back to Normal mode the other colours and either add which keeps all effects contained cool values for shadows or warm within. Threshold adjustment layer to see if I have an 14 15 12 extRact channeLs With I often use channels to extract out accurate ‘explosion’ of light coming through the image with no sky and other elements.TuTorials High-resolution matte painting interchangeably to get the desired Let the sky effect and often either delete the dictate the rest of the unwanted layers. This is because the Color Dodge/ Burn tools have their own automatic 13 use quick masks fOR seLectiOns Using the shortcut Q and entering 15 cLipping LayeRs/ tRanspaRency LOck I use clipping layers as much as ranges of Highlights. but I personally What is great about this is the ability blending modes and opacity. the Lasso often Alt-Click in-between layers Wacom pressure sensitivity. I also use tool presets such as soft 16 brushes set to Color Dodge or Burn if I need more harsh painting. To do this. like. I then proceed to lower/raise outside of the group. I in Pass Through mode for the final then delete the mask and paint in colour corrections and FX. 14 bLenDing mODes fOR LayeRs anD gROups 16 aDJustment LayeRs Adjustment layers are almost mandatory for non-destructive and Some blending modes such as efficient work. transparency lock on the layer which automatic mask.com/3dworld . visual checkers This tutorial should include the (cont. sharpen the entire image. com is to avoid resolution/quality great way to erase out this up by taking out areas using I then create a 50% grey layer and issues from web images. merged image. The main passes I used were one with a key 20 bOunce Light When it comes to painting in bounce light I will use the normal through in this phase. The quality images from mattepaint.youtube. TuTorials High-resolution matte painting 17 18 19 20 17 fixmatch masks anD bLuRs The main reason for using high- check alphas Using an fx layer set to Stroke with a bright 19 OccLusiOn Contact points between the buildings and the land were very 22 finaL effects paRt 1 To finalise the image. into the shadows. For elements. I used quickly paint in occlusion in certain areas manually using a soft brush and eye-dropping the darkest value overall colour corrections using Color Balance. 21 22 21 RefLectiOns/ RefRactiOns 24 finaL effects paRt 3 For the finishing effects. has often been pixels using the fx-stroke tip. I usually go through channels and then using that with with uniform noise. Once all this is ready. a normal pass and cycle through the RGB even if we blast out the whites. I will then create a mask one in the shadows using the Color pass (for dirt and contact points). You can see this adjustment layer to emulate the all of these layers into a group. Breaking shortcut for this is Ctrl+Shift+Alt+E. For the window in nudge the different channels left the cg home. the best way to have an element sit properly in a scene. an occlusion selection. it is normally ‘float’ during using the occlusion pass either in this layer to overlay at 10% opacity much easier to blur things down projected camera Multiply blending mode (which I and merge it down with my original to emulate depth of field (such as movements.com/3dworld . I brought bouncing back. And and an ID pass which enables me the brightest value that should be finally I like to use the Color Lookup to make quick selections. • 3D WorlD Christmas 2017 47 www. I then screen more fine-tuning like the foreground this back on at a low opacity. but apply the Noise filter. a depth pass selection that I need. I then set have everything at high res. I ended up grabbing and right to get a similar effect. changed slightly. I the bridge. I find that working with models for the homes that I set around that area. Before doing or making a selection of it with pass that ‘congeals’ the pixels well this though. I will often copy-merge the whole This part is really important to image again with the previous steps distinguish different material all included. I also pass (which I use with channels to channels to find the right angle/ tend to give the image a warmer extract selections). and piece. I often do a duplicate/merge all. Raising the exposure for example can make the image seem more photorealistic light and one without. I often simply select Correction tool to add chromatic large chunks of the image which I aberration and distortions to copy and paste back onto an empty the image. I an image with enough foliage to often use this in areas that need emulate a tree line. Once we extra pixels that would a layer mask always helps. I then flip/distort the image photographic quality to the whole to get the overall reflection. I then use the Lens properties. colour such as red is a important for integration. It is also possible to copy 23 24 then proceed to mask it into the all this into a new document and needed areas. This also adds a layer. find sometimes distorts values). on a blank layer and then eye-drop Balance adjustment layer. I will also 23 finaL effects paRt 2 Next I play around with 18 3D passes For this part which isn’t covered in the tutorial. my layers and clean up any excess an adjustment layer. This gives a first in the foreground). I also used a Motion Blur use an extra layer of noise at 10% filter before reflecting it back onto with a slightly larger scale and finally the surface. With this tone in the highlights and a cooler (for distance and haze). but when I bounce the green light from various film stocks but leave the also edited them as my composition the grass and trees to bounce back opacity very low around 10-15%. Exposure and Color Lookup. high-res images leaves as much up in Maya with simple shaders range as possible for me to crunch and rendered out a few passes to help with integration. The software DownloAD your reSourceS model.uk y ou may be forgiven paintings that are imported as professional artist.co. for use in another painting apps. That is no longer lighting scenarios. compositing into a final render. pipeline.bit. which is app or for 3D printing.TuTorials Sculpt a character in virtual reality fOllOw the videO www. Using Oculus’ for thinking that the reference planes. an aspiring creative or a 3D WorlD Christmas 2017 48 www. a small Cheshire-based studio specialising in character and creature design. posed and exported with painted including VR sculpting and The software we will be using colour detail. gaming device. The final model Touch controllers enables the user Oculus Rift VR headset and scene is ‘photographed’ in to employ intuitive hand gestures was created solely for use as a VR with a number of different and movement for a natural.youtube.southerngfx. This project will is Oculus Medium. in this case a robot from enables you to create expressive For all the assets you need go to a mining colony. He’s been using and training ZBrush for over 15 years and is a Wacom Ambassador for the UK and Ireland. We will explain how model. whether you’re a total www. Author www.com/3dworld . The final sculpt the case. as there are now lots then taken into Photoshop for will be a character that can be of creation tools springing up. paint and create objects to sculpt and paint a character in a VR environment.ly/vault-228-VR a few concept sketches and beginner.bit. These are tactile experience. We will be using works of art.ly/vault-228-vR Oculus Rift headset with Oculus tOuch cOntROlleRs | Oculus medium Sculpt a character in Virtual reality Glen Southern describes how to use virtual reality technology in a 3D character concept pipeline Glen Southern Glen runs SouthernGFX. show you how virtual reality can an immersive virtual reality be used in a character concept experience that lets you sculpt. youtube. sculpted using the power of the oculus touch controllers 3D WorlD Christmas 2017 49 www.com/3dworld . TuTorials Sculpt a character in virtual reality Vr Scene our final robot creation. com/3dworld . press the tool selected. The first video will bring up the References panel. You can also delete images from the scene using this options panel. Pressing the trigger on the Tool hand adds green gear button on the Tool hand controller and at the top of the panel you clay to the scene. Pull back on the Support hand thumbstick and click to spend some time understanding how to hold and use the reference button at the bottom of the panel. Now hit the green gear button and select 'Move with sculpt'. Pull back on the Support hand thumbstick to exit the reference panel. Although this is the most basic sculpting tool in Medium. Select one to make it the active shape at the enable the mirror function by clicking the yellow control end of your sculpting tool. click on one and it will display a green outline to show it is selected. For this tutorial we bring in some robot character concept art to use Oculus Rift and sensors all set up it would be beneficial as a guide in the scene. 3D WorlD Christmas 2017 50 www. To change brush shape. Medium comes with a large catalogue of stamps panel button on the Support hand and selecting Mirror. Once you have your meshes. This the controllers.youtube. This can be useful for adding signs and graphics to your VR scene. To move an image. Click Import to add any images that have starts as we enter the Oculus Medium scene. Push forward on your Support hand thumbstick to bring up 05 chAnGe DefAult StAmpS We started sculpting with the Clay tool and with a default sphere shape. we need to will find the default brush shapes. it can be customised the tool radial menu and make sure you have the Clay with a variety of different brush shapes. they should appear in the VR scene. Open up Oculus Medium. been saved to the _Import folder. 03 ADD the reference ImAGery to the Scene After selecting the images you imported. 04 Block out the BASe of the roBot We will do a very rough layout model.TuTorials Sculpt a character in virtual reality 01 GettInG StArteD The video to accompany this tutorial is recorded in VR and the experience that you will see on screen is not 02 Import reference ImAGeS On your computer look for the default Medium folder and look for a folder called _Import. Move the reference image to a position that works for you and enables you to model in front of it. Pressing the green button on your Tool hand will bring up options for the reference image. They are now available to use as reference. In there you will find a folder for images and a folder for representative of the full experience. If you don't select 'Move with sculpt' the image will lock to a position in the scene. As the robot is symmetrical. which resembles a book. and repeat this for each of the reference images. which are located in the menu below the default brush shapes. If you point moving the line through the neck while pressing the Tool your Tool hand at a part and hit the trigger. Basic tools: 08 enVIronment SettInGS So far we have been using the sculpting tool The sculpting tool is used to add and default environment settings. The environment to suit your own style. To cut a particular layer. Configure the world to stamps alongside the suit your style and play around with single brush mode and the settings until you are happy. TuTorials Sculpt a character in virtual reality 06 SplIt moDel Into pArtS Use the Cut tool and slice up the model.youtube. You can also to create complex turn off the ground plane and just shapes. For example you can use Cut tool on the radial menu. the triggers on the From here you can change the sun Oculus controllers. you will automatically select the hand trigger down. rate at which clay is To do this. You can set a material for each model per layer so you will have 10 colour As we are about to start working on each layer at a more accurate level. you add from now will be the colour you have selected. line brush mode. pull back on the Support added or subtracted hand thumbstick and click the is controlled using button that resembles the world. Any clay change the roughness. Make sure you have the Clay tool Layer menu again. indicated by the yellow highlight. select the main layer and continue cutting the model into individual parts. Use the picker from the top to select an existing menu change the material by clicking Metal at the top middle. diffuse settings and the occlusion of the material. re- will be in a separate layer. With activated and click the colour palette button on the Tool the layer selected.com/3dworld . Remove the head first by the eye icon next to the layer to hide individual layers as you work. the first button on the row of icons at the bottom. or select black or white. On this hand. A colour. 09 mAterIAl SettInGS Seeing as though we are making a robot let's change the material to a metal shader. Now you can colour from your sculpt. subtract volume You may want to configure your from the sculpt. adjust the sun brightness. range of shapes known turn off the Skybox and change the as stamps are used background colour. especially see the background colour you when using these have chosen. which automatically creates a new layer for each part. 3D WorlD Christmas 2017 51 www. press the green settings button on your Tool hand. we might want to change the to choose each layer and adjust it to suit. From forward with the Support hand thumbstick and select the here you can rename. then select the part you wish to change the material of. If you have done it correctly the head relevant layer. delete and merge your layers. To do this make sure you are on the colour as we go along. Push 07 nAVIGAte lAyerS Pull back the Support hand thumbstick and make sure you have the Layers panel selected. this will create this. 14 uSe the lIne moDe to ADD BArS At the bottom of the torso we want to add some protective bars. the layer bounding box selecting a single stamp at the top right of the panel. it is worth increasing the resolution of the layer. Every time this is done. mainly be using the Mechanical stamps. a continuous brush stroke. Use a combination of the sphere and cube brushes to create the form of the chest and abdomen. Make sure mirror is activated as shown earlier. For this project we will the bars and make sure they intersect where needed. increasing the density of the voxel grid. Adjusting the brush size and fall-off enables the artist to control how much the tool affects the sculpt. Try a range of stamps in add and sculpt and to add a chamfer to the edges of that layer. 13 DefIne the ShApe of the torSo To begin creating the detailed parts of the robot we will make a start with the torso.TuTorials Sculpt a character in virtual reality 11lAyer reSolutIon For some areas of the model that carry a lot of detail. When using a Edges can be neatened by using the subtract clay mode stamp.youtube. you may notice that when adding clay. The Move tool can be used to explore form and pose during early stages of the sculpt. you can find the Increase Res option to increase the pressing the green gear icon on the Tool hand and resolution of the selected layer. the resulting brush stroke is blocky and jagged. This can be changed by On the right-hand side. 3D WorlD Christmas 2017 52 www. Go to the Layer menu. along a line that protrudes from the Tool hand. There are a large range of stamps go into tool settings and select the line mode. arranged by category. Basic tools: move tool The Move tool can be used to create and adjust basic shapes out of existing clay. subtract modes to create interesting shapes. This will now remove clay from the sculpt and can be used to create shaped recesses in the sculpt surface. Looking at the reference start building up the shape using the library of stamps at your disposal.com/3dworld . To subtract parts of the model double-click the green gear button and the colour of the shape at the end of the tool will turn red. Lay down available. You gets smaller. To solve 12 clAy ApplIcAtIon SettInGS If you hold down the Tool hand trigger with the Clay tool selected and move your hand. the shape added will reflect the resolution of the in conjunction with the line tool to remove clay from the layer you stamp it on. Use the cube stamp for a hard edge and 15 utIlISe StAmpS Press the green gear button to bring up the Tool Options menu. Doing this in a physically can also enable line mode which will lock the brush stroke large layer could result in it being cropped to fit inside the bounding box. Use basic square shapes to add the grids at found under the Brush Options menu. 18 DefIne the ShApe of the ArmS The arms are made up in the same way as the rest of the sculpt. Remember you can push forward or pull back with the Tool hand thumbstick to increase and decrease the size.youtube. Add a lot of visual interest with really complex stamps and make sure that the layer resolution is set high enough before adding clay in order to avoid rough or jagged edges. surface of the model. TuTorials Sculpt a character in virtual reality 16 creAte the ShApe of the heAD Make sure you have the head layer selected and pick some stamps that give you a cylinder and the rim 17 ADD ShoulDer pADS The shoulder pads can be created using some of the built-in stamps. Start by creating some cylinders using the line brush method to create the basic arm structure. You can split the sure when you are building them that you get the pose model down further if you like and use the Cut tool to separate the hand from correct from the side. sense of a functioning robot joint. compared to the upper body. Add a block of clay to represent the base of the hand. This is best done with the 'single' brush mode. Choose a shape that reflects that curved shape and apply to a new layer. For the top of the pads on the concept appear to have a rough surface. the brush can be applied directly to the the front. The best stamps to use here are still the Mechanical ones. Using the 'surface' mode in the top. so we can add the rough head layer we use the subtract mode to create the hollow texture using a basic Clay tool with an organic stamp. Adding cogs and wheel shapes the arm. Mechanical stamps are a great means you can position the shoulders separately to the arms. We only need to make one arm and leg as we will be duplicating and among other greeble to the back of the knee gives the mirroring the limbs across the world axis. The stamp will follow the surface normals. This for the shape of the head. Add a thumb on the side in the same way. The shoulder place to start for stamps of this nature. 3D WorlD Christmas 2017 53 www.com/3dworld . followed by small cylinders to represent of cylinders with some complexity to add detail. They are basically a group the knuckles and each finger joint. 19 eStABlISh the ShApe of the hAnDS The hands are made using a combination of stamps. Make each finger bone. Add in lots of disk shapes to represent 20 DefIne the ShApe of the leGS The legs are comprised of very simple shapes. The options include the world with the small Globe icon. involves setting a target polycount that the application will try to match. This last method is is. to move. The Smooth tool can also be used to blend the pose maintains balance. Hit the Photo button the ability to reduce polycount through a process called decimation. You strokes and blend can capture stills.TuTorials Sculpt a character in virtual reality 21DetermIne the ShApe of the feet The feet of the robot are essentially a metal cage. the camera can be locked to the circle grows the further sculptor’s hand. 24 pAInt AnD comp In the Control Panel there is a Photo button. These images were formats you can export as are FBX and OBJ with the ability to export colours brought into Photoshop where I composited them using as a texture map or by vertex colour. Begin to create the base shape of the 22 ADD hIGh leVelS of DetAIl Once the shapes for all the layers have been defined.com/3dworld . The live scenes for playback in VR. bounding boxes shrinking when increasing resolution. you can move that layer Remember to make sure that layers don’t clip due to around independently from the rest of the model. Lock the Photoframe to 25 export for other proGrAmS The options for export can be found by pressing the yellow Control Panel button on the Support hand and selecting Export. These Smooth tool projects a methods can be accessed by pressing circle onto the model the yellow control panel button on the which shows the tool’s Support hand. then using the inner grips of the controllers. where different brushes meet. any additional details can be added. select the foot or leg layer you wish any seams together. This or video. Now move the lighting and retake. A typical use for this useful as you can take multiple exposures tool is to reduce the of the same scene using different blockiness of a layer materials or lighting setups in a way that when increasing that is similar to multi-pass rendering. To do this. Keep adjusting the position of the sculpt’s feet to ensure that resolution. record video or record shapes together. Basic tools: Smooth tool The Smooth tool is used to soften the 23 photoGrAphInG InSIDe meDIum There are a few methods to capture edges of jagged brush images from inside Oculus Medium. The Keep repeating until you are happy. select the line brush mode. to follow the headset or away from the model it free float in the scene. 3D WorlD Christmas 2017 54 www. Using a cube or square stamp. These layer’s resolution. remembering to adjust the layer resolution as needed to ensure that the as sharpening any edges which are jagged due to low edges are crisp. which to take a picture. With these options you should be able to the VR Photographs and layer blend modes. as well cage. 'passes' can be combined to create interesting effects in Photoshop. When capturing a photo area of influence.youtube. export the file in a format that most software is able to read. Lower the FOV to 0 to stop distortion. com . views and how-tos Get Creative Bloq direct to your inbox with our weekly digital art newsletter Graphic design Art Web design 3D Digital art www. The number one destination for digital art news.creativebloq. youtube.com/3dworld .Cinema 4D R17 | RealFlow C4D plug-in create a Liquid traiL aLong a spLine Javier Santaella describes how to create a realistic liquid flow along a path using Next Limit’s RealFlow plug-in for Cinema 4D 3D WorlD Christmas 2017 56 www. Along With RealFlow you can create realistic fluid is the perfect choice if you want to have a the tutorial you’ll learn the power of using and physics simulations that can be lit and liquid solution following a given path. Author www. lighting The tutorial includes the RealFlow www. how to a spline. RealFlow control the rotation of the particles around scene setup and mesh creation.uyquemiedo.com/3dworld .bit.com t his tutorial runs through the creation plus some tricks on how to grade the final daemons to achieve the final result inside of a studio where a liquid will follow render images. Strongly influenced by the design world. he also teaches and gives conferences about motion graphics and branding. The DSpline daemon inside RealFlow and forth between 3D platforms. how to create different attract the particles towards the path. Cinema 4D. how to path using forces that can be mixed to model a glass using C4D tools. plus the strength of the forces to DownloAD your reSourceS apply materials.ly/vault-228-VR and the Cinema 4D Physical render setup Cinema 4D plug-in workflow with different 3D WorlD Christmas 2017 57 www. without the need to go back a path and end by filling a glass. daemon enables us to control a particle’s You will learn scene setup. Javier Santaella Javier is a graphic designer. This RealFlow directly inside C4D. motion artist and flame operator with experience in reputable film companies and important brands for the European and American market over the last 15 years. rendered directly inside Cinema 4D.youtube. For all the assets you need go to cameras for macro and wide shots. Use the Pen (Create>Spline>Pen) (RealFlow>Emitters>Square).youtube. This daemon will drag the simulation simulate the real-world behaviour of the fluid. inside the glass so that the liquid simulation fills the glass. the particles interact with the glass geometry. We are going to utilise a technique of building number of glass faces by adding subdivision to the mesh of the Loft. Make your project timeline 400 frames long. more realistic later on when we apply the glass material to it.1 to 1. which will shape our geometry in Mesh subdivisions in U to around 57 and Mesh subdivisions in V to a value the next step using the Loft tool. use your gpu device as solver If you have a GPU- enabled card. 05 configure the fluiD pArAMeterS The fluid simulation needs proper values to simulate the liquid. Circles around the control points represent the test the behaviour of the particles and increase this value area where the daemon’s radial forces are active. Start creating circles in close to 32. liquid object change the resolution to 5 and the external The viewport gizmo has the spline’s shape and red circles indicate the pressure from 0.TuTorials Create a liquid trail along a spline 01 creAte the ShApe of A glASS We are going to start modelling a glass that will later be used as the target object for the liquid simulation 02 MoDel the glASS geoMetry uSing the lAthe tool Now we need to group the created circles inside a Loft (Create> Generators>Loft) to shape the geometry of the glass. Change the emitter to a determines the size to create the spline. The very last circles will Adding some extra subdivision will help the geometry of the glass look shape the interior of the glass. dragged along. RealFlow works with values that 06 uSe DSpline to Drive the liquiD pAth Along A Spline Add a DSpline modifier (RealFlow>Daemons>DSpline) and drop the spline inside the Spline Object field.com/3dworld . side and front views rectangular shape and inside the object tag set a value of of the simulation. Enable this option at Scene>Solver>GPU> Use GPU. Using the top. 3D WorlD Christmas 2017 58 www. helping the particles to be later to get a more complex simulation. Speed up simulation by 3-8x compared to the CPU: 03 DrAw A Spline to Drive liquiD flow Next we will draw a spline to drive the pathway of the liquid simulation. We can add a Collider there is no fallback on bottom to the top. This is the first step to make the particles follow the path. The last part of the spline must finish tag to the glass (Tags>RealFlow Tags>Collider) to make the mainboard’s RAM. and to help us we can draw a spring shape that flows from the 28 for the width and 90 for depth. the XZ plane from bottom to top. This spline will act as the path the 04 creAte An eMitter AnD Apply reAlflow colliDer to the glASS Head to RealFlow>Scene and then select a square emitter The amount of VRAM simulation will follow. This option is only available if your graphics card supports OpenCL-CPU. We can adjust the to finish in. Adjust it with the circle shape. Start with a low resolution value to daemon’s control points. take advantage of the GPU chipset to make faster calculations. On the through the spline. Adjust the speed to stop emitting particles around frame 60.youtube. so we can speed the camera attributes: up the workflow without having in Camera>Object to calculate the solution and adjust Focus Distance can play the animation without to object and use any calculations. Adjust Vortex simulation step. 3D WorlD Christmas 2017 59 www. This daemon will create a scalable simulation more realistic and will keep the fluid more consistent and avoid it box to delete particles from outside a bounding volume.5 on the Stepping Strictness. Adjust CP Vortex. TuTorials Create a liquid trail along a spline 07 eDit DSpline noDe to StArt the liquiD pAth creAtion 08 ADJuSt the Scene tiMe ScAle AnD Stepping StrictneSS More circles on the DSpline will bring enough control Add a value of 2 on the Time Scale and 0. Strength to -15. as particles will different way. Axial Strength to -100 and Radial Strength Adjust the speed to 400 on frame 59 and add a keyframe. Stepping Strictness calculates how fast the fluid will move within a point appears after the selected point. Vortex adds twist to the particles. you to resize the view. Apply depth of 09 uSe the Scene cAche Use the RealFlow cache system field on your macro camera Adding depth of field to write the simulation data to to your final render disk (one file per fluid/mesh will highlight your node and frame) and save it for simulation. Radial and Axial values at this point to tweak and will limit the area of the simulation so any particle the behaviour of the fluid along the spline. This will before because the Surface Tension daemon makes the simulation behave in a make our simulation even more stable.com/3dworld . not be calculated outside this area. This behaviour will be different than that reaches the limit of the box will be deleted. breaking apart. Cache calculates the value is the Aperture. 10 Apply SurfAce tenSion DAeMon Apply a Surface Tension (RealFlow>Daemons>Surface Tension) to enhance the fluid’s tendency to accumulate and form drops. to 0 on frame 60 and add a keyframe. a longer lens. This will make the 11 ADD k voluMe DAeMon Apply a k Volume daemon to the scene (RealFlow> Daemons>k Volume). Select a control point. The key later use. will also need to re-calculate in Camera>Physical the particles and cache them adjust F-Stop down back along. then Make changes to the fluid adjust Sensor Size or the RealFlow daemons. go to Scale works as a factor: a value of 2 means that the fluid will be two times Daemon Spline>Control and press +Add. Time points on the pathway. to increase the depth of field. Change the speed to 600. A new control faster. particle system and the mesh Set up these values in generated. Increase Drag Strength to a value of 0. or split particles in order to create spray effects. limit the particles’ velocity. decelerate pumping and sloshing fluids. as this will affect the without neighbours. cleaning the particles that have Relax Iterations to get speed of the liquid as it travels across the path. Use the k Speed daemon in our fluid simulation to control the speed of the particles along the spline. which left the main flow. 3D WorlD Christmas 2017 60 www. Apply the daemon and change the daemon’s Isolated) to the scene. We have to change the shape in Editor traffic light (turning it into a red colour) so that we can have a clean from Infinite to Box and change the value of the Falloff to vision of the system. This daemon will delete particles of the mesh. but additionally you can deactivate the Visible the last tab of the daemon. realism to the result. the influence of gravity. To restrict achieve a realistic simulation.500. a value of around 20%. adjust the Min Speed value to 90 and the Max Speed value to 2. 14 ADD k SpeeD DAeMon The k Speed daemon (RealFlow>Daemons>k Speed) can be used to delete particles. change values on Thinning. and behaviour.com/3dworld .youtube. optimise rf liquid solution On the Mesher.TuTorials Create a liquid trail along a spline 12 Set noiSe fielD DAeMon The Noise daemon (RealFlow>Daemons>Noise Field) gives realism to the simulation by adding a random force field. Relax. travelling along the spline. and consequently simulation ends. which will in turn add further will shrink the mesh. Adjust Strength to 5 and Noise Space Scale to 2. Resolution determines the mesh’s level of quality. This step will keep the fluid solution better control. Thinning and Relax 15 incluDe DrAg DAeMon The Drag daemon (RealFlow>Daemons>Drag) simulates external air drag forces that slow down the 16 Apply k iSolAteD DAeMon to reMove StrAy pArticleS Add a k Isolated daemon (Real Flow>Daemons>k determine the border particles. This daemon can be used 13 Apply grAvity DAeMon with fAlloff Set up a Gravity daemon (RealFlow>Daemons> Gravity) to help the particles get inside the glass as the to randomly disturb particles inside the fluid simulation. we activate the Falloff available in This next step is optional. Thinning will give the simulation a much more realistic appearance sticking to the main flow. In the k Speed options. Smooth and Radius.01. Radius is the size of the spheres created around the particles. Smooth controls how strong the individual spheres will be blended. and let the particles be visible while they are falling inside the glass. Resolution depends on scene scale and longer the mesh creation time.52 into the Refraction field (index of refraction). emitter scale. Select point mode and delete the cap of the Distort and four different Noises. the more polygons. High values can make the system unstable. or choose from the list of shaders. Try different values on the Resolution to Low.000cm. In Color. Complete the content with a C key). Press Build Mesh to build the geometry. head to Texture>Surfaces>Water. Add a value of 1. The Check Physical and Invert. 18 Apply A MeSher to generAte geoMetry The Mesher turns the particles into a solid polygon object that can be shaded and rendered.950cm and a Height of 3.com/3dworld . Apply a Fresnel. The Resolution field from 20 to 100. Create a new material by opening up the Create menu (Material Manager) and create a new basic material. 19 creAte A glASS MAteriAl Make a material for the glass.333. but affects the fluid’s mass and depends Apply RF Volume to the glass and set it to Solid Inside to control how the on Density. 3D WorlD Christmas 2017 61 www. check Physical and Invert. 21creAte StuDio geoMetry uSing StAnDArD obJectS froM cineMA 4D Create a geometry to host the liquid simulation and the In Reflectance add a Reflection channel and stack it between the Default glass. Create a new material and activate the Transparency channel. with a Radius of 2. 20 MAke the liquiD MAteriAl In Transparency set Brightness at 10%.youtube. add a layer. More calculation will be needed to cache the fluid simulation. glass will be filled. A higher number will give better the quality and bigger values for the radius. Add the Mesher to the RealFlow scene and set the as it will increase complexity. and the a better result. Set next step is to make this cylinder editable (press the Bump Strength to 14%. geometry to have a hole in the top of the geometry. Test these two values on the refraction index and observe the result. TuTorials Create a liquid trail along a spline 17 increASe fluiD reSolution Boost the fluid resolution for more particles. IOR 1. Fresnel for Texture. Blue colour for Transparency and Absorption. Set Specular Strength to 0%. Radius to 2. In Bump. Use the cylinder object (Create>Object>Cylinder) Specular and *Transparency*. Duplicate the rf setup to create more liquids along the scene Once you have finalised the simulation and you have the mesh with your final result. points. The ZOOM lens camera can you can add complexity to the sky object and deactivate Seen by Camera. For the WIDE camera. With this trick and push the luminosity to 150%.TuTorials Create a liquid trail along a spline 22 creAte the StuDio MAteriAl Create a geometry to host the simulation animation and the glass. Create two cameras with different focal lengths change values like the scale. and set the samples to Adaptive with the to colour grade over the three colour channels. the rotation and the texture of the (Hard) shadows. to your final render.950cm and 23 ADD A three-point light Setup Make a three-point light setup with three Area Lights placed on the right. Add a Compositing tag f-stop for a sharper image. Camera option. Set up the physical 27 grADe your finAl renDer uSing the picture viewer filter Under the Filter tab of the picture viewer use the curves render. Make this cylinder editable (C key).0 f-stop. In the Reflectance channel. Add Ambient Occlusion to take advantage S-curve. Set Radius to 2. you can easily duplicate your RealFlow scene inside the same Cinema 4D project and 24 uSe A StuDio hDri to light your Scene 25 creAte two cAMerAS in the Scene Create a three-point light setup with three Area Lights. 4. Global Illumination engine>Primary Method: Quasi-Monte Carlo. Set the intensity of the lights to 50%-65% and and delete the cap of the geometry to have a hole in the top of the studio activate the Raytraced (Hard) shadows. 26 configure the phySicAl renDer engine with globAl illuMinAtion AnD AMbient occluSion Use the physical render and activate Global Illumination. creating a Secondary Method: Light Mapping. under Default Specular change each of the three lights and then deactivate the Seen by Falloff to -1%. Expand and compress the black and white of shadings. Adjust Specular Strength to 20%.000cm. and f-stops.5 f-stop. In the Diffusion channel. activating the Depth of Field.com/3dworld . left and back of the RealFlow Height at 3. For the ZOOM camera. add Additionally. 3D WorlD Christmas 2017 62 www. Add a Sky object and create 35mm. Gamma: 2. Use the cylinder object (Create>Object>Cylinder). Adjust the primary colour channels. Set Intensity to 55% and activate the Raytraced WIDE and ZOOM cameras will render a detailed close-up. Select point mode simulation. a focal length liquid solution on your a new material. geometry. to get a different Deactivate Seen by Camera. Maximum Depth: 16. Select 40% to 10% on the Shading Error highlights. set a focal length of liquid. crush blacks and increase contrast with a Threshold for a less noisy render. The WIDE camera will have a higher scene. Adjust sampling quality set to Automatic.youtube. be set up with a very low f-stop for a tight depth of field. In the Luminance channel load an HDRI of 150mm. 1.2 control point on the individual colour curve. Create the material for the studio. you could add a Compositing tag to Ambient Occlusion. Add a Compositing tag to each light. . the research has paid off. I will demonstrate way to digitally reproduce a In this tutorial.ScAn AnD ADApt mAteriAlS here is our final result: a hybrid material based on our scans. material into a hybrid material with Anthony Salvi today. He has is. which many that we’ve learned over the last following this tutorial and have as a creative people in the 3D community do few years. I will describe how to convert this scanned Author physical material available to us each step of the scanning process. Designer 6. everyone a scanner. from the photoshoot to the final the help of Substance.ly/vault-228-VR of VR projects. I’ll describe DownloAD your reSourceS 3D artists. SubStance DeSigner 6 | Lightroom (mobiLe app) | photoShop Your Smartphone IS a materIal Scanner Anthony Salvi teaches you how to create scanned 3D materials using a DIY LightBox. technologist.youtube. properly. www. In how to capture the material with For all the assets you need go to worked for a number February we launched Substance a smartphone and how to post. it is the most accurate physical materials. the render is achieved in Substance Designer with iray. He is not own. To finish. which included process the result.bit.com 3D WorlD Christmas 2017 64 www.com/3dworld . We will start with the concept powered material scan! always looking for Allegorithmic couldn’t buy of material scanning. When done anyone with a smartphone to scan inside Substance Designer. From there. Next. however. but we could move on and learn how to build new devices and open up the technology to more a complete cardboard lighting new workflows for people. I’ll go into scanning cannot be workflow that finally enables the node-based scanning process overstated. a smartphone and Substance Designer 6 t he power of material a complete scan processing For our next step. incorporating insights I really hope you enjoy at Allegorithmic a high-end scanner. For a long time. Anthony works the only way to access it was with Substance. And the exciting thing setup. we will new technologies. fun with your first smartphone. allegorithmic. 04 mAke A liGhtBoX The LightBox is designed specifically for our ScanBox. Finally. Camera FV-5 will work as well. These shapes represent LED light is made by Manfrotto. Cut the ScanBox on six foam board elements.5cm cardboard box. 03 Diy A ScAnBoX Our ScanBox. For the image capture. TuTorials Your smartphone is a material scanner 01 the concept oF ScAnninG Think of your material at the scale of a mountain. with four pieces of regular Scotch tape. a stack of tracing paper sheets and a LED light for our lighting setup. use a simple cardboard tube with a foam core plate to create a this DIY SoftBox. This chart is black to reduce the lighting bounces from our LED light onto our material sample. To build 05 creAte A StAnD To keep this project cost-effective. We’ll also add some shapes (like a square. All faces inside the LightBox should be white. To retain the ability to capture the opacity of a material. 3D WorlD Christmas 2017 65 www. To maximize the final frame. If we combine enough information.youtube. Finally. black foam boards (50cm x 50cm x 5mm). It’s a good idea to cover the interior faces in white. This app enables you to capture in the can calculate the relief. we can see the shape 02 GeAr To keep our experiment cost-effective. Next add a 59. use four white foam boards (50cm x 50cm x 3mm). moon and star) at the eight angles. is designed to capture a large amount of details from a material that measures up to 10cm x 10cm with opacity. The diffuse part is created by a tracing paper sheet. we’ll add a Scanning Chart to help us during the capture and in post. meaning the interior area where the scan will occur. two black paper sheets (42cm x calibrate the stand size to the size of the box. My preferred of the shadows cast in black. while the outside faces should be black. let’s use some cardboard. These shapes are used by the photomerge process in Photoshop to produce a fast and accurate merging of the scan components. Other apps like ProCam or times at the same distance around our material. On the back.4cm) and a Scotch tape roll. which in our case will be a 27cm x 22cm x 15. attach your smartphone inside. triangle. We need to turn the light eight RAW (uncompressed) format on iOS and Android. cut a door to put the LED light coming from the cylinder.com/3dworld . On top of the paper. the algorithm the Adobe Lightroom mobile app. three stand for your smartphone. We’ll also need a box to go around the interior. black paper sheet to remove all potential colour bounces plus one paper tracer sheet. we need a colour chart from X-Rite. we will cut a square hole (10cm x 10cm) at the centre of the box and place a stack of six sheets of tracing paper on top of it to diffuse the light through the material. If the sun turns around the mountain. it’s important to the indirect information about the relief of the mountain attain the best process possible. so for our tutorial we used an iPhone 7 and itself. moon. set the ISO as low as possible (between 25 to 100) and set the White Balance to Daylight. Basically. You can find a grey card easily We then take a picture and check the exposure and sharpness. the need to make sure that the only light photomerge cannot be done correctly.youtube. all lights have a colour tint with some tints stronger than others. it’s always a good idea to neutralise the colour shift coming from the lighting. 09 Shoot A Grey cArD During the capture. with a greyscale printed and calibrated. However. This will provide a more stable result as manually touching the shutter button on the camera can inadvertently add a shake. 08 moBile cApture With Adobe Lightroom mobile. To do this. move the LightBox to the number 2 of the Scanning Chart.TuTorials Your smartphone is a material scanner 07 photoShoot In this tutorial. If everything is okay. For example. in your images. don’t panic if your pictures are not perfectly aligned. or on the web. To neutralise this colour and keep colour consistency. If the material is moved. Both deliver good results. on our material is coming from the Once everything is set. The most important thing is to not sportswear fabric from Tex-Ray. it’s a reference. In post-production we’ll adjust the captured grey colour with Lightroom’s White Balance tool. In the PRO mode. 10 cApture A multi-AnGle liGht The next step is to take eight pictures. triangle. You can use the PRO mode and manually set up your shot. Next. you have two options. Now we invert our position with the smartphone in front of the number 3. Set the LED you’ll have to deal with an erroneous lighting power to maximum. ScanBox and LightBox. In this example we have only one light source. produce great White Balance targets. We repeat this process up to the X-Rite. a tungsten bulb is orange. We start with the SoftBox in the number 1 side of the Scanning Chart. QP Card or WhiBal all fifth picture. it’s important to 06 FinAl Setup Here is our final setup with our smartphone. 3D WorlD Christmas 2017 66 www. as dust or hair will often fall onto the material. a move the material sample during the material manufacturer. You can also add a timer for five seconds to act as a remote trigger for capturing the image. or use the HDR mode. a candle is red. Datacolor. we shoot. 10cm x 10cm square. By nature. place the fabric on the ScanBox. Make computation during post-processing. Note: this setup is Then turn on your LED light and place it inside the LightBox. or switch the LED light by using a fabric needs to fit perfectly inside the present on the Scanning Chart visible wireless flash. a ColorChecker is required. with the LightBox around the ScanBox (anticlockwise). During the shoot. sure you have enough battery power So. just close the windows or curtains (smartphone and LED light) and that to darken the room and eliminate the LED light doesn’t become too hot. the sky is blue. If the shadow cast is wrong. It’s up to you and your budget. a recipe – you can create your own and enhance it the material is not covering the little It’s more important to keep all of the however you want. To avoid motion blur. Now that we’ve completed this process. turn the flash off. keep a speed around 1/50 sec and adjust your ISO to get a good exposure. which may produce a blurrier image. stand. Be sure keep the same framing as much as possible. it’s time to LightBox. clean your sample. You can switch the smartphone shapes in the Scanning Chart. activate the DNG format. required. star) to a DSLR. as much ambient light as possible. The so one picture with the grey card is smartphone is in front of the number 7. It can be helpful to add the grid and the level on screen for framing the shot. this step is finished.com/3dworld . If you have an Adobe Creative Cloud account you can import your images into your Adobe Lightroom desktop library using your Wi-Fi or 4G connection. capture the material. The shapes (square. I’m going to focus on the capture process for a complex Next. we in a photo supply store. crop. To view and edit the menu>Bitmap to link the nine pictures to our project. you’ll have enough White Balance tool. open the curtains or turn the room lights on. Set the Right-click on the Substance name.com/3dworld . Once loaded. and set up the LED light inside the ScanBox.096 on X and Y. double-click on the last node output named Area on a flyover mouse. resizing it to 4. use the gradient tool with the light centred in the middle of the ScanBox. then select Link Input Count to 8 and the Input Size to 4.096. 13 Do A photomerGe Using the photomerge feature in Adobe Photoshop. export your layer stack in a new individual TIFF 16-bit file with the Remove Layers option. set the backlight to capture the opacity. 3D WorlD Christmas 2017 67 www. hit the spacebar in the graph view and type ‘Multi Crop’ to add the version is available at www. just target the centre of the fabric and Based (Metallic/Roughness) template set to 4. Just click on the middle grey example.allegorithmic. For a better light Whites. If you set up a stronger stand with additional accessories. you can easily test different by creating a new Substance file using the Physically crops for a better tiling. Finally. make sure you have enough space to cover at least a complete pattern. 12 poSt-proceSS All imAGeS Next. After that. Next.096 pixels. Just load your nine pictures in photomerge and uncheck the Blend Images Together option. add a solid black layer at the bottom of the layer stack and crop your image on a square. we import our images into the desktop version of Lightroom. With the procedural approach. export all of the foam core with a hole works well.096 x 4. this photomerge is not necessary. A in Lightroom to reduce the vignette effect. it’s possible to merge and align the scan images. TuTorials Your smartphone is a material scanner 11 cApture the opAcity For opacity. Then copy and paste the parameter diffusion. Blacks and Clarity parameters at 0. value to the eight angle images. images as TIFF 16-bit using the Adobe 1998 ICC profile. Open Substance Designer 6 (a 30-day trial of the latest 15 Select A crop After a drag and drop from our resource images in the graph node window.youtube. In our case. you can also add white paper on the inside.com) and start scanning node. select the ColorChecker image for the LED light and use the With the LED light at a lower power. For the last step. just crop your images in Lightroom in 4K. 14 creAte An AuthorinG mAteriAl It’s time to convert our images into a PBR material. For the opacity image. To control the amount of opacity. Balance and Height Intensity to find a good balance. 3D WorlD Christmas 2017 68 www. There are only two samples Multi Crop to the Multi-Angle to Normal node. 17 mAke the colour mAp Once the Normal is set. eight samples. Next connect the first eight outputs from the with the spacebar shortcut. You 20 ADD A heiGht mAp One map that’s missing is the height or displacement map.TuTorials Your smartphone is a material scanner 16 creAte the normAl In the same way. Normal map and Opacity map Connect the Normal output from the Smart Auto Tile node to this Normal into the three available inputs. the last output is the pattern viewer/editor. add the Multi-Angle to Normal node. Set the Normal Format to DirectX (if needed). use this mask in a Blend node with two Uniform Color nodes as the inputs. For the Base Color. copy-paste the Multi Crop node and reduce the Input Count to 1. After this node.youtube. If you want to use less than variation. we can convert our Normal map to a Height map. then a Histogram Scan node to push the contrast and produce a clean mask. put a Blur HQ Grayscale node to add a little softness on the mask. you’ll be synced with the other maps. we can work on the colour map.5/180 and the Next Sample Light Angle to Albedo. Play with the Relief node. Next. To remove the slightly normal – the angle number 1 and 5. then set the value of Sample Amount to 8. First Sample Light Angle to 0. Turn the Quality to High. One trick is to use the to Height HQ node. can plug the Color map. In doing this. 18 creAte the opAcity mAp We have a specific image for this opacity map. Add it in the graph from the Library or Angle to Counterclockwise. All of these nodes are quickly available through the spacebar shortcut. just always select the opposite angles. By adding a Normal to Height HQ node. add a Grayscale Conversion node.com/3dworld . we have a node named Multi- Intensity to 1. add a Color Equalizer node after your Multi-Angle to Normal node. After a drag and drop from our resources. do the same for the Normal to Height HQ node. Since we set up the Multi-Angle to Normal on DirectX Height input for the Opacity map. As with the Multi Crop format. 19 mAke it tile The Smart Auto Tile is a new node that can be found via Library>Material Filters>Scan Processing. With a lot of controls for the colour In the next steps. This is a huge amount of data if you want to Level. For One solution is simply to export the Base Color. the value depends on what you observe when you can apply a different behaviour. The Specular Level can be used downloadable file. try to avoid all fully black or 21Set the metAllic mAp In the Disney PBR shader. we’ll learn how to customise variation and the mask creation. to override the default 4% value used in the metallic/roughness definition. 23 ADD more outputS Like before. manipulate the fabric under the light. In this case. This textile has no aging either. but would find in a character. With the Metallic/Roughness definition. This node enables top of it. TuTorials Your smartphone is a material scanner material tips Your pattern needs to fit at least in an 8cm x 8cm square to accommodate cropping and tiling. under Filters>Adjustments. our scanned material using the hybrid technology As you can see in this example. and the reflectance value at the or even share it with your friends or team members as a Fresnel zero angle or f0 is set to 4% reflective. use it in another 3D package. It’s really useful when suppose the Roughness is uniform. 16-bit images. export your Substance. within Substance Designer. you can replace the yellow with a nice blue colour. or add a pattern on 26 mAtch the colour One of the best nodes for the hybridisation process is the Color Match node. Then set one with the Opacity Usage. Normal and Opacity maps. 3D WorlD Christmas 2017 69 www. The second will be used for the Specular 24 creAte A runtime mAteriAl Our material is big. With this information the shader here. when the Metallic is set to 0. press spacebar in the graph view and write ‘Output’.youtube. we can metallic materials. encapsulating nine 4K.com/3dworld . us to replace a source colour with a target colour. You can find this node in the Library. it’s a very efficient node. I set the value at 70. dielectric and which will be metallic. this material. only one texture set covers multiple materials. the material is understood to be a dielectric. a Specular Level at 80 was perfect. 25 DiVe into the hyBriD worlD It might be nice to go further and change the colour of your material. As with the metallic. If the fabric is available without any printed pattern. choosing which will be 22 ADD the rouGhneSS mAp The fabric is composed by the same base material. This operation is clean without the loss of any fine details. we have to set parameters for our materials. Also. it’s possible to scan it and add the pattern after in Substance Designer. This is where hybrid materials come in. like you you will also use a uniform colour set to Grayscale. The Normal Color node is set at 0. Rendered in Substance Designer with Iray.TuTorials Your smartphone is a material scanner 27creAte A proceDurAl pAttern With the help of the Color Match node. as it enables us to create masks from nodes. Under the tutorial. parameters. 29 BlenDinG A procedural approach fits well with the blending concept. The Normal Blend node is set with an Opacity in the mask. Blur HQ Grayscale for a soft touch. For this To create that effect. add a around a circle. that means close to the industrial process. Let’s combine them with a procedural pattern. 3D WorlD Christmas 2017 70 www. In our case. Just drag and drop the node from the Library to the graph view to start. Cinema 4D. iClone. Maya. we have to use our pattern as a mask. Set the intensity and put the Vector Format in DirectX. with an artistic look. Adobe the material without any access to the node graph. To simulate a painted pattern on top of our at 1 and Use Mask at True. We have the ability to fine-tune our then keep a blend consistency throughout our work. you keep the ability to modify this . Any Normal and Height intensity and adjust their force by using a Normal Blend pattern changes made during iterations will be reflected node and a Normal Color node. Roughness. we have set up this node Library>Filters>Effects we find the Vector Warp node for Grayscale input. Houdini. and 30 ADD more control Substance is incredible for controlling each aspect of a material. One of these aspects is the Normal Intensity. Unreal Engine 4. In Library>Generators>Patterns you have a lot of basic components. In this example. Specular Level and at the right of the parameter name and choose Expose. Modo. click on the sine graph icon (BaseColor. we used the Polygon 1 node. We can imagine our pattern like a printed colour on top of a fabric. Height. Then plug in the node. This node is interesting due to its special Explode parameter. we have to expose some of the 32 plAy with your mAteriAl It’s now time to use your material in a project! Here is an example of the material applied to a running shoe. You can play around for hours and create hundreds of different variations 28 ADD reAliSm A good material is often one that’s close to reality. You Fuse.com/3dworld . can expose the Target Color in the Color Match node. Opacity. Metallic. Normal. Next. To control the fabric. to create a double triangle pattern the pattern and the Normal map. To If your application is not in this list. use the Normal map to create some variations on the pattern. In doing this.youtube. a Uniform Color node set in Grayscale is required. 31puBliSh our SuBStAnce To finish our work and create a Substance with a hybrid material. so on) from any Substance tool and use it in your shader. the fabric now has two colours. blending. Unity and Lumberyard. you can always export your texture set expose a node’s parameter.SBSAR file can be loaded by 3ds Max. uk Digital edition available for iOS and Android Available on the following platforms facebook. p h o t o s h o p c r e a t i v e .myfavouritemagazines. CREATE THE IMPOSSIBLE w w w. u k Available from all good ewsagents and supermarkets ON SALE NOW • Striking imagery • Step-by-step guides • Essential tutorials PHOTO EDITING DIGITAL PAINTING PHO O T TOOL GUIDES BEGINNER TIPS BUY YOUR ISSUE TODAY Print edition available at www.com/PhotoshopCreative twitter. c o .com/PshopCreative .co. 3D WorlD Christmas 2017 72 www.creativebloke. viewport-based cutting. using a Mike Griggs is a 3D and is best. but the ability to create gaps when offer a curved tool. applications give more options shapes. Some applications offer the a dizzying array of software. as well as A good slicing tool should than being solid. meshes are seen as shells rather going to be animated. series aims to break everything a cutting tool are the same. Some which is useful for creating organic Author in CGI down to the very basics. and if the application so that every artist can be armed than others. but you’ll find that they model export. this can be really useful knife tool on a single polygon can technical writer. most will enable has the ability to place images in Mike Griggs with the knowledge of which tool free-form cutting along the face the viewport as a guide. This is tool can be useful is in defining boundaries within a mesh from because in most 3D applications polygon flow on meshes that are which to create new geometry.youtube. be great way to start a model.com polygons and edges to either especially when the software The other area where a cutting split objects up or to create new can cap the open cuts. but only a few offer curved knife tool is a great way to visual effects artist the knife function. Some cutting tools offer Even if the slice tool does not across the industry. there are some for making sure that n-gons are enable an artist to cut either in applications that can see meshes divided into quads or triangles for a way that is sympathetic to the as solid. match reference. using a slice or both a creator and a effectively the implementation slicing. as slice or cut to name but a few. many tools to choose from in due to a creative decision.com/3dworld . www. This time we are looking at of a model. with vast experience It goes by many names: knife. This Alas not all implementations of ability to create curved slices.TuTorials Utilise the knife 3D essentials UtIlIse the KnIfe In our continuing series of CGI basics we look at using the knife tool I f you’re new to CGI you may existing geometry or has the are usually limited to CAD and feel that there are far too ability to slice through everything sculpting applications. is the same – it cuts through for all kinds of modelling tasks. The most common example is if a cube is being sliced. without the need to delete unwanted elements. be wary of creating geometry that can cause 02 Split objectS While a knife or slice tool simply cuts through an existing geometry. flowing correctly for the final use. As ever. you need to be mindful with any technique useful in sculpting applications where it is analogous to using a for adding geometry – make sure it is creating polygons that are real cutter when working with clay.com/3dworld . Most applications have the ability to only allow cuts to be applied to selected elements. possible. Some applications allow the object to not be be creating an n-gon (a polygon with more than four sides) which directly split. This function is especially geometry. there may be options in the software to suit your issues later in the modelling process. which is handy when creating new meshes as quickly as n-gons into quad or triangular polygons.youtube. This can be really handy when a mesh object has several parts of disconnected geometry within it and only one needs to be cut. TuTorials Utilise the knife 01 A SiMple cut While it may seem easy to just use a slice or knife to cut across a plain mesh. which is useful if the model is being retopologised. when subdivided creates a different shape than the one that Other options enable the choice of removing one of the cut was expected. Most applications have the ability to define what is being cut. bAckSide cuttinG When using any cutting or slicing tool. The classic example would desired workflow. that the cut affects (or not at the artist’s discretion) the polygons at the back of the cube to make a volumetric cut. make sure that you are fully aware of what you are cutting. The knife or slice tool can be Learning how to manipulate the curve is key as every used to ‘retopologise’ any potential problem areas back into the application has a different way of adding intermediate points in desired flow. The cut tools can be used to divide any problem elements. especially 04 curved SliceS While most knife or slice tools can offer cuts based on points across a surface. creating new some applications is a curved slice tool. one of the most creative tools available in when ‘caps’ are added to fill the ends of the cut. • 3D WorlD Christmas 2017 73 www. the curve. 03 creAte GApS Some pieces of software come with the ability to create gaps when cutting a line. This can be a huge time-saver. suite offering smoke. Insydium came to simulations with powerful mesh an artist’s imagination. as curve compared to many of its X-Particles is becoming a full FX textures. It is the fact that data mapping and visualisation across the industry.youtube. While Cinema It is not just that X-Particles geometry creation tools.com the rescue with the X-Particles skinning capabilities. both a creator and a competitors on the market. complaints. as would a better system could be (and more). It features Author intuitive workflow for anything partnership with nearly every particle systems that can be used Mike Griggs other than basic simulations. X-Particles has a range of creation software.3D Bootcamp Master X-Particles Get to grips with one of the most compelling plug-ins for Cinema 4D P article systems are one of internal particle system is that would with using Cinema 4D’s the main components of there is no need. It may sound like a cliché. www. Thankfully. and as drivers and falloff deformers Mike Griggs is a 3D and This flies in the face of one of has an easy-to-grasp question for other elements within a scene. toolset within Cinema 4D. visual effects artist Cinema 4D’s greatest strengths. it can be argued that the used with X-Particles constraints. X-Particles should be reason there has not been much provide an easier system to get the first plug-in purchase for any development of Cinema 4D’s own the results they need than they new C4D artist. which offers everything Many artists may actually find however: GPU acceleration would that the Cinema 4D particle that the dynamic systems within be good to see. plug-in. In X-Particles. and answer system for creating along with a range of shaders.com/3dworld . full-featured digital content does such a stellar job. as X-Particles native dynamics toolset. fire and fluid but the only limit to X-Particles is technical writer.creativebloke. which 4D does have a particle system. with vast experience which is its shallow learning complex systems. especially when liquid mesher. 3D WorlD Christmas 2017 74 www. Despite these small fact. offers a fast and easy-to-use can create anything from water it is slow and does not have an particle system which works in to animated tendrils. There are still a few caveats. can create realistic water. this gives either the question’. dynamically to other objects in the scene. which enables stunning animations to be created that would motion graphics.com/3dworld . foliage placement and crowds to name with the xpSplineMesher object to create intricate interwoven but a few. The xpTrail object can also create ‘Plexus’ geometry that X-Particles also integrates tightly with Cinema 4D’s native MoGraph can be integrated with any X-Particles system to create a next level of toolset. The xpSkinner object can skin particles. change colour. The 02 Control pArtiCles Every element of a particle can be controlled. TuTorials Master X-Particles 01 tutoriAls One of the main reasons that X-Particles has become so popular is that it comes with a huge array of training content. and react specific element. Insydium. which makes creating unique simulations in X-Particles X-Particles and can leverage both the GPU and CPU on either potentially easier than if an artist was using a range of third-party Windows or Mac to create effects that would be difficult to emulate plug-ins or dedicated standalone FX software. Both of these Cycles render engine which is also developed by the X-Particles simulations work with the same logic that is applied throughout development team. either directly through the emitter or through the wide array of modifiers. geometry. 03 use CustoM GeoMetry Using the xpGenerator object in X-Particles allows any mesh to become a particle. 3D trails are easy to create and can be meshed motion graphics elements. • 3D WorlD Christmas 2017 75 www. but it can be nearly impossible in any other piece of software. or more handily is also the Question and Action system that can create complex a camera and question mark icon appears at the bottom of the simulations quickly by modifying particles when they have ‘answered Attributes palette of every X-Particles component. Meshes can be used with the X-Particles dynamics system. Cycles 4D integrates tightly with X-Particles. flock together or apart. using any other render combination. when combined with the xpSkinner object. also be used to skin splines in Cinema 4D to create organic shapes. Modifiers can be used to make particles follow splines a written summary or an invaluable video tutorial of how to use that and surfaces. There is also 06 third-pArty render enGines X-Particles can really shine when coupled with third- party render engines. 05 Fluids And GAs siMulAtions X-Particles has a built-in fluids system which.youtube. There content is available through the X-Particles menu. such as creating abstract 04 CreAte trAils Particles can create their own geometry using the tools that come with X-Particles. Cycles 4D is a branch of the open-source the ability to create voxel-generated gases and fires. This can have many uses. com/3dworld . animations and Unreal Engine.co. pietrochiovaro. Using Google and Street View. it Google references.com Simon Edwards replies As an architectural visualiser For those reasons I find I can often I have been asked to work get a better result by building the entire on many images taken from an aerial existing and proposed infrastructure inside viewpoint.facebook.com can be merged. litter bins.com Oscar Juárez Oscar is a 3D generalist based in Mexico City. created by merging a virtual 3D model such as road signs.artstation. www. as well as written three technical manuals and many online tutorials. UK on an open-source game. and from that point set up include an entirely new proposed the perfect standpoint and environmental development being merged into an settings for my image. can then be set up under one single 3D WorlD Christmas 2017 76 www.uk Antony Ward Since the early Nineties Antony has worked for many of today’s top game and VFX studios. So. Once everything has been built and isn’t always possible to obtain that perfect put into position. all simply modelled there may be many physical restrictions in as low-polygon objects and with textures obtaining a good photographic base shot.com/FibrhaStudio HoW Do I paInt an exIstIng Infrastructure usIng Pietro Chiovaro Pietro is an Italian 3D artist who creates 3D assets and VrayDIstancetex? environments. existing infrastructure. www. the entire scene (both EmaIl yOUr qUEsTIONs TO photograph into which your virtual model proposed and existing development) rob. Projects like these will likely my
[email protected] Q&A Artist q&A Your CG problems solved Practical tips and tutorials from pro artists to improve your CG skills Simon Edwards Simon works freelance at 3DArtvision. I start by Traditionally images like this are often building a library of the existing objects. and is currently working 3DArtvision. lamp posts and so on.youtube. into an existing photograph. He has been running Fibrha Studio since 2010 sOFTWarE: 3ds max | V-ray and specialises in archviz rendering. He has worked professionally both as an architectural visualiser and 3D artist for 20 years in Holland and the UK. www.3dartvision. Northumberland. applied from on-site photography and GET IN TOUCH especially in the UK where the likelihood of a nice sunny day is pretty remote too. However. benches. Add an length at 1. extrude modifier to this. untick The new and existing infrastructure and untick Renderable. Artist q&A Your CG problems solved ExPErt tiP KEEP yOur SCEnE OrgAniSEd Your scene can become quite a mess on screen with a mass of large. near colours and make the distance larger. Open Properties Open properties for both objects. commissioned by lidl UK for a new store in Hull Edit the spline with the vertex. road lines. and even when Render Hidden Geometry is not selected. StEP by StEP PAINt AN EXIStING INFrAStrUCtUrE 01SubtlE tExturE gEnErAtOr fOr A rOAd CAmbEr 02 rOAd tExt And lAnE linES Using the Line tool. build closed splines In the Shapes panel choose Text. Choose object that has the new VRayDistanceTex the road surface. the VRayDistanceTex material. non-renderable blocks blocking your scene in the viewports. I like to use composites of this texturing tool when it comes to painting in road surfaces and road lines. At first this may seem a little daunting in the task ahead of creating and applying tricky mapping coordinates.youtube. resulting (hopefully) in an as necessary for defined areas. Add dialogue such that their existence in the intersect the road. can often be a maze of complex winding roads. Renderable and name both objects. paths and grassed borders. Name the object. 3D WorlD Christmas 2017 77 www. type the road text and add an extrude around the areas you would like to define modifier. Using the Line tool draw dashed Commercial architectural visualisation work by 3dartvision as a camber to the road and road edges. In this case we have a planar polygon road lines and extruded text. V-Ray has a very useful texturing tool named VRayDistanceTex. Add the composite applied. but then there is a simpler way to approach this task. chevrons and parking spaces. This layer can then be hidden. 03 POSitiOn thE tExturE gEnErAtOrS Once all of the ‘non-renderable’ objects 04 SEt uP VrAydiStAnCEtEx Select a V-Ray material and choose Composite for Diffuse. select Rectangular and set environment. This will produce a texture that will then fade away over a given distance from the intersecting object. a texture map for the ‘far’ slot. change the inside and scene is purely as a texture generator with their extrusion values if necessary. overall convincing image. This can be used to texture areas intersected by selected objects.000mm and width at 100mm. Repeat with non-renderable in their Object Properties and objects up or down such that they Layer 2 and make it an Overlay layer. VRayDistanceTex objects will still render. Create two layers. Best practice is to build all these blocks in their own layer and name it DTex.com/3dworld . and you can increase the shader objects. Move all the extruded lines distance of 50mm or smaller. Type a The intercepting objects are made object. Click road surface is a single-plane polygon positioned correctly so that they intersect ‘inside separate’ and ‘inside solid’. In this particular model here the have been created they must be For Layer 1 choose VRayDistanceTex. segment Under the modifier list expand Rendering and spline selections under the modifier and click Enable in Renderer and Enable stack and create as many closed splines in Viewport. where some objects might cause a subtle smudge and others a hard-edged graphic. With them tagged you can 3D WorlD Christmas 2017 78 www.youtube. pressing an arrow key likely Luckily this all changed with Maya the amount of time it takes an animator to selects a constraint node or some other 2017. but you’re adding to a normal rig. As an ins. It can cause problems down the line of animators. This enables the animator without the help of external scripts or and simple to use. all of which will have their example. life. area of the rig that shouldn’t be touched. With last year’s release came new create the simplest of sequences. Personally. not are controls. Whereas on they can animate. complicated to use. if you have the hand control when a whole studio then needs to make preferred approach to bringing things to selected you can quickly move up the sure they have the same plug-ins installed. rather than selecting controls clients I don’t like to add any external plug- possible it will be used by a whole team or digging through the Outliner. When to quickly navigate the rig by using the tools. Overload a rig with too many controls chain to the elbow control. and then the updated and working just so and you’re not only making it more shoulder control and so on.ARTIST Q&A Your CG problems solved sOFTWarE: aUTOdEsK maya HoW Do I create my oWn custom pIck-Walk HIerarcHy? Isabelle Rose. controller options that gave you the ability One element of rigging that can help is The problem is that there hasn’t been to indicate which elements in the scene to build in the ability to pick-walk through a good solution to this inside Maya. when building rigs for building them you must remember that it’s arrow keys.com/3dworld . Florida Antony Ward replies The best rigs are intuitive the hierarchy. strange to begin with. so nothing will happen yet. You can now To activate this feature simply go to the test for yourself with the Profiler tool. Here you will find two options and it offers a few extra options for you at the top: Tag As Controller and Parent when it comes to dictating how your pick- Controller. use the up and down arrow keys to quickly tag node and select ‘Show on mouse What’s more. 3D WorlD Christmas 2017 79 www. or you can simply select them there currently isn’t a parent defined for all and choose Tag As Controller. You could also run this command on a list of controls to quickly tag them all in a rig. This can seem evaluation. proximity’ from the Visibility dropdown. or is interacted with. something you can shoulder. dramatically improving the then the elbow and click Parent Controller. regardless of where either of them lie in the hierarchy. and click it again. each node.youtube. Artist q&A Your CG problems solved ExPErt tiP SimPlE tO SCriPt If you’re a technical artist these controller nodes are also easy to add to your rig- building scripts. What this will do is add a new ‘tag’ node to the controller.com/3dworld . You can tag each control walking works. as when loaded the performance of the scene as it plays back Now select the elbow control and then the character will appear to have no controls. StEP by StEP SEt UP tHE CONtrOllEr NODES 01dEfinE yOur COntrOllErS 02 thE COntrOllEr nOdE To get started all you need to do is tag your icons as actual Controllers. Maya knows where to go when you use you will also have the ability to change a Maya will take advantage of any extra CPU the arrow keys. autodesk maya’s new controller tools can not only speed up the animator’s workflow. If we use an arm as an control’s visibility based on the location or GPU power you have through parallel example: first select the hand control. the controller tags are very navigate the arm controls. then dictate the pick-walk parent or child. You will also notice that individually. but the performance of the scene too as they interact with it. That’s not all these controller tags do. to the Control menu under the Rigging This is where all the information is stored menu set. 03 diCtAtE thE hiErArChy 04 AutOmAtiCAlly AdJuSt ViSibility With the controllers defined you can now dictate the hierarchy so that If you’re lucky enough to have Maya 2018 Once specified that they are part of a rig. taking the original so Maya knows what they are and when name and adding ‘_tag’ to make them they are being used. When you build a control into your scene simply use the ‘controller’ command to tag it. of the mouse pointer. To do this simply go easy to identify and find in the outliner. simple to set up. Next have our new blueprint ready to be tweaked and for us to give it the add a Get Player Controller so we can give the input. Compile and then test it. Function>Rendering>Toggle Visibility. 3D WorlD Christmas 2017 80 www. select it and in the right window select the imported lamp to use a floor lamp – name it SM_INT_LAMP. Once select Blueprint Class and then select Actor.bit.ly/vault-228-Vr StEP by StEP MAKE AN INtErACtIVE lAMP 01CrEAtE lAmP And bluEPrint The first thing we have to do is import the model of the lamp that we want to make interactive. in the EventGraph we have to add an Enable Input.ARTIST Q&A Your CG problems solved FOllOW THE VIdEO www. It is really important to name each Input X so we can add the input in our keyboard when pressing X. then add right actions. Unreal in the same folder as the Content Browser. For this exercise we are going 02 CrEAtE bASE mESh And ElEmEntS Open the blueprint and click Add Component. Name it BP_LAMP. Once it’s done we will it’s done. Now select Add Component. Once we have it in model. element properly so that we can find it later in the World Outliner or Finally select the Spot Light.com/3dworld . in this case SM_INT_LAMP. right-click and choose a Spot Light and move it to the appropriate position.youtube. right-click in the grid and select Call the Content Browser. Add Static Mesh. so erase Event preferred place. Now in the EventGraph we will add a control that triggers before. This way all changes you do are visible in real more immersive experience. Now in the EventGraph select the TextRender. but this time select Component connected to a only appear once we are near the Collision we created before.15 HoW Do I create an InteractIVe lamp In unreal engIne? Matthew Wind. add event and select click in the grid and select Call Function>Rendering>Toggle Visibility.. and this way the text will are close. Repeat this. right- Begin Play and right-click over COLLIDER. so in the viewport add a TextRender and. but here can turn off and on. Artist Q&A ARTIST q&A Your CG problems solved sOFTWarE: UNrEal ENGINE 4. Finally Disable Input and this one to the get player controller so once we are select the TextRender. the same as mesh.com/3dworld . 03 full intErACtiOn Now in Add Component add a Box Collision and name it COLLIDER.youtube. Compile and test. Compile and Save. 01 02 03 04 ExPErt tiP KEEP thEm bOth ViSiblE adding interaction to our Unreal Try to have detached the Blueprint tab and place it so you can see the viewport of your Engine levels gives our users a blueprint and the viewport of the level. OnComponentBeginOverlap so the input can be activated once we Connect Enable Input and Disable Input to it. Visible. and in the right menu in Rendering uncheck away the input can be turned off. UK Oscar Juárez replies Creating archviz in Unreal we’ll explore what we can achieve with Engine 4 is getting a lot of blueprints. We will create an interactive attention these days. 3D WorlD Christmas 2017 81 www. time and you can adjust light and text easier. We have many blueprint to provide us with a light that we options for this in the software. move it to the lamp and change its position so it can be in the the interaction once we are close to the lamp. Bristol. Once selected move in so it can be around the static 04 finiShing dEtAilS It would be useful to know when to press X to turn it on and turn it off. we part of the work consists of the creation part we have to create all the models that can start to add some details. combining some shaders. After the soil was composed principally of the texture to the main material. rocks and sand. you can define the terrain material. dimensions. Now going into Texture scene I tried to imagine the terrain of Mars. helping you to achieve the best result. after the concept creation.youtube. found.bit. that you follow all the references you have Paint Mode. the last concept of the entire scene. so. I the terrain creation. sketching a Once all the models are in the scene that we have sculpted the terrain. sOFTWarE: BlENdEr HoW can I create a realIstIc terraIn? Magdalene Davis. New York Pietro Chiovaro replies The creation process of a adding a plane and editing the flat surface modelled some stones with different realistic terrain can be divided in Edit Mode. 3D WorlD Christmas 2017 82 www.ARTIST Q&A Your CG problems solved ExPErt tiP rEfErEnCES fOr EVErything FOllOW The main elements for the terrain creation are the references. In this part of the work I suggest create a texture. For the creation of this particular terrain. In the second and the basic terrain has been created. some sand dunes and some into two parts. to achieve a realistic terrain.com/3dworld . we can paint the new texture. we have the sculpting process of the terrain for effect. placing these in the space. Following the concept. To create the material of compose the scene in order to create the Sculpt Mode and starting to model the the terrain we have to map the model and terrain. In the Node Editor panel. textures and other elements that will make the terrain more realistic. Now terrain we are going to create. we need we have to define the main deformations other deformations near to the sides of the to search for relevant references for the of the terrain. In the first part. trying to create many imperfections trying to recreate an original material. I imagined that can open the Node Editor panel and add scene. main building and the other objects. it’s very important to I could then use as references for the because this makes the difference. During this process. finishing that we can start to model the terrain. I created a little library of images that and being very meticulous in the details. During follow the references.ly/vault-228-Vr process. Here subdividing the plane. Once we created the texture. THE VIdEO These will be very useful during the sculpting and painting www. going into of the material. we to create every model that is part of the this particular scene. To do that. considering that. Payment is non-refundable after the 14 day cancellation period unless exceptional circumstances apply.indd 1 27/06/2017 11:04 FROM £21 EVERY 6 MONTHS FROM £23 EVERY 6 MONTHS (€69.40 PER YEAR) FROM £21 EVERY 6 MONTHS (€103 / $105 PER YEAR) (€85 / $85 PER YEAR) FROM £16. 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Your subscription is for the minimum specified and will expire at the end of the current term. This offer is for new subscribers only. You can write to us or call us to cancel your subscription within 14 days of purchase. has become best known for is the art of That’s often done in post. a tablet device or a futuristic. holographic projection – Territory designs dramatisations of Philip K Dick short stories Formed by industry veterans in 2010. the second in a series of just that. London. intersections between motion. has done terminal.com/3dworld . what’s going on within the on-screen screen. really excites Territory is when they get studio often lies in finding and In other words. but what I the key to the success of a designing on-set interfaces. whenever an actor is to create interfaces that function live on occupying the right niche. And seen interacting with any kind of computer set. One of the specialisms it that it’s part of. as filming takes place. within a dark and grungy spaceship. digital and seamlessly into the (normally sci-fi) world The story takes place almost entirely graphic design. And this is Territory Studio. a small studio software – whether that’s a traditional exactly what they were asked to do for based in Clerkenwell.youtube. ‘Impossible Planet’. insight industry Screen dreams News and views from around the international CG community industry insight SCreen DreAMS Territory Studios has made a name for itself in the super-niche art of on-screen interfaces. produced by Sony Pictures Television and the studio’s biggest strengths lie at the And it does this in a way that integrates shown on Channel 4 and Amazon Video. 3D WorlD Christmas 2017 84 www. Tom May learns how they put their skills to the test for a recent series of Philip K Dick adaptations n an ever-competitive industry. and then animated and Planet’. including These simulations were far more than achieved in post.” he enthuses. “So it needed to feel like tone and visual concepts a futuristic version of a Greyhound bus. the interface graphics needed to fit the story.” explains stories. everything’s interactive lighting with the actors. totally straightforward. they were contacted by gnarlier.” and realism that just couldn’t have been everyone on the production team.” says 3D WorlD Christmas 2017 85 www. so we Motion graphics and 3d couldn’t say no!” he recalls. aesthetically and conceptually. creative director. “Lisa gave us a rough outline of the composited them in After effects. “We created these in Adobe Illustrator © Channel 4 most of the work falling on ‘Impossible and Photoshop. put together some rough simulations for the weather system screens. And this wasn’t into the kind of information being conveyed it always just gives such a more tangible. “She asked and physical feeling. Once they’d nailed the look and feel. and explained the tone and concepts Andrew. was happy with the designs. “You get that script demanded a pretty unusual look and “It’s all narrative driven. well. fresh from their work on your usual sci-fi look. it waS PhiliP k diCk. says Andrew.” recalls Andrew.” intergalactic tours. during filming added a sense of immediacy This back-and-forth continued until essentially as ‘a kit of parts’. realistic quality. “Then 4D. and the mapping screens and things like that.” effects and rendered out as QuickTime files. shapes. slightly grungy. and used Houdini to create particle we went away. running these simulations live on set aesthetic concepts. dotted with computer screens showing the concepts and moodboards. So we CouldN’t Say No!” Andrew Popplestone.Territory see where to press. Territory started to create the graphics each a standalone story in its own unique that would appear on screens within the world. graphics art director just random sequences of numbers and creative director Andrew Popplestone. according to Territory’s director David Farr. They agreed to work on five episodes. real thought needed to go “When you’re doing it on-set for real. industry Screen dreams For ‘impossible planet’. It was a little bit Blade runner 2049.youtube. and it helps direct their The episode focuses around a space performance to a degree as well: it makes it flight company that offers cheap much easier for them. it was Philip K Dick. weather maps and so started to hone in on things like tone and everything was then composited in After on. they can feel to things. We Territory’s involvement with Impossible were aiming for an aesthetic that wasn’t Planet began when. much more optical production designer Lisa Hall. as the and how it serviced the story. well. “We did 3D work as well in Cinema she was aiming for. came back. Chris rosser and set dresser Sean Leishman. with the emphasis on cheap and cruddy. both aesthetically and mathematically “She aSked uS if we waNted to work oN a PhiliP k diCk SerieS. with set.” us if we wanted to work on a Philip K Dick series. And.com/3dworld . there to push the story along. he notes. progress of the craft. “So there might be a discussion would have to create something new or of ‘Hey. shot by shot. but it’s actually just a couple of rocks on an asteroid belt. “Very often the director would Finally. dowNStairS’ elemeNt to the SetS. laNGuaGe looked CleaNer aNd SliCker” “We went through all sorts of concepts for Andrew Popplestone. will be broken down into all the different But we ultimately landed on the idea of not least because sci-fi fans are notorious for beats. 3D WorlD Christmas 2017 86 www.industry Screen dreams above: one of the original concepts for the vision Mixer ui in ‘impossible planet’ right: the vision Mixer ui used in the show.youtube. and we’ll hit that story beat. and then that will trigger over all these people’s eyes. “So the script spaceship’s windows. ‘This doesn’t make sense.” So we try our best to make it all fit together Sometimes it gets even more complicated graphic language with reality. scene by scene. “So the tourists are seeing this beautiful nebula. Jay Dingle. where something will happen. it the individual sequences fitted seamlessly enhances and changes the view from the needs to make sense contextually. With things like the distances than that.” of the shoot.” Andrew adds. a trigger point. such as physical kaleidoscopic lenses clunking into place and shifting through. So when we get the script and start to Building in Osterley to co-ordinate things The Territory team.” ‘There’s Mars’.” explains Andrew. them to death.com/3dworld .” blog post saying. The team spent a lot of time concepting So iN the roomS where the PaSSeNGerS Stayed. we had to put have to change things around in the middle on their graphic design smarts to create our best scientific foot forward. Far right: concepts for the astral dreams logo Andrew. Territory was asked to draw fully between planets. and the mapping systems Territory’s designers also put their physical you see in the background need to reflect feet forward. we’ll discuss. There’ll be “Conceptually. for example. we’re getting closer to earth’ or Work on set change the animation on the fly.” “there waS aN ‘uPStairS. “And with any taking it back to filters and making it almost freeze-framing single shots and analysing particular shot. ‘Where is it in context in this the on-set playback of the animations David Sheldon-Hicks and ryan rafferty- world? And how is that aiding the story?’ All Territory’s role was much like the Phelan. we figured that would often that happens. It can’t just be gobbledegook. which included break it down.’ something else. “You’d be surprised how of animations. like a kit of parts. which will happen through make it more galling if audience could see “Particularly when you’ve been working playout. we’ll have a certain number like Instagram: ‘pick your filter here’. with a separate company that took charge of Andrew. Genevieve McMahon. the this hoax is such an easy thing to pull off: on Marvel films or something like Blade actor interacts with the screen or with an they just press a button and pull the wool runner 2049. “So our designer the logo and branding for Astral Dreams. says Andrew. was also asked to create the the information that’s on screen needs to be conductor of an orchestra. And attention to detail needed to be high. You’ll get someone writing a interactive device. making sure ‘Vision Mixer’. a futuristic technology that something. turning up on set at the Gillette visualising the hoax that. creative director.” into the progress of the story. Territory it. the GraPhiC what this vision mixer might work from a mechanical point of view.” Andrew smiles. And that’s what I think we’ve done really overlaying and the combination of “One of the main elements of this film are well across this whole series.” gone down an unexpected alley. “We’ve Steve Buscemi as an average Joe who’s exciting and turns heads… but actually grown in the time when there were tempted by an attractive synthetic woman it shouldn’t. like it’s part of had to find our little areas to slip plan. concept. and create a control system in post [production].” 3D WorlD Christmas 2017 87 www.” design-wise. it was much more pragmatic and Andrew. element to the sets.youtube. Territory’s evolution may have ghosts in the Machine “And that’s ultimately what it’s all about. it’s much easier to create something still capturing the essence of a digital and no one at the same time. It’s a great achievement that really Given their finely honed focus. bringing graphic design to VFX in a very pure way. yet ourselves competing with everyone difficult. or might be 3D projection or something like that. “Whatever the project. according to collaboration with Shotgun.” he says. “This set was very brutalist and also looking at integration within After utilitarian and more pared back.” Effects and Photoshop. which might not just be a standard screen. “So it was totally contrasting all the different toolsets talk to one in a different contextual way. and we’ve found ourselves over the last seven years discovering these particular specialisms that people want us for. says Andrew.com established agencies. But it’s perfectly complemented another in a really consistent way. industry Screen dreams Font test for ‘electric dreams’ interface for the palm scanner The TerriTory philosophy TerriTory offers a wide range of services To a wide range of clienTs across film. and we to risk everything by carrying out an illegal harmoniously within the set.territorystudio. broadcasT. “So in the rooms challenging the art of on-screen interface “We took on a pipeline TD about where the passengers stayed. “So we find Creating something like that is surprisingly are quite beautiful and otherworldly. and helping needed to take the designs and apply them he explains. It can be a title sequence. It needs to sit perfectly and many established agencies. “And it was the challenge. The story posed quite an unusual the furniture and belongs. adds to the believability of the otherworldly Territory are currently “dabbling” in there was also an ‘Upstairs.” they don’t usually do the on-set bit.” It’s rare to find an entire studio devoted to such tasks. So that can be on-set screen graphics. which are essentially these ethereal Find out moreabout territory do things in a different way to the spirits which float around in these little FYI www. highlighting just how creatively forging their own bespoke software. “Whereas graphical approach was a long way miles of these are asset-tracking tools. and not stick out. says founder and eXecuTive creaTive direcTor david sheldon-hicks “We take that view that going back to the Bauhaus. the graphic design can be.com/3dworld . Another episode in the series that Territory he notes. not slick and cool. We’re were. six months ago. It can be designed visual effects. It stars try to design something that’s great and how things have turned out.” explains Andrew. It can be big installation pieces. branding and digiTal.” the production it was in. between. “Astral Dreams is this company that Mill. “There are takes tourists out on these galactic trips and this very ethereal thing. in downstairs in the cockpit where the workers from ‘Impossible Planet’. Downstairs’ story. buT There’s a philosophy ThaT cuTs across all of iT. So we stripped back: it’s very bold. the idea is that you’re a design problem solver first and foremost.” different skillsets that allowed us to QCs. he notes: most on-set screen graphics are created by the company behind the space tours in the boxes in this factory called the Spirit freelancers or internal departments at story.” he explains. clean. “So we had to create studios like Warner Bros. minimal. we could but Sheldon-Hicks is happy with worked on was ‘Crazy Diamond’. The visuals they created for the show explains Sheldon-Hicks. but unlike us “So we wanted our branding to be quite for them.” that’s polished and professional!” interface. vfX. Some more sophisticated. this quite bizarre also VFX studios who do the graphics essentially scams them. And just to complicate matters further.” he explains. and he’s been language looked cleaner and slicker and For all the interfaces in this episode. the developing an internal toolset.” dingy and mundane. which expects to welcome approximately “This year. of the region’s fastest-growing computer Photography Group at Facebook. SIGGRAPH Asia 2017 will be held in the SIGGRAPH Asia 2017 Conference chair vibrant city of Bangkok. At SIGGRAPH Asia. industry right now – and who knows what Guatemala. SIGGRAPH Asia has in the world of graphics and grown from a niche event to one of the interactive techniques gather largest computer graphics and interactive siGGrAPH Asia 2017 pulls out all together for SIGGRAPH techniques conference and exhibitions in the stops with this year’s keynote Asia. showcasing a world-wide collection of the year’s best works. of Life and Technology – aims to very exciting time to be in an industry that Also taking the stage at this year’s showcase how human experiences help is evolving so quickly.” says Dr. If how we interact with digital content in the impressive Bitec. leading brands including Epic Games. which is home to one director of the Computational through its doors. 2017’s event is to be held lives. we are proud to host SIGGRAPH this year’s keynote speakers include 7. science. 3D WorlD Christmas 2017 88 www.com/3dworld . Project. This year’s theme – The Celebration graphics and animation industries. other featured sessions team can vouch that this conference really Explorer. art. Bangkok and novel uses of graphics on mobile devices is more your forte. innovator. Ritsumeikan University. where we are using SIGGRAPH Asia is internationally push the boundaries of digital imaging. aiming to demonstrate how research on interactive sometimes it’s the venue that makes all technologies can help us in our everyday the difference. Find out who they are. Also an award- technologies. highlighting the impact of immersive VR in various fields. SIGGRAPH Asia will also see the return of the VR showcase. an amazing opportunity to network with from the remote highlands Vila and David G Yu on how real-time some of the most influential people in the of Mongolia to the jungles of graphics helps Pixar makes feature films. Hosted in Thailand for the first time.. and the ever-popular Computer Animation Festival. education and emerging Having been lucky enough to attend Albert Yu-Min Lin.industry SIGGRAPH Asia 2017 EvEnt spotlight WHY YOU SHOULDn’T MISS SIGGRAPH ASIA 2017 Asia’s largest computer graphics conference and exhibition hits Thailand for the first time – and you won’t want to miss it! t’s that time of year again Exciting timEs Killer Keynotes I where the brightest minds “Over a decade. SOFA Framework.siggraph. new things. the 3D World winning National Geographic keynote speakers. on the making of Blade Runner 2049. Boasting a truly inspiring line-up.org Also keeping attendees busy will be the Emerging Technologies program. Thailand. FORUM8. Lin has applied an include senior graphics software engineers does have something for everyone. Surapong Lertsithichai. technology to change the way we experience renowned scientist. Mahidol University.youtube. at the International and director. FYI sa2017. be sure to check out the Symposium on Mobile Graphics and Interactive Applications (MGIA) too. Center for Creative Economy Trade and Exhibition Centre (BITEC). It is a Michael Cohen. The Khronos Group and Tsinghua will be there to demonstrate their developments in hardware and software applications. Lin director of engineering at Facebook Brian opportunities might arise? We hope to see will be sharing how he incorporates Cabral on the future of VR/AR and VFX you there! this unique approach into the work supervisor at Framestore Richard Hoover Discover more at he does.” technologist and entrepreneur interactivity. It’s also innovator's approach to exploration at Pixar Animation Studios Pol Jeremias. research. the region. As well as a couple of stellar SIGGRAPH Asia in the past. speakers.000 attendees from over 60 countries Asia in Bangkok. And if all that wasn’t enough to whet your appetite.. gaming. animation. Fox Renderfarm. Why not press pause once in a while.uk .co. home and family. there never seem to be enough hours in the day for you. curl up with your favourite magazine and put a little oasis of ‘you’ in your day? To find out more about Press Pause visit: pauseyourday.PU T A PAUSE IN YOUR DAY With so many demands from work. draw a spline onto your model. It seems the last few years’ model’s grouping. Her clients range from AMD to Exalt3D and Future. This is super fact that kitbashing is now also increase in users and funding handy for more finicky garment a feature for digital garments! has also brought with it the generation. like collars. tops and Flatten tool. but cheaper than takes a lot of the hassle out will probably take care of when you can build it was.twitter. which you pick. It lets you female figure from MakeHuman and assemble on your figure. with over 15 years’ experience in 3D. as it’s considerably model. She is currently collaborating with AMD as technical artist for Radeon ProRender for 3ds Max. especially when your measure when you can cheaper to rent this time 2D Pattern Editor for further UI is set to Max controls. and the spline tends this release was working makers of Marvelous kind of like retopo work. In addition. One is the the most irritating being that application: You have blocks new.com/3dworld . www. Try it with a sleeves. 3D WorlD Christmas 2017 90 www. and animations with its come down considerably. Needless to say.com/cirstyn Features Flattening tool for on- figure drawing soFtware reView Marvelous Kitbashing with clothing libraries Stitching details Designer 7 Outside edge darts UI improvements Fun and eFFicient prICe $50 monthly / $300 annually / $490 perpetual | COMpAnY CLO3D | WeBSIte ww. you can simply annoying. Maya or any other 3D some new features.Reviews Marvelous Designer 7 access to concurrent overviews and details makes for a streamlined workflow AUthOr prOFIle Cirstyn Bech-Yagher Cirstyn is a freelance CG artist and educator. generate splines based on your The other standout is the new kitbash library. but right now.com Features F What I enjoyed most in irst of all. to get lost in the curvier areas with the flattening tool. It can be hassle was just so much easier listen to user feedback on shape of a garment on your to find it again to continue to generate garments to price.marvelousdesigner. tweak part of what it does. The monthly fee is still work.youtube. It Designer. like gloves. it was libraries for entire figures or annual licenses have also workflow. you add it into the drawing. as flatten is just a flat-chested figures. this tweaks and polish in the future and easy – especially a bit steep. are starting to Once you’ve blocked in the of the figure. The prices on perpetual of a measure-tweak-simulate that. somewhat misnamed it seems to work best with of items. It works exactly like it does in time and money to develop It’s not without flaws though. it seems CLO3D. Some block them out that fast around. Max. or DAZ. com/3dworld . library. no the point where you should. could have been solved less saving time. line. geometry-heavy by handling it and voilá – new garment. this is what you need from the library. and new tools to tweak them “MD7 HAS oTHER TouCHES To MAkE GARMEnT both. paste. though. copy. this CREATion EASiER” define lines and offsets. Since then.youtube. add them to a template shape. In addition to many little In addition. copy drivers or screen settings. easy garment creation taking a leaf out of the PatternMaker Pro playbook. In effect. paste. something anyone on a 64GB system with a 4GhZ favourite release thus far. You can My biggest grievance was a used Marvelous Designer since loading entire garments or now offset internal lines along slowdown in UI responsiveness version 2. I have reviewed and no more mucking about with and drape correctly. it allows you to draw the garment right on the figure the StAple In DIgItAl gArMent CreAtIOn Marvelous Designer first started to get noticed when people saw it used in Lord of the Rings and Assasin’s Creed. tweak. creation easier. VerDICt 3D WorlD Christmas 2017 91 www. MD7 sports its via Normals. and if garment in another – now you who’s created gambesons or GPU and two 1080s on a 4K you haven’t jumped on board can just generate and grab other line-intensive garments LED screen – the screen actually the Marvelous train yet. MD7 has other first real attempt at automation has some lacking export tools. This is my absolute project files to use part of a curves. add darts to outside edges. this means make superfluous cloth wrap comes at a price of course. it still It’s easy to use. again. by providing meaning the MD to Zbrush buckles. to garments to stitches. too. Md7 now offers libraries of clothing blocks. as went black during refreshes. it’s become a staple from Turbosquid vendors to gaming companies like CD Projekt Red for its fast. components ranging from touches to make garment in this release. You can finally a basic Python interface and workflow is in this release too. should be very happy about. You add UI tweaks. In addition. and adjust it to the avatar it means an end to the ‘create matter how much I tweaked my you’re using. These are trifles compared and save the garment into your making it so much easier to All this new functionality to the current functionality. You now use a UI to While the new stitching functionality is pretty good. command set. tweak’ – and so on workflow. Reviews Marvelous Designer 7 the new flatten tool does more than just flatten. smoke and more with unity’s partile systems. you’ll wrap up your effects and test experience in games them in the scene. FYi visit Pluralsight at www. popular Bullet Physics This is an important grounding in framework. H ave you ever had an amazing game idea.ly/vault-228-Vr 3D WorlD Christmas 2017 92 www. Unity Particle System Fundamentals. but you’ll also have the knowledge projects and developed and skills needed to create your own particle software tools for the systems in the future. fundamentals. where you’ll learn how to create and manipulate particle systems. you’ll not only have an awesome worked on big licensed fire effect.com Free download! Get your video course: www.5 codex Worlds. you’ll dive into motion control by developer and graphics adding particle motion to the event.kazperstan.pluralsight. in 2013. Michael Baker First. Free pluralsight course Unity Particles fUndamentals Kick-start your real-time effects skills realtiMe particles add steam. and games. When you’re finished with and VfX production. but not the ability to make the effects and visuals come to life? If so.com/3dworld . to many elements of your real-time projects. you’ll discover particle basics inside of michael Baker is a game Unity. Next. and then production expert with cause the particles to appear when you’d like. fire.youtube. he co-founded Software required: Unity 5. you’ll be able to apply your skills feature films. more than 15 years Finally.bit. is the tutor perfect course for you. www. He’s this course. which powers particle work and once you’ve learned the countless authoring tools.co.uk For more high-quality video training. is our favourite.mA. grouped by without generating enormous huge numbers of windows structure type or size.org/wiki/ scaled.kitbash3d. some things to ensure window Space Odyssey and Star them as a foundation for more this will do the job nicely.wikipedia. Each with usable textures and the Retexturing all the elements is set consists of several buildings inclusion of entire city blocks. the Art your scene. walkways. €167) | cOmPAny Kitbash3D | WebSiTe www. With mosques. match parts to create you own and neon billboards to really single file. is equally splendid but does create an entire cityscape – and Russian T-34 tanks. matte painters and and four million polys illustrators. enabling you to mix and needs some oversized posters Each kit comes as a large. each . really just placeholders for potential for fun texture work. with an unhealthy transfers well to the world addiction to 3D apps of CG. battleships. all the tiny details on All the parts are UV mapped domed palaces. collection.youtube. Supplied in .ObJ and Gothic and Neo Tokyo. cloned and retextured. Move the camera i. benefit that meshes are easily www. are good value. – and you only need to do this single file bridges. you’re good to go. a big job but worth the effort All meshes contained in a plus various towers. minarets and that. There are plenty of sites that offer hard-surface models to add mechanical detail but a new venture called Kitbash3D features takes this a step further with structures you can cut and Distinct architectural paste to make entire towns styles or cities. the Kitbash 3D vehicles and buildings. and come with basic materials. copy and paste a model into In terms of mesh density. would take weeks. we see no reason why they can’t be used in 3D models are UV mapped animations or VFX shots. . for this gothic scene we did extensive retexturing. and adding different textures to the pillars and ornamental roofs. but if you want to mesh before you start working making with the likes of but the meshes are all very recreate Fritz Lang’s Metropolis and you may need to tweak Thunderbirds. It also The term ‘kitbashing’ poly counts. walls. you’ll need to add new For lovers of Medieval than an artist’s typical day rate. domes and pavements and trees. Neo Tokyo gives the require some extra work due do it in just a few hours. stepped variety of detailed buildings arches and ornate stonework. 2001: A clean and you could easily use or a retro-futuristic cityscape. Reviews Kitbash3D kits software reView AUThOR PROFile Kitbash3D kits PRice $199 (£146. Art Deco. have been nice to have them Kitbashing look good in mid-range shots although this is due to the in different files. At four million polys. if you the surface detail on the your own. glass works properly – beyond Wars. It just once and then save the model.com Steve Jarratt Steve is a freelance T tech journalist and CG he concept of kitbashing artist. To save modelling detailed ‘hero’ models. There’s loads of sets may feel a bit pricey but commercial plastic kits but the textures provided are detail and it provides the most the mesh quality and quantity were used – for example. Arguably this is the least means you need to re-centre dates back to the early too close and you’ll start to see aesthetically interesting of the the modelling axis for each days of sci-fi model. making it easy to bespoke designs. texture maps and tweak your architecture. spires. faceting on curved surfaces. featuring apartment buildings. with the added and plug-ins. the Arabic kit At $200 a kit. VeRDicT 3D WorlD Christmas 2017 93 www. applying new brickwork and stained and textured At launch there are four glass. so for less is an amalgam of realism. nicest results thanks to a to the array of pillars. submarines. You’ll still get decent just crying out for colourful were to build these yourself it original Star Destroyer results but for any degree of patterns and gilt edging. And although the sets are pitched at concept each kit is between two designers. After all. the Gothic kit you get enough models to fighter planes and shaders to suit.com/3dworld . packs: Arabic.FbX formats providing distinct styles. look the part. Steve_Jarratt providing a wealth of variation with just handful of parts. although it might each kit has enough detail to Deco kit is the most detailed. who wants to achieve 3D WorlD Christmas 2017 94 www. image or stabilising footage. camera trackers. and even suitable GPU. motion within Fusion using controls for creating the indie production companies While VR in Fusion does a 3D motion path. panoramic viewer and support to set up with consistent particularly small outfits like for popular VR headsets such results and allows users to mine.Reviews Fusion 9 software reVIew AuThoR PRofile fusion 9 PRiCe Free or $299 for the Studio Version | ComPAny Blackmagic Design | WebSiTe www. then There are new planar and Having a proper stereoscopic live-action scene for anything calculates planes of motion. track subjects and regions in a in a live-action scene. tricky shots involving foliage in a app built directly into 3D workspace along with a new The planar tracker is quick forest – great news for anyone. When not in the studio. which “THe PlAnAR TRACkeR iS quiCk To SeT uP WiTH using a digital camera on a Blackmagic Design 3D motion path. like the capacity solve is complete to ensure that green screens resulting from see how much of an impact to track a pattern rectangle the results are as accurate as shadows and highlights.uk features VR Toolset Fusion 9 features a toolset for VR. acceleration. users tools that can create a massive solves in real time. With it. even with Player is a shot management have access to a full 360-degree impact on daily work. Users can cleanest possible keys while out there – there’s also been present an exciting novelty. the planar and camera trackers. a panoramic viewer and support for VR headsets. SuBjeCTS AnD ReGionS in A liVe-ACTion SCene” Planar Tracker much more has been updated Tracks subjects and regions than a port to another OS.com Rob Redman Rob is a 3D artist and creative director working across TV. a new VR camera built in means you from corner pinning an image to Perfect for corner pinning an colour difference keyer. the new camera encoding to ProRes on both if you’ve got a headset and a tracker analyses the motion Delta Keyer Windows and Linux. Studio reality projects. you can work of a live-action camera.blackmagicdesign. film and print. he is often found presenting at various events or editing this magazine! www. you can tracking ability. real-world cameras and modify Helps smooth out subtle Going to any CG event over In Fusion 8 there was some individual track errors after the colour variations on blue or the past few years. Camera Tracker Analyses a live-action camera’s motion.co.com/3dworld . as Oculus Rift and HTC Vive. then W reconstructs it within Fusion ith Fusion 9. Meanwhile. Perhaps most directly in the VR environment reconstructs the identical science with matte finesse excitingly – especially for those within Fusion in real time. but version 9’s they can possibly be. GPU can simply plug it into a 3D stabilising footage. With my tests on an NVIDIA Studio Player a toolset specifically for virtual accurate and professional K6000 GPU. then Brings advanced image a VR toolset. change camera settings such preserving image detail. Fusion’s bin structure. Customers get a 360-degree 3D workspace.pariahstudios.youtube. first released during ConSiSTenT ReSulTS AnD AlloWS uSeRS To TRACk Siggraph earlier this year. so it was interesting to or search area. Fusion 9 calculated Replacing Generation. Apple-licensed merge node and suddenly. a very competitive price drop for many VFX artists the more as focal length and aperture for the full Fusion Studio from immediately useful tools will be within Fusion to better reflect Clean Plate Tool $995 to $299 per seat. VR has. see Fusion 9 announced with trackers are more efficient. Generation. along with options to reason for a serious artist not keyer. storyboard down to such a fantastically Another very useful new example.com/3dworld . display to take a look. which Blackmagic have track version history. no matter what users can plug in footage. Reviews Fusion 9 the interface is clean and logical but allows for customisation to suit any given workflow or project Having multiple viewers helps focus on task specific attributes while keeping an eye on the end result exterior shot composites while preserving fine image into Fusion’s preexisting bin overall workflow to the new without having an extra person detail like hair.youtube. considering that running around on set sticking finesse controls. which can built for multi user collaboration the studio version has come gaffa tape to trees first! blur the edge of the key. field they work in. pick introduced as a replacement for annotation notes and more. There are matte system. for with a playlist. Integrated love about Fusion 9 from the VeRDiCT 3D WorlD Christmas 2017 95 www. Player. a colour using a normal colour Fusion’s previous standalone There is definitely a lot to picker and achieve a clean key app. and timeline for playing back low price. With the delta keyer. Studio Player has been tools and. to refine this further. there really isn’t any feature for Fusion 9 is the delta Last but not least is Studio shots. the cheddar Mix – not only for quickly adding aluminium. steel and material is weirdly transparent materials to a scene. and why they were built. which is odd. painted metals. split across ten categories: Emitters. rather than was just an empty folder. and so the everything from human skin to walnut or mahogany. Plastic could more efficiently modify layered with other materials and Synthetics collections are them to suit your own needs. capable of impressively realistic results. canvas. Liquids & Glasses work really honey and wax. – either using your own wood available via renderking. home of Italian artist velvets lack the plush. Fabrics. With a few exceptions this There are only 14 Metal and it doesn’t react properly to is a really solid pack of presets presets. using Octane’s Dirt shader to all fairly similar. a V-ray texture pack and well. milk and beer. especially when The Motion Graphics. ceramics. with an unhealthy addiction to 3D apps pRICe £44 ($59. sand spectacular. Plastics Comes with a standard and Wood. like surface objects. However.com/3dworld . and the has a slightly random selection. channel. We would have liked a greater a library of hard. including the likes of light. one or two needing a minor tweak. using a sub-surface scattering. a great material for an oily glass appearance is faked. features several complex The pack includes 100 Mix materials presets. The one the one that looked most a HDRI lighting plugin wine. which are overall hue and brightness. The brick textures plastics are very handsome). but is something of (although the translucent on hand. fine. but also gold. VeRDICT 3D WorlD Christmas 2017 96 www. worth having. providing a basis for your own.youtube.Reviews Octane Texture Pack Pro softwaRe ReView octane Texture pack pro AuTHoR pRofIle Steve Jarratt Steve is a freelance tech journalist and CG artist. or more animatable characters. The three emitters shader scene to preview are just basic emissive materials. Synthetics. the Wood collection denim. so you own textures. but they’re all excellent – and very un-cheese like. The Minerals folder contains looking surfaces.net and plug-ins. a mixed bag. finely detailed and ultra realistic. These are all couldn’t really make yourself. but nothing you basis of other wood surfaces This pack was originally surface texture. Sadly. they’re useful to have and so on. Its complex featuRes material system takes some getting used to. covered in fingerprints. Includes fabrics. Renderking also sells look more like matte plastic. the milk. mottled diamond material and few Correction node to alter the Alessandro Boncio. www. copper. Organic. €50) | CoMpAny The Pixel Lab | WeBSITe www. Motion Graphics. Similarly. but and honey all look completely with documentation on how provide a great basis for your believable. marble. Octane does transparent In Organics there’s variety of wood grains. all delivering a complex surfaces. RendeRking and use bitmaps and some concrete and marble materials but they can all be used for the displacement to create the are nice.org/wiki/ W Steve_Jarratt ithout doubt. Fabrics include things like don’t have a displacement Finally. Metals. They’re ideal for glasses of variety of neat effects. velvet and wool. sheen of the real material and stone materials. and there’s disappointment is wax. although the blue and red Fortunately it has a lovely textures or using a Colour it. whose interesting – painted wood – called C4dome. orange juice It’s just a shame it doesn’t come They’re all ready to use as is. Liquids & Glasses.thepixellab. organics. rigged materials brilliantly. of relatively simple but good.wikipedia. OTOY’s all of the objects in this scene use the Octane is a very octane texture Pack presets. so a collection 100 preset materials for of presets is invaluable for octaneRender in C4D getting you up and running and improving your scenes. Nothing each preset but as it’s a multi-step setup in bricks. with a range make chipped. with only powerful renderer. ceramics and more Minerals. but all very useful Octane. and it’s perhaps some informative videos It sounds simple enough rusty or battered edges. the easier or more fun – or a new one. dirt function – great for adding clunky at first.thepixellab. in the Octane Live Viewer. can have two per material). can be a bit fiddly. then replace it. to the workflow. However. need to add a new rig for each and dirt over the stickers (you The Pxl+Dirt Xpresso enabling you to easily grubby element in your scene. added via noise channels. covered for adding a wide being snapped up by You then link the rig to the while streaks and worn edges range of distressed effects. scratches and stickers. which rig works with OctaneRender working with displacements forces the image to redraw. you can sure the Mix material is in the The only thing we struggled make some impressive visual right place in the stack. creating a new Octane Mix select the features you want With two layers of grunge. based on your original and then dial in the required plus marks. streaks and edge was a free download ‘clean’ material. GrunGe it up! within Cinema 4D to add dirt. Once set up. €50) | ComPany The Pixel Lab | websITe www.wikipedia.com/3dworld .org/wiki/ Steve_Jarratt features expresso rig for octaneRender in Cinema 4D add grunge. viz artist Cedric Henry.net alongside time. all Joren Kandel of The object being textured and any are determined by a separate of which are animatable. with was the Sticker option. with an unhealthy addiction to 3D apps and plug-ins. but there are a few things without the need for vertex plugin. in real option uses Octane’s built-in handy system. It feels a bit pixellab. and you’ll With the ability to render noise grime. which has been applied to all the major surfaces. latter problem can be resolved preferably both – is always making sure they each have by checking and unchecking worth a look. the end result is suitably grunged up! apply stickers with dirt and decay a Generate patterned nything that makes move the first Mix material off option was unchecked and not displacements texturing your objects temporarily while you generate resizing properly. rig was originally up your pristine objects. Also.net steve Jarratt Steve is a freelance tech journalist and CG artist. Dirt and grime are wear. Pixel Lab. dirt and streaks with live feedback Create edge wear without vertex maps Here’s a scene with and without the pxl+Dirt effect. This latter It’s an ingenious and very now available from material are viewed. appearing tiled when the VeRDICT 3D WorlD Christmas 2017 97 www. The rig is changes you make to the Mix Octane shader. changes to your objects with it’s a bit fussy about making which often misbehaved with the freedom to experiment. Reviews PXL+DIRT Rig software reView auTHoR PRoFILe PXL+DIRT Rig PRICe £44 ($59. not as slick as a dedicated showing off its features.youtube. such as making maps or complex setups. Also. the Size X=Y button. before various noises and bitmaps. For a very brief time it material. layered with values. you’re pretty much from a CG forum. Once you get used to watch for. This Xpresso their own selection sets. www. the rig is easy this is a really useful feature for developed by French arch The system works by enough to use – you simply adding extra realism. multiple Mix materials on the the image disappearing from same mesh – you need to view. all within a virtaul reality and your files will save to workspace.ly/ vault-228-Vr 2.Xparticles matte painting assets for all of our training In this issue’s bootcamp. teaching Files resources the basics of Unity particles Follow the link to download your free files www. FinD the Files You Want From the list Search the list of free resources to find the video and files you want vIdeo + step Images 3. taking advantage of the powerful new Medium content creation application your PC or Mac Plus there are more files and resources waiting online… ViDeo: Get the video tutorials for a selection of this issue’s training vIdeos + step Images step Images Files: Download the high-resolution tutorial bootcamp . In the vault Free Video & Free This issue we have a free video course from Pluralsight.bit.ly/vault-228-vr resources You’re three steps away from this issue’s video training and files… 1.ly/vault-228-Vr Follow Get your the vIdeo www.bit.com/3dworld .youtube. Go to the Website Type the following into your browser: www. DoWnloaD the Files You neeD design a character in virtual reality Click the Download buttons Glen Southern shows you how to use Oculus Medium to scultp a robot character.bit. we demonstrate the power and versatility of Learn how to use photo elements one of Cinema 4D’s most useful plugins: XParticles to create breathtaking worlds 3D WorlD Christmas 2017 98 www. . 9000 9012 .