3D_World_-_June_2016

Photography: Greg Wilson 5 BEST PORTFOLIO Ringling College of Art & Design VANCOUVER FILM SCHOOL SITES TO USE boasts strong industry connections allowing students to collaborate WEBSITE: www.vfs.edu COURSES OFFERED (IN-HOUSE): 3D Animation ARTSTATION with working professionals www.artstation.com & VFX, Classical Animation, Animation concept art STUDENTS: 3D A leading showcase platform SAE INSTITUTE AUSTRALIA for games, film, media and Animation can host 36 students and has six intakes a year, Animation entertainment – you’re sure to WEBSITE: www.sae.edu.au COURSES OFFERED (IN-HOUSE): get noticed here. BA Animation, Diploma of Screen and Media, BA Games Development Concept Art can host 24 students and has three intakes a year, STUDENTS: 2,500 CG SOCIETY Classical Animation can host 28 students and has three intakes a year www.cgsociety.org A leading educator in creative media industries, SAE The go-to place for CG artists, delivers expert training programmes in first-class Vancouver Film School has come a long way since it CG Society has a brilliant facilities. In Australia, SAE provides courses to more first opened its doors back in 1987 to a class of 12 film portfolio service, offering users than 2,500 students across six campuses in Melbourne, production students. Now home to the number one the ability to connect with other Perth, Adelaide, Sydney, Byron Bay and Brisbane. animation programme in Canada, according to the artists and promote their work. Animation Career Review, you’d be hard pushed to SAE offers internationally recognised qualifications find a better facility in the region. ZBRUSH CENTRAL and industry-relevant skills. Uniquely SAE also offers www.zbrushcentral.com a fast-track learning pathway, which means you can The school boasts a host of enticing reasons for Join the ZBrush Central be industry-ready and on your way to that dream job new students to apply to study there, claiming that community today and start faster – being degree qualified in two years. in just one year at Vancouver Film School, you will to interact with a world-wide have more production hours than any four-year network of like-minded artists. Experience is core to SAE too, as you’ll get the school. Vancouver Film school is also equipped opportunity to leave the classroom and step out with facilities that define industry standards, taught VIMEO into the real world, with professional development by veteran professionals with credits on the most www.vimeo.com opportunities at some of Australia’s premier festivals well-known franchises, products and entertainment It may not seem like an obvious and events. With a commitment to excellence in properties. With all this behind them, it’s not hard choice, but Vimeo is a great education and a hands-on, industry-focused approach to see how Vancouver Film School is producing way to get your artwork online delivered in state-of-the-art facilities, SAE graduates some serious talent. and seen by thousands of really can have the competitive edge. creatives around the globe. “I have worked with people from VFS at every studio THINK TANK TRAINING CENTRE I have been a part of and they all have an amazing BEHANCE work ethic,” says Anthony Di Ninno, VFS graduate and www.behance.net WEBSITE: www.tttc.ca COURSES OFFERED (IN-HOUSE): Computer senior previz artist on Man of Steel. Easy to use and allows you to Animation, Visual Effects and Game Design full-time diploma (12 share your art, and discover months) PLACEMENT RATE: 92% the latest work from top online portfolios by creative Based in Vancouver, Think Tank provides relevant, professionals across the industry. current and effective training to ensure you are industry-ready for the visual effects, 3D animation and Vancouver Film School claim game design industries. that in just one year studying with them students will have The school runs small classes for just 12 students, more production hours than with each getting a significant amount of one-on- one tutoring. You will also be assigned a dedicated any four-year school workstation, which is yours for the duration of the semester and comes fully equipped with the best hardware and the latest industry software. As well as being taught by professional instructors, in the final semester you’ll be assigned personal mentors from local studios (including EA Games) to meet with them each week to critique work and teach new techniques. “Think Tank exceeded my expectations in every way.” says Patrick Poage, environment artist for Cryptic Games. “It became my home away from home and I consider my time there one of the best years of my life.” 3D WORLD June 2016 51 3dworld.creativebloq.com

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CONTENTS TUTORIALS Practical tips and tutorials from pro artists to improve your CG skills 66 GAME-READY TEXTURES Master Substance Painter for beautiful texturesFOR MORE ON YOURFREE DOWNLOADS& VIDEO TRAINING TURN TO PAGE 98 GET YOUR 54 DESIGN A ZBRUSH CREATURE 60 TEXTURE A LIFELIKE BIRD 70 MAKE FLEXIBLE RIBBON RIGSRESOURCES Concept design a creature for film production How to improve your texturing workflow Simulate jiggle and bend in your animationsYou’re three steps away from this issue’s video training and files… 74 CREATE STYLISED FUR 78 MASTER CREATURE ANATOMY 1. GO TO THE WEBSITE Build cute characters with Ornatrix plug-in How to create a believable bipedal dinosaur hybrid for 3D printingType this into your browser’s address bar: www.creativebloq.com/vault/3dw208 2. FIND THE FILES YOU WANT Search the list of free resources to find the video and files you want. 3. DOWNLOAD WHAT YOU NEED Click the Download buttons and your files will save to your PC or Mac. 3D WORLD June 2016 53 www.youtube.com/3dworld

TUTORIALSCreate a ZBrush creature ZBRUSH | KEYSHOTCONCEPT DESIGN AZBRUSH CREATUREIan Joyner shares his ZBrush and KeyShot process fordesigning a unique creature concept for film productionARTIST PROFILE W henever I start a new rough ideas in my sketchbook. I My studies of life, such asIan Joyner character I try and like to start things in 2D – even if sketching at the zoo, studyingIan is a concept think of the how and they never go anywhere it opens anatomy or creating simpledesigner, illustrator why of what I’m doing. For this, up my brain a bit. sculptures, always helps when I goand art director. His we wanted a striking creature back to doing fantasy creatures.credits include Jurassic bust, screaming at the camera. I Over the course of this tutorialWorld and Godzilla. wanted to approach this in a very you will learn my basic pipeline As you develop your art careerHe teaches online at open manner and see where the and approach, and I hope you you’ll discover that softwarewww.secretlabs.xyz. digital clay would go. can pick up some tips to include trends can come and go, but thewww.ianjoyner.com in your next project. core art skills remain the same; I did have a few things in if you focus on those areas the mind. For some reason I wanted My workflow is always evolving tools and techniques can change to do something red and as often as needed but the somewhat shiny. I looked at ants, and changing on a per project results will always be consistent! crustaceans and even rodents, and began to sketch out some basis, but the main things that For all the assets you need go to I have found to be constant is creativebloq.com/vault/3dw208 having strong foundational skills in sculpting and painting.TOPICS COVERED 1 START WITH DYNAMESH 2 MASTER 3D SKETCHINGSculptingConcept design I almost always start with a sphere or box and go I have pushed the low DynaMesh and figured outRender passes to DynaMesh fairly quickly. I find it is best to start a very simple head shape. Nothing fancy here butPresentation at a very low DynaMesh (sometimes as low as eight I do try and think of the overall character at this or 16) and work each step until I can no longer get stage. I consider sketching this in 3D, so I want the result I desire. The box with a few subdivisions to make sure the ‘doodle’ is evolving as I find the is great because it keeps me thinking in very simple character, not the other way around. At this stage I terms. At this stage I am mostly using only the am mostly only using the Move brush and Smooth Move brush and smoothing. but I may use Pinch and Inflate as well. 3D WORLD June 2016 54 www.youtube.com/3dworld

TAKING INSPIRATION When working on fantasy creatures, Ian likes to draw on his experience of studying real life3D WORLD June 2016 55 www.youtube.com/3dworld

TUTORIALSCreate a ZBrush creatureWORK MACRO TO MICRO 3 DEVELOP THE CHARACTER 4 BREAK CREATIVE BLOCK Keep refining each Once I have the simple shape blocked in I will up my I sometimes find my initial shapes to be a bit safe, so DynaMesh level until it DynaMesh settings and begin to find the character. once I get a direction, I like to use the SnakeHook no longer achieves your The beauty of designing in 3D like this is I am never brush and try to break my way of thinking. For goal. The worst thing that stuck with my initial block-in. Early on I was thinking design, 3D has a tendency to feel very stiff or lifeless, can happen is to have the of a fatter and funnier kind of character. I’m still so I am always trying to fight that. I still work on the software fight you as you primarily sculpting with the Move and Smooth tools, lowest Dynamesh setting I am able to and still get try and shape your design but I will start to use the Standard brush or Elastic to the form I want. Detail is not even entering my mind sketch in some more distinct ideas. at this stage.KEEP EXPERIMENTING For more creativity, look for happy accidents andorganic mistakes early on in the sculpting process 5 FINDING SECONDARY FORMS 6 USE ZREMESH The bulb head and long prongs along with the odd This is where I take the DynaMesh sculpt and neck shape are starting to really balance out well for decide it has enough information to give it a quick me. I am starting to find out who the character is at ZRemesh. The settings I use change on everything this stage. I am finally stepping up the DynaMesh depending on need, but I usually change the Target to start figuring out secondary forms and such. At Poly Count to something like one or two; Adaptive this point the character is starting to emerge. I still Strength between 20-50. I rarely use the more have a lot to do, but I will now use ZRemesher and advanced controls such as Curves or Polypaint project this detail onto a low resolution cage to for concept remeshes, but it is nice to have those continue refinement. options when or if needed. EXPERT TIP Pace your detailsA tip I think most artists could learn from is toalways allow for areas ofrest. If you want to havean area of focus, be sure to have larger areas of calm around it. 7 USING DYNAMESH 8 BEGIN ADDING DETAIL Always duplicate your DynaMesh before remeshing Once I have shapes I like, I begin adding detail. Tiny so you can add divisions and project the detail and barbs, wrinkles, crustacean-based shell motif. This information back to the newly remeshed subtool. stage usually goes fairly fast so long as my primary and This will aid in everything, from being able to add secondary forms are strong. When detailing, balance more detail to posing. One thing I really like about high and low areas of detail – this will draw the viewer this workflow is that I can now change my main forms to the areas you want them to see and really guide the and retain the secondary detail on the higher levels, eye around your character. The worst thing you can do allowing me to explore more dynamic shapes I may is over detail a design. Simple is almost always better. have otherwise ignored. When in doubt, look to nature. 3D WORLD June 2016 56 www.youtube.com/3dworld

9 NOW ADD COLOUR EXPERT TIPThis stage sometimes bleeds into the detail step; as Consider your poseI add colour I may also add new detail as needed.This step is about reinforcing my sculptural detail – This bust was designed forhighlighting ridges and prongs and darkening areas the cover, so I knew the bodyto keep the viewer looking at the face. Designing in would mostly fall away to3D can sometimes become a trap when you want to darkness, which means I just need an interesting form/finish every aspect of a sculpt before presenting the silhouette and can focus my time on the face. Sometimes,image. Very rarely do you have the time to do this, so something as simple as a turn of the head canfocus on what matters! really bring life to your character. 10 UNDERSTAND POSING Posing is a very important and often overlooked aspect of doing 3D design. A lovely model in a static pose very rarely is altogether striking. This is a simple bust but I still try and think of balancing the creature, even with an imaginary body. If the head goes one way, the torso will try and balance it by going in the opposite direction. This adds drama and interest to the creature, as opposed to simple stacking everything on top.11 SETTING UP KEYSHOT 12 LIGHTING IN KEYSHOT RENDERING Using KeyShot bridgeZBrush materials in KeyShot have no specular or Lighting in KeyShot is amazing at first glance. Theroughness; they use a fake baked-in specular from HDRI settings really open up a lot of quick lighting I use the ZBrush to KeyShot bridge,the ZBrush information. So, add specular and scenarios to play with. Sadly, I find they also lend even early on, to see how myroughness to your materials to see how the lighting towards a bit of a fake/product feel to nearly all of sculpt feels in real-world lighting.works. Be subtle: too glossy can look fake or wet and my renders. To counter this I like to add in area lights I find this very useful as often theoverly diffuse will wash away the form. For the eyes, I using simple spheres to really control my lighting set camera settings in ZBrush mightuse a bright white specular/gloss and no roughness. up. This can make your render times get a bit crazy, not be best for the project andFor the skin I use a subtle blue-grey and turn the so be very careful when experimenting. limit your ability to judge how theroughness up so it scatters the light. design is progressing. The two programs work together so well it‘s almost like they were made for each other. Here you can see the same model and material under different HDRI Lighting conditions.3D WORLD June 2016 57 www.youtube.com/3dworld

TUTORIALSCreate a ZBrush creature RENDER PASS PROCESSIt may be subtle but having multiple render passes to use in Photoshop makes a world of difference to the final presentation 13 USING RENDER PASSES 14 BEAUTY PASS Render passes are an integral step for me. Very rarely The main pass I find I always use is a Beauty pass. am I thrilled with the one off material. I like to render Basically this is the master render – it has a nice out multiple passes and take them into Photoshop material, with texture. If all I could show was this for extra control. Reflective or wet areas might look pass it would still be presentable, just lacking the great in the eyes or mouth regions but seem oddly pop we get by comping together other passes. out of place on the overall body. By rendering out a few passes, I can have complete control over the final look of my hero shot. I’ll look at each pass in the following steps in more detail… Using a Clown passbecomes a useful tool for quick selectionsand masking of these various areas 15 CLOWN PASS 16 AO PASS A Clown pass is useful if you have many different The AO pass (Ambient Occlusion) is great for materials. For example, my creature has a variety defining crevices and form shifts in your ZBrush of materials for the eyes, bust and teeth – as creature sculpts. I like to use this on a low Multiply well as some of the barbs and spikes lining his Opacity setting to help shadow out some areas. shell-like areas. So using a Clown pass becomes Sometimes I like to mask this too, and let some a useful tool for quick selections and masking of areas show more than others. these various areas, speeding up my workflow and simplifying the process. 3D WORLD June 2016 58 www.youtube.com/3dworld

17 RIM LIGHT PASS 18 REFLECTION/SPECULAR PASSRim passes/Light passes are great if you want to Finally, a Reflection pass/Specular pass can bemake sure your creature sculpt is really popping off great for adding a bit of gloss to areas that mightthe background and the form is reading correctly. be looking a bit flat. It is important to mask or paintThe silhouette is key to all good creature designs this or you run the risk of having an overly glossy orand this set of passes is a quick and easy way to uniform shine to everything. Think about your owncheck the sculpt is reading well. The easiest way to face, chances are your lips and eyes (and maybedo this is just to turn off all other light sources but nose if you have a cold) are a bit more wet than yourthe one you want to amplify. cheeks and forehead.19 USING PHOTOSHOP 20 FINAL TOUCHES FIND YOUR STYLE How to ensure yourOnce I have a few passes rendered out I will jump I like to spend time refining key areas of the concept styleinto Photoshop and start layering them. Specular creature at the end of the process, for example,passes on screen or softlight; Ambient Occlusion creating the eyes. I like to paint my eyes – I very I think the artists I most admirepasses on multiply (or maybe as a mask for other rarely sculpt and render out proper eyes anymore. in the concept world all have amaterials). Every character has different needs. Once They are fun to paint and very easy and fast to distinct voice or look – and as aI get a nice base going I quickly collapse my layers create. Usually I will render a white sphere or 3D concept artist it can be easyand begin to just paint on the design. Again, part of black sphere and just use this shape as a guide to to lose that. This is where youthis is to get rid of the CG feel on the image as it can figure out the next steps and have fun painting in can really bring in the personalfeel a bit lifeless. something unique. touch. Some characters will be 75 per cent paint over and just a simple shape rendered out, which is great for rough or quick ideas. Others will be mostly rendered images with minimal tweaking in Photoshop. This always works best on more detailed or finished sculpts.3D WORLD June 2016 59 www.youtube.com/3dworld

TUTORIALSTexture a lifelike bird MAYA | MARI | V-RAYTEXTURE A LIFELIKEBIRD FOR ILLUSTRATIONPaul H. Paulino reveals how to break down patternsand details for more realistic texturesARTIST PROFILE T he Southern Cassowary friend Daniel to sculpt it for me. like that was an incrediblePaul H. Paulino was a collaborative project He was done with the model in a achievement for me as an artist.Paul is a texture between myself and my couple of weeks and then I beganpainter and look friend Daniel Rodrigues (www. the texturing/look development In this tutorial I will go throughdevelopment artist danielsrodrigues.com). It is the process, which I’m going to some of my texturing workflowscurrently working in third and last piece of my student explain here. and techniques for creating aVancouver, Canada, reel completed at Think Tank realistic southern cassowaryat Scanline VFX. Training Centre. I chose the cassowary because it using Maya, Mari and V-Ray. Bypaulhpaulino.com is such an interesting animal; it has analysing real-life references During my time in school I was an incredible colour palette, which and learning how to breakdown mentored by Justin Holt, who is was an exciting challenge from patterns and details, you’ll be able an incredible artist that guided a texturing point of view. Aside to apply these concepts in your me through the whole texturing from that I’ve always been amazed own projects. process. After deciding to texture by the wonders of nature and the cassowary I asked my talented being able to recreate something For all the assets you need go to creativebloq.com/vault/3dw208 EXPERT TIPLimit your references You’re going to find a lot of variation in your references. Stick with one to three during the project and use the others to understand detail patterns.TOPICS COVERED 1 GATHERING REFERENCESTexturingModelling To achieve a photorealistic result it is crucial to findCreating colour palettes good references. I recommend using Google imagesDetailing and Flickr to find high resolution images; this way you’llPainting be able to see and breakdown all the details in your textures. After picking a good amount of references I use a software called PureRef to categorise them. I separate the references based on the casque, beak and skin. Since each bird is so unique, it is a challenge to find a middle point between the photos. 3D WORLD June 2016 60 www.youtube.com/3dworld

TEXTURE CHALLENGEPaul chose to texture thecassowary as it has aremarkable colour palette 3D WORLD June 2016 61 www.youtube.com/3dworld

TUTORIALSTexture a lifelike bird 2 CREATE A GOOD MODEL 3 UNWRAPPING THE BIRD It doesn’t matter if you have amazing texturing skills For this tutorial, the UV mapping process is done if your model doesn’t look good, so make sure you in Maya. The 2015 version has new features and the have a realistic sculpt to work with. In my case I asked integration with Unfold3D is amazing – it helps me my talented friend Daniel Rodrigues to sculpt the a lot during the UV process. I separate the casque, cassowary for me. We worked together for a few weeks the beak and the skin in the UVs to make selections until we got the final model. I asked him to sculpt only easier. In Mari I am able to paint the UV seams, the primary and secondary details since I was going to so I don’t have to worry too much about having work on the high frequency details in Mari. multiple UDIMs. 4 BAKING AUXILIARY MAPS Before jumping into texturing I bake a few auxiliary maps (AO map, 8-bit Displacement map and Cavity map) in Mudbox. These maps help a lot since they are used as masks to drive and isolate details in specific areas. They can also be used as a channel mask in Mari if you want to project anything in your model. The channel mask will generate a real-time mask based on your auxiliary maps.SAVE AND KEEP 5 CREATE A COLOUR PALETTEReuse your favourite textures The cassowary is colourful and its blue tones areA texture library is one of the beautiful. In order to achieve all these variationsmost important tools within the of blue, ultramarine violet and orange, I create atexture painter toolkit. After each colour palette. I do the same thing for the casque,project, make sure you collect and which is not as colourful as the skin but still hassave all the textures that you’ve some interesting colour variations that help bringused. Be organised and separate the bird to life. Again, since the references have soeverything properly – this step many different colours, I have to find a good balancecan save you a lot of time in the between the photos in order to achieve realism.future. Also, get used to creatingtiled textures from your regulartextures and create a folderjust for them. It’s also worthseparating another one for themasks that you’ve created. 3D WORLD June 2016 62 www.youtube.com/3dworld

6 PAINTING THE SKIN TONES EXPERT TIPAfter defining the colour palette I begin painting the Adjusting coloursskin. I create several layers, each one with a different You can add an HSVcolour based on my previously created colour palette. adjustment to your colourThen I create a mask for each layer and start masking layer, which will alloweach colour separately with a Soft brush. This process you to change the Hue,enables me to get an interesting colour variation and Saturation and Value ifgradation between the tones. For the black patch on you need to. This stepthe face I use a different brush to mimic a pattern that can be helpful if you needI saw in the reference photos. to modify your colours without repainting it.7 COLOUR VARIATION VISUALISING YOURUsing only basic colours will make your textures look TEXTURE PATTERNSreally flat. In order to get some variation I decide Learn to look closerto add galvanised textures on top of the layers, at your referenceslowering the opacity to 20 per cent and changingtheir Blend mode to Overlay. This is also the time Learn to visualise and understandto use the previously created maps. I use the 8-bit patterns in nature to use in yourDisplacement and the Cavity map on top of the own textures. A really tricky partlayers and change the Blending mode to Soft Light during the cassowary texturingand Overlay to get even more breakups. process was to mimic the casque pattern, since I couldn’t find a good reference photo to extract the mask from. So I had to start looking into other patterns, like plaster and flaking human skin.8 ADD HIGH FREQUENCY DETAIL KEEP IT REALISTIC Pores are notAfter getting the basic colours and variations it’s completely uniform intime to add some fine details to the Diffuse map. real life so add someI project human pores on the skin based on my opacity variation in yourreferences. Since the bird’s pores have so many projection by erasingsizes, I have to pay attention as to where those some partsdetails would be placed. After projecting the highfrequency detail, I put it on top of the colour layers TILED SKIN POURSand change the Blending mode to Overlay.3D WORLD June 2016 63 www.youtube.com/3dworld

TUTORIALSTexture a lifelike bird 9 CASQUE DETAILS After getting all the colour variation I want for the casque, I use some masks that I create in Photoshop to add the flakes/dry skin detail. This step is really important and really helps to add realism to the piece. Looking at the references you can notice that some birds have a crazy amount of flakes and others don’t. Once again I have to find harmony between the references to achieve a realistic result that would fit my piece.BEFORE AFTER 10 PAINTING THE EYE The eye is one of the most important parts of a portrait so I have to pay a lot of attention. I try to find a high resolution photo of a cassowary that I can use for the eye, but I don’t find anything usable. So I begin to search for bird photos in general and I find a great photo of an owl, which has a similar eye pattern. I take the UV masks into Photoshop and colour correct them based on the cassowary eye.ORGANISE LAYERS SPECULAR GLOSSINESSStructure your workflow 11 SPECULAR/GLOSSINESS MAP 12 BUMP MAPDuring the texturing process inMari you can end up with a crazy After finishing the diffuse I start to convert it into The Bump map shares the same source as theamount of layers and channels. Specular and Glossiness maps. The Specular map Diffuse map, so it will match all the relevantAn organised scene is vital to will need to be darker where the dirtier areas are and details. First I desaturate the colour and use Levelsmake your life easier, so create lighter where the cleaner, more reflective areas are. Adjustment to change the contrast. In this map Ia name convention that makes The Glossiness map is doing a similar thing except the use the same high frequency detail (pores) that Isense and use it for everything. tonal values don’t determine specular intensity; they painted on the colour. Be careful the grade doesn’tAnother tool in Mari that can denote specular highlight falloff, or softness. For V-Ray, crunch out detail at the far ends of the range – youhelp your organisation and also white areas in the map create a tight specular hit, and don’t want to lose detail in the light or dark areas.speed up your workflow is the black areas a more scattered, diffused specular.Selection Groups. This way you’llbe able to work without worryingabout losing track of yourmaterials and textures. 3D WORLD June 2016 64 www.youtube.com/3dworld

EXPERT TIP Add extra lights Using only an HDR light can make your lighting look really flat, so add extra lights to incorporate a more realistic feel to your render.13 ATTENTION TO DETAIL 14 LIGHTING SETUPIn order to make the cassowary realistic I have to Since I am aiming for realism I analyse the lighting fromobserve all the details. These birds get dirty, they the reference photos that I gathered previously andscrape and scratch and pick up all sorts of damage I realise that most of the photos were taken within aand wear and tear. I like to apply these details on a rainforest, which is the natural habitat of a cassowary.separate layer using the Ambient Occlusion map So, I use a free HDR called Topanga Forest that you canthat I have created previously, as a mask to drive the download here: www.hdrlabs.com/sibl/archive.html.dust and dirt into occluded areas. I also have to find Aside from the HDRI, I also add extra lights to create an interesting and dramatic lighting setup, as you can seedifferent textures that match the patterns that on the image with this step.nature creates.15 LOOK DEVELOPMENT 16 EYE LOOK DEVELOPMENTI use V-Ray 3.0 for the look development process. I don’t have a complicated setup for the eye. I haveUsing a blend material, I separate the casque from four different pieces: iris, cornea, lacrimal duct andthe skin using a mask created in Mari and I also caruncle. The iris geo has a concave shape and thecreate another layer for the Dirt pass using another cornea convex. This means I am able to achievemask. Doing this means I am able to dial the shader depth and realism with the eyes without gettingseparately, since the casque has different properties into complex shading. Next I use a glass materialfrom the skin. on the lacrimal duct and cornea geo, and a simple VRayMtl for the cornea and caruncle. I use the Z-Depth pass to give a natural and photographic look to the scene… I also add a few colour correction layers17 ADD FUR AND EYELASHES 18 FINAL PASSES/COMPOSITIONTo add some realism, I add some fur to the After finishing the look development I take thecassowary using V-Ray Fur. The setup is really simple passes into Photoshop to begin the comp process.and it makes a huge difference to the final result. I use the Z-Depth pass to give a natural andI also paint a mask in Mari to decide where the fur photographic look to the scene, and I also add a fewwould be placed. The eyelashes are polygon cones colour correction layers. The last step is to add postwith different sizes. All are manually placed; it is a effects to the scene, which are Vignette, Chromaticsimple but tedious task but the variation creates an Aberration, Lens flare and Noise.organic and realistic look to the bird.3D WORLD June 2016 65 www.youtube.com/3dworld

TUTORIALSCreate real-time textures SUBSTANCE PAINTER | ZBRUSHCREATE GAME-READY,REAL-TIME TEXTURESSébastien Giroux shows how to create beautiful textures forvideo game production using Substance PainterARTIST PROFILE T his past year has been a for example instead of texturing And it doesn’t stop there. OneSébastien Giroux game-changer for the video with photos on a flat 2D canvas, of the many great things withSébastien is a senior games industry and for us you are now able to ‘paint’ on Substance Painter is the abilitycharacter artist at artists lucky enough to earn a a 2D canvas. At the same time, to use the colour ID map that isActivision Quebec, living from making games. The Substance Painter offers you the generated from ZBrush and bakedcurrently working emergence of physically based ability to do this in a 3D viewport. into Substance Painter. This can beon the Call of Duty rendering (PBR) has changed used as a mask for materials/texturefranchise. He has been the way we create textures and One of the mindblowing abilities applications baked from the high-working in the video materials for game engines, and of the software is it enables you resolution details in ZBrush.game art industry with it, software has emerged that to texture in multiple channelsfor almost a decade you need to master. In particular, (albedo, glossiness, metalness) at The other great thing is you canworking for studios, Substance Painter has become the same time and then you can now bake normal maps by name –like Ubisoft Montréal a standard in the industry; it’s a reuse this materials’ recipe quickly you don’t need to break up youron many of their IPs. terrific software that is a part of the on other 3D models, in seconds. low-polygons (LOD0) in order towww.artstation.com/ Substance Designer suite. In this bake them. So you can avoid aartist/hellrainbow tutorial we’ll learn the core skills Texturing a series of vehicles, projection overlap in your normal needed to create real-time, game- props or characters that are part maps, as the two geometry objects ready textures in Painter. of the same theme or factions with are too close together – even at a similar material types becomes an low ray distance value. This avoids Photoshop has been a staple easier task as you can reuse the having to make corrections in of my workflow for years but same materials across all of them. Photoshop, which can be a pain. Substance Painter offers some Texturing has never been quicker major gains to stray from its path, and it’s easy to use all of this while For all the assets you need go to maintaining the PBR accuracy. creativebloq.com/vault/3dw208 EXPERT TIP DecimationKeep in mind the decimation you see in ZBrush is withoutany smoothing groups or soft polygons; they are all hard polygons and many of those hard artifact details won’t appear in the normal map baking result.TOPICS COVERED 1 START WITH DECIMATIONBaking texturesModelling You need to decimate as much of your individual partsPolypainting as you can. This will accelerate the baking process timeTexture maps and you will have a usable high-res mesh if you need to retopolgise. For decimation, a good rule of thumb is try to aim for 300-350k polygons in ZBrush. If too much of your detail gets washed out during the first pass of decimation try a higher count, or if nothing changes try a lower polygon count. The goal is to get the best result with the fewest decimated polygons. 3D WORLD June 2016 66 www.youtube.com/3dworld

IMPRESSIVE TEXTURESSubstance Painter hasbecome an essential toolfor creating high qualityreal-time texturesREAL-TIME TEXTURES JOIN CMIVFXMaster the new tools of Subscribe today for trainingSubstance Painter andcreate dynamic textures For over 10 years, cmiVFX have provided valuable lessons in real- world and experimental techniques that define the very fabric of the visual effects industry. Our training material is unique as we provide you with knowledge from mentors who have contributed to a number of the world’s most famous movies, advertisements, and media. www.cmivfx.com 3D WORLD June 2016 67 www.youtube.com/3dworld

TUTORIALSCreate real-time textures HIGH RES MODEL LOW RES MODEL 3 same object 3 same seperate subtools objects 2 USE DIFFERENT POLYGROUPS 3 MOVE YOUR MODEL For this stage of the process you need to break Once you create your low-resolution model (LOD0) your ZBrush models into different polygroups. take this into the 3D software of your choice – I Ideally the same material type and same wear and would recommend 3ds Max, TopoGun or Maya. tear should be on the same polygroup colour. Usually your model should combine or attach all of You need to do this from the start of the sculpting the 3D objects on the same type of texture map. phase in order to define which parts will have With this done, it will be easier to assign them a different materials, and from there try to keep name ready for baking the normal maps. them as different subtools or elements for fast and easy polygroup assignment. EXPERT TIP ZBRUSH 3DS MAX ZBRUSH 3DS MAX High-resolution subtools Low-resolution objects High-resolution subtools Low-resolution objects Don’t forget about your underscoreYou can’t type an underscore (_) in ZBrush, so therefore you will need to paste this in from 3ds Max or another app, to make it work. By default, Substance will look for _low or _high.RETOPOLOGY IN 4 RENAME YOUR MESHES 5 RENAMING CONTINUEDVIDEO GAMESChoose your method You need to rename your meshes in ZBrush and in By default, Substance Painter baker will look forbefore you begin your low-resolution 3D package (3ds Max, Maya, and names with a ‘_low’ and ‘_high’ modifier to link them so forth). This is where most of the problems occur. to each other and bake from there. Once again, itThere are many different In ZBrush, by default, the software adds a capital seems in ZBrush you can’t input the ‘_’ so you willapproaches to retopology letter to all the names you input in the rename part need to copy and paste the name from the lowfor an in-game asset. One of of the subtools, so be sure to add a capital letter to resolution model, and then copy and paste the namethese approaches is to model the first letter of your naming convention. Also avoid in ZBrush, renaming the subtool and erasing thea low-resolution mesh with a numbers, as Substance won’t support them and it will ‘low’ at the end to replace it with ‘high’. This way youpolycount close to what you cause problems at the baking stage. ensure the exact same word carries across.want to use in the game. So startyour ZBrush model in high-res 6 POLYPAINT FROM POLYGROUPS 7 ASSIGN BASIC MATERIALSpolygon sculpting, using this asa base (subdivision level 1), but We need to prepare the colour ID map that will be We need to assign the basic materials from Maya/3dsconstrain it by a defined topology, really useful in Substance Painter. First you need Max. It doesn’t matter as long as each materialso no ZRemesher or DynaMesh is to assign the correct colours in ZBrush. All your assigned represents a texture map on your model. Ifallowed on this mesh. This can be polygroups should already be assigned by material you have three textures you should have three materialsa problem, so you need to plan type on each subtool, so the only thing left is to do assigned to them by polygon face or polygon object.your base mesh to so that there’s a Polypaint From Polygroups (found under the Tool Each material needs a specific name that defines whichpolygon detail in some regions palette) on each of the substools. type of part or texture it represents. That name will beof the model, where needed. The your reference in Substance, so you know which textureother approach is to start with a is what on every texture set.base mesh without any regard forthe topology – just get the scaleand proportions right, and thenwork from there to get the highsculpt. After this, do a retopologyfrom the decimated high-resmesh by snapping the polygon onthe surface (3ds Max FreeformTab>Extend or use TopoGun). 3D WORLD June 2016 68 www.youtube.com/3dworld

8 EXPORT TO ZBRUSH Now that our materials’ names and polygon mesh names have been assigned, we can export our ZBrush high resolution model and our low resolution model in the .fbx format. The great thing about ZBrush FBX is that it can export all your separated subtools as one, and when loaded in Substance, the format will remember they are separated. You no longer need to export your .obj subtools and combine them in Maya/3ds Max like the old days. BAKING MENU LOW RES MODEL Material names that define the texture set9 IMPORT TO SUBSTANCE 10 INSIDE SUBSTANCE PAINTERFinally we make it to Substance Painter – this is Now that you’ve loaded your low resolution mesh,where the fun begins! Go to File>Start New. Now you should see the different texture sets with theyou need to get the low resolution .fbx that we names that you wrote before exporting into your 3Drecently saved out of ZBrush, by pressing the Select software. You can also see the channel that you willbutton. Now we have our files inside Substance be using, and you can add more or remove some,Painter and can start the texturing project in detail. depending on your needs. At any time you can also switch the resolution of your project, and as long as you’re using Substance materials and effects, you will never lose detail when upscaling the resolution.11 THE BAKING MENU 12 BAKE YOUR TEXTURES BAKING POSITION Check your model’s positonOnce in the Baking menu you can set the resolution Now go to the ID menu inside of the Baking menu.of the baked maps. You can also load your high From here select the Colour Source menu and When you bake the position texture,resolution decimated .fbx file from ZBrush by clicking scroll down the bar until you reach the Polygroup/ it’s important the model is in theon the small page icon next to the high resolution Submesh ID option. Now you should be all set, so same position as it’ll be in-game,meshes square. By default you are in the normal simply press Bake Textures. Now all the textures as many generators and effectssection, so go to Match and switch the default should be located in the additional maps that you use those maps to react, and thesetting of ‘Always’ to ‘By Mesh Name.’ just baked. If you want to modify them in Photoshop, result will be wrongly driven by that you need to export the textures by selecting them Texture map. If you bake the low-res from the Additional Maps menu. model in a bad rotation position you’ll need to repositionate your model, re-import into Substance, then re-bake the Position maps.3D WORLD June 2016 69 www.youtube.com/3dworld

TUTORIALSAdvanced character rigging MAYAHOW TO MAKE AFLEXIBLE RIBBON RIGJosh Carey reveals how to use ribbon rig techniques to createthe right amount of squash and stretch in your animationsARTIST PROFILE Ribbon rigs are fairly common ribbon rig technique proved jiggle simulation a step further.Josh Carey in production rigs these pivotal in creating the jiggle Everything that you’ll learn hereJosh is the head days. They have a similar and bend of the cartoon snail’s will be the groundwork for yourof rigging at Reel behaviour to using a spline IK eyes, chest and tail. Using the own projects, and from here youFX Studios and setup, but can be easier to set same technique, you’ll be able to can keep experimenting withco-founder of the up and have additional layering achieve similar results in your own the techniques.online rigging school, benefits. In the following tutorial, animated projects.riggingdojo.com. His I will demonstrate how to set up In the online Vault you will findrecent work includes a simple ribbon rig to simulate We’ll be looking at setting step-by-step images that you canrigging for Looney jiggle and bend, and then we’ll up a basic node setup and how download to take a closer look atTunes 3D Shorts. take it a little further with some to use layers of controls to get my settings and setup. I’ve alsowww.cgjosh.com advanced techniques. the desired results – being able included my Python script code in to maintain close control over the download so that you can try The rig I’m using in this training your rig is important. Then we’ll out the advanced options. I hope was based on one created for develop the ribbon rig technique you enjoy the tutorial! the short animated film Wildlife and look at advanced options Crossing by Anomalia; the and bonus options to take the For all the assets you need go to creativebloq.com/vault/3dw208 EXPERT TIP 1 BUILD RIBBONS & FOLLICLES 2 FOLLICLE NODES Follicle shape Create a nurbs plane and scale in X with some spans. Now you can delete the highlighted nodes that you Make sure you create your surface Make it so the joints/follicles are between spans. If see in the screengrab above. The curve nodes under with the U direction following the you have them right on the spans, then you might the follicles can be deleted since we’re not using have trouble getting them to aim between each actual hair, just the nodes that the tool created. length! Follicles aim down that other properly. Now go to the nHair menu and Using the Create hair menu is just a quick and easy direction by default, so save yourself create a Hair option box. Change the options from way to make follicles on the surface. Alternatively, some trouble by ensuring you’re going the default. Set the V count to 1; you want to control you could create the nodes by hand (createNode down the U. If you don’t do this, you how many follicles you get along the U. Match the U follicle) and then you would have to hook up the count to the U spans to get the right value. surface shape and transforms yourself. can flip the follicle direction on the Follicle Shape node. If you forget about this, you will see shearing in your mesh that you end up skinning when the ribbon starts bending.TOPICS COVEREDRibbon rigsFollicle nodesStretchy rigs 3D WORLD June 2016 70 www.youtube.com/3dworld

SNAIL JOURNEYJosh used ribbon rigs tocreate the flexible snailin Anomalia’s animatedshort Wildlife Crossing EXPERT TIP Nesting joints I tend to use joints with shapes under them (nested under other joints) as controls. Nesting joints under each other enables you to zero out all transforms on the control joint as well as making it a really easy way to get the orientations matching the originating chain from where you duplicated the joint.3 ORIENT YOUR JOINTS 4 NOW ADD THE CONTROLS CHECK HIERARCHY Check your hierarchyFor each of these follicles, you’ll want to put joints under My snail rig’s eye stalks use multiple sets of controls. against the image; youthem and use these joints to skin your mesh to; at this The first layer is a simple ‘start middle end’ setup, so can colour the shapepoint, moving the nurbs surface around will make the let’s start with that: Save your file and go ahead and nodes by using thejoints follow. Test it out: manipulate the CVs to see how duplicate the start, middle, and end joints that you Override Color optionsthe joints react. Turn on the local rotation axis (Display> have on the follicles, and unparent them. Duplicate in the Attribute editorTransform Display>Local Rotation Axis) to see how they again, name one set _ZERO and the other set with _keep their orientations along the surface. Make sure you CON. Parent the _CONs under the _ZEROs, and addundo any movement on those CVs though – we want to some curve shapes to them for selection purposes.continue with the surface in its default position. Check your hierarchy against the image. 3D WORLD June 2016 71 www.youtube.com/3dworld

TUTORIALSAdvanced character rigging SCRIPTING LAYER 1 LAYER 2CREATE FOLLICLES AT 5 SKIN THE RIBBON 6 LAYER IT UPSPECIFIC LOCATIONS Since the controls we made are joints, we can skin the Put your ZERO nodes under your rig. (If you want ribbon surface to those. Always skin with the option of a bendy arm section, put these joints under your selected joints, and select only the _CON joints we forearm joint, and the arm will be skinned to the made. Smooth out the weights after skinning so the joints under the follicles.) Let’s take this further and ribbon deforms evenly and lock the start/end spans so add some layered control. Go back to your saved they don’t move when the middle moves – or choose to file (where the ribbon is unskinned) and make a new have them aim. This is a behaviour decision for your ribbon surface that has 1 span in each direction; animator. If you have the ends ‘aim’, tweak the weighting duplicate the original ribbon surface then remove on the CVs to get a little influence from the middle joint. all the inner CVs from that duplicate.ONE VISUALISE 7 MORE FOLLICLESTo visualise how you will Let’s take the layer 1 surface (1x1 spans) and skinmake this script work, make that to the start and end controls. This surfacetwo locators. One is going to should drive the rest of the layers that you make,be used as a location object which means the mid control should be attached towhile the other is going to the surface. Starting with the current middle controlbe the output location on the that you already have, let’s make a follicle on thesurface. You will need to make layer 1 surface at the location of the middle_CON.a closestPointOnSurface nodefor this.TWO OUTPUTAfter making the properconnections (use the previouslymade follicles to see whatthose should be), outputthe result position from theclosestPointOnSurface to thesecond locator.THREE FIND VALUES 8 ADDING MORE LAYERS Original is checked. Now you should have a little play around with the controls so that you can see how theYou can now find the U and Now take the layer two surface, and skin that to all surfaces are affected. You can see the rebuilt surfaceV values that a follicle would three controls (start, middle and end). We continue with history from the layer two surface. By makingneed by looking at the resulting to have multiple options on how this rig ends up. We the rebuilt surface cubic in the U direction, the resultU and V parameters on the could end it right here and simply wrap the original is a smoother surface. Here’s what it would look like ifclosestPointOnSurface node. surface to layer two. However, to get a smoother we wrapped the original surface to the newly rebuilt,By using this process, you result, we could use the Rebuild Surface option to cubic layer two surface.should be able to deduce how give us a cubic surface to wrap to, rather than a linearyou would go about this by one. Use the Edit Nurbs>Rebuild Surface menu withcode. Comment out the process the layer two surface selected. Make sure that Keepfor your function and fill in thegaps with real code. 3D WORLD June 2016 72 www.youtube.com/3dworld

9 MORE OPTIONS EXPERT TIPLet’s back up and add an extra layer of control. Embrace the complexityDuplicate the inbetween joints on each side of the Try not to be confused ormiddle control (joints 3 and 7 in my example). These overwhelmed by the amountwill become new controls to use. Follow the previous of options; rigging is all aboutsteps to put them under follicles that are attached to finding the best solutionlayer two’s (the linear) surface. Create a new surface for what you need. I’m justwith more spans (at the location of the new mid showing you the optionscontrols), and this surface will be skinned to all the and you will have tocontrols we’ve created so far. decide what works best for you! Play with the Rebuild Surface options to get the right amount of bendiness that you want10 WRAPPING UP 11 BONUS FEATURES ADDING JIGGLE Use the Bonus RiggingTo bring it all together, use the rebuild surface trick You can take the rig further by adding scaling Muscle spline creatoron this final third layer ribbon. Play with the Rebuild features. Once you get a mesh skinned to theSurface options to get the right amount of bendiness skinning joints, and have it stretched out, you may You can use the Bonus Riggingthat you want. Once you’re done, you can wrap notice that the mesh doesn’t maintain uniform Muscle spline creator in placethe original surface to this new third layer’s rebuilt stretching. This is because our joints aren’t actually of ribbon rigs if you’d like, assurface. Alternatively, you could just recreate all the scaling; they’re just translating away from each other. they also give you the option forfollicles on the layer 3 rebuilt surface, and put the This may be OK in a lot of cases, but if you do need adding jiggle simulation. Youskin joints under those. This would get rid of some to set up scaling, you would go about this like you can find this under the Muscleextra calculations from the wrap node. would with an IK spline rig. menu>Bonus Rigging>Create Muscle Spline. Sometimes you LAYER 1 will find it better to create your own ribbon rigs though, as you’ll LAYER 2 see that you have more options available to create the layered12 SPLINE TECHNIQUES you create, so make sure that you experiment with technique, as well as better these techniques and try to explore more on your control over how the joints/Grab the original ribbon surface and go into Isoparm own! Plug the curve shape into the curveInfo node controls aim at each other (formode. Select an isoparm at the 0.5 mark in V (for to obtain the arcLength. Use this to drive how much example, the skinning of theexample, select r ribbonPlane_SRF.v[0.5]). Use the stretching happens on the joints attached to the ribbons). Experiment with theEdit Curves>Duplicate Surface Curves menu item surface. Here’s a final look at the ribbon used on the options to see what it builds.to duplicate that isoparm. This will give you a curve snail’s eye stalks – three layers, with the final layerthat follows the ribbon, by keeping its history. You being the actual individual control over the skinnedcan then use that curve to plug into a curveInfo joints. This was necessary to achieve some of thenode and set up your typical squash and stretch waving effects.node networks. There is no limit to how many layers3D WORLD June 2016 73 www.youtube.com/3dworld

TUTORIALSCreate stylised fur FOLLOW THE VIDEO If you see the Play icon, use the link! 3DSMAX | ORNATRIX | MARI | V-RAY | NUKECREATE STYLISEDFUR FOR CREATURESLudovic Lieme shows the process for creating a furrycharacter from scratch, with the help of OrnatrixARTIST PROFILE C reating a fur character can For this project, I chose to createLudovic Lieme be easy, but if you want it a cartoonish hedgehog becauseLudovic is a CG to be really appealing you of the characteristics that it has –generalist artist will have to pay attention to detail namely two different types of fur.based in Paris who and keep it organised. But I also chose this cartoon stylehas worked in because it’s cute! The workflowthe advertissing, I will show you the different that I’ll show you can also beanimation series and steps I went through to create applied to animated characters,feature animation this little furry creature. This but I will come back to that later.movies sectors. tutorial will mainly focus on mywww.artstation.com/ workflow for fur creation, like For those of you who would likeartist/ludoviclieme to see the project in more detail, separating the model for the you can follow the video showing the fur creation steps. You can also fur, map creation in Mari, fur download the final scene with the model, textures maps and render shading, and preparation for settings in V-Ray. I hope you’ll enjoy it – let’s get started! the rendering in V-Ray. I will also For all the assets you need go to go through over some important creativebloq.com/vault/3dw208 steps like reference research, modelling and compositing – however, I will keep that as short as possible. EXPERT TIP Mari procedural mapping There are a lot of custom procedural presets thatMari provides, but you can also find some free pretty cool ones on the internet and import them into Mari.TOPICS COVERED 1 SOURCING REFERENCES CLICK TO PLAY VIDEOModelling prep www.bit.ly/208-fur-1UVs and fur textures Before beginning any project you need to findFur grooming good references! I usually begin my research withShading and rendering fur Google and Pinterest to find anatomy references,Compositing real-life images, posing, gestures, and so forth. I also try to find inspiration in more artistic websites like ArtStation or DeviantArt. It’s great to look for inspiration but don’t forget to mention an artist when you’re using their work. Now I start modelling, you can see my process in the downloadable videos. 3D WORLD June 2016 74 www.youtube.com/3dworld

CUTE COMPANION Ludovic chose a cartoon style hedgehog as it has two different types of fur CLICK TO PLAY VIDEO CLICK TO PLAY VIDEO COMPOSITING POWER www.bit.ly/208-fur-2 www.bit.ly/208-fur-3 Source the right information2 MODELLING AND UVS 3 TEXTURING WITH MARI The more you can ‘cheat’ in compositing, the less your renderWhen you’re creating a fur creature, always keep in As the texture will be under the fur and will drive time will be. Sometimes it’smind that the base model will be under the fur. Try its colour, I usually start painting with simple flat more efficient to work on yourto find the right balance between the modelling colours to give the overall look. Then I use gradient image in post production withoutunder the fur and the volume/shape that the fur will and some colour variation to add details that will having a headache with thehave after you’ve stylised it. I chose to have a more be seen on the fur during the rendering. For more rendering. Find the right amountaccurate shape on the front, whereas the back will details, I also add multiple noises with slightly of detail you need in your imagejust be there to put the spikes that I’ll stylise during different hues. It gives your model a skin-like for rendering and do the rest inthe grooming phase. painted look. Try different noise sizes in order to compositing when it’s possible. break the repetitive look. This will train you to find a quick solution to a problem and futhermore, bring more effeciency to your worflow.3D WORLD June 2016 75 www.youtube.com/3dworld

TUTORIALSCreate stylised fur CLICK TO PLAY VIDEO CLICK TO PLAY VIDEO www.bit.ly/208-fur-4 www.bit.ly/208-fur-5 4 QUICK SETUP AND POSING 5 SCENE BLOCK AND PRELIGHT For the posing, even if it’s an animal, I like to use I wanted to create a scene that my character can live 3ds Max biped setup. Because I’m not a rigger and I in. I created a towel, which I simulated using the 3ds don’t want to waste time on the setup, biped setup Max Cloth modifier. When I’m happy with the result, is a good alternative. You can create a quick setup I start to add lights to make the scene appealing. that will pose your character with extra bones, for I try to keep my lighting as simple as possible, for tricky parts. If the biped limited your posing, you can example one Dome light HDR with a low intensity to always retake it with an Edit Poly modifier on the top. colour the shadow, one Key light to give a direction, and one Rim light to detach the character. V-RAY RENDERINGAMBIENT OCCLUSION FAST RENDER AN OCCLUSION SCENEONE KILL ALL LIGHTS AND GI CLICK TO PLAY VIDEO www.bit.ly/208-fur-6Just go to the V-Ray RenderSetup tab, in the Global Switches 6 BODY FUR GROOMINGtab and uncheck Lights, HiddenLights and Shadows. In the GI I usually start with the Add Quick Hair button. I go totab, turn off GI. Mari to create a Density map to direct where the fur will grow. Then I add and adjust others parameters like Length, Frizz and Comb to create variation in the fur. It’s the key to creating realistic fur. To have more control I add maps to tweak these paramaters. In the OxSurfaceComb modifier, I like to create sinks that give the fur a direction.TWO OVERRIDE THE SCENEMATERIALIn the V-Ray Render Settingtab, in Global switches, checkOverride Mtl. Then plug in asimple VRayMtl.THREE VRAYDIRT AND RENDER 7 SPIKE GROOMINGCreate a VRayDirt map in a As for the body fur, I just click on Add QuickVRayExtraTex render elements Hair button. The method of grooming here isand tweak the dirt, in order to pretty much the same as for the body fur, theachieve the look you want. only thing that will change are the parameter settings. The thickness for example will be 10 times bigger than the body fur. Play around CLICK TO PLAY VIDEO with the different parameters to give your www.bit.ly/208-fur-7 character the look that you want. I use a OxFrizz modifier to achieve this fuzzy look. 3D WORLD June 2016 76 www.youtube.com/3dworld

CLICK TO PLAY VIDEO CLICK TO PLAY VIDEO ORNATRIX TIPS www.bit.ly/208-fur-8 www.bit.ly/208-fur-9 How to avoid problems8 CREATE FUR SHADERS 9 TOWEL FUR GROOMING First of all, try to work as much as possible in a unit scale that’sFor the body fur, I use a VRayHairMtl. I use a preset I create three different hair systems for the towel. not too big and not too small.to create a base, then I tweak the parameters. I plug One for the main fur, and two for adding details You can use the Remembermy Diffuse map into the OxHair node’s root and tip that I can have more control over. On the main Root Positions button in the Oxentries to give the hair its diffuse colour. For more one, I’m giving the fur a short length but quite a Guides from Surface and the Oxvariation, I play with the hue and value. For the spike, big thickness, with a lot of haircount on render (1 Hair from Guides modifiers toI use a VRayMtl with a VRayHairInfoTex to colour the million per system). The other two are there to break avoid changing position duringtips. Dent maps are used for adding colour variation the linearity and add some fluffy, thick fur with less animation or when reopenningin the diffuse. haircount on render (10,000 per system). a file. Sometimes playing around with the Root Distribution mode in the Ox Guide from Surfaces can fix issues like hair growing in the wrong direction. And of course, you can have a look in the Ephere forum, where users often post their problems. It saves a lot of time and prevents me from getting some serious headaches! EXPERT TIP Faster fur GI rendering If you’re just doing a quick render test or using a low-res image, use the GI mode: Irradiance map and light cache. You will have an artefact in your GI render pass, as well as in the reflection, but it will render faster.CLICK TO PLAY VIDEO CLICK TO PLAY VIDEOwww.bit.ly/208-fur-10 www.bit.ly/208-fur-1110 TOWEL SHADING 11 ORNATRIX WITH V-RAYVRayHairMtl is a very cool material which allows you To render realistic fur with V-Ray, you need to addto have a lot of control. For the towel, I chose to use some GI and use a linear worflow. The best settinga basic VRayHairMtl with a red shiny preset, where I to render on in order to avoid the hair flickering, iscould change the diffuse colour to something more Brute Force as the primary bounce, and Lightcacheorange. For realistic fur (but longer rendertime), as the secondary. If you want to render an animateduncheck Opaque for GI and Opaque for Shadow. In sequence without the flickering issue, this isthe lastest version of Ornatrix, an intensity multiplier definitely the best way. You can also play with the AAwas added so I could easily control the colour intensity filtering for smoother results on render, but it will beof the hair, without breaking the shader parameter. more time consuming.EXPERT TIP CLICK TO PLAY VIDEO www.bit.ly/208-fur-12Fur V-Ray render passes NUKE RENDERV-Ray is a powerful toolthat allows you to createfur render passes. Don’thesitate to create extratextures such as VRayDirt(for occlusion), which canbe really helpful for furcompositing. VRAY RENDER12 FINAL NUKE COMPOSITINGI like to use Nuke for compositing because duringthe early rendering stage it allows me to set up apipeline, to show how the final image will look. Sincemy hedgehog is very tiny, I play with the ZDefocus toadd some macro effect. I separate all elements withthe MultiMatteObject render pass in order to havefull control over them during compositing. To finish,I add some lens distortion, vignetting and grain. 3D WORLD June 2016 77 www.youtube.com/3dworld

TUTORIALSMaster creature anatomy FREE! DOWNLOAD THE ZBRUSH MODEL ZBRUSH | MAYA | KEYSHOTHOW TO MASTERCREATURE ANATOMYAybars Turan collaborates with Terryl Whitlatchto create the écorché of the PyrosuviousARTIST PROFILE For this creature anatomy existing creature look believable foundation for an inspirationalAybars Turan project, I had the privilege of and convincing is the hardest and educational challenge. InAybars is a character working with Terryl Whitlatch. part. There are plenty of resources this tutorial you can follow myand creature artist We worked on the skeletal, available on the human anatomy step-by-step sculpting process,who uses his fine art muscular and vascular system for for artists, but not so much for and advice on how to create a 3Dbackground to imbue this creature. You can also find imagined animals and creatures. print-friendly file.his sculpts with life and the Pyrosuvious in Terryl’s book,realism. He works at Principles of Creature Design. This project focuses on To help you follow my process ITesla Motors as a senior modelling a popular style of have created a video walkthroughconcept modeller. The purpose of this project imagined creature: a bipedal of my work and you can downloadwww.aybarsturan.com is to create an anatomy of a dinosaur hybrid. The Pyrosuvious the 3D print-ready file for free believable imagined creature. is basically a mixture of a and print your own Pyrosuvious. Creating a creature that does not Tyrannosaurus Rex, Spinosaurus Simply follow the instructions to exist is already a challenging task, and Dromaeosaurids-like creature. the online Vault on this page, or especially since we see creatures Luckily, I had Terryl’s scientific turn to page 98 for more details. in movies, commercials and illustrations and collaboration games, all the time. Making a non- to serve as a great conceptual For all the assets you need go to creativebloq.com/vault/3dw208TOPICS COVERED 1 USING REFERENCESSourcing referencesConcept art It’s helpful to find real life animal references for the partSculpting you are focusing on at a given time. For example, when3D printing focusing on the small, detailed scales, I relied heavily on the Carolina anole lizard and neighbouring species for reference. Many dinosaurs share anatomic features with chickens, especially in the limbs. In this case, I even kept many frozen chicken parts to have on hand as a real-life limb study. I also recommend Unfeathered Bird by Katrina van Grouw as a reference book. 3D WORLD June 2016 78 www.youtube.com/3dworld

CONVINCING CREATURE Making your anatomy believable for an imagined creature can be a challenging task FOLLOW THE VIDEO If you see the Play icon, use the link!3D WORLD June 2016 79 www.youtube.com/3dworld

TUTORIALSMaster creature anatomy POSING IN 2 DESIGN STORY 3 ZSPHERE BASE MESH ZBRUSH The Pyrosuvious was originally created by Terryl’s I use ZSphere to start my main base mesh. RIGGING AND POSING rough compositional doodle and sketches based Depending on the project, sometimes I start YOUR CREATURE and inspired by the 1925 film, The Lost World. The with DynaMesh, but since I have incredible line Pyrosuvious is a combination of at least six or seven drawings from Terryl I started with ZSphere to have CLICK TO PLAY VIDEO different dinosaur species and is designed to be a a little bit more control over my mesh. I turn off the www.bit.ly/208-dino-2 scaly reptile. The chapter about the Pyrosuvious is in perspective view and start to build my spheres. You Terryl’s latest book, Principles of Creature Design. can press [A] to see what your mesh looks like atONE RIGGING WITH ZSPHERES any time. You can add volumes by creating more ZSpheres. Press [Q] to add more ZSpheres.Rigging in ZBrush with ZSpheresis fun and gives you really goodresults for posing your model.Use ZSpheres to create the mainbone structure, just like where youwould expect the articulation tohappen in real life. Start addingextra ZSpheres around the areasthat are going to be articulatedmore. Every ZSphere you add isbasically linked to the skin, justlike weight painting in Maya.TWO POSING 4 SKELETAL ANATOMYI wanted to use a battle pose Initially, building the skeletal anatomy wasn’t requiredthat Terryl already created. For a for this project, but I think it helps to understandvery dynamic pose like this, it’s the muscles and their transitions into bones, as wellimportant to start moving the areas as understand the structure of the overall mass.that have major articulation first. Terryl provided me with skeletal front and side viewAlways bigger moves to smaller drawings for this task and I built them in ZBrush. Ifmoves. I look for lots of references your final sculpt does not call for skeletal structure,of birds of prey, also known as I might still suggest completing it to help guide theraptors, since we can look to birds rest of your muscle and tissue development.for similarity in struscture.THREE CLEAN UP THE DETAILS CLICK TO PLAY VIDEO www.bit.ly/208-dino-1Once the majority of the pose isthere, I need to clean up the areas 5 BLOCK OUT THE MAIN SHAPES 6 ADD MUSCLE MASSthat are distorted. Here I use theMove brush a lot. Go back to the I have front and side view drawings, my base mesh and I use the Clay Buildup brush to add muscle mass. Nextlower subdivisions and try to relax skeletal system. Now I’ll spend time on the overall I isolate the areas that I want to focus on and work onthe surface according to the pose. silhouette using the Move brush. Concept drawings them separately. Use the Clay Buildup brush, smooth itI also add more extreme facial should give an idea of body mass and shape, but don’t and gently draw muscle lines with the Dam_Standardexpressions with the Move brush. get too hung up on the details yet; it’s important to brush. Slowly build up the fines of the form and move have a low-resolution model in the beginning while you to a different part. Change the Imbed Intensity to 5 are making big changes. Press the shortcut BMT for the and Brush Intensity to 10 for the Clay Buildup brush. Move Topological brush (to move vertices) and shortcut Go to Brush>Depth>Imbed. Imbed controls how BMV for the Move brush (to move big mass). much deformation the brush stroke will give you. 3D WORLD June 2016 80 www.youtube.com/3dworld

EXPERT TIP Useful layering I keep the sculpting details in layers such as scale, distortion and fine detail. This way you can always play with the percentage of the detail that you want to see. Before you start jumping on to any other type of detailing, make sure you are on the right layer.7 ADDING WEIGHT 8 SURFACE DETAIL 3D PRINT READY FILESWeight is one of the most important elements in Surface detail should be added last to make theorganic forms. It defines the heaviness and gives surface look rich and vibrant; it shouldn’t change CREATING 3Dus the sense of how this creature would fit into the silhouette of the model. At this point I create PRINTABLE FILESour world. Usually the areas that are intersecting, the main scale patterns by hand, and for the rest ofarticulating or the loose skin and membranous parts the details I use skin alpha brushes which you canwill need the most time and polish here. If you don’t easily find on ZBrush Central. You can also paint youradd weight onto your sculpt it will look less organic. surface details and convert them into DisplacementTry looking at your model with a shader that has maps to be projected in ZBrush. Both methods arespecularity to see the surface highlights. very useful for creating surface details.9 ANATOMY SIDE CARVING 10 EXAGGERATE FINER DETAILS ONE THICKNESSOnce I’m happy with the overall weight and mass Details will often need to be exaggerated in order to Thickness is very important foron this creature, I start carving my surface. As you be readable when printed. Fine scale details might creating 3D print-ready files.start working on the major muscle groups and their look good on your screen, however when you 3D Usually, you need to give at leastrelationships with the skeletal system, having access print them they usually get lost. The good news is, 2mm-2.5mm thickness to yourto your concept artist or using real animal references is when you take advantage of your layers in ZBrush, mesh. Different software hashelpful. I mainly used the Dam_Standard, Clay Buildup you can adjust the exaggeration levels before you different options for this process.and Clay brush here. Working with layers at this stage send it to be printed. I recommend giving an extrais very important. I can keep everything organised with 2mm offset on finer details. Go to Tool>Layers then TWO WATER TIGHT MESHlayering and take control of the blending. select the layer and change the layer intensity. Make sure you have no open faced holes, no unwelded verts or edges and no double sided face. You can only intersect parts if they are both watertight meshes.11 DECIMATION MASTER 12 FINAL THREE EXAGGERATE THEI’ve included the decimated printable écorché of the The more information and background you have DETAILSPyrosuvious as an .obj file. To buy the original ZBrush about your creature, the more believable it willfile with separated layers and subtools, go to be. Nature is always the biggest inspiration and Make your details bigger. Itwww.bit.ly/208-dino. Decimation Master is simple to provides the guidelines for these types of projects. might not look great on youruse: enter the number of polygons needed for the However, I hope that the Pyrosuvious can also be a computer, however when it’smesh or the percentage of the decimation needed. tool to guide artists in understanding their creature printed out it will look normal.Go to ZPlugin>Decimation Master and hit Pre-process subject inside and out. This is going to be a process ofCurrent first and then Decimate Current. You can enter testing and learning.different numbers to re-calculate the decimation.3D WORLD June 2016 81 www.youtube.com/3dworld

FREE DOWNLOAD! Get your video course: www.creativebloq. com/vault/tdw208FREE! 4 HOUR ZBRUSH VIDEO COURSEWe’ve partnered with Pluralsight to offer indepth video trainingS ulpting Mutated Creatures in ZBrush is part of the Professional Series of tutorials created by Pluralsight, the world’s largest online CGtraining library.This high-level course is designed to evolveyour worklow processes, reine your sculptingtechniques, and master your design skills.The objectives for this fast-paced, intensive About the artist:course include breaking down a piece of concept Joshua Kinney Joshua is a devoted gamesart, morphing proportions from a human base author at Pluralsight. For years Joshua has been amesh, and creating grotesque details like boils, key author behind Digital- Tutors’ (now a Pluralsightripped and sagging skin, and vicious claws. company) popular gameBy the end of this training, you’ll have the ability engine training. Joshua has devoted his life toto make your own characters into horriic, mutated creating games, as well as teaching others to buildcreatures. Before you start, it is recommended their own fantasticthat you have experience using ZBrush, as the video games.course covers what would normally take hours to www.bit.ly/208-Joshuaaccomplish in a shorter span of time. If you’re anartist new to ZBrush, Pluralsight has introductorycourses on their site.FYI To find more high quality video training visit Pluralsight at www.pluralsight.com 3D WORLD June 2016 82 3dworld.creativebloq.com

OUR CONTENTSAWARDS DEVELOP BEST IN CLASS Awarded to products that Theory, research and reviews plus industry insight from today’s experts excel in their class. HIGHLY COMMENDEDAwarded to great products that achieve a high standard. 84 TIPS: V-RAY FOR NUKE 88 TIPS: FUSION 3 90 REVIEW: HP Z840 Advanced compositing techniques An easy way to simulate flames HP’s new AMD-powered workstation 93 REVIEW: DELL M5510 94 REVIEW: AMBERLIGHT 2 95 REVIEW: PHOTOMODELER ‘16 Is this the best laptop money can buy? Generate complex images with ease This photogrammetry tool has a long lifeGET PUBLISHEDEMAIL YOUR CG ART [email protected] Visit the online Vault to download 96 REVIEW: SUBSTANCE 2 97 REVIEW: MODO 902 97 TRAINING REVIEW extra process art for these projects:www.creativebloq.com/vault/3dw208 The killer texture app just got better A small update before Modo 10 Gnomon’s Octane Render for Maya DVD 3D WORLD June 2016 83 twitter.com/3DWorldMag

DEVELOPSoftware training SOFTWARE TRAININGV-Ray for Nuke techniques In his final tutorial, Josh Parks shows how to master more advanced techniques with the plug-in In last month’s article I went You don’t have to use V-Ray for As you use the plug-in more you’ll over how to create and use Nuke primarily for rendering. the Position pass in order to I’ve personally used the plug-in to want to understand how you can generate custom mattes, to speed enhance initial renders that I’ve up our V-Ray for Nuke worklow. been given. For instance, you can optimise your render times. The This issue I’m going to go over some create your own fake fog, to give more advanced V-Ray for Nuke V-Ray Sample Rate AOV that we techniques and ways to use them. V-Ray for Nuke nodes may feel familiar, can get V-Ray for Nuke to kick out The majority of the V-Ray for allowing us to figure them out using logic Nuke nodes may feel familiar, for us is incredibly useful when allowing us to igure them out and experience of standard Nuke nodes using logic and experience of reining your render settings to get standard Nuke nodes. you volumetrics in the places you Understanding these should need it. I’ve even added rim lights the render time down. complete your introduction to which I’ve then added over theAUTHOR PROFILE the plug-in and put you in a good render that I’ve been given. The AOV gives you a colourJosh Parks place to eficiently use V-Ray for Being able to adapt the plug-inJosh is a compositor Nuke on any project. Here I’ll give to the way I work has made it guide as to where you subdivisionsat Double Negative you an intro to a selection of these incredibly powerful.and part-time lecturer nodes as well as some tips, so you are being used, so that you canat the University feel comfortable using them.of Hertfordshire. decide if they are being used inwww.joshparks.co.uk the correct places and make decisions accordingly. Ideally you don’t want your AA (Antialiasing) being calculated on glossiness and shadows. In this article I’ll also show you how to set this up. FYI For all the assets you need go to creativebloq.com/vault/3dw208You don’t have to useV-Ray for Nuke primarilyfor rendering, you canuse it to enhanceinitial renders 3D WORLD June 2016 84 twitter.com/3DWorldMag

EXTRA TRAINING PROCESS: ADVANCED WORKFLOW TIPSJosh Parks demonstrates some advanced techniques to try with V-Ray for NukeONE USE THE V-RAY DIRT NODE TWO ADJUST AMBIENT OCCLUSIONThe VRayDirt node can be used in order to give you an If you want to adjust your Ambient Occlusion, thenAmbient Occlusion pass. Ambient Occlusion simulates dragging the Distribution slider on this node willthe soft shadows that occur in the cracks and crevices increase how compact your area is, making the falloffof your 3D objects when indirect lighting is cast out. less distributed over the model. I’ve known people whoTo do this press Tab and type VRayDirt. Press Enter. use this as a mask for moss or dirt. FURTHER TRAINING V-Ray Environment Fog Chaos Group have produced a great video which looks at V-Ray Environment Fog for basic volumetric rendering. You can view the video here: www.bit.ly/208-vrayfornukeTHREE CREATE A CHANNEL FOR YOUR INFORMATION FOUR USE THE V-RAY MATERIAL PREVIEW NODEWe now need to plug our VRayDirt node into a The VRayMaterialPreview node allows you to applyVRayRenderElement node set to ExtraTex in order to your shader to a sphere. This can be lit by lights ofcreate a channel to hold our information. So press Tab your choice or you can plug a HDRI in. If you’re goingand type VRayRenderElement to bring in the node and to use a HDRI to light your model, you should plug itplug our VRayDirt node into this. into the VRayMaterialPreview Node to get an accurate look of how it will affect your material when applied to your model.FIVE OTHER TIPS WITH THE NODE SIX USE THE V-RAY MTL BLEND NODE You also have access to a mask settingA few other useful things you can do in the node include The VRayMtlBlend node lets you combine two allowing you to maskadjusting the format in order to speed up your render materials, much like how a Merge node set to Over off specific areastimes. I’ve found the most efficient way to do this is to works with 2D elements. You also have access to aget the looks of your material sorted at a low format, mask setting allowing you to mask off specific areas inthen when you think you’re there, whack the format order to reveal your bottom coat through the top. Yourup and refine some more. This allows you to work as B pipe is the base and your A pipe is the coating.efficiently as possible.3D WORLD June 2016 85 twitter.com/3DWorldMag

DEVELOPSoftware training Since our Ambient SEVEN MASK YOUR V-RAY MTL BLEND WITH AO EIGHT CONFINE YOUR RUST MATERIAL Occlusion is just a maskfor our edges, we can use Since our Ambient Occlusion is just a mask for our Shuffle out your AO pass into your alpha channel – wethis in other useful ways edges, we can use this in other useful ways. You may are going to use this as a mask for a Keymix. We now want to bring through the other material just in tight need to Keymix this pass with our main material. To do crevices, such as getting dirt in the areas you would this, shuffle out both your materials and mask with your expect to see it. We can do this by masking our Blended AO. We now have our rust material being confined only Material pass with our AO pass. to our crevices.FURTHER TRAININGV-Ray render optimisationIf you want more informationon how to optimise your V-Rayfor Nuke renders then makesure you read this useful articleby GC artist, Akin Bilgic:www.bit.ly/208-vray NINE V-RAY SAMPLE RATE AOV TEN EXPERIMENT WITH SUBDIVISIONS The VRaySampleRate AOV gives you a colour You can often fix where your AA is being done where representation of what’s being subdivided. Red it shouldn’t by experimenting with upping your represents you maximum sample per pixel setting in AA subdivisions in your lights. As well as increasing your and blue represents your minimum sample per pixel. material subdivisons, you should look at each AOV and Ideally you want your maximum samples on your edges. find which one is giving you the noise. Keep flicking between your VRaySampleRate pass and your other passes to see if the noise has improved. ELEVEN V-RAY FOG NODE TWELVE MANAGING THE FOG EFFECT I had a low poly version of the object so I could position it You can contain this fog effect within geometry by within the fog, then apply my fog layer to the initial render. using a ReadGeo node to bring in an obj and plugging Fog Density is a multiplier to the Fog Distance; the larger it into the obj input of your VRayEnvironmentFog node. this distance number, the more transparent the fog. If you Your fog effect will now be contained within this read in have a distance of 750 and density of 0.5 your actual value geometry. It takes a fair bit of nudging sliders in order will be 375. In the spaceship composition I’ve used this to get the exact look you want, but it’s something I’ve node to give it the look of moving through the atmosphere. found I’m using more and more now I have access to it. 3D WORLD June 2016 86 twitter.com/3DWorldMag

3D WORLD PROYOUAREINVITEDTOJOIN PRO BUNDLE WORTH £371From students to Oscar-winners, WHAT YOU’LL GETCG artists and animators from allover the world rate our magazine, • 13 issues of 3D World in print and digitalso we’ve taken it one step further • Annual Industry Report worth £100to offer you 3D World Pro. • A design handbook worth £9.99 • Discounts to industry eventsJoin 3D World Pro and as • Special discounts from selected partnersa special introductory offer,you can save £30! (including LightWave and iClone) • Monthly 3D World Pro email newsletter ALL THIS FROM JUST £135 £105 JOIN TODAY VISIT... www.myfavouritemagazines.co.uk/3dworldproTERMS AND CONDITIONS Pricing and savings quoted are compared to buying full priced UK print and digital issues. You’ll receive 13 issues in a year. Prices correct at point of print and subject to change. Full terms and conditions bit.ly/magterms. Offer ends 15th June 2016.3D WORLD June 2016 87 twitter.com/3DWorldMag

DEVELOPSoftware training SOFTWARE TRAININGMaking lames with Fusion Rob Redman shows how to create 3D fire effects and composite into your footage F ire, loods and destruction The beauty of this type of the actual compositing job. A ire are some of the most common tasks given to VFX application is that it frees THE effect can be made with just two artists and in this tutorial I’m going KEY IS TO to show you how you can quickly the artist up to work in EXPERIMENT nodes. In fact, you have to use a create a plume of 3D ire that is ready for compositing. a way that suits them Fusion is the pEmitter and a pRender node or kind of appAUTHOR PROFILE Fusion has so many tool options The result I’m looking for here that rewards it won’t work. That said, theRob Redman it can be tricky knowing where is one of a large smoky ire that experimentation,Rob is creative to start with any given effect, can be saved as a preset to get me so I would advise effect will be a little too basic sodirector at a boutique but in reality there is no proper started whenever I need to burn you to hook thingsVFX and animation answer. The beauty of this kind of something, and it should work as up in ways you we will add some more detailstudio, working across application is that it frees the artist a base for interior and exterior might not expect,print, film and TV. He up to work in a way that suits them. scenes, so I won’t light it for the and just see with a few extra nodes, just to helppresents at shows So if you ind a different method preset; that should be saved for what happens.from FMX to Trojan that you are more comfortable sell the effect.Horse was a Unicorn, with then that’s great.as well as teaching 3D. I’ll also show you how to emitpariahstudios.co.uk from a texture as well as from the default geometry options that Fusion provides. This allows you to generate very speciically shaped ires, when needed. FYI For all the assets you need go to creativebloq.com/vault/3dw208Fusion has a multitude oftool options but there’s nodefinitive way to work, whichoffers the artist flexibility 3D WORLD June 2016 88 twitter.com/3DWorldMag

STEP-BY-STEP PROCESS: CREATE 3D FIRE EFFECTSRob Redman shows how to make a plume of 3D fire ready for compositing REFERENCES ARE KEY Source plenty of references and polish up your Google-fuONE PRE-REQUISITES TWO DEPTH OF EMISSION Although the fire made in this tutorial doesn’t look exactly likeFusion can’t do anything with particles without two In the region section of the emitter, choose Bitmap as the a specific type, it’s that way onnodes, so add both a pEmitter and a pRender node. They Region type. An input will be added to the node, where purpose; it’s meant to be ancan be found by the usual methods but as they’re common you can hook up an image to drive the particles’ spawn adaptable starting point for furthertools they also have shortcut buttons on the menu bar, position. I added a Fast Noise node with a spherical work. When you get to that pointwhere they are labelled pEm and pRn. Once done, drag mask, to soften the edges. The greyscale nature of Fast you really need to be watchingthe pRender node into the right hand viewer window. Noise makes it easy to work with. as many videos, or filming fires yourself. Study not just the colour and shape but the motion too, as well as things like how different temperatures and sizes of fuel vary the motion of the flame and smoke. You’ll notice that the more you look, the more things don’t act in quite the way your imagination believes them to.THREE INITIAL STYLING FOUR ADD FLAME DETAIL Google is your best friend when trying to create any digital contentSelect the emitter and head to the Style tab. Here you can For more realism and detail we can use another maskedunfold the colour over life controls, and add a few knots Fast Noise node, so add them to your workspace and in theof your chosen colour. I’ve gone for very obvious yellow/ emitter style change it to Bitmap and plug in the Fast Noisered/grey, but you can do anything you like for fire or to the newly created input on the emitter – adjusting noiseelectric energy particle beams, and so forth. I reduced the settings to taste. I also grouped and renamed the pairedalpha of the yellow knot to add some brightness. Fast Noises with their masks to help keep things tidy.FIVE ANIMATION DETAIL SIX PREP TO RENDERFire moves in a very organic way and a great method of Of course you’ll want to render this out to see theanimating this is to add a pTurbulence node but rather finished result. To do so, I ungrouped my nodesthan let it be constant, open the Strength over Life then linked them up to a Merge3D, which was alsocontrols and click on the spline to add points, moving connected to a Camera3D and then on to a Renderer3D,them and their handles to make a random strength which output to a Saver node. I set the render and saverprofile, which will imitate gusts and eddies. as 16:9 and render out as a simple quicktime.3D WORLD June 2016 89 twitter.com/3DWorldMag

DEVELOPHardware review HARDWARE REVIEW HP Z840 and AMD FirePro W9100 PRICE £2,190 and £2,998.99 (respectively) | COMPANY HP and AMD | WEBSITE www.hp.co.uk, www.amd.co.ukAUTHOR PROFILE Having become a staple in maps in Substance Designer took In addition, despite iercelyCirstyn Bech- the high end business and about ive minutes on medium poly competing with Nvidia’s QuadroYagher graphics market, we took meshes – and never longer than 10- range, it is ironic that the FireProTired of always a look at HP’s Z840 Workstation 15 on the super heavy ones. It also W9100, which can performhaving to wait for and the FirePro W9100 it came goes without saying that anything better than the K6000 Quadroothers to fix things with, and put it through a week in a requiring a framerate, from game in shader benchmarks, is notthat broke, Cirstyn freelancer’s life. Did it pass muster? engines like Lumberyard and supported by Allegorithmic’shas fixed and built Unreal to After Effects, ran and Substance suite yet. The suiteher own workstations The irst thing you notice about compiled super fast. worked well enough for me whenfor years, AMD as the workstation is how small it is, reviewing Substance Painter 2well as Nvidias. despite the power it packs under A few drawbacks (page 96), in addition to inishingwww.twitter.com/cirstyn the hood. The second is how very silently it runs, until the GPU spins With the cost of workstations It tore its way through up. The Z840 comes with a dual set always on the decrease, would it be Cirstyn advises of E5 2.5GHZ Xeon processors and worth investing in something tweaking and auto- this combo is 64GB DD4 RAM, and OS of choice, as big in this? definitely worth which in our case was Windows unfolding a poly-heavy considering for 10. Despite its compact size, the It depends on your needs. If those artists chassis is actually a lot roomier you’re planning on a gaming/ robot in Unfold 3D working on than it looks, with plenty of space rendering/modding hybrid, you a pipeline for additional drives, cards, and air might be better off building or some client work, but if it started circulation, even with a beast of a buying a lesser workstation. crashing, which it didn’t do often, GPU like the FirePro inside. only a reboot helped. The hassle However, if you’re working on was highly mitigated by the Super speedy a pipeline, or a purchaser for a system coming back up almost team on a pipeline, this combo immediately, but it was still hassle. After plugging it in and putting is deinitely worth looking into, it online, I used it as my main especially now it’s matured in So did it pass muster? Absolutely. workstation for a week, rather the market and any kinks have The few issues I had were than putting it through yet another been ironed out. outweighed by the setup’s speed benchmark test. It was put through and capabilities. Add to that ease a typical 3D worklow instead: It does, however, have a few of upgrade and you’re buying working with heavy poly 3D drawbacks, provided you can something that’ll last you a while. meshes, creating 4K texture sets afford the starting cost of £2,190 and bakes in the Substance suite, to and £2,999 for the station and card VERDICT UV mapping a big mecha in Unfold respectively, the GPU’s fan is a bit 3D, in addition to Quixelling in louder than what you typically Photoshop, and using the FirePro hear on Radeon or GTX cards, but in Max, on V-Ray RT, V-Ray not disturbingly so. Advanced and Corona renders. FAST AND MOSTLY QUIET Everything went blindingly fast, most noticeably – and naturally – The AMD FirePro W9100 is built for ease and speed, even when supporting up to four screens. when working with heavy meshes Put it into a workstation like an HP Z840, add some RAM, an SSD and new, shiny peripherals, and V-Ray. This isn’t really a surprise, as the FirePro sports 16 like a UHD screen, and you’ve got a pro workhorse that’s going to last you a while. GB GDDRS memory with a 512 memory interface and 320GB/S memory bandwidth, but it was nice to work in V-Ray at the speed of minute intervals in the tweak- render-tweak cycle. That speed was also a very welcome experience as it tore its way through tweaking and auto-unfolding a poly-heavy robot in Unfold 3D – a task I’d been dreading on my lesser personal workstation. Baking sets of 4K 3D WORLD June 2016 90 twitter.com/3DWorldMag

Even though the IN PRACTICE: UNFOLD 3D AND FirePro is not supported by V-RAY RAN REALLY SMOOTHLY Allegorithmic, a 4K workflow in I often dread UV mapping as much the Substance as the next person, but I really series works fine, appreciated how fast it could all most of the time be done on this setup. In addition, I’ve had some bad experiences with MAIN V-Ray and render times in the past, FEATURES but once the GPU started, it was nice and fast – it shaved hours off a Intel Xeon few production renders I had to do. E5-2640 (2.5GHz, 15MB cache, 6 cores) 64GB 2,133MHz DDR4 ECC Registered RAM (2x8GB) FirePro W9100with 16GB GDDRS Warranty: Three years parts,labour, and onsite service limited warrantyThe workstationis relativelysmall, despite theamount of powerunder the hood 3D WORLD June 2016 91 twitter.com/3DWorldMag

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HARDWARE REVIEW Dell Precision M5510 PRICE £1,833.87 plus VAT | COMPANY Dell | WEBSITE www.dell.com/uk MAIN Dell has been producing Graphics on board, this won’t be inclusion is Thunderbolt 3, which AUTHOR PROFILE FEATURES notebooks speciically up to professional applications, so uses an identical connector to USB James Morris designed and conigured for Nvidia Quadro M1000M mobile Type-C and can drive two 4K James has been2.8GHz Intel Xeon professional use for years. Most have workstation graphics have been monitors at 60Hz with a throughput writing about E3-1505M v5 been sizeable and chunky, but the included as well (see Nvidia of 5GB/sec. technology for two M5510 weighs in at just a whisker Maxwell Goes Mobile boxout), decades, focusing 16GB 2,133MHz over 2kg. This isn’t excessive for to provide some serious 3D Performance is very good on content creation DDR4 SDRAM a 15.6in notebook, and makes acceleration, and there is no considering the chassis size. The hardware and the M5510 within the bounds of other option. result of 644 in the rendering software. He was Nvidia Quadro possibility as an everyday portable. portion of Maxon Cinebench editor of PC ProM1000M graphics There are two screen options, R15 might be a little behind the magazine forwith 2GB GDDR5 Central to our M5510 sample is however, with the base one being Workstation Specialists WS-M150, five years. its Xeon E3 processor, although a 1,920 x 1,080 IPS panel. But for but that had a desktop processor, www.tzero.co.uk memory there are also Core i5 and i7 options £189 you can have the UHD panel and we haven’t seen many faster as well. All are from the latest Intel our sample came with – an iridium mobile CPU-equipped workstations. 512GB Hynix Skylake generation, and in the case gallium zinc oxide touch display The OpenGL result of 88.81 is againSC210 M.2 SATA of the Xeon, the E3 provided is the offering a resolution of 3,840 x behind the WS-M150, but the solid state disk 1505M v5. This runs at a nominal 2,160. Detail is incredible, although latter had higher-end graphics. In 2.8GHz, but there’s a top Turbo perhaps a little excessive for a 15.6in SPECviewperf 12, highlights includeWarranty: 3 Years mode of 3.7Ghz, which should make screen, and Windows 7 looks a little 38.12 in catia-04, 31.84 in maya-04, NBD it very good for modelling. It’s also a silly at this resolution. and 55.86 in sw-03, all of which quad-core processor, which Hyper- are commendable for a notebook. Threading turns into eight virtual There are lots of storage We also ran the Creative and Work cores, so it should be passable for conigurations available with this portions of Futuremark’s PC Mark 8 rendering, as notebooks go. model, with one M.2 PCIe slot and to test battery life, where the M5510 one 2.5in SATA bay, allowing up to managed to last 105 minutes and 172 Dell sent our M5510 with 16GB two 1TB devices. Our sample was minutes respectively. However, our of 2,133MHz in two 8GB DIMMs, equipped with a decent 512MB unit was supplied with the lesser so it could take advantage of the Hynix SC210 M.2 SATA solid state 56Wh three-cell battery, and there’s processor’s dual-channel memory disk, which offers quick reading also a 81Wh six-cell option for ability. This should be enough and writing – but not as fast as the £81.90 extra, which should give for the kinds of applications this PCI Express SSDs which are also a very respectable 2-3 hours of notebook will be running during its available as options. creative work or 4-5 hours of less lifecycle. Although the processor strenuous applications. sports reasonable Intel HD P530 There isn’t a huge range of connectivity, but the notable Overall, the Dell Precision M5510 is a decent balance of mobility and NVIDIA MAXWELL GOES MOBILE workstation power. It’s not cheap at over £1,800 plus VAT for ourNvidia takes a little while to filter its latest GPU designs towards the professional markets, speciication, but it will it the bill and even longer to offer mobile variants. The Quadro M1000M in this month’s Precision nicely if you need to take serious M5510 is our first look at the mobile professional spin on Nvidia’s Maxwell generation, performance out on the road.which arrived for consumers over a year ago. The M1000M sports a decent 512 CUDA coresrunning at 540MHz and 2GB of 5000MHz GDDR5 memory on a 128-bit bus, offering 80GB/ VERDICT sec bandwidth. So it promises decent professional performance for 15 inch notebooks. 3D WORLD June 2016 93 twitter.com/3DWorldMag

DEVELOPSoftware review SOFTWARE REVIEW Amberlight 2 PRICE $59.99 (£42, 55) | COMPANY Escape Motions | WEBSITE www.escapemotions.comAUTHOR PROFILE W hen we reviewed The real beauty is in to control the behaviour of the ields MAINSteve Jarratt the debut release of and the way they inluence the FEATURESSteve has been Amberlight, one thing watching the image particles. They’re a small addition tointo CG for many we hoped to see in a future update the UI, but have a massive effect on Renders complexyears. He’s a regular was the ability to produce animated resolve, revealing more the end result, adding some much streams ofcontributor to 3D sequences – and now, along with a needed variety to the appearance of particlesWorld and edited few other niceties, that’s just what and more detail Amberlight’s output.the magazine for version 2 delivers. Outputs animationtwo years. transparency, so you can combine As with the original, there are up to 4K resolutionbit.ly/steve-jarratt If you’re not familiar with it with other elements in an image still a few features we’d like to see. the original, Amberlight draws editor or compositor. Animation has a slight ease-in/ease- Low-res animation streams of particles distorted by the out built in, but there’s no control preview playback ‘magnetic’ inluence surrounding With this new release we were over individual animation curves. speciic points, called ields. Up worried that the delicate nature of Admittedly it’s not a big deal and you New Modifiers to a dozen of these ields interact Amberlight’s imagery might make it could always retime in post if need to alter pattern to produce wonderfully complex poorly suited for animation, but its be, but rudimentary curves would imagery. It features a low-res real- output is rock solid with surprisingly complete the animation function shapes time preview so as you move the little noise (and a de-noise ilter will nicely. The new Modiiers aren’t ields around and alter their size, happily remove the remainder if animatable either, which would Now features force, intensity and cut-off, you can need be). There’s a deinable raster- surely be a useful addition for a standard quickly see how the patterns change. level playback for quickly previewing future release. undo/redo But the real beauty is in watching your animation, but the high-res (up the image resolve, revealing more to 4K) results are simply stunning; if These nitpicks aside, Amberlight and more detail and often producing you’re doing motion graphics work, 2 is a brilliant little app, ideal for exquisite and unexpected results. sci-i scenes or abstract sequences, swirling backdrops, cool relections, you’ll easily ind a way of integrating or crazy displacement maps. Not You have plenty of control over Amberlight 2 into your worklow. only is it stupidly easy to create the look of the image and are able to spectacular artwork, but it’s also change the colour palette – which is This release also features inspirational – if you can’t think applied instantly without needing to Modiiers, split between Variations what to create then just hit the re-render – as well as other factors, and Waves, each of which has a randomise button and let the results including contrast, tint and glow. number of options. These are used spark your imagination. The image can then be saved as a variety of image formats and with VERDICT Amberlight 2 allows the user to change the colour palette, which is instantly applied but with no need to re-render SHEDDING SOME LIGHT ON AMBERLIGHT Amberlight started life as the experiment project, ‘Fields’, by developer Peter Blaskovic. The first version debuted at the end of 2013, when we suggested it would benefit from being animatable. It’s taken two years but that functionality has finally arrived, making Amberlight 2 a great addition to anyone’s creative armoury. 3D WORLD June 2016 94 twitter.com/3DWorldMag

SOFTWARE REVIEWPhotoModeler Scanner 2016 PRICE $2,495 | COMPANY Eos Systems Inc | WEBSITE www.photomodeler.com MAIN PhotoModeler has been the end. Let’s take a look at the density and spread across a bigger AUTHOR PROFILE FEATURES around since 1993 when different options and see how region, then you’re best off using Paul Hatton Eos Systems pioneered useful each one is. SmartMatch. These automated Paul leads a studio in SmartMatch the development of the irst tools worked OK during testing but England specialising commercial all-digital close-range Firstly, the automated tools are obviously heavily dependent in creating beautiful DSM photogrammetry and image- are called SmartMatch and DSM upon the angles the photos were and interactive videos based modelling system. Having (Dense Surface Modelling). taken at. and environments.Automated coded been through multiple iterations These both match features across He has been working targets of the software, Eos have now multiple overlapping photos and Secondly, there are automated in the industry for released their most recent version, form a dense point cloud by result, coded targets which are more over a decade.Manual marking PhotoModeler Scanner 2016. which can then be triangulated/ suited for objects that don’t have www.cadesign and referencing surfaced to form the shape. distinct feature points. Placing on services.co.uk PhotoModeler gives you several These tools are automatic but are markers enables PhotoModeler to different options for creating your dependent on having a good quality accurately match photos together point cloud/3D model. Each one overlap, as well as a suficient and create an accurate 3D model. has pros and cons but the preferred number of distinct feature points. method depends heavily on your They recommend an overlap of 60 Finally, it is possible to manually requirements and the type of thing per cent with small angle changes mark and reference features across you are scanning. from one photo to the next, but this multiple photos. This puts all of can largely be trial and error. the control into the user’s hands. PhotoModeler doesn’t just rely If you’ve ever had a go at manually on automatic solutions which leave Rest assured though that stitching panoramic photos then the user helpless if it doesn’t work. experience does make this process you’ll understand how this They also provide manual tools easier. One helpful tip is to think process works. that give you far more control over about what you’re scanning. If the ensuring that the scanned objects features are high density then go Interface problems create an accurate 3D model at for the DSM, but if they’re lower The collection of tools works really well and provides frameworks for creating 3D models of a wide range of object types – no matter how small or large, or dense with features. In terms of usability I found the interface a PhotoModeler doesn’t just rely on automatic solutions which leave the user helpless if it doesn’t workPhotoModeler bit unclear and clunky. I get thatScanner equips users PhotoModeler want to give youwith the tools to all the tools you need but I thinkcreate accurate, in the irst instance it would havehigh-quality 3D made sense to offer some reallymodels from photos simple step-by-step processes for stitching and model creation. They THE HISTORY OF EOS SYSTEMS INC have provided wizards but they’re For over 25 years Eos has been developing and marketing technology that combines not particularly clear. photogrammetry with 3D modelling. This is an ever expanding industry and in recent years has got real traction in the arch-viz industry as an increasing number of visualisers are using In conclusion, I would say that this piece of software is deinitely it to create models of organic objects, like food. worth exploring and persevering with the interface, if you want to get involved in creating models automatically from photos. VERDICT 3D WORLD June 2016 95 twitter.com/3DWorldMag

DEVELOPSoftware review SOFTWARE REVIEW Substance Painter 2PRICE Indie: $149, Pro: $590, Rent-to-own Substance Live Indie: $19.90 monthly, Pro: $64.90 monthly | COMPANY Allegorithmic | WEBSITE www.allegorithmic.comAUTHOR PROFILE A llegorithmic’s lagship layer(s) to be unique, but nothing an the baked maps from the AdditionalCirstyn application Substance extra layer and tweaking won’t ix. Maps slots. This allows vastBech-Yagher Painter 2 comes with new lexibility in how and what you mask,Cirstyn is a freelance tools, like Clone and Smudge. In In addition, Painter has been given down to Quixel-like control over theCG artist and educator, addition to many tweaks and ixes, some of Designer’s functionality, baked maps you’ve added. Combinedwith over a decade’s it now also sports an Iray/Yebis namely an Iray/Yebis setup allowing with the ability to use materials asexperience in 3D, hybrid, Lumberyard and Specular/ the user to generate actual renders, well as procedurals, you can createfocusing on modelling Glossiness PBR worklow support. in addition to the vanilla, non- even more detailed masks for yourand texturing. shadowed OpenGL renders you see textures. And as an added bonus, youwww.twitter.com/cirstyn Out of the box, Painter 2 feels in your workspace. can save and reuse the outputs of the smoother when using brushes and generator as Smart Masks. detailing – on tablet and mouse. Painter 2 feels smoother MAIN This may be due to the release’s No release is perfect and Painter FEATURES listed improved viewport feedback when using brushes is no exception. The shelf could’ve when the engine is doing strong beneitted from a setup like ZBrush’s Fast HQ texture computations. In addition, there have and detailing – on Lightbox, instead of giving it more creation been some additions to the toolbar, content, no matter how nice. If you’re like the new Smudge and Clone tablet and mouse on one of the new UHD screens, you New tools: Clone features. These provide a non- may need to squint a little as font and Smudge destructive worklow and work Allegorithmic have also put some scaling hasn’t been implemented yet. roughly the same: create new layer, rethought into Painter’s shelves; You may also run into an issue with New Mask Editor select and set the layer(s) you want to the mask generators in particular. the Iray/Yebis hybrid going into black clone to, or smudge to pass through, Here you’ll ind one of its best new and sometimes not remembering its Smart Masks and have at it. features: the new Mask Editor settings. But the Painter team is very and Smart Masks. Replacing present in its forum and they ix Iray/Yebis The Smudge tool is pretty straight the mask builder from earlier their bugs fast. integration forward, but Painter’s Clone tool versions, Painter’s mask-generating isn’t entirely like, for example, capabilities have now been put into These issues aside, it’s a rock-solid Photoshop’s: cloned layers aren’t one big, beefed up generator. This release, and if you’re looking for ease, rasterised, and any change you make provides a lot more control than the speed and excellent output, this is on the source (layer) will also be earlier ones, and makes better use of worth checking out. applied on the cloned. This can be a small hassle if you want your cloned VERDICTThe new Iray/Yebishybrid rendereroffers fast andeasy rendersfor your newlypainted object AWARDS! AWARDS EVERYWHERE! The Substance suite has, together with competitor Quixel, removed a lot of hassle and added ease and functionality to texturing. Recently awarded the label ‘BpiFrance Excellence’,Allegorithmic was chosen by Creative France to represent French innovation abroad.You can see Painter’s output at work in games ranging from EA Sports to Rainbow Six Siege. 3D WORLD June 2016 96 twitter.com/3DWorldMag

SOFTWARE REVIEW MODO 902 PRICE £1,199 ex VAT/ 1,459/$1,799 | COMPANY The Foundry | WEBSITE www.thefoundry.co.uk MAIN Modo adds a new camera Modo 902 offers an AUTHOR PROFILE FEATURES matching and matte excellent camera Mike Griggs painting worklow in the matching and matte Polishing pixels sinceCamera Matching latest point release. painting toolset 1995, Mike is a UK toolset based freelance 3D, While not a unique feature, the Coupled with Modo’s great UV tools, VFX and mographCamera projection native ability to match a Modo we’ve used Modo 902 and Photoshop artist. He also works textures easy to camera to that of a photographic still to create arch-viz clean plates in as a freelance is hugely useful. It’s straightforward less than half the time and with technical writer. create to bring in a photo, set the scene to better quality than is possible with creativebloke.com the dimensions within the photo – Photoshop retouching alone. ModoProjection shader either manually or Modo will read 902 also allows the use of stacked a new way of placing your models allows a quick the photo’s EXIF data. Once the images at seperate depths, creating within a photograph. Modo 902 is camera matching and scale indicators free for all 901 users and gives nonway of integrating are lined up, the fun can begin. users another reason to consider this objects into ever improving application, which is a scene Modo adds a new projection catching up with the major players. shader and texture; the Projection Images can be Shader is useful for simple setups, VERDICT arranged in but the Projection Texture is hugely useful as it works with any materialZ-Depth from the across any attribute, such as diffuse camera plane or luminous colour. Combined with the new projection painting options, it allows the creation of geometry, which is textured with the scene. TRAINING REVIEW Octane Render for Maya PRICE $59 USD | COMPANY The Gnomon Workshop | WEBSITE www.thegnomonworkshop.com MAIN Octane Otoy’s unbiased GPUFEATURES PBR renderer comes as a standalone or bundled version for most 3D applications – Maya included. AUTHOR PROFILE Cirstyn In his latest lecture series for Bech-Yagher Cirstyn is a freelanceGood value for Gnomon, CG veteran Erik Keller, CG artist and educator, with over a decade’smoney shows you how Octane standalone experience in 3D, focusing on modelling works, before diving into the nitty and texturing. www.twitter.com/cirstynA-to-Z walkthrough gritty of the plug-in’s render settingsof using the Octane in Maya 2016. CG veteran Erik Keller’s lectures offer great insight for experiencedplug-in in He then moves on to Octane users and those new to Octane or the Maya 2016 plug-inMaya 2016 lighting, materials, texture maps, boring on the iner technical details. camera settings, hair and PaintFX In addition, the included project scenes are useful to rip apart whilst,Easy to follow for shaders and particle systems, or post, watching.beginners and before inishing the set with batch- Whether you’re new to Octane or the Maya 2016 plug-in and want toexisting users rendering tips learn, or you’re an experienced user videos covers both. The looking to pick up tips, this set of only drawbacks are packagingof Octane Erik’s experienced ease with issues. For example, videos could’ve been named coherently the tools and tutoring, makes this so experienced users could tailor viewing to their needs.Experienced interesting and educational to VERDICTlecturer watch, especially when he dives into details – things he’s discoveredGood project files and experienced, or how to avoid pitfalls, without making it too 3D WORLD June 2016 97 twitter.com/3DWorldMag

CATCH UP TODAY! Visit Google Play, Apple Newsstand and Zinio stores to download a 3D World back issue to your tablet or computer.Back issuesMissing an issue of 3D World?Fill the gaps in your collection today!Issue 207 May 2016The art of film VFX How the VFX of Batman v Superman was created Model and render a still life scene in Maya and XGen Simulate the destruction of a building in Realflow Create a paper folding animation in Cinema 4D Downloads Free models, videos, material textures, setup files & more!Issue 206 April 2016 Issue 205 March 2016 Issue 204 February 2016 Issue 203 January 2016Become a pro games artist Master mech modelling Star Wars: The Force Awakens The 2016 VR revolutionGain expert advice on how to Improve your modelling skills and Behind the scenes: ILM discuss Improve your real time CG: Thebreak into the games industry create a tank-inspired mech the making of The Force Awakens game artist’s guide to VRModel and rig a game character Rise of the Robots: experts share Master the workflow for Discover Epic’s 10 ways tousing ZBrush, Modo and Maya their advice for mechanical projects modelling ZBrush droids improve your Unreal EngineRender photoreal hair with Get started in texture app Create a photoreal character VR moviesUnreal Engine Quixel Suite 2 render of Boba Fett Render a photoreal VR sceneMaster 3D concept art with Maya Learn how to sculpt a Norman Discover the untold story behind from V-Ray to Samsung headsetand KeyShot Rockwell character with ZBrush the making of A New Hope Master high-poly creature designDownloads Free models, videos, Downloads Free models, videos, Downloads Free models, videos, Downloads Free software worthmaterial textures and setup files material textures and project files! material textures and setup files! $199, models, videos, setup files!Google Play www.bit.ly/tdw_google 3D WORLD June 2016 98 3dworld.creativebloq.com

Apple Newsstand www.bit.ly/3dworld-appIssue 202 Christmas 2015 Issue 201 December 2015 Issue 200 November 2015 Issue 199 October 2015Anatomy sculpting Game art techniques The 200 greatest VFX films The rise of TV VFX10 techniques to perfect Anatomy. Art of Halo 5 Guardians Sculpt a T-800 Arnie in ZBrush Create our cover figure: ArtifexPlus get this cover’s ZBrush model! Master character design with Model a cinematic alien creature Studios explain their processWeta creature modelling Insomniac Games’ pro advice in ZBrush and 3ds Max Master matte painting to recreatemasterclass Create and texture a robotic Create organic armour in Maya a Star Wars Episode VII sceneModel the Joker: create dynamic character with Substance Designer Discover the 200 greatest VFX The rise of TV VFX: Discover howZBrush illustrations films in our reader poll TV’s VFX shows are createdHone your post-production skills Concept and design a real-time How to make a printable costume Recreate an epic Game offor perfect lighting game character Downloads Free Maya eBook, Thrones battle scene in 3ds MaxDownloads Free Creative Market Downloads Free iClone 5, video Digital-Tutors courses, models Downloads Video tutorials,models, video training, setup files! training, setup files, ZBrush and more! textures, models and setup files! models and more!Issue 198 September 2015 Issue 197 August 2015 Issue 196 July 2015 Issue 195 June 2015ZBrush robots Video games art special VFX special Photoreal portraitsMaster hard surface modelling Professional games artists share 40 years of ILM, plus discover the Create a lifelike portrait within ZBrush their work and insights /VFX of Avengers: Age of Ultron effective modelling & rendering25 essential Cinema 4D Model a mecha character for Model Star Wars inspired Sculpt armour in ZBrushtechniques video games spaceships Meet Chappie: how ImageThe VFX of Jurassic World Create perfect run animation Master the new modelling tools Engine brought the robot to lifeHow to model 3D print-ready cycles for games of Maya 2016 Industry experts advice forcollectable figurines Master Unreal Engine 4, includes Create an epic sci-fi environment kickstarting your career in CGGraphics card review group test video tutorial, models and textures in Modo Downloads Free book, videoDownloads ZBrush model, video Downloads iClone 5 worth £69, Downloads Video tutorials, tutorials, project files, resourcestutorials, Substances and more! video tutorials and project files project files, resources and more! and more! Zinio www.bit.ly/tdw-zinio 3D WORLD June 2016 99 3dworld.creativebloq.com

10GB OF IN THE VAULTVIDEO & FILES FREE RESOURCES Follow the link to download your free files www.creativebloq.com/vault/3dw208 GET YOUR Four hours ofRESOURCES video training!You’re three steps away from this VIDEO ZBRUSH MODELLING issue’s video training and files… Free! Complete Pluralsight video course 1. GO TO THE WEBSITEType this into your browser’s address bar: www.creativebloq.com/vault/3dw208 2. FIND THE FILES YOU WANT Search the list of free resources to find the video and files you want. 3. DOWNLOAD WHAT YOU NEED Click the Download buttons and your files will save to your PC or Mac. PLUS! VIDEO+PROJECT FILES MAYA FUR TUTORIAL FILES SUBSTANCE PAINTER There are more files, art and Download the video walkthrough to follow our artist’s process Follow our artist’s texture training resources waiting online… FILES MARI TEXTURING VIDEO+3D-PRINT READY MODEL SCULPTING FOR PRINTFiles Download the files to get more from our V-Ray for Nuke training Files Download the training for this issue’s Artist Q&A tutorialsArtwork Download the extra tutorial images to accompany ShowcaseArtwork Download the files to follow our 3ds Max abd Mari training Follow our artist’s files for photoreal results Design and sculpt a fantasy dinosaur for 3D printing, plus get the model free! 3D WORLD June 2016 100 3dworld.creativebloq.com