CATEGORIES

FANTASTIC ENVIRONMENTS

How the synthetic Victorian-era landscapes of Amazon Prime Video’s fantasy series Carnival Row were created

AUTODESK MAYA BASICS

We continue our look at the core digital content creation applications; this issue, we explore Maya

ALL GROWN DOWN

Three experts weigh in on the past, present and future of de-aging technology and its implications for digital human creation.

Welcome To Weta

We open the doors to Weta Digital and Weta Workshop: the Kiwi companies that changed an industry

How Were The Flaming Dothraki Swords Created For Game Of Thrones Episode, The Long Night?

The impressive battle in The Long Night is hauntingly revealed in fiery attacks that crash through the darkness.

How Can | Get More Life Into The Textural Detail In A CG Face?

Pose-based texture blending is a technique we used during Alita: Battle Angel to achieve a more realistic skin response in certain poses.

SMOKE IT UP

Add atmosphere with smoke, dust and fire elments

LOOK WHO'S TALKING

A look at Weta Digital's facial animation for the canine stars of Lady And The Tramp

Milk Tackling FX Challenges

3D World’s special access to Milk VFX continues with an inside look at the FX department

OH…THE HORROR!

The horror genre is often celebrated for its use of practical effects, combining ghoulish makeup and grotesque prosthetics with sound and editing to elicit fear in an uneasy audience.

MALEFICENT-TAKES FLIGHT

3D World speaks with MPC in London about the studio’s animation and visual effects work for Maleficent: Mistress Of Evil

TALES OF A 3D ANIMATED TV SHOW

The art and technology behind season 2 of DreamWorks’ 3Below: Tales of Arcadia

A look inside the studio

We chat to freelance 3D generalist Ant Ward, aka antCGi, about his day-to-day work life, career journey, studio setup, and his favourite projects

Substance Alchemist

Discover the next-generation material authoring solution from the team behind the Substance toolset

Recreate A Stylised Portrait In 3D

Use some of Maya’s more advanced tools to recreate a stylised concept in 3D

Made In Dreams

Media Molecule’s Next Project Takes User-generated Content To A Whole New Level…

How Can I Create A Clay Pot Material Using Substance Designer?

I will show you an easy and really powerful way to create a clay pot material using Substance Designer.

Fur, Snow, And Yeti Magic: Animating Abominable

DreamWorks Animation and Pearl Studio’s co-production Abominable, written and directed by Jill Culton and co-directed by Todd Wilderman, is about the bond between a teenage girl, Yi, and a young yeti she encounters in Shanghai. Together with her friends, Yi helps the creature – which they name Everest – return to its homeland.

Blender Basics

For the next instalment of our Basics series, we take a look at the core digital content creation applications, starting with Blender.

Element 3D

Element 3D packs an animation suite into After Effects that allows artists new to 3D the ability to create stunning animations

Evolution Of A Mind Flayer

How Rodeo FX crafted a goopy and gory creature at the centre of Stranger Things 3

Too Good To Hide

Motion studio Found take us behind the scenes of their promotional film for whisky brand Ballantine’s

Social Networking

3D World gathers three experts to explain how 3D artists and studios can use social media to their advantage

Fire-Breathing Dragons

Mohsen Mousavi from Scanline VFX talks intense battle scenes and destructive dragons in the final season of Game Of Thrones

In Deep Trouble

Trevor Hogg deep dives into the visual effects of The Meg with insights from Adrian de Wet, Scanline, DNEG and Sony Pictures Imageworks

Create Sci-fi Scenes

Oscar Jurez demonstrates his method for producing a futuristic scene

The Secrets Behind 3D Scanning

Professional 3D scanning company, Pixel Light Effects, reveals its photogrammetry process for getting actors into the digital realm 

View Conference 2017

We look forward to the upcoming event, happening 23-27 October in Turin, Italy

Free Plural Sight Course Substance Designer Fundamentals

Kick-start your texture creation skills

Rogue One: A Star Wars Story

Discover how you make a science-fiction movie that’s in touch with its past, as trevor Hogg talks to ILM’s John Knoll.