3dworld october

ZBRUSH SCULPT FACES IN

Master facial anatomy in a morning PLUS! 60 minutes of expert video tips!

MAYA TEXTURES: STEP BY STEPUV maps, baking and more!

Creating zombies Insider interviews: How Cinesite made undead hordes for World War Z

SECRETS OF CG CREATURESAaron Sims shares his concept art techniques

OCTOBER 2013

GAME ASSET PRODUCTION PIPELINEFREE VIDEO! GAME ASSET PRODUCTION PIPELINE

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52 Secrets of CG creatures with Aaron SimsThe founder of the Aaron Sims Company reveals how he builds his outlandish creatures

68 Maya textures: step-by-step guide with video tutorialWe explain how to take a model of a futuristic space dock loader and fully texture it

80 Game Asset Production Pipeline: complete videoDiscover the smart way to design and model game props with this full video from Digital-Tutors

HighlightsYour cover stories this issue. Full contents: page 5Issue 173 October 2013

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Includes video: see page 5

60 SCULPT FACES IN ZBRUSH: TUTORIAL PLUS VIDEOUsing ZBrush, we guide you through the steps to help you sculpt a realistic-looking face

Freelance 3D artist Titouan Olive shows how to make your digital faces anatomically correct

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COMMUNITY10 Showcase We look at some of the most outstanding new creative CG projects

30 In FocusDavid Domingo tells us all about his CG creation, Rob the Robot

34 Short Cuts How to animate a entire gang of pirates for a short film in only 10 days

REVIEWS82 After Effects CCTheres a richer set of 3D tools in this update of the much-loved compositing software

86 Vue 11.5 InfiniteIt seems only yesterday that Vue 11 was unleashed. So what does this update offer?

89 Plants Kit 1Want to create realistic foliage and plant life? Laubwerk may have the answer

90 Unfold3D 8This UV unwrapping tool for texture artists is now Mari-friendly

FEATURES36 World War ZWe talk to the visual effects team behind this summers zombie-drenched blockbuster

46 The Paper FoxHow do you create a CG character that looks as if its made from paper? Jeremy Kool explains

52 Aaron SimsThe veteran of movies such as I Am Legend and The Incredible Hulk talks monsters

TRAINING60 Facial anatomy in ZBrushUsing ZBrush, we take you through the key stages of creating anatomically correct faces

66 Fundamentals: InstancingWe explain how instancing can give you power of thousands of objects

68 Texturing in MayaHow to fully texture a model of a futuristic sci-fi space loader ready for rendering

74 Q&A Some of the best experts in the industry tackle your CG software questions

80 Game assets video Digital-Tutors on how to overcome challenges while creating game props

ContentsOur complete line-up for this issueIssue 173 October 2013

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The leading magazine for CG training and artwork

Every issue, 3D World brings you the best training for popular CG apps like 3ds Max, Maya and ZBrush. Our tutorials are written by professionals working in the eld. Look out for bonus videos and scene les to help you take your skills further.3D World also offers inspirational new artwork, access to the artists behind the latest CG movies, and more!

60 Face anatomyHow to create realistic heads

POST-PRODUCTION92 DebriefPsyops Brian Kehrer tells all about his studios new project, Play Fanta: Saving the Source

96 Freeze Frame How Look Effects created its version of the undead for zombie drama Warm Bodies

PLUS43, 57 Print subscription offers98 On the cover

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Rob Redman Technical [email protected]

Kulsoom Middleton Features editor [email protected]

The 3D World team

Tim AlexanderVFX supervisorIndustrial Light & Magic

Stuart AdcockTechnical art director Ninja Theory

Jordi BarsDeputy creative directorRealise

Pascal BlanchSenior art directorUbisoft

Tim BradePipeline Technical DirectorSony Pictures Imageworks

Rob BredowCTOSony Pictures Imageworks

Gustavo CapoteArt directorGC-VFX

Andrew DaffyDirectorThe House of Curves

Lee DanskinDirector of technologyEscape Technology

Jonathan DaviesHead of commercials productionEnvy Post Production

Sofronis EfstathiouPostgraduate Framework Leader NCCA, Bournemouth University

Paul FranklinVFX supervisorDouble Negative

Andrew GordonDirecting animatorPixar

Eddie LeonPresident/CEOSpine3D

Jeremy MoorsheadAnimation department chairSCAD

Alex MorrisFounderAlex Morris Visualisation

Shelley PageHead of International Outreach DreamWorks Animation

Jolyon WebbR&D art director Blitz Games Studios

The 3D World advisory board Our panel of leading gures from across the CG industry give us their advice and help

Writers Conrad Allan, Cirstyn Bech-Yagher, James Cutler, Digital-Tutors, David Domingo, William Dwelly, Mike Griggs, Brian Kehrer, Christopher Kenworthy, Jeremy Kool, Titouan Olive, Mark Ramshaw, Antony Ward

Art & Production Art Editor Darren Phillips Production Assistant Adam HurrellPropduction Steve OBrien, Alvin WeetmanCover Titouan Olive

WelcomeMeet the team and our panel of expertsIssue 173 October 2013

Improve your characters faces with 3DWorld...

Faces are one of the hardest parts of the human body to model well. This issue we help you achieve the perfect face, as Titouan Olive shows how a basic understanding of facial anatomy and transform your models and sculpts. Richard Hill, [email protected]

Find out more about our advisory board

members at www.3dworld

mag.com/ board

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SENIOR CREATIVES EDITOR-IN-CHIEF, DIGITAL DESIGN Dan Oliver SENIOR EDITOR Paul Newman GROUP ART DIRECTOR CREATIVE & TECH Steve GotobedCREATIVE DIRECTOR Robin Abbott EDITORIAL DIRECTOR Jim Douglas

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In the Ultimate Guide to 3D Animation, youll discover the secrets of creating 3D short films and

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move to adding special effects, all you need is here

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' 2013 Future Publishing. 3D World is the registered trademark of Future Publishing Limited. All rights reserved. No part of this magazine may be used or reproduced without the written permission of the publisher. Future Publishing Limited [company number 2008885] is registered in England and Wales. The registered ofce of Future Publishing Limited is at Beauford Court, 30 Monmouth Street, BA1 2BW. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.

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Studio: LoganProject: Kira for ToshibaSoftware: Maya, ZBrush, V-Ray, Houdini, RealFlow and FlameTo promote the release of their new Kira laptop and its honeycomb chassis, Toshiba approached Logan to create an advert with a technical complexity that would reflect the technology in its new machine.

Logan was responsible for everything from conception to realisation of the spots, says VFX supervisor Julien Brami. Jens Gehlhaar, our creative director, led the team working closely with the agency on the designs and storytelling followed by the live-action shoot and the post-production to bring the concept to life

The spot took about two and a half months to complete and, including production and direction, 22 people. For the first two weeks, we focused on the multiple designs (the hero bee, the queen and the drones), design frames, storyboard, pre-visualisation and preparation for the live action. A lot of work was put in the animation research and development of the bees, as we needed them to communicate emotions and feelings without any facial expression.

The animation required the most effort: Maya was the centrepiece. As we developed an array of in-house tools for it, we were really efficient in creating multiple versions of same shots per day, without jeopardising any other tasks. Versions of animations were key in this project, as we were in constant collaboration with the agency. Feedback from them was flowing, and we were able to address all of the issues that arose.

The biggest technical challenge beside the animation was to blend perfectly CG and footage to help the storytelling. A lot of work was done on the plates, enhancements and CG additions to give life and magic to the environment. The most difficult shot was the time lapse, as we wanted to fake it as little as possible in post. Jens Gehlhaar and the VFX supervisor, Julien Brami, tried to find the best solutions to achieve that in camera. We used a rig of eight light sources, and a spotlight mounted on a crane, everything controlled by a lighting control console, the rest was timing and rehearsal.www.logan.tv


ShowcaseThis months best new creative work features MPC,Blur Studio and Platige Image

CommunityMingle with the worlds greatest CG artists


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Showcase COMMUNITY

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A lot of work was put in the animation research and

development of the bees, as we needed them to communicate emotions and feelings without

any facial expression

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COMMUNITY Showcase

I was reaching near 22 million polys so eventually it caused some problems to handle the file. To overcame that, I had to render some elements separately


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Artist: Daniel DAvilaTitle: Granny Enjoying LifeSoftware: Modo 701, ZBrush, Photoshop and After EffectsIm a 2D and 3D illustrator in my own studio, DAvila Studio, based in So Paulo, Brazil. This image was something that I had sketched out and had lying around for some time before I ever really did anything with it.

The way I usually work is to do a sketch first and gather as much reference as possible that will help me through the process. This will guarantee a more settled result. The more you plan before, the better it looks in the end. This image particularly has lens distortion effect that simulates a fish eye lens. I figured out that the scene couldnt just be distorted only with the camera effect inside the software, so I had to model the objects already distorted to fit where I want them to be.

After the modelling was done, I made a subtle distortion inside Modos camera. Another issue was the number of polygons. I was reaching near 22 million polys so eventually it caused some problems to handle the file. To overcame that, I had to render some elements separately. And, at last, the number of used effects such as displacements, hair, volumetric light, also contributed to a more complex scene. Every time you do a new project you learn something new: in this project, the lesson learned was balancing all the elements in a way that pleases the eye.

I used Modo 701 to model the scene, except the granny and the bulldog. These characters were blocked in ZBrush first, exported to Modo for retopology and then back to ZBrush again to sculpt and paint the details.

After that they were posed in Modo and rendered in its own render engine. Once the image was rendered, I used Photoshop for colour corrections, to place the sky and the smoke. Subtle lens flares and depth of field were added in After Effects.

In the studio we mainly work on advertising projects, so we have to deliver a variety of styles like hyper-realism, character design and digital painting among others. It will vary accordingly with the clients needs. But to be able to work on whatever we like in our spare time is a great release for our creativity, and an excellent opportunity to practise our skills and develop new ones. www.davilastudio.com


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COMMUNITY Showcase


Studio: MPCProject: Mating Season for 4CreativeSoftware: Maya, mental ray, ZBrush and MariUK broadcaster Channel 4s recent season of programmes on modern dating needed an ident that conveyed the complexities of finding love in the 21st century. Using the character of Arthur the tortoise, MPC was commissioned to bring him to life and enable the audience to connect and sympathise with him, through his facial expressions and the emotions he portrays.

MPCs main task was to replace the puppet head and bring Arthur the Galpagos tortoise to life through his expressions. Furthermore we replaced the legs and enhanced textures of the original puppet in some of the shots, explains CG supervisor Fabian Frank.

It took about five weeks from shoot to final delivery, with a core team of two 3D artists, two 2D artists and two matte painters. A few more artists were involved during the initial build and concept stage.

To generate an exact recreation of the puppet head in 3D was the biggest technical challenge. We scanned the puppet head, retopologised it and re-projected the details using ZBrush.

It was quite impressive to see the puppet coming to life as soon as we applied the facial expressions and animations. We had to carry out a number of tests and study footage to get it right. Eventually we used an advanced facial rig in Maya to achieve the look we wanted.

By using the vector displacement feature in mental ray, we were able to keep the poly count of the 3D model in our animation scenes very low, while still getting all the fine surface details in the final render.

The most interesting and challenging part of the ident was the disco scene. This had massive light changes and lens flares, so we had to extract the light information from the HDRI and recreate an animated environment of the whole scene in 3D. www.moving-picture.com

MPCs main task was to replace the puppet head and bring Arthur the Galpagos tortoise to life through his expressions


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COMMUNITY Showcase


in conjunction with V-Ray. After Effects is my compositing package of choice with a few added plug-ins such as Frischluft Lenscare, which makes adding depth of field in post a breeze with predictable, fast results.

For the students I believe ZBrush was the most powerful tool in their arsenal: it leaves you free to not worry too much about the technical aspects of modelling, but focus on what we needed for the film details, lots and lots of details.

Our scene files became increasingly heavy due to the massive amounts of polygons on all objects. Especially the third opening shot where the huge trail leading up to the pile of skulls is revealed. We used a combination of V-Ray proxies and MultiScatter to be able to manage and render the scene. Even with a lot of optimisation, the scene file for that shot ended up in excess of 2GB.

Another challenge was simulating the pile of skulls. This was achieved by exporting a heavily decimated version of each skull (there are three separate types in the film) and then optimising that further in Max, welding vertices together until we had a tight shape for each of them. These were then stacked in columns of instances, simulated using MassFX and finally changed to their original high-poly versions before lighting and rendering. A similar proxy approach was used for any object pushing the skulls around like the claw or the back of the beast.http://henrikbclausen.com/

Artist: Henrik Bjerregaard ClausenProject: BiomorphSoftware: 3ds Max, V-Ray, ZBrush, Photoshop, After Effects and PremiereTo challenge current students and to attract prospective new ones, 3D College thought a new type of student project to create a promotional trailer for the college was in order.

3D College contacted me and asked me if I could come up with a cool idea that would suit the students skill set as well as attract new students to the school once it was completed, says director Henrik Bjerregaard Clausen.

We used 3ds Max, V-Ray and After Effects a wonderful combination for me. I have used 3ds Max for over a decade and feel very comfortable coming up with solutions to any challenge using it


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Showcase COMMUNITY Our scene files

became increasingly heavy due to the massive amounts of polygons on all objects


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COMMUNITY Showcase


Studio: Blur StudioProject: Batman: Arkham Origins cinematicSoftware: 3ds Max, Softimage, ZBrush, V-Ray, Fusion, Photoshop and VegasThe brief was to create the trailer for the next instalment of the of the Batman video game. It needed the foreboding and action that has become synonymous with the Batman franchise. As Blur Studio created the p revious version, it was the obvious studio for Warner Bros to approach.

Warner Brothers enjoyed our treatment for the previous Batman: Arkham City instalment of the game franchise, so they came to us again asking for us to contribute another cine for their latest, Arkham Origins says CG supervisor Kevin Margo.

Blur executed in its entirety the four-minute trailer, from script to mastering. The project took about four months to complete and roughly 30-40 people contributed their skills. 3ds Max and V-Ray continue to be Blurs core modelling and rendering

tool set. V-Rays high-quality surface shaders, GI lighting, and overall artist centric integration into 3ds Max proved invaluable.

Creating realistic snow accumulation on all exterior surfaces proved challenging. We used the subsurface scattering shader typically intended for skin on the snow surfaces to simulate the light scattering into the snow.

Modelling the exterior shipyard with hundreds of shipping crates wouldve resulted in unacceptable RAM usage. Instead we relied heavily on the use of instanced proxy objects.

Batman: Arkham Origins was a rather typical Blur project. However, one notable difference was the immovable delivery deadline that had us working on editorial and output up to only a few hours from its online release. Typically there is at least a few days buffer between our delivery and when it is released online just not in this case.www.blur.com


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Showcase COMMUNITY

Creating realistic snow accumulation on all exterior surfaces proved challenging


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COMMUNITY Showcase


Studio: Platige ImageProject: The Big C for The Alivia FoundationSoftware: 3ds Max, ZBrush, V-Ray, Photoshop, After Effects and NukeThis spot for a Polish charity is all about the fight against cancer. The whole idea the scenario and the concept of the spot was created here in Platige, says CG supervisor Kamil Pohl. Jointly with the DDB Warsaw Agency, we came up with the idea of a fight between two arch-enemies: strong, courageous Mecha-Pig and horrible, dangerous organic Cancer.

Crayfish and cancer are homonyms in Polish, so a crayfish creature represents Cancer in the spot.

From the beginning, we wanted to base the pipeline on the solutions we already know, says Pohl. We used 3ds Max to model the characters, props and assets. We wanted to do Cancer in ZBrush but we gave up the idea. The sharp edges of its armour did not require such detailed modelling. It was faster and easier to do it by poly modelling.

The big challenge was to create the atmosphere. We didnt want it to be hyper-realistic but we also didnt want it to be too stylised. The inspiration came while watching Sin City: the sharp contrasts, monochromatic images, edge-lit characters and conventional spaces with bricks, bright spots and floors were exactly what we needed.

Jointly with Rafa Wojtunik, we created preliminary sketches and concepts. Later we just focused on the darkness and worked on the pitch-black places in the movie. The breakthrough came after we saw initial renders of the first shot. With the help of Photoshop, we created the atmosphere and reflections on the floor.

We used V-Ray for final rendering. Obtaining this effect you can see in the screen was quite simple and based on preparing a few render layers for the composition. Finally Manuela Balk and Dennis Nikolayenia did their magic in Nuke. Their help in this project was invaluable.www.platige.com

The big challenge was to come up with the whole atmosphere of the spot


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COMMUNITY Showcase


Studio: BlacklistProject: Science Channel identsSoftware: Maya, 3ds Max, RealFlow, Photoshop, After Effects and NukeHaving seen Blacklists previous work, the Science Channel contacted the studio to commission some new channel idents. It wanted the channel and its content to look modern and exciting and knew that Blacklist was the go-to firm to get that look.

Science Channel checked out our previous work and approached us with a pretty open brief, explains producer Marga Sard. The idea was to investigate the micro and macro worlds of biology, insects, technology, the strange and the odd - all in dramatic, surprising and unusual ways. We wanted to show Science Channel as the home of smart science fiction.

All the software we used was vital to the production, adds creative director Teo Guillem. We used 3ds Max for rigging and

animation and V-Ray for rendering: both are very important tools for us. We also used Photoshop to generate some of the textures and After Effects to animate them for compositing. We relied on RealFlow for generating the fluids.

Liquid presented special challenges in that we had to rig the egg for a very abstract character, but also make the animation look natural. The cracking of the egg was also a bit difficult we tried to use dynamics, but in the end it was done manually.

In Erosion we worked with animated textures which in turn generated huge files. Its something that always makes the process a bit more difficult, especially when youre working in 3D.

In all the spots we experienced vibration during the render which p roved to be challenging. But as always, we worked our way around it.www.blacklist.tv

We wanted to show Science Channel as the home of smart science fiction


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Artist: Petr VykoukalTitle: Sweet AttackSoftware: 3ds Max, V-Ray, Photoshop, ZBrushThis scene took me about five months to create, working in my spare time, and its something I have really enjoyed doing. As scenes go, this is not a particularly complicated one and as such the progress being made on it each day was really obvious and quite tangible. It was great to see the image coming together bit by bit and knowing that each time I picked it up it was a little bit closer to being completed.

My work usually starts in 3ds Max, where I try and make some basic models and concepts of what I think I am going to create. Once I set the shapes up, I work the camera angles and some basic lighting. Little by little as I progress, I add more and more details, textures and shaders until I have reached my final result. For Sweet Attack, I did the main workings in 3ds Max and then completed the rendering in V-Ray before finally adding some details in Photoshop and ZBrush.

My day job is with a studio called Alien Studio. We do a lot of work for in advertising and things like

product visualisations. This work can, at times, be quite limiting creatively speaking, as we have to fulfil the brief from the client, which can be quite tight, so I enjoy personal projects like this to really let my personal creative juices flow.

As an artist I am fascinated by the whole 3D scene. I work using lighting and shading at the studio, so Im most experienced with these aspects; but I really enjoy modelling and experimenting with different types of rigs and [email protected] www.petrvykoukal.com

For Sweet Attack, I did the main workings in 3ds Max and then completed

the rendering in V-Ray


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COMMUNITY Showcase


Studio: PlaygroundTitle: Blitzen BenzSoftware: 3ds Max, V-Ray, PhotoshopStudio director Jan Rambousek says: This is based on the original 1910 photograph Barney Oldfield racing the Blitzen Benz - Daytona Beach, Florida, which was taken by Richard H LeSense. In 1910, Oldfield took the car to a record speed of 132mph.

We worked on this project as a team in-between our other jobs in the studio. It took us about a month to complete from initial modelling to the finishing touches. We loved working on the detail of the image the dust, the oil splatters, the exhaust smoke, the cracked paint its these little touches that make the car and its speed look so real, so dramatic. It is also these bits of detail that create the sensation of raw unparalleled speed and power. They bring the car and the engine to life and make it seem like some fire-spitting dragon that the driver is desperately trying to control.

In order to achieve this incredible finish, we used a variety of slightly unusual techniques. These were all essential due to the extreme resolution and

effective process. During the modelling stage, we focused on great levels of detail. After the initial modelling, we had to use few procedular maps and specific bitmaps for displacement to enhance the realism of the surface.

We kept in mind that no surface is flat, and we tried to reproduce specific deformations for every object using a standard displacement modifier. When we were texturing, we used a multi-channel approach and very basic projection techniques in conjunction with blended materials. We used a lot of textures from www.cgtextures.com and they really do bring the scene to life. Procedural maps really played a great part in both the modelling and the texturing process due to the unlimited resolution and object space mapping.

As a production studio based in Prague, we work on anything visual, and have recently done a lot of advertising work for a huge range of clients. We love to do team projects as a way pooling our creative and design talent. www.janrambousek.comwww.plgr.cz


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CORRECTION In our look at Mark Fairless Martian Madness in 3D World 171, we got Marks website wrong: its http://darkusmarkus.prosite.com

The dust, the oil splatters, the exhaust smoke, the cracked

paint its these little touches that make the car and its speed

look so real, so dramatic


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Artist David Domingo JimnezTitle Epic (The Adventure of Rob the Robot)Software 3ds Max, ZBrush, UVLayout, Photoshop, V-RayFrom conception to completion, this image took me a month to complete. I dont mind

admitting that Im really pleased with the result. All the modelling and rendering is my own work except the face, which is a copyright-free emoticon from http://bad-blood.deviantart.com .

I started working with 3D in 2004, mainly based in advertising, and I am now a lead artist in textures and shading for environments and props for Kandor Graphics. I find working on personal projects keeps my skills fresh and current.

As an artist, I am always inspired by other artists and seeing their work people like Juan Siquier (with whom I have had the pleasure of working), Ian McQue, Michael Kutsche and Olivier Ponsonnet, among others. http://ddjimenez.blogspot.com.es

Rob the Robot took David Domingo about a month to complete with an excellent nal result

01 ModellingBeginning with a simple hand-drawn sketch, I add a proxy model to obtain the initial shape. After this, I use reference photographs in order to detail every part until I reach the hi-poly or final model. It is important to use the tools available to really do the job well. On occasion, it is best to do a quick ZBrush model, and then do a retopology. In this case, in parts such as the trousers, the gloves and the vests.


In FocusDavid Domingo talks mapping and shading as hereveals the creation ofavery special robot

CommunityGet inside the mind of a CG artist as he reveals his creative process


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P f li COMMUNITY

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COMMUNITY

I dont mindadmitting Im really

pleased with thefinal result

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In Focus


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Stage XXxxxxxx

04 ShadingFor each part of the model, I extracted the polygons that would be the same material. Then, it was a matter of using the properties of each material, specular and glossy, according to the finish I was looking for.

02 UV mappingWith UVLayout, I open different and parts then group them into six models for more comfortable texturing. I personally do not organise or distribute the islands. What I do instead for texturing is to take a render ID for each object and use it as a mask. This is so that I differentiate between materials, metal, paintings and plastics.

Dividing up the model into different parts, dependent on the material that is being rendered, can make it easier to render the model

03 TexturingFirst of all, I work on the base textures that I will need later on: metal, rust, leather, fabric, paintings, and so on. Afterwards, using render texture, I extract the ID maps, AO, displacement, normal map and UV. In the end, it is all a matter of painting and texture use. I always recommend using a tileable texture base. In this case, there are nine textures in 8K, three of which are for the terrain.

The face reection level was created before the emoticon was added

The head monitor was tricky to map as it was built up of different textures

SPECULAR

BMP

METAL

NORMALAO

PAINT

UV

DSP

DIFFUSE

COMMUNITY In Focus

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