Issue 29 - HDRI 3D - Print Version
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PREVIEW sample pages from this issue (1.25MB pdf). FEATURING... COMBINING PRACTICAL AND DIGITAL FOR PREVISUALIZATION MastersFX, founded in 1987, has been a preeminent creature house, creating practicals for film and television. Previsualization has become an important component of preproduction, and having the ability to view digital work along with practical work is now an important part of the services that MastersFX provides. This article demonstrates a variety of previs shots that combine digital and practical, creating a powerful tool for directors to work with. By Briar Lee Mitchell WAVE AHOY, LADS! Wondering how to tackle a heavy effects shot with fluids and lots of particle simulations? Javier lets us in on a secret: Using Houdini’s unique workflows can save a lot of time and expense. By Javier Meroño HILDE “INTOXIKATED” A Toxik 2009 Tutorial : Come along on this detailed walkthrough of tackling a set extension shot using 3D tracking data and the 3D environment of Toxik. Explore how to generate a matte with “3D rotoscoping.” By Joerg Bruemmer THE ART AND ANATOMY OF RENDERING AN ALPHA CHANNEL Unlock the true power of your alpha channels by using valuable tools and techniques that will allow you to craft detailed alpha channels. Shave hours off post production with these simple, yet powerful, options that you can start using on your current project. By William Vaughan BUILDING A BARE-BONES RIB EXPORTER This tutorial is designed to show artists how to build a RIB exporter from scratch. Brent’s script will export a scene containing lights, polygonal geometry, and a camera to a RIB file. Brent offers considerations that will enable users to write exporter programs from any modeler program so that they will be able to use the high-quality rendering available through RenderMan. By Brent Wiley THE EXTRA MILE: TIPS FOR POLISHING YOUR ANIMATION What makes the difference between a good animation and great animation? Luke outlines some tips and workflow techniques regarding polishing your animations to give them the extra 10 percent that makes all the difference. By Luke Randall SHATTERED! Ever wondered how you could animate one object shattering another? In this article, Bob Calandriello demonstrates how LightWave’s incredible Dynamics engine can do just that. By Robert Calandriello MAYA TO THE MAX-IMUM Join Nick as he shows us a workaround to get a Maya scene into 3ds Max. I’ll give you a hint: He uses Maya’s Geometry Cache feature. By Nicholas Joseph HIDDEN GEMS: SEAM-PAINTING WITH BLACKSMITH 3D We all know about the “Big Names” in 3D Painting, but there are programs coming out all the time that give those major players a run for their money, at a fraction of the cost. Let’s take a look at one of these powerful, low-cost alternatives. By Timothy Albee SETTING UP YOUR STEREO... SCOPIC David shares with us a simple yet effective way to achieve great stereoscopic 3D images using a very basic setup. The methods are based on principles (not technology), so they can be used in any 3D application you choose. By David Maldonado THE BASICS: USING POINT OVEN TO TRANSFER DATA TO MODO Do you run a couple of 3D applications? Here's how to use Point Oven to move deformation data to meshes in different programs to get the most out of your animations and applications. By Aaron Kent PHOTOGRAPHY, 3D, AND PAINTING INTEGRATION This article will provide you with possibilities of creating concept art using 3D models and photography in preparation for adding painting techniques. You’ll learn to use photography and painting techniques to create a dynamic matte for the background for the 3D object to interact with. By Stephen Burns KOOSHLINGS Wallflower By Dariush Derakhshani GIDGETS AND GADGETS The Apple iPhone Experience: William shares his experience of being a new iPhone user in Manhattan. By William Vaughan FINAL RENDER Blindman’s Bluff By Andrea Carvey

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