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| Print Article Details | Online Refs | ||
| Heads Up; by Cecilia Ziemer; 3DA#42 p. 4 (<1 p.). Cover story part 1: Carrara and Poser character used together to model a 3D goblin character | ||
| Putting Your Work into Play; 3DA#42 p. 6 (1+ pp.). A 3D SIG report on using Brilliant 3D .b3d files instead of VRML for putting your 3D graphics onto the Web. | ||
| Patch Modeling a Head, Part 2; by Robert J. Undi; 3DA#42 p. 8 (3+ pp.). Part 2 of 3: Modeling a human head to order using reference photos. See also previous article, Patch Modeling a Head, Part 1, and next article, Patch Modeling a Head, Part 3. | ||
| Tying One On; 3DA#42 p. 12 (4+ pp.). LightWave 3D 5.6 and Sasquatch get ready to go fly fishing. | ||
| Tonsorial Delight; by Robert Powers; 3DA#42 p. 16 (2 p.). Using LightWave 6 and Shave and a Haircut to create a stunningly complex hairdo. | ||
| Making Stock Models Talk; by Rich Jackson; 3DA#42 p. 18 (2 p.). Customing a Humanoid male figure to have stronger features and using Morph Gizmo Pro to set up lip sync, plus a dash of hair from FiberFactory. | ||
| Scenography Techniques; by Adam Watkins; 3DA#42 p. 20 (1+ pp.). Centuries of stage design have resulted in some tricks you should know about. See also sidebar, A Digital Foot in the Stage Door. | ||
| A Digital Foot in the Stage Door; by Adam Watkins; 3DA#42 p. 21 (1+ pp.). How 3D graphics is changing set and stage design at the university level. See also main article, Scenography Techniques. | ||
| Off With Its Head; by Cecilia Ziemer; 3DA#42 p. 24 (<1 p.). The artist's experience with preparing the cover goblin character's head for stereo printing, starting out with Carrara and 3DS Max r2. | ||
| Waxing a Goblin Head; by Bathsheba Grossman; 3DA#42 p. 25 (1 p.). Cover story part 2: The service bureau's end of the story, "stereo printing" the goblin's head for the solid output shown on the issue cover, with a little help from Rhino. | ||
| Beachcombing; by R Scott Cherba; 3DA#42 p. 26 (1+ pp.). Creating a bit of the Gulf of California coastline using World Construction Set 5. | [author's supplement] |
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| Run, Don't Walk; by Thomsen-Norre; 3DA#42 p. 27 (<1 p.). An important notice about Leveller--a great, low-cost landscape and height field tool that may disappear from the market, so get it now! | [full text] |
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| Blender Effects; by David Weese; 3DA#42 p. 28 (1+ pp.). How to go about doing volumetric, particle, and flare effects in Blender. | ||
| Blender Radiosity; by David Weese; 3DA#42 p. 29 (<1 p.). It's a bit different in use, and a bit of a pain to use, but here's how to put Blender to work as a free radiosity renderer. | ||
| Animate Low & Render High; by David Weese; 3DA#42 p. 29 (<1 p.). An explanation of using Blender's MetaNURBS-like S-Mesh, and pointers about how to animate in low res and render in high res. | ||
| Nonlinear Animation; by Mitch Butler; 3DA#42 p. 32 (1 p.). Using the new Orchestrate3D meta-app to organize large Maya projects. | ||
| To School or Not?; by Fred Tepper; 3DA#41 p. 4 (1+ pp.). Does an aspiring studio artist need to go to school? If yes, then to study what? Some surprising views from long experience. | ||
| Easy Organics; by Joel Bellucci; 3DA#41 p. 6 (2 p.). Using LightWave 5.6's MetaNURBS to model the belugas' heads on the previous issue's cover, step-by-step using reference images. See also previous article, Just Plane Easy. | ||
| Text Trick; by Rich Jackson; 3DA#41 p. 10 (1 p.). How to bend words in LightWave 3D 5.6. | ||
| Patch Modeling a Head, Part 1; by Robert J. Undi; 3DA#41 p. 12 (2 p.). Part 1 of 3: In this first installment, how the cover artist takes detailed reference photos from which to create and animate an exact 3D copy of an actual human model's head using patch modeling. See also next article, Patch Modeling a Head, Part 2. | [cover image] |
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| Tree Clippings; by Tom Marlin; 3DA#41 p. 14 (2 p.). Almost everything you ever wanted to know about how to use clip-map foliage to enhance single-image scenes without huge polygon counts, shown with trueSpace 4 but widely applicable. Also tells how to make tS4.3 objects be invisible. | ||
| Solidify Your trueSpace Objects; by Tom Marlin; 3DA#41 p. 16 (<1 p.). There is a little-known free plug-in, Solidify, that is useful for complex modeling problems in trueSpace 4. For one, it can turn imported meshes into solid objects, ready for Boolean operations. | ||
| Carrara Tips; by Cecilia Ziemer; 3DA#41 p. 17 (1 p.). Mainly a collection of tips for Ray Dream users upgrading to Carrara, also gets into fixing a lighting problem and importing Bryce materials. | ||
| LW6 Invasion!; by Robert Powers; 3DA#41 p. 18 (2 p.). Exploring LightWave 6's new animation features using an alien tentacle model. Covers NURBS rendering, Endomorphing, and IK/bones. | ||
| Bump & Fuzz; by Paul Oglesby; 3DA#41 p. 20 (1+ pp.). Maya tips for getting bump maps almost straight from color images, and for fuzzing up object outlines. | ||
| Maya Export; by Anson Call; 3DA#41 p. 21 (<1 p.). Preparing Maya models for use in other apps, such as ElectricImage. | ||
| Single-Lens Stereo Imaging; by Michael McDaniel; 3DA#41 p. 22 (1+ pp.). Unable or don't want to manage a pair of cameras? Here's how to get stereo from one camera, demonstrated with 3D Studio r4 for DOS. | ||
| Box Knots; by Michael McDaniel; 3DA#41 p. 23 (<1 p.). How to model some interesting knots, shown with 3D Studio r4 for DOS. | ||
| Blender Lips & Tips; by David Weese; 3DA#41 p. 24 (1+ pp.). Yes, you can do weighted morphing in Blender, and here's how to use it for lip sync. | ||
| Toon Shader; by David Weese; 3DA#41 p. 25 (<1 p.). Here's how to create a material that will serve as a cartoon-style shader in addition to Blender's toon rendering, and is a starting point for other effects such as ghosted edges. | ||
| Teeth Clincher; by David Weese; 3DA#41 p. 25 (<1 p.). Vertex parenting in Blender isn't just handy, it can be a life saver! | ||
| Keeping Eyes Right; by David Weese; 3DA#41 p. 25 (<1 p.). It's a lot easier to animate eyes when they're linked, and here's how to do it in Blender. | ||
| Unusual Twists; by Cecilia Ziemer; 3DA#41 p. 28 (1 p.). Carrara's Spline Editor springs some surprises in being able to easily create knot-like twists, regular and irregular coiled objects (e.g., ropes and hoses), alien skeletons, and real and fantasy detailing. | [more info] big |
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| Ten Years Later; by Michele Bousquet; 3DA#40 p. 4 (1+ pp.). An essay on freelancing in today's 3D graphics field. | ||
| Creative Character Lighting; by Robert Powers; 3DA#40 p. 6 (1 p.). Add lights to separate the form of your character, and add them to dramatize the character's eyes. | ||
| Production Mechanics; by David Hopkins; 3DA#40 p. 8 (1+ pp.). Organizing the integration of 3D graphics into NASCAR Racers, a largely 2D cel production for FoxKids TV. Included are notes about working with outside 3D artists and 2D production done offshore. | ||
| Rhino CSEC Tips; by Ryan W. Knope & Matt Wright; 3DA#40 p. 10 (<1 p.). A quicker way to set up lofts, but with some noted limitations. | ||
| Just Plane Easy; by Joel Bellucci; 3DA#40 p. 12 (1+ pp.). A simple planar approach to creating complex textures for LightWave 3D 5.6. See also next article, Easy Organics. | [cover image] |
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| Scary Can Be Fun; by Christian G. Senn; 3DA#40 p. 14 (2 p.). Using ZBrush is a very different 2D-like approach to 3D graphics, as shown with color- and depth-painting a monster. | ||
| A Fish Tale; by Cecilia Ziemer; 3DA#40 p. 16 (1+ pp.). Carrara's modeling tools all get a workout when the author sets out to model a mudskipper. | [more info] |
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| Max Explosions; by Sanford Kennedy; 3DA#40 p. 17 (1+ pp.). Getting better explosions using 3DS Max r3.1 native without any additional plug-ins. | ||
| DEM o'Graphics Potpourri; by Thomsen-Norre; 3DA#40 p. 18 (2 p.). Part 2: More about wrestling higher-res DEMs and related maps (Digital Orthoquad [DOQ] and Digital Raster Graphic [DRG]) into LightWave and World Construction Set. See also previous article, DEM o'Graphics Potpourri. | [more info] |
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| Architecture Without Modeling; by Benoit Guerville; 3DA#40 p. 20 (2 p.). Using Bryce 4 terrains (or the equivalent in other programs with 8- or 16-bit grayscale height mapping) to create edifices and even an entire cathedral. And the weathering is an easy addition. | [more info] |
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| Particles for Bryce 4; by Julien Van; 3DA#40 p. 22 (<1 p.). Using Illusion to post-process particle effects such as flame and smoke into Bryce animations. | [animation] 381Kb |
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| Deep Paint 3D; by Julien Van; 3DA#40 p. 22 (<1 p.). Doing Poser 4 textures in an alternative to Painter 3D. | ||
| Hot Pixels; by Mike Caputo; 3DA#40 p. 24 (2 p.). Using After Effects to create complex animated maps for Animation Master. | ||
| Animated Clouds; by Sotiris Gougousis; 3DA#40 p. 26 (1+ pp.). Using animated 2D textures for clouds and nebulas in AM2000. | ||
| The Great Outdoors; by David Marrano; 3DA#40 p. 28 (1+ pp.). The trees, the river, the fresh air, the skeleton lines... Putting together a relaxing visit to a streamside vista. | ||
| The Great MoCap Debate; by Chris Derochie; 3DA#40 p. 32 (1 p.). When and why to use keyframing or motion capture. | ||
| Cover Story; by Gary Dohanish; 3DA#39 p. 6 (<1 p.). Using 3DS Max r2.5 and r3 with box modeling, Surface Tools, and, finally, Character Studio to create an original alien elf character for this issue's cover. See also previous article, Polygony. | [cover image] |
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| Digital Camera Equipment; by Tom Marlin; 3DA#39 p. 8 (2 p.). Some pointers about buying and accessorizing a digital camera for use in 3D graphics work. See also previous article, Digital Photo Textures, and sidebar, Quick Panoramas. | ||
| Quick Panoramas; by Tom Marlin; 3DA#39 p. 10 (<1 p.). Using the low-cost QuickStitch utility to assemble multiple images into panoramic background images. See also main article, Digital Camera Equipment. | ||
| Starting a 3D Curriculum; by Adam Watkins & Alan Hashimoto; 3DA#39 p. 12 (1 p.). The keys to setting up a school's 3D program include inventive leadership, teamwork, and letting the students take the initiative on course work. | ||
| DEM o'Graphics Potpourri; by Thomsen-Norre; 3DA#39 p. 14 (1+ pp.). Part 1: Using the Windows MicroDEM v12 utility for easier, more flexible work with high-res DEMs. See also previous article, DEM o'Graphics, and next article, DEM o'Graphics Potpourri. | [more info] |
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| Quick 3D Terrains for Illustrators; by Thomsen-Norre; 3DA#39 p. 16 (<1 p.). Making great 3D map illustrations using only the freeware Windows MicroDEM utility and Photoshop or other image editor. | [errata] |
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| Fast-Rendering Fire; by Sotiris Gougousis; 3DA#39 p. 16 (1+ pp.). How to get no-fuss 2D flames in Animation Master. | [animation/download] |
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| Problem Solving on NASCAR Racers; by David Hopkins; 3DA#39 p. 18 (2 p.). Managing a huge 3D set and assets on FoxKid's 2D and 3D mix, NASCAR Racers, done with LightWave 5.6 and its Super Cel Shader, along with Macroform and Phase Link. | ||
| Bryce 4 Character Animation; by Cecilia Ziemer; 3DA#39 p. 20 (2 p.). How to prepare a Poser 4 figure for Bryce 4, and how to integrate it and use it in Bryce scenes, including creating a walk cycle. A ready-to-use sample file is available for download. See also previous article, Bryce Character Animation. | [animation/download] |
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| Working with Virtual Sets; by Robert J. Undi; 3DA#39 p. 22 (1+ pp.). All about camera matching between 3DS Max r3 virtual sets and digital video shot with live actors on a blue screen set. See also previous article, Working with Blue & Green Screen Compositing, sidebar, Max as Standalone Video Editor, and sidebar, Backdoor HDTV & Other Odd Frame Sizes. | [animation] 224Kb |
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| Max as Standalone Video Editor; by Robert J. Undi; 3DA#39 p. 22 (<1 p.). If you have any version of 3DS Max, then you already own a perfectly good video editor, and it can do things After Effects, Premiere, and Effect* can't. See also main article, Working with Virtual Sets. | ||
| Backdoor HDTV & Other Odd Frame Sizes; by Robert J. Undi; 3DA#39 p. 23 (<1 p.). With compositing, you can create any final size frame you want, up to and including HDTV and film formats, even starting with a common DV camcorder. See also main article, Working with Virtual Sets. | [author's supplement] |
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| What If?; by Benoit Guerville; 3DA#39 p. 24 (1+ pp.). How to use any 3D program to create 2D animations with some very unique looks. Plus some info about the author's low-budget movie project mixing live actors with Bryce and 3DS Max virtual sets. | [animation] 374Kb |
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| Strategies for Serpentine Slithering; by Adam Watkins; 3DA#39 p. 26 (2 p.). Three completely different ways to get your serpent or dragon to snake in Cinema 4D. | ||
| Unwrapping for IFW; by R. Cory Collins; 3DA#39 p. 28 (2 p.). How to do highly effective custom cylindrical maps using a freeware utility for IFW. | ||
| messiah; by Robert Powers; 3DA#39 p. 30 (1+ pp.). Using the new messiah (beta) add-on for LightWave 5.6 to do soft-body dynamics, demonstrated with a jellyfish. | ||
| Lighting a Photo-Composite Scene; by Eric VanDycke; 3DA#39 p. 32 (1+ pp.). Matching lighting and shadow colors between a background image and foreground figures in Poser 3 or 4 (with its new lighting features). | ||
| When Push Comes to Pull; by Sanford Kennedy; 3DA#39 p. 36 (1 p.). Displacement modeling with the Artisan Sculpt Surface Tool in Maya, demonstrated in creating a dog. | ||
| Editorial Space; by Bill Allen; 3DA#38 p. 6 (<1 p.). What's up for coming issues, and a note about schools vs. the "school of hard knocks." | [full text] |
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| Cover Story; by Cecilia Ziemer; 3DA#38 p. 6 (<1 p.). Using both stock and custom figures in Poser 4 with Photoshop compositing to create a cover image entitled, "After the Birds of Summer Have Gone." | [cover image] 18Kb [full text] |
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| Digital Photo Textures; by Tom Marlin; 3DA#38 p. 8 (2 p.). Using digital cameras in your 3D art. See also next article, Digital Camera Equipment. | ||
| Production Myths, Realities & Illusions; by David Hopkins; 3DA#38 p. 12 (1+ pp.). Life in the real world of high-pressure TV production 3D graphics, with some comments on how to enter the field. | ||
| Cultivating Animators; by Adam Watkins; 3DA#38 p. 14 (2 p.). The importance of using low-end apps to begin a student's 3D education. | ||
| Capturing a Feeling; by David Campbell; 3DA#38 p. 16 (1+ pp.). Using textures in LightWave 3D to create a painterly warm day in Venice. | ||
| Bat Swarms; by Robert Powers; 3DA#38 p. 18 (2 p.). Using LightWave 5.6 and Particle Storm 2 to animate whole swarms of bats in the movie, Bats. See also sidebar, LWS Text Editing. | ||
| LWS Text Editing; by Robert Powers; 3DA#38 p. 18 (<1 p.). Handling tedious chores easily and quickly, and salvaging problem files, using a word processor to edit LightWave text-based .lws files. See also main article, Bat Swarms. | ||
| Convincing Dialog; by Chris Derochie; 3DA#38 p. 20 (1+ pp.). Tips for animating dialog, which involves much more than just spoken words. | ||
| Blowing Smoke; by Adam Watkins; 3DA#38 p. 22 (1 p.). Using light particles is the key to creating good smoke effects in Cinema 4D. | ||
| Double Matting; by Mike Caputo; 3DA#38 p. 23 (1+ pp.). Using more than one matte to get better flexibility in later compositing work, demonstrated with footage from Animation Master. | ||
| Underwater Caustics; by Sotiris Gougousis; 3DA#38 p. 24 (1+ pp.). Special effects lighting for Animation Master. | ||
| Express Yourself!; by Chris Maraffi; 3DA#38 p. 26 (2 p.). An introduction to using expressions in Softimage to go beyond just constraints and IK. | ||
| Baking Day; by Barbara Del Duco; 3DA#38 p. 28 (1 p.). Using Ray Dream Studio 5.5 to create and animate a painterly old-time kitchen scene, warm inside and the first falling snow of Fall outside. | [image/animation] 29Kb |
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| Flex; by Sanford Kennedy; 3DA#38 p. 30 (1+ pp.). Simulating soft body dynamics in 3DS Max r3 with its new Flex modifier. | ||
| Poser for Posing; by Dennis DeRyke; 3DA#38 p. 32 (<1 p.). Using Poser 3 and Painter 5 to set up an oil painting that looks like a stained glass panel. | ||
| Poser for Max Model Generation; by Gary Dohanish; 3DA#38 p. 32 (<1 p.). How to use Poser 4 with 3DS Max r2 and r2.5 figures, demonstrated with a forensic project. | ||
| The Queen's Bath; by William H. Munns; 3DA#38 p. 36 (2 p.). Adding vines and flowers to an interior scene from the author's Hanging Gardens of Babylon project. | ||
| BVH 'Flocking'; by Cecilia Ziemer; 3DA#37 p. 4 (<1 p.). Crowd control for Poser 3 and 4. | [animation] |
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| Showboating; by Mitch Butler; 3DA#37 p. 6 (1 p.). Cover story about storytelling using LightWave for modeling and 3DS Max with Character Studio | [cover image] |
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| Animating Textures; by Bill Allen; 3DA#37 p. 8 (<1 p.). A Poser 3 and 4 workaround for fire, water, backgrounds, etc. | [animation] |
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| A Virtual Lighting Kit; by Robert Powers; 3DA#37 p. 10 (1+ pp.). Creating an 'assembly scene' in LightWave to start with a consistent four-point lighting setup. | ||
| Softimage Patch/NURBS; by Chris Maraffi; 3DA#37 p. 12 (1+ pp.). Character modeling with Softimage 3.8. | ||
| DEM o'Graphics; by Thomsen-Norre; 3DA#37 p. 14 (2 p.). Using Bryce 4 and MicroDEM+ to get geographic data into LightWave, especially the new USGS 30m SDTS .ddf format. See also next article, DEM o'Graphics Potpourri. | [more text] |
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| Terrain Mesh Modeling; by John B. Crane; 3DA#37 p. 16 (1 p.). Using Four Elements with Ray Dream Studio 5.02 to create an artist's representation of a topographically-correct map. | ||
| Mouse Boat; by Barbara Del Duco; 3DA#37 p. 17 (1 p.). Working in the style of childrens' book illustration with Ray Dream Studio 5. | ||
| Reconstructing a Memory; by Tom Marlin; 3DA#37 p. 18 (3+ pp.). Working in the style of Rockwell and Homer to create a whole scene from the author's childhood, using trueSpace 4 and Poser 3 along with good texture work and tricks with alpha mapping. | ||
| Painting with Noise Maps; by Eun Kyeong Anna Hennequet; 3DA#37 p. 21 (1 p.). Different strokes can be gotten from mixing and remixing noise maps in 3DS Max r2+. | [illustration] 58Kb |
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| The Art of Separation; by William H. Munns; 3DA#37 p. 22 (3+ pp.). Technique for Computer Graphcs, Part 3: Exploring the options that object surfaces offer for controlling a sense of separation and depth between them, as demonstrated with Bryce 4. See also previous article, The Perception of Near & Far. | ||
| DOF Blur & Radiosity; by Mike Caputo; 3DA#37 p. 25 (1 p.). Using depth-of-field blur and radiosity in Animation Master 7.1 (AM99). | ||
| Rendering Unto Caesar; by Sanford Kennedy; 3DA#37 p. 26 (2 p.). Working with large numbers of characters in a 3DS Max r3 scene, made possible with Life Forms, without using Character Studio. Shown with a work in progress--Caesar's first failed landing in Britain. | ||
| Polygony; by Gary Dohanish; 3DA#37 p. 28 (2 p.). Using box modeling to create heads and faces using 3DS Max r2.x and 3DS Viz r2, with additional notes specific to Max r3. See also next article, Cover Story. | ||
| Six-Legged Walk Cycling; by R. Cory Collins; 3DA#37 p. 30 (2 p.). Using Imagine for Windows 1.47 to animate a six-legged character, using a nifty "cycle gauge." See also sidebar, Desktop Special Effects. | ||
| Desktop Special Effects; by R. Cory Collins; 3DA#37 p. 32 (<1 p.). Using Imagine for Windows for Eagle Films' movie, The Road, with the help of Organica and the freeware spline modeler, SPatch. See also main article, Six-Legged Walk Cycling. | ||
| The Relationship of Light & Texture; by Jeremy A. Engleman; 3DA#37 p. 36 (1+ pp.). Examining and accounting for how textures and lighting relate, demonstrated with a super-photorealistic dreary basement corner in Softimage, but applicable to all apps. | ||
| Cover Story; by Eun Kyeong Anna Hennequet; 3DA#36 p. 3 (<1 p.). Creating a scene from childhood memories of New York City using 3DS Max and Bones Pro, starring a non-Teutonic street vendor. | [cover image] [full text] |
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| Poser Parts 2; by Cecilia Ziemer; 3DA#36 p. 4 (<1 p.). Using Amorphium and Nendo as modelers for Poser and other applications. | ||
| Cyborg Gun-i-phant; by Sanford Kennedy; 3DA#36 p. 6 (1 p.). Tip on using multiple materials in Si3D 3.8, and delving into the mysteries of Soft's IK. | ||
| Skeleton Talk Show; by Julien Van; 3DA#36 p. 7 (<1 p.). Using Bryce 3 and Poser 3 together, either for character animation in Bryce without IK, or for creating a scene in Poser 3. | ||
| A Bag of Tricks 2; by David Hopkins; 3DA#36 p. 8 (1 p.). A collection of various LW3D 5.x tips, from retaining surface info when switching between Modeler and Layout, to how to benefit from modeling on center. | ||
| Instant Friends; by Mitch Butler; 3DA#36 p. 10 (<1 p.). Using instancing in 3DS Max (think particles) to create crowd behavior from one or a few models. | ||
| Imagine Facial Animation; by R. Cory Collins; 3DA#36 p. 12 (1+ pp.). Using Imagine's magnet tool to animate shape info, shown with IFW 1 but also applies to other versions. Also tips on hollow shapes in Organica and prepping for IFW import. | ||
| Building Character; by R. Cory Collins; 3DA#36 p. 12 (1 p.). Take advantage of 75 years of built-up audience expectations for cartoon character design, demonstrated with Organica and Imagine. | ||
| AM99 Surface Constraints; by Mike Caputo; 3DA#36 p. 15 (<1 p.). It's easy now to make one object follow the surface of another in Animation Master 7, such as a lunar rover roving along a moon's terrain. | ||
| 2D Renders from 3D Scenes; by William H. Munns; 3DA#36 p. 16 (<1 p.). Technique for 3D Computer Graphics, Part 1: How to deal with the fact that, just like taking photos in the real world, rendering a scene in 3D graphics doesn't automatically get 3D-looking results. See also next article, The Perception of Near & Far, and sidebar, Landscape Dissection. | ||
| The Perception of Near & Far; by William H. Munns; 3DA#36 p. 17 (<1 p.). Technique for 3D Computer Graphics, Part 2: Aids and deceptions to convincingly create depth in a scene. See also previous article, 2D Renders from 3D Scenes, sidebar, Landscape Dissection, and next article, The Art of Separation | ||
| Landscape Dissection; by William H. Munns; 3DA#36 p. 17 (1+ pp.). Technique for 3D Computer Graphics, sidebar to Parts 1 & 2: Two scenes ("Machu Picchu" and "Desert Highway") are explained for how they employ special lighting, haze objects, and artificial vanishing points to enhance the sense of depth. See also main article, 2D Renders from 3D Scenes, and main article, The Perception of Near & Far. | ||
| The LightWave/Painter 3D Connection; by Kenneth Brilliant; 3DA#36 p. 18 (2 p.). It takes only a little bit of extra work to get great results from this low-cost 3D paint solution for LightWave. | ||
| Getting a Head; by Sanford Kennedy; 3DA#36 p. 20 (2 p.). Putting through their paces the new MicroScribe-Max plug-in for 3DS Max and the MicroScribe-3D digitizer, aided by Surface Tools, all shown creating a baboon head. | ||
| Working with Blue & Green Screen Compositing; by Robert J. Undi; 3DA#36 p. 22 (2 p.). Two projects show how to blend 3D and real world scenes/objects using the Primatte S-100 plug-in for 3DS Max (with notes about the Photoshop version). See also sidebar, Starfield Generation, sidebar, Ultimatte for Blue Screening, and next article, Working with Virtual Sets. | ||
| Starfield Generation; by Robert J. Undi; 3DA#36 p. 23 (<1 p.). Creating starfields and nebulas in 3DS Max with noise materials and Combustion. See also main article, Working with Blue & Green Screen Compositing. | ||
| Ultimatte for Blue Screening; by Robert J. Undi; 3DA#36 p. 24 (<1 p.). How to run the Ultimatte compositor as a Premiere filter in 3DS Max. See also main article, Working with Blue & Green Screen Compositing. | ||
| Hand-Meshing a Hand; by Barbara Del Duco; 3DA#36 p. 25 (1 p.). How to create complex objects, such as a hand starting from a small cylinder, in Ray Dream Studio 5's Mesh Form modeler. | ||
| Fold It Up; by Cecilia Ziemer; 3DA#36 p. 26 (<1 p.). How to apply more than one UV color map to a Poser figure, shown with an animatable folding box figure that you can create yourself. | ||
| What's a Foot?; by Bill Allen; 3DA#36 p. 26 (<1 p.). Introducing "footCubes" and "workbench figures." How to bring scale, size units, and building blocks to Poser 3. Also a note about how to warp such building blocks into complex shapes. (Much more about all this will be posted here online.) | [expanded text] |
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| Poser Maps; by Roy C. Riggs; 3DA#36 p. 27 (1 p.). Roy Riggs tells how to use his free Mapping Magician with various modelers to create single-piece UV color maps for use with new Poser 3 figures, as well as with other apps that can benefit from all-in-one maps. | ||
| 3D Artist Reports; by Doug King, Mike Caputo, Sanford Kennedy & Bill Allen; 3DA#36 p. 28 (<1 p.). Reports on books The Animation:Master Handbook, 2nd ed., Inside Softimage 3D, and Gardner's Guide to Computer Graphics, Animation & Multimedia Schools, plus traing CDs 3D Studio Max Interactive Training. | ||
| End of an Era; by Tom Marlin; 3DA#36 p. 32 (1+ pp.). How to smoothly integrate a background image into your trueSpace 4 scene, shown with a weathered chuck wagon model and a photo of Texas longhorn cattle. | ||