A WHOLE NEW WORLD. A WHOLE NEW COVER

sava Zivkovic on his Fu­ture slums paint­ing, his con­tri­bu­tion to Kit­bash3d’s cover art se­ries

3D Artist - - CREAATING WITHOUT PERMMISSION -

01 Kit­bash­ing Fu­ture Slums comes with 16 in­cred­i­bly de­tailed build­ing models in­spired by Kowloon Walled City. The models range from packed build­ing blocks to tow­ers, ac­com­pa­nied by small-scale de­tails like AC units, scaf­fold­ing, bill­board signs and laun­dry hang­ing from the windows and trash on bal­conies. 04 Com­po­si­tion With a 200mm lens, I flat­tened ev­ery­thing down for a large sense of scale. To fur­ther sup­port this scale, I’ve in­cluded a char­ac­ter as the only fore­ground el­e­ment, in the very lower cen­tre frame, and used the ex­ist­ing ar­chi­tec­ture el­e­ments as a fram­ing de­vice to draw at­ten­tion to the char­ac­ter. 02 ma­te­ri­als For the cover im­age, all the ma­te­ri­als were con­verted into Oc­tane Ma­te­ri­als, my favourite ren­derer. I kept most of the ma­te­ri­als pretty ba­sic since I knew I was go­ing to be far away from the models; the only ma­te­ri­als that got ex­tra at­ten­tion were the grey and beige wall ma­te­ri­als. 05 ren­der­ing I use Af­ter Ef­fects as my main com­posit­ing soft­ware.

The main ren­der passes I use are Zdepth and Ma­te­rial ID for all of my com­posit­ing and mask­ing needs. An am­bi­ent oc­clu­sion pass was used here as well, just to bring out all those small-scale de­tails a bit bet­ter. 03 Dirt maps Since most of the sur­faces are con­crete, the ma­te­rial needed an ex­tra layer of dirt.

I used Oc­tane Blend Ma­te­rial and mixed in two tex­tures with a dirt map. I set dirt ma­te­rial in Blend Ma­te­rial to red colour. Then re­placed the red colour with any dirt tex­ture. 06 Com­posit­ing I used Red Giant’s Magic Bul­let Looks as my pri­mary grad­ing tool. Lay­er­ing is key here. I’d usu­ally start off with bring­ing in more con­trast with curves and spot ex­po­sure, fol­lowed by lens ef­fects, eg very min­i­mal chro­matic aber­ra­tion, dif­fu­sion, vi­gnetting and a three-way colour cor­rec­tion.

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