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T. Croup edllor Hotthem Both mullheuQdlgllulurlsonllne.co.uk
Z. Edllor Lgnn wrght lgnnuQdlgllulurlsonllne.co.uk
3. Depulg edllor DeI Bennett nellbQdlgllulurlsonllne.co.uk
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Clussllled sules execullve Ben Hokk benhukklQldg.co.uk
Conlucl Dlgll udverllslng on 0Z0 707T 358Z
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Heud ol producllon Pchord BoIeg rlchurdbullegQldg.co.uk
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Nunuglng dlreclor kt cuId kllgouldQldg.co.uk
:FEKI@9LKFIJ
Seun Rshcroll, Nlchuel Burns, |ounne Curler, Slmon Dunuher,
Slmon Eccles, Rlun Slullord, |uson wulsh
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Prlnled bg Sl lves (Roche) / Slock phologruphg lrom Cellg lmuges,
plus uddlllonul lmuges lrom Dlgllul Vlslon
K<:?EFCF>P
Rpple C5 und Dell 570 uorkslullons, Rdobe Pholoshop CS, Rdobe
lnDeslgn CS, uurkXPress 7, Rdobe Rcrobul CS, USB humsler uheel
JL9J:I@GK@FEJ
Cull lhe Subscrlpllon Holllne on 0T858 438 857
T3 lssues lor 49.99 (UK) 90 Europe, TZ0 Resl ol world
98:B@JJL<J
For buck lssues cull 0T858 438 857
Buck lssues cosl 5.99 euch lncludlng pFp ln lhe UK
8.99 Europe, 9.99 Resl ol world
8;;I<JJ
99 Crug's lnn Roud, London, wCTX 8TY
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Tel. 0Z0 707T 35T5, lux (uds). 0Z0 7405 0Z5Z
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Lgnn wrlghl
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Dlgllul Rrls dellvers uulhorllullve creullve udvlce lhul dlrecllg lmpucls on gou us u deslgner. Dlgllul Rrls covers deslgn,
vlsuul ellecls, vldeo, lnlerucllve, 3D, und unlmullon, und our lulorluls ure sourced lrom leudlng creullve pruclllloners.
Dlgllul Rrls ls lhe leudlng revleus muguzlne, und revleus more creullve producls lhun ung olher UK monlhlg muguzlne.
T
www.DIITRLRPTS0DLIDE.C0.Uk
Z 3
4 5
welcome lo lhe llrsl lssue ol Dlgllul Rrls - gour
source ol creullve lnnovullon und lhe neu nume
lor Dlgll muguzlne. The nume und deslgn ol lhe
muguzlne hus chunged, und ue hope lhul gou llnd ll u
chunge lor lhe good. ll lollous monlhs ol llslenlng lo uhul
gou uunled lrom u creullve muguzlne - und our redeslgn
ls more lhun u neu muslheud.
Dlgllul Rrls ulms lo glve gou more creullve conlenl und
lnsplrullon lhun ever belore. lrom loplcul leulures, behlnd
lhescenes pro|ecls, und lndeplh creullve lulorluls, lo
hurduure und solluure buglng udvlce lhul gou cun lrusl.
To celebrule our neu look, ue've u pucked lssue lull
ol hol creullve conlenl. Thlngs lo look oul lor ln gour
neulook lssue lnclude.
Dlscover hou lo boosl gour prollle und gel gour uork
nollced - ue reveul lhe llps und lechnlques used bg
successlul deslgners ln our lndeplh leulure ?a^\^cT
H^dabT[U (puge Z4). Then check oul our len uugs lo be
more creullve ullh sclenllllc udvlce lhul mug surprlse gou.
ln our exclllng lulorluls gou cun leurn lo recreule lhe
look ol lhe movle 0BRP]]Ta3PaZ[h (puge 50), lollou
llluslrulor Dell Duerden's guldunce lor creullng lunlusllc
Pholoshop urluork (puge 45), bulld u Flush plullorm gume
(puge 55) und unlmule lllles ln Rller Ellecls (puge 50).
ln our revumped pro|ecl secllons, ue've looked ul lhe
usloundlng vlsuul ellecls ol lhe movle " und explored
lhe redeslgn ol lumed muguzlne C8<4 (puge 4Z).
En|og gour llrsl lssue ol Dlgllul Rrls und pleuse lel us
knou uhul gou lhlnk. we uelcome ull leedbuck, und l look
loruurd lo heurlng lrom gou ln lhe lulure.
FEK?@JDFEK?J;@>@K8C8IKJ:;
ED4%8=58=8C4?;4
Leurn lo creule slunnlng 3D uorlds ullh
Eon Solluure's pouerlul deslgn und
unlmullon sulle lor Nuc und wlndous
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Leurn lhe neu verslons ol Pholoshop,
llluslrulor, lnDeslgn, und Flush ullh
vldeo lulorluls lrom Tolul Trulnlng
!WXaTbbc^RZ_W^c^b
0ur excluslve collecllon ol rogullglree
R3 lmuges lrom lSlockpholo, uhlch
ure on lhemes ol lood und seusons
2aTPcXeTbW^fRPbT
Check oul lhe besl ol lhls monlh's
mollon medlu. lncludlng muslc vldeos,
uds, unlmullons, und shorl lllms
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Experl udvlce und lechnlques lrom deslgn experls on hou
lo promole gour creullve uork lo cllenls und gel nollced
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Ten sclenllllcullgproven uugs lhul lglng doun, huvlng
sex, und llslenlng lo clusslcul muslc cun boosl ldeus
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we lulk lo Screumlng Deulh Nonkeg on hou Pholoshop,
Fuslon, und Llghlwuve uere used lor lhe movle's VFX
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we luke lhe belus ol Premlere Pro CS3, Rller Ellecls CS3
und Soundboolh CS3 lor u spln ln our solluure lesl lubs
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VISIT www.DIITRLRPTS0DLIDE.C0.Uk F0P RLL THE LRTEST PEVIEwS
0rer 1.5
boars of
tra|a|ag|
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Creule u slunnlng lmuge ullh Dell Duerden
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_%& Rmber Vlsuul Hullde
_%' HumunEges Creullve3D
_%( Cunon lxus 900 Tl
_& Dlkon D40x
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The verg lulesl creullve neus und producls
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Thls monlh's neu slock medlu collecllons
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Creullve lnsplrullon, huppenlngs und gudgels
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Cel nollced ullh our essenllul gulde
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Surellre lechnlques lo generule ldeus
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Creullng lhe keg '0rucle glrl' scene
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Hou lhe lumed neus lllle uus chunged
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Nerglng veclors ullh blendlng modes
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Use llluslrulor lo cuplure lhe lllm's look
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Uslng cuusllcs lo creule reullsllc llghllng
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Nuslercluss ln lhe url ol Flush gumes
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Nuslercluss on uslng Rller Ellecls lor lllles
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0ur lndeplh creullve producl lesllng
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The lulesl pro vldeo solluure lrom Rdobe
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Slx luplops deslgned lor creullves revleued
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The lusl slx monlhs ol revleus uluglunce
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whul's on gour lree creullve cover CD
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Reuders' lellers und deslgn muslngs
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Use Flush lo pouer oldschool gumlng
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Rller Ellecls udds dlrl lo TV lllles
05
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jcn creotve IIustrotcr
ond desgner DeI Duerden
os he creotes ths moge usng
Phctcshc, IIIustrotcr ond
Ponter. Usng Phctcshc's
HuItIg bIendng mcde ond
the |Ies cn CD, gcu con
|cIIcm oIcng cn
oge 46
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Reuders shou oll lhelr slunnlng uork
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Cel creullve on lhe move ullh u porluble, pouerlul
luplop. we pul slx ol lhe besl on lesl, heudloheud
The Brlllsh lnlerucllve Nedlu Rssoclullon ls seeklng gour creullve lnlerucllve uork lor enlrg lo lls lnduslrgleudlng
Z007 BlNR Ruurds - und Dlgllul Rrls muguzlne ls pluglng hosl lo lhe gllllerlng evenl lo be held ln Dovember Z007.
The rilish Inleraclive
Media Associalion is
calling for enlries lo ils
resligious IMA Avards billed
as lhe 'scars' for inleraclive design.
The Avards, vhich celebrale lhe
besl inleraclive vork across lhe UK's
nev media induslry, vill lake lace
in November 2OO7. The Avards
are oen lo develoers, roducers,
ublishers, dislribulors and clienls
and lhe enlry deadline is }uly 31,
2OO7.
Nov in ils 23rd year, lhe
IMAs are lhe only avards in lhe
UK lhal are significanlly focused
on crealivily. Iasl vinners have
included lhe likes of Unil9, Li,
lhe C, Laleral, Red ee Media,
AKQA, Allicmedia, and R1GA.
Avards calegories include besl
use of mobile, besl Web sile, besl
inleraclive adverlising, besl use of
inleraclive TV, and mosl aslounding
achievemenl in accessibilily. A full
lisl of calegories can be found al
ZZZELPDFRXN.
This year, lhe IMA Avards
are being held in con|unclion vilh
Digilal Arls vilh lhe magazine
hosling lhe Avards nighl and
offering suorl and advice for
enlranls over lhe coming monlhs.
Years ago vhen I slarled oul
in lhe design induslry vinning
a IMA vas one of lhe highesl
accolades your vork could receive
il's alvays been somelhing lo be
roud of, says IMA Avards chair
Mallhev agvell. Ior 2OO7, ve
vanl lo focus on acknovledging
and revarding lhe crealivily
in lhe vork submilled, and ve
have inlroduced a Crafl Avard
lo secifically highlighl lhe skill
of lhe designer, animalor, coder
or coyvriler. Similarly, ve'll
acknovledge some of lhe brillianl
vork lhal is being done in lhe field
of social soflvare from blogs and
RSS lo odcasling and forums.
The Avards' call for enlries runs
unlil }uly 31, 2OO7, vilh nominalions
announced in Selember. A searale
call for |udges vill be announced
shorlly revious |udges have
included crealive direclors and
leading figures from across lhe
UK's inleraclive induslry. Iull enlry
delails are al ZZZELPDFRXN.
06
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VISIT www.DIITRLRPTS0DLIDE.C0.Uk F0P THE LRTEST DEwS
-BTUZFBST#*.""XBSET(SBOE1SJYXJOOFSXBT
TUVEFOU/JDL(PXBSEGPSIJTTJUF#JH#BMMPPO3BDF
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07
k8G hos com/eteJ
o fl/m for the on/lne
7v servlce, 1oost.
7he 55-seconJ fl/m
uses /lve octlon wlth
co/ourfu/ onlmotlon
onJ CG effects to
l//ustrote the lJeo
behlnJ the 1oost
roject, soys
the 5weJlsh stuJlo.
XXXSHCDPN
"QQMFBEET$PMPSUP'JOBM$VU4UVEJP
Ale has udaled ils
Iinal Cul Sludio suile
of video lools. Iinal
Cul Sludio 2 ugrades Iinal Cul
Iro, Molion, SoundTrack Iro and
Comressor and adds a colour-
grading alicalion called Color.
Iinal Cul Iro 6 inlroduces lhe
IroRes 422 formal, a comressed
1O-bil 4:2:2 HD formal for osl-
roduclion lhal Ale claims offers
file sizes and dala rales comarable
lo SD video vhile mainlaining lhe
qualily of uncomressed HD.
Ale says lhal IroRes 422 is
designed for imroved erformance
on mulli-core comulers such as
Ale's Mac Iro 8-core and lhal
lhe formal vill be suorled in
cameras from Ianasonic and Sony.
The NLL gains lhe SmoolhCam
image-slabilizalion funclion, vhich
removes camera shake and olher
unvelcome movemenl. Il gains lhe
abilily lo add video lo 'dro zones'
in embedded Molion ro|ecls
and edil lexl in lhem.
Color is based
on Silicon Colour's
IinalTouch, vhich
Ale acquired
lasl year. Il's an advanced colour-
grading lool vilh a 32-bil floaling-
oinl 4:4:4 colour sace. Il fealures
colour-correclion lools based around
gamma, lifl and gain ad|uslmenls
as vell as cuslom red, green, blue
and luminance curves. Il offers
secondary colour-correclion lools
vilh malles and vignelles lo limil
hov effecls are alied, a full sel
of scoes and 2O 'looks' lhal can
be maniulaled lo fil your ro|ecl.
.PUJPODPOUSPM
Molion 3 adds a 3D vorksace lo
Ale's molion-grahics alicalion,
vilh cameras and lighls and
Molion's dynamic ehaviour-based
syslem has been udaled lo vork
in lhree dimensions. Nev veclor
ainl lools offer 15O brush slyles, 3D
looks, and suorl for ainling vilh
video clis and Wacom lablels and
as il is veclor-based, il can be ediled
aflervards.
2D molion lracking and malch-
moving lools are included in
Molion 3, as is SmoolhCam for
image slabilizalion. lher addilions
include audio synchronizalion,
reliming, and lhe
Advanced Keyframe Ldilor.
SoundTrack Iro 2 gains mulli-
lrack audio ediling, imroved lools
for liming audio, and surround-
sound design lools. Il shis vilh
over 5,OOO sound effecls including
1,OOO surround-sound effecls.
Comressor 3 adds drag-&-dro
resels, and dynamic fillers such as
limecode dislay and valermarks.
Iinal Cul Sludio 2 cosls 723 lus
VAT, vilh ugrades cosling 28O
lus VAT. The suile also includes
DVD Sludio Iro 4.1, vhich has nol
been ugraded.
ZZZDSSOHFRPXN
5X]P[2dcV^cbTaeTS
RIcngsde FnoI Cut Studc Z,
RIe hos ntrcduced FnoI Cut
Server, o server oIcotcn |cr
cst hcuses thot tokes core c|
osset monogement ond mcrk|Icm
outcmotcn. The server c||ers
osset cotoIcgung mth stondord
metodoto |crmot sucrt, seorchng
thrcugh o crcssIot|crm cIent, on
orcvoI sgstem, ond custcmzobIe
temIotes. FnoI Cut Server ccsts
550 Ius VRT |cr cne server ond
u tc ten Icences, cr 1,105 Ius
VRT |cr cne server ond unImted
Icences.
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2
^
a
Read DigitaI Arts
review
of AppIe's M
ac
Pro 8-core w
orkstation,
incIuding benchm
arks,
on page 64 of
this issue.
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EZg[ZXiHigVc\Zg!jh^c\Y^\^iVabViiZeV^ci^c\h!XdbeaZm
8<>aVnZg^c\!VcYXjhidb[gVXiVa\ZcZgVi^dchd[ilVgZ
Ege|rome hos ccmIeted
o 30seccnd TV sct
|cr EHRP ond kerrong
TeIevscn cn o meekIg
brcodcost comogn set
tc Iost |cr o geor. The
bre| mos tc creote o
TV sct thot needed
tc ccmmuncote mth on oudence c| 14
16 geor cIds ond re|erence the HgSoce
Ccmmuntg. It used R|ter E||ects, Premere
ond Phctcshc. fffThTUaP\TR^dZ
Son Froncscc
ogencg Hekonsm
hos desgned, creoted, ond onmoted o
seres c| chorocters ond stcrgInes set n o
BPbronded envrcnment tc sucrt o gIcboI
ntegroted brondng e||crt. The onmoted
chorocters mII be used ocrcss the |rm's
morketng ond odvertsng e||crts, ncIudng
ther Ikeness rcduced cn o seres c|
rcducts dstrbuted bg BP. The comogn
coIIed |cr o strcng, smIe, oImcst 1960's
stgIe desgn scheme thot mcuId stond cut
cn teIevscn. fff\TZP]Xb\R^\
RaTPcXeTPfPaSb
<PVXR1d[[TcbW^^cb^dc
Ped ont Sc|tmore hos Iounched
Hogc BuIIet Lccks, mhch oIes |Im
stgIes tc vdec n R|ter E||ects, FnoI
Cut Prc, Hctcn, Premere Prc, ond Rvd
sgstems. Ped ont sogs thot the nem
user nter|oce mokes t much eoser
tc creote Lccks ond hos 3Z tccIs |cr
dcng evergthng |rcm smIe excsure
odjustment tc rodcoI ccIcur chonges.
It mII sh ths summer, rced ot $399.
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The Brtsh Rcodemg c| FIm ond TeIevscn Rrts hos reveoIed the mnners c| ts onnuoI
TeIevscn Cro|t Rmords, mhch t sogs ceIebrotes the unsung herces behnd the comero ond
n cstrcductcn studcs. The gItterng event mos heId n Lcndcn n RrI, ond ncm n ts
eghth geor, som gcngs honded cut |cr cotegcres such os rcductcn desgn, Ightng, scund,
ond vsuoI e||ects.
The Rmord |cr best vsuoI e||ects ment tc HPC |cr ts mcrk cn Skg 0ne's CTaah?aPcRWTcc{b
7^VUPcWTa, beotng the Ikes c| The HII's mcrk cn 3^Rc^aFW^. Huch c| HPC's mcrk cn the
rcject nvcIved creotng the |ontosg chorocters descrbed n the bcck, ncIudng The Scck
Eoter, deoth c| rots, |ve d||erent tges c| hcg ond DscmcrId - o Ionet rdng cn the bock
c| |cur eIehonts ond o gont turtIe. Eoch c| the d||erent chorocters requred d||erent skn
textures, such os |ur, skn cr cIcthes, occcrdng tc HPC. 0ther mnners ncIuded DckeIcdecn
|cr ts nteroctve <T)CE n the Dem Hedo DeveIcer cotegcrg. <PcRW>U
CWT3Ph{b5850F^a[S2d_!% sccced
the tc rze n the TtIes cotegcrg.
#"'5""XBSETIPOPVSUFMFWJTJPODSBGU
Ale von'l release Leoard, lhe
nexl version of lhe Mac oeraling
syslem, in early }une as lanned
blaming lhe delay on lhe iIhone.
Ale said lhal il needed soflvare
engineering from ils S X leam
in order lo kee lhe
iIhone on lrack lo
shi in }une. Ale
vill shov off a
near-final version
of Leoard al lhe
comany's develoers
conference in }une and
vill give develoers
a bela coy. The final
version of Leoard
should shi in
clober.
#MBDLNBHJDTIPXT
OFXFEJUJOHDBSE
lackmagic has inlroduced
Inlensily Iro a high-definilion
ediling card for Mac-using video
ros. Cosling $349, il is an HDMI-
equied ediling card vilh analog
comalibilily. Designed for ICI
Lxress-based Macs or ICs, lhe card
fealures lvo HDMI conneclors and
an analog inlerface for connecling lo
comonenl, NTSC, IAL and S-Video
devices for calure and layback.
www.b!ackmagIc-dcsIgn.cnm
?PacXR[T8[[dbX^]"
wcndertcuch hos reIeosed o UnversoI
Bnorg verscn c| ts PortcIeIIIuscn 3.0
sc|tmore |cr Hoc 0S X. PortcIeIIIuscn
3.0.5 s o |ree udote thot runs notveIg
cn bcth InteI ond Pcmer PCbosed Hoc
ccmuters, ond ccntons numercus bug
|xes. wcndertcuch sogs thot t deIvers
o 10 tc Z0 er cent seed mrcvement.
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CdaQ^<PbZ
Porovue hos onncunced Turbc Hosk,
on mogemoskng tccI thot mcrk mth
Rdcbe Phctcshc CS3. It sogs thot
Turbc Hosk mcrks Ike the humon ege
tc ck cut the subject n on moge, ond
understonds moges, scIotng subjects
ond remcvng them |rcm bockgrcunds.
Porovue Turbc Hosk mII begn shng
n Iote Hog Z007 |cr $Z49.
09
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PC sent o toto/ of
four m
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on the vlsuo/ effects for
the roJuctlon of
7erry Protchetts
Pogfother
uork hos re/eoseJ
uorkXPress 7.2, the
/otest free uJote to
lts grohlc Jeslgn onJ
mu/tl-chonne/ oge
/oyout o/lcotlon.
7he uJote lnc/uJes
lmrovements ln 1ob
1ockets, l/ottenlng
onJ chonges to
uorkXPress Co/our
Monogement MoJu/e.
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BnrIs FX has dcbutcd BnrIs B!uc 2.0
a rca!-tImc 3D mntInn graphIcs
sn!utInn that adds AvId p!ug-In
suppnrt, and addItInna! Icaturcs
Inr cnmpnsIng cIIccts In 3D,
p!us ncw dcInrmcrs and II!tcrs.
BnrIs B!uc 2.0 Is thc IIrst
vcrsInn nI thc snItwarc tn bc
madc avaI!ab!c as an AVX p!ug-
In Inr AvId systcms. It nIIcrs a
snphIstIcatcd rca!-tImc partIc!c
cngInc and thc abI!Ity tn crcatc
cIIccts usIng 3D mndc!s In thc AvId
tImc!Inc. AVX p!ug-In IntcgratInn
c!ImInatcs thc cxpnrt and Impnrt
nI prnjccts, whIch BnrIs FX says
sImp!IIIcs thc nn!IncjnII!Inc
wnrkI!nw. AddItInna!!y, B!uc
cIIccts can nnw bc savcd Intn
AvId bIns Inr rc-usc.
Ncw tnn!s Inc!udc Imprnvcd
3D Intcractnrs Inr nbjccts, camcras,
!Ights and sp!It vIcws. Uscrs can
sImu!tancnus!y dIsp!ay and wnrk
wIth mu!tIp!c pcrspcctIvcs nI
thc 3D Sccnc In thc CnmpnsItc
WIndnw, whIch BnrIs FX
says makcs It Iastcr tn crcatc
snphIstIcatcd 3D anImatInn.
BnrIs B!uc 2.0 bcgan shIppIng
mId-AprI! Inr $995 (arnund 505).
BnrIs Rcd nwncrs can add BnrIs
B!uc 2.0 Inr $295 (150). ExIstIng
BnrIs B!uc nwncrs wI!! bc ab!c tn
dnwn!nad thc updatc Inr Ircc Irnm
vvv.borisfx.com.
#PSJT#MVFBEET%JNBHFTUP"WJE
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Record nomlnullons lor lhe creullve uuurds sees u surge ln deslgnreluled uork,
lncludlng gruphlc deslgn, phologruphg und gumlng, us enlrles sour lo Z5,000.
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The nominees for D&AD
Global Avards 2OO7 have
been announced, selling
lhe scene for lhe vinners evenl
held al lhe end of May. This year
sav over 25,OOO enlries from 58
counlries, including for lhe firsl
lime angladesh, La Runion, and
Qalar, says lhe D&AD.
According lo lhe organizalion,
a 292-slrong inlernalional |ury
selecled 715 enlries for The D&AD
Annual 2OO7 and 151 nominees for
lhe highly revered D&AD Yellov
Iencil.
This year has seen a rise in lhe
number of design-relaled calegories
vilh a nolevorlhy number of
nominalions in lhe calegories of
Grahic Design (11 nominalions),
Iholograhy (seven), and Gaming
(six). US brands Skillles and
Combos, and UK charily The
Irince's Trusl vere lhe |udges'
favouriles, vilh four nominalions
each, according lo lhe D&AD.
Desile lhe enormily of lhis
lask, our |udges vere meliculous in
evalualing absolulely everylhing.
They uheld D&AD's lough
crealive slandards lhroughoul.
Il is lhis combinalion of assion
and rigour lhal lifls lhe D&AD
Global Avards above olhers. And
nov ve're delighled lo reveal and
celebrale lhe besl crealive vork of
lhe year from around lhe vorld,
said Iaula Taylor, D&AD Avards
direclor.
Nominalions are available lo
viev in an online shovcase al
www.dandad.nrgjawards2007.
They vill also be on shov al ld
illingsgale, London, during
D&AD Congress Week Tvo
(May 21-24).
The Yellov and lack Iencil
vinners vill be revealed on
May 24, 2OO7, during an
evening Avards evenl.
www.dandad.nrg
CPR's work for
NHS Creater
CIasgow and
Partners saw it
create a series of
iIIustrated books
covering sexuaI issues
faced by teenagers,
and has been
nominated for a
D&AD CIobaI Award.
0esIgn Huseum enjogs
Z5 geurs of desIgn
Ths geor morks Z5 geors snce the
cenng c| the BcIerhcuse, the crgnoI
ncornotcn c| the Desgn Huseum. Tc
ceIebrote the onnversorg, the Desgn
Huseum hos nvted Z5 desgners tc
seIect on cbject thot theg beIeve
reresents the best, cr the mcst
chorocterstc desgn c| the ercd.
Frcm the 1983 RIess whstIng
kettIe, tc the Z001 Pcd desgned
bg jcnothon Ive |cr RIe, the Z5
seIected desgns, reresentng the
best c| ndustroI desgn, grohcs,
|urnture, ond |oshcn, desgned cr
|rst monu|octured betmeen 198Z ond
Z007, mII be exhbted ot the Desgn
Huseum n o rcgromme coIIed !$!$
2T[TQaPcX]V!$HTPab^U3TbXV].
It mII run tc june ZZ, Z007.
mmm.desIgnmuseum.org
5,000 prIze In 0IobuI
CooI fIIm competItIon
CImote chonge chortg IcboI CccI hos
Iounched o ccmettcn thot c||ers
osrng |Immokers the chonce tc
shcmcose ther toIent ond mn u tc
5,000. FImmokers ore osked tc creote
o |vemnute shcrt ocrcss ong genres
|rcm Ive octcn tc onmotcn.
The ccntest mII run untI june 30
ond the ubIc mII vcte |cr eoch |Im.
The ten mcst vcted |cr |Ims mII receve
o cosh rze. Cosh rzes ore oIsc
ovoIobIe |cr the tc |ve revems, sc
buddng crtcs con Icg cn tc the web
ste vo gIobuIcooI.org tc cst ccmments
obcut ther |ovcurte cIs. FImmokers
mII oIsc receve o meekIg udote cn
ther ndvduoI chort cstcn.
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You're workihg oh Ihe cuIIihg-edge o!
compuIer graphics. You wahI power.
You demahd per!ormahce. You heed Ihe
Craphics 8oard all oIhers are measured by.
You heed NVIDIA Quadro

.
1he choice o! pro!essiohals rahgihg !rom
leadihg mahu!acIurihg desighers ahd
sIylisIs Io earIh sciehIisIs ahd digiIal
cohIehI creaIors. Demahd Ihe besI.
Choose NVIDIA Quadro

by PNY.
Peveals more aboul you
why compromise?
vvv.pny.eu saIesukpny.eu 0870 4231103
PNY08IDigitArtsQuadro?0/4/0IIS.?IPageI
%JHJUBM"OBSDIZJO
DBSUPPOBSUMBVODI
Digilal Anarchy has debuled a
lug-in for Afler Lffecls, Iinal Cul
Iro and Iholosho lhal makes
holograhs and video look like
carloon animalion. The comany
says lhal ToonIl! uses advanced
algorilhms from Toonamalion lo
creale carloon shading and lines.
Users can cuslomize lhe 'loon'
effecl vilh a seleclion of slyles.
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4hT^][Pd]RWTbEXbX^]
Egecn hos onncunced Vscn, o tccI |cr
mctcngrohcs creotcn n the brcodcost
ndustrg thot gces heodtcheod mth
tccIs such os Rdcbe's R|ter E||ects.
Egecn sogs Vscn uses o ncdebosed
mcrk|Icm mhere scenes ore buIt cut c| o
|Icmchort c| medo ond e||ects. It ncIudes
o mctcn grohcsbosed ttIng engne,
on ntegroted ortcIe sgstem, ond o ont
ond retcuchng sgstem - Ius ntegroted
trockng ond moge stobIzotcn, chrcmo
kegng ond motte monuIotcn, ond
morng ond moge monuIotcn tccIs.
Vscn c||ers o 16bt moge sgstem
mth sucrt |cr SD ond HD ccIcur
sgstems. Extensve ccIcur tccIs ncIude
muItIe ccIcur ccrrectcrs, ccIcur grode
motchng tccIs, o ccIcur IegoIzotcn
sgstem, ond vectcrscce ond move|crm
mcntcrng. Prcng |cr Vscn hos get tc
be onncunced.
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Lsco/otlng seclo/ effects
costs ueJ the buJget
of 5onys Spider-Man 3
to neor/y $300 ml//lon,
the WaII Street 1ournaI
reorts. 7he newsoer
solJ thot ot /eost three
other fl/ms re/ylng heovl/y
on seclo/ effects sow
thelr buJgets exceeJ $200
ml//lon. 7hey lnc/uJeJ
20th Century loxs X-Men
seque/ ($2!0 ml//lon},
lsneys Pirates of the
Caribbean: Dead Man's
Chest ($225 ml//lon} onJ
worner 8ros Superman
Returns ($2! ml//lon}.
7he 1ournaI reckons thot:
"7he rlce togs unJerscore
thot effects, not stors, se//
blg movles these Joys."
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Aardman Iealures, knovn for ils
oular animaled films including
:DOODFH*URPLW is in final negolialions
lo enler inlo a lhree-year deal vilh
Sony Iiclures Lnlerlainmenl.
The deal vill bring logelher
Aardman's animalion exerlise and
Sony's global roduclion, markeling
and dislribulion oeralion. The deal
comlemenls lhe slale of rogramming
being crealed by Sony Iiclures
Animalion, vhich is sel lo release
lhe CG fealure 6XUIV8S (iclured).
Sony Iiclures Lnlerlainmenl co-
chairman Amy Iascal said: We have
been huge fans of Aardman films for a
long lime and lhis deal greally exands
Sony's commilmenl lo animalion in
lhe vorldvide markellace. Aardman
makes movies vilh lively humour, greal
slories, and fun dislinclive visuals. We
couldn'l be more exciled aboul vorking
vilh lhe enlire Aardman leam.
"BSENBOBOE4POZJOMJOFUP
TJHOUISFFZFBSQJDUVSFEFBM
"EPCFUBSHFUT.JDSPTPGUXJUIJUTPXONFEJBQMBZFSPGGFSJOH
Rdcbe hos reveoIed ts |rst desktc medo
Ioger - o desktc oIcotcn thot mII Iet
ccntent cmners embed ods n cIs thot user
con Iog bock c||Ine. Rdcbe s oIreodg o mojcr
Ioger n the morket |cr cnIne vdec mth
ts ubqutcus FIosh Ioger - ond t hces tc
extends ts resence mth Rdcbe Hedo PIoger.
The obItg tc Iet ccnsumers "dcmnIcod
ond corrg" odsucrted vdecs ond Iog them
bock c||Ine mokes the rcduct on mcrtont
cne |cr medo ccmones, mhch oIreodg use
FIosh tc dstrbute neorIg 90 er cent c| ther
ccntent, on onoIgst sod.
"It rcvdes o mog tc shore medo ond
moke mcneg, mhch untI ncm hos been o
scorg rccstcn |cr mcst medo ccmones,"
sod jomes Hcuveg, o rncoI onoIgst c|
medo techncIcgg ot Fcrrester Peseorch.
Rdcbe Hedo PIoger mII be ovoIobIe ot on
unsec|ed tme ths geor os o |ree dcmnIcod
n ts beto verscn, mhIe generoI ovoIobItg
s exected be|cre the end c| the geor. It mos
buIt usng Rdcbe's nem RcIIc oIcotcn
runtme.
Rmcng ts |eotures ore o hghquoItg FIosh
Iogbock, |uII screen Iogbock, vemer rotngs
ond o "|ovcurtes" |eoture.
.JDSPTPGUGMBTIFT4JMWFSMJHIUUPPM
Microsofl has unveiled Silverlighl,
a nev Mac and IC-comalible Web
lug-in lhal rovides inleraclive
Web caabililies similar lo Adobe
Ilash, vilh slreaming video
caabililies suerior lo Ale
QuickTime, il says.
Silverlighl lels conlenl crealors
incororale video and animalion
inlo lheir Web conlenl. Il rovides
a melhod for dislaying veclor-
based grahics, lexl, animalion,
media and overlays. Silverlighl
doesn'l require any secial back-
end Web environmenl lo deloy
il inlegrales vilh exisling
infraslruclure lools such as Aache
and IHI, }avaScril and XHTML.
Silverlighl is largeled al conlenl
roviders vho vanl lo dislribule
video and rich media on lhe Web,
and designers and develoers
vorking vilh inleraclive
alicalions, says Microsofl.
The soflvare vorks on lhe Mac
using eilher Mozilla Iirefox or
Ale's ovn Safari Web brovser.
n Windovs, il also suorls
Microsofl's Inlernel Lxlorer 7.
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Creullvesolluure muker Toon Boom Rnlmullon releuses Slorgbourd Pro - und
herulds u puperless sgslem ulmed ul lllmmukers und mollongruphlcs urllsls.
7oon oom rewrites the story
Toon oom Animalion
has announced lhe release
of Sloryboard Iro. The
soflvare cosls $799.99 (around
4O7).
Sloryboarding is a oular vay
for crealives involved in visual
communicalion filmmakers,
videograhers, adverlising
crealives and olhers lo visualize
hov lhey're going lo shool lheir
vork. A series of anels deicls
scenes, oullines rough coies and
describe camera shols.
Sloryboard Iro is a aerless
syslem lhal mimics lhe lradilional
sloryboard rocess, using a Mac or
IC and a grahic lablel. Il fealures
a mulli-layer draving engine lhal
lels you use an onion skinning
lechnique for crealing key oses,
a drav-behind mode so you can
ainl behind conlour lines, layer
merge and fli draving suorl.
You can exorl your
sloryboards lo AAI for inlegralion
vilh Avid or Adobe Iremiere-
based ediling syslems, CSV exorl
for sreadsheel inlegralion, imorl
and exorl vilh Iholosho, vilh
layer mainlenance, IDI suorl,
foreign languages and lime-code
slaming.
Syslem requiremenls call for
Mac S X 1O.4, G5 or Inlel-based
Mac, Windovs XI, 512M RAM,
11OM hard disk sace, ATI or
nVidia grahics vilh al leasl
128M VRAM, 1,28O-x-1,O24
resolulion. Ior more informalion
see lhe Toon oom Web sile.
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3 Iaunches surreaI
site for V&A show
The V&A is offering ils visilors
a lruly unusual exerience, vilh
a microsile and viral camaign,
crealed by L3, lo suorl ils ma|or
sring exhibilion, 6XUUHDO7KLQJV
6XUUHDOLVPDQG'HVLJQ. The sile vill
also give visilors a chance lo creale
lheir ovn surreal 'vork of arl'
lhrough an online version of lhe
'Lxquisile Corse' game.
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oris FX Continuum
CompIete 5.0 shown
oris IX has launched version 5.O
of ils oris Conlinuum Comlele
colleclion of lug-ins for Adobe,
Ale, Aulodesk and Avid syslems.
CC 5.O nov suorls soflvare
running on Inlel-based Macs. The
release offers nalive suorl for
Ale IXIlug and Avid AVX 2.O,
lus Adobe's Crealive Suile 3.
Nev lools include an and
scan conlrols, u-res conversions,
inlegraled molion lracking, and
acceleraled en GL effecls.
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PUTech hos reIeosed o verscn c| ts
PTSquore renderng engne |cr Hogo.
PrevcusIg o Iugn |cr 3ds Hox ond Vz,
PTSquore s o PUbosed renderer thot uses
nem shoder techncIcgg tc quckIg render
moges. Users con reduce renderng tme bg
10 tc 50 tmes, occcrdng tc PUTech.
PTSquore |cr Hogo s ntegroted ntc
Rutcdesk Hogo. It uses stondord moteroIs
sc os nct tc dsrut mcrk|Icm, ond PUTech
sogs thot t mII run cn o PC mth o PxeI
Shoder Z.0 grohc cord. Feotures ncIude
sc|t shodcms mth u tc Z56 somIes,
re|Iectcns cn muItIe IeveIs, re|roctcns,
re|Iectcn ond re|roctcn coustcs, IcboI
IIIumnotcn,ond cortccn renderng.
R |ree ncnccmmercoI verscn con be
dcmnIcoded |rcm fffV_dcTRWR^\.
R7Square rendering engine boost Maya
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Storyboard Pro wiII work with
Photoshop fiIes, and offer PDI
support and time-code stamping.
Direcling colleclive rand Nev
School has comleled vork
on Dorilos' %DJ:DUV, a darkly
comedic slo-molion animalion
sol. rand Nev School buill lhe
characlers, and lhe arlisls crealed
lhe characlers lo have a designer-
loy vibe, reminiscenl of }aanese-
influenced characlers. ver 1OO
characlers vere animaled.
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-JHIUXBWF3FOEJUJPO
DemTek hos Iounched Lghtwove Pendtcn |cr
Rdcbe Phctcshc, o Iugn |cr Phctcshc CS3
Extended. The ccmong sogs thot the Iugn
c||ers hctcreoIstc renderng c| |Ies creoted
usng 3D Iogers, mhch debuted n the nem
verscn c| the mogeedtng sc|tmore.
3D Iogers oIIcm 3D mcdeIs tc be mcrted
ntc Phctcshc CS3 Extended, cstcned ond
nccrcroted ntc ortmcrk. DemTek sogs thot
Lghtwove Pendtcn sucrts oII c| the mcdeI
|crmots thot con be mcrted: ncIudng 3DS,
0Bj, U3D, kHZ ond CcIIodo. The Iugn mII
sh mth o Ibrorg c| 3D mcdeIs.
RII c| these rcertes c| these |crmots
ore rendered n hghrescIutcn: ncIudng
textures ond Ightng ottrbutes, occcrdng tc
DemTek. Theg con then be ccmcsted ntc the
rest c| the scene cr o ece c| ortmcrk usng
Phctcshc's stondord set c| RIg Hcdes |cr
o voretg c| creotve e||ects.
Dc reIeose dote hos been onncunced |cr
Lghtwove Pendtcn, mhch mII ccst $149
(orcund 74) mhen t shs. PctentoI users
con sgn u tc beto test the Iugn.
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Fooluge llbrurg Nummolh HD
hus udded rogullglree collecllons
leulurlng u runge ol ulldllle und
scenes lrom lhe nulurul uorld.
The neu sels lnclude wugne
Cruulord's B^dcW0UaXRPBTaXTb,
uhlch ollers hlghdellnlllon looluge
ol elephunls, rhlnos, cupe bullulo
und leopurds. There's ulso Rrl Levg's
<^^bT2^[[TRcX^] und scenlcs lrom
| Nlchuel Nedlu lncludlng 6aTPc
B\^Zh=PcX^]P[?PaZX]0dcd\]
und 0aRWTb=PcX^]P[?PaZ.
1TPab^UcWTC^]VPbb, uhlch
lncludes over un hour ol beurs
llshlng ln Rlusku hus been udded
lo lhe rlghlsmunuged llbrurg.
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Rrlbeuls hus releused dozens ol
looluge collecllons und slngle cllps
ul lhe DRB shou ln Lus Vegus, ullh
mung locuslng on lhemes ol energg,
pouer, und llle.
The collecllons lnclude lncendlurg
looluge ol u 1da]X]V7^dbTund un
HD verslon ol lhe populur <PhWT\
sel ol breuklng gluss, splullerlng pulnl,
und lloullng debrls. ln conlrusl, lhere
ure sels ol plunls ln bloom (6a^f und
CX\T[P_bT5[^fTab").
0lher lllles lnclude ;XVWc]X]V
Bc^a\b,Bc^a\2[^dSb!, 2^STAPVT,
?a^cTbcP]cb, und 2PcW^[XRb.
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VISIT www.DIITRLRPTS0DLIDE.C0.Uk F0P RLL THE LRTEST ST0Ck C0LLECTI0DS
&
9`i[dXef]=`ecXe[
The Dulure Plclure Llbrurg hus
unnounced lhul ll hus slgned un
excluslve conlrucl ullh Nurkus
Vuresvuo, lhe renouned Flnnlsh
blrd phologrupher.
Vuresvuo hus been cuplurlng
lmuges ol blrds slnce T998, und hus
uon numerous uuurds lncludlng
lnlernullonul wlldblrd Phologrupher
ol lhe Yeur ln Z003.
The phologruphs udded lo lhe
Dulure Plclure Llbrurg's collecllon
lnclude shols ol burnucle geese,
beurded llls, lhrush nlghllngules,
huuk ouls, und bluck uoodpeckers.
Vuresvuo's phologruphs ure
uvulluble on u rlghlsmunuged busls.
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CPERTIVE LIFESTYLE RT www.DIITRLRPTS0DLIDE.C0.Uk
`]\m\ipYf[p_X[
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ll gou're plunnlng u summer lrlp lo Cornuull,
don'l mlss Tule Sl lves' neu exhlblllon, uhlch
locuses on lhe llle und muslc ol Brlun wllson ol
The Beuch Bogs. Feulurlng lhe url, sculplures,
lnslullullons, und lllms ol 3T urllsls, 8U4eTahQ^Sh
7PSP]>RTP])1aXP]FX[b^])0]0ac4gWXQXcX^]
uses wllson's muslc us u prlsm lo oller unlque
perspecllves on lhe 'Culllornlu dreum'. ll explores
lhe relullonshlp belueen url, muslc, und populur
cullure ln lhe T950s, ln relullon lo surl, curs, und
Soulhern Culllornlu us u mglhlcul leenuge uloplu.
Rrllsls leulured lnclude Peler Bluke, |ohn Cuge,
Brlun Culvln, lsu Cenzken, |oe Coode, Rugmond
Pelllbon, Ken Prlce, Brldgel Rlleg, Rllen
Ruppersberg, Ed Ruschu, und Fred Tomuselll.
ll runs lrom Nug Z5 lo Seplember Z3.
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Someone ul Doklu H musl huve been
huvlng u Spunduu Bullel momenl uhen
lhlnklng up lhe Doklu 8800 Slrocco Cold.
Rccordlng lo lhe compung lhough, lhe neu
phone uus lnsplred bg lhe one ol nulure's
mosl preclous elemenls - gold. Encused
ln u T8curul gold plullng, ll mug be
more Sundugleugue lhun Premlershlp
wRC, bul lhe phone's sllll u looker
lhunks lo lhe superb Doklu 8800
Slrocco slgllng. The cuse smoolhlg
slldes open lo reveuls u luo
meguplxel cumeru, scrulch
reslslunl colour screen und
ergonomlc kegpud. R
coordlnullng desk slund und
colourmulchlng Blueloolh
heudsel ure uvulluble. The
phone cosls CT,000.
fff]^ZXPR^dZ
ldeul lor lhe usplrlng gume deslgner looklng lo muke ll ln lodug's compuler
gumes lnduslrg, lhls T9Zpuge book bg |lm Thompson ls slulled lull ol
colour screengrubs und urluork, und slepbgslep lulorluls lhul luke gou
lhrough ull uspecls ol deslgnlng und developlng dgnumlc compuler gumes.
ll covers gume plug convenllons lor u vurlelg ol plullorms, lhe prlnclples ol
llneur und clrculur gumes, churucler deslgn und unlmullon, us uell us creullng
levels und envlronmenls lhul ulll enguge plugers. ll cosls T3.95.
fffcWP\TbWdSb^]R^dZ
Lovebgles, lhe unnuul lnlernullonul lesllvul ol dlgllul url, lukes pluce lhls geur
ln Shellleld, Nug T3Z0. wllh u lull progrumme bused on ull uspecls ol dlgllul
cullure, lhe lesllvul promlses lo shoucuse lhe uork ol lhe mosl exclllng und
loruurdlhlnklng ploneers ol dlgllul url und deslgn. Evenls lnclude uudlo und
vlsuul lnslullullons, llve perlormunces, lulks, uorkshops, lllm screenlngs, und
exhlblllons ol movlng lmuge und creullve deslgn. Dlgllul creullves leulured
lnclude Slmon wurner, Curollne Locke, und Rose Buller, ulong ullh onedolzero's
screenlng ol 9BcPa%. R progrumme ol ussocluled evenls ulll be held ucross
lhe cllg lo rellecl Shellleld's burgeonlng dlgllul cullure.
fff[^eTQhcTb^aVdZ
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019
wont o retrc
vbe |cr the studc
cr ot hcme! Lcck nc
|urther thon the X1
jukebcx, m
hch ccmbnes
trodtcnoI jukebcx stgIng
m
th the Pcd's oudc ond
vdec techncIcgg. Eusl London gullerg Slolenspuce ls hosllng u shou
lrom Nug T0Z0 lo luunch u neu book uboul |upun's
Ruckgukl scene. APRZVPZX)9P_P]TbT6aPUUXcX bg publlshers
Luurence Klng, llluslrules lhe url ol lhe mu|or grulllll
urllsls uorklng ln |upun lodug. Durlng lhe evenl, lhe
book ulll be shoucused, und lls uccompunglng DVD ulll
be shoun. Crulllll urllsls Kress F Esou ulll be pulnllng
llve ul lhe gullerg, und looluge ol grulllll belng creuled
ulll be shoun, sel lo u soundlruck bg some ol |upun's
leudlng lrlphop urllsls.
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Pver's cuIor CIx HP3
Ioger hos hod o mokecver.
The Pver CIx Z s o 4B
HP3 Ioger mth FH rodc
tuner ond reccrder thot
oIsc Iogs vdecs cn ts huge Z.Znch
ccIcur screen. Crs, cIeor cture quoItg s rcmsed
bg the CIx Z thonks tc o screen rescIutcn c| 3Z0xZ40 rescIutcn
ond use c| RH0LED techncIcgg. It scrts the some ntutve novgotcn
sgstem os the revcus verscn ond hos buItn FIosh sucrt sc gcu con
dcmnIcod ond motch oII tges c| FIosh ccntent |rcm the web. Rt cnIg
13mm thck ond bcostng Z4 hcurs musc Iogbock ond |ve hcurs vdec
Iogbock, the CIx Z ccmbnes Iccks ond |untcnoItg ot o ccst c| 139.
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Thlnklng ol buglng u speuker sgslem lor gour lPod Forgel smull und
slreumllned - lhlnk blg lnsleud. The uorld's llrsl lPod |ukebox comblnes
lrudlllonul |ukebox deslgn ullh lhe lulesl lPod uudlo und vldeo lechnologg. |usl
pop gour lPod lnlo lhe XT's crudle und gou cun uulch vldeo on lhe LCD screen,
uhlle uudlo ls served up bg u pouerlul lhreeuug speuker sgslem. Solldlgmude
ln lhe UK bg Sound Lelsure, uslng reul chrome dle cusl melul lllllngs und hlgh
slrenglh bubble lubes und gluss punels, lhe XT uses LED llghllng lechnologg
lhul ullous users lo chunge colours lo sull lndlvlduul envlronmenls und moods.
Dou slocked bg Hurrods, lhe XT |ukebox cosls 4,850.
fffgXYdZTQ^gR^dZ
Feulurlng lnslghls und udvlce lrom
leudlng churucler deslgners, lhls book
explores lhe creullve process behlnd
lhe creullon ol some ol lhe mosl
hlghlg recognlzed gruphlc churuclers.
Coverlng everglhlng lrom deslgn slgles,
melhods, sgmbollsm, expresslon,
mollvullon, und lhe humun lorm lo
lools und lechnlques, lhls Z5 book
ls rlchlg llluslruled lhroughoul ullh
exumples ol skelches, slorgbourds
und llnul urluork.
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Shcmcose, DgtoI Rrts mogozne,
99 rog's Inn Pcod, Lcndcn, wC1X 8TY.
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*NQPSUBOU Please send work
on CD, or vla emall, to
the address on the left. |f you
enclose an SAL, we'll do our
best to return work to you. All
submlsslons at the owner's rlsk,
and are made on a non-excluslve
worldwlde llcence to publlsh
ln prlnt and ln electronlc
medla. Copyrlght
remalns yours.
BJG>ADB68>:A
Nurllo Nuclel ls u Z5geurold
llluslrulor lrom Bruzll. He's
been uorklng us u lreeluncer
slnce Dovember Z005 under lhe
creullve ldenlllg ol CrullkDusl.
Ng slgle ls verg orgunlc,
mlxlng u lol ol dlllerenl medlu
- pholo, lexlure, hundmude slull,
und veclors, he sugs. l'm heuvlllg
lnlluenced bg nulure, movles,
psgchedellu, muslc, London (uhere
l llved lor lhree geurs), colluges,
und ull lhe lhlngs lhul surround me.
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VISIT www.DIITRLRPTS0DLIDE.C0.Uk F0P THE LRTEST CPERTIVE C0DTEDT
6C9G:L<GDK:H
lNRKETHlDCS ls lhe nume lor Rndreu
Croves, ls UKborn llluslrulor bused ln
Kunuguuu, |upun.
lNRKETHlDCS hus uorked lor cllenls
ull over lhe uorld. He hus exhlblled
pulnllngs und hundmude lhlngs ln
London und Tokgo, ln solo shous und
ullh lhe pulnllng collecllve Prlmer,
ol uhlch he ls u loundlng member.
Recenl pro|ecls lnclude moblle
phone uullpupers und gruphlcs lor
u skulebourd compung. He hopes lo
huve lhls uork on hls web slle soon.
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696B=6N:H
Rdum Huges uus born ln T98T ln
SlokeonTrenl. Rller gruduullng
lrom lhe Rogul College ol Rrl ln
Z005 he begun uorklng lrom hls
sludlo on pro|ecls lor hlmsell, hls
lrlends, und lor cllenls uorldulde.
R lover ol lhe ouldoors, Huges
ollen en|ogs lell uulklng, mounluln
blklng und cumplng ln lhe UK's
beuulllul counlrgslde. Thls ls rellecled
ln hls uork uhere hls deslgns ure
lounded upon hund druun und orgunlc
lorms lhul mlx ullh hls lnleresls ln
lgpogruphg.
Desplle ull ol lhls Huges llves
und uorks ln London - u cllg lhul
he sugs ls blg, dlrlg, und ollen
unlrlendlg.
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Nelvln Culupon hus recenllg moved lo
London, und hulls lrom u smull loun
ln lhe Dorlhuesl ol Englund. He lell
unlversllg ln Z003 und hus slnce been
developlng hls lnleresl ln recgcllng
mulerluls lo conslrucl lmuges.
Culupon's uork embruces
pluglulness und vlsuul ueslhellcs. He
hus been leulured ln Seml Permununl
05 und AX^c muguzlne ln Ruslrullu, und
uus recenllg commlssloned bg lhe =Tf
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GDB6>C8=:K6A:
Romuln Chevule hus experlence ol
uorklng ln bolh Frunce und lhe UK,
und he sugs lhls hus glven hlm u
neu upprouch lo deslgn. l um mulnlg
lnleresled ln edllorlul, lushlon und
llluslrullon, he sugs. l slund lor
lnnovullon, lluldllg, und lresh lhlnklng.
Hls uork lncludes deslgn lor url
und cullurul pro|ecls, us uell us pro|ecls
ln lhe lushlon und muslc lnduslrles.
He hus uorked on cululogues, books,
muguzlnes, lnslullullons, poslers und
llluslrullons lor edllorlul.
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Nehmel Cozelllk ls senlor url dlreclor
ul Zebru Deslgn Fuclorg ln lslunbul.
The compung hus creuled 350degree
murkellng pro|ecls lor cllenls such us
Dlke, Cumper, CSlur, und |Tl (Cumel).
He ulso uorks us u lreelunce deslgner.
l use 3D und ZD deslgn solluure
ul un udvunced level, und l huve
experlence ol dlllerenl plullorms und
medlu such us broudcusl, prlnl, und
lnlerucllve, he sugs. l belleve deslgn
ls mg desllng. Pleuse, open gour ulngs
und luke u neu 'breulh'.
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Nurgurldu Clruo speclullzes ln web,
mulllmedlu, und gruphlc deslgn.
Bused ln Porlugul, Clruo ls uvulluble
lo uork ullh ung nullonul und
lnlernullonul corporule, udverllslng,
muguzlne, und deslgn cumpulgns.
Rs un llluslrulor, Clruo uses dlgllul
und lrudlllonul melhods such us pencll,
colluge, und pholo llluslrullon. Her
uork ls uell sulled lo chlldren's
plclure books, lushlon, und edllorlul.
She descrlbes her slgle us eclecllc,
bold, durlng, creullve, concepluul,
colourlul, vlbrunl, und prolesslonul.
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0Z5
R creotve rc mokes o Ivng |rcm seIIng cther ecIe's
bronds - but gcu've gct tc seII gcur cmn tcc. Here's hcm.
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4FMMZPVSTFMG
Designers are hardly renovned
for lheir devaslaling sales skills
lhe caricalure is someone
lugged inlo an iIod ogling a Mac
vilh unblinking eyes. ul unless you
learn hov lo im your skills oul, your
crealive brilliance vill reach a minimal
audience, or vorse, no audience al all.
If you're a shrinking violel vhen il
comes lo selling your vork, gelling your
name knovn in such a saluraled and
comelilive markel vill be a lerrible
slruggle. Yel if cash and crealive variely
are imorlanl lo you, you're going lo
have lo ul your name oul lhere and
sell your skills.
Designers send a lol of lime
convincing clienls of lhe imorlance of
self-romolion bul ve don'l seem lo be
as good al il for ourselves, says Marlin
Roach, founder of mulli-disciline
informalion design consullancy
Lilye (ZZZHSLW\SHFRXN). ul any
old romolion von'l do, slresses Roach.
You have lo lhink of self-romolion in
camaign lerms, and one of lhe lhings
ve lell clienls is if you're develoing
a camaign il's gol lo have lhe legs lo
carry il.
Iev agencies have adoled lhe
camaign aroach lo self-romolion
more readily lhan Carbon Crealive
(ZZZFDUERQFUHDWLYHQHW). We
romole lhe core values of our comany
firsl and our services second, says
crealive direclor Marlin Hadfield.
When ve slarled lhe comany in
2OO2 ve vanled lo make an elhical
commilmenl lo become carbon neulral,
and environmenlal suslainabilily is
somelhing ve romole lo clienls and
lhe suly chain.
The realily is lhal no one mode of
romolion vill alvays oulerform
anolher. Regardless of vhelher
lhe aroach is a mail shol, email,
nelvorking, resenlalions, or vord
of moulh, lhe crucial faclors are lhal
you knov vhal you vanl, lhal you've
researched your markel, lhal your
malerial is relevanl lo lhose vho receive
il, and lhal you execule your vork vilh
lhe self-same exerlise and flair lhal
you're lrumeling lo rosecls.
You musl make sure lhal you're
roud of vhal you senl oul, advises
rendan Thore, sales and markeling
direclor vilh brand consullancy
Sringells Design (ZZZVSULQJHWWV
FRXN). There's no oinl rushing
0Z5
somelhing oul, because il has lo
reresenl vhal il is you are lrying
lo romole.
Yel il's oinlless somelhing being
beaulifully conceived and execuled
if il lacks relevance for lhose vho are
receiving il.
ecca Saraga is head of clienl services
vilh video and broadcasl agency
Addiclion (ZZZDGGLFWLRQWY), and says
a one-size-fils-all aroach |usl von'l do.
We have differenl sels of clienls
record labels, broadcaslers, adverlising
agencies, and cororale vork and
vhen ve romole ourselves ve lailor
il lo lhal clienl base.
4NBMMXPSME
Saraga says lhal in Addiclion's induslry,
lhe besl aroach is a ersonal one.
roadcasling is quile a small
vorld, she says. We have a IoverIoinl
resenlalion lhal shovs our vork, and
ve'll lry lo shov lhem lhis in erson.
ul vilh record labels, il's more aboul
keeing in conlacl via lhe hone and
shoving lhem our lalesl vork. We have
an HTML nevsleller lhal ve'll send oul
if ve've done a high-rofile |ob.
Ior Clifford oobyer, crealive direclor
and co-founder of design and branding
agency Iiredog (ZZZILUHGRJGHVLJQ
FRXN), il's all aboul slriking a chord vilh
your rosecls. Do some research and
find oul a lillle bil aboul your rosecls.
If you can gel a lillle nuggel lo lalch
onlo, you're in. Iind oul vhal lhey are
like afler hours, hobby vise, and aim
lhere. Lngage on a human level. Lven
lhe driesl cororale communicalions
manager has somelhing human inside.
Clienls are simle, loo, and lhey
knov vhal lhey vanl vhen a crealive
gels in louch lo fish for vork. Crealivily,
communicalion, and lhe abilily lo
deliver, says Cambridge-based rinl
and Inlernel designer Nick Welsh
(ZZZPRQRLQGXVWULHVFRP). They're also
lhinking, Can I vork vilh lhis erson`
Clifford oobyer agrees: They're
looking for a vindov inlo your business
ersonalily. They vanl lo knov vhal
il's going lo be like vorking vilh you.
A clienl sees aoinling an agency as
olenlially lhe mosl fun arl of lheir
rocuremenl remil.
rand consullanl Marlin Roach
believes all clienls look for somelhing
lhal slands oul from lhe crovd. The
vay eole buy design lhese days,
lhey haven'l gol lhe infraslruclure lo be
evalualing 1O or 15 design agencies, |usl
as I haven'l lhe lime lo look al a dozen
rinlers for a |ob. You've gol lo lhink
aboul vhal il is lhal is going lo kee you
in lhe mix.
Ullimalely, romoling yourself
is like any design brief. As a design
comany you've gol lo lhink inlelligenlly
aboul hov you're going lo seak lo an
audience, says Roach. Il's beller lo
largel five comanies really vell lhan
5OO vilh a oslcard lhal |usl relicales
vhal any olher design comany mighl
do. }usl offering a service lhe vhole
lime von'l vork.
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In 2004, London-based
agency Addiction w
on the
%FTJHO8
FFL aw
ard for 8est 7V/IiIm

Craphics, for the .
PQ5PQT idents
for kerrang 7V. 7he com
pany, w
hich
previousIy speciaIized on m
usic
ads, found an increase in interest
from
cIients in other m
arket
sectors as a resuIt of
the gong.
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whot desgner hosn't dreomt c| scccng o bg desgn gcng, omd rouccus
oIouse ond the |Iosh c| comeros! The reoI gIcrg, thcugh, con ccme Ioter
- mhen ubIctg surrcundng gcur omord heIs generote nem busness.
Becco Sorogo reveoIs thot the 3TbXV]FTTZ omord Rddctcn mcn n Z004
|cr |Im ond vdec grohcs heIed the ccmong mn cIents |rcm mcre dverse
morket sectcrs. "when me begon me just dd musc ods, but o|ter the omord
me mcn o Ict mcre busness |rcm the brcodcostng ond odvertsng mcrIds,"
she sogs.
Brendon Thcre c| brond ogencg Srngetts sogs omords con oIsc be
used os on e||ectve seI|rcmctcnoI tccI. "we mcn o desgn e||ectveness
omord, ond ths s use|uI os o seIIng cnt n tseI|. R|ter mnnng t, me
rcduced o smoII moIer thot gove scme bockgrcund tc the mnnng rcject
ond tcId rcsects: 'I| gcu mont us tc dc the some |cr gcu, gve us o rng.'"
The ubIctg surrcundng omords s greot |cr ccmones, but the desgn
ond morketng ress oren't nterested cnIg n omords, ond sovvg ogences
kncm hcm tc mcrk the medo tc ensure reguIor excsure.
"The keg tc gettng ress ccveroge s |ndng the rght erscn n the
mogozne gcu're toIkng tc, ond Icck tc buId scme scrt c| reIotcnsh mth
them," sogs Thcre, "Heet them ond gve them encugh bockgrcund cn gcur
ccmong tc moke them nterested n mhot gcu dc. RIsc ntrcduce them tc o
sencr member c| sto||, such os the creotve drectcr, sc thot theg've gct o
gccd vcce tc coII cn mhen theg need scmecne tc moke o ccmment."
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id`cdll]Vi
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WZa^`Zid
ldg`l^i]
ndj
when creotng morketng moteroI,
desgners con ot best moke o meII
n|crmed guess obcut mhot mII mcrk
ond mhot mcn't. But mhot obcut thcse
cn the recevng end c| oII ths stu|| - the
rcsects ond cIents! whot dc theg
beIeve mcrks, ond mhg!
kevn Hgde s Eurceon ockogng
deveIcment monoger |cr CccoCcIo,
ond hs 11 geors n the rcIe o||crds hm
o greot cvervem c| desgn tches ond
seIIs.
"we ccme ocrcss o Ict c| desgn
ogences os me mcrk cn nem ockogng
deveIcment rcjects. Ths s monIg
structuroI, but oIsc nvcIves grohcs
ond brond denttg," he sogs.
Sc mhot orcoch mcrks best! "I| t's
o moIshct, then unIess t's bong cn the
noI |cr the tge c| rcject me're mcrkng
cn ot the tme t mII tend tc get ossed
cver," sogs Hgde. "I dc get |Igers |rcm
ogences but theg usuoIIg end u n the
bn. It's o |ne boIonce betmeen beng
hossIed ond beng n|crmed. I oImogs
enccuroge ogences tc kee us u tc
seed mth mhot theg ore dcng, but
n o |crmot thot dcesn't toke tcc much
tme cr e||crt tc understond.
"I thnk on emoI mth on eosgtc
reod ottochment s encugh tc cotch
nterest. FIe szes must be Icm ond
t must be rettg grohc n terms c|
ccntent. Theg shcuId oIsc moke o |cIIcm
u coII tc check thot the emoI hos been
reod. I| I mos mressed mth the emoI
then I mII rescnd meII tc o coII."
He odds thot unIess gcu con shcm
gcu've Iccked ntc hs ccmong's needs,
he mcn't hove much tme |cr gcu.
"Creotve ogences shcuId be obIe tc
shcm thot theg've dcne o bt c| rcoctve
mcrk cn hcm theg thnk theg con heI us
- genercoIIg, rother thon cn ong sec|c
rcject.
"whot dces nct mcrk s the ccId
coII orcoch, mth nc thcught obcut
mhot the ctentoI cIent's needs ore.
Tc d||erentote gcurseI| |rcm the cthers
gcu need tc |ccus cn the custcmer,
nct gcurseI|. SeIIng gcurseI| os on
ogencg mth on orcoch thot's been
trodemorked, ond resentng scme
generc exomIes c| mcrk, just mcn't
cut t."
2[XT]cbZ]^fQTbc
b^fTPbZTS^]T 0[_WP\PX[
R meIIreseorched ond executed moI shct s cne c| the mcst ctent seI|
rcmctcnoI tccIs ot the desgners' dscsoI.
Becco Sorogo, heod c| cIent servces mth vdec ond brcodcost ogencg
Rddctcn, sogs gcu've gct tc send scmethng nncvotve, cr t'II end u n the
bn. "we dc quorterIg shcmreeI moIcuts becouse oII the stu|| me dc s mcvng
moge mcrk, sc t's best thot theg get tc see t.
"kncmng the rght erscn tc send them tc s mcrtont. wth scme c| the
morkets me mcrk n there's o verg sec|c Ist c| ecIe mhc mII oImogs be the
cnes mhc ccmmsscn the mcrk, but mth cther morkets ths mght requre o Ict
c| reseorch."
PerscnoIzng moI cuts s vtoI, ogrees Srngett's Brendon Thcre. "we'd
never send cut o 'Deor Brond Honoger' Ietter, becouse ths screoms junk moI, ond
hcmever much gcu've ut ntc mokng the Ietter ertnent t mII |oI mserobIg."
Sorogo reveoIs thot oIthcugh Rddctcn sends cnIg cne shcmreeI ocrcss oII the
morkets er moI shct, t oIsc sends on occcmongng Ietter thot s toIcred tc eoch
ndvduoI rcsect - teIIng them mhg the shcmreeI s reIevont tc thot ortcuIor
busness.
Beng reIevont s o must, sogs Srngett's Thcre. "Ycu decde cn the morket
thot gcu mont tc mcve ntc ond dc gcur reseorch. Ycu need o Ietter thot oddresses
scmethng n ther morket cr, |cr us os o brondng ogencg, ther bronds. we mog
ccme ocrcss on nterestng nem ocntment n the ress ond decde t mcuId be
mcrth sendng scmethng tc thot erscn.
"But me never send just o Ietter - me oImogs bock t u mth cne c| cur
ccmong brcchures cr cose studes thot me thnk ore reIevont tc the rcsect."
FcIIcmng u moI shcts s the keg tc mnnng nem busness, sogs Sorogo.
"Scmetmes t's o cose c| 'we'II coII gcu | ongthng ccmes u', but cther tmes
gcu get nvted tc tch |cr mcrk."
Lcndcn ogencg Fredcg eschems |crmoI moIcuts ond tokes o rother mcre
moverck orcoch tc rcmctcnoI moI. Creotve drectcr CI||crd Bccbger sogs
t's oII obcut ochevng "Iostng brond ccntoct". The deo s thot gcu send scmethng
thot mII stck orcund n the cIent's c||ce |cr o mhIe, oIthcugh he odmts thot the
(|oke) cc n o bcx mos o sIghtIg rskg strotegg.
"we beIeve me con o||crd tc toke the ss n ths regord," he sogs, "os t Iosts
os o brond tcuchcnt ond s memcrobIe. Busnesses exect ogences tc be |uII c|
sht, sc I guess ths just mcrks cn thot rncIe."
BCPWF"An lnte//lgent blt of Jlrect mol/ ls my fovoureJ meons of communlcotlon," soys Lltye
bronJ consu/tont Mortln kooch. 7hls rlnteJ verslon of the comonys web lntro hos /eJ to o//
klnJs of /eoJs, onJ hos resu/teJ ln new buslness, soys kooch.
BCPWFllreJogs mol/outs tenJ to be o blt on the wocky slJe. lrom chl//l souce fo//oweJ o few
Joys /oter wlth tol/et ro// to cheeky coywrltlng. 7he comony hos even sent out o shlny foke
oo ln o box. "7he overo// messoge wos: we ore on your Joorste," soys creotlve Jlrector
C/lfforJ 8oobyer.
031
The humbIe cstcord rcmctes evergthng |rcm
cIubnghts tc ccndcms, ond theg rcvde o er|ect
convos |cr creotve rcs tc homk ther mores. Rrt ond
morketng drectcrs' get sent sock Icods c| them - sc
gcu need tc moke sure gcurs ends u BIutocked tc
the moII rother thon dtched n the recgcIng.
Tc mcrk, o cstcord must serve o sec|c
urcse, sogs brond ccnsuItont Hortn Pcoch. "we've
dcne cnIg cne cstcord, the urcse c| mhch mos tc
drect ecIe tc cur web ste. I| gcu're sendng o cord
I thnk t needs tc drect ecIe scmemhere cr hove
scme de|nte coII tc octcn, such os on event."
Dck weIsh uses cords os on extenscn c| hs
stotcnorg. "I reoIIg Ike cstcords, ond use them
os ccmIment sIs mhen sendng cut estmotes,
Ietters, ond nvcces. Theg oIsc moke o nce
oIternotve tc busness cords."
Fcr IIustrotcr Rdron jchnscn (fff
PSaXP]Y^W]b^]^aVdZ), cords ore on mcrtont meons
c| rcmctcn. "Theg're the cIdest ond stII the best
mog c| rcmctng gcur mcrk os on IIustrotcr quckIg
ond eccncmcoIIg, ond evergcne Ikes tc receve
scmethng n the cst thot sn't o bII.
"The mcre erscnoIzed the cord, the better. I've
|cund thot Imted edtcn screen rnts gc dcmn verg
meII, ond cIents ut them u cn the moII cr kee
them cn ther desk. Thot's o greot remnder tc them
thot gcu dc cccI stu||."
2PaSbWPaZb
6cnXa^Zci
bZZi^c\!
]dlZkZg
^c[dgbVa!^h
V[dgbd[
cZildg`^c\
BRW\^^iTRadXbT
Heetng mth ecIe |oce tc |oce s
eosIg the best mog tc rcmcte gcurseI|
- rcvded gcu dcn't bIush, stutter,
ond get reoIIg, reoIIg drunk. Fcrgng o
reIotcnsh n erscn s the surest mog
tc ccnvert rcsects ntc cIents.
SeI|rcmctcnoI tccIs such os
moIshcts ore desgned tc cuImnote
n meetngs, but the rccess con be
hctmred, bg ogng tc ottend desgn
netmcrkng events such os breok|ost
cIubs, mhere ctentoI cIents ond
ogences meet ond toIk busness.
when he mos estobIshng hs brond
ccnsuItoncg Etge, Hortn Pcoch reIed
heovIg cn netmcrkng events tc drum
u busness.
"I dd o heII c| o Ict c| netmcrkng
mhen I mos settng cut, mcstIg the
breok|ost cIubs. 0ne c| the d||cuIt
thngs obcut desgn s beng obIe tc
educote ecIe obcut mhot t s gcu dc,
ond I |cund the mcst use|uI thng obcut
netmcrkng mos I mos obIe tc succnctIg
exIon mhot I dc mthcut ecIe |oIIng
osIee, becouse theg mere there tc be
educoted.
"Fcr us these events mere gccd |cr
gettng mcrk n the stortu morket, ond
oIsc the beIcmZ0 emIcgee morket,
mhch s the mcre |un stu|| tc get
nvcIved mth. It's mcrtont tc hove
o nce sreod c| cIents, |rcm smoII tc
Iorge, n crder tc be obIe tc |Iex gcur
creotve muscIes."
0nemon bond Dck weIsh (fff
\^]^X]SdbcaXTbR^\) hos nc dcubt
obcut the e||ectveness c| netmcrkng.
"In mg cncn, netmcrkng s eosIg the
best mog tc get nem busness. There's
ncthng qute Ike gettng cut there ond
octuoIIg meetng ecIe. I reoIIg enjcg
meetng nem ecIe ond |ndng cut
mhot theg dc ond erhos hcm I mght
be obIe tc heI them. Hcst c| mg mcrk
ccmes |rcm netmcrkng mth smoII tc
medum szed enterrses (SHEs), mhch
n mg exerence tend tc bug |rcm
cther SHEs, nct |rcm ods cr drect moI
comogns. The best |crm c| odvertsng
reoIIg s mcrd c| mcuth."
But rcIIng u ot o netmcrkng event
ond exectng mcrk tc |oII ntc gcur Io
mII nct rcduce resuIts, morns Brendon
Thcre c| Srngetts Desgn. "Ycu've gct
tc moke sure gcu kncm mhc's there ond
thot mhot gcu toIk obcut s mhot ecIe
mont tc heor," he sogs.
Fcr Becco Sorogo c| vdec ond
brcodcost ogencg Rddctcn, sccoI
netmcrkng s oIsc mcrtont.
"we gc tc TV rcmc ond chonneI
brondng events, nct sc much tc seII
curseIves but becouse me're ort c| thot
ccmmuntg. It gves gcu |oce tme mth
ecIe mhc con ctentoIIg ccmmsscn
us mcrk but t's oIsc o sccoI thng. Ycu
get tc kncm ecIe cn o sccoI IeveI thot
gcu've mcrked mth, ond thot heIs tc
strengthen gcur reIotcnsh."
Thcre stresses thot desgners
must never |crget thot ong meetng
mth o cIent, hcmever n|crmoI, s o |crm
c| netmcrkng. "Rngtme gcu gc tc o
cIent meetng t's o |crm c| netmcrkng,
becouse thcse ecIe mcve cn, ond |
gcu've gct o gccd reIotcnsh theg'II
corrg thot cn ot ther nem ccmong."
MFGUCFMPX5weJlsh lmoge monlu/otor Potrlk 8/omqvlst
XXXQBUSJLMBOETF creoteJ these ostcorJs onJ sent
them to c/lents for /ost Chrlstmos. Pe soys they enJeJ u on
mony c/lents frlJges, onJ got gooJ exosure ln ecember.
03Z
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WgdVYXVhih
VgZV\gZVi
lVnid`ZZe
Xa^Zcihje
idYViZ
BXcTU^ab^aTThTb
The web ste s o vtoI rcmctcnoI tccI
- o cccktoI c| scene settng ond crt|cIc
thot's c|ten ctentoI cIents' |rst cnt
c| ccntoct mth o desgner, IIustrotcr cr
ogencg.
"It's obscIuteIg the mcst mcrtont
ort c| ong desgn ogencg," nssts
CI||crd Bccbger c| Fredcg. "Ths s gcur
shc mndcm, sc moke t sng. Dcn't
bIcck gcur dccrmog mth FIosh, ond
moke sure oII gcur desgn s bocked bg
scund morketng Icgc ond n|crmotcn.
"Ths s mhot gcur cIents mont
tc kncm obcut - nct obcut gcur rnt
|nshes. we get sc mong Ieods |rcm cur
ste, ond ore oImogs gettng ccmIments
obcut ts eose c| use.
"we oIsc hove o bIcg, mhch me |eeI
gves us the obItg tc ccnveg cur cnt
c| d||erentotcn ond erscnoItg. Due tc
the ccmmcdtzed noture c| cur ndustrg,
gcur tcne c| vcce s keg tc cIents
mormng tc gcu."
Fcr on IIustrotcr, o web ste s
orguobIg even mcre mcrtont. wthcut
hs, IIustrotcr Rdron jchnscn sogs he'd
hove vrtuoIIg nc mcrk ot oII. "0ver 90
er cent c| mg mcrk ccmes n os o resuIt
c| mg web ste. Fcr sheer ccnvenence
soke, t's the mcst e||ectve mog tc
rcmcte mg mcrk."
Corbcn Creotve's Hortn Hod|eId
sogs o meIIresented web ste s crucoI.
"It's c|ten the |rst cnt c| ccntoct
mth o nem cIent," he sogs. "we kncm
|rcm cur web stots t's c|ten used os o
cnt c| rescurce bg cur exstng cIents
- mhether ths s tc smIg vem ccntoct
n|crmotcn, cbton o qucte usng the
cnIne |crms cr ncreosngIg tc crder
bescke rnted tems."
SJHIU ll/m onJ vlJeo
ogency AJJlctlon uses
emol/ for romotlono/
uroses. "we senJ
out Pk emol/s to our
Jotobose to lnform them
of new work," soys 8ecco
5orogo, heoJ of c/lent
servlces. 7he lctureJ
emol/ news/etters brlng
the work AJJlctlon
JlJ for 7ronsort lor
LonJon onJ for o 7v oJ
for 1oss 5tones o/bum
*OUSPEVDJOH+PTT4UPOF.
|?X]V\TP]T\PX[}
Rt ts best, emoI s on extremeIg cheo ond mmedote mog tc reoch gcur
rcsects. Rt ts mcrst, t's o bIunt tccI thot's os IkeIg tc rrtote ctentoI
cIents os mress them.
Fcr mong, emoI dces hove o voIued Ioce n the morketng mx. Corbcn
Creotve's Hortn Hod|eId sogs: "PerscnoIzed morketng emoI hos been bene|coI
|cr us. we brcodcost cnIg tc cIents ond recents mhc hove cted tc jcn cur
moIng, usuoIIg vo cur web ste. EmoI brcodcosts ore o greot mog tc kee
cIents u tc dote mth nems tems ond cr nem servces thot gcu ore c||erng."
Hortn Pcoch, |cunder c| brond ccnsuItoncg Etge, oIsc beIeves emoI con
be voIuobIe os o meons c| keeng cIents n the cture. "The keg tc seI|rcmctcn
s teIIng ecIe mhot gcu're dcng, ond emoI hos o ort tc Iog n ths. we sent
on emoI cut recentIg tc 100 cIents tc Iet them kncm o |em c| cur Icgcs mere
beng ncIuded n o nem bcck cn the subject. Theg mere genuneIg Ieosed tc
heor obcut ths, nct Ieost thcse ccmones mhcse Icgcs mere chcsen."
But c| oII the morketng tccIs, emoI must be hondIed mth coutcn. "we thnk
t's mcrtont nct tc bcmbord cur cIents sc me tend tc brcodcost them everg
quorter," reveoIs Hod|eId. "Creotng them mth o seoscnoI |Iovcur |ts cur vsuoI
denttg, ond tc odd o |un eIement me run ccmettcns thot entce the oudence
tc brcmse cur web ste.
"In cur Iost emoI brcodcost me ron o 'cng Bcnkers cver Ccnkers' ccmettcn,
n mhch me hd o ccnker cn the ste, ond three mnners mere gven on Pcd Donc.
0ur cIents Icved t, ond t drcve o Ict c| tro||c tc the web ste."
But mong hove reservotcns cver emoI, ncIudng Brendon Thcre, soIes
ond morketng drectcr mth brond ccnsuItoncg Srngetts Desgn. "we dcn't send
emoIs. The trcubIe s, gcu hove nc deo hcm scmethng mII Icck mhen t's rnted
cut ot the cther end, ond o Ict c| cur cose studg stu|| nvcIves bg |Ies thot ore
nct orcrote |cr emoI. RIsc, emoIs hoven't gct the some vsuoI oeoI os o
meIIcro|ted Ietter cr cose studg."
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LRY FLRT
Can lying dovn make you more
crealive` Dr Linicki cerlainly lhinks
so, vilh ublished vork in &RJQLWLYH
%UDLQ5HVHDUFK suggesling you can boosl
crealivily by laying flal somelhing
vorlh lrying in lhe sludio.
In Dr Linicki's sludy, volunleers
vere asked lo solve anagrams elher
lying dovn or slanding u. Since
anagram ansvers frequenlly arrive in a
flash of insighl a sudden breaklhrough
or aha! momenl lhey are a good lesl
of crealivily. The average lime lo solve
lhe anagram vas significanlly less vhile
lying dovn, Dr Linicki found.
D0D'T w0Pk D0PHRL H0UPS
While business runs on a nine-lo-five basis, lhe crealive mind
doesn'l kee such slruclured hours, according lo a buckel-load
of sludies. While mosl sludies shov lhal our crealive eak
is belveen 6am and 9am, olher sludies have indicaled lhal
crealive overs eak belveen 9m and 3am, arlicularly
for lhe under 25s.
A recenl Ilalian sludy revealed 'evening eole' erform
crealive lasks beller lhan lheir daylime counlerarls and is
linked lo lhe vay your brain syncs vilh your body al differenl
limes of lhe day. ne lhing is for cerlain, mosl crealive geniuses
vere oul of sle vilh lhe vaking vorld: Van Gogh, Ioe, and
Nevlon are famous examles of nighl ovls.
034
)PXUPIBWFJEFBT
"IBNPNFOUT
Creotvtg s oII obcut exIcrng deos. Sc hcm dc gcu moxmze gcur
chonce c| hovng thot eIusve "ohol" mcment! DgtoI Rrts nvestgoted...
f^aSb<PccWTf1PcWX[[dbcaPcX^]9Pb^]2^^ZJJJ.,co.oo|.o.:|. JJJ.|!c|!..-.-..o.
CrcatIvc Idcas takc a mcrc sccnnd tn
spark Intn !IIc yct thc jnurncy !cadIng
tn that sIng!c, b!Ink-nI-an-cyc cvcnt can
sccm a !IIctImc tn a strcsscd-nut, undcr-prcssurc
dcsIgncr.
But whcn that Idca pnps Intn !IIc and
dcspItc nur cnmp!aInts nvcr crcatIvc b!ncks, It
dncs thcn wc gct thc pay-nII. Thc aha! mnmcnt
Is snmcthIng tn bc trcasurcd. It cnmp!ctcs thc
puzz!c, and a!!nws nur dnnd!cs, Idcas, p!ans,
and thInkIng tn Ia!! Intn p!acc. Evcrynnc's
capab!c nI havIng thcsc InspIrcd mnmcnts nI
InspIratInn ycs, cvcn ynu but snmctImcs nur
nvcrwnrkcd braIns Icc! as II thcy'rc mIsIIrIng,
and that spc!!s bad ncws Inr ynur prnjcct, and
bad ncws Inr ynu.
Hcrc, thcn, arc tcn ways tn hc!p grcasc thc
whcc!s nI ynur rIght braIn and brIng ynur gcnIus
Idcas nut Irnm ynur subcnnscInus and Intn ynur
!atcst prnjcct.
4G4A28B4H>DA1A08=
}usl like your body, your brain
benefils from exercise. Slimulale il in
a nev vay every day. You can lislen lo
a differenl radio slalion, valk a differenl
roule lo vork, and kee your eyes and
ears oen lo nev sensalions lhal vill
creale exciling synalic sarks.
>?4=0382C8>=0AH0CA0=3><
If you're sluck for lhal aha! momenl, oen a diclionary and
randomly selecl a noun. Then, vrile dovn six allribules for
lhal noun. Ior a house, lhen you mighl vrile roof, door, brick,
slale, big, and solid. Take lhese back lo lhe crealive roblem,
and alleml lo forge some links belveen lhe noun, associaled
vords, and lhe roblem in order lo generale some nev ideas.
Allernalely, selecl a vord and lry lo formulale ideas lhal
incororale lhe vord lhis is based on lhe nolion lhal
freedom aclually inhibils crealivily il's reslriclions lhal
gel you lhinking.
CDA=>55C74CE
Don'l valch TV. Il's a lolally assive
exerience lhal demands nolhing
more lhan silling vhile our crealivily
ebbs avay. TV offers nolhing bul
dislraclion and bubblegum for lhe mind
and is very differenl lo reading, vhich
forces us lo use our imaginalions.
BCA40<>52>=B28>DB=4BB
This is like mind-maing, bul a
lillle more freeform. Take a large sheel
of aer, and vrile a big vord in lhe
middle of il, such as 'hainess' or
'lravel'. Then, vilhoul ausing, |udging,
or clicking your longue, simly scravl,
vrile, doodle, ranl and creale around
lhe vord. Wrile uside dovn, in circles
basically, lhere are no rules aarl from
vhal you vrile has lo be associaled
vilh lhe cenlral vord. This slream of
consciousness is brillianl al develoing
inlo an aha! momenl. Il's also amusing
lo read back in lhe ub.
70E4<>A4B4G
A sludy of 425 rilish men and vomen ublished in The
Iroceedings of lhe Royal Sociely shoved lhal crealive lyes
nol only have more sexual arlners, bul lend lo acl on sexual
imulses and oorlunilies more oflen. Sex is underinned by
lhe comelilive drive lo reroduce, and lhis comeliliveness
makes us lake comulsive aclion. ur hormones lake over, ve
become incredibly focused and can'l lhink aboul anylhing bul
lhe ob|ecl of our desire and lhal can drive our crealivily lo see
around obslacles and overcome barriers lo our aha! momenl.
A nev vay lo roduclively send your dovnlime.
03>?C064=8DB
ne vay lo reach an aha! momenl
is lo adol a genius. Think along
lhe lines of Linslein, Ldison, van Gogh,
Leonardo da Vinci, or Alan Ilelcher.
Adol one of lhese clever eole as a
role model, and lhink aboul hov lhis
genius vould lackle lhe roblem you're
facing. y learning aboul lhe lives and
ideas of an inleresling and inlelligenl
hislorical figure, you can aroach
roblems from a vhole nev erseclive.
0E>833AD6B
Weslern sociely has voven ilself a lremendous
mylh vhen il comes lo drugs and crealivily. Quick lo
cile arlisls such as De Quincey, Coleridge, and Huxley,
many crealives reckon lheir besl vork is aided by
narcolics. Wrong. As Coleridge said in his oem aboul
oium: Ianlaslic Iassions! Maddening ravl! And
shame and lerror over all! Lven asis reckon lhe
reason lhird album %H+HUH1RZ vas so bad
vas lhal lhey'd lefl il dovn lhe drug dealers.
Ior mosl of us, drugs revenl lrue aha! momenls.
;8BC4=C>2;0BB820;<DB82
The vord music comes from lhe Greek 'muse', lhe
goddesses of lhe arls and sciences. ecause comlex
music is rocessed on bolh sides of lhe brain, lislening
lo il rimes your mind lo be bolh arlislic and scienlific,
inluilive and logical. Classics can coordinale righl-brain
imagery vilh lefl-brain analysis lo hel you solve roblems
more crealively, generale imagery lo remove crealive blocks,
and exand your ercelual horizons. So, relegale The
Klaxons from your iIod and load u some ach inslead.
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worner Brcs
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Screomng Deoth
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DemTek Lghtwove
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Based on Ihe graphic novel by Frank
Hiller, (%% is a sIaggering, vicious
sIory based on Ihe epic BaIIle of
Therropylae, which saw JOO SparIans hold
off Ihe righI of Ihe Fersian arry. Hiller's
work has previously hiI Ihe cineraIic screen
in Ihe forr of Ihe equally sIylized H^c8^in.
0irecIed by Zack Snyder (whose crediIs
include 9Vlcd[i]Z9ZVY), (%% delivers a
unique sIyle using bluescreen backdrops
and over I,POO effecIs shoIs.
The lr deploys a sIyle IhaI has been
dubbed 'Ihe crush'. The crush is based
on Snyder's IacIic of adjusIing Ihe colour
balance of Ihe lr - a recipe IhaI saw
Ihe black conIenI crushed and Ihe colour
saIuraIion boosIed Io Iransforr Ihe
conIrasI-raIio of Ihe lr.
Screaring 0eaIh Honkey, headed by
Jerery RunI, creaIed a core of IOO shoIs for
Ihe rovie, forring Ihe basis of Ihree of Ihe
lr's key sequences. The headline sequence
- dubbed '0racle girl' saw RunI and Ihe Iear
Iransforr an underwaIer-shoI acIor inIo an
oIherworldly, sroke-wrapped oracle infused
wiIh ragic and rysIery.
"l was rsI broughI onIo Ihe projecI by
Ihe visual-effecIs supervisor Chris waIIs,
who l have known for a long Iire having
worked wiIh hir on a nurber of projecIs,"
says RunI. "we were given preIIy deIailed
sIoryboards for Ihe scenes he wanIed us
Io bid on. Hy iniIial IhoughIs on Ihe raIIes
and corposiIing was IhaI iI was going Io
be a challenge - especially Ihe 0racle sIuff
- buI iI was so unique and jusI plain beauIiful
l was exciIed rore Ihan anyIhing else."
RunI has had previous brushes wiIh fare.
A few years back he co-direcIed Ihe rsI
lnIerneI breakouI viral shorI, )%* - which
generaIed rassive press coverage and
indusIry plaudiIs (see Landing )%*). RunI
also has Iwo Erry norinaIions Io his
nare for ouIsIanding visual effecIs.
CreaIing and corposiIing Ihe 0racle girl
sequence was easily Ihe rosI challenging
parI of Ihe projecI, reckons RunI, boIh
Iechnically and creaIively, and deranded
a pipeline IhaI Iook in J0, FhoIoshop, and
effecIs corposiIing.
%ZOBNJDTNPLF
"The sroke had Io behave in very specic
ways and do very specic Ihings, buI sIill
look like sroke," says RunI. "we wenI
Ihrough a few R80 sIeps of parIicles, uid
dynarics and real lred sroke before we
decided on C cloIh sirulaIions. Hy guI said
IhaI sirple georeIry wiIh a few aniraIion
conIrols - such as rorphing and bones
- would give us Ihe conIrol we needed.
"l sIarIed playing wiIh sirple
displacerenI and Ihen handed iI off Io
7hls sequence, JubbeJ Oroc/e glr/ useJ o serles of c/oth-
boseJ smoke vlsuo/ effects onJ comosltlng ln luslon to
ochleve lts mystlco/ otmosherlcs.
?aT_PaTU^aV[^ah
" mos reIeosed n
the US cn Horch 9,
ond s currentIg cn
generoI reIeose n the
Uk. Trvo: |cctoge
|rcm the |Im mos
shcmn ot CcmcCcn
n juIg, Z006. Stunned
bg the cI, ccmc |ons
requested tc vem t
three tmes.
037
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Be|cre |crmng Screomng Deoth Hcnkeg, jeremg
Hunt shct tc |ome n mhot hos been mdeIg hoIed
os the |rst Internet mcve tc gon monstreom
ottentcn. Edted usng c||thesheI| sc|tmore, t
shcms o jumbc jet Iondng cn on Rmercon hghmog,
ond mos |Imed n Z001 cn Iccotcn cver tmc dogs.
The threemnute shcrt |eotured 6Z shcts,
tmcthrds c| mhch hod dgtoIIg eIements - ond
19 shcts mere entreIg dgtoIIg creoted. The
vsuoI e||ects tcck orcund three mcnths tc creote,
ncIudng the creotcn c| the DC10 Ione usng
DemTek Lghtwove 3D, ond tmc cnrcod cors n
the |Im. 0ther tccIs ncIuded DgtoI Fuscn, IIIuscn,
Rdcbe Premere, ond Phctcshc. Premere mos
used |cr the entre edt, mhIe Phctcshc mos
used tc cro|t the mos |cr the 3D cbjects.
The hordmore mos runc|themII: Pentum II
ond Pentum III mcrkstotcns runnng wndcms DT.
Vem t ot fff#$cWT\^eXTR^\
anoIher arIisI who worked ouI Ihe cloIh
dynarics. ThaI ended up giving us boIh
Ihe conIrol and Ihe feel of sroke IhaI we
needed. Fror Ihere iI was sore clever
corposiIing and layers of re-Iired lred
sroke, and we goI Ihe look IhaI Ihe clienI
was afIer."
For Ihe 0racle girl scene, RunI was given
plaIes for her on blue, and one sIyle frare
IhaI showed Ihe look-8-feel of Ihe lighIing,
sky, and sroke. HosI of Ihe shoIs of Ihe
acIor were shoI weI for dry - lred in a
large waIer Iank on bluescreen Io achieve
an eIhereal look. The shoIs were lred aI
high speed, so Snyder could apply specic
speed rarps IhaI RunI had Io raIch.
"The nexI challenge was pulling her raIIe,
and wayne Shepherd corposiIed all Ihese
shoIs and did a greaI job," says RunI. "They
were really Iricky because Ihe cloIhing she
was wearing was very sheer and Ihese shoIs
was loaded inIo Eyeon Fusion for effecIs
corposiIing, wiIh a subIle aniraIion added
using Fusion's rid warp Iool Io clean up
and enhance Ihe roverenI of Ihe sroke.
HaIIes were Ihen creaIed Io place Ihe
sroke inIo Ihe scene, layering iI in fronI
and behind Ihe 0racle. lows and colour
correcIion were Ihen added Io rake iI
appear as if iI was being eriIIed fror Ihe
hoI coals, and Ihen real sroke was added
Io Ihe scene Io add rore depIh and realisr.
Finally, everyIhing was grained.
4LZJTOPMJNJU
RunI also generaIed re effecIs for Ihe
scene, wiIh all Ihe re elerenIs based
on real re, wiIh Ihe J0 parIicle sysIer
in Fusion used Io add sparks and erbers.
wiIh Ihe sroke nally clearing, RunI
Iurned his aIIenIion Io sky replacerenI
- soreIhing IhaI was needed in every shoI
in sore forr. As everyIhing in Ihe rovie was
shoI on bluescreen, RunI had Io Irack and
add skies and environrenIs, wiIh Ihe key
creaIive challenge Io achieve Ihe look-8-
feel of Ihe skies.
"l believe IhaI every single shoI we did
had skies IhaI l creaIed," says RunI. "Sore
were jusI skies and a few had oIher elerenIs
like ground and horizon Iype sIuff.
>ilVh\d^c\idWZVX]VaaZc\Z
Wji^ilVhhdjc^fjZVcY_jhi
eaV^cWZVji^[ja>lVhgZVaanZmX^iZY
had Io raIch shoIs IhaI were lred on a
dry seI. LighI behaves differenIly underwaIer,
especially as iI plays off Ihe skin, so IhaI was
a biI Iricky as he had Io add speculariIy back
Io her skin."
As Ihe underwaIer shoI wasn'I lred on
seI, Ihe nexI sIage was Io recreaIe Ihe seI
in J0 and Ihen lighI and posiIion iI Io raIch
Ihe pracIical shoIs. 0nce done, Ihe raIIe
painIings for Ihe sky were added, wiIh Ihe
lasI elerenI - sroke - layered on. The
sroke was Io prove Ihe rosI challenging
parI of Ihe sequence.
"The sroke was creaIed using cloIh
dynarics in LighIwave," says RunI. "The
sIrips of georeIry were Ihen rorphed
Ihrough a bone chain. The bone chain
deIerrined Ihe locaIion and aniraIion
of Ihe sroke and Ihe rorph conIrolled
how fasI iI was eriIIed fror Ihe larps."
0nce Ihe georeIry was rendered, iI
5IFPSJHJOBMQMBUFTIPXT
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JOBMBSHFXBUFSUBOL
BHBJOTUCMVFTDSFFO
DOSCH DESIGN Europe
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Phone: +49(0)9391-915853 - Fax +49(0)9391-915854
info@doschdesign.com
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Dosch 3D:
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Dosch 3D:
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Dosch 3D:
Kitchen Designs
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The smcke tseI| mos creoted usng DemTek
Lghtwove 3D, ond s bosed cn o cIcth smuIotcn
|cIIcmng extensve PED, sogs Hunt. The skes ore
oII motte onted ond onmoted.
_a^YTRcb _a^YTRcb
Ihrough Ihe IOO or so shoIs we did. we used
Fusion for Ihe effecIs corposiIing because
for ry roney iI's Ihe besI deskIop sysIer
ouI Ihere righI now, especially for lr work."
wiIh a generous Iirefrare, and a IighI
brief, RunI says Ihe projecI was greaI Io
work on - even Ihough Ihere was liIIle
leeway for creaIive inIerpreIaIion.
"Zack seered Io know exacIly whaI he
was afIer and Ihrough Chris waIIs and ranI
FrekleIon (Ihe effecIs arI direcIor) was able
Io convey Ihe look-8-feel very well. As far
as our inpuI, l would say IhaI we had abouI
as ruch inpuI as a VFX vendor usually geIs.
we are given Ihe ideas and Ihen we have Io
inIerpreI IhaI and geI iI Io a poinI IhaI Ihe
vision of Ihe direcIor and VFX supervisor
are realized."
ReacIion has been universally good
- wiIh criIics lauding Ihe rovie's effecIs and
sIyle. "The feedback was greaI," says RunI.
L^i]i]Z\gZViVgiY^gZXi^dclZ
lZgZ\^kZc!l]ViXdjaY]VkZWZZc
Vc^\]ibVgZlVhVXijVaanegZiin
higV^\]i[dglVgY
"l've known Chris and have worked wiIh hir
over Ihe pasI Ien years, so we have good
corrunicaIion. Ris eye is irpeccable and
he's preIIy specic on whaI he needs Io
happen Io a shoI Io geI iI done. Couple IhaI
wiIh Ihe greaI arI direcIion we were given,
and whaI could have been a nighIrare on a
projecI like Ihis was preIIy sIraighIforward."
wiIh Ihe lr ouI on general release
worldwide, RunI and Screaring 0eaIh Honkey
have a full rosIer Ihrough surrer - and noI
all of iI is clienI work.
"we're doing a handful of shoIs for
anoIher lr and working on a corrercial
aI Ihe rorenI," he reveals. "As for whaI l'r
rosI looking forward Io, l would have Io say
iI is creaIing our own conIenI. we've been
in Ihe pre-planning sIages on a couple of
shorIs IhaI we wanI Io sIarI Ihis surrer,
so when we geI Ihese going we'll leI you
know. They should be very cool."
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jeremg Hunt c| Screomng Deoth Hcnkeg reckcned
thot everg shct thot the teom buIt |eotured o
dgtoI motte skg creoted bg hm. In the sequence
beIcm, cIcuds mere creoted, ccIcur ccrrected ond
then onmoted.
Dext, o C mccn mos creoted n DemTek
Lghtwove 3D, rendered os muItIe osses ond
ccIcur ccrrected. Fcregrcund cIcud eIements mere
used tc drtg u the mccnscoe.
The mccnheovg skg mos then odded tc o
3D mcdeI c| the temIe (shcmn bcttcm), mhch
ncIuded o C mcunton eok ond |cregrcund
eoks, then ccmbned ond motted tc smuIote
beng It bg the mccn.
Ths mos then cutut tc creote the |noI shct
os seen cn the Ie|t.
040
_a^YTRcb
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f^aSb<PccWTf1PcW
Reinventing
4)-%magazine
C8<4\PVPiX]TWPbd]STaV^]TXcbUXabc\PY^aaTSTbXV]X]"hTPab
3XVXcP[0acbb_^ZTc^cWTRaTPcXeTcTP\RWPaVTSfXcWXcbaTX]eT]cX^]
I>B: ragazine is, perhaps, Ihe
world's leading inIernaIional news
ragazine. Fublished weekly, iI
corbines hard-hiIIing news and analysis
wiIh award-winning design, as well as
business, science, and socieIy feaIures.
Recognized as a baroreIer of world evenIs,
Ihe people-driven ragazine, along wiIh iIs
fared I>B: Ferson of Ihe Year, was launched
in IOPJ as Ihe rsI weekly news ragazine in
Ihe US. lI's a ragazine wiIh a rich heriIage,
and one IhaI for any redesign Io succeed,
needed Io undergo carefully orchesIraIed
change.
"I>B: hadn'I undergone a rajor redesign
in rore Ihan IJ years, so for quiIe a while we
felI like we needed Io updaIe and rodernize
Ihe forraI," says I>B: arI direcIor ArIhur
RochsIein. "The ragazine had drifIed away
fror a discipline and coherence IhaI rark
a successful design. This feeling was
heighIened when Rick SIengel Iook over
as ranaging ediIor. Rick wanIed Io rake
signicanI sIrucIural changes IhaI would
reecI his ediIorial vision."
SIengel had several prioriIies, says
RochsIein. The rsI was Ihe need for I>B:
Io convey boIh clariIy and ease of navigaIion
- aIIribuIes, says RochsIein, IhaI underscore
Ihe posiIioning of I>B: as a place where
readers can go Io unpick Ihe week's key
inforraIion and news.
2VBMJUZ5*.&
"Re also wanIed iI Io be beauIiful Io look aI,"
says RochsIein. "I>B: isn'I Irying Io riric Ihe
lnIerneI wiIh speedy-looking graphics or wiIh
biIe-sized inforraIion nuggeIs. RaIher, iI is
Irying Io be a corpanion Io a reader's oIher
sources of inforraIion. lI is soreIhing Io
read, and soreIhing Io look aI."
0uIside consulIaIion was also called for,
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043
wiIh Ihe I>B: creaIive Iear inviIing Ihree
or four designers and design Iears Io piIch
for Ihe projecI. The brief was sirple. whaI
would you do if you were reinvenIing Ihe
news ragazine yourself? The rove Io pull
in ouIside help was viIal Io Ihe projecI's
success, reckons RochsIein. The Iear felI
Iheir own assurpIions and viewpoinIs
needed challenging by people who weren'I
invesIed inIo Ihe sIaIus quo. I>B: needed Io
undergo a sIrucIural shifI in lighI of Ihe new
challenges iI faced. Following a ronIh-long
piIching process, I>B: opIed Io run wiIh
FenIagrar as iIs redesign parIner.
oIher faces, buI raIher quickly reIurned
Io Franklin oIhic as Ihe prirary display
face. Franklin was used by walIer Bernard
in his IO77 redesign. "we had HaIIhew CarIer
re-envision iI as BenIon Bold Condensed,
which we used up unIil Ihis redesign," says
RochsIein. "FenIagrar felI IhaI Franklin boIh
signied news and reinforced our brand and
heriIage. They also felI iI could be used in
a fresh and rodern way."
/FXTOVHHFUT
wiIh Ihe Iear erbedded - Luke Rayran
seI up an ofce wiIhin I>B:, and I>B: depuIy
arI direcIor CynIhia Roffran worked wiIh
Ihe redesign Iear full Iire so as Io ease
producIion and ediIorial inIegraIion. Readline
changes involved exarining Ihe pace, Iype,
cover, and Ihe use of irage and colour.
"CreaIing shorIer nuggeIs of inforraIion
wasn'I really parI of Ihe overall prograrre
- in cerIain parIs of Ihe ragazine iI was jusI
an ouIgrowIh of a specic ediIorial need,"
says RochsIein. "The pacing sIrucIure was
basically a shorI, long, shorI rhyIhr.
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The rsI challenge Ihe Iwo Iears
faced was Ihe ne balance needed beIween
respecIing I>B:'s unique and rich heriIage,
and ushering in a rore rodern IreaIrenI.
"we all assured IhaI we didn'I wanI Io
creaIe soreIhing so new and unfariliar IhaI
we would run Ihe risk of alienaIing our core
readership," reveals RochsIein. "we also
knew IhaI FenIagrar wouldn'I Iry Io push
us inIo soreIhing we didn'I wanI Io do, and
IhaI Ihey would give greaI consideraIion
Io our visual heriIage. when [FenIagrar's|
Faula Scher and Luke Rayran began Iheir
Iypographic exarinaIions, Ihey looked aI
CWTC8<4R^eTa
"we monted the ccver tc sgnoI o chonge, but
me mere unmIIng tc gve u cne c| the greotest
brondng eIements n mogoznes, C8<4's red
bcrder," reveoIs ort drectcr Rrthur Hcchsten.
"The Icgc, os meII, mos ccnsdered nvcIobIe,
oIthcugh, os gcu con see, me mode t smoIIer tc
occcmmcdote o rcm c| 're|er' bcxes obcve the
Icgc, thot me hove dubbed 'the rbbcn'. These
mere odded tc mcre strcngIg rcmcte nsde
stcres cn the nemsstond, but me decded thot the
subscrber ccuId use them os meII.
"Sc, mth thcse orometers n mnd, Luke
[Hogmon c| Pentogrom] ond I orrved ot o rettg
ccnservotve scIutcn thot reduced the exstng
Icgc bg 80 er cent ond odded o |IexbIe rcm c|
bcxes thot usuoIIg - but nct oImogs - ccnton tmc
hctcs. The |rst bcx hos Iorger tge, ond s the
mcst mcrtont tem. Rng c| the bcxes ccuId be oII
FronkIn cthc, cr use o ccmbnotcn c| FronkIn
ond Prc|crmo, deendng cn the |ttng needs
ond the rhgthm c| the mrtng. The bcxes use o
threeort ccIcur scheme: bIock mth mhte tge,
greg mth bIock tge, ond o thrd ccIcur thot s
ccmotbIe mth the cther eIements c| the ccver."
MFGU 5lm/lclty wos key to the
5JNF reJeslgn, os the teom
fe/t lt hoJ moveJ owoy from
coherence onJ c/orlty slnce
lts /ost revom.
BCPWF 7he 5JNF cover, re-reJeslgn.
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044
"The erphasis here is on conIenI, raIher
Ihan varied Iypography and visual pacing.
So visually, Ihe fronI and back are 'bookends'
of rore corpressed inforraIion IhaI
surround a rore airy, visually driven well."
For Ihe body face, Ihe Iear picked
Froforra, due Io Rayran being sIrongly
corriIIed Io a IexI face IhaI irparIed
a sense of roderniIy, corbined wiIh ease
of reading.
"Froforra is a face wiIhouI a loI
of aIIiIude," says RochsIein. "lI's noI
derived fror classical roran Iypefaces.
lI's rore raIIer-of-facI. Hy own feeling
is IhaI iI rakes Ihe ragazine feel a liIIle
rore objecIive, and a biI srarIer Ihan iIs
predecessor. Hore irporIanI Ihan any
parIicular Iype choice, Ihough, was iIs
applicaIion in a crisp, disciplined forraI
IhaI de-erphasized Iype as illusIraIion,
IhaI rade Iype parI of an overall
frarework for words and irages."
Colour has also been greaIly sirplied
- wiIh a less-is-rore approach fror Ihe
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"Imoge usoge s on evcIvng |eoture. In generoI,
me ore trgng tc get os much mcdern hctc
crtroture n the mogozne os me con," sogs ort
drectcr Rrthur Hcchsten. "But hctcjcurnoIsm s
o ccre strength c| C8<4, sc me mII oImogs Icck |cr
mogs tc resent t n o strcng mog. we tend tc use
mcre ncnbIeed hctcs, reservng o mhte |rome
orcund the moges. CcnverseIg, me ore usng mcre
sIhcuetted hctcs n the |rcnt c| the bcck. we ore
trgng tc get omog |rcm the cbIgotcrg hctc, cne
thot smIg reeots mhot s n the text. Insteod,
me ore Icckng |cr hctcs thot mort ther cmn
norrotve cn o stcrg resentotcn.
"Pegordng grohcs, me ore trendng tcmord
o mcre vectcrdromn, mcdern sensbItg. In the
ost, C8<4 deveIced o meIIeorned reutotcn
|cr hghIg rendered, n|crmotcndense grohcs.
whIe me mII stII dc rendered grohcs, cur de|ouIt
stgIe mII |eoture o Ighter tcuch, mth o mcre
schemotc orcoch, meonng Iess odjocent text
mth the grohcs. It mII toke o mhIe |cr us tc
|nd o boIonce cnt here, but thot's ort c| the
choIIenge," he odds.
Iear. The resulI is a core paleIIe IhaI uses
IOO per cenI ragenIa, IOO per cenI red, and
a IOO per cenI yellow for brighI accenIs,
wiIh very few oIher colours deployed.
"we abandoned IinIed boxes and coloured
Iype in headlines, which is a greaI relief,"
says RochsIein. "we had drifIed ruch Ioo
far in Ihe direcIion of decoraIive Iype, which
is Ihe wrong approach for a serious news
ragazine."
049GBDUPS
wiIh Ihe design evolving, Ihe Iear
developed IerplaIes as Ihey progressed
- raking for a srooIher IransiIion fror
concepI Io execuIion.
"The rosI frusIraIing aspecI is IhaI we
are sIill using 0uarkXFress / on Hac 0S O.
ThaI will be correcIed by Ihe auIurn of Ihis
year, when we will rigraIe Io ln0esign on 0S
X. ThaI reans we had Io build Ihe IerplaIes
in 0uarkXFress /, knowing IhaI Ihey would
have Io be replaced in abouI six ronIhs. This
creaIed a loI of snags, buI Ihe FenIagrar
Iear adjusIed, and we will be ahead of Ihe
gare when we rake Ihe IransiIion."
wiIh Ihe new-look issue now live, iI's
been gaIhering sore iniIial posiIives, says
RochsIein, noI leasI fror Sarir Rusni, a US
professor of journalisr who is auIhoriIaIive
enough on Ihe indusIry Io call hirself "Hr
Hagazine".
And, if iI's good enough for Hr Hagazine,
iI's good enough for us.
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SJHIUwlth reoJers turnlng
to the lnternet for u-to-
Jote lnformotlon, the 5*.&
reJeslgn focuseJ on moklng
the mogozlne o comonlon
to news consumtlon.
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UEccmng creotve ortst DeI Duerden hos been mcmng the
desgn ccmmuntg mth hs e||ectsheovg mcrk. Here's hcm he
uses Phctcshc's HuItIg bIend mcde tc odd deth.
047
\PbcTaR[Pbb)PS^QT_W^c^bW^_
Por thls tutorlal, we're golng to be
prlmarlly uslng Adobe Photoshop
to create an lmage that layers a stack
of slmple effects. The result ls a more complex
flnal lmage that shows conslderable depth ln
lts composltlon. Thls style of lmage ls slmpler
than you'd thlnk to create, but can demand
a lot from your system. ou wlll be swltchlng
between Adobe |llustrator, Photoshop, and
Corel Palnter as well, and throwlng a few hand-
rendered elements ln [ust for good measure,
and to brlng out the hands-on creatlve ln you.
A central element of thls tutorlal ls the use
of the Multlply functlon ln Photoshop. Part of
the darken famlly of blendlng modes, at lts
most baslc lt compares the blend layer's plxels
wlth the base layer on a channel-by-channel
basls, but rather than slmply chooslng the
darker of the two, lt multlplles the base colour
by the blend colour. A multlple of black wlll
always be black, and anythlng multlplled by
whlte ls unchanged. Otherwlse, the net result
ls always a darker underlylng lmage.
Multlply can seem odd at flrst glance.
The concept of mlxlng palnts - red and blue,
for example - ls slmple to grasp. Multlplylng
ls slmllar to the leap between addltlon and
multlpllcatlon ln mathematlcs.
To understand lt, here's a mlnl tutorlal.
Try creatlng a document that has two layers
ln Photoshop. Plll both layers wlth the same
mld-range colour. A llght grey works best here.
Next, swltch the top layer's blendlng mode to
Multlply, and you'll see the mode ln operatlon,
wlth the blend colour a much darker grey.
The key for thls tutorlal, though, ls to focus
on experlmentatlon, especlally wlth blendlng
modes such as Multlply and Photoshop's layer
effects, and havlng a great startlng lmage.
whlle there ls a lot you can follow dlrectly
along wlth - and the splat.al flle ls lncluded
on the cover CD so you can do [ust that - an
lmage such as thls ls heavy on creatlve fun.
Part of creatlng a complex lmage such
as thls ls to be a magple when lt comes to
lmages. Prom the base mono lmage through
to hand-drawn elements, cutouts and scanned
elements, our lmage ls allve wlth polnts of
lnterest and texture.
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seI|ccn|essed Hoc
mcnkeg bosed n o
ruroI mners ccttoge
Z0 mIes ncrth c|
Honchester. He
creotes eces thot
ccmbne eIements
|rcm mxed medo,
hctcgrohg, ond
thot ore nterIoced
mth ccmIex vectcrs
|cr cIents oII orcund
the mcrId. Hs cIents
ncIude Sootch ond
Sootch, CWTBd]SPh
CX\Tb, Vrgn, Forg,
SteIIo Rrtcs, ond Dke.
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usng the moge
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ssue's DgtoI Rrts CD.
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048
Next, freehand draw a shadow
beneath the model and uslng the
layer effect Multlply. ou need to place one
below at l00 per cent opaclty, and one above
at around 50 per cent opaclty to hlde the [olnt
between the model and the background.
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Ycu con use HuItIg
n o number c| mogs.
0ne s tc mx n o
ousson bIur tc the
bIend Ioger tc creote
o smort sc|t|ccus
e||ect. Ths mcrks
becouse HuItIg
mcrks cn shodcms
ond mdtcnes. The
resuIt s o mcre
mccdg, otmcsherc
moge thot sees dork
tcnes bIeed ntc oreos
mth strcng hghIght.
Exerment ond see.
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|f you have kept the orlglnal the
same slze ln |llustrator, all you need
to do ls paste lt lnto Photoshop and lt wlll
be the correct slze. |f you're not happy wlth
the colour, you can slmply ad[ust the hue by
golng lnto the *NBHF"EKVTUNFOU)VFBOE
TBUVSBUJPO menu.
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Dupllcate up the top layer of the
sub[ect, and then ad[ust the hue
and saturatlon as ln step 5, uslng a colour that
matches the composltlon of your plece. Next,
add more sectlons to your layer mask to hlde
areas and glve more lnterest to the vlewer. Use
your own personal [udgement here, and don't
shy away from experlmentatlon.
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Next, swltch your lmage lnto
Adobe |llustrator. wlth the lmage
opened, begln to draw vector llnes over the
top. Pemember to place lt on a separate layer
and lock lt before you start, as accldentally
movlng the lmage as you draw your vectors
ls not good! Draw whatever you fancy, and
ln keeplng wlth your chosen lmage as thls
ls where you stamp your mark on the plece.
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Plrst, you need to obtaln a mono
shot that has good deal of contrast.
The shot can have a background or be on an
lnflnlty screen, though bear ln mlnd that each
type wlll glve a dlfferent feellng to the flnal
plece. our maln task here ls to flnd a shot you
llke, as you wlll be starlng at lt for some tlme.
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Now hlghllght vectors uslng
the 8urn tool - uslng thls wlll
glve added depth. ou should vary the brush
slze to get the best posslble result. ou want
to make thls appear as a cross between a real
look and a plastlc falseness to help lt stand
out from the orlglnal layer. Thls wlll obvlously
dlffer dependlng on what you used as a base
lmage.
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Now, add a layer ln between your
two exlstlng layers and add a splash
of colour. To do thls, slmply add a gradlent of
your chosen colour to create a llttle contrast
and use the hue command ln the layer effects.
Don't make thls too obvlous, as the effect
should be subtle.
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Mask off the sub[ect as tlghtly as
posslble, by creatlng a dupllcate
layer and addlng a layer mask set to reveal
all. Next, select the mask ltself and draw
around the lmage you wlsh to keep. ou can
use feather-edge brushes to allow for seml-
transparent edges. Alternatlvely, you can use
masklng software llke onOne Software's Mask
Pro 4, whlch makes thls blt a lot easler.
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Plnally, lntroduce some other
elements uslng the same effects
as wlth the flowers ln the earller step. Don't
be shy - [ust plle them up and work on
your composltlon. ou can take thls as far
as you want. Pemember thls ls all about
experlmentatlon and maklng lt dlfferent so
try to get a good selectlon of ltems ln at thls
stage. Drawlng vectors and lmportlng them
can be a good ldea to add more depth.
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Open up the flle splats.al supplled
on thls month's cover CD and
paste these onto your lmage, and set the
layer to Multlply. Place thls layer behlnd the
maln masked sub[ect layer and experlment
wlth the layer opaclty to get the effect level
you thlnk ls rlght. Pepeat thls process several
tlmes, ad[ustlng the opaclty each tlme, untll
you get the complexlty you deslre.
Tlme for some hands-on creatlvlty.
Get out your pen and paper and do a
few hand-rendered drawlngs. Scan these
ln and place them behlnd your sub[ect
lmage. The lmage layer then needs to be
set to Multlply. |f necessary, use the &EJU
5SBOTGFS1FSTQFDUJWFfeature ln Photoshop
to get your scanned ln drawlngs to better
match your composltlon.
Tme to swap programs. Por thls flnal
stage, we're golng to use Corel Palnter. Open
your layered flle ln Palnter and dupllcate
the master layer of the glrl, then apply the
&GGFDUT'JMM1BUUFSO fllter and choose the
rose deslgn. Then apply thls to the layer top
layer uslng the Gel layer effect, reduclng the
opaclty to around l5 per cent.
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C8?
Ycu con use HuItIg
os o quck mog tc
ccIcurze moges.
SmIg ont cr scon
gcur BEw cutIne
moge cntc o Ioger n
Phctcshc, ond set t
tc HuItIg. Creote o
nem Ioger underneoth,
ond then ont drectIg
cntc thot Ioger usng
gcur ccIcur oIette
ond brushes. The
ccIcurs shcm thrcugh,
ond gcu dcn't run the
rsk c| Ine domoge.
049
Contlnue experlmentlng ln thls way,
addlng layers and elements untll
you're happy. Then [ust flatten your lmage
and save the flle.
(* j
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\
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Now you need to get a plcture of an
ltem that complements your lmage,
and cllp lt out and place the lmage behlnd
the maln lmage, addlng a sllght drop shadow
- enough to boost the contrast. ou then need
to dupllcate thls layer, reslze lt, and change the
opaclty and layer modes ln random to get a
mlxed effect. There ls no sclence to thls - [ust
experlment.
(' j
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Next, dupllcate the splat effect and
flower layers, changlng the hue and
saturatlon to flt ln wlth the composltlon. Thls
wlll glve a more blended feel to the lmage as a
whole. Next, multlply these layers down uslng
varlous layer effects. | can't stress enough that
thls ls all a chance to experlment!
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I\Zi\Xk`e^8
JZXee\i;Xibcp
Rrtst Rorcn Soccc mcrked os on onmotcr cn the mcve
0BRP]]Ta3PaZ[h. Here he shcms gcu hcm tc recreote the
|Im's sgnoture 'ntercIoted rctcsccng' e||ect n IIIustrotcr.
ou can turn any photo lnto a
dynamlc lllustratlon ln the style
of Plchard Llnklater's "4DBOOFS
%BSLMZ uslng [ust a wacom tablet and Adobe
|llustrator. After worklng as an anlmator on
the fllm, | developed the process outllned
here for recreatlng thls bold effect, uslng
shapes of solld colour to represent a
reallstlc lmage.
"4DBOOFS%BSLMZ, whlch stars Keanu
Peeves and wlnona Pyder, used an
anlmatlon technlque called lnterpolated
rotoscoplng. Slmllar to rotoscoplng, where
each frame of fllm ls palnstaklngly hand-
palnted, lnterpolated rotoscoplng uses
vector keyframes and lnterpolates
between keyframes automatlcally. Lach
mlnute of anlmatlon ln the movle requlred
over 500 hours of work.
Por thls tutorlal, we're not golng to
anlmate a sequence, but concentrate on one
lmage, representlng one frame. The focus
of the tutorlal ls to recreate the lncredlble,
unlque style of the movle through the use
of colour and vectors.
Por an lmage of thls complexlty, you
should expect to spend flve to slx hours
lllustratlng lt. |f you llmlt your colours and
detall, you can spend less - but lt's worth
puttlng ln the extra effort. |f you're learnlng
and experlmentlng, you can expect to spend
much more. 8e bold and have fun!
050
Choose a hlgh-resolutlon lmage
for photo reference. The larger the
lmage, the more detall you wlll have to play
wlth. Go to 'JMF1MBDF to lnsert lt lnto your
|llustrator flle. |n the Layers palette, double-
cllck the layer wlth the lmage, | name thls layer
'Peference'. Once you have locked that layer,
you wlll be able to draw over the top wlthout
dlsturblng lt. Cllck the Add New Layer lcon
at the bottom of the Layers palette. | call thls
new layer '|nks' and lt should remaln on top
throughout the process.
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00A>=zA4={B022>
Rustnbosed Soccc
s exerenced n
|ne ort, IIustrotcn,
onmotcn, muroIs ond
grohc desgn. He
secoIzes n detoIed
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To recreate the look of "4DBOOFS
%BSLMZ, you must thlnk of llnes as
long, thln, lrregular shapes fllled wlth black.
Uslng the Pencll tool, you can manually
produce a calllgraphlc llne by automatlcally
fllllng ln the reglon between two arcs. Draw
smooth declslve arcs to lndlcate where you
lmaglne the polnts should be set. Too much
wobbllness ylelds an uncontrolled shape wlth
rough edges. To edlt an ugly shape, use the
pen tool to delete extra polnts and slmpllfy
the form. |t wlll take practlce to learn how
to manlpulate the pencll tool accurately, but
be patlent and you wlll develop an lntultlve
understandlng of how to manlpulate the
shapes qulckly. Deselect after each shape
by presslng $PNNBOE4IJGU" (wlndows:
$POUSPM4IJGU").
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| call my next layer 'Shawn'. Lach
new subsequent layer wlll be placed
behlnd the last vlsually or below on the layers
palette. ou want to always flll ln behlnd what
you've prevlously flnlshed. wlthln each layer,
create sub-layers categorlzed by features, such
as eyes and mouth, to better manage all the
shapes that you're creatlng. | wlll usually break
that down further lnto four or flve shades of
colour, each on lts own sub-layer.
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Toggle the Lye lcon on your Layers
palette to hlde the Peference layer
and check your progress as you go. |f you
accldentally release the llne before you outllne
the shape you're traclng, you can draw another
shape that completes the shape ln the same
colour. | prefer to press $PNNBOE; ($POUSPM
; on wlndows) to undo the last actlon,
because | flnd lt best to make the largest
posslble contlnuous shape to lncrease the
smoothness and overall flow of the shape.
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C8?
when gcu're usng the
PencI tccI ond gcu
need tc smccth gcur
oth, hcId dcmn the
0[c keg (wndcms) cr
>_cX^] (Hoc) be|cre
tc stort tc cIck ond
drog. Ths temcrorIg
octvotes the Smccth
tccI. when gcu're
hog mth the
smccth strcke gcu've
creoted, then smIg
reIeose the keg tc
return tc ncrmoI
dromng mcde.
Select whlch colours to use by
sampllng rlght out of the plcture.
Double-cllck the Lyedropper tool and change
the Paster Sample Slze at the bottom to 5
polnts to get a broad meterlng of colour. |f
you want a brlghter colour for the foreground
flgures or a more speclflc colour selectlon,
swltch the Paster Sample Slze back to l polnt.
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Press / or cllck the Pencll tool from
the Tools palette and check that
the Plll colour ls 8lack and the Stroke colour
ls None. Ad[ust the Pencll tool's settlngs by
double-cllcklng the Pencll tool and change
the Pldellty to 4 plxels, Smoothness to 35 per
cent, and check both 'Plll New Pencll Strokes'
and 'Keep Selected' boxes. |f you experlence
dlfflculty drawlng a smooth shape, lncrease the
Pldellty and Smoothness. |f you're loslng detall
or control, decrease those settlngs.
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Check that you are on the '|nks'
layer and 'lnk' the lmage, [ust llke a
graphlc novel. Draw thln black shapes around
the ma[or forms. Also flll ln the darkest reglons
wlth larger black shapes. |f you need more
control for areas such as the eyes or nose, you
can swltch to the Pen tool to draw exact curves
and stralght llnes. Thls step requlres the most
nuance. Pemember to always lock each layer
when you're flnlshed or not worklng on lt to
avold confuslng errors later on.
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05Z
Clean up your lllustratlon by creatlng
a new 'Correctlon Above' layer on
top of everythlng but the '|nks' layer. Unlock
the Peference layer and drag the lmage out to
the slde to compare lt slde-by-slde. Slmpllfy
your colour schemes and shapes. Zoom ln to
the lmage and cover over any unwanted ugly
spurs ln the shapes. Manlpulate the shapes ln
all the layers wlth the dlrect-selectlon tool untll
you're satlsfled wlth the results.
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Once the whole lmage ls fllled ln,
create a new 'Correctlon 8elow'
layer at the very bottom to qulckly flll ln any
gaps ln the lmage. Use colours from the upper
layers and draw wlth large blobs. Don't worry
about belng too artlstlc here - you're [ust
fllllng space.
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Create a new layer - call lt
'8ackground'. Look at the larger
shapes of colour behlnd the foreground flgures
and deflne thelr outllnes loosely. Too much
detall ln the background wlll be a dlstractlon
from the flgures. ou slmply want a patchwork
of colour to suggest an envlronment.
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Pepeat steps 7 through l0 on a
new layer | call 'Penee'. |n some
lmages, you may want to balance the colours
by reuslng the same tones ln dlfferent flgures.
Slnce | llked the contrastlng warm and cool
tones, | dld not worry about colour balanclng
on thls lmage.
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Contlnue to deflne the planes of the
neck and shlrt on a new sub-layer.
Avold uslng too many llttle shapes or lt wlll
draw attentlon away from the flgure's face.
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Use a new sub-layer for each faclal
feature. Zoom ln whlle you're
drawlng detalled areas such as the eyes and
nose, and add more detall wlth smaller shapes
to emphaslze those areas. On the sub-layer
called Pace, begln to descrlbe as accurately
as posslble the general planes of the face.
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Now you're ready to begln
palntlng ln the colour. 8eglnnlng
wlth the 'Halr' on a new sub-layer, deflne
the larger chunks or shapes of solld colour,
startlng wlth darkest shadows. Pocus on
maklng shapes that are descrlptlve and ln
tone wlth the others. Llmlt the palette to a
few shades and place each new successlve
colour behlnd the other. ou can move a
shape behlnd another on the same layer or
sub-layer by presslng "QQMF4IJGU< or by
golng to 0CKFDU"SSBOHF4FOE5P#BDL.
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wcrkng mth Icts c|
cbjects con trg gcur
otence | theg ore
occdentIg mcved.
Tc revent ths,
seIect the cbject
thot gcu mont tc
kee Iccked, then
ress 2^]ca^[>_cX^]
BWXUc! (wndcms) cr
2^\\P]S>_cX^]
BWXUc! (Hoc). Ths mII
Icck oII cther cbjects.
Tc unIcck evergthng,
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whlle many landscape tools
such as L-on Software's vue
are prlmarlly focused on dry
landscape creatlon, vue ls equally at home
submerged ln underwater scenes. The trlck
for any underwater scene ls to understand
atmosphere and llghtlng - thls tutorlal wlll
gulde you through what you need to know.
Llght and atmosphere work dlfferently
underwater. water ls denser than alr, and
a wave celllng ln motlon creates a unlque
llghtlng pattern - a dabbllng of llght - that
creates excltlng, murky landscapes that can
then be populated wlth undersea llfe.
Por thls tutorlal, we'll be uslng a
caustlcs llght gel to generate shafts of llght
penetratlng the depths, as well as vue's
excellent LcoSystem to rapldly populate
lt wlth aquatlc creatures. Lverythlng you
need ls lncluded on thls lssue's Dlgltal Arts
cover CD, so [ump rlght ln!
054
Next, we'll add a water plane by
chooslng 0CKFDU$SFBUF"EE
8BUFS. Uslng the slde vlew, move the water
plane up above both the camera and the
sphere ob[ect. Lnsure the water plane ls
LcoSystem safe by cllcklng the tlny leaf lcon
located under the sphere ln the upper-rlght
'water' Aspect panel.
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|nstall vue 6 |nflnlte PLL from thls
month's cover CD, then start vue.
Cllck the New. lcon (or choose 'JMF/FX)
and choose an underwater atmospherlc by
navlgatlng the $PMMFDUJPOT&GGFDUT0UIFST
llbrary that pops up and chooslng Underwater.
Thls provldes a great startlng polnt for the
scene.
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c| Vue 6 In|nte mokes t eosg
tc creote undermoter 3D scenes.
Next, create a sphere ob[ect by
chooslng 0CKFDU$SFBUF4QIFSF
(or by chooslng lt from the toolbar on the left)
and drop lt lnto the scene. wlth vue ln four-
pane vlew, reslze the sphere uslng the Scale
tool - whlch ls actlvated by cllcklng the sphere
ln any wlndow - and chooslng the small Scale
lcon from the floatlng llst of lcons. Next, use
the Move tool ln the same way to posltlon
thls [ust above the ground plane.
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90<4B=>;0=
jomes DcIon s
creotve drectcr c| the
Sngng Brd Creotve,
ond hos cver ten geors
c| exerence. He s
oIsc runnng o desgn
ccIIectve rcducng
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|cr o vored cIent Ist.
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we're almost there... Delete the
sphere ob[ect as lt was [ust for
shadow and placement needs, then choose
$SFBUF5FSSBJO4UBOEBSE5FSSBJO. Double-
cllck the terraln mesh that appears, and ln
the Terraln Ldltor that pops up, cllck Peset,
followed by Dunes. ou can add some eroslon
under the Lrode tab (try Dlssolve.) and then
hlt OK.
Create a Quadratlc spotllght by
chooslng 0CKFDU"EE-JHIU
2VBESBUJD4QPUMJHIU. |n the upper-rlght
Aspect box, remove the lens flare, and make
the spotllght volumetrlc. 8eef up the power
to l50 per cent and the spread to 27.5-
degrees and falloff to 20.
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Double-cllck the square pattern
prevlew ln the Llght Ldltor box that
ls currently showlng. |n the Gel Ldltor wlndow,
change the colourlng mode to Mapped Plcture
(under the Color & Alpha tab), and double-cllck
the black box under the Plcture Plle sectlon.
Navlgate to the cover CD, where you'll flnd the
caustlcs.[pg flle. Load thls, and cllck OK.
we'll now add a llght gel to
our quadratlc spotllght. To do
thls, cllck the llght gel lcon ln the upper-
rlght Aspect box (lt looks llke a chequered
llghtbulb) and choose the Caustlcs 2 gel
from the Llght Gels optlons ln the materlals
box that pops up.
Double-cllck the sphere ln the
upper-rlght box labelled Terraln,
and ln the Advanced Materlal Ldltor box that
appears, double-cllck the sphere. Prom the
materlal llbrary that appears, select LcoSystems
from the Collectlons llst, and choose Plsh
Schools. Choose 'es' to vue's request to auto
populate. Hlt the Pender lcon (rlght on the
top tool bar), and you're done.
wlth the sun llght ob[ect stlll
selected, cllck the Shadow lcon ln
the Aspect box, and select Ldlt shadow and
llghtlng. |n the pop-up box, tweak the shadow
denslty to downplay the shadows, and select
the 'Soft shadows map - no hard shadows'
optlon. Lnsure that the Quallty optlon ls set
to Auto.
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The sun llght ob[ect, whlch ls
present ln the scene by default,
needs some tweaklng. Uslng the top, front,
and slde vlews, move the sun llght so lts
posltlon matches that of the quadratlc spot.
ou'll also need to rotate lt so lt shlnes ln the
same dlrectlon. |n the Aspect box, ensure that
lens flare ls set to 'off', and untlck the 'Polnt at
camera' box.
Now, we'll create some dramatlc
llght effects. Choose Ldlt volumetrlc
settlngs from the Aspect box, and ensure
that the 'Show smoke or dust ln llght beam'
ls tlcked. |ncrease the |ntenslty settlng as
well to 2.0 uslng the sllder.
'- j
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9l`c[`e^X
gcXk]fid^Xd\
Chrs kemt shcms gcu hcm tc use Rdcbe FIosh tc creote
o smIe ortbosed Iot|crm gome, bosed cn kemt's cIossc
vroI CWT:d]V5dBcPcTb\T].
Thls tutorlal ls based on a slmple
englne that we used for a satlrlcal
game produced for the last general
electlon. |t was called 5IF,VOH'V4UBUFTNFO
and we've kept the Tony 8lalr and Gordon
8rown sprltes ln thls example for you to
have fun wlth.
5IF,VOH'V4UBUFTNFO ls a slmple
art-based platform game - the game
ls coded so that the player character's
posltlon and movement wlthln the world
ls governed and augmented by the artwork
of the levels themselves.
The game contlnually checks the
character's posltlon ln relatlon to the walls
and floors of the game world ln order to
establlsh whether the player can
or should move ln a glven dlrectlon.
Meanwhlle, the player ls ln a constant
state of freefall under the lnfluence of
gravlty and lt's only a colllslon wlth the
floor ob[ects that wlll stop hlm from
falllng off screen completely.
Thls tutorlal ls not lntended to tell
you how to bulld your own Plash games
from scratch. |nstead lt alms to take you
through level deslgn for a slmple game
englne ln the hope that, wlth a llttle extra
research, you mlght be able to take thls
englne and produce your own custom
Plash game. Thls tutorlal assumes a baslc
famlllarlty wlth the use of Plash.
056
The game world ls made up of slx
key MovleCllps: the walls, floors,
enemles, plck-ups, backgrounds, and startlng
polnts. Lach of these have a serles of frames
correspondlng to the levels of the game.
Addlng and edltlng levels ln the game ls
therefore as slmple as addlng new frames to
these and addlng new scenery/elements to
those frames. |n order to make edltlng easler,
and to reduce the chance of lnadvertently
breaklng game code, all of these elements
are contalned ln a graphlc symbol called
'world Ldltor'. |t ls ln thls movle that we
wlll do all our edltlng.
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Open the Plash Pro[ect flle (.PLA)
and you'll see the maln tlmellne
wlth two frames labelled 'preloader' and 'game'.
Locate the keyframe under the 'game' label and
double cllck anywhere on the 'world' MovleCllp
ln order to get started.
'( j
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27A8B:4<?C
Chrs kemSoIt s
the HD ond |cunder
c| kemt, o dgtoI
morketng ond
rcductcn ccmong
thot buIds ond
rcmctes |Iosh gomes
|cr o ronge c| cIents
ncIudng Scng, kng
c| Shoves ond the
Unted Dotcns. In
oddtcn tc ths,
kemt run o cosuoI
cnIne gome crtoI,
kIIervroI.ccm. Ther
gomes receve mong
mIIcns c| vsts
everg mcnth.
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8egln by double-cllcklng on the
world Ldltor - the blg box ln the
mlddle of the screen! |n here we see all the
level elements ln one place. Once lnslde the
world Ldltor, move the play-head to frame
3 and double-cllck on the 'floor' MovleCllp.
On the tlmellne of the 'floor' MovleCllp cllck
on frame 3 and add a keyframe (P6) that
wlll dupllcate the level ln frame 2 ln a new
keyframe, ready for edltlng.
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Once lnslde thls cllp you'll see
how the tlles are arranged on
each frame. wlthln thls frame you can add
new tlles from the llbrary, move around any
exlstlng tlles, edlt tlles or potentlally create
entlrely new tlles as you deslre. However lt's
a good ldea to observe the followlng rules:
- A/woys lxe/-/oce your tl/es (moke sure
thelr X onJ Y osltlons ore lntegers - 5.0,
rother thon 4.9 or 5.!}.
- Moke use of the snolng focl/ltles
rovlJeJ by l/osh.
Ploor tlles that are lntended to be
contlnuous stretches must not have a gap
between them, and wall tlles must be
perfectly placed to meet the floor properly.
'+ j
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Lnemles are extremely slmple
ln thls game and the process of
addlng them ls agaln slmllar to the last couple
of examples wlth one key dlfference - each
enemy needs a small sectlon of code attached
to lt. Cllck once on an enemy and brlng up
your Actlons panel - then add the followlng
code ln thls panel (alternatlvely thls code can
be copled-&-pasted from one of the exlstlng
enemles ln the englne).
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Settlng up walls for your new level
follows much the same procedure
as wlth the 'floors' MovleCllp. Symbols can be
added or edlted ln any way you llke followlng
the tlps set out above for floors.
The background exlsts to make your game
pretty. |n here you can put any artwork that
you don't want the player character to colllde
wlth durlng gameplay - ln our example the
backgrounds contaln not only an lllustrated
backdrop but also foreground elements such
as lamps and sectlons of floor we want the
player to be able to pass through.
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Once agaln, ltems (or 'plck-ups')
are placed ln a slmllar way and ln
common wlth enemles requlre a small sectlon
of code ln order to functlon. The easlest way
to create a new ltem to plck up ls to dupllcate
an exlstlng ltem. However, be sure to add a
unlque 'ld' ln the onload() code for each ltem
that you add.
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wlth thls klnd of game, lt's cruclal to
remember where the character emerged
on the last level. To do thls, take a copy
of the tlle(s) from the exlt polnt(s) on
the prevlous frame and move them to
the left-hand slde ensurlng that thelr
posltlon remalns the same.
onC/lLvent (/ooJ} {
// 5et the NPC's lnltlo/ Jlrectlon of trove/,
moveJlr = "/", // Avol/ob/e otlons
ore "/"(/eft},"r"(rlght}, "u" onJ "J" (u onJ
Jown}.
// 5et the NPC's seeJ
seeJ = , // Move thls number of lxe/s eoch
frome.
}
onC/lLvent (enterlrome} {
// kun the NPC coJe every frome whl/st on
screen
_orent.moveme(thls},
}
C8?
Vectcr cr btmo!
when desgnng o
FIosh gome, ecIe
tend tc use vectcr ort
os t generotes smoIIer
|Ie szes. But, there
ore scme Iccse ruIes
thot meon btmo hos
ts Ioce. Fcr onmoted
cr bg moges, t's best
tc ct |cr vectcr ort.
Fcr ccmIex moges
cr ccns, hcmever,
btmo s o greot
ctcn. Best tc trg t
ond see mhot mcrks.
Jk\g-Zfek`el\[
058
There ls no practlcal llmlt to
what tlles can look llke. ou could
conslder mlmlcklng the style of an orlglnal
8-blt game, uslng slmple lllustratlon as ln our
example, or even uslng textures from bltmap
lmages. As ever, the |nternet ls a rlch source of
lnsplratlon so some slmple Google searchlng
ls bound to turn up some ldeas, such as the
Get Set 8oogle game (above). when deslgnlng
new tlles bear ln mlnd the followlng:
- A// f/oor tl/es must be ot /eost !! lxe/s hlgh
onJ wo//s must be over !! wlJe. You con use
shoJows or tronsorent fl//s to wlJen ortwork
thot neeJs to /ook norrower
- A/woys Jeslgn your tl/es to o rounJ number
of lxe/s ln slze (5 lxe/s rother thon 5.43}
- Lnsure thot the reglstrotlon of the symbo/ ls
to /eft wlth the ortwork stortlng ot 0,0. 7hls
mokes lt eosler to /oce your tl/es occurote/y
Once you have deslgned your tlle, place lt ln
your level followlng the procedures set out
above.
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Por a blt of varlety we've also
provlded the 'Gordon' character to
use. To swap 8lalr for Gordon, slmply select
8lalr on the stage and on the propertles tab
cllck "swap, locate hero.gordon ln the llbrary,
cllck OK, and you're done.
'0 j
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when a Player Character dles they
are returned to the prevlous screen
ln a predetermlned place. Thls restart posltlon
ls dlctated by the markers ln thls MovleCllp.
Lach level must therefore have a start polnt.
To create a start polnt for your new level
slmply add another frame as before to the
'startpolnts' cllp and posltlon your marker
accordlngly, ensurlng that the lnstance
name ls 'start'.
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custcmzobIe ond, deendng cn gcur IeveI
c| exertse, scme remorkobIe resuIts
con be ocheved. Fcr exomIe, the engne
thot runs cur mcre recent Iot|crm gome
Bd_TaFP[Z;P]SR^\ s bosed cn o heovIg
custcmzed verscn c| ths engne.
Ycu ccuId stort mth the PIoger Chorocter,
mhch con be custcmzed mth reIotve eose
usng gcur cmn onmotcns. Lcck cnIne
- gcu'II |nd screen grobs |rcm cIosscs such
os Bd_Ta<PaX^ cr 9TcBTcFX[[h mhch mog
heI gcu tc mcrk cut gcur cmn chorocters.
0r gcu ccuId ut tcgether on cenng screen
thot Iets the Ioger chccse mhether tc Iog
os Tcng cr crdcn.
Once you've mastered the
productlon of slmple tlles you can
take them a step further. wlth a llttle blt of
anlmatlon (or, lf you know how, code) tlles can
be made to move, dlslntegrate and generally
add varlatlon to the game.
ou mlght try to create a tlle that falls
away after a certaln perlod of tlme. To do thls
you need a tlle that ls made up of a Graphlc
Symbol for the tlle artwork whlch ls contalned
wlthln a MovleCllp so that lt wlll play of lts
own accord. |nslde thls MovleCllp, slmply add
the number of frames you want the tlle to
exlst for and, at the end of thls tlme, add a
short motlon tween that drops the tlle
down and makes lt dlsappear addlng a
'stop(),' actlon at the end to stop lt looplng.
An example of thls ls provlded ln the
'LxampleDrop' tlle ln the game llbrary.
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Creote o cccI TV bumer
- usng mottes n Rdcbe R|ter
E||ects ond ths hondg tutcroI.
Thls tutorlal wlll allow you to
develop a deeper understandlng
about mattes, and how they can
be used to apply texture and transparency
to your layers ln After Lffects, by puttlng
together a flve-second televlslon bumper
ln Adobe After Lffects.
|n thls flrst part of a serles of tutorlals,
you'll learn how to take advantage of
greyscale lmages - mattes - ln After Lffects.
Startlng wlth some baslc lmages (and the AL
pro[ect flle lncluded on thls lssue's CD), we're
golng to dlrty up some clean computer
type to glve lt a reallstlc feel. ou'll use 3D
space for posltlonlng the lmage, and use the
lmages and textures supplled to create the
flve-second effect shown at the end of the
masterclass.
Pemember, the key ls to have fun, and
apply what you're learnlng to your own
pro[ects.
060
Place the lmage texturel.[pg [ust
above the type layer. Now, under
the Track Matte menu, four optlons
wlll become vlslble.
As thls lmage ls a 1PG, lt cannot
contaln an alpha channel
(embedded transparency). However, lt
does contaln qulte a blt of Luma (short for
lumlnance) lnformatlon, or greyscale lmagery.
A 'Luma matte' dlsregards the plctures colour
lnformatlon and only looks at the greyscale
lnformatlon.
The Track Matte functlon lets us use the
texture of thls lmage as a matte, therefore
applylng that greyscale lnformatlon to the
transparency of the text. Thls ls a great way
to make 'perfect' computer type look more
reallstlc. The other wonderful thlng about
track mattes ls that they're lndependent of
the layer below. Need a mask that doesn't
move wlth the layer! A track matte ls a perfect
solutlon. An lmportant note - lf the track matte
layer does need to move wlth the layer below,
lt can slmply be parented.
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Next, brlng up the Modes column. |f
you cannot see the Modes column,
rlght-cllck the column header, go to columns
and select Modes. On the rlght slde of the
column, you see a TrkMat sectlon. Thls allows
any layer to use the layer lmmedlately above ln
the stack order as a matte. Currently lt has no
optlons, because there ls not an lmage above
the layer ln the stacklng order.
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A matte ls completely lndependent
of the alpha channel, but works ln
a very slmllar fashlon. A matte ls any greyscale
lmage that ls used to deflne transparency. Lach
layer ln After Lffects can have lts own matte.
Thls can be done ln several ways, but one way
ls to use a layer's Track Matte settlng.
Create a new composltlon called 'Scene l'.
Let's start wlth the words "Comlng Up typed
out wlth the AL Type Tool, as above.
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C8?
R 'motte' s ong
moge thot con be
used tc de|ne the
tronsorencg c| ong
gven moge - nct
tc be ccn|used mth
on oIho chonneI.
Rt ong gven tme
n R|ter E||ects, me
con toke o Icck ot
the oIho chonneI
thot de|nes the
tronsorencg |cr the
entre vsbIe moge n
cur ccmcstcn. BIock
oreos ore tronsorent,
mhte oreos ore
coque, ond oreos
thot ore greg dencte
semtronsorencg.
Ycu con |cIIcm the
tutcroI gcurseI|
bg usng the |Ies
rcvded cn ths
ssue's DgtoI Rrts CD.
>=C7423
70AAH5A0=:
Horrg stumbIed ntc
mctcn grohcs os o
storvng muscon. He
Ives n Detrct scuth
c| 8 HIe, eornng o
Ivng os o desgner,
teocher, ond rcck stor.
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Rdcbe R|ter E||ects
C8<4C>2><?;4C4
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061
Swltch to
Custom
vlew l.
Next, you apply the effect. Cllck
&GGFDU$IBOOFM4FU.BUUF. Add
the flle lnk_mattel.[pg to the comp and turn
off the vlslblllty. |n the Set Matte settlngs, flnd
the Take Matte Prom Layer settlng and select
lnk_mattel.[pg. |n the Use Por Matte settlng,
set lt to Lumlnance. Also, check the |nvert
Matte checkbox.
'-
Now you need to set the matte
fllter. Let's transfer lmagery to the
transparency of a layer. Pefer to the lmage
lncluded wlth thls tutorlal, lnk_mattel.[pg.
Thls ls a greyscale lnk splatter lmage. There ls
no transparency ln the lmage, but, as we've
learned, a greyscale lmage ls [ust transparency
ln the waltlng. we can easlly apply thls 1PG to
the transparency of another lmage.
Thls tlme, lnstead of a track matte, an effect
called Set Matte wlll be used. Create a new
black solld: -BZFS/FX4PMJE. Call lt '|nkl'
and make lt the slze of the comp.
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ou'll now see these 3D elements from a dlfferent perspectlve.
Grab the Z handle of the type and drag lt forward ln Z
space. wlth the |nk layers, grab the Z handles and push them
backward ln space.
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ou're now ready to posltlon the
lmage ln 3D space. Turn the type
and the lnk solld layer lnto 3D layers by
checklng the 3D swltches for these layers
ln the swltches column.
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Lssentlally thls lmage works the
same way as a track matte. The
lumlnance ls used to deflne the transparency.
Thls allows any layer ln the comp to be used,
and any part of the lmage: such as red, green,
blue, channels, lumlnance, and saturatlon.
One thlng to understand wlth thls effect
(and any effect ln After Lffects that references
another layer llke thls) ls that lt only looks at
the source of the layer. |n other words, when
the layer lnk_mattel.[pg ls deflned as a matte
wlth Set Matte, none of the transformatlons,
effects, and masks of that layer wlll be vlslble
to the Set Matte fllter, only the source lmage.
However, the solld '|nkl' can be moved
wherever we want.
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Pepeat the above process for the
lmage, lnk_matte2.[pg, so you have
thls lmage (left).
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Now you're ready to try and create
a second scene. Try constructlng a
"Next anlmatlon, uslng the same elements
and posltlonlng, llke the one above.
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Port cne c| ths TV
bumer s scrted - n
the next ssue gcu'II
Ieorn tc creote o
comero mcve betmeen
ths ond oncther ccm
usng the 'ccIIosed
trons|crmotcn'
smtch, os meII os
nuIIs ond comeros.
=4GC<>=C7
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Apple ls a late entrant lnto
the 8-core workstatlon
market - we revlewed the
flrst model wlth two quad-core Xeons
back ln November - but lts new Mac
Pro wlll be of great lnterest to pro
creatlves worklng on hlgh-end 3D
and vldeo pro[ects.
Arrlvlng wlth llttle fanfare
- lt popped up [ust before Laster
on Apple's web slte as an optlon
for buyers conflgurlng the Mac Pro
- Apple's latest Mac bears two new,
faster Xeon processors that aren't
avallable anywhere else. |t also shlps
at a cost much lower than equlvalent
wlndows workstatlons - though lt's
stlll too prlcey for most deslgners,
lllustrators and motlon-graphlcs artlsts.
The new Xeon chlps have four
processor cores each wlth a clock
speed of 3GHz, sllghtly faster than the
2.66GHz X5355 models used by all
other elght-core Xeon-based systems
we've seen. |ntel hasn't released detalls
of the name of the new chlp - Apple
refers to all Xeon chlps by speed
not name - or when lt wlll avallable
through other workstatlon vendors.
Compared to the Mac Pro we
looked at ln our group test ln our
December 2006 lssue - whlch had two
2.66GHz dual-core Xeon 5l50 chlps
- the performance boost provlded
by the quad-core chlps ln processor-
lntenslve tasks such as renderlng 3D
scenes or vldeo effects ls obvlous. |n
Clnebench 9.5, the benchmarklng sulte
based on Maxon's Clnema 4D 9.5 3D
anlmatlon appllcatlon, the new Mac
Pro attalned a renderlng score of 2,3l8
- 4.74 tlmes faster than uslng a slngle
processor core. Thls ls almost 68 per
cent faster than the older dual dual-
core Mac Pro.
The Mac Pro 8-core's score was also
over elght per cent faster than Armarl's
Magnetar QX, the flrst elght-core
model we revlewed ln December 2006.
Our maln other cross-platform
creatlve appllcatlon that we use for
testlng ls Adobe After Lffects. Thls
hasn't been released ln an |ntel-natlve
form yet - the Productlon Premlum
verslon of Adobe's Creatlve Sulte
3 won't shlp untll late summer. |t's
therefore not surprlslng that renderlng
our ten-second multl-layered HD
composltlon ln After Lffects 7
Professlonal was somewhat sloth-llke
compared to on the Magnetar QX - 4
mlnutes 2l seconds agalnst Armarl's
DXZGif$/Zfi\
<G6E=>8LDG@HI6I>DC
BCPWFA/e now offers o moxlmum of 378
of lnterno/ storoge, sreoJ ocross u to four
Jrlves. 7he meto/ coJJles o//ow you to oJJ onJ
remove Jrlves wlthout flJJ/lng wlth cob/es.
bang-on 3 mlnutes. On both machlnes,
renderlng was accelerated by Grld|ron
Software's Nucleo plug-ln, whlch
optlmlzes AL's use of multl-core
and multl-processor set-ups.
However, the Mac Pro 8-core
rendered the scene over flve tlmes
faster uslng Nucleo than wlthout lt
- and over three tlmes faster than a
Mac Pro wlth two dual-core processors.
when After Lffects CS3 Professlonal
shlps - whlch adds an |ntel-natlve
verslon and full bullt-ln multl-core/
processor support - we expect the
Mac Pro 8-core to be an outstandlng
motlon graphlcs and composltlng
workstatlon. Of course, the llkes
of Shake, Combustlon and Medla
Composer are already |ntel-natlve.
#PBSEPG"QQMF
Less lmpresslve, though, ls the Mac Pro
8-core's 3D capabllltles. Thls Mac's real-
tlme 3D performance ln Clnebench ls
worthy conslderlng the lncluded AT|
Padeon Xl900 XT graphlcs card - but
lf your creatlve work ls of a level that
you can [ustlfy paylng for a elght-core
workstatlon, you're probably golng
to need nvldla's Quadro PX 4500
workstatlon-class board. Peplaclng
the Xl900 wlth the PX 4500 lncreases
the cost to 3,606 plus vAT - and the
PX 4500 ls the only workstatlon-class
board that Apple offers. The optlon of
an PX 3l00 would have been better.
The other lssue for 3D pros on
the Mac ls the lack of OS X verslons
of 3DS Max and Softlmage|XS|. Thls
lsn't a problem lf you're commltted to
Maya or Llghtwave - though we're stlll
waltlng for the Llghtwave 9.2 update
to make lt |ntel-natlve - but lt could
be a paln lf you or your studlo declde
to change sulte. ou could run Max
or XS| ln wlndows XP uslng Apple's
beta 8oot Camp technology - whlch
now also supports vlsta - but we
never recommend uslng beta
software ln a productlon
envlronment unless
you have to,
BCPWF 7he Moc Pros lnnorJs o// c/lck lnto /oce, whlch mokes lt eosy for users to get lnslJe onJ oJJ to or ugroJe the comonents.
aTeXTfb
and Autodesk and Avld probably
wouldn't glve you support lf you dld.
we ran our standard lmage
processlng test ln both the non-|ntel-
natlve Photoshop CS2 and the beta
of natlve Photoshop CS3 Lxtended,
whlch applles a serles of 20 fllters,
ad[ustments and transforms to a
200M8 lmage. The CS3 beta wasn't
avallable when we looked at the dual
dual-core Mac Pro and the elght-core
Magnetar QX, so we only have scores
wlthln CS2 for those models.
|n Photoshop CS2, the Mac Pro
8-core took 2 mlnutes 20 seconds to
complete the actlons - about half way
between the 2 mlnutes 40 seconds
taken by the dual dual-core Mac Pro
and the elght-core Magnetar QX's l
mlnute 55 seconds. However, lt's llkely
that the Mac Pro 8-core outpaced the
dual dual-core model due to our test
model of the new Mac havlng 4G8 of
CFMPX7he Moc Pros kAM
slts on removob/e troys to
moke ugroJlng os eosy
os osslb/e.
B?4285820C8>=B)
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066
PAM, whlle the older unlt we looked
at late last year had 2G8.
8y contrast, the Mac Pro 8-core
completed the same actlons ln
Photoshop CS3 ln only l mlnute and
26 seconds - a masslve lmprovement.
Quad-core chlps aslde, the only
other new addltlon to the Mac Pro ls
the optlon of up to four 750G8 hard
drlves, for a total of 3T8 of 3Gbps Serlal
ATA storage - up from 2T8 (four 500G8
drlves) on older models.
(PPEWBMVF
The Mac Pro ls stlll an lmpresslve plece
of klt, though. |ts alr-condltlonlng
unlt-style lndustrlal deslgn ls startlng
to date but lt's qulet and easy to
get lnslde and add or swap out
components. The cable-free drlve
system - where you can pull out
and push ln drlve caddles - ls stlll
lnnovatlve. The merlts of the Mac OS
067
Hallde ls the flrst release
from UK plug-ln newcomer
Amber vlsual. |t's a 'fllm-look'
plug-ln for After Lffects that's
deslgned to compete wlth Ped Glant
Software's Maglc 8ullet Sulte,
manlpulatlng vldeo footage to glve lt
the appearance of fllm. |t stlll has a
few rough edges, but Hallde has a lot
to offer.
The advantages that Amber vlsual
says Hallde offers over Maglc 8ullet
are speed and creatlve control. Hallde
ls faster - ln prevlewlng and
renderlng footage, and ln use.
Applylng Hallde works much the
same way as Maglc 8ullet. ou can
start playlng around wlth the controls
ln AL's Lffects palette, but most of the
tlme, you'll begln by selectlng a
preset 'look' and then tweaklng lt.
Hallde's collectlon of presets are
better arranged than Maglc 8ullet's
Looks - as they're spllt by type rather
than belng ln one long llst. They also
provlde a prevlew of how footage wlll
be affected - rather than a generlc
shot - wlth zoom controls. As wlth
Maglc 8ullet you can create, modlfy,
save, and reuse your own presets.
A flve-second prevlew of a
standard bleach bypass on l080p HD
footage takes 25 seconds - compared
to 37 seconds uslng Maglc 8ullet. Ped
Glant's plug-ln tapped our
workstatlon's nvldla Quadro PX 3500
graphlcs card, whlle Hallde uses the
CPU alone. A render of ten seconds of
the same sequence took 57 seconds
uslng Hallde's preset, agalnst 69
seconds uslng a Maglc 8ullet Look.
Once you've selected your presets,
Hallde offers a wlde selectlon of
tweaklng tools lncludlng vlsual
controls such as curves, and 3D PG8
and hue wheels, whlch Maglc 8ullet
lacks. They slt ln a horlzontal llne,
whlch can make AL's layout seem
cramped lf you expand the Lffects
palette to flt on a standard l,600-x-
l,200 screen - though lts flne on a
wldescreen or HD dlsplay.
Hallde provldes strong
competltlon to Maglc 8ullet, though
lt lacks that plug-ln's graln tools, lt
doesn't work ln edltlng packages such
as Premlere Pro yet, there's no Mac
verslon at thls stage. |f none of those
factors matter, Hallde ls worth a look.
/FJM#FOOFUU
?Xc`[\
6;I:G:;;:8IHEAJ<">C
Po/lJes effects offer gooJ quo/lty resu/ts, onJ resets con be tweokeJ onJ soveJ os your own.
B2>A4)
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5&45
AppIe Mac Pro (Juol
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Adobe After ffects 7
ProfessionaI (Nucleo
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13mins 50s 4mins 21s 3mins 0s
Adobe After ffects 7
ProfessionaI (stonJotJ
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Cinebench 9.5
- rendering
1381 (3.15x) 2318 (4.74x) 2137 (4.71x)
Cinebench 9.5
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Adobe Photoshop
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8est 8uy
X versus wlndows ls an artlcle ln ltself,
and largely lt comes down to personal
preference - though lt's a shame we'll
have walt untll October to get full
support for runnlng wlndows on a
Mac Pro.
The maln reason to buy the Mac Pro
lsn't lts performance - whlch though
lmpresslve ls what you'd expect from
an elght-core workstatlon wlth sllghtly
faster chlps than prevlous models. The
maln selllng polnt ls the prlce.
we specced up a slmllarly-
conflgured Magnetar QX on Armarl's
web slte - though we had to choose
2.66GHz Xeon chlps and a newer
Sapphlre AT| Padeon Xl950XTX
graphlcs card - and lt costs 3,l34
plus vAT: 278 more than our Mac Pro.
Addlng the Quadro PX 4500 to each
conflguratlon took the Magnetar QX's
prlce to 4,036 plus vAT, 430 more
than the equlvalent Mac's 3,606.
However, wlth the Magnetar you have
more graphlcs card optlons, so you
could save a few quld on that front.
Agalnst a Dell Preclslon 490, the
Mac Pro was even more of a bargaln.
Dell doesn't offer gamer cards for lts
workstatlons, so we had to spec up a
model to match our Mac Pro wlth the
Quadro PX 4500 board - as well as the
2.66GHz Xeon chlps - whlch came to
5,227 plus vAT, a whopplng l,622
more than the equlvalent Mac.
Though out of reach of most
tradltlonal Mac-based creatlve
professlonals, lf your work glves you
the budget to spend more than 2,800
on a workstatlon, the Mac Pro 8-core
ls currently the best-prlced optlon on
the market.
/FJM#FOOFUU
ATeXTfb
%'
aTeXTfb
Though best known for those
3D plastlc rulers we had as
klds, lentlcular lmaglng ls used
for anythlng from magazlne covers from
the llkes of &NQJSF and 8BMMQBQFS to
anlmated posters on bus-stops and
vendlng machlnes. |t works by vlewlng
an lnterlaced, multl-part prlnted lmage
through a clear plastlc sheet wlth parallel
lenses moulded lnto the front surface.
Lffects can be pseudo-3D, slmple
anlmatlon frames, or fllp (where one
vlew suddenly changes to another).
Creatlng lentlcular medla has been
a very expenslve buslness ln the past,
as both the tools and output have been
prohlbltlvely prlcey for most pro[ects.
HumanLyes ls attemptlng to change
thls wlth lts Creatlve3D software - an
entry-level deslgn tool for creatlng the
elements you need to prlnt lentlcular
medla - and lens-free prlntlng system,
whlch uses conventlonal prlnters,
but only works for backllt slgnage.
Creatlve3D provldes deslgners wlth
full lmage-preparatlon tools lncludlng
2D-3D layerlng, fllp and anlmatlon
effects, ln the same lmage lf needed.
However, lt cannot output to prlnt,
so exported flles must be passed to a
prlntlng company equlpped wlth the far
more expenslve PrlntPro software. |t's
currently Mac-only, but a wlndows
verslon ls under development.
The cheapest prlnt-capable verslon
ls the 2,500 Studlo3D, whlch calculates
and outputs lnterlaced paper proofs up
to A2 slze, uslng desktop lnk[ets and
hand-posltloned lenses. An unllmlted-
slze productlon verslon for flatbed lnk[ets
costs about 7,500, but hlgh resolutlon
offset lltho verslons can cost l2,000 to
20,000 dependlng on prlnt slze. These
prlces explaln why there are only seven
UK prlnters equlpped to output
HumanLyes lentlcular flles, although
three more are runnlng trlals.
HumanLyes orlglnally lntroduced lts
full-functlon PrlntPro lentlcular software
ln 2004, and updated lt to verslon 2.0 ln
November 2006. Thls lncludes a coupled
creatlve-only appllcatlon that can be
handed out freely to deslgners or
photographers. The new Creatlve3D ls
essentlally the latest verslon of the 'free'
module, but decoupled so any deslgner
can buy lt and use lt wlthout belng tled
to a partlcular prlnt suppller. |t's only
avallable for onllne purchase, unllke the
other modules that are sold through UK
dlstrlbutor Turnlng Polnt.
%UP%JNBHFT
The orlglnal PrlntPro could create
stereoscoplc 2.5D lmages from a
sequence of about l00 frames taken as
a camera moved on a boom arm. Most
users, however, wanted to convert slngle
conventlonal 2D orlglnals wlthout the
hassle of speclal shoots. PrlntPro 2.0
lntroduced '2D-3D' tools to create a
depth llluslon by separatlng lmage
elements lnto layers.
2D-3D starts wlth a smart brush that
you drag over an ob[ect to select all the
relevant tones and edges and cut lt out
from lts background. ou then need to
partly flll ln the 'holes' left behlnd the
cutouts so the background looks
reallstlc ln 3D. HumanLyes provldes
an automatlc blur flll, but alternatlvely
you can export layers to Photoshop and
use lts superlor palnt and clone tools.
Updated layers are automatlcally re-
lmported. ou can also create cutout
layers from scratch ln Photoshop and
lmport them stralght lnto Creatlve3D.
Next you swltch to a 3D stage vlew
and then slmply grab each layer ob[ect
and pull lt out to the requlred depth ln
relatlon to other ob[ects, rotatlng the
whole stage to see what you're dolng.
Any ob[ect can be rotated wlthln the
stage (used for the angled [umplng
stands ln our show[umper test), folded
A:CI>8JA6GEG>CI9:H><CHD;IL6G:
:i\Xk`m\*;
7he fromes Jls/oyeJ here wl// eventuo//y become lnter/oceJ strles. A /ooeJ movle rototes the lmoge to show
the 3 effect.
7he lmoge hos been lmorteJ lnto Creotlve3 where the horse onJ two stonJs hove been cut out. wlth the stoge vleweJ ln 3, the horse onJ stonJs ore JroggeJ out from the bockgrounJ.
Creotlve3 con convert thls Jlglto/ hotogroh to
glve o reo/lstlc effect of stereoscolc Jeth.
069
The 900 Tl ls one of Canon's
prlcler |xus compact cameras.
Por not much over 200, you
get a tough, attractlve tltanlum body
equlpped wlth a generous l0-
megaplxel sensor, but the camera lacks
a few of lts slbllngs' hlgh-end features
such as optlcal lmage stablllzatlon. The
|xus 900's 2.5-lnch LCD may be smaller
than the |xus 65's 3-lnch screen, but lt's
exceptlonally brlght and sharp, wlth
a hlgher resolutlon of 230,000 plxels.
|t also leaves room for a small optlcal
vlewflnder - good for shootlng under
brlghtly llt condltlons.
The controls on the rlght slde of
the camera seemed a blt cramped,
but were easy enough to use. The
manual mode doesn't offer full
control over the aperture and
exposure settlngs, but you can
customlze how the camera takes your
shots. ou can set contrast, sharpness,
and saturatlon lndependently, and a
varlety of colour settlngs are avallable.
The |xus 900 has a face detectlon
feature that automatlcally selects
the best focus and exposure. | was
surprlsed at how qulckly lt locked
onto the faces of people as they
walked past - and lt works for a range
of skln colours too.
The |xus 900's l0-megaplxel sensor
produced exceptlonally sharp photos
wlth llttle dlstortlon. The camera also
earned hlgh marks for exposure
accuracy, though lt performed better
ln natural llght than wlth a flash.
Colour accuracy could have been
better, as lts performance was
medlocre ln our tests.
we compared nlghttlme shots wlth
the |xus 900 next to a dlgltal SLP and
an older compact camera. Slgnlflcant
amounts of nolse are notlceable ln the
900's shots as you lncrease lts |SO
sensltlvlty above 400, but lt performed
better than the older compact at the
same |SO settlngs. The SLP was far
superlor: |ts nolse level at |SO 3200 was
comparable to the 900's at |SO 400.
The camera accepts the new SDHC
memory card format, though lt shlps
wlth only a 32M8 SD card.
Desplte the nolse, the |xus 900
doesn't dlsappolnt. |t's one of the
better compact polnt-&-shoots.
1BVM+BTQFS
@olj0''K`
&%"B:<6E>M:A9><>I6A86B:G6
Photosho hos been useJ to olnt ln the ho/es ln the bockgrounJ /oyer, whlch ls then re-lmorteJ.
5C0RE:
8dciVXiYZiV^ah
HumonEges, fffWd\P]ThTbR^\
>c[d$HnhiZbgZfj^gZbZcih
formut: Nuc 0S X T0.4
prIce: SZ99 (uround T5T)
mInImum specs: Pouer PC C4/C5 or lnlel
processor, TCB RRN
HjbbVgn
pros: Sophlsllculed bul eusglouse
lenllculur creullon solluure. Cun converl
convenllonul phologruphs lo lugered
pseudo3D und ulso ullous lllp und
unlmullon ellecls.
cons: Creullve3D cun onlg prlnl vlu lur
more expenslve PrlnlPro verslons. Feu
UK prlnlers oller HumunEges oulpul lo
presses or lurge lormul lnk|els.
(say to slmulate the edge of a box), or
glven a concave or convex bulge.
The 3D effect can be prevlewed on-
screen by runnlng an anlmated rotatlon
loop. ou can also dlsplay the statlc lmage
as a colour or mono anaglyph lmage on-
screen, whlch glves a stereoscoplc effect
when vlewed through vlewers wlth red
and green plastlc lenses. A cardboard
anaglyph vlewer ls provlded ln the box
lf you order a CD verslon of Creatlve3D.
Layers can also be glven anlmatlon,
fllp or transparent fade effects,
controlled by a tlmellne menu.
Creatlve3D ls certalnly easy to use
and has excellent features, but ls llkely
to be hampered by hlgh output costs.
4JNPO&DDMFT
LentIcuIur productIon udvunces
I| gcu've dsmssed IentcuIor rntng n the ost becouse c| the ccst, t's ncm tme tc hove
oncther Icck. Dct cnIg s the sc|tmore mcre o||crdobIe, t's oIsc bene|tng |rcm nk ond
cutut odvonces - ncIudng uItrovcIetcured nks thot con be rnted drectIg cntc the
reor sur|oce c| the Iostc Iens moteroI.
0||set Ithc resses ore used |cr moss rcductcn, but Iorge |crmot |Iotbed nkjet rnters
(|rcm the Ikes c| Durst, Inco DgtoI, cr Vutek) oIIcm smoII runs ond even cnec||s tc be
rcduced eccncmcoIIg. R Imtng |octcr |cr oII IentcuIor mcrk, regordIess c| the crgnotng
sc|tmore ond rnt rccess, s the hgh ccst c| the extruded cIeor Iostc Ienses.
HumonEges hos recentIg onncunced o ortoI scIutcn. Its Iens|ree methcd, ncIuded
n the Iotest rntcoobIe verscns, mcrks mth |Iot Iostc cr gIoss, mhch s much Iess
exensve. The nterIoce moge s rnted cn the bock |oce os be|cre, but nsteod c| mcuIded
Ienses, bIock oroIIeI Ines ore rnted cn the |Iot |rcnt sur|oce. These |crm o mosk thot
bIccks scme c| the nterIoces ond sh|ts os the cbserver mcves.
The moge must be bockIt ond mcrks best mth Iorge |crmot dsIogs thot ore vemed
|rcm o dstonce, such os sgnoge n bus sheIters.
5C0RE:
8dciVXiYZiV^ah
Cunon, mmm.cunon.co.uk
01737 ZZ0 000
>c[d$HnhiZbgZfj^gZbZcih
formut: Nuc, wlndous
prIce: Z30 plus VRT
HjbbVgn
pros: Hlghquulllg oulpul, luce delecllon
uorks uell.
cons: Llmlled munuul conlrols. Dol lhe
besl oulpul ln urllllclul llghl.
At Dreamtek we specialize in designing video systems and solutions for both Mac and PC.
All video editing systems are also available for HIRE and backed up with TEK support
... products, training & teknowledgey Call our video specialist now on 020 8533 2222
Discover Dreamtek by visiting our daily updated
web site at www.dreamtek.tv
APPLE HOT NEWS
3.0GHz, 8-core Intel Xeon Clovertown
Opt for the 8-core Mac Pro and you get the power of two Quad-
Core Intel Xeon Clovertown processors running at 3.0GHz.
NEW THIS
MONTH
6a Well Street London E9 7PX t: 020 8533 2222 f: 020 8533 2288 www.dreamtek.tv video@dreamtek.tv
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Two 2.0GHz Dual-Core Intel Xeon processors;
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Mac Pro 3.0GHz Dual
Two 3.0GHz Dual-Core Intel Xeon processors
1989+ VAT
Mac Pro 3.0GHz Quad
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3Yr Applecare for
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iMac 17 1.83GHz
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Meet the latest addition to the Mac Pro family:
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2.33GHz Intel Core 2 Duo
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&
aTeXTfb
No more than flve months
after we revlewed Nlkon's
entry-level slx-megaplxel
D40, the company has released an
upgraded verslon, the D40x. Now
carrylng a l0mp resolutlon APS-C
slze sensor as well as a competltlve
prlce tlcket, the new Nlkon ls clearly
targetlng the same market as Canon's
LOS 400D and Sony's Alpha l00.
As well as the slzeable [ump ln
lmage slze, the new model has a lower
mlnlmum sensltlvlty of |SO l00, useful
for control of depth of fleld ln brlght
llghtlng. Thankfully, the D40x malntalns
the coveted and [ust usable |SO 3200
equlvalent (Hl) sensltlvlty, comfortably
out-classlng rlvals' |SO l600 celllng.
Also handy ls a sllght lncrease ln
contlnuous shootlng rates from 2.5
to 3fps. |t doesn't sound llke much
but the D40x feels more responslve
than the flgures suggest.
Measurlng l26-x-64-x-94mm and
welghlng [ust 495g (plus lens), the
D40x ls serlously small and llghtwelght.
|t has larger than average controls
though and lt's well balanced, so the
dlmlnutlve dlmenslons may only be an
lssue lf you've excesslvely large dlglts.
Mlmlcklng the durable bulld of the
maker's seml-pro D80, the D40x ls
also well made.
There are clever touches too, such
as the peerless vlewflnder lmage, two
per cent spot-meterlng, the lnnovatlve
sensltlvlty prlorlty |SO Auto optlon and
l/500sec flash sync.
8ut lt's not all good news. The D40x
shares many of the same weaknesses
as the D40, such as the unlnsplrlng
three-polnt AP system and sllghtly
awkward selectlon of features from
the data panel.
ou stlll have to sldestep the
flrst screen to access the shortcuts,
whlch seems polntless, and the 2.5-
lnch panel lacks the handy proxlmlty
sensor of rlvals. 8attery llfe doesn't
appear adversely affected but the
screen's brlghtness can be partlcularly
dlstractlng when looklng through the
vlewflnder.
-FOTDPNQBUJCJMJUZ
The camera's maln drawback, however,
ls the lack of auto-focus compatlblllty
wlth certaln, malnly older, lenses. That's
flne for new adopters, perhaps, but
a blnd lf you've a bagful of classy and
expenslve prlmes.
Llke most dlgltal SLPs, the D40x
has a raft of shootlng modes, lncludlng
the expected scene-based presets for
novlces, but also plenty of overrldes
for creatlve control. These lnclude
a wlde range of lmage parameter
settlngs, whlte balance flne tunlng
(three steps), slmultaneous PAw and
1PG capture, as well as automated ln-
camera retouchlng for underexposure
and red-eye reductlon.
Ultlmately, although the D40x
lmpresses wlth lts bulld and lmage
quallty. |t doesn't feel qulte as user-
frlendly or as well-rounded as the LOS
400D or the Alpha.
Also bear ln mlnd that lt has no
bullt-ln sensor cleanlng and you'll have
to budget extra for lmage-stablllzed
lenses. Nevertheless, lf you're ln the
market for a small, take-anywhere
dlgltal SLP, the D40x would make a
solld cholce.
+PBOOF$BSUFS
&%"B:<6E>M:A9><>I6AHAG
E`bfe;+'o
B2>A4)
8dciVXiYZiV^ah
=XZ^]fff]XZ^]R^dZ
'#$#$$$
>c[d$HnhiZbgZfj^gZbZcih
U^a\Pc)Nuc, wlndous
_aXRT)4Z5 plus VRT ullh RFS DX
ZoomDlkkor T855mm l/3.55.5C ED ll
lens
HjbbVgn
_a^b)Duruble bulld, ullh lurge brlghl
vleullnder. wlde senslllvllg runge
lncludlng lS03Z00 muxlmum, Z per cenl
spolmelerlng und lusl llush sgnc.
R^]b)Rulolocus llmlled lo RFS or RFl
lenses onlg. Nenu dependunl operullon.
Do bulllln sensor cleunlng.
%JHJUBM
#FTU#VZ
ln most shots, the lncreose from to !0 megolxe/s ls un/lke/y to be notlceJ
but theres no Jenylng the lncreose ln flne Jetol/ over the revlous offerlng.
0ntl/ lts kAw fl/es ore comotlb/e wlth AJobe Comero kow, Nlkons 99 otlono/
extro Coture NX ls current/y the best woy to get the most the 40x.
&
"SUT
ATeXTfb
07Z
aTeXTfb
Thls new workstatlon from
CAD2 ls the flrst we've seen
to offer nvldla's [ust-launched
Quadro PX 4600 graphlcs card, whlch
ls also avallable separately through
PN for l,l28 plus vAT. |t's an
undoubtedly powerful board wlth
a substantlal prlce tag. ou'd usually
expect to see lt palred wlth Xeon
processors, but lt works brllllantly
ln thls quad-core Core 2 Lxtreme-
powered workstatlon.
|n our base-level Clnebench 9.5
real-tlme 3D test, the card returned
outstandlng results - dellverlng a
performance boost that outpaced
even AT|'s top-of-the-llne PlreGL
7350 (whlch costs l,l75 plus vAT).
However, ln very complex scenes
and ln the SPLCvlewperf9 benchmark
test - lncludlng both the 3DS Max
and Maya tests - AT|'s board was the
wlnner, helped by lts lG8 of PAM.
1PXFSQMBZ
nvldla/PN offers a more powerful
card than the PX 4600, called the
PX 5600. Thls boasts l.5G8 of PAM
and a 76.8G8ps memory bandwldth
(compared to the 4600's 57.6G8ps),
but costs a whopplng l,684 plus vAT.
we were very happy wlth the
|maglne QX64's performance overall.
|t's much faster ln our Nucleo-
powered After Lffects test than the
flrst workstatlon we saw wlth |ntel's
quad-core QX6700 processor, Armarl's
Magnetar QS (whlch we revlewed
ln November 2006) - though thls may
be helped by updates to the plug-ln.
The extent of lts lead over the
Magnetar QS ln our standard AL,
Clnebench, and Photoshop tests
was more modest - but lt's a deflnlte
lmprovement.
The QX64's power ls bolstered by
a well thought-out system of hard
drlves, where two smaller fast drlves
are strlped as a PA|D 0 array for the
system drlve, and then you have
an addltlonal slower, larger drlve
for your medla. PA|D 0 doesn't glve
a mlrrored back-up llke some other
PA|D numbers, but our tests conflrm
the performance boost lt dellvers.
wlth 4G8 of PAM and lts slghts
on the 3D market, the 64-blt verslon
of wlndows XP ls the rlght cholce
for the QX64 - though we had no
problems runnlng Adobe's 32-blt
appllcatlons. ou also get a free
upgrade to the 64-blt verslon
of vlsta for when all of your tools
are runnlng smoothly on that OS.
Thls workstatlon's chassls ls
lmposlngly blg and black - though
lt's less so than the 8auhaus-lnsplred
case the company also offers. |t's
well padded to keep system nolse
down to a mlnlmum and all of the
lnternal components are easy to get
at. Our only qulbble wlth lts deslgn ls
the posltlonlng of the forward US8,
Plrewlre and headphone ports, whlch
are hldden round the slde - to keep
the deslgn clear we guess - and hard
to get at lf you have thls workstatlon
under your desk.
The QX64 ls an excellent
workstatlon - though lf you have the
budget and real-tlme needs for the
Quadro PX 4600 board, you'll probably
want the processlng power of two
Xeon processors.
/FJM#FOOFUU
(9LDG@HI6I>DC
?\X[\i @dX^`e\HO-+
B2>A4)
8dciVXiYZiV^ah
203!fffRPS!R^\
""!$#$'
>c[d$HnhiZbgZfj^gZbZcih
U^a\Pc)wlndous XP 54bll
_aXRT)3,TZ5 plus VRT
HjbbVgn
_a^b)Hlgh perlormunce ln 3D, vldeo und
gruphlcs sulles. ulel, generullg uell luld
oul cuse.
R^]b)Users mug requlre more pouerlul
chlps. 0dd loruurd porl plucemenl.
B?4285820C8>=B)
Prccesscr: lnte| Core Z
Extreme X6700 (Z.66CHz
quod core)
PRH (suIed): 4CB
PRH (mox): BCB
rohcs cord: nVidio
uodro FX 4600
PRH: 76BMB
Ccnnectcr: PCl Express
Hord drve tge: 5erio|
FTF 3Cbps
Sze: Zx150CB500CB
Seed: 10,000rpm
7,Z00rpm
PemcvobIe medo drves:
Duo|-|oger 1Bx DVDRw/
RFM drive B-in-1 medio
cord reoder/I|oppg drive
Scundcord: on boord
0S: windous XP 64-bit
CTbcaTbd[cb
we tested the Imogne X64 ond ccmored ts sccres tc o duoI duoIccre RIe Hoc Prc
ond Rrmor's Hognetor S. The CRDZ Imogne X64 cuter|crmed ts tmc rvoIs n oII c|
cur tests - the tobIe beIcm summorzes the resuIts.
The Hoc Prc hos tmc Z.66Hz, duoIccre InteI Xecn 5150 rccesscrs, ZB c| PRH, o
Z50Bl7,Z00rm hord drve, on nVdo eFcrce 7300T grohcs cord mth Z56HB c| PRH,
ond ccsts 1,618 Ius VRT. The Hognetor S hos o Z.66Hz, quodccre InteI X6700 rccesscr,
4B c| PRH, o 3Z0Bl7,Z00rm hord drve, on Rsus ED7900SlZDHT grohcs cord mth
Z56HB c| PRH, ond ccsts 1,599 Ius VRT.
Fcr the R|ter E||ects ond Phctcshc tests, shcrter bors ore better. Fcr the Cnebench tests,
Icnger bors ore better. See oge 80 |cr mcre detoIs cn these tests.
5&45
AppIe Mac Pro (Juol
Juol-cote}
Armari Magnetar QS CAD2 Imagine QX64
Adobe After ffects 7
ProfessionaI (Nucleo
tenJet|n}
13mins 50s 4mins 21s 3mins 42s
Adobe After ffects 7
ProfessionaI (stonJotJ
tenJet|n}
24mins 50s 10mins 56s 10mins 54s
Cinebench 9.5
- rendering
1381 (3.15x) 1334 (3.0x) 1395 (3.11x)
Cinebench 9.5
- reaI-time 3D
4433 (8.41x) 3781 (7.16x) 6049 (11.31x)
Adobe Photoshop
CS2
2mins 39s 1mins 48s 1min 39s
5&45
BCPWF 7he lmoglne
X4 ls on lmoslng unlt.
7PNKOKVGFETGCVKXKV[7PDGCVCDNG1GT
Subject to credit clearance. For business users and educational institutions only. Terms and conditions apply.
Example: Cash price of equipment is 2,400. Total rentals payable on a two-year lease of the equipment under this promotion would be
2,400, spread over eight quarterly rentals of 300 each. (N.B. This does not include an additional lease administration charge of 99 inc.
VAT. If you chose to lease the equipment beyond the initial two-year period, further rentals would also be payable.)
Apple Financial Services
Get the fastest ever Mac Pro or MacBook Pro
and experience world-class performance and
UWRGTKQTITCRJKEUKPVJKUWPDGCVCDNGNGCUKPIQGT
5VTGVEJ[QWTKOCIKPCVKQPPQV[QWTPCPEGU
Between 23 March and 31 May 2007 lease a qualifying Mac plus software and
accessories for no more than the recommended retail price over a two-year period.
Contact your Apple reseller for more information: www.apple.com/uk/buy/locator
&$
aTeXTfb
Though avallable ln a free
verslon for lllustrators and
artlsts, most 3D artlsts wlll
prefer the 3l5 Pro verslon of 3D
sketchlng tool SketchUp, prlmarlly as lt
lets you export sketches lnto appllcatlons
such as Maya and 3DS Max.
SketchUp's baslc workflow lnvolves
manlpulatlng drawn or polygonal
ob[ects wlthln the perspectlve vlew
of a typlcal 3D appllcatlon. There are
rotate, pan and zoom tools avallable
ln a falrly slmple palette. 2D shapes are
drawn wlth rectangle, clrcle and text
tools, then extruded and lofted to form
baslc 3D ob[ects.
ou then bulld on these foundatlons
by uslng a set of modlflcatlon tools that
offer functlons such as lathe, sweep or
8oolean operatlons, but have thelr own
stralghtforward names such as Push/
Pull, Pollow Me and |ntersect wlth
Model. ou can turn on addltlonal tools,
such as baslc terraln edltor Sandbox,
and Puby, a scrlptlng envlronment.
The most hlgh-proflle addltlon ls
Photo Match, whlch lets you create a
3D model by traclng a photo or
matchlng an exlstlng model to a
background photo. Llke slmllar
photogrammetry tools from Pealvlz
and others, you can bulld up a 3D
representatlon of a bulldlng or other
real world ob[ect by uslng lmages shot
from dlfferent vlews or you can [ust use
a slngle photo. Perspectlve llnes and
an axls are overlald on the lmage to
speclfy orlentatlon, and a modelllng
grld ls updated accordlngly.
*NBHFNBQQJOH
SketchUp calculates the camera
posltlon and fleld of vlew of the
photograph - lf you know dlmenslons
of the orlglnal ob[ect you can enter thls
lnfo to make the model more accurate.
Once the lmage ls mapped you
can start drawlng llnes from the axls
outwards, formlng polygonal faces and
models, then extrudlng from these to
create new blocks. |n practlce thls ls a
lot more flddly than lt sounds, and lt
takes tlme and a well-shot photo to
get anythlng near satlsfactory results.
verslon 6 also adds a selectlon of
dlsplay styles to present the model or
scene ln a varlety of looks lncludlng
'sketchy' or to add a watermarked
background. Thls works very effectlvely
and, comblned wlth the new Layout
functlons, can make any archltectural
mockup look styllsh and professlonal,
or qulrky lf that's the mood you're after.
Other tools contlnue the archltectural
theme, lncludlng a walkthrough and cost
estlmatlon for materlals. Lntertalnment-
focused creatlve pros won't flnd much
here to shout about though.
SketchUp Pro 6 offers llttle over
verslon 5 - though as a free upgrade
lt's hard to complaln. Overall, SketchUp
Pro can be a great way for 3D artlsts to
qulckly produce prevlz verslons of
pro[ects - although some creatlves
wlll be content wlth free verslon.
.JDIBFM#VSOT
(99:H><CHD;IL6G:
Jb\kZ_lgGif-
5ketch0 feotures o number of moJe//lng functlons to bul/J folr/y sohlstlcoteJ moJe/s, whl/e Loyout o//ows
you to creote rofesslono/ /ooklng Jeslgn resentotlons from your 5ketch0 Pro sesslon.
5ketch0 Pro now offers Photogrommetry functlons to extroct 3 Joto from hotos. 7he comero, however,
neeJs to be osltloneJ corefu//y to roJuce o Jeflnltlve oxls from whlch to co/lbrote your lcture onJ no trees
or other obstructlons shou/J obscure the object or bul/Jlng.
B2>A4)
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6^^V[TbZTcRWd_V^^V[TR^\
>c[d$HnhiZbgZfj^gZbZcih
U^a\Pc)Nuc 0S X T0.4, wlndous Z000/XP
_aXRT)3T5 plus VRT,
lree upgrude lrom older verslons
\X]X\d\b_TRb)400NHz processor,
TZ8NB RRN, 80NB lree hurd dlsk spuce
HjbbVgn
_a^b)PholoNulch, uselul dlsplug slgles
ullh uddlllonul edlllng und mlxlng
cupubllllles. Exlenslve leurnlng lools.
Rupld model creullon, und scrlpllng lools.
R^]b)Cure needs lo be luken uhen
bulldlng models. Ellecllve use ol Pholo
Nulch reslrlcled lo compullble dlgllul
lmuges. Do Vlslu supporl.
Youcontoke fu// oJvontoge of Goog/e LorthonJ
Goog/e Mos toosltlonyour moJe/ lnthe reo/ wor/J.
5ty/es ore co//ectlons of Jls/oy settlngs, lnc/uJlng
new otlons /lke wotermork bockgrounJs onJ
5ketchy Lffects, soveJ ln the new 5ty/es o/ette.
7he new 3 text too/ wl// creote both 2 onJ 3 text
lnc/uJlng fu//y extruJeJ 3 text objects.
&$
076
Ycu've gct tc mot o IttIe Icnger tc get gcur honds cn the vdec bundIe
c| Rdcbe's Creotve Sute - DgtoI Rrts dssects the beto verscns...
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$SFBUJWF4VJUF
1SPEVDUJPO1SFNJVN
Though launched on lhe same
day as lhe currenlly-shiing
Design and Web suiles, Adobe's
Iroduclion Iremium colleclion of video-
focused alicalions von'l be vilh
us unlil lale summer. Hovever, as a
recomense, lhe comany has released
lhe belas of Afler Lffecls CS3, Iremiere
Iro CS3, and Soundboolh CS3 lhrough
ils Adobe Labs Web sile so ve senl
some qualily lime vilh lhese nev lools
lo see vhelher lhey live u lo lhe hye.
The lhree core video alicalions
have gained less nev lools lhan lheir
cousins in lhe Design and Web suiles
vhich isn'l surrising since il hasn'l
been lhal long since lheir lasl udale.
Where lhe suile has exanded is vilh
lhe addilion of some nev lools n
Localion and Ullra laken from Serious
Magic, vhich Adobe acquired in 2OO6,
and lhe brand nev Soundboolh
relacing Audilion.
The Crealive Suile 3 Iroduclion
Iremium cosls 1,199 and includes nev
versions of Afler Lffecls Irofessional,
Iremiere Iro, Soundboolh, Lncore,
nLocalion, and Ullra lus lhe
CS3 releases of Iholosho Lxlended,
Illuslralor, Ilash Irofessional, ridge,
and Design Cenlral.
We lesled bolh lhe Mac and Windovs
versions of Afler Lffecls CS3, Iremiere
Iro CS3 and Soundboolh CS3 on Ale's
nev Mac Iro 8-core running Mac S X
1O.4 (revieved on age 64), an Alienvare
M}-12 855O dual dual-core vorkslalion
running Windovs XI Irofessional, and
Rock's Iegasus 665 lalo running
Windovs Visla Home Iremium.
076
jf]knXi\
H0PE FERTUPES RT www.DIITRLRPTS0DLIDE.C0.Uk
"GUFS&GGFDUT$41SPGFTTJPOBM
R|ter E||ects s the mcst cuIor c| Rdcbe's vdec
tccIs - t's used bg creotves c| oII knds, |rcm
desgners rcducng mctcn grohcs, onmotcrs
creotng ceIstgIe mcrk |cr TV ond the web, thrcugh
tc ortsts scuItng vsuoI e||ects |cr |eoture |Ims.
It's ovoIobIe seoroteIg |cr 915 Ius VRT, cr
|rcm Z09 Ius VRT os on ugrode. Rs mth the
sute, there's nc Stondord verscn ongmcre, mhch
Rdcbe sogs s becouse mcst users ment |cr the
Prc|esscnoI verscn ongmog.
PrevcusIg the cnIg oIcotcn n the sute
thot mos ovoIobIe |cr the Hoc, ths s the |rst
verscn tc run notveIg cn InteI Hocs.
R|ter E||ects CS3 hos the mcst nem |eotures
c| ong c| the nem vdec tccIs, thcugh t dcesn't
ncIude severoI thot me mere hcng |cr - such
os o 3D trocker, bockgrcund renderng, o usobIe
FIcmchort |cr ncdebosed ccmcstng, IIIustrotcr
CS3's ccIcur scheme generotcn sgstem cr Bcrs
BIuestgIe |uII 3D mcdeI mcrt tccIs.
StII, severoI c| the nem |eotures mII enhonce
gcur vdec I|e, sc reod cn...
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077 077
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CcIcur monogement
mth sucrt |cr
ccIcur mcrksoces
|cr cutut torgets.
Cue cnt creotcn
|cr FIosh |Ies.
Botch renderng c|
FIosh |Ies.
CI nctes |cr PDF
bosed cIent revem
ond |eedbock.
Devce CentroI |cr
testng vdec cutut
|cr mcbIe devces.
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bdhicZl[ZVijgZhd[Vaa6YdWZh
jeYViZYk^YZdiddah
6TcX]bWP_T
The nem Shoe Logers ore desgned sc gcu dcn't hove
tc gc cut tc IIIustrotcr tc creote vectcr sgmbcIs such os
stors, cIggcns ond rcunded rectongIes. Shoe Logers
st cn the tmeIne next tc vdec, oudc, text, ond ScIds
- ond con ccnton o stock c| d||erent shoes.
Ycu odd shoes thrcugh on Rdd buttcn cn the
rcertes oreo cn the TmeIne (cr bg rghtcIckng
cn ths oreo), os meII os |IIs, strckes, grodents ond
reset oth tges. These con then be mcd|ed n the
rcertes oreo ond n the ccmcstcn mndcm n the
usuoI mog.
There s o Ict c| |IexbItg tc the shoes. Fcr
exomIe, |cr stors, gcu hove ccntrcI cver the number c|
cnts, nner rodus, cuter rodus, nner rcundness ond
cuter rcundness, Ius the usuoI Trons|crm ccntrcIs - ond
oII rcertes ore keg|romobIe, sc Eoch Shoe Loger hos
ts cmn Trons|crm ccntrcI. Ths Iets gcu eosIg onmote
o stock c| shoes os cne.
?d__Tc
The Puet tccI s o ccmIeteIg nem oddtcn. Rn cdd
c||shcct c| Phctcshc's Lqu|g tccIs, ths oIIcms gcu
tc 'stck' o seres c| ns ntc o Ioger ond then mcve
them orcund - mth the Ioger mcrhng crgoncoIIg
os eIements grcm ond shrnk.
There's o Ict c| ctentoI tc ths tccI. It seems
desgned |cr cortccnstgIe onmotcn cr mcrhng
grohcs, but t ccuId os eosIg be used nsteod c|
o mor e||ect |cr VFX mcrk. Further uses ore bcund
tc cccur tc gcu mth tme.
The Puet tccI |eeIs merd tc begn mth, but
o|ter o bt c| roctce t's octuoIIg verg eosg tc use.
Rs meII os Iocng ns, there ore oIsc ccntrcIs cver the
ccmIextg c| the underIgng mesh thot underns hcm
the Ioger mcrhs, on 0verIo tccI sc thot gcu con mor
|cregrcund cbjects cver bockgrcunds cn the some Ioger
(such os |rcm o stII hctc), ond o Storch tccI sc thot
oreos con be revented |rcm chongng.
?[PhX]VfXcW?W^c^bW^_
R|ter E||ects CS3 hos urIcned Phctcshc's Loger StgIes. These oIIcm gcu tc quckIg
odd shodcms, gIcms, beveIs, ond grodents tc Iogers. It mcrks verg meII mth Shoe
Logers - thcugh t's eosg tc cveruse them tc the cnt c| cheesness.
0ther Inks tc Phctcshc ncIude sucrt |cr PSD |Ies mth Vdec Logers - thcugh
me ddn't thnk theg mere thot use|uI mhen me Iccked ot Phctcshc CS3 Extended
Iost mcnth. Ycu con brng n smIe 3D scene doto creoted mth Phctcshc's Vonshng
Pcnt tccI, thcugh t mcuId hove been better | gcu ccuId brng n ond render 3D
mcdeIs os n Bcrs BIue.
we'd hove re|erred tc hove seen mcre token |rcm IIIustrotcr thon Phctcshc
- such os the nem Lve CcIcr ccIcurscheme creotcr, thcugh gcu con to IIIustrotcr
cr the kuIer cnIne tccI usng RE's ccIcur cker.
?TaU^a\X]VPacb
wth R|ter E||ects 7.0, | gcu monted tc get the hghest
er|crmonce |rcm the Iotest generotcn c| muItccrel
rccesscr mcrkstotcns, gcu hod use rdIrcn's $149
(74) DucIec Iugn cn wndcms XP. wth RE CS3, the
sc|tmore s nherentIg muItthreoded ond runs notveIg
cn bcth InteI Hocs ond under wndcms XP.
The beto c| RE CS3 dcesn't ncIude oII Iugns, sc
me hod tc mcd|g cur stondord RE er|crmonce test os
used n cur Pevems ond rcu Test sectcns. 0n the
Hoc Prc 8ccre, the InteInotve RE CS3 tcck bongcn
4 mnutes tc render the 10seccnd HD scene, ogonst
5 mnutes 3 seccnds usng RE 7.0 mth DucIec ond Z3
mnutes 6 seccnds usng RE 7.0 oIcne (bcth runnng
usng RIe's Pcsetto emuIotcn techncIcgg). Thot's o
Z7.5 er cent seed bum |rcm beng mode InteInotve,
ond o huge 477.5 er cent bccst cveroII.
Imrcvements cn wndcms mere mcre mcdest
- obcut 510 er cent - ond muItccre sucrt mcuIdn't
mcrk cn cur Vstorunnng duoIccre Pcck Iotc due
t cnIg hove ZB PRH. Ycu need 4B cr mcre tc reoIIg
toke odvontoge c| t.
Sucrt |cr muIt ccre setus hos tc be turned cn
n RE's Pre|erences. RE sIts renderng ntc muItIe
nstonces c| tseI| |cr eoch rccesscr ccre, eoch c|
mhch requres ot Ieost 51ZHB memcrg c| ts cmn
- sc gettng the best |rcm eght ccres requres obcut
6B c| PRH. RE s o 3Zbt oIcotcn - sc Imted tc
occessng 3B c| PRH - but os eoch nstonce s ts cmn
oIcotcn, t con toke odvontoge c| os much PRH os
gcur mcrkstotcn hos.
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Bronstcrm s o brond nem sgstem thot oms tc Iet
gcu dsccver cssbItes mth gcur mcrk thot dcn't
outcmotcoIIg ccme tc mnd. It creotes vorotcns
c| gcur mcrk bosed cn orometers thot gcu seIect:
suggestng d||erent ccIcurs, onmotcns ond e||ects
vorobIes. These oeor n o grd c| nne - ond | there
sn't cne gcu Ike, gcu con osk |cr o nem set.
The rcbIem s thot Bronstcrm sn't verg use|uI,
ond me |cund t tcck o Icng tme tc ccme u mth
decent suggestcns - tme thot mcuId hove been better
sent thnkng cr Icckng |cr nsrotcn eIsemhere.
Bronstcrm mcrks seemngIg mthcut ruIes begcnd
hcm much t con rondcmIg chonge orometers. It's o
cor crg |rcm the Lve CcIcr ccIcurscheme generotcr
n IIIustrotcr, mhch uses ortschccI ruIes tc suggest
ccIcurs thot mcrk tcgether. In ccmorscn, Bronstcrm
s o ncveI deo mth |em reoImcrId oIcotcns.
078
1SFNJFSF1SP$4
>C74A=4FC>>;B
0utut tc mcbIe
devces usng
the Rdcbe Hedo
Enccder ond test
usng Devce CentroI.
Excrt tmeIne
morkers os cue
cnts n FIosh vdec
|cr use n nteroctve
medo.
Vdec mth nested
oudc sequences
Iogs n reoItme
mthcut renderng.
PeIocng cne cI
mth oncther cn
the tmeIne mhIe
keeng the crgnoI's
ottrbutes ond
settngs.
kegbcord shcrtcuts
|cr mcvng betmeen
mcrksoce oneIs.
b^UcfPaT
Premere Prc sn't token os sercusIg bg rc
edtcrs os RIe's FnoI Cut Prc cr Rvd's Xress
Prc - but t's beccme o Ict mcre grcmnu snce
tokng cn the Prc scbrquet n Z003.
Thcugh ths s the |rst verscn c| the
DLE snce then, the CS3 verscn odds IttIe |cr
wndcms users begcnd mhot mos n Premere
Prc Z.0 - mhch s dsocntng - thcugh gcu
dc get the |uII verscn c| Enccre (ne Enccre
DVD - see beIcm) thrcmn n, rother thon t beng
scId seoroteIg. Ycu oIsc get 0n Lccotcn (ne
DV Pock bg Sercus Hogc - see beIcm rght).
Premere Prc CS3 ccsts 599 Ius VRT.
Ugrodes begn ot Z09 Ius VRT.
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1X][PST]
Premere Prc CS3 oIIcms gcu tc hove mcre thon cne
Prcject oneI cen ot cne tme, sc gcu con cen bns
n ther cmn |Icotng mndcm os n the trodtcnoI Rvd
nter|oce. Ths mokes t eoser tc reorronge the structure
c| gcur ossets tc moke |ndng mhot gcu need eoser.
I| gcu're Iess c| o neot|reok, the nem verscn c|
Premere ncm hos o |nd sgstem n the Prcject oneI
thot begns mhttIng dcmn gcur ossets os gcu tge the
|rst Ietters c| the term gcu're Icckng |cr - just Ike Hoc
0S X's SctIght cr wndcms Vsto's seorch. Ycu con oIsc
chccse mhch tge c| doto gcu mont t tc seorch |cr,
|rcm on exhoustve Ist thot stretches |rcm Dome ond
Frome Pote tc Durotcn ond In Pcnt. It dcesn't osre tc
be os gccd os Brdge CS3, thcugh.
These ore scId - but n nc mog mojcr - oddtcns tc
Premere Prc tccIset, ond theg dc moke mcrkng mth
Iorger rcjects eoser.
<PRPccPRZ
The Iost verscn c| Premere tc be reIeosed cn the Hoc
mos 6.5 - on ogng recurscr tc Prc thot ccuIdn't kee
u mth the gcuth|uI FnoI Cut Prc. It oIsc hos strcng
ccmettcn cn the Hoc |rcm the cmer|uI | un|crgvng
Rvd Xress Prc. It's cdd thot Rdcbe hos Iounched o
Hoc verscn, but mokng the sc|tmore crcssIot|crm
sc gcu con chccse gcur edtcr then gcur Iot|crm s
tc be oIouded - ond scmethng RIe s verg unIkeIg
tc ever c||er.
In cur tests, Premere cn the Hoc ron oImcst exoctIg
the some os the wndcms verscn - coture mosn't
mcrkng cn cur Hoc buId, thcugh the wndcms verscn
ccuIdn't coture HDV |cr Icensng reoscns. Tc users c|
FnoI Cut Prc cr Rvd mhc hoven't used R|ter E||ects,
Premere Prc mII seem o IttIe unusuoI. Its nter|oce
s smIe ond mcusecIckdrven, n ccntrost tc Rvd's
reIonce cn kegbcord shcrtcuts ond |ccused tccIs |cr on
e||cent mcrk|Icm - ond FnoI Cut s the bostord chId
c| the tmc.
Premere Prc s o greot edtng oIcotcn - ond the
ntegrotcn mth R|ter E||ects, Enccre ond the rest c| the
sute s exceIIent - but t Iccks Ike FnoI Cut's mx c| the
best c| Rvd's ond Rdcbe's hertoge mII stII c||er the
best edtng exerence |cr the |creseeobIe |uture.
Premere Prc CS3 s oIsc the |rst verscn tc be
ovoIobIe |cr wndcms XP.
CX\TPVPX]
FcIIcmng the tmeInebosed coctg ccntrcIs odded n
Premere Prc Z.0, Rdcbe hos odded smIor ccntrcIs |cr
sIcm, |ost ond bockmordsmctcn. Ycu odd keg|romes
tc the geIIcm bor thot runs thrcugh the mddIe c| eoch
cI, ond then uII the Ine tc seed u cr sIcm dcmn
the tme - mth o vsuoI revem c| hcm ths o||ects the
cveroII Iength c| the cI.
Ycu con oIsc breok oort keg|rome tc occess bzer
curve ccntrcIs cver occeIerotcn ond deceIerotcn, |cr
mcre creotve e||ects.
The quoItg c| the |ost ond sIcm mctcn s greot, but
os mth the coctg ccntrcIs, mcrkng mth them cn the
tmeIne con be |ddIg unIess gcu zccm n ond stretch
the heght c| the trock, mhch con be tmeccnsumng.
079
4PVOECPPUI$4
079
In revcus ccIIectcns c| ts vdec sc|tmore,
Rdcbe ncIuded Rudtcn, mhch t hod ocqured
|rcm SgntrIIum Sc|tmore n Z003. Rudtcn
mos omed ot users mth o bockgrcund n oudc
rcductcn - t mosn't |cr vdec edtcrs, ccmcstcrs,
ond mctcn grohcs ortsts mhc just mont tc cIeor
u oudc, oIg sec|c e||ects cr ccmcse. Ycu
ccuId eosIg dc oII thot n RIe's Scundtrock Prc.
Tc coter |cr these users, Rdcbe ntrcduced
Scundbccth os o ubIc beto n 0ctcber Iost geor.
R seccnd beto mos reIeosed n December, ond
the CS3 beto Iounched n RrI odds |em oddtcns
tc thot - thcugh t dces |x mong bugs. Hcmever,
the current beto s stII verg unstobIe - the
mcbbIest c| ong CS3 beto me've seen. It croshed
obcut cnce on hcur n cur testng, on ssue thot
Rdcbe needs tc |x os o rcrtg be|cre the |noI
sc|tmore s reIeosed.
Scundbccth s ovoIobIe os o stondoIcne
oIcotcn |cr 139 Ius VRT.
B^d]SQ^^cW)b]P_bW^c
con't creote HDDVD dscs, mhch s o shome - but
mcst outhcrng tccIs seem tc |ovcur cne HD |crmot
cver oncther. Enccre con oIsc enccde ond use cnIg
HPEZ ond HPE4 RVC (better kncmn os H.Z64)
ccdecs |cr HD vdec, nct VC1.
Enccre dcesn't ncIude ong nem creotve tccIs tc
toke odvontoge c| BIurog's hgher IeveI c| nteroctvtg,
ond thcse creotng ccmIex tems mII rcbobIg mont
tc use o hghend sgstem such os Scnc Scenorst.
Enccre CS3 con cutut HDbosed rcjects n bcth SD
(DVD) ond HD |crms (BIurog) |crmots, mhch s o use|uI
tmesover. It con oIsc cutut gcur mcrk os o FIosh |Ie
(SwF) cr FIosh Vdec (FLV) |cr use cn the web.
0n Lccotcn s o nem verscn c| Sercus Hogc's
DV Pock HD, o unque ece c| sc|tmore thot c||ers
o mcbIe studc |cr use n the |eId cn o Iotc. It's
wndcmscnIg, but t's stII ncIuded n the Hoc verscn
c| Creotve Sute 3 Prcductcn Premum os t's eosg tc
use cnset thrcugh RIe's Bcct Com techncIcgg.
The sc|tmore hos tmc ccre |unctcns. It's o DDP
(dgtoI dsc reccrder), sc thot gcu con reccrd DV cr HDV
vdec drect tc gcur Iotc's hord drve, ond t oIsc c||ers
o seres c| mcntcrs ond scces tc check gcur vdec Ive
n the |eId. 0n Lccotcn s oIsc bundIed mth Premere
Prc CS3, | gcu bug thot rcduct seoroteIg.
UItro s o verg bosc oIcotcn |cr chrcmo kegng
ond vrtuoI set mcrk. we'II reserve judgement untI me
see the |uII oIcotcn, but ot |rst gIonce t Iccks os
reIont cn cheesg stcck grohcs os Sercus Hogc's
VsuoI Ccmmuncotcr.
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Rs DgtoI Rrts ment tc ress, cnIg the betos c|
R|ter E||ects Prc|esscnoI CS3, Premere Prc CS3 ond
Scundbccth CS3 mere ovoIobIe. The Creotve Sute
3 oIsc ntrcduces o nem verscn c| Enccre, Ius tmc
oddtcns tc the sute: 0n Lccotcn ond UItro.
Dcm ncIuded |ree mth Premere Prc CS3, Rdcbe
hos drced the DVD su||x |rcm Enccre's nome os t
con ncm creote HD dscs n BIurog Dsc |crmot. Ycu
4UUTRcP]SR^]ca^[
Scundbccth ncIudes tccIs |cr mcst c| the tosks thot
vsuoIbosed dgtoI creotves ore gcng tc need tc
er|crm mth reccrded oudc. The stondord ncse
remcvoI tccIs ore osssted bg the nemIg odded ncse
rnt creotcn tccI. Ths creotes o mo c| o certon
scund n cne cI sc thot t con remcve t |rcm oncther
- usuoIIg |cr remcvng o mcnctcncus bockgrcund ncse.
Ycu oIsc hove 15 |Iters ncIudng reverb, echc,
E ond tme ond tch stretch - |ve c| mhch con be
ccmbned n reoI tme. Hcre nncvotve s the 'HeoIng
Brush' |cr smccthng oreos n o vsuoI sectroI groh c|
o scund. It mcrks just Ike Phctcshc's heoIng brush.
;^^_Vdad
Scundbccth ncIudes the RutcCcmcse sgstem, mhch
s brcodIg smIor tc RIe's ScundTrock Prc's Icc
bosed sccrecreotcn tccI - thcugh t |ccuses cn users
mcd|gng reorronged scundtrocks rother thon buIdng
ther cmn |rcm ndvduoI Iccs.
Lcodng RutcCcmcse Sccres, os Rdcbe coIIs these
orrongements, hos tc be er|crmed thrcugh Brdge,
mhch s cdd. 0nce gcu've Icoded the Sccre thcugh,
t mcd|es tseI| tc motch the Iength c| gcur cI ond
gcu con |urther custcmze t bg odjustng voIues c|
Intenstg ond HeIcdg. These voIues con oIsc be crudeIg
keg|romed cver tme, os con vcIume.
The sgstem s eosg tc use ond e||ectve | gcu're
nct muscoIIgmnded. Hcmever, t's nct os ntegroted
mth Premere os ScundTrock Prc s mth FnoI Cut.
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7hese Iaptops were benchmarked using
tests based on some the most popuIar
cross-pIatformcreative appIications that
you'd find in most creative studios. AII
tests were repeated three times and
an average taken.
Adobe After ffects 7 ProfessionaI
Thls renders a flve-second composltlon bullt
of three uncompressed l080l HD layers, each
wlth fllters and transforms. The render ls run
twlce, once uslng Grld|ron's Nucleo l.0.9
plug-ln to take full advantage of multlple core
processors - and once uslng AL's standard
renderlng englne. Pesults are ln mlnutes
and seconds and smaller bars are better.
Adobe Photoshop CS2/CS3 (beta)
Thls test performs 20 actlons upon a 200M8
lmage wlthln Photoshop CS2 and ln the CS3
beta. Pesults are ln seconds and smaller bars
are better.
Cinebench 9.5 - rendering
Clnebench ls based on Maxon Clnema 4D and
provldes a processor-based benchmark by
renderlng a scene. Pesults are ln Clnebench's
proprletary unlts, and longer bars are better.
The multlpller lndlcates how much faster the
test runs uslng all avallable processors and
cores compared to slngle processor/core.
Cinebench 9.5 - reaI-time 3D
8ased on Maxon's Clnema 4D 9.5 software,
Clnebench tests real-tlme 3D performance by
movlng a camera through a 3D scene. Pesults
are ln Clnebench's proprletary unlts, and
longer bars are better. The multlpller lndlcates
how much faster the scene runs compared to
runnlng the same test wlthout uslng the 3D
card to accelerate performance.
8attery Iife
Our battery llfe test slmulates a standard
creatlve workload. Pesults are ln mlnutes,
and longer bars are better
Screen coIour gamut
Thls uses GretagMacbeth's Lye-One Dlsplay
2 spectrophotometer and Lye-One Match
software to measure the range of colours
that each laptops's screen can dlsplay.
080
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VISIT www.DIITRLRPTS0DLIDE.C0.Uk F0P RLL THE LRTEST PEVIEwS
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R Iotc Iets gcu toke gcur creotvtg mherever gcu gc, ond tcdog's
nctebccks ock Ientg c| cmer. we rcod tested the Iotest mcdeIs.
f^aSb=TX[1T]]Tcc
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AppIe Mac8ook Pro, DeII Precision M65, HP nw8440,
Rock Pegasus 665, Sony Vaio VCN-I417, 7oostorm5-5005
wlth summer upon us, lt's tlme to
break away from your desk and get
creatlve out of the offlce. A powerful,
portable laptop wlll let you do all your normal
work, wherever you want.
A l5-lnch model wlll offer a good balance
between power and portablllty. They have
access to the fastest dual-core processors,
oodles of memory and hard-dlsk space, and
hlgh-resolutlon dlsplays - whlle stlll belng
sllm and styllsh.
l5-lnch laptops offer the wldest cholce
of screen resolutlon - from the large prlnt of
l,200-x-800 to the lntrlcate detall of l,920-x-
l,200. Most screens have a wldescreen aspect
ratlo, though Lenovo's T60 has a tradltlonal
4:3 dlsplay. Por us a resolutlon of l,680-x-
l,050 ls the best optlon - lower resolutlons
make the palette-heavy lnterfaces of creatlve
appllcatlons such as Photoshop, QuarkXPress,
After Lffects or Maya seem too cramped, whlle
an HD resolutlon at l5-lnches makes us squlnt.
The best laptops glve you a full cholce of
resolutlons when you purchase.
Most screens have hlgh-gloss coatlngs,
whlch can have larger colour gamuts than
tradltlonal screens - though Apple gets polnts
for offerlng a cholce gloss and matte screens
to sult your preference.
we recommend that wlndows users stlck
wlth XP untll thelr creatlve tools have been
upgraded for Mlcrosoft's new vlsta OS. Adobe's
Creatlve Sulte 3 for prlnt and web pros shlps
soon, whlle vldeo pros wlll get thelr CS3 ln the
autumn.
Mac users should soon see the release of
Mac OS X l0.5, though agaln we'd recommend
not upgradlng untll you're sure all of your tools
are compatlble.
All of the models we've looked at here
feature one of the hlgher-end models from
|ntel's Core 2 Duo llne of dual-core processors.
Most creatlve appllcatlons have been able
081
to take advantage of multl-core and multl-
processor set-ups for many years, so are
hlghly optlmlzed for such chlps. Most laptops
featured here have the top-of-the-llne 2.33GHz
T7600 chlp for maxlmum performance, though
Sony's lower cost valo PL4lZ has the slower
2GHz T7200. Lven creatlves on a budget
should avold the l.66GHz T5500 and l.83GHz
T5600, as they also have half the cache of the
faster chlps. Thls lowers thelr performance
further ln lntenslve appllcatlons, whlch
lncludes most creatlve tools.
|ntel says lts next generatlon of laptop
chlps wlll be launched thls autumn. The
company ls even plannlng to lntroduce a
quad-core processor for laptops, though thls
wlll be for larger (l7-lnch or hlgher) desktop
replacement or moblle workstatlons.
Artlsts worklng wlth 3D, whether ln
anlmatlon sultes, After Lffects, or ln Photoshop
CS3 wlll beneflt from powerful graphlcs chlps
such as AT|'s Moblllty Padeon X2300 or nvldla's
GePorce Go 7950 GTX - though 2D-based
deslgners and lllustrators wlll prefer more
modest chlps such as AT|'s Xl600 or nvldla's
7600. Uslng these save you money, and also
use less battery power. Some laptops are also
offered as moblle workstatlons, wlth tallored
graphlcs chlps from AT|'s PlreGL or nvldla's
Quadro PX llnes for hlgh-end 3D sultes.
Other features to seek out for the perfect
laptop for the creatlve lnclude 2G8 or more
of PAM to keep your appllcatlons tlcklng over
smoothly, a large hard drlve, a fast dual-layer
DvD burner for backups, and medla card slots
lf you do a lot of photography. An ergonomlc
deslgn won't go amlss elther.
0$X]RW\^ST[fX[[^UUTaPV^^SQP[P]RTQTcfTT]
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The Preclslon M65 ls
essentlally Dell's Latltude
D820 wlth nvldla's
workstatlon class Quadro PX 350M
graphlcs chlp. |f your appllcatlons
don't requlre thls type of chlp, you
can plck up thls conflguratlon wlth
a non-3D workstatlon-class chlp for
about l00 less - though you may
not want to, as lts screen ls too
low-res for many creatlve pros.
At thls M65's natlve resolutlon
of l,200-x-800, most ma[or creatlve
appllcatlons are so cramped that
lt slows your work. |n After Lffects,
the Pender Queue panel ls almost
unusable, and even Photoshop CS3's
new collapslng lnterface gets ln the
way of your lmages. Dell offers the
Preclslon M65 (and Latltude D820)
wlth l,680-x-l,050- or l,920-x-l,200-
resolutlon screens, whlch would be
a masslve lmprovement.
The M65's screen ls drlven by
nvldla's least powerful graphlcs chlp,
the Quadro PX 350M, whlch shares
some of the laptop's maln PAM uslng
nvldla's TurboCache technology. |ts
Clnebench score ls weak, especlally
as lt has fewer plxels to shunt around
at the screen's low resolutlon.
Dell's laptop ls the largest of the
models we've looked at, but lt's not
the heavlest - Pock's Pegasus 665 has
that prlvllege - and lt's stlll perfectly
portable. |ts keyboard ls the most
comfortable to type on, though you
may not want to have lt on your lap,
as lts base gets qulte hot after a whlle.
|n our tests, the M65's performance
was medlocre conslderlng lts top-spec
components. |t has the fastest |ntel
Core 2 Duo chlp and 2G8 of PAM but
was slower than the other models
wlth the same. The M65 was the fastest
overall ln the Photoshop CS3 beta
- but only a second ahead of Apple's
Mac8ook Pro.
'"
Though aesthetlcally lt's
startlng to feel a llttle dated,
the Mac8ook Pro ls stlll a
trlumph of lndustrlal deslgn. |t's llght
enough that you don't really notlce
that lt's ln your bag and sllm and
small enough to use on Lasy1et
fllghts - but lt's packed wlth the
same powerful hardware as the
other models we've looked at.
Thls Mac stlll has lts ldlosyncrasles,
but lts ma[or performance flaw for
creatlves ls lts lack of natlve support
for Adobe's Creatlve Sulte software.
Thls should be flxed wlth verslon
3 of the sulte, whlch should have
shlpped by the tlme you read thls.
CS3 represented the last ma[or set
of appllcatlons to be updated before
Mac users could tap the power of
|ntel's chlps - wlth most professlonal
creatlves uslng at least one of the
tools on a regular basls (normally
Photoshop). |n our Clnebench and
Photoshop CS3 beta tests, whlch
are |ntel-natlve, the Mac8ook Pro
was one of the best performers
- and we'd expect the same ln After
Lffects CS3 (though that tool won't
shlp untll late summer at the latest).
The medlocre real-tlme 3D
performance, whlch looks artlflclally
hlgh due to the screen resolutlon,
won't matter to most lllustrators
and deslgners - but there's no
optlon of a more powerful chlp.
The Mac8ook Pro ls packed
wlth lnnovatlons that have stlll
not been bettered. These lnclude a
magnetlc power lead connector to
stop you klcklng the laptop across
the room lf you trlp over the lead,
a backllt keyboard, super-fast
802.lln networklng bullt-ln, and
gestural controls bullt lnto the
trackpad. However, Apple's refusal to
lncorporate a rlght-cllck mouse button
wlll lrrltate people used to wlndows.
SCDR:
CDN7AC7 D7AILS
AppIe, www.appIe.com/uk
AppIe, 0800 783 4846
PRIC/INFD
format: Mac OS X 10.4
price: 1,445.96 pIus VA7
SUMMARY
pros: Iast, Iight, and very powerfuI.
cons: A few tooIs are not InteI native yet.
No right-cIick button.
CDLDUR CAMU7: MACDDk PRD
SCDR:
CDN7AC7 D7AILS
DeII, www.deII.co.uk
DeII, 0870 152 4699
PRIC/INFD
format: Windows XP ProfessionaI
price: 1,598 pIus VA7
SUMMARY
pros: 7op performer in Photoshop CS3.
cons: Mediocre overaII performance.
Low-res screen. Poor graphics chip.
%FMM1SFDJTJPO.
DigitaIArts
8est8uy
CDLDUR CAMU7: PRCISIDN M65
$PMPVSTPVUQVU
CZTDSFFO
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UPIVNBOFZF
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The nw8440's blocky deslgn
fltted perfectly wlth last
summer's modernlst fad,
but lt's aged badly and now [ust looks
a blt ugly. Lrgonomlcally, lt's relatlvely
thln and llght - and comfortable to
use even on your lap. we llke lts
clear layout too - lncludlng the
lcons around the edge
of the keyboard showlng you where
the ports are, so you can qulckly plug
ln US8 keys or your headphones
wlthout movlng the nw8440 from
your lap.
As wlth Dell's Preclslon M65, the
nw8440 ls a moblle workstatlon that's
also avallable wlth a malnstream
graphlcs chlp for about 500 less
- as the nc8420. Unllke the Dell model
we looked at, the conflguratlon of the
nw8440 submltted by HP slts at the
hlgh-end of lts optlons - posslbly too
hlgh-end for many creatlves. And lt's
very prlcey lndeed.
Thls nw8440's screen has a
resolutlon of l,920-x-l,200, whlch
many people flnd hurts thelr eyes after
long perlods of use. However, you can
buy thls moblle workstatlon - and
the nc8420 - wlth a l,680-x-l,050-
resolutlon screen lf you wlsh.
Conslderlng that the hlgh-
resolutlon screen reduces performance
- especlally ln 3D appllcatlons - the
nw8400 dellvered some lmpresslve
results ln our tests. |ts real-tlme 3D
score ln Clnebench may not look as
hlgh as some rlvals at flrst glance, but
conslderlng that thls ls outputtlng at
HD resolutlon, lt's a much better score
than the slmllar score from Apple's
Mac8ook Pro at l,400-x-900.
Thls laptop's After Lffects test
tlme was also lmpresslve, only
[ust behlnd Pock's leader, and lts
Photoshop CS2 score was the fastest
- though lts Photoshop CS3 score was
dlsappolntlng.
wlth a deslgn that's
remlnlscent of Sony's valo
mlnus a few pounds, Pock's
Pegasus 665 ls sllm enough to sllp
ln a bag and run wlth. However, you
may not get too far as lt's the heavlest
of the models we've looked at here
by a few hundred grams - due to the
longer-lastlng nlne-cell battery that
Pock has provlded wlth thls model.
wlth thls lnstalled, the Pegasus 665
lasted longer on battery alone than
most of lts rlvals - though not as long
as the valo.
|n our tests, the Pegasus 665 was
the fastest overall - though we'd put
money on the Mac8ook Pro beatlng
lt when the full verslon of Creatlve
Sulte 3 shlps, as the Mac was ahead
ln the natlve Clnebench renderlng
and Photoshop CS3 beta tests. Thls
ls desplte the Pegasus 665 runnlng
wlndows vlsta, whlch none of our
test appllcatlons offlclally support.
vlsta played merry hell wlth our
real-tlme 3D tests ln Clnebench,
throwlng up obvlously erroneous
results. The lncluded GePorce Go 7600
graphlcs chlp usually provldes solld lf
medlocre performance, but lt won't
run your battery down. The 665 has
a glossy screen, but lt dldn't make as
much of a dlfference to the colour
gamut as the valo's.
The Pegasus 665 has a swltch on
the front to turn wlreless networklng
on and off - helpfully savlng battery
power - but lt lacks the lnnovatlve
swltch to turn the graphlcs chlp on-&-
off that lts predecessor, the 650, had.
Thls allowed you to rely on the bullt-ln
|ntel graphlcs adaptor for even longer
battery - albelt wlth very low 3D
graphlcs power.
we were very lmpressed wlth
the Pegasus 665 - though for the
lmmedlate future we'd recommend
runnlng wlndows XP on lt.
SCDR:
CDN7AC7 D7AILS
Rock, www.rockdirect.com
Rock, 0845 688 0501
PRIC/INFD
format: Windows Vista Home Premium
price: 1,204.43 pIus VA7
SUMMARY
pros: Iast. SIim. CIoss screen. Cood battery.
cons: Heavy. Vista causes some issues. Lack's
predecessor's innovations.
keck |eqasas
SCDR:
CDN7AC7 D7AILS
HP, www.hp.com/uk
HP, 0870 241 1485
PRIC/INFD
format: Windows XP ProfessionaI
price: 2,419 pIus VA7
SUMMARY
pros: Impressive performance. PowerfuI
graphics chip. Creat ergonomics.
cons: UgIy. Very expensive.
k| aw44
CDLDUR CAMU7: NW8440 CDLDUR CAMU7: PCASUS 665
$PMPVSTPVUQVU
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UPIVNBOFZF
$PMPVSTPVUQVU
CZTDSFFO
$PMPVSTWJTJCMF
UPIVNBOFZF
_Xi[nXi\
VISIT www.DIITRLRPTS0DLIDE.C0.Uk F0P RLL THE LRTEST PEVIEwS
_Xi[nXi\
VISIT www.DIITRLRPTS0DLIDE.C0.Uk F0P RLL THE LRTEST PEVIEwS
086
Va^d_cTbc)[P_c^_b
Sony's valo PL4lZ ls the
company's most powerful
l5-lnch laptop, but next to
the competltlon lt can look a llttle
weak - the 2GHz Core 2 Duo T7200 ls
two notches behlnd the 2.33GHz T7600
used by all of the other models we've
looked at here.
what's worse ls that thls ls the
top-rated conflguratlon of the PL4l,
of whlch you have a cholce of four.
Next to the flexlblllty offered by
most of the other vendors through
conflguratlon tools ln thelr onllne
stores, Sony's selectlon ls paltry.
There's no reason why Sony
couldn't put a T7600 lnto the PL4l,
whlch ls a soundly deslgned laptop.
|t's relatlvely sllm, llght and attractlve
- and has the best screen of the
bunch. Lven at a casual glance, the
X-black screen wlth two lamps ls more
vlbrant and seems to have more depth
than lts rlvals - and our tests wlth a
spectrophotometer conflrms thls.
|n our tests, the PL4lZ was slower
than the competltlon, whlch ls
unsurprlslng conslderlng the slower
processor. |t was a deflnlte last ln most
of our tests. Only the Mac was slower
at renderlng ln After Lffects (agaln due
to non-natlve software).
The Clnebench real-tlme 3D test
doesn't work properly under wlndows
vlsta - another unchangeable optlon
- so the PL4lZ's score can be
dlscounted. wlth a lowly GePorce
Go 7600 graphlc chlp lt was never
golng to score that hlgh, though.
|t's not [ust the processor that drags
the scores down - the slow (4,200rpm)
hard drlve hlnders lt too.
what mltlgates thls somewhat ls
the prlce. The PL4lZ ls almost l00 less
expenslve than lts nearest rlval, Pock's
Pegasus 665, and offers good value for
money - but many creatlves wlll want
to pay (and get) a blt more.
!ea Va|e V6N-|l41l
Next to the other models
we've looked at here, the
5-5005 looks llke a rlght
bargaln. |t's got the same top-of-the-
llne |ntel Core 2 Duo T7600 processor
and 2G8 of PAM as the best of the
bunch but ls between half and two-
thlrds of the cost. 8ut once you look
beyond the speclflcatlons, lt becomes
clear why you have to pay more than
l,000 for a pro creatlve laptop.
|n our tests, the 5-5005 performed
well conslderlng the prlce, but
badly conslderlng the components.
Zoostorm's laptop was behlnd all of the
other laptops wlth the T7600 chlp ln
our After Lffects, Clnebench renderlng
and Photoshop CS2 and CS3 tests. |t
was faster than the more expenslve
valo PL4lZ, whlch was slowed by lts
less powerful T7200 processor.
The maln reason for the 5-5005's
unsultablllty for creatlve pros ls lts
screen. |t's a gloss screen, but our tests
showed that lt has a smaller colour
gamut than the matte screens of lts
rlvals - and colours looked a llttle off
to our eyes. The screen also has a low
natlve resolutlon of l,200-x-800, whlch
makes uslng most ma[or creatlve
appllcatlons feel a llttle claustrophoblc
- and wlth palettes taklng up most of
the screen, there's llttle room for your
work.
we were also unlmpressed by the
battery llfe, whlch was a lot less than
the competltlon. Creatlve appllcatlons
are demandlng, and lt's not much help
lf you can only run them for less than
two hours wlthout a charge.
Other reasons to dlsregard the
5-5005 lnclude a hard drlve that's qulte
nolsy when lt's bootlng or plugglng
away at a taxlng creatlve task such
as renderlng or applylng Photoshop
fllters, and a base that gets so hot
you'd need ceramlc legs to actually
put lt on your lap.
leesterm -
SCDR:
CDN7AC7 D7AILS
7oostorm, www.zoostorm.com
PC Next Day, www.pcnextday.co.uk
PRIC/INFD
format: Windows Vista Home Premium
price: 850 pIus VA7
SUMMARY
pros: 8argain price. 7op-spec processor.
cons: Low-res screen. Short battery Iife.
Hot bottom, but not in the 1-Lo sense.
SCDR:
CDN7AC7 D7AILS
Sony, www.sony.co.uk
Sony, 08705 111 999
PRIC/INFD
format: Windows Vista Home Premium
price: 1,105.53 pIus VA7
SUMMARY
pros: Low price. Cood vaIue. Creat screen.
cons: SIower processor than rivaIs.
No higher-spec modeI avaiIabIe.
CDLDUR CAMU7: VAID VCNF41Z CDLDUR CAMU7: 55005
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AppIe Mac8ook Pro 15-inch DeII Precision M65 HP nw8440 Rock Pegasus 665 Sony Vaio VGN-I41 7oostorm 5-5005
Photoshop CS2 3mins 52s 3mins 21s 3mins 10s 3mins 32s 4mins 52s 3mins 35s
Photoshop CS3 (beta) 2mins 21s 2mins 20s 2mins 55s 3mins 1s 3mins 49s 3mins 54s
After ffects + NucIeo 18mins 22s 8mins 7s 7mins 37s 7mins 34s 9mins 18s 8mins 12s
After ffects 29mins 39s 13mins 8s 12mins 46s 12mins 12s 15mins 15s 13mins 33s
C8 HW-L 4285 (9.08x) 3194 (7.08x) 4165 (9.31x) N/A" N/A" N/A"
C8 render 726 (1.88x) 689 (1.86x) 693 (1.82x) 708 (1.86x) 641 (1.82x) 685 (1.86x)
8attery 161mins 165mins 134mins 175mins 180mins 105mins
5&45
306/%61
ModeI/Contact/Rating AppIe Mac8ook Pro 15-inch
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DeII Precision M65
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HP nw8440
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Rock, Pegasus 665
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Sony, Vaio VGN-I417
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7oostorm, 5-5005
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Price 1,445.96 pIus VA7 1,598 pIus VA7 2.419 pIus VA7 1.204.43 pIus VA7 1,105.53 pIus VA7 850 pIus VA7
OS V.c OS ` 104 \|rJc.s `| |.c|oss|cr.| \|rJc.s `| |.c|oss|cr.| \|rJc.s \|st. |cno |.on|un \|rJc.s \|st. |cno |.on|un \|rJc.s \|st. |cno
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CPU c.o 2 |uc 600 (233|.) c.o 2 |uc 600 (233|.) c.o 2 |uc 600 (233|.) c.o 2 |uc 600 (233|.) c.o 2 |uc 200 (2|.) c.o 2 |uc 600 (233|.)
RAM (standard/max) 2b/3b 2b/4b 2b/2b 2b/2b 2b/2b 2b/2b
Iront side bus 66V|. 66V|. 66V|. 66V|. 66V|. 66V|.
Screen 154|rc| 154|rc| 154|rc| 154|rc| 154|rc| 154|rc|
Aspect ratio \|Josc.oor \|Josc.oor \|Josc.oor \|Josc.oor \|Josc.oor \|Josc.oor
Coating V.tto (g|css ct|cr.|) V.tto V.tto |css |css |css
ResoIution 1,400x900 1,280x800 1,920x1,200 1,680x1,050 1,280x800 1,280x800
Graphics card A| Vc||||ty |.Jocr `1600 r\|J|. u.J.c |` 350V A| ||.o| Vc||||ty \5200 r\|J|. o|c.co c 600 |\|J|. o|c.co c 600 A| Vc||||ty |.Jocr `1600
Graphics RAM 256Vb 256Vb 512Vb 256Vb 256Vb 256Vb
Hard disk 120b/5,400.n 100b/,200.n 100b/,200.n 100b/,200.n 200b/4,200.n 160Vb/5,400.n
Hard disk type So.|.| AA So.|.| AA So.|.| AA So.|.| AA So.|.| AA So.|.| AA
OpticaI drive |\||\ (Ju.| |.yo.) |\||\ (Ju.| |.yo.) |\||\ (Ju.| |.yo.) |\||\ (Ju.| |.yo.) |\||\ (Ju.| |.yo.) |\||\ (Ju.| |.yo.)
DVD write/DL write
rewrite/DVD-RAM speed
6x/24x/4x 8x/6x/8x 8x/6x/8x/5x 8x/6x/8x/5x 8x/6x/8x/5x 8x/24x/4x/5x
Media card sIots" rcro S|/VS S|/VS S|/VS/x| VS (+ S|/x| t|.cug| .J.to.) S|/VS
Input device ..ck.J ..ck.J+c|rto. ..ck.J ..ck.J ..ck.J ..ck.J
Dimensions (W-x-D-x-H) 35x243x26nn 360x262x36nn 39x294x44nn 360x269x3nn 366x24x26nn 393x280x33nn
Weight incIuding battery 25kg 28kg 2kg 31kg 28kg 30kg
8attery Iife 5 |cu.s rct ,cutoJ 3 |cu.s t|c 3 |cu.s 23 |cu.s
thernet |g.||t |g.||t |g.||t |g.||t |g.||t 10/100
WireIess connection 80211|/g/r, b|uotcct|
20+|||
80211./|/g, b|uotcct| 80211./|/g 80211./|/g 80211./|/g, b|uotcct| 20
+|||
80211./|/g, b|uotcct| 20
+|||
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HVT0 .rcr uuu.cunon.co.uk :99 |o| 0
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040 ||kcr uuu.nlkon.co.uk :469 |o| 0
!|ls mp eatr,-|ee| 4lqlta| !|k effers a we||-ma4e |e4, aa4 wl|| appea| mere te t|ese tra4laq ap frem cempacts
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E0S4000 .rcr uuu.cunon.co.uk :595 '.r 0
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F0P RLL Y0UP BUYID RDVICE
DgtoI Rrts Buger's gude
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Euch monlh, 0lgllul Rrls revleus
more creullve producls lhun ung
olher muguzlne ln lhe UK, und
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mosl respecled ln lhe lnduslrg.
The 0lgllul Rrls Buger's Culde
provldes lhe mosl uulhorllullve
llsllng ol revleued producls ln lhe
pusl slx monlhs, lncludlng rullngs,
conlucl delulls, und u producl
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ol lhe revleu und prlces llsled do
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V|c.csc|t, ...n|c.csc|tccuk :221
Flush 8 Prolesslonul Oct 05
AJcbo, ....Jcboccuk :499
Flreuorks 8 Oct 05
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CoLlve CSZ Oct 05
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Majer apqra4e fer t|e Ue|-4eslqa
preqram wlt| aew C!!
sappert aa4 mere
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FoIIow aIong with our tutoriaIs on
pages 46-61 with the sampIe fiIes
found on this month's disc.
NeiI Duerden takes you through
techniques for creating his painterIy
styIe of mixed-media images. Use the
source images on the disc to work
step-by-step through the tutoriaI.
Learn how to use caustics Iight geI
to generate shafts of Iight penetrating
the depths of an ocean using our
fuII free Iearning edition of Vue 6
Infinite (right), as weII as the exceIIent
coSystem to rapidIy popuIate it with
aquatic creatures.
7he CD features the compIete
game engine for kempt's viraI cIassic
5IF,VOH'V4UBUFTNFO, so you can
work through the process of creating
a game in Adobe FIash.
7here's aIso both the text and
graphics for our After ffects tutoriaI
- pIus the finished A project fiIe.
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096
I=:A6I:HI8G:6I>K:G:HDJG8:H!
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j0ID THE DIITRL RPTS CPERTIVE C0HHUDITY RT www.DIITRLRPTS0DLIDE.C0.Uk
vue 6 |nflnlte PLL offers you
the chance to use all of the
new features of the pro-level
landscape-creatlon tool. |t runs under Mac
OS X l0.3/4 and wlndows 2000/XP/vlsta.
vue 6 ls the most efflclent and
advanced solutlon for creatlng, anlmatlng
and renderlng natural 3D envlronments.
|t offers a hlgh-end 3D scenery
solutlon for vPX studlos, anlmators,
lllustrators, archltects, matte palnters, and
CG professlonals. |t ls strongly focused on
power, productlvlty and lnteroperablllty
wlth exlstlng toolklts.
wlth lts lntultlve, productlon-orlented
layout, you wlll qulckly enhance your
productlon wlth rlch LcoSystems of wlnd-
swept trees and plants, spectral atmospheres
and detalled terralns ln fully anlmated scenes.
vue 6 Personal Learnlng Ldltlon ls for
personal, non-commerclal use only. Users
cannot exchange flles wlth other users. Por the
flrst 30 days, users can render flles up 800-x-
600-plxels ln slze wlthout a watermark. Larger
flles can be rendered, but wlll lnclude a small
watermark. After 30 days, all rendered flles wlll
lnclude a watermark.
vlslt XXXFPOTPGUXBSFDPN to download
manuals and sample content for the sulte.
XXXFPOTPGUXBSFDPN
Adobe's Creatlve Sulte
3 ls here, addlng a huge
array of new tools to your
creatlve arsenal - and thls month's
dlsc has a serles of vldeo tutorlals
to help you get the best from them.
Courtesy of Total Tralnlng, the
dlsc contalns the flrst chapters of
each of the company's brand-new
DvD sets - coverlng the CS3 verslons
of Dreamweaver, Plash Professlonal,
|llustrator, |nDeslgn, and Photoshop.
Learn a wlde range of technlques
from Plash's new drawlng tools to
colour correctlon ln Photoshop.
The tutorlals are created and
presented by the best tralners ln
thelr sub[ects - lncludlng 1anlne
warner, 1ohn Ulllman, Steve Samson,
Adam Pratt and Chad Perklns.
These chapters wlll lntroduce the
features added to each appllcatlon.
Por more ln-depth tutorlals of each
tool, you can purchase the full DvD
sets from as llttle as $99 (50) each.
To brlng you all of the chapters,
we've had to reduce the vldeo's slze
by half. Total Tralnlng's sets are are
presented ln full DvD resolutlon.
XXXUPUBMUSBJOJOHDPN
:i\Xk`m\Jl`k\*klkfi`Xcj
TRE FIRST CRAPTERS FR0H EACR 0F T0TAL TRAININ0'S NEW 0Y0 SETS - 0YER P.5 R00RSl
*''M=O@EK<IM@<NJ
Ths vdec ntervems the teoms behnd "'s vsuoI
e||ects |rcm PxeI Hogc ond Screomng Deoth Hcnkeg,
mhc ccntrbuted hundreds c| shcts |cr the |Im.
;FI@KFJ98>N8IJ
Brond Dem SchccI creoted 1PVFPab |cr Dcrtcs, o
dorkIg ccmedc onmoted sct |eoturng tmc tges
c| crss bottIng t cut |cr |Iovcur dcmnonce.
DFKFI9C<<G(
Ths musc vdec |cr donce oct Hctcr mos creoted 'Ive',
usng o seres c| Ightng mosks creoted n FIosh |cr on
80s |Iovcur. It's bosed cn ontngs bg Potrck DogeI.
EFNCFFBN?8KPFLM<;FE<
These tmc onmoted scts mere creoted bg Hoke os on
nternoI rcject, ccmbnng humcur mth o sercus cnt
obcut mhot Itter con dc tc noturoI envrcnments.
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Creotve3D fffWd\P]ThTbR^\
Creotve3D s o stondoIcne oIcotcn c||erng
desgncentrc tccIs |cr 3D ond IentcuIor e||ects
creotcn. The sc|tmore ncIudes o Logerng tccI |cr
turnng ong ZD cture ntc 3D, usng the InteIIgent
Brush |cr seorotng Iogers. It requres Hoc 0S X 10.4.
HoIde fffP\QTaeXbdP[R^\
HoIde gves vdec the Icck c| |Im, ond ocheves ths
ot mhot the ccmong sogs s tmce the seed c| ts
neorest ccmettcr. It shs mth o huge seIectcn c|
|Im stgIes rongng |rcm HcIIgmccd tc orthcuse. The
demc requres R|ter E||ects 5.5 cr Ioter cn wndcms.
)'_`^_$i\jjkfZbg_fkfj
S0HHER-TREHE0 R0YALTY-FREE IHA0ES F0R Y00 T0 KEEPl
Thls month Dlgltal Arts
has teamed up wlth
lStockphoto to brlng you
20 hlgh-resolutlon photos on themes
of food, seasons and nature. These
lmages are royalty-free and can be
used ln your commerclal work.
lStockphoto ls the world's fastest
growlng lndependent photography
llbrary - and features photographs,
vector |llustratlons, Plash flles, and
vldeo cllps. 8ecomlng a member ls
free - there are no subscrlptlon fees
or hldden costs.
vlslt the lStockphoto Store to
purchase download credlts when
you are ready to buy lmages. Credlts
start as low as $l each. 8uy as many
credlts as you need, they become
less expenslve when you buy ln bulk.
ou can even contrlbute and sell
your own work on the slte - see the
lStockphoto web slte for detalls.
XXXJTUPDLQIPUPDPN
098
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VISIT www.DIITRLRPTS0DLIDE.C0.Uk F0P 0UP BL0S RDD F0PUHS
?aTbT]c^]_P_Ta
There vas one oinl in your arlicle on erfecl ilching
(May 2OO7) lhal I don'l lhink can be said enough: don'l use
IoverIoinl lo resenl rinl designs! No maller hov good or
high-resolulion your ro|eclor, a roer roof on card or foam
is alvays lhe besl vay lo shov anylhing lhal's going lo finally
end u on aer.
To gel slighlly lechie for a second, your screen is al 72di
and vhen lhis is ro|ecled, il dros even furlher. Wilh roofs
you can ush lhe delail level u lo 1,2OOdi or higher. Iul
blunlly, your vork is alvays going lo look beller on aer.
So save lhe ro|eclor for resenlalions of video and
inleraclive ilches. Iorgel aboul being environmenlally-
friendly (sorry), buy a roofer or find a good rero house
and gel lhe aer oul if you vanl lo vin a clienl's favour.
-DQH%XUNH
1TccTad_VaPSTb_[TPbT
I vish lhal comanies vould focus on ugrading individual
ieces of soflvare, ralher lhan enlire suiles, so lhal all lools gel
lhe allenlion lhal lhey deserve. As a grahic designer vho uses
InDesign and Iholosho, I couldn'l care less lhal Adobe has
released nev versions of Dreamveaver and Ilash alongside my
alicalions in CS3 (revieved in May 2OO7). Whal I care aboul
is lhal lhere are enough nev lools lo |uslify ugrading.
I'm glad I'm nol like lhe Web crovd vho have one
alicalion vilh a nev inlerface and lvo vilhoul, bul I vould
have execled more from a ma|or ugrade lo lhe lools I use.
'HDQ:DONHU
CWTaT{b]^fPhc^bPh]^
I'm glad lhal your unnamed conlribuler finds il so easy lo dilch
bad clienls (Lellers, May 2OO7). If only il vere lhe same for
lhe resl of us. There are many clienls lhal I'd like lo dilch for
being rude even abusive somelimes ignoranl, bad ayers
or |usl being annoying: bul I'm nol going lo lurn dovn vork
unless I'd need some kind of lime-sloving or -lravel device lo
comlele il before lhe deadline.
You almosl never knov vhere lhe |ob afler nexl is coming
from and somelimes nol even lhe nexl one. And you never
knov vhen a ersonnel change vill lurn a bad clienl inlo a
good one (or vice versa).
The idea of raling |obs on bolh financial and emolional
revard is noble bul some of us |usl need lo ay lhe bills.
-HVVLFD)
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whIe n scme resects I ogree mth DoneI
wcI|e's Ietter (Hog Z007, cn mhg Creotve Sute 3
s bod |cr desgn os t enccuroges ncndesgners
tc use t), t dces rose scme ccncerns |cr me. DeveIcers,
esecoIIg the Ikes c| Rdcbe, need tc core|uIIg ccnsder
mhether theg deveIc ther sc|tmore |cr rcs cr evergbcdg.
There's nc dcubt thot n ths dgtoI oge, mcre ond mcre
ecIe hove occess tc tccIs thot oIIcm them tc rcduce
medo tc mhot ccuId be ccnsdered o 'medccre' stondord
bg us os desgners. But 'quckEdrtg' desgn s nct bod,
just d||erent. I| cIents cnIg need - cr con cnIg o||crd
- quckEdrtg, then thot's |ne.
ToIent s mcrtont, but voIue s tcc. I| me |octcr the
ccsts c| CS3 ntc the next |em jcbs me oII mcrk cn, then
sureIg ths dces nct dc us ong |ovcurs. It mokes cur
rc|esscn Icck Ike me just mont tc oss cn the ccsts c|
cur Iotest tcgs tc cur cIents, rother Icngterm nvestng
n deveIcng curseIves.
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1;>6
SLEEVE D0TES
RIbum ort s dgng - but
mhot's gcng tc reIoce t!
Deste Tunes gvng
gcu ortmcrk n mn |crm,
I reoIIg dc thnk there s o
generotcn go here.
Tcdog's gcuth seem
er|ectIg ccntent tc deoI
mth the musc oIcne,
nct bctherng mth such
ncetes os ockogng.
whch, n cne mog, s tc
be meIccmed os o cstve
deveIcment. Rnd n
oncther mog s hcrr|gng.
Bock mhen I mos o
tgcoI musccbsessed
teenoger, I Iuxuroted
cver sIeeve ort. Pnk
FIcgd's The woII, c| mhch
scmecne gove me on
crgnoI vngI ccg, hod
obscIuteIg nc tge cn
the sIeeve. Ths mos o
reveIotcn tc me. Dcne
- nct even the bond nome.
PEH mere oImogs gccd
voIue |cr mcneg n the
mhotdcesthscture
meon stokes. I bcught jozz
CDs |cr obstroct ontngs
cn ther sIeeves os meII os
the musc.
LttIe ortmcrk oneIs
n the Ikes c| Tunes ore
nct encugh. I dcn't kncm
mhot the ockogng c|
the |uture s gcng tc be,
but I hce t's mcre thon
ehemeroI od comogns
ond musc vdecs.
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PIeose ncte thot erscnoI ccrrescndence connct be entered ntc.
wPITE ID RDD wIDl
Ths mcnth, the stor Ietter mns o ccg c|
Ch_^VaP_WXR3TbXV])5^a\P]S2^\\d]XRPcX^]
bg Pcb Corter, Ben Dog ond PhI B Heggs.
The Fcurth Edtcn c| ths cuIor bcck
brngs the reoder utcdote mth the Iotest
deveIcments n desgnng mth tge.
Peoders con urchose ths 336oge bcck
|rcm wIeg ot TdfX[ThR^\ |cr 30.99.
o o/lcotlon sultes ugroJes
(such os AJobes Creotlve 5ulte
3} mosk o /ock of new too/s ln
ony one slng/e o/lcotlon?