Advanced Texture Character Creation

1. Introduction: Hey guys, welcome to the next part in this masterclass. My name is Abraham wheel, and throughout the series, I'm going to show you all the techniques that you need to create this amazing result. In this course, I will guide you through the radiobiology, texturing and presentation process for our care. I will be sharing free much all of the knowledge that they have gathered in my 12 years of experience. And I will share with you how to create amazing looking characters. We will start the project by doing our retail biology of our high poly acids. I will teach you how to do proper animation, topology and Popper edge flow. So we can have the most optimized and well-prepared acids. After that, we will jump into UV, we will do Bakes and we will jump into Substance Painter so they can share with you all the tricks that you can generate. Amazing. Then we'll jump back into Maya will generate some realistic here for our character and we'll prepare the post for our final render. In this course, you will learn read topology, UV, texturing, X Gen hair creation, posing, and rendering. This course is aimed at intermediate levels to this, it's the continuation of our previous course where we created the high poly character. You should be familiar with ZBrush, Maya, Photoshop, and substance matrix. We will be using Unreal Engine as well. So make sure to have all of your software is updated to the latest version and make sure to have enough free space because the textures and models that we're gonna be working with are quite heavy. If you want to increase your 3D level and become a master at character production. This is a course for joining me and learn how to create amazing looking characteristics in no time. 2. Projet Setup: Hey guys, welcome to the very first video on this new series. If you are new to this series than well, today we're going to start with the character that we left off on the previous masterclass, where we did the whole high poly count. So let me open the character here real quick so we can go over what the main goal for this one's gonna be. If you navigate to your folders, to your project folders, you're going to find this asset called virus high poly, which is the result from the last series where we did the whole character. Now, throughout this series, our main focus is going to be to convert this high poly character into a mesh that we can use inside of a game engine. So we're going to convert this 62 million points, which is like 100,120 million polygons, into something that can be used inside the form real or instead of any sort of game engine. So the first thing that we need to understand is that there are a lot of pieces to this guy. Thankfully, when we were doing the high-quality version, we did keep things organized. So we have the body, we have the legs, we have the bell, the arms. And this is pretty much like the sessions that we're gonna be working with for all of the characters. So we're going to start with, we're going to start with one of these pieces and we're gonna be doing all of them as well. The only thing that we're not going to be doing in regards to read topology is the hair. The hair right here will eventually be done with grooming, will really have a real hair working here with the character. So before we jump onto the, onto the actual rate topology process, I just wanted to give you guys a quick overview of how we're going to be separating this. There's basically three different ways in which we can do re topology here inside of our softwares, we can do topology inside of ZBrush, we can do topology inside of Maya, and we can also do read Apology inside of Blender. Now since we have users from all of those different softwares, I'm going to show you the best tools for each of those softwares. And then I'm just going to use whichever one fits the best for each specific part. However, all of the techniques that I'm gonna be showing, you are gonna be showing are applicable to all of the different softwares is just which one you are more comfortable with and which one you have more experience with. Now, before we jump into actually write, apologizing this guy, we need to understand that we can't just bring this 62 million polygons For, except for Sievers. Of course, we can bring this into Blender or into Maya. We need to follow a process known as decimation. I've talked about decimation before, but this is the first time you hear about this. The summation is you really, really, really cool thing that now exists in pretty much the entire 3D packages. Every single trait package now has some sort of decimation. But serious was probably one of the first ones to do it. This is a very old document that remember ten years ago seeing the information about this and what it does is as follows as you can see here we have this character. I think his name was DC from Gears of War. And this guy is at 5 million polygons. And what you could do or what you can do with the summation is you can bring the character all the way down to 50,000 vertices right here, while keeping most of the silhouette intact. As you can see, we look at the thumbnail. It's not the details, but the thumbnails right here. They're pretty much indistinguishable from one or the other. And this is perfect for re topology purposes because we can work with a really low poly mesh and then later on bake all of this high poly detail HR characters. So the way this emission works is really relieved. I'm going to show you real quick with the ax head right here. It's just going to clone this to work in a different file over here. And the way this works is as follows. You go to see plug-in, you go to decimation master and you hit preprocess current, what this will do is it will analyze at the surface of the object that you want to decimate and they will prepare it for the decimation process. You always need to decimate your object or to preprocess your object before you do anything. I'm just going to click here to rotate from there. You can see right now we have 882,000 points, almost 1 million points, which would be almost 2 million polygons if we bring this into Blender or Maya. Now that this has been preprocessed here on the C plug-in, we can actually go down here to the decimation and we can incite the percentage of the summation that we want for baking purposes when we're gonna be breaking down the details, a 20 per cent, as you mentioned, is really, really good. If I hit decimate current, you can see we go down to 176,000 Pauli's or points. And you can see we barely lose any detail. Leg is pretty much indistinguishable where the detail was lost. So this is perfect to bring, for instance, into Substance Painter for the normal map baking and for all of the different processes that we're going to do once we get into textures. However, for a tree topology purposes, it's still a little bit too high. So I'm going to press Control Z to go back to 800, 1,000 points. And we're gonna go see plug-in. I'm going to decimate dislike really low, like a 2%, I'm going to hit decimate current. As you can see now it's a little bit more noticeable. You can see all of the triangles. When you see it from afar, it's pretty much still the same thing, but when you get closer, It's definitely like a lot rougher, right? However, the edge or the silhouette of the object, it's pretty much the same. You can see when I press control C, there. You don't change anything. And again, if I show you this too, It's very difficult unless you have like a full HD screen, it's very difficult to notice the difference, but this one is way, way, way more easy to work with instead of Blender or Maya for the typology things because it has way, way less points. You can see the difference in points. This is 17,000 points and this has 882,000 points. So you can see that even though we do lose quite a bit of detail, we keep pretty much all of the other important things that we want. Now, one of the problems though, is we have 77 points right here on our character. And it would be a really, really long time for me to go through each one of them and decimated so that we have a workable, a surface. Thankfully, we don't have to do that. There is a very cool shortcut instead of the decimation or master plugin that we can use. As you can see right here where it says C plug-in, you can actually preprocessed all of your sub tools at the same time. Which what's it gonna do is it's going to go to each individual software and it's going to create a cache like a file that you're not gonna be able to access, where it's going to save all of that information. However, there's a couple of important things and I wanted to include this in the first video because this is one of the things that people quite often forget. First of all, you need to make sure that all of the objects that you are I'm remeshing or decimating have a unique name. You cannot have anything named like P surface one and then pin surface one again, like in a different folder, every single object has to be its own name. And as you can see, all of these guys follow that specific approach. All of these guys have the exact same naming convention that we want. So once I have that, you can go to, again, see plug-in preprocessed all it's going to take a little bit of time. It's not super fast. It's going to take some time. And once you do that, you can set the percentage of this image. And I think I set mine to five per cent. And then you can hit the decimate all to just go through all of the different subjects and create the decimation version. And I actually do have the decimation version right here. As you can see, even the size is like ten times smaller. There you go. This, as you can see, only has 3.4 million points for everything compared to the 62 minimum points. So we were able to go quite, quite, quite, quite low. We can go, for instance, to this little stone, only 8,000 points. So this is perfect. This is perfect because Maya doesn't really have an issue near the splendor when working with the millions of polygons, It's when you have one single object that has millions of polygons. That's when you get into intuitions. But if you have like multiple objects and all of them combined create a multimillion character. That's perfectly fine. Now that we have this, we can actually export this into, into Maya, right? So over here you have a couple of options. You can have this one, for instance, export, all sub tools with go See, I don't usually like to use Goal Seek, go seize this add-on. It's more like a plugin that connects it to Maya. Or you can just go to C plug-in. And there's one called FBX export import. And you can select FBX export import. You can do visible so that all of the visible top soils are exported. X vx 2020 is fine. You can click here if you want a different version, but 2020 should be perfectly fine. Let me go back there. We go. Beneath file. Like all of these things are perfectly fine. You definitely do want to smooth normal so you don't get any weird like a behavior and you just hit Export. Once we could do that, we can go here to our assets. And as you can see, one of the things that I did, and I'm going to talk about this on the next video. When you go inside of Maya, you can create a new project. I suspect most of you already know how to do this, but let me just very quickly do it for you guys in case some of you are new to the Maya environment. But instead of Maya, when you create a new project, it actually creates all of these assets for you, all of these folders that you're seeing right here. What I can do here is I can go to Assets. We can create a couple of folders. I created decimated meshes, bake. This either made admissions read topo, and reach apologize. Measures is three folders I created myself. Here on this you made that measures is where I'm going to export. I'm going to call this thyroids for character. I'm just going to hit as safe. As you can see. Right now, my eyes are blocking this, but everything should have been exported in here instead of my out where you create the break is over here File project window. You create a new project, you decide where you want to have it. And after you do that, you're going to have all of the necessary folders that you normally have for this sort of stuff. Very important every time you are going to start working on the project, you need to go set project, and you need to go to the product that you're using. So in this case, I'm gonna go to Character textures, virus character. I'm going to set the price. Why? Because when I hit Control 0, for instance, which is open, it will automatically go to whatever the product that they set S is currently selected. So if I go to Assets, I can go and import things. For instance, I can go File Import. And if I go to the Assets folder right here, you can see the same once we have the thyroid full character I think can hit Import. If everything works as intended. In just a few seconds, I should have here inside of my scene, the decimated character, it's going to be quite a bit like what 6 million polygons probably gonna be, should be divided into all of the different 77 parts that we have for the character. So yeah, there we go, the characters right here we got an error, but I didn't see anything wrong with the character. So that tells me that the wear on a good position and we're ready to start with the right topology process. So the next couple of videos, I'm going to start talking about the right topology tools and every topology principals that we need to follow when we're working here inside of, inside of Maya, I can definitely see a couple of pieces like this guy is right here that are not like we're not decimated properly. And the reason why these guys were not decimated properly is because they weren't really low poly, but we can very easily recreate them or just export the high poly version, which is not a high-quality version. But yeah, that's fine. Like those little pieces, that's perfectly fine. Sometimes it's a lot easier to just rebuild a couple of elements after, after you're at this stage of the character process. So, yeah, that's it for this one guys, I'm going to stop the video right here. And in the next one we're going to talk about the real-world scale and some of the rate of biology principles. So hang on tight and I'll see you back on the next one. Bye bye. 3. Retopology Process in Maya: Hey guys, welcome back to the next part of our series. Today we're going to take a look at the topology process inside of Maya. And we finally have our character right here where there's a couple of things that we need to adjust before we can start working on the actual character. First of all, we need to understand that there is something called a real-world scale. It's a concept that I mentioned frequently, which is the size at which objects are created inside the for 3D world. Right now, if I'm here inside of Maya and I create a cube, this cube is going to be released. Small cube. By default, this cube is 1 cm, which means that this character is only like six or 7 cm high. And that's not usually what we would expect for a character like this. So one of the things that we're going to have to do is we're going to have to scale this character to real-world scale, but there's a small little problem. And that's the fact that if we scale this guy and we create the right topology, if we then export the other meshes, this case right here at a higher density so that we get more detailed in our bakes. We're going to lose the detail because they're not going to match anymore. So you have two options. The first option is to go back to ZBrush here, if we go to C Plugging, there's one option called the scale master, and we can set the skills to a different measurement right now, as I mentioned, this thing is set up to 1 cm, 1 mm. So if we change this to ten right here, so C plug-in and we change the scales to centimeters, and we export a centimeters. This should give us ten times the size, right? So I'm going to again see plug-in sets in scale. You can also get some options right here where it tells you what's the skill should be. There's no closest option right here. Actually, let me go to the character. There we go. So if we take a look at the character, he should be like probably like three-foot, right? So if I go to see plug-in and we go set scene scale, we should get some options like this guy right here, this 4 ft, 3 ft and one feet. This is probably the closest size of the cache, so I'm going to set that one right there is going to change a couple of things. So this is why I only do this at this stage of the process. That you can also do this manually by scaling inside of Maya. And then if we export again, if we go File Export, Let's export again as our thyroids full character and hit save. We go back to Maya. Let's start a new scene, not going to save this one. And if we import it back, this new full character, what I'm expecting to see now is that the size of the character is going to be way, way bigger. And the reason why the character being bigger is good for us is because the tools that we're gonna be using, such as the quadrat tool, will work better when the polygons are really big. When they're really small, they're there, they start snapping and creating some, some weird effects. Okay, if it's not working for some reason that's really weird. I'm pretty sure we should have our latest finishing. It was already done. Give me 1 s my bad. It was still exporting and that's why we got that issue right there. So there we go. Now, as you can see, this is the closer size. It's a little bit big, but it's definitely better than what we had before. I'm going to grab all of the objects here on the outliner. I'm going to press Control G, and I'm going to call this HP meshes because there are the high polygon meshes. And then one thing I usually like to work with the floor being on the bottom part of the character. So I'm going to grab the, the measure theory, that group right here. I'm going to press the V and V to move this. I'm going to move this all the way down. And then I'm going to press X to snap this to the floor. That should allow me to snap the group to the floor. And that way our character is above the floor. This is very important that we did change a couple of things here on the group, especially the distance. This is a distance that we're going to have to save later on to know how to displace the high poly mesh that we're going to be exporting eventually. As you can see, we have some measures that are not working. I'm gonna, I'm gonna delete them because then I'm going to forget about those. But I'm just going to keep a mental note that those pieces, we're probably going to be like rebuilt or something here inside of Maya. Now that we have this, we can go and talk about the main tools that we're gonna be using them for that I actually want to use this color right here. I'm gonna go to the high poly meshes. I'm going to select all of them. I'm going to press H to hide them. Then we can look for one of this. We have all of these options right here, and we can look for this call, which should be right here is called jaw. Let's go for scroll top. There we go. I'm going press H again. That way we can just work with one of the measures without having to worry too much about. So the 3D typology process, which is press the number of people liked but super-important than the production pipeline needs or invites us to create a new, a new scheme for this mesh that we'll have way better polygon distribution, which will give us a way better animation deformation, and which would of course, reduce the amount of polygons that we have inside of Maya. It's super simple to the rate of biology. Just need to click the object that you want to reach. Apologize. Go up here and click this option, this little magnet thing that makes it live. And the ones this is live, we can go to this option right here, which is Aquadro tool. You can also find your quadrat tool during your modeling section on the mesh tools, and it's called the Quadro tool right here, quadrant. So the way the quadro tool works, and actually before I move on, let me just turn on a little shortcut thing. There we go. So the way the quadrat tool works is it's actually very simple. You only click on the object that is a live surface and you will be creating points. And then if you have four points and you go shift and you create, or you click inside of those four points, you're going to create a new polygon, which is the worst thing right here. And then you can create two more points. This already counters points even if they're not green, just press shift and you're going to draw a new poly count. And that way you can just keep adding and modifying, creating the new topology for your object. This is, this is the way we're gonna be working and this is the way it works for our characters. However, there's a couple of like again, golden rules that I would like to share with you in regards to read topology. The topology is one of those things that a lot of people, they don't like to think about it because they feel like it's a waste of time. Sometimes they feel like there are automatic tools and we will talk about the automatic tools. But I wanted to give you a glimpse of why automatic tools might not be the best tick, tick, tick. This is called as an example if we go here and to see where some of you might be like, Well we have C remeasure. We've used that before tomorrow, something. So why not just use it for the every typology? Well, one of the problems of zero measure is that yes, it will rebuild our surface. It will create a new surface, but it won't be as optimized as well. We can get a manually and it will also sometimes create a things such as the spirals, or it will just soften things a little bit too much. You can see how the silhouette of the character god-like, really, really reduced. Another thing that I don't like about this sort of like automatic tools is that they will sometimes give you way more topology in areas that you don't need. For instance, we don't need all of these points right here. This section right here could easily be handled with 12 or 20 polygons. And look how many we have here. So manually topology as of today, as I said at the time of this recording, is still probably the best way to go when performance is important. As sort of like general rule of thumb, if you're gonna be a, a prop artist or a character artist, you always want to be as performance efficient as possible. So one of the first rules or one of the first guidelines that I would like you guys to follow his whenever we're doing any topology, you should always want to keep a center line. This guy right here is aligned to the y-axis or the x-axis. If we go to a top view, you're going to see, There we go. You're going to see that we're down the middle, exactly down the middle. So that's great because we can, we can make sure that we have a middle line and then we just mirror it to the other side and we save ourselves quite a bit of work. So we always want to keep a middle line. We should always try to keep a middle line that goes all throughout the character. This is for two reasons. First of all, UVs are going to be way, way, easier if we do it that way. And second of all, it's less work, right? Because we only have to do one side and then we duplicate to the other side. The second rule of thumb when doing the topology is you want to keep things as simple as possible for as long as possible, and then you start adding more complexity. What do I mean by this? Take a look at this section right here. It's very complex forms, very complex changes in silhouette. If I tried to just start adding a lot of little squares and stuff, I'm gonna get the really dense mesh and that's not really the ideal thing I need to think about how this thing is flowing. Topology at the end of the day is the flow of the polygons. And I know, for instance, that this thing wants to float down here. So I'm going to add one triangle that flows down here like this. I also know that this thing wants to flow this way. Well, we can add one line right there with control to add one section. And that tells me that this thing is going to flow like this. And as you can see, we've now pretty much created a loop around the nose, which is going to be important. Then on this side, I can see that this thing right here wants to flow towards the direction of the zygomatic arc like this, right? We start adding, it's kinda like sketching. We start sketching the topology in this way. Over here, I can add one line and you can see how this thing flows to this other side. On this eye right here, I can see that this element right here wants to flow in this direction. So this will be like the, like the general sketch or the general direction of our skull. And there we go. We've created another loop over here. We can create a closed loop over here, which is where we're going to do shortly. But this is how we plan out there, how we think about our topology. Same thing for this horn right here. Like I know it's very evident to me that this horn right here is he's sort of like circular or mesh. So eventually I would expect to have some sort of like circular base for this whole thing, like this, right? And then this thing keeps going up. So that's the second rule. You want to try to make sure that the topology flows in the way that it makes the most sense on the eye. Here, for instance, we can create something called a loop. This like squares are probably goes right here, are very stressed, are really stretched out and they're not really conforming to the surface as much. But if we add one more line, you can see the weekend more geometry, more resolution. And that allows us to follow those lines a little bit better. Then from here, for instance, we can create a small little circular loop. Loops for loops are super important because especially for further information later on when we see the face of the character, they will allow us to create a closed loop. Morphs and contracts and the forms in a very clean and nice way. You can see how this creates the hole like isochore very easily. We can do it a second one, like a second circle right here if we need to. So I'm just going to keep going. It's kinda like extruding, we're extruding this edges in and creating a circle. And then on this final part, remember how I mentioned on the ZBrush version that we didn't need as many polygons since this is a part of this really flat. And now that's important, we can just start closing things like we can say, okay, I'm gonna close like they're, like they're there and they're looking at that six faces and see how much area we cover here. You can press shift. Shift is a great tool to smooth things out and to help the geometry relax a little bit more. And that way we can create this section right here. So take a look and compare this topology that we created right here to this typology that we have right here. Now, does this means that we can't use this one now of course we could use it with this very heavy. Imagine that we have 100 characters on the screen on our game, and all of them have this level of detail. Some blank game engines for game consoles will not be able to handle it. So that's why, again, like doing this sort of optimization is really, really, really important. Here. We can keep going like this at one more line right there. And this is the second or I think it will be the third rule of thumb. You never want to work with small aquatic when you don't need to. Because the small quads tend to be very time-consuming. So instead of drawing each individual section, you can start with the v6 sections that what we're doing right here. And then where we see we need more resolution or more geometry, we will add that geometry. So for instance here I can see that we could benefit from having a little bit of a break so that we can start moving these pieces down into this like under section of the elements. This line right here kinda, wanna goes this side. And then we can finish like this. Okay, So another look, little square right there. That's fine. And then we'll just keep going trying to keep things straight. It's another one of the things that it's helpful for the, for the overall topology of our character. So we can go all the way over here, here, here. And we're going to start seeing some other tricks in just a second. There we go. As you can see, where we're building our element. Now, for the nose, for instance, on this section, which can be a little bit tricky. We're also going to look very similar to what we did on the ice. We're going to create this model loop, that a close loop. Hopefully you can visualize how when we mirror this to the other side is going to be a loop that follows along. So we do this right here. Here you can see that these two lines are really close together. You never want to have elements being really close. That's why they're relaxed. Function is really important. And we still follow one of the first rules, which was the middle section, right? Like we want to have a central line because that's the line that we're gonna be using to mirror the object to the other side. We do there. Or that let's another little like extrusion there. If we need one more line, that's fine. And then here that's a square. This is camera basis. So that's why I'm moving my camera around to find it. There we go. We have a little triangle. We're going to talk about triangles a little bit more extensively in, in other parts of the, of the metabolic process. But triangles are not bad. We just need to know where and how to use them to get the best result. So that's it, as you can see right here. This is pretty much the basics of the metabolic process. Now I'm going to show you one very cool little trick that we're going to be used. Because as you can see, this is quite low poly, it looks like a PlayStation one or gain Cuba sort of resolution. And nowadays we're actually allowed to have way, way, way more resolution in our engines that what we have right here. So what I'm gonna do is I'm going to go to the right view. I'm going to select all of this central vertex, all of these guys right here. Very careful not to select ones that I don't need. All of these guys. I'm going to press, I'm going to remove this thing, press R and scale this and snap them to the center line. Then what we can do is we can press Shift, right-click mirror, and we're going to be on the negative axis with the world. We're going to combine with the original. We're going to use a threshold of 0.001. So the only the vertices that are close to each other merch and we're going to hit apply. And if we did this properly, we're going to get this. So again, as I mentioned, this looks okay, but it's a little bit low poly, right? That it's not the highest PolyGram data we can have. Here's the trick. Instead of having to work with a really high resolution. Well, we can do, let's bring this back in July surface is we can work with low-resolution like this, which as you can see, it's only 400 triangles so far, only 400 triangles so far. And then we can say Mesh and smooth. This is gonna give us four times the amount of triangles are also getting some ambulances soon. Unfortunately, think about Maya. For some reason, the mirror, a function sometimes creates some angles, which is delete those vertices. So again, mesh and we smooth and that we jumped from 400 to almost 1,800, right? Which is quite a bit still not as much as what we have right here. Remember this is almost 24 or 22,000. I'm like polygons, but this quite a bit of a resolution. And here's the magic trick. If this skull is set to a live surface, we can grab this new software or soften or smoother version. And we can say mesh conform with a 0.001 along normals and hit apply. And what this will do, as you're about to see, look at this. It conforms to the surface, way closer to what we have and we get something that's a lot closer to what we would normally expect on the AAA game nowadays. So, yeah, this is it. Now, you can still reduce the amount of polygons because at any point they can be like, hey, you know what, maybe this loop right here, the, this lobe right here, we don't need it as much because it's not as bad as what? We just press Control and delete on our keyboard. As you can see, we don't lose any of the silhouette, and we just reduce the amount of polygons. Same for the Lions right here. Like I can see we have quite a bit of like central lines, like all of these guys, Control, Delete. We don't lose as much detail and we're creating something that's sometimes referred to this as LEDs, which are the level of details. But this is the trick that we're going to be following. We're gonna be doing a very low poly version of our element as low as we can get it, which in this case is something like this. Then once we're finished with the low poly version, we're going to smooth it together way more resolution where needed. So in the next couple of videos, guys, I'm going to finish this. This is called to again, keep hammering some of the concepts that we're gonna be looking at in regards to re topology. And then we're going to jump onto, onto C version on to Blender to show you some of the techniques that we can have therefore, for every topology. Before we jump to the next chapters where we're actually going to be focusing on a specific part of the character. So hang on tight and I'll see you back on the next video. Bye-bye. 4. Maya Auto Remesher: Hey guys, welcome back to the next part of our series. Today we're going to talk about the Maya outer remeasure, which as I know in the last video, I mentioned that the automatic remeshing is not the best idea. And again, it's usually not going to give you the best result, but it can definitely speed up certain parts of the process, especially for parts like this or for assets like this, where topology can be a little bit tricky. So what I'm gonna do here is I'm going to duplicate this object. I'm going to Shift P to get it out of the main section. I'm going to hide the original ones so that we don't mess with it. I'm gonna grab this guy and let's hide this other one that reach, apologize one, I'm going to grab this one. And Maya now has an interesting Rita apologize tool, which it intends to be this sort of like easy way out of the topology process to just to save a lot of time. One of the things that I do like about this one, I'm going to remove this, keep original so that we don't keep it. We're just going to destroy this one. To get the new rate typology one, I am going to try to preserve the hard edges. Let's see. Well, let's start with that one. First. Let me reset the settings. There we go. This is the basic settings. So as you can see by default, it tries to go to a specific type of target, which in this case is 1,000 polygons. I don t think that thousands enough for this one. So I'm gonna go to 3,000 polygons. This means that for this technique we're not going to be using this mode option because that's gonna give us, it gives us double that amount and we don't want that. Or we can try to like 1,500, something like this. Now, tolerance is the tolerance within that specific margin. So he can go 150 faces up or down depending on if it needs it or not. And that's it. We'll just hit Apply. Wait for this to finish and look at this. We get this interesting effect. The problem with this, as you can probably see, is first of all, symmetry is non-existent. We don't have any symmetry. All of these things right here, like the topology is flowing everywhere. And one of the things that I hate about this is that we get some things are called spirals. There we go. Look at that, this line that you're seeing right here. This is called a spiral. And the problem with this spiral is that we get this really weird looking effect. Now, this doesn't mean that the tool doesn't work. It just, it works, but not for all of the things that we might think. For instance, we have the handle right here, right? Very simple handle is just a cylinder. When we, There we go. When we're doing this is just a cylinder that has a little bit of curvature. Well, this is a perfect target for that sort of thing because yes, of course we could grab the quadrat tool and draw the cylinders and stuff. But since this is such a simple shape, It's a lot easier to just go mesh. We go reach, apologize. In this case, we do want to keep the original. And I don't even think we need 50,000 firms. Probably something like 600 faces should be more than enough. And then we hit Apply. And we wait, look at this. We get this very nice like cylindrical looking thing. And as long as we don't get any spirals, which in this case we don't. This is perfectly fine, perfectly, perfectly fine. And if we compare it again, There we go. It the heights if for some reason is moving up, it's because of the transformations is bringing this back down. You can see this is going to perfectly, perfectly match what we have right here. And we could even use a conform if we select this guy and then select the low ball, you can say mesh. We can conform is going to give us an even closer match to the whole thing. So this handle right here, this is perfect. This is done. And again, if at any point and need to reduce the amount of polygons, very easy trick is to just in this case, the vertical axis. We just skip one and select one edge loop like this. All this guys, we select them. Now, this works because again, this object is not going to deform. It's always gonna be a solid like a wooden stick, right? If this object was going to the forum band or something like that, then we didn't need to be a little bit more aware of the topology for this particular one. Not really. So we'll just delete that and we just went from 800 faces to 688. So this is perfectly fine and I could even reduce some of these lines right here. I don't wanna do it right now because it's going to create a little bit of a mess. But you can see how the automatic typology process could potentially be really, really useful for things like this. What are the things that you might be seeing here is, Hey, what happened to the color, whether should look green. Green is Maya's way to display that you have an issue with your topology. And the way to fix that, it's very easy to just go right-click, assign existing material and you assign the Lambert one. Now see how all of these guys have so many materials. That's because for some reason, when we brought in all of the elements, either assign one material to each element. That's something that I definitely do not want. So let me show you how to fix that real quick. We're gonna go to the hyper shade over here. You can see all of these materials right here. I'm just going to look for Lambert one, which is the basic like mine material should be alphabetical. So t. Where is it? There we go, number one. So I'm going to select all of the objects, right-click the little sphere and just say assign initial shading group to selection. Now, all of the elements, as you can see right there, Let's select this one. And so they'll have the same basic material. And then I can go to edit, delete unused nodes. And that's going to delete all of the materials that we don't need. As you can see, we only have the lumber one that's also going to have or make the software a little bit faster because it doesn't have to think about all of those materials. We just think about what we have right here. So yeah, that's it guys. So as you can see right here, this other x handle that we have over here, though, the reach, apologize one, that's perfectly fine. That's an excellent handle that we can use. Even like if I want it to be even extra precise, you can see that the inner side of the handle is not, it's not there, we don't see it. So the best thing we can do there, select this face is delete them and then delete this cap. That's going to save us a little bit of geometry and a little bit of texture space, which both of them are really, really important. I can also see the same thing happening up here. So we just, let's see, Okay, we don't have that. That's the spiral. The reason why I can select that it's probably because it's a spiral. So we'll just select this guy right here, delete those guys right there and delete. And this is pretty much just a cylinder with a couple of divisions. And we get this. Even if we needed to simplify this more. Again, we could go to one of each individual lines right here, like this. Skip one and then select the next one. And we can do Control Delete. This is gonna give us a super low polymers. There's only 272 points. I don't think we need to go that low. I think this is perfectly fine. Assign, we assigned a Lambert material and there we go. Now, one of the things, since that one is ready, like we're not going to have to redo it or anything. What I'm gonna do is I'm going to Shift P to get it out of the out of the center right there. I'm going to change his name. I'm going to call this ax handle underscore low because it's gonna be my low poly. I'm going to Control G to create a group. And this group is going to be called a thyrsus retail pathologized meshes. There we go. So, yeah, let's go for another piece like this guys right here, which again, we could like manual and reach. Apologize, but let's give it a try and see how the rate apologize tool works. Not great. Seem like one of the problems with this one is it softens things a little bit too much. And this is one of the reasons why a lot of automatic tools are not great, neither inside of Maya or inside of ZBrush Blender. So just be careful. You can use them. They're not wrong or bad. Sometimes when you're in a hurry, It's perfectly fine to use them. But be careful with those like Rita biology tools because as you just saw there, they can create some issues where things don't look exactly as you might expect. Um, and yeah, that's that's pretty much it for this one, guys. I'm going to, I'm going to now move on to finishing this guy on the next video. We're going to go traditionally with this guy. So I'm just going to like surface that. Let's, let's hide everything again. Grab everything here, and hit H to hide it. And then we can grab again the skull top and on high. That's why we can see it. There we go. Very important to save. As you can see, I have this ring topology main file. I'm just going to save it there. And one of the best advice that I give my students is to always do increment and save it. So File Increment and Save so that you have backups of your files. Because one of the worst things that can happen is when your file gets corrupted and you need to start over. So from here, yeah, we're just going to continue with discovery typology. And once we finished this piece, we're going to jump into Blender. And I'm going to show you the tools that we have in settled planner because I know some people are more accustomed to the blender workflow. And it actually has some really, really powerful like what's the word rate topology tools. I even recommend my students that use Maya to jump into Blender for the, for some parts of the tree topology process because it's really, really fast for some things. So, yeah, that's it for this one, guys. Hang on tight and I'll see you back on the next one. Bye bye. 5. Skull Retopology: Very well. So let's now continue with the topology of the skull. Now that we have this, this guy, again, just to keep things clean, let's just hide the, the group with h. And I'm going to jump here, select this guy, make a light surface and now select my low poly. And some people like to work with the symmetry. We can do that. We can do symmetry world as Z because its front and back. And now, if I start drawing over here, as you can see, it's also going to draw over here. It's perfectly fine. Some computers struggle a little bit depending on the amount of memory you have and stuff. But if you wanna do it, that's perfectly fine. So for instance here, again, very important and we want to have a middle section. So I'm going to click here and create a male's sexual, write this way. One of the things that we're going to do though, is we're going to start moving some of these lines because one of the other like golden rules is we want to balance out the area or the distance that each section is covering. You don't want to have two edges like being really close together and then other edges v, like really pushed apart. Now, here's where things get a little bit interesting. So the problem with this piece right here is that if we just keep moving the edges up, we're going to eventually have a really tiny section that's gonna be fulfilled with a lot of divisions and that's not usually what we want. So a very common technique that we follow here is, again, first of all, we want to keep our middle line in the middle nine, you guys? I mean, it should be pretty obvious. Why is this important? It's important because when we mirrored the object, we want to make sure that things are perfectly, perfectly mirror. So here I'm just creating this middle line. We're going to continue to the other, to the other side. Like this. This, and there we go. You can see that by itself, it already is kind of like telling us like, Hey, we're going to need some triangles. Like if you want to create or keep this form, we're probably going to need some triangles now there's many, as I can see right here, it's only, it's only going to be one. But this triangle is a perfect way to exemplify why they are so important triangles or so, so pivotal to the whole tree topology process because they allow us to control the flow of the topology. So as you can see here, instead of having, I think it was like eight sections going all the way up. We just keep having or we just have four at the very top of the very peak. And we'll still keep our central language is going to be super-important for the rest of the process. I'm just going to keep with the central line. So I've mentioned the last minutes. It's super, super important, so I'm just going to keep going. One very easy way to do that is just create a one-point in the center, one point to the side, and just keep drawing. Again, we start with big shapes. Don't try to go with small shapes because it's going to take you forever. We start with very, very vague shapes first. And once we're happy with how this is going, we're going to start adding more details. I'm going to leave the teeth at the very end because those are going to be a little bit more tricky to do. And now when I talk about again, edge control or edge flow control in other sections. So for instance, right here, this face right here, needs us to go to all these different sections. But we don't want to, like add one more line here because as you can see, if we add one more line here, it goes all the way to the other side. So how can we add one line here without going everywhere else? And the answer is by deleting this phase. If we delete that face and we have one line right here, we're going to be able to create two section lines right here, which are going to be useful for the edge control on this side. And over here, again, we just have triangle's small little triangle there on the border. It shouldn't affect us as much, especially for this object that's not going to deform and it will allow us to build this section right here. Again, we don't want to go for super big squares. Oh my God, sorry. I'm gonna go for super big squares because we are going to be smoothing this guy. And we're gonna be using the conform option to, to get more resolution. So big squares first and then later on if we need more shapes, we're going to add them. Okay, so something like that. Now, here's something really funny happens as you can see, again, we're creating a loop. These loops are one of my favorite things to do when, when do every typology. Because again, they allow us to control the root topology or the topology in a very clean way. So this little horn right here, it's circular. We want to have a circular base to the horn. That's why we created this little loop. Or we're going to create this look right here on the base, which is coming from all of this other like a meshes that we have or here. And by doing this, now that we have a little loop. And that loop is super important because once we get into UVs, it's going to allow us to cut the UVs in a really fast and easy way. I'm going to start adding some loose right here and here again. I know sounds, it's going to sound a little bit weird when I'm about to say, but once you do enough free topology D, D mesh, it can talk to you in and it tells you how it needs to, to be distributed to get the best results. That's why I know that right here. A triangle is gonna be our best bet. Same thing here. Like I know that that triangle right there, it's perfectly fine and it helps us with the whole control of the topology. So we just keep going here. Keep going here, here, and there we go. I know I have enough resolution, so I'm just going to press Shift to smooth things out. And now for the little thing right here at the point of the horn, we need to decide do we want the spiky point or do we want a round point? And as you can see, this is kinda round. So that pretty much tells me that by utilizing the same sort of like topology that we have right here. A round point might be a little bit better. Yes, it's a little bit too much geometry or it here. But you can see that's a square and that's a square. And when we smooth this out, it gives us a really nice, really nice distribution. We're still going to smooth this. We're gonna give the shape and overall smooth. And that's going to help me cover or captured that silhouette a little bit better. We'll look at that. The horn is ready. On this side, we have this interesting loop again, let's really quickly sketch the geometry. So I'm imagining this thing like moves on this direction right here. And again, the topology is already telling me, hey, like this, points are really close. Just combine them, that's fine. Same thing here, triangle, no problem. We can use that. Over here. There's like, okay, we have two lines here and just one line here. Well, we can just add one more. And that way we save ourselves a little bit of headaches and we just keep going like that. You can see that here we're not capturing the silhouette as much. Don't worry, when we smooth this, we're going to have more resolution here and that should be enough to cover that specific area. But if you want to be super precise about that, we can just add one line right there like that. And deadlines, it's going to allow me to push this thing in there. However, again, I don t think this is the best option because when we smooth this, then this thing is going to become very, very dense and that could potentially cause some other issues. So I think this guy right there should be more than enough. Down here, here, here, there we go. Same thing here. Just don t think about this 123.4 and that's it. Same thing here, 1234, especially if it's an area that you're not going to see as much. So all of this back section of the skull, even though we did sculpt quite a bit of detail. Just don't, don't overthink it. Just go for the simple, most efficient way to do this and that's, that's gonna be good. Again, over here, we might need to do some corrections for the rit biology, but should be fairly, fairly. Over here. I'm just gonna start moving some points. So we can connect this here. Now I can see that another point might be good so that we can have a triangle or just have a triangle right there. Look at that. Again. This is gonna be smooth it and then we're gonna capture it with the conform over here. And this whole thing, it is a good idea to have a loop going down into the hole. So we can do something like this. And like this. And the one thing that we want to avoid this is very important and it can happen even to the best of us. We don't want spirals, spirals keel the flow of the topology because they, they just keep going, they never end. So we gotta be very careful about spirals. If this happens to you when you can't really like, put the phase where you want to. You can also use the tab key to extrude an edge and then just move it around. That's another great tool if you're having issues because the whole topology processes camera base. So sometimes the angle at which the camera is trying to find the points is not the best. And that's where that one, that tool works very nicely. Now here, for instance, we start getting into the first set of problems. Like we have a lot of resolution here, a lot of points, and we don't have as many points right here. Do we want to add one point that goes all the way across? It's not really going to hurt us, but it might not be the option, for instance here, I don't really want to add one more point or one more line going all the way over here. So we need to find a way to, to modify the topology. One very easy trick is the following, which would lead one phase. And then you just fill it with a triangle right there. Okay, So that gives us an extra point right there. Without really having to go all the way to the top or around the object. Just merge that one right there. Perfect. And again, careful here with the spirals because this is, this is like a territory first part of the sooner it like this, this phase right here, it's a little bit too stretched out. So I'm just going to add one more line because we're definitely going to need more resolution here for that particular detail. Okay. I wanted to start with this skull section because it's one of those things that it's relatively organic so that we can practice and understand the flow of the topology. But I'm not being asked careful as to how we're going to be once we go into the body of the character, the body of the character is gonna be really important. Because not only do we need to follow all the rules that we've been talking about? But we also need to take into account that, that character is going to be rigged animated. So the deformation, how we, how we set everything up, it's gonna be really, really important. Now as you can see, the topology process does take a while. It's one of those like very time-consuming parts of the production pipeline. Again, the more you do it, the faster you're going to get. It's not as interesting. So I'm not going to be able to share. A lot of interesting bits are techniques we are going to have, of course, like certain parts that are gonna be a little bit trickier than others. I'm going to show you how I would solve them, but I'm going to use the time when we jump into the next chapters to also talk about like character story and character development. So you're gonna see me just like placing points and creating the loops and the flow of the elements while talking about the character, character story and character development so that we can fill in this time and have a good time. You can see a little triangle there for instance. Then we just fill this, this I don't love. This is one of the things that a lot of people sometimes do. And you kinda like the topology is something that lends itself to doing this, but it's not a good idea. The reason why it's not a good idea is because it removes the sharpness of the lines, right? So in this case, it's better to just have another triangle over here. And even here, while still keeping this like sharp line going through the border of the skull. We're almost done with this first section, so I'm just going to keep going for a couple of more minutes. And this one same here, like we want to keep this section. We're going to capture the order of the elements. That's one of the most important things when doing the topology, you want to keep the border really, really, really clean. The cleaner the border. The cleaner debates and bakes are of course, the angle for the topology. That's why we do this whole thing. So for instance, there either one line and then we can just smooth this out. And there we go, get a clean distribution there. The whole is now covered. If I need one more line there, which I think we do, I think with the smoothing should handle it. This line right here, you can see how it's having a little bit of hard time. This is where the Cut tool is also very, very handy because we can just cut that and create that. Again, I'm pretty confident that the smooth and the conform, a technique that I showed you will fix a lot of these things. But it's just important that we get as close as possible for the teeth. We're definitely going to need quite a bit of resolution here. And here I'm going to show you a technique that we use quite frequently. There we go. So this technique is called the reduction technique. Okay, we're gonna be seeing this quite, quite a bit. So as you can see, we have a lot of divisions here on the, on this guy. So we'll have 1234 and over here we only have one. Is there a way we can solve it? Yeah, First of all, we can make this thing flow inside. And another one, for instance, right here. We can create these efface. And then using triangles or other shapes, we just reduce the amount of Pharmacy held. This two guys are using this triangle to, to kinda like joined together and to solve the whole thing, or even like a triangle right there. And that way we can have a lot of resolution on this border and not as much resolution on this inside part x, we don't need this much, right? Let's just finish this right here. Here we are going to have a star, which is another type of element. There we go. That's it. As you can see, we've now successfully finished the school. Of course, I know that we're missing the teeth, but I'm going to stop the video right here because we have all of the main shapes and this is looking quite, quite nice. We have enough resolution to cover and capture all of the details. Very important as you can see, we're getting a really huge history right here. Every single point we add, every single thing we do is a history in this tends to slow down Meyer quite a bit and also it's prone to, to, to crash. So to avoid that, once you're happy with this, not only are we going to delete the history, but we're also going to do an increment and safe. Remember increments and saves are going to be really, really important because they're going to allow us to have checkpoints. As you create more increments and saves, you can delete the previous ones because it's gonna be a little bit of a heavy file due to all of the high polish. But yeah, just just keep that in mind. So that's it for this one guys. I'm going to stop the video right here. And then the next one we're going to finish with the details which are the teeth, the teeth like connections for this guy right here. So hang on tight and I'll see you back on the next one. Bye bye. 6. Skull Retopology Details: Hi guys. Welcome back to the next part of our series. Today we're going to finish this little like the top of this call and that don't worry, there's a lot of pieces here. I notice that the budget seems like a really daunting thing. There's a lot of pieces that are really easy if you saw the ax handle, how easy that was. And as we get further and further into this process, you're going to get faster and faster as well, which is going to really show on the speed of the topology. So for the teeth, we do want to create a little bit the for loop, because we do want to capture some of the holes that we created here on the teeth. Easiest way to do this is to just create a couple of squares. So just a square right there. And then we're going to create a little loop with that square going out This YA squared. Because I know again that when we, when we create the smoothing option for this thing, that's where it's gonna give us way, way more resolution that will we actually have. And that's gonna give us a really, really smooth brown defect if you've seen any of the modeling stuff that we did on the other one. When you have a, literally a queue, for instance, are secure. There we go. If you smooth a cube, a sphere, or it can really run stuff. You can see we get eight sites to that queue. So that's pretty much what we're doing right here. We are using that sort of like principle with their cabinet Clark's of division stuff or subdivision approach to generate that sort of changes. Can we do a square? We create the border of the square like this. Then the tricky part is going to be two to match that border or to join that border with the rest of the elements. Now we don't need everywhere. So for instance, right there are in this final molar pieces, I don't see a lot of depth to the holes. So we can pretty much just started like a collapsing some of these guys right here, like closing the elements. And then that's it. Now, we go back here again. We want to keep our central lines. So let's add one central line right here. And that central, it's gonna be like merchant right there. You can see here things start getting a little bit tricky. We're going to use the technique that I like to call stitching, which is another they only like to call it. That's that's usually how they name it. And the wastage in works, I'm actually going to add one section right there, one more line. Because things here a little bit stretched. And the here, like, I know this one is working with that union is perfect right there. This is the center line, so we're gonna go with a central line right there. And this is the central line up here. But central lines is going a little bit crazy, right? So I'm going to use my cut tool and we're gonna go from this corner to this section right there and hit Enter. As you can see, that pretty much divides this phase into a square and a triangle. The triangle can very easily be connected to this guy. And that way we don't lose a lot of stuff here. Triangle, that's fine here. Another stitching might be a good idea. So we're gonna go from here to there. And then under quadro or can just stitch their little triangle there, that's fine. We move things around so the polygons are not as stretched. It's very important to always take that into account. Let's go here, here. Here again, you can stitch. So I'm going to go from here to here to create another stitching, a section right there. One of the tricks about the triangle technique that I'm showing you guys is that again, that's a little bit stressed right there. So in this case, I think it might not be a bad idea to to add another section right here. Like that. Just to again, to keep the border as clean as possible, even if we have like little star right there. There we go. There's a little secret that I haven't shared with you when doing this technique. And that's the fact that when we smooth, look at what happens to all of the triangles that we have right here because it looks very messy right now. But when we smooth it, go mesh and smooth. All the triangles become squares. Square, square, square root of n, n guns becomes square root when you smoke. So the smoothing is a really, really, really strong way to fix a lot of the topology. But if you already have a really clean topology before smoothing, when you smoke, you're gonna get an even cleaner topology. Remember that the triangles that we have here and then here and here, like all the triangles are now gone, everything is a square because of the smoothing option. Now that we have this, we can of course go to Mesh and conform even if we don't see the option because it's a live surface, we conform and look at that. We've now successfully capture all law that the silhouette of their character. And in regards to triangles, if we take a look, how many triangles look at this 5,500 triangles, It's quite nice. It's a nice number for a such a big acid are such a big part of the character. I actually closed a Sievers, but under section I think we had something like 20,000 triangles and it was looking really, really, really dirty. So this would be the final part of a f a section. Now, of course, you can see that we have a couple of issues here. Easily solvable. We're just going to merge those. Merge those two center. See, Center. Okay, Let's get rid of symmetry. Grab those tumors to center, rep this to merge the center. Grab those two deprogrammed, press G to repeat the last action, and there we go. The other thing I'd like to do is I like to press number three to go into smooth mode and see if we have any issues. I don't see any issues. And as you can see, the silhouette in general is being captured very nicely. We're not going to smooth this like this is the final asset that we're going to see in game. And the, another one of the cool things is that we can still like if this was if we had an issue with performance, if this was a little bit too high and let's say our clients like No, we want this to be at 5,000 polygons only. There are ways to reduce this. We can delete a couple of faces, delete a couple of edge loops, like for instance, this actual right here that goes around the whole mouth. All of this guy, It's really not that important, so we can just press Control, Delete, That's going to give us probably like 40 faces or something or 20 faces. So you can definitely reduce the amount of polygons. Or in certain areas you can create a low the center and minimize the amount of polygons that you have. And that's gonna give us an even better result. But this one is working perfectly fine. I'm going to delete the history. Do not freeze transformations again because this information is going to be important later on when we match it to the true Hi Pauline, not the one that we're using for the decimation. And yeah, this is a really, really nice density. It is quite dense. I'm not going to lie. It is quite dense. But for AAA games like if you've seen the latest god of war and stuff like that, you can definitely have a character that has 150,000 polygons total. So I think we're still in a good, a good amount of polygons for this piece, especially because it's such an important piece of the character. But later on, if we see that the performance is a little bit heavy, we might be, we might need to reduce this eloped. So now that we're ready, we're gonna do, of course, is we're going to move this middle mouse drag to the inside here. And very important, you can select the exact same name that you have right here. And this is gonna be called the exact same, but with the underscore low like that. Okay. This guy, we don't need it anymore. You can delete it because this is not the one that we're going to use it or you can just hide it and we're gonna be ready to move on to the next session such as, for instance, the jar plus h. There we go. So now since we're going to jump into a different section, I actually want to show you how we can use some of the other tools and techniques inside the blender. I'm going to show you the a plugin that we're going to be using and we're going to go over some of the shortcuts before again, we jump onto all of the pieces that we need to do. So that's it for this one guys, hang on tight and see you back on the next one. 7. Blender Retopoflow: Hey guys, welcome back to the next part of our series. Today we're gonna talk about the 3D topo flow, which is a really, really, really, really strong like software plugin for a blender. So as you guys know, in the market in the world, there's a lot of options for a lot of things. One of the biggest, like like every topologists offers out there that have a really, really cool development back in the day was Topo Gun. Unfortunately, even though they are working on to a polygon three, it's not the software that's being continuously developed. So i, and it's a software that you also need to pay quite a bit for. As you can see, it's $100. So it's really strong and powerful software, but you can do most of the things that Topo Gun does with other options such as Maya and also for Readtopia float. So always if plug-in for Blender, if your blender user than it should be fairly easy to utilize. I'm going to show you how to download it because when I was first shown this was of course taking it back by the price, but they actually have something very, very interesting on the documentation. That's why it's so important to read the documentation. Following some of the blender principles. They do offer a topo flow for free if you are learning. So as you can see right here, we took the flow is free for students and teachers, so you can download it directly from a GitHub. I'm going to show you very quickly how to do this. It's very easy. The only thing you need to do is you need to go here to the blender Options and you go to the file. And where it said you download the whole thing. Give me just 1 s here. I think you just need to download the whole thing down, a little down, a little worse it, where is it? You're gonna go here to releases. And here you're going to have this 13.2, 0.9, which is the latest release that's available. And you're going to download this one. Read topo flow B32, 0.9, github dot zip. You're going to keep that file. You don't need to unzip it. You're gonna go to Blender, then it opens your blender. At the time of this recording, 3.4 is the newest one. We're going to go File Edit, and then we're gonna go to Preferences, Add-ons. And you're going to install an atom. You're going to go to your downloads and you should find this repo full flow. Github, just install the add-on. It will install all of the atoms right here. And you can see that right now this thing is active. This is like an older version of this is the, this is 3.28. So I'm going to deactivate that. And I'm gonna go to this one and activate this one right here. That's it. With that done, you're going to have this read topo flow option up here, and you should be able to access the whole thing. I am going to give you a really quick tip, right guys is a super, super important we're going to cover, of course, the basic tools about Readtopia flow. But it's the documentation, boot disguise. It's amazing, just amazing, amazing. So I strongly recommend that you go in there into documentation with the QuickStart guide and all of the shortcuts because it's a really, really, really powerful and complete tool. I'm even willing to say that it's better or more complete than the rich typology here that we have inside of Maya because it has some really, really nice like tools. So I'm going to select this piece right here, the jaw. I'm just going to export this because we're gonna be using this as an example. I'm going to go of course, to the Assets folder. And here this is why this three folders that I created earlier and you should have on your files are super-important. The topo is where we can have all of the dirty hypotheses, the ones that we're not going to be using to bake and it's a way to keep things organized. So I'm going to call this thyroids, underscore a jaw or scroll jaw. So pretty much the same name that it has on the file. Now we jump back into Blender. We don't need this, of course, and we're going to say File Import, FBX. We're going to jump to projects. Projects, projects during 22 character textures. Acids in here on the right TOPO have the jar and it will just import. Technically, if we follow this up properly, we should have the jaw on the position and on the size that we need. And this does seem to be following that specific effect. So the weary tuple flow works is very easy in regards to the setup. Again, we're going to talk about this specific tools on the next video. But to start working on this, first of all, you do want to save your scene. So I'm going to save this. Let's go real quick here too. To the main character or a character or textures. One thing we can do here, by the way, is you can drag and drop this. I think we're just a bookmark it, right-click and add bookmark. There we go. So now anytime we need to jump here, it's going to be a little bit faster. So I'm going to save it on the topo file of course. And this is going to be called, again thyroid writable, but this is the blender file we just saved there. Why is it important to say because the renewable flow is so heavy software, It's a heavy plugin, so it tends to crash, especially if you have a really high density polygon or high density mesh. So just be aware of that. So what were the way this works is very easy to just select the object, go to the top of log n at active, and this will initialize the whole Readtopia flow suit. You're gonna get this quick message. You can, of course there's an option here to show or not show whenever you started. I'm going to click that off and I'm just going to hit Close. And now we're inside the buffer. So a lot of the things that you normally see in a lot of the shortcuts that you normally use instead of Blender are now gone. We're now in the RI tuple four. And we also have, as you can see right here, a polypeptide. So you can start creating points. And this is going to create squares. And as you can see, I'll know sometimes it feels a little bit faster than the, what's the word then the auction. The way this works is very simple. You click a point and then you press Control and weed control, you're going to be adding points. So as you can see here, I can add that and then I can start over here and Control click, click, click, and that's another square right there. And there's a lot of different tools we're going to talk about all of these tools. We also have the tweet option, which is to move things around. We have the relaxed option that we want to relax some of the elements. We have the loops option, we can insert a natural, one of the things that I don't like super love about the plugin is that you do need to change between the options. You either learn the shortcut, which is you can see is the numbers, number one, and then this is two. And then this is string. So if I press number four, It's patches. Number three is a stroke so you can press your numbers and you're going to switch between the tools. That's a quick way to do it. Knife is the only one that's different. It's Control F5 or Control K, or just k as a knife. So that's the knife tool which as you can imagine, allows us to cut the knife. We're not going to use this one as much to be honest. Let me just go through and like number we go Control C. There we go. And when you want to get out of this thing, you just press Tab. If you press tab, which is the usual way in which we changed from edit to object mode, is going to say, hey, you want to quit renewable flow? Yes. And now, as you can see, we have our high poly mesh. This one right here, the thyrocervical, and then we have our retail, retail buffalo mesh. If you want to go back into a tuple for, you, just select the object. Again. Just go read topo flow and just create new targeted active. I'm sorry, no, I was actually a mistake. Now to just go through this. Let's just delete that one. You select the mesh that you're working with. You go back to Edit Mode and over Henry tuple flow, you just go to this option, you click this one right here. That jumps back into Readtopia flow. It still keeps the old jaw line as as the main effects are getting control. I can just keep on drawing my little polygons right there. Okay, so we're going to talk about the tools, some of these tools on the next video. But this is the quick setup that you need to do. Again, you need to go to the GitHub section. So if you are here and every topology, you download it for free for students. And then you go here to the releases. And under releases, you just download the zip file and that's the cephalic you're going to use instead of Blender installed. And that's it. We're ready to use Readtopia flow for ourselves. So hang on tight and I'll see you back on the next video. Bye-bye. 8. Retopoflow Tools: Hey guys, welcome back to the next part of our series. Today we're going to continue with the RI tuple flow, like main tools. And we're going to start with a brief typology of this jaw. So as I've mentioned earlier, once you select your high poly, you can click the little option that we have over here. And that's gonna get you into the Readtopia flow interface. And we have all of these guys right here. Now, some of these guys are a little bit more specialized. For instance, the contours tool is really good for cylindrical forums, as it says right there, arms and legs is not really going to be as useful. But the way it works is you press Control and you draw a line across the object. And as you can see, it creates loops. And once you continue those loops, we're gonna get into those keys, 16 edges going around the whole thing. So again, quite, quite handy, but not really for what we want right here. Posters is really, really cool. Again, press Control. You can see that a very constant thing here with rhetorical flow is that the control key is like the main activator of these tools. You press control and then you draw. And where do you draw you create this strip. Then you can press Control, Shift and middle mouse and you can just scroll and you can add or remove certain elements. This is extremely helpful because imagine inside of Maya having to draw squares around this place right here with the pollsters, We can just press Control, draw all the way up here. There we go. Look at that. We've got all of the basic like a sketching of the elements that we might need. You also get this handles. They were kind of like splines that will allow you to modify this things like what I'm doing right here. And again, if you press shift and middle mouse scroll, you can add or remove points. For instance, in this case, let's keep it at eight strokes is very similar to press Control. You draw one line and actually you need to select the one edge first and then you draw another line and it just connects both elements. Again, you can press shift and middle mouse to add or remove more stuff. Now why is this one really helpful? One of the reasons why this one is really helpful if you select three of them, for instance, and you draw, I create three. Look at that. Again. We just created like an extrusion of the element in a really, really fast and simple way. I really like using that tool for big patches of area. Patches, as the name implies. It's for like patches of sections right now we're not going to use it as much because we will need to have a hole. But patches allows you pretty much to bridge from one point to the other. So just select one, so like the other one. And then you bridge remembered at any point, you can go here to documentation and you're gonna get a specific things about the details. You can go to active tool. And it's going to tell you exactly how in all of the different shortcuts, if you're a shortcut guy, these are really, really good to get to know the torso a little bit better. You can, of course, click on this element is I'm doing right here and move them around. You can use a tweak. Tweak is really good to kinda like a brush, like sculpting brush that you can use to modify certain things right here and just properly aligned all of the different elements a little bit more. They go to Polypanel, just one of my favorite ones. And you can click this edge and just press control. And once you do two clicks, you're gonna get this. Now, if you're not a fan of this triangles right here, you can actually go to the options over here to Polly pan and on the Insert mode right now this is to try and quiet. You can change this to quote only. So now when I press Control, I'm only going to be drawing one square. And as you can see, it's a really, really, really fast. So because instead of having to do four clicks or anything, I could just start drawing from here and plan my topology accordingly. Can click on an edge moving around if you need to, while on the polygon, again, just press Control and there we go. So as you can see here, i'm, I'm building, I'm creating this main section of the jaw. And it's rather simple. I don't think it requires as much thinking now, one of the things that I really want to encourage you guys is to combine the tools I'm actually going to be exporting this things back to Maya once we're done. And we probably are going to do this moving. And the conforming instead of maya Blender does have a nice like shrink wrap thing. I think it's called, It's one of the modifiers and it's good. It's not the greatest I would say, and it's a little bit heavy compared to the conformed tool, but it's, so for instance, let's say we want to create a border here. This is where the strokes might be a really good option because we just select all of these edges right here. And then control, and I just draw a line, the back part of the element. And when I drop look at that, we get pretty much all we need it. We did miss a couple right here, but we can do just control on the polypeptide and bridge that right there. As you can see, this saves quite a bit of time. Now we do have an extra border. If you have an extra border that you don't want, we might need to double-click. Can press, are gonna go to tweak. We're gonna go to tweak. And we are going to select actually worse it loops. I really don't want that edge loop right there. We're gonna have to eliminate that one very quickly. And to do that, you're going to press shift and double-click the edge and then x, and we're going to dissolve the edge. There we go. So by dissolving the edge, you delete the edge and the vertices that make it up and we're ready to go. Now here I want to teach you a really interesting thing about the topology when you get to a curved area. So you can see that we have this little bone right here. Very, very important piece of geometry. It's very round. So that means that we probably need a little bit more geometry that we might be used to. I'm gonna go to Poly tool right there. We're going to extrude one. And then two and then three. And you can see that this guy and this guy is two guys, they match pretty perfectly and this guy as well, but we need a little bit more resolution. So here's where we're gonna be using some tricks for our resolution. I'm going to press X and delete that face or the salt that face. Just delete the face. There we go. What I'm gonna do here is we're going to use again or poly pen. This one's gonna go in a little bit like this. This one's gonna go in as well. Then we can grab this two vertices and just merge them together. This one can go all the way up here. Then from here, we're going to create a new one. Okay, so as you can see, we create a little bit of an interesting connection right here, and this point right here, this is called a star. This, in this, in this case, this is a six-point star, which again is not the end of the world, but usually you want to try to keep them on the five because this is a stretching things a little bit too much. How can we relax this? Well, of course, if we go, for instance, the loop, so if we add one more line here and one more line here, that's going to make the relaxation process on this point a little bit less intense. But so far what we want to try and keep it, we don't want to have any sort of angles, right? Well, I'll keep everything quiet and the end triangles. So we go back to polyprotein here. There we go. Loops as you just saw, that's one of the other tools that we have here and inside of our Readtopia flow. And it's really good for inserting naturalists here all the way over here, and all the way over here. There we go. You can definitely see here it's not really hugging the surface as nicely as I would like. This is where the ellipse tool is really helpful because we just again press Control and click and it's immediately going to adapt the surface. You can see that we're not capturing this surfaces as nicely either. So another point, right, there might not be a bad idea. And then we can go finally to this relaxed option and just modify this guy's a little bit over here. It's good to tweak one. Pushing some of this guy's on and off like that. There we go. Now, on this side, we're going to be, we're going to have to follow a little bit of the things that we did before. So I'm gonna go to Poly pen. I'm going to click outside as you can see what I tried to draw there. It was actually following the last edge that I select it and that's not what I want. So I'm going to have to go here and just click anywhere outside of the mesh. And I should be able to draw my little square right there. Can click outside Control. Click and draw my little square outside. Control. Click and draw my little square outside. There we go. Now from this guys, we're gonna do a similar thing. Remember, we grabbed the edge, we go out. We move this edge. Then we move it out. And then we just grab two of these vertices and we get them close together in a very similar way. How it works inside of Maya. When two vertex or when two points are really close to each other, they will immediately snap. We also want to keep following our rules. Remember, we have a middle section or a middle line. So in here, I'm going to try to be very careful to keep a middle line. That middle line is probably going to go all the way down here. Then we are missing one face here. So from here, there we go. There we go. Perfect, right? We can, of course go to our loop section at one loop right there to help with the overall shape even there, I think this is really intense on this area. So it might not be a bad idea to to start tweaking things a little bit. Some of you might be like, well, couldn't we work with symmetry as well? And the answer is yes, we can actually work with symmetry over here. Well, the problem is that we don't have symmetry right now, because all of this is like really, really weirdly laid out. So to fix that, I'm actually going to have to go outside of Readtopia floor. I'm going to hit Yes to confirm and edit mode for this thing. I'm going to press a slash to isolate this guy right here. I'm going to press number one, actually number three, to go to a side view and front view. I'm going to go to my edit mode. I'm going to grab all of the vertices here. This guy and this guy, and I'm going to press a scale on y is zero, so there are completely flat on the y-axis. And then to make sure that they're on the central line, I'm going to turn on my little thing right here. You can turn on absolute grid snap. I'm going to press G and the y. And that's going to make sure that they are exactly what they're supposed to be. So again, S, y is zero, then g y. And we're just going to get them right. So that should be the center line. Now, we need to mirror this, of course. So I'm gonna go to my modifiers. You can see that we already have a mirror modifier by default, I'm just going to add a new one. Mirror modifier is gonna be on the z-axis or rather on the y-axis. There we go. I do want to merge. This seems to be merging things, so I'm just going to hit Apply. There we go. Just to go on quick test that I like to do. I'm just going to give it a subdivision surface as long as you get a soft transition here, that means that both elements are indeed like on the same, same mesh. And once we have this, we can go back with tap to edit mode and just click this little element right here. To go into Readtopia flow. There's no source detected. That's really weird. They deleted the source. There we go. There we go. We need to unhide the source studied. Can see it. Okay. Yeah. This is unsafe file. That's the warning that we're getting. And I hear very important, we need to go to Symmetry. We're going to see symmetry is z2222 symmetry. Why? There we go? So now whatever we do here, we should get it on the other side. There was a little bit of an issue there. On my mirror. Sorry about that. The mirror thing. Yeah, I think that's a problem with my topology. Let's take a look very quickly. This sometimes happen when you do the mirror or maybe because of this mirror right here that she uses to bisect so that we don't get this error. It's technically here if you select one of these points and just Aji like move it around. Get rid of this. It should only be a single point to this. Jump back to the tuple flow symmetry. Why? That's really weird. The thing, it's because of the things because of the modifiers. It could be the mother versus really weird. But anyway, I actually don't like working with mirror as much to be honest, because of this sort of things, especially here instead of a blender, sometimes you get some weird like double transformations like that one right there. So I'm just going to bisect and let's see if by applying it, we can recover this. Where is it? There we go. But isolated again. Because you get like double transformers. Yeah. Are we getting it now? There we go. Okay. So I'm gonna go back to number three. Sorry about all of this, like back-and-forth. And we're just going to delete this because again, I know that at any point I'm gonna be able to recover this, right? So so we just need to delete all of these faces and continue with our Rita pouch. So I'm going to stop the video right here, guys. And in the next one we're going to finish up the rate of biology. But hopefully with this very brief introduction to the rhetorical flow tools, you guys are now a little bit the leg, you understand why I'm teaching you this. There are some very, very fast and amazing tools that will allow us to complete our challenge here of the topology in a super, super efficient way. So hang on, and I'll see you back on the next one. Bye bye. 9. Jaw Retopology: Very well guys. So let's continue with their jewelry topology that we have right here. As I did on the last video, I just did the other half. I'm just going to delete these things right here. Get out of isolation mode, go into edit mode, and I'm going to click really helpful to go back into our retail full flow element right here. And it's just a matter of continuing. I'm just going to continue with my polygon and I should want to finish the front section first. You can see how here it's becoming a little bit too wide. So a very common thing that we can do here is we can delete these faces. And then from here continue for Worth. And then from here continue downs like this. And we're going to get these small little triangle here. That's fine. We can have a triangle in this section, which is going to allow us to keep our topology low, close to the teeth while giving us enough geometry. So we can push this into the lower border. Here. We go. This one continuous here. And here. There we go. Then this one right there. So as you can see, this triangle right there helps or serves the function of splitting the topology and giving us more resolution on the border. And we already know that when we smooth this and we will smooth this, we will get the, the triangles are the quads back. Here. We go back here, move this to the center line. And since we're already doing the central line, Let's just keep pushing this weed control all the way to the other side. So we know that this guy should eventually match that guy right there. We've grabbed, this guy, will move it back. Let's only grab the edge. There we go. We just keep going back. So usually I like to have at least two central lines. When doing this like complex shapes. Sometimes it's not possible, but it helps to keep things organized. And after dad, then a topology starts getting a little bit more interesting. So for instance, again, since this is not a vital part of the characters now that's important. The topology that we have here on the underside of the jar and the backside of the gel won't be as critical as what we have on the front. We're going to have a lot of things like flowing in and out of the, of the elements. For instance, right here. This guy of course goes back here. We just follow the edge pretty much. There we go. Let's just adjust this guy a little bit right there. There we go. There we go. And we just keep going here. This is a really, really like Fine area, very tricky area because it's the thin part of the jaw line. I'm taking a little bit longer. You can see how precise this tool can be. There we go. So now here again to say believe of a bill of time Like, I know, like this for guys, it's very obvious that they want to go all the way here. So we grab those four, we go to strokes and we just draw one line. It's going to be right there. Now I can see we have 12.3 over here, so I can bring this down to three like this. And that should allow me to bridge things a little bit faster. Now how can we bridge things? There's a couple of ways actually, you can select both elements. You can see how we get the number of elements. And then remember the patches tool that we mentioned. There we go. We just use the Patch Tool. And here I can press again shift and middle mouse to add one more division. And just hit enter. And that's it. Now this point, let's go back to like PolyPhen. We grabbed this point right there and we'll just merchant there. And this one could eventually be even like a triangle. That's fine. The only problem is here, I'm going to have to go back to try and quiet so I can find the triangle there. Just hit enter. There we go. We got the backside here of the jar. Pretty much, pretty much done. We can of course, push some of these guys up. We are going to need some of this resolution here for the t, we have this other two teeth over here. So let's do that real quick. Polyphen. We're gonna do 121212. There we go. Same deal here. One, careful with the directions 1232323. Are there we go. We know this guy right here. It's probably going to go there. This guy right here is probably going to go there. And this can be triangles. That's fine. No need to worry too much about the topology when you can simplify things. So from here to here, from here to here, got a triangle there. There's going to be a triangle, we just need to fill it. For instance here, I think we can definitely get away with a triangle there. Let's move this back a little bit and just follow the, follow the shapes that we have right here. It's getting a little bit dense here. I do think we need it because we have a really intense changes wet. Just be careful not to add more lines that you need because it's going to of course make our topology quite, quite heavy. There we go. Now, to be honest, for a piece like this, I'll probably do it in Maya. I feel like quadrats a little bit more precise for, for like really weird looking organic shapes like this one. But you can still do it here instead of Blender, awesome. I'm doing it. So whichever one you feel more comfortable with, it's perfectly fine here. We definitely need one more division. So I'm gonna go to loops and just add one division right there. Here, for instance, it might not be a bad idea to go to our tweak option and just move things around a little bit like this. Because you have 1234. So we can grab again our stroke thing, select this or edges with Shift, and then just draw a line on this side. Let's keep it to one section. That's it. As long as you know how to move around the stores. The right topology process should flow pretty naturally. You can see how things are getting a little bit stretch right here, something that you want to avoid. You don't want to have your topology be stretched. So even if it means adding a couple of extra divisions, that's some time sometimes worth it compared to having a really stretched geometry. So for instance here, I do think that a triangle is like it's fine because we're going to simplify all of the shapes that we have over here. Even here, I think we don't need as many triangle right there is fine because we are going to be a little bit more resolution on this front fangs and not as much in this case right here. We can start playing around with this elements like this. Then here's just like a flat surface because all of that information is going to be caught in a flat surface. And I can see there's seems to be a line right here. This is important. This is where spirals tend to happen because you see this line right here. And if we go to the other side, this line stops right here. So a very common mistake is people are like, whoa, I don't want to have a spiral. I'm just going to add one that job right here. No, because if you actually want that, if you add one edge right here, then things are not going to match anymore. But what you can do is you can go to the knife brush like this guy and just cut right there in the middle. Like that. Now with the poly-peptide, you should have to remember the stitching thing that we did before. Pretty much the same thing. We get this very nice soft effect. I still think this case a little bit too much. So my just simplify there. And anytime you see two triangles really close to each other like this two guys, that usually means that you can simplify the topology in other ways. However, in this particular case, I think we're fine. Let's move to this to this backside over here. Again. Same deal. Like I can see that this guy right here, this guy right here, it's telling me, Hey, you need like another division there to fill this gap. But I'm not going to go in a loop because if I do this, I'm going to create a weird spiral going over here. So instead of doing that, I'm going to hide another like stitching thing right here. That way we can fill this in and fill this in. And then just keep going like this. Then from here it's gonna be a, a, a tension point. We're gonna go to the side. Hopefully all of this is making sense. Now we'll have this one. I mean, with the pen tool, to be honest, it's quite fast, but you can go to the patches one as well. Here to here, from here, or from here too. Here. We go here to here, here, here, here. That's how we keep filling in over here. Same deal. Like should we add one more minute? Because we're going to create this spiral. Can we have a triangle right here? Yeah, why not? Just have a triangle right there? Because again, it's got to be smooth it out and it's going to hold all of that surface very, very nicely. One of the things that I'm trying to keep here kinda wanna have a middle section. So this, this band right here that goes through the whole side of the element. I kinda want to see if I can continue at all throughout. The element and merge it with this one right here. See what I mean That way, if we want to use a UV, we can have the front and the back part of this shape in a way faster and faster way. Now we have all of this intersection right here, fairly easy to flee, and this one's just from there to there to there to there. We can just fill that in, That's fine. That is square and another square. See how everything just falls into place. Over here. We might need to do a little bit of a trick. I'm going to show you when you have volumes like this, we have to do with the teeth. We need to create a little bit of an edge loop. Because otherwise we're not gonna be able to, to capture the vomer here. It's not even going to be square. Like a capture is gonna be like, again, octagonal thing or something like that. See that? So we get this weird shape right here. Then from here, you can go up there. This one goes down. That's a triangle again, this is going to be smoothed out and we're gonna get a nice little cap right there. There's two other thing we can combine there. Then we go from here to here. Careful here. This is another very common pattern for, for BRI topology. You can see this big area right here. First thing is we have like a really weird section. So we're going to go from here to here. It's going to be the first one. Then from here to here is gonna be the second one. And this is gonna be the third one that I like to call this the chicken chicken foot because we have the three divisions over there. And that's it. I'm just going to press Shift or sorry, tap and then we're gonna go out of retail before. Let's isolate this for a brief moment. I'm gonna go to number three. We are using a mirror function cube root for some reason it's not applying some just going to use this, but I'm going to use bisect, actually bisect on the c-axis. Flip. There we go. Is that the one I'm going for? I'm not sure. Give me 1 s. So that's the mirror and I'm merging. I think that should be it. I'm just going to hit Apply. We're not doing any displacement, so that's fine. There we go. We need to fix. Of course this thing is right here. I can see that some of the points are not actually going to where they're supposed to go. So let's go back. I'm going to bring this up to a 0.05. Let's see if that works. Since it's 0.00, 0.0, 055 is way too much. Yes. So 0.1. Better now it's a little bit too much. 0.05, 008 enough, 0.01 when 03 seems to be the secret one right there. There we go. So now things are merged. We're going to apply this. I'm going to go to object mode and apply. There we go. And now we need to just fix a couple of triangles disguise that we have right here. Very easy way to do it is to go into edge mode, which is number two. Press Alt and click. And there should be one here that says feel where it said etch or just press F. It's easier. Just f. F is the field as a shortcut for fuel. And there we go. Now, I do want to show you guys the option right here. So the easiest one is just to use a surface. And as you can see, that's going to give us the d smooth effect. But it's not conforming to the surface, right? Like we're not really following this thing. But what we can do here is I can say Apply. I can select this guy right here. Again, there's a file called the shrink wrap modifier. And what this does is if I select the target, which is the skull, is going to try to shrink wrap to the skull. Okay, now, if we turn this off, you can see it's trying its best is actually not doing a bad job here with the elements. So we can change to nearest point. We can project, which is not working really. Cool. We can do nearest vertex, I think nearest surface points probably doing the best result. And look at how nice we get all of the shapes. Now, once you're happy with this, you could just apply right-click Shade Smooth to get a softer version of the thing. This is what we would normally use for our Bakes. And that just makes sure that all of the vertices and stuff look as nice as possible. You can see there's a little bit of a loss of symmetry on this particular area against not the end of the world, as long as everything bakes properly, we should be fine. But if you want to avoid this, we can definitely wait until Maya to do so. The way we would do this is we're just not used to this guy right here. There we go. And let's hide this one for a second. So grab this piece right here that we just finished a rate apologizing. And once we're happy with this, we just go File New Object Mode, File export, FBX. We go to our project here for assets. We topo. We're going to call this a jar. On the screen. I'm going to call this underscore B, PRT, which is Blender read topo and very important over here, just click selected objects. You don't want to, you don't want to export everything else like the cameras and the lights. You just want to export the selected up. So I'm just going to hit export FBX. And that's it. With this, we can go back to Maya. We can get this ready and we're gonna be good to go. So we're going to continue the tree topology process inside of Maya for the rest of the, of the, of the skull. And after that, I do want to show you why we're doing all of this. We're gonna do a quick UV and bakes test, which is going to encompass the complete like chapter one. And then we're going to jump into all of the different sections of our character. Again, I'm going to try to make this as interesting as possible, but I do warn you that the topology is not the funniest thing in the world. It's very time-consuming, but again, we're going to have a good time. So hang on tight. Make sure to get to this point and I'll see you back on the next one. Bye bye. 10. Skull Blades: Hey guys, welcome back to our next part of our series. Today we're going to continue with the skull blades and that we're back here in Maya. We have our jaw. Again. If you are not familiar with Blender and you don't want to go through the blender stuff, that's fine. You can do the exact same thing as you can see right here, which is the rate topology inside of Maya. Now I am going to smooth this out. I'm going to just hit mesh and smooth. And then I'm gonna select this guy going to live surface, select our low poly and just do a very quick conform, which as you can see, it's going to use a really, really nice detail. As you can see, we have a little bit more geometry here on the front teeth, but I think it's worth it, especially because we have a really interesting silhouette that we want to keep when the silhouette is push really intensely. And we have a really big difference between the low poly and the high Pauline. That's when the bakes look a little bit weird, especially if you get really close to the character. So this one right here works perfectly fine. Let's get rid of the of the live surface. You can see this still thyrocervical jaw. That's not the one that we're gonna be using for the bigs by the way, we've mentioned this before, but it is important that we keep the same naming convention and this one right here. So this one's gonna be thymus is called jaw underscore low. We get this into our low poly meshes, so that's hidden. And there we go. We can hide this one again. Now if we go here to the skull, we also have the blades, and that's what we're gonna be doing today. So for the blades, as you can see, the place, they lose a lot of the detail. You get some really weird normal maps and normal stuff looking there. And this is one of those elements that you definitely, definitely want to do manually because it's very difficult to hold this very tight edge on an object that's not like manually done. We're also not really going to be using the smoothing method for this one because It's a relatively simple objects. So the way this works is as follows. We're just going to allow surfaces, of course. And I'm going to start right here on this corner. And what I'm gonna do is I'm going to capture, I'm going to try to capture the topology of this object as closely as possible. See how those two or three edges that should be more than enough to hold this really nice sharp edge on the top part of the object we read don't need anything more. So that's why we're not going to be using the smoothing option for this one. And if you remember from the last course when we were doing the sculpting of this guys, I actually was mentioning that it's really important to try to avoid having super flat surfaces. That's why this blade right here, even though it's a sharp blade, is not as sharp as like a racer, right? It's not a race or sharp. This is important because for the baking stuff, ie, we will make sure that we bake everything properly. And when you have things that are super, super thin, it makes it really difficult here, for instance, on the temperature, if I need to, I'll rather have a couple of more like edges. Like here, like an extra little edge right there to hold the curvature a little bit better than adding, again the subdivision for the whole thing. Now here, since it's really straight, we can again simplify and have went weightless geometry than what you might expect. Because it's an area that's really straight. Again, usually three is more than enough for interpreter. And I do believe that by doing this, even adding an extra one, right, there should be fine by doing this, not only are we optimizing things a little bit better, we're also making a lot faster or a lot easier for the UV section of the whole thing. Because we're going to have one central line is gonna be able to capture everything. Now, here, again, we can use a little bit of her tricks. We can minimize this are converted this entry triangle so that we just push this back like so. And that way again, we're not adding extra geometry. Same thing here, like a triangle right there. It's not bad. Even a triangle here might not be a bad idea because on the backside of this blade thing, it's pretty flat, right? That's pretty, pretty, pretty flat. Same thing here again. Remember how I mentioned that the sculpture or the model will talk to you. It's not that they all talk to us, right? Like we're not crazy. But you will see how things are flowing and it's gonna be fairly easy to identify where you might need certain triangles or not. For instance, here, I can see that this is going to get a little bit tricky. So to save myself a lot of headache, a triangle there at the end should cover most of that. There we go. Now on the center here I do want to have a central line. We've been mentioning this quite heavily in the past like pieces. So I don't want a central line right there. And we're gonna go on this side now this is not gonna be asymmetrical central line, okay? Like we're not gonna be able to select it and mirror it because the object is slanted, it's at an angle. We will need to go back to see versions if we have any sort of save or something for the, for the object. Now, here is where things can get a little bit tricky. This big hit that we have right here, we do need to address it. We can't just leave it there and hope for the best and the base. So since that hit rate, they're really changes the slit quite a bit, it is important that we again, we conform to it. I'm going to use a square right there and a triangle right here. And maybe even a couple of triangles right here. As you can see right there. To capture that change in sweat like that bevel that we have right here. Maybe you've been here and the final triangle right here. And hopefully we should be able to keep or maintain, or yeah, kinda like push a middle line right here, three triangle there and there. So we have one line. It might not be a quick selection, but we have one line that goes across the whole thing. And that way we can just continue with the element. When talking about Topology, you're going to hear so many different things. I've had the discussions and debates with students who have learned topology from other sources. In my experience, I've been doing this for ten years and in my experience, the most important thing about topology is that you capture the silhouette as what we're doing right here. And it's easy to read, like as long as it flows nicely, it's fine like you're not going to get a client or you're not gonna be in a project where they're gonna be like, Hey, that topology that you have socks and it's breaking the whole game, that doesn't happen. It's not the, That's not the way that it works. So for instance here, two triangles there, that's perfectly fine because it's a flat surface is flat area, so they're not gonna be modified. Also, as we've mentioned before, if the object is not going to be animated, if it's not going to deform, then again, it doesn't really matter how we addressed the topology because we're not going to see it or it's not going to bend. It's just gonna be a simple, like a solid object. Now on the underside here. Again, a couple of triangles here to, to keep our central line should be fine. There we go. And then just too big squares right here. There we go. So with that, we're pretty much done with this side of the blade, as you can see right there. Important thing, one of the important things that we're gonna do is we're going to say Mesh display in Software nach, it might look a little bit weird, but that's fine because again, the normal map, we'll make sure to capture all of the, all of the information into this, into this acids. I'm gonna get rid of this guy for a second. And I'm going to Shift right-click mirror z, negative heat apply, not bounding box though we're gonna go, make sure to go object so that it goes to the other side. And that should be yet we select this guy again, we go back to live surface. And now very important to actually select this guy. That's the one that goes into light surface. And we need to make sure because we did this like a big hit. Remember, on this side right here. And we might not have it on this other. It might be slightly different. You can see it's a slightly different. I'm just going to recycle the points. We can even like relax them a little bit. Because we want these things to be following the silhouette as close as possible. You can see how this heat right there. And sometimes if it's not possible to fix it, it might be even better to just rebuild it. So I'm just going to delete some of the faces here, which is where the word that big hit is. You can see the change in silhouette right there. This one I think we can get away with. There we go. We go here, triangle straight to avoid the triangles for now, There we go. Here we definitely need a triangle. Or maybe not, maybe when that weird square. And then here it's going to extrude this line right here. And that's where we're gonna have the triangle on this area right here. Hold. I'm already seeing that that's gonna be a little bit problematic. This is where I might add one extra line right there, just to hold this thing a little bit better. And as you can see, dislike follows the shape a little bit closer. Again, very careful not to destroy any other things. So for instance here, I'm going to push this closer to the edge. For that one. This one definitely needs to. The gentleman there. So whenever you see like floating pieces or stuff like that, those are the things that you definitely want to fix. Incorrect. But that looks to me perfectly fine. Again, do not and I repeat, do not smooth this. We can of course go into mesh display and soften the edge again. Clean edges right there. Do not smooth is because when we smooth, the problem is, even if we tried to confirm, I'm going to show you We mesh and smooth. Yes, we get a lot of geometry when we conform the edge, as you can see, it's not as sharp. We're gonna get some areas where the edge won't look as sharp and that's not really what we want. We also get like really quite high topology. And for a piece like this, we really don't need this much. So yeah, that's pretty much it. Let's hide the blades. This guy's one. Let's grab the name of the blades. Control C, control V, underscore low. And we hide them right here. You can see little by little, we're, we're building this whole thing. So the skull, which is an important asset, will have a law, the geometry, because it needs to have all of the detail. This guy, which are just like metal blades and we can get away with a lot of texture work shouldn't have as much detail. Right now. We're only at 88000 triangles for both elements. That's a really good number. I'm guessing that the whole like sculpting probably going to be at 12, maybe 15 triangles, which is a good number for such an important part for the character. So, yeah, that's it for this one guys, I'm gonna stop the video and in the next one we're going to continue with the armor down here. 11. Skull Armor: Hey guys, welcome back to the next part of our series. Today we're going to continue with the skull armor, which is the lower section that we have. Lem me look for it. It's due lower armor. There we go. It's this section right here which is supposed to be metal and is going to be hinging from the top. Now, this is one of those pieces that I might even consider re, like modeling from scratch. I'm not sure what this whole sorry, right there. Those are actually like dangerous because they could create like some weird baking issues later on. I'm not sure why they're there to be honest, but we can just like modify them slightly. So easiest way to modify this, I'm not gonna do it on this one actually. I'm going to do them that on the final high-quality, but we can just grab the phases here. Press B, which is self-selection, and then just like move them out a little bit. Because the thing that you will don't want is you don't want to face this to be really close together because that's when you get some issues with the pigs. But the read topologies is gonna be pretty much straightforward. So I'm gonna grab this guy, make a life, go into quadrant. And now let's turn on the symmetry world, a Z. There we go, so that we can create this guys right here. They don't snap though. So one thing I don't like, I mean, it's not that big a deal. We can just snap them later on. There we go. I'm like that. Let's get rid of it. Sorry. Let's just do it manually and we'll just do it again. So the main thing here is this little shelf, right? Like this extrusion that we have on the armor. So we definitely want to capture that extraction right there. And we want the flow of the topology to follow the shape of this blade armor. So as you can see, we're just going to start like creating this big lines all the way to the top. This little guy is going to be important. I'll talk about in a second. Let's just continue here now you can see how this like again, metal bit is very important for the silhouette. So that's one of the things that we definitely, definitely want to capture. I'm going to delete that one, so that's a little bit easier. There we go. And as we go closer, get closer to the little knob right here you can see this thing kind of like disappears. Very important to push the edge. So we go as close to the silhouette as possible, just going to help to Bakes and give us a cleaner topology. Now we can count, we can be lucky. Okay, that's 12. Let's just add one more line there to keep it simple. And then we go in here. We're going to have a triangle, right? Because this thing is going to bleed, bleeding, or blend in to this part right there. We might need another triangle right here. That's fine. To hold that little corner over there. And then again, to keep it simple, we're just going to go all the way to the next edge, which is that one right there. This is one of the main things that you're gonna be facing when you're in production. Sometimes you're not going to have a poly budget. For cinematics and stuff like that. You can go quite high. And sometimes you are going to need to have a lower amount of triangles and an elements depending on the type of situation you're in. You can be super optimized. Like if I had to super optimizes, it will be just like one big square right here. But since we are allowing ourselves to have a little bit more resolution, then this is fine. See how the curvature here, we're having a little bit of an issue, but I don't want the line to go all the way over there. I don't think we need it. Mean it helps, of course, but I don't think we need it and it's going to cause a little bit more issues. I'm just going to do one line right there. And then we're going to use the triangle technique here like that. So we're going to have this triangle that helps us with the curvature over here, but doesn't really affect us on a curvature down here. Then we're just going to keep going here. And we're just going to have our center line right there. And technically, if we have the same amount of like edges on both sides, the typology here should be fairly fairly uniform. So we just need to go to each one. Probably like move them a little bit right there. But the numbers should be the same. Let's see if we actually have the same number or not. There we go. Again, I'm not too worried about this piece right here because it's a solid piece. It's not going to the form, it's not going to bend. It's just gonna be a solid piece that bounces around or moves around when the character most around, I am seeing a little bit of stretching. And stretching is going on here. You can see how, how this played right here. It's going to create the actual work, creating a spiral. Look at that. That's the problem with the spiral. So let's fix that because that's a, That's a totally no, no. So that one's fine. This is where this wireless is starting, so we need to fix it. And the reason why the spiral is starting is because we have that triangle right there. So we have that triangle right there. We should try to have a triangle back here as well. I was a big problem. Good things that we know this, that before it generated any other issues because again, we just want simple, clean like flows here and a bulge. There we go. I can even see how this is like staying a lot, lot cleaner than what we had on the previous one. So that's a good sign. I personally do like doing the topology when I was a student, I hated it. But once you're in the industry and you're being paid for it, It's part of the job, right. So if you take like 10 h to do are there any topology for a whole character, they still have to pay you, so it doesn't, it doesn't hurt as much, but you need to learn how to do it properly because that's one of the, one of the main issues that I have with my artists right here is when I tell them to do or typology for certain characters are assets, they will do really, really horrible tree topology that'll just like draw triangles and quads everywhere without the, a second thought. And that's not what we want here to divulge is going to get a little bit crazy. So just try to look at what I'm doing here. I'm adding one triangle there to relax that square because I don't want to stress that square that much. It's gonna be a simple square and then another square right there. Okay? So we use that little trick right there to relax the topology so that we don't have to do any crazy stuff up here, up here. Just keep going on the border here. Over here that sir, like our symmetry lines, not really a symmetry line, but we're going to have some sort of symmetry line here. We might add another division so we can get that guy right there. Maybe even one more here. To capture this part right there. Let's extrude this. There we go. And we finished with that one. There we go. Now you can see here that we're not really hugging the surface as much. So we definitely need to push this to the outer edge a little bit more. Not too worried about this part because it's quite hidden. It's under the hinge of the whole thing. Now, for this one, remember I mentioned that we're going to talk about this one. We're going to use the exact same trick that we use for the skull when we wanted to create a loop. We're going to create this model lobe right here. This technique, the looping colleague, the looping technique is super, super important because it's going to make our lives so much easier on the, on the UVs, on the texturing everywhere. Let's just extrude this to the other side. There we go. Now here I think we could benefit from one extra line right here. Just so we have like a, like a round or base, even if we have to move the points here a little bit more. Move this one right there, and this one up here, there we go. And now we're going to go up. We go, we're going to add 1.2 divisions, so we get a nice round. The effect that cap over here. We're actually not going to add more divisions that will be a little bit too much. It's a very simple like cap. You can of course add it, but the easiest one is to just grab this edge, just go back into Draw mode. Grab this edge, say mesh, feel whole. Grabbed this new face that's been created. And just say Edit Mesh Polk. It's pretty much like with a cylinder, what it's doing, it's it's creating a Cadbury there and then we can smooth this out. And that's it. It's gonna be a little bit stressed. But again, we want to keep this things low poly. The big question is, are we going to smooth this piece or not? And I don't think we need to, again, keeping things not smooth or nuts moving everything, especially for like metal beads like this, really helps sell the fact that it's a metal bit because when you smooth things, it tends to soften the edges a little bit too much. We also want to keep the geometry low. So I think this is a good idea. We're going to delete this, snap this to the center with X. And we're of course going to say mirror z, negative merge borders and everything. And this is what we should have. If we take a look at the armor, we should be covering the main armor. That that to me it looks good. Again, we could smooth it. Definitely like there's no issues with smoothing this thing. But again, let's just do a quick test and see how this looks. I'm just going to say mesh smooth. You can see we lose a lot of the sharpness on the thing. And even if we do that conform, sometimes you don't get it back. Let's see, in this case, not that bath, not that bad actually. It is quite heavy, as you can see, 2000 triangles for just a single like metal bit here. I think it's a little bit too much. We can of course reduce it, but I rather just keep it without the smoothing. Again, once we do the base, if we see that we might benefit from the smoothing, we can add it. But so far I think we're in a good position. Let's hide this thing. Let's rename this underscore low. Renaming things at this point is way easier than waiting until the very end. So I strongly recommend as soon as you finish like Rita apologizing One of them, just, just rename it. We are going to do the software niche. Very important. Yes, we're gonna get some weird like black lines every like in certain points. But it's not a big deal. And look at that. Not freaking Beth. Cool. So now we're just missing the teeth for the disco. I'm going to do the teeth and then I'm going to show you the last part that I want to talk about, which is a UVs and base. And we're gonna do a big test to finish this first chapter, just so that we understand how the whole process is going to work. Okay? And after that, we're going to jump onto the character, the different prompts, assets and things. Of course, there's comedy show you some tricks to keep things a lot simpler or, or make them a lot easier. But yeah, that's pretty much it, guys. I'll see you back on the next video. Bye bye. 12. Skull Teeth: Hey guys, welcome back to the next part of our series. Today we're going to continue with this gold teeth. And the teeth are rather interesting, if I may say so myself. So the thing with the teeth is that there's a lot of them. They are very organic and they're not as important. Maybe this is not the right word to say it, but they're not as important as the skull right there, just teeth. So there's a couple of ways to do it. We could manually reach apologize teeth, or we could use automatic techniques and tricks to do the job. I think for this particular ones are doing the automatic one might be the best idea. So I'm going to grab the first one that the top teeth here and we're going to use our rate, apologize. So here inside of Maya, I want to keep the original. And I think for the whole thing, like 2020 triangles or maybe even like 50 triangles for each t is not a bad idea. So we have 1234567, that's 14, 700 for the upper teeth is probably a good number. Let's give it a shot and see how, what we get. And We're gonna get a it's going to push them up for some reason. Well, it's not for some reason. I know why it's doing it just because there's a previous element. But yeah, look at that, like that to me, looks pretty, pretty good. We might have some edges or some spirals, doesn't seem like it right here. It is respecting each individual teeth as you can see it. For instance, this t right here, this one might need an extra division. This is where I wouldn't manually go and probably like add one division right there. Same for this one right here, just to give you a sharper effect. Even if that increases the whole thing. Because this one's looked really good, but this one's look a little bit low. Or we could just go back. Let's go back to disguise and give them a little bit more. Let's say a rate, apologize, Give me 1,000 points and hit Apply. And as you can see that that gives us a sharper, sharper teeth. And the better effect. Now, of course, this guy is zero this out so that they jump back to the original position of the lower teeth. As you can see, they were hidden. We can remove this name. We don't need the underscore original. Actually on this guy's first, we need to add the underscore low. And then on this one we just add the underscore origin. And then we can compare. We can see how close we are to deal right now. I think we're really, really close. But I think a conformed could really help. It's gonna be a little bit tricky on this once, but let's see how it works. So I'm gonna grab this guy and then grab this guy and just say mesh conform. Didn't break it. So I'm happy. And as you can see, we get some really nice quick teeth. Rich apologized. And we're ready to move on to the next one. So we're gonna grab this guy right here. We're going to do the same thing. Mesh topologies, 1,000 Faces is fine. Hit Apply. We can get this guy, so let's just zero the transforms. Here we go. Let's unhide these guys. Well, let's rename this guy's to underscore. Underscore low, then rename this one to lower teeth. So if we take a look at this guy's not bad either, should, pretty **** good. Which can grab this guy's mesh. And let's get rid of this guy's like this guy's make them live like the low poly. And we're just gonna do another conform to help get a closer sharper effect to the whole thing. Let's hide this guys and look at that. Like those guys out a little bit high. There are actually quite high for this one's further, I'm not complaining to be honest. They are holding things quite nicely and the whole thing, as I've mentioned, we're 13,000 triangles. So I think we're fine. Again, if we need to reduce polygons later on, I'll show you how to reduce some polygons. We can delete some edge loops and stuff. Even after texturing, I usually prefer to have a good enough texture or I can have enough geometry when doing this to get the best possible result. So that's it. We just grab these two guys and bring them down here. And we're pretty much finished with our skull. So in the next video, guys, I'm gonna guide you through the basic UB and bakes process that I do. This is not gonna be the final texture. This is not gonna be the final Bakes and stuff. I just want to show you like the de, degenerative process and I'm actually not going to UB everything. I'm just going to show you my basic UB process and we're gonna do a basic UV test just to let you see that all of these things that we're doing are actually going to work later on. So yeah, that's pretty much it, guys. I'll see you back on the next video. Bye bye. 13. Uvs and Bakes: Very well guys were rubbing at this final part of the chapter. And again, this is just a kind of like a sneak peek of what we're going to be eventually doing for every single thing for this character, right? And that is the UVs and the texture. So I'm going to grab these two pieces right here, the blades and the head, because they both exemplify the hard surface stuff and the organic stuff of character. I'm going to show you the process that we're gonna be following when doing UVs. Don't worry, we'll repeat this again or at least briefly once we get to the final texturing and packaging things. But that's just gonna give you a very basic overview. So the way I do UVs is as follows. I like to select my objects and go to UV and I delete the UV's. That's to make sure that we don't have anything. We're starting from a fresh perspective. Once we have that, I'm going to select every object, in this case these two objects. And we're gonna go to UV, planar mapping, and I'm going to use a camera based projection. You can also use the UV camera based mapping. Both of them work exactly the same. And what this will do is they will pretty much take a picture of the object in whatever view you are having. So as you can see, this kind of like a side view. If I were to move my camera like this and they do the same thing, UV camera base. You're going to see that this is a little bit more to the trader, to a front view. And the cool thing about this is that they will not create seams, as you can see right here. None of the faces have any seams to them. They're like perfectly closed. And this is really, really helpful because it will allow us to create our seams without having to worry about extra seems. So I'm going to grab these two guys first. And once we have the UV, we can decide where we want the seams. Usually you want the seams in the places that the list of visible. So in this case I'm going to say uv 3D codons. So UB tool. And I'm going to cut the lower portion here, this back part like this on both sides. Then since this is the part that's on the back, one of the easiest ways for displays will be to have both halves, this line right here. Then in this case we're going to have to follow this line. And there we go. That's gonna be one side of the blade and the other one. Why? Because at the edge it's very easy to hide with like damage and just like a metal edge wear and stuff like that. Same thing over here. I'm just going to double-click the edge and then just follow the line that closely are the most closely resembles the middle section. There we go. If we go to the UV editor and we do select this to UVs, we can press Control U, which is the unfolds circuit. And we're going to have this, okay, so that will be the first part we unfold with the site where the cuts are gonna be and we unfold for an object like that one as you just saw, that will be like the way I would normally do it. For this one though. This one is a little bit more complex and it might seem like it's gonna be a little bit more difficult to find where to place our cuts, but it's actually easier because we have or we create a very clean read topology when we were building this thing. So I'm gonna go uv 3D cut. And the first thing I'm gonna do is I'm going to cut in the center of the circle right there. Here. It might not be a bad idea to use. World's see, that we do it on both sides at the same time as you can see right there. Now, on this side, it seems like we have this thing. That's weird. For some reason. If for some reason it doesn't complete, we just completed and that's fine. So we have both circles. That's important because anytime you have an object that has a hole in it, you need to cut the hole, otherwise, it will try to unfold through that hole in it. It's just a mess. We're also going to go to the horns. We are going to help the horns by going to the base of the low like sectioning that we did. That one right there in this case. And this one right here. And then the horns, there's a couple of ways to do it and we can cut them in half, or we can just do one line that goes through the back. One line through the back in this case is perfectly fine for this one though. One line through the center is fine as well. Don't worry about the seam lines. Once we hit the texturing part, I'm going to show you how to hide certain siblings. Some people might be tempted to just like pressing Control here to delete one. That's fine. We can also leave just one line right there. Now that we have this, we need to cut here and here to separate the front part of the masker of the skull from the back part. I'm gonna go to this line right here. And it's just a matter of following your intuition or where to cut it. So all this line right here, this guy right there, this guy right there. See how we're dividing this back part of the skull from the front part. We just follow this line against the border line. That's fine. And then from here, instead of going to the front, which is going to make it a little bit more obvious. I'm actually going to go to the back like this. We have the middle line going through the teeth. That's a perfect place to cut. And then it's just a matter of like combining these two lines right here, like that. So as you can see, we have successfully we have successfully the splitted, the back part of the skull. All of this section is the back part of the skull. All of this section is the front part of the skull and the little horns. I can see that there are a couple of areas that the symmetry is not obeying for some reason. So let's just do a quick view over everything. Make sure that we're selecting things. There we go. Now, some people like to split the sockets and the nose because they, they create a lot of negative volume. They go in and when the unfolding, it doesn't give you the cleanest effects, we can do that. We can just cut right there and cut right there. And see how easy it is to generate this color. I'm actually going to go one or one line closer to the edge, see how easy it is to select things. And it's easy to select because we were really careful of creating a really clean topology when doing the rate of budget. This is why automatically topology is not always the best solution because it will make UVs and texturing way, way, way harder. Yes, you invest a little bit more time on the rate of biology when doing this, but you get a super clean result as what you're seeing right here. Now let's take a look at the UVs. I'm gonna go UV editor, select the shell and press Control U. And there we go, look at this front side of the mask, backside of the mask eyes. Okay. This is the eye, nose and the tree horns. So we got everything that we want. This is looking exactly as what we want. Now we need to prepare this for the base, that's the UV process. Now we're going to prepare this with the base. And to prepare this, we're going to select both objects and we want to use something called the layout tool. The layout tool will lay this elements in inside of the one-to-one space, which is what we're gonna be using. So I'm going to select this UVs and I'm just going to press Control L. Control L is a shortcut. We'll talk a little bit more about the layout tool as we get closer to the final UB packaging. But right now, this works perfectly fine. So that's it. We are ready to bring this into substance and see whether or not our objects are working the way we want. So what I'm gonna do here is first of all, I'm going to delete the history. I'm going to select those two objects. I'm going to assign the Lambert one. Very important that right now every single piece of the object has the exact same material. So in this case Lambert one File Export Selection. I'm going to go to Assets. I'm going to create a new folder just called this test, because we're going to delete this one later on. It's really weird. Did I already had the test folder? Oh, I really had to tasteful. Okay. So there we go. So yeah, that's fine. We'll just call this virus is called top FBX and we're just exporting the selection, so we'll just export and hit. Okay, there we go. Now we need to export the high poly. So we need to export the thyroid is called tub, and thyroid is called blades. But this is a very important thing here. We're going to add the underscore high and the underscore high like suffix to these guys, we select both File Export Selection. I'll, I'll explain why as soon as we get into Substance Painter in just a second, this is going to be called high. There we go. So let's jump into substance picture. Again. This is just a very basic test. I just want to show you how all of this comes together and how we finish this portion that the reason we're, we're worrying so much about literary typology. So we're going to say file new for K is fine for now. Let's go to our project. We go, oh, here, here. No, sorry, that was the, that was the old project is the textures that we go here, here tests. We grabbed not the high, we grabbed the low, we hit open. Very common misconception that people have is that they think that they also need to get the UVs for the high poly, you don't need UVs on the hyperlink. Like there's absolutely no need to have them because the high poly will only provide the information to this guy right here. So now we're gonna go to texture said settings and we're going to say bake mesh maps. Then I'm going to show you the difference of what happens when we bake the maps just normally and when we bake them with the little names that we change. So right now, when I input the high poly here on substance, the texts, it's going to extract the normal map DID the ambient occlusion all of this information. And I can just keep bake. And if things work the way I'm expecting them to work, as you can see right here, we're going to get exactly what we want. Now, pay close attention to the ambient occlusion. If you didn't catch it, don't worry. I'm going to show you here real quick. So right now what happened is when we did the bakes, the normal map of a disco got baked onto the textures of the blade. You can see them. Let me see if I can get inside. A little bit difficult to see. Actually, I'm not sure whether I'm having this. When I'm doing this, it's easier if I just show you here. So if I press F1, I'm going to see the 3D view. And the view one is the shortcut to see both of them. And if I press the letter C, I'm gonna be able to jump to the different channels. And we can jump to this channel, the normal height mesh channel. Now, if we get closer, as you can see to the blades, you can see that there's this very ugly line. So if at any point in the production I want to take the plates out or I want to move them or something, this line would be visible and that's something that we don't want. So also here you can see how the blade is baking onto the skull as well, especially here on the eyes. Look at this, we get this very sharp line and that's not what we want on the normal map. We might want that on the ambient occlusion map. Let me see if we can see it here now we can, we might want that on the cushion because we want a little bit of the shadow but not under normal maps. So to avoid that contamination of the normal map, that's why we changed the names to underscore low and underscore high because we can go to the big mesh maps. And down here on the normal section, we can change the match option to buy mesh name. And by doing this, what's going to happen is we're going to look for the underscore low and the underscore high and will only bake each section to its corresponding piece. So again, take a look at the information here, and once I beg that the information is going to be gone. So no more dirty information there. We have other issues. See those little things that we have right there. I'll explain how to solve those in just a second. But now we don't have the issue of the normal map. The normal map is completely clean in both the blades and the skull while still maintaining over here all of the proper base. Now, these are not the final bakes. Again, we're going to use cleaner bakes because there's look very blurry. This is a very decimated mesh. But now, how do we fix those issues that you just saw there? Well, that happens. Let me go into paint real quick. That happens when you have a detail on the high poly, a really intense detail. And then the low poly, which we did something like this when the distance from the low poly to the detail of the high poly is too big. It won't find it okay? Because what happens when we bake is a, we should raise from the surface of the low poly and we look for information on the high poly. Sometimes you'll find the information very quickly and we transfer that information into the texture map. But sometimes if the, if the depth of the scan is not as deep enough or if the low poly is really, really high or really far away from the low poly, you won't find anything and that's when you get those errors. We can very easily fix that by changing the max frontal distance and the maximum distance. I'm just going to increase this a little bit, not too much, just a little bit. Probably double the amount because our Rita budget was really close to the surface. It's just this little bit of extra, extra push that we need right here. And that's it. We just bake. And that was you can see, we're not gonna get any weird like empty areas, not under normal map or in the NBA Lucretia, like we're not gonna get anything anywhere. And as you can see, our banks are working perfectly fine. So this is what we're eventually going to be seeing in game. And just because they wanted you guys to get a little bit excited about the whole process. Let's throw in a very quick like bone material. Look at that. Very, very cool. This is not the way we're going to texture. Don't worry, I'm just gonna, I'm just giving you a quick example. Let's throw in like a steel roof material. Let's add the material to disguise right here. There we go. And let's just throw in a quick rust material. Let's add a black mask and let's add a very quick like dirt generator. There we go. So as you can see, by just adding this very transient bilayers took me 30 s to do that. We already have an acid that looks really, really interesting. Remembered that I mentioned that it was going to show you how to fix these guys right here. Very easily fixed. You just go to the object that you are the layer that's causing the issue. And you change the projection from UV projection to try planner projection and look at that. Now it's pretty much impossible to know this the same. It's, it's, it's pretty much gone. And yes, we get the different distribution of the effect, whether it works very nicely. This one of course, we can change this to like an overlay. We can decrease the intensity. But look at how nice this piece looks. Again, we're not, we haven't done any sort of like a texturing work or anything. And just by having proper bakes, proper topology purpose of what we're getting is a very, very cool looking at it. So this is what we're gonna be doing guys, with this. The next chapter is Chapter 2345. We're gonna be focusing on specific parts of the character. And we're going to study and explain. I'm going to explain why we do certain topology tracks and movements to make sure that we get the best possible result. We already have the scroll rarely the teeth and everything else. So we're just going to keep moving from there. Hang on tight and I'll see you back on the next chapter. Bye bye. 14. Face Retopology: Hey guys, welcome back to our next chapter. Today we're going to start with the topology of the body. This whole chapter is going to be dedicated to the topology of the main body that we have here. But before we get there, I just wanted to give you guys a quick little explanation of why words biting things the way we are. If we take a look at the whole character to character as a whole, we're going to have to decide which parts of the character are going to be baked in. There gonna be a single tree topology mesh in which parts of the characters are going to be separate meshes. A very common misconception that every single character should be like one single mesh and that's not true. You can have multiple measures making up one single object. Usually we do combine everything into a single object at the end, but it can be made out of different meshes. And the reason why that is important is especially for deformation. So imagine we wanted to form this chest of belts right here. It's a lot easier to have the chest bills be their own objects in case we want to have a version of the character without the chest bills, for instance, and then the rest of the character as a separate object. This guy's, for instance, same deal like it's easier to have them as separate objects and then bake everything in one. We need to this bandages though, when we go into the bandages and the hands, this might be a good idea to have not a separate bandages, but this is a single element, will have to decide the ones we get there and I'll explain the reasons. But if we take a look again at all of the different pieces, we're gonna be like combining a lot of them into, into single meshes. So the first mesh that we're going to start with, the first and one of the most important ones, of course, is the character, the main character. So right here, this is the body that we're gonna do. I'm gonna go down here to the right. Apologize measures. I'm just going to press H to hide them so we are not contaminated by that. And as you can see, it's quite a heavy mesh. It's almost like 2 million polygons. So we could even bring this down even further with estimation, but this should be more than enough. One important note here that I want to mention is the fact that the mouth is opened in the last course and the high-quality course, I explained how to open the mouth and the importance of doing so. One of the main things is the distance that we have right here. If the mouth is closed, when you beg the normal maps, you're going to bake these things into each other and that's not what we want. So by opening the mouth slightly like what we have right here, this should give us a really nice way to work with. So when talking about the body, I like to think about this as modules. And we have four main modules. We have a D phase module. We go the face module, the chest module. Okay? And then the arms March, of course, the back Marshall. So those are usually the moles and we're going to start with the face, then we're going to jump onto the chest and at the end we're going to do the arms. Let's just leave this blue pencil and there we go. So the way we're going to work is very much the same way we've been working on the skull. We're just going to select the object. We're going to make it live surface and we're going to start our drawing elements. You can do this with symmetry. The character is pretty much symmetrical. This is actually a very interesting consideration. If you see this character, you can see that the tattoo right here, some of the scars, it might seem like the character is asymmetrically, but it has different scars in here. But generally speaking, if we see the silhouette of the character, the silhouette is very symmetrical. So even if this thing is a little bit asymmetrical, that's fine because at the end we're going to use the conform and they will conform to both sides as closely as possible. Okay, So now that we have this ready, we're going to start with the eyes. The eyes are usually the place where I'd like to start my topology process because it's a nice starting point for pretty much everything. So we're going to click our quadratic tool and we're going to start just, just drawing. So we're going to start here. And we're gonna draw eight phases, 23 and then two over here. This is the external part of the eyelid. So you can see right there. So we're getting to the center and then the center over here. Center and center. There we go. So this is eight sites to the element. You can see it's a little bit slow. This is where again, you can go back to ZBrush and the like. Decimate this a little bit for now. Again, remember the reason why we're doing this low poly is because we're going to have way more polygons later on. I do want to add a couple more though. I'm going to add one more line here on the inside of the eye. And if I add one on the inside of the eye, we should add one on the outside as well. So the one the eye closest, it has the exact same sort of like symmetry. And since we already added one and that makes it uneven, let's add one more here at the center. And let's just push this thing a little bit to the side like this. I might be even tempted to go here and here. There we go again, we're keeping it low poly for now, whereas low poly as possible, so that we can do this a little bit faster. So the topology of the phases is super important because if the character is going to be animated and he's gonna be expressing, he's going to have a facial rig. The eyes are going to move, the mouth is going to move, the nose is going to move. There's a lot of things are going to move in this sort of, sort of things that we want to do. In some games. Actually, I've seen people do the characters with the eyes closed so that the, the eyelid membrane is not as stretchy when they blink. Know of characters blink unless they're like in cinematics. Alexander, normal gameplay. You don't see the blinking, of course. So, yeah, just, just keep that in mind. Now what I'm gonna do here is we're going to create the main loop for the eye. So I'm going to start expanding. I like to use the strictest expand my stuff. We're going to start expanding this ring. You could also extrude the ring. There's an option by pressing Tab key. We've mentioned that one already, but I like doing it this way. There we go. So as you can see, we expand this ring. We bring it out so that we can create the main loop for the eye. And once we have that, we can add as many loops as we want. In this case, I'm just going to have one because I don't want to make this super dense. I remember there were still going to smooth this. This is one of the things, or the character, character is one of the parts that we are definitely going to smooth together. A better result, similar to what we had on the scope. And by doing this, we've successfully created the main loop for the eye. Now, if we follow this to center lines right here, I like to bring those central lines to the center of the nose, like this. There we go. So what they achieved by doing that is that now when we mirror this, this is going to connect to the other eye. And it's gonna give me a very nice deformation along the whole thing. In now, I'm going to redo another loop around the eyes like this that connects both of them. And it creates this sort of like I mask similar to the one that Robin uses in Batman and Robin. And we're going to create a this right here. Look at that. Okay. Now this is very important. We're going to start getting specific types of topology. We, I wasn't super precise in explaining all of these things on the assets because as we've mentioned with Desk is they're not going to deform. But for the face, it is going to be the forming. So it's very important that we keep this in mind, this shape right here. It's called a star, as you can see, it's a vertices that's shares five points. And this stars are going to be very common and they're gonna be very important because they really help with the flow of typology. However, they're considered a stress points because the topology is very stressed that like that vertices is holding a lot of stuff together. So we want to try to keep those in areas that are not going to deform as much. From this central line right here. We're going to keep going up. We're going to talk about the head later on, but that's gonna be the, the general purpose and same thing here like on this part, we could have just a single polygon but see how ugly that one looks. So it might be a better idea to just bring this up like this. We do have enough geometry, we don't have enough resolution, so we can definitely have that one word on this side, on the side of the face. We're not going to push like or keep pushing another loop. We're actually going to create another star. Star right there because these lines are going to go sideways and this lights are gonna go up. Okay? Same deal here, like right around here, there's gonna be a point where some of the lines are gonna go down. This case, this guy is right here and some of those lines are going to go to the site like this. Okay. There we go. As you can see, we're going to have way more density on the eyes, and the nose, and the mouth, and the rest of the face. But this is generally the way we're gonna be doing. Now one of the things I wanna do here is I definitely want to keep pushing the middle line just to get a really good idea of how this thing is gonna be working or looking in the end. Yeah, that's, that's pretty much it. We'll talk about the ear in the next video or in the next couple of videos. But this is usually how we would handle this. Now, inside of the eyes, we do want to cover the inside and the first few layers. I do like to create a nice little shelf here. This is very important. If you take a look at an I picture, I encourage you to pause the video and look for actual y. Why am I encouraging to do that when I can do that for you? So if we look at an I, I close up, you're going to see that the I lived both eyelids are kind of like shelfs. Look at how sharp this shelf Look rights there are it looks right there. So eventually we're gonna do the eyes for the character. And the eyes are going to overlap this guy. But we definitely want the shelf to look as nice as possible. So the first row of this, like I, I do like to create this very sharp, this very sharp shelf which we are actually sculpted. If you remember from the, from the sculpting section with it's called this like death, that that shelf right there should be kept. And I actually, even though it might look might be a little bit overkill, I actually like grabbing this edge right here and beveling it. Sometimes. In this case, I don t think I'm not I'm not I'm not gonna do it on this case, but I think the smoothing will help. But if I'm going for a very low poly character like this guy, I would add an extra bevel just to hold that thing a little bit better. Now, I'm just going to cross or go across. And there's different ways to fill some, some studios or some game pipelines. Don't have like the back of the eyes. They, they just avoid them. I personally think it helps to have them. So I'm just going to keep looping. But then on the inside, as you can see here, I don't really care that much about topology because we're not going to see it right? So as long as you would just close the cap, that should be that should be just fine. So we'll just close their doors to the side a little bit. Close there, there there little bit of a weird shape right there. That's fine. Again, this this back part of the eye. I'm not too worried about that. The front part, the eyelid, and the shelf that we're creating, That's what I wanted to I wanted to make sure that we properly capped. And that's it. We got the eyes ready. One thing that we can do here, it's not really necessary at this point, but just for for demonstration, we can of course like his snap to the center line to make sure they're as precise as possible and we could meet her. I don't think I'm going to mirror right now. I think this is a good position, but we're gonna go from here. So make sure you get to this point. Make sure to copy this exactly as I have right here because it's a very, I don't know why this happens, but my students tend to mess this up quite a bit and they would either add more stuff than they should or not that enough. So be careful here. One last thing I'm gonna do, I'm gonna have one more line here. And I'm just going to delete the disguise for now. I'm going to show you in the next video how to, how to remove the reason why add that one is to better like conform to the shape here of the eyebrows. So yeah, that's pretty much it guys. I'll see you back on the next video. 15. Nose Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the nose tree topology, which is a really fun part of the process. But before that, I just want to explain what we're gonna do here. We don't want to have as much geometry going up into the character. This is the most important part of the character, the eyes, a little bit of the forehead, and the nose, the mouth, of course. So to avoid having a lot of lines going there, we can use one simplification method. This is some simplification method that's super, super common. I call this the two-to-one. So if you have two polygons like this, Let's say you're extruding two polygons and you want to simplify them. You push the first polygon up, you extrude it. You push the second polygon a little bit further, especially on this vertices right here. And then you twist it to this side. See that we have converted the 1.2 into one because this now flows into this direction. And if we had the exact same thing on the other side, right, it flows back into itself. So we successfully changed 4-2. That's a very, again, very common simplification techniques. I'm going to do that. I'm just going to push this up at another one right there. And we're just going to grab this vertex and this vertex and just get it together like that. So this, as you can see, allows us to simplify the amount of polygons that we have. That way we can still keep going in this center line and we still keep a center line. Now as you can see, this stresses the topology. There's a star right there, but on the upper side of the forehead. So it's in a good position for us to save some topology. Now, for the nose, we're gonna keep going here on the center. But you can already see that we might need a little bit more resolution. The nose is going to end right there. Here. Do I want to add one more division? Well, in this case we could, because as you can see, it goes that way. But let's see how we can fix this area first on the nostrils. I am going to create a very similar thing to what we did with the teeth and with the skull. So we're going to create this are like boxy effect because again, when we smooth, I know that this is going to be an eight-sided nostril cover right there. And what's going to happen there? What I want to happen is I wonder to be a specific edge loop that goes around the nose like this. Okay? That, okay. We create an edge loop that goes around the nose y, just for again, the formation and the inflow sake. Here we can simplify some of these points to help. There's usually this line called the nasal labial fold. We mentioned this quite heavily when we were doing the sculpting. And one of the important things about the nasal labial fold is we want to try to keep it if possible. So I'm just going to quickly sketch a little bit of the topology right there. This one right here is wearing me a little bit because that's way, way too intense. A five-point, the division is not bad, but more than five points can get a little bit tricky. So let's delete that one right there for just a second. And let's flow or make this flow from here to here. Okay? This is gonna give us a better. There we go. So now the star is right here. It's close to the cheekbones, so it's not gonna be, it shouldn't be as stressed as other things. And then this one right here have to do a little bit of a trick here to move it and bring it back. I definitely need one more division here. There's a couple of options. We can add it to the center line or two, this line right here, I think this line right here works just fine. We're of course going to relax this so we don't have as many points. And it's fine even to use a triangles every now and then. So for instance, we can have a triangle there, as long as it's not in an area that's going to affect the deformation as much. That's fine. And remember, we know that those triangles are eventually going to become I'm squares when we smoked. So we're gonna do the looping technique right there. Exactly like that. And that's it. We'll just keep building these things right here. And really utilizing these points as much as we can. So for instance here, even if there's a little bit of stretch or like another like weird loop right there. That's fine. Little triangle right there. Not worry, not to worry. There we go. Okay? Now, because I know there's gonna be some a skeptic. As skeptics watching this video. Every time I talk about triangles are like, oh no, like the biggest crime you can commit. Now, look at this. I'm going to, I'm going to scale this guy's snapped into the center. Let's mirror this. And this case it's gonna be x negative a world. There we go. You can see this looks like a, like a mask. And then when we smooth, first of all, all the triangles are gone. So things are fine. We do have a couple of guns, apparently. I hate it. I don't know why it happens here with Maya. There we go. So just smash smooth. That will be our smooth mesh. And we're of course going to use our conform trick. So conform. And there we go. Okay, so everything is flowing nicely. We got some very nice loops on the eyes, on the eyelids everywhere. So this is perfectly, perfectly fine. I've even seen characters with way more geometry than this. This is definitely a high poly geometry, but I've seen some characters in AAA games nowadays who have even more geometry than this, but this should give us a perfectly, perfectly fine result. So as you can see, even though it looks a little bit weird on the low poly, don't worry too much about it. We're going to have There is moving is going to save us quite a bit and we're going to have a nice flow. So I know that this area looks weird, but as you just saw, it's going to work exactly as intended. So let's grab this guy again. Let's go here and let's keep drawing. So now that we have the nose, we can of course again, relaxed. It's always important to relax as much as possible. Careful not to destroy the borders for the silhouettes, but this is, this is looking good. From here, we're going to start working on the mouth, but we're going to do the math on the next video because the mouth has its own little set of challenges on this area right here. I'm just going to completely fill in this part. Remember, work fast by just doing big shapes first and then just filling them in. And then we just smooth. And on the jaw line, this is very important. On the jawline. We don't want all of these lines to flow into other parts of the phases. So usually we create a loop around the jaw line right around here that as you can see right there holes, the shape of the jaw. This shape is usually going to be going up and around the face of it kind of creates a border around the face with that loop. So as you can see, we have this lobe right here. There's gonna go around the face. And yeah, that's that's pretty much it for the nose. I'm going to stop the video right here, guys, make sure to, again, copy this as exactly as possible. And in the next video we'll start talking about the mouth. So hang on tight and I'll see you back on the next one. Bye. 16. Mouth Retopology: Hi guys. Welcome back to the next part of our series. Today we're going to take a look at the mouth. The mouth is actually very similar to the eye. I like to start with the lips. So I'm gonna go here to the lips and I'm just gonna start drawing as many faces I say Neith, until I get to the corner of the mouth, which is right here. As you can see, we have six faces. So in a very similar fashion, I'm going to draw six faces from the border of the lip up. It's gonna be 345.6. And as you can see, this corner here is very important that we try to get it exactly on the corner of the mouth because that's where we're going to eventually cut some UVs and stuff like that. The main thing about the mouth is that it needs to connect up in this sort of like circular way. There's actually a couple of muscles on the mouth and the eyes called the orbicularis, muscles, which are like sphincters, so they're like doughnuts. And that's what we're trying to replicate here. So that one, the rigor comes in and the duster, the rigging of the character, we can get the best possible result. Now, here, as you can see, the border of the nose is affecting us a little bit. So we need to fill in some of these guys, some of them are going to transition, as you can see right here, very naturally onto the, onto the next point. There's gonna be a point like right around here where things are like stretching a little bit too much, That's fine. Some people like to really align this corner of the mouth to a line right there. Again, it really doesn't matter as much because as long as we have the main lines in here, like on the inside here, that should be more than enough. But that is a good idea to try to keep things flowing nicely as long as possible. So here, for instance, let me just delete that face. This guy should keep flowing. There we go. I'm even tempted to just delete one of those lines to relax everything here. And then here, it's pretty much gonna be impossible to continue the flow. So this middle line, of course, it's going to keep going down. Remember the, we need to bring back our border. So there's gonna be a star. This point is going to be a star probably right there. That's a point, point star. And then this thing just keeps going along the jaw line. There we go. Here we just add two more phases. That's it. Oh my God. Sorry about that. Now, we actually have some lines here that we need to, to bridge. So I'm going to add one more line there. That's it. And I'm going to add one more line there. And that way we bridge all of these guys. And as you can see, we've actually managed to fulfill our objective, which is to have a lot of loops going around the mouth. And all of these loops that you see right here are gonna be really, really helpful when we're creating or speaking with the character. I do feel like we need one more line right here, just for the upper side of the lips. Because just having one section was a little bit too few lines. We can count on the smoothing TO this smoothing is definitely going to give us more lines. So let's wait. And then if after this money we feel like we need more, more geometry, we'll do more geometry. The tricky part now is gonna be the inside of the mouth. It's always one of those parts that people hate to do. I hate to do it as well. It's really annoying, but it's part of the process. So what we need to do is of course, we need to continue the inside of the lips as close as possible. Sometimes I like to push the slips down a little bit more. There we go. So we continue this things in straight. Find a camera here. And we're gonna go like this. The upper part, like you can see right there. It's gonna go all the way. You can see the roof of the mouth. Actually. I think I did a good job of modeling all that's fine. There we go. Same thing for the the lower lifts. There we go. If you're having issues, remember you can you can find the edge. We let the camera. There we go. We find the edge and we'll just press shift that and we just pull it. There we go. Then from the side as well. So from this two points, which is kinda like the corner of the mouth, we also need to create the back. We're pretty much creating a bag around the whole thing. Let me isolate this so that you can see it a little bit clearer. So see how all of these things are going back, right? So we have 123-12-3123. Minute, I have another one here. Now one thing, one cool thing about working with with life surfaces or even if you don't see the surface, you can still use this thing. So as you can see, I can model here. And that way I have a little bit more visibility. It's not going to lead me like Land points. But if I do, this, should be a little bit easier. Let's push this back. We go. Now over here I can see that we have 41234. So we'll just divide this and this. We should be able to bridge all of this. Same thing on the other side. Like do it smartly play smart not hard, right? So work smart not hard. So we just do four right there. And then we'll just divide. And we just everything. And this should give us loops. So if we need to fill into loops a little bit more to relax things inside of the mouth. Like here. We can add some loops and just relaxed the math. And we need to be inside of the mouth to be able to do this properly. But look at that. The low back is working quite, quite nice. So let's just finish. Actually, let me think we're, we're, we're about to create a spiral and I don't want that. So let's erase this one. Let's fill in this part right here we go. I, if I remember correctly, when I sculpted this character, I did do all the way to the throat, which is common, especially if the character is gonna be screaming a lot and you're going to see the inside of the mouth. It's quite common to sculpt all the way to the inside of the throat. So let's go here. Let's add some points. Now. The, what's the word, the geometry back here? It doesn't matter as much like we don't need to really bring all of these points in. It is a good idea to, to make it flow in a similar way though. Let's us do that. As you can see, since it's the inside of the character's mouth. So we really don't care as much. I'm simplifying quite a bit here with triangles, where I see that it makes sense to have a triangle, will have a triangle probably not here on the, on the center line. Let's go in. Here we go. Again just to keep things clean. Let's just follow the sort of like the same apology. This. Now, do we need to create a cap for the throat? Not really. However, there's gonna be a map later on, we're going to use instead of the texturing thing, which is called the thickness map. And if you don't have a closed surface, the thickness map has a difficult time, like solving that specific part. So there we go. And that's it. That's the that's the inside of the mouth right there again, we're going to smooth it. That's gonna give us a little bit more resolution right there. But that should pretty much solve it. I still think it might not be a bad idea to add one more line right there, even though we are going to smooth. And then I'm going to use a little bit of my relaxed button here, especially like on this side you can see how the geometry is getting a little bit stressed. So, yeah, that's pretty much it. That's the lips. Again, the most important thing about the lips is this loops that we have right here that go around the mouth. Because we're going to allow everything to move on to form in the proper way and how it connects with everything else. Like the thing that we talked about here on the jaw line and everything else. I'm going to I just want to make a quick point here, guys, I know I'm moving a little bit fast here and the rate of biology, like I, I've been doing this for a lot of years now. So I can usually reach apologize a character in one day. One of these characters. So yeah, just just pause the video if you're having issues with specific parts, like really just wait until the camera isn't a specific point where you're struggling. Pause the video and copy the topology exactly as it was what I'm doing to get the best possible result. Okay. So I'm going to stop the video right here, guys. And in the next one we're going to talk about the health. We're going to continue with the head, then the ears than the horns, and then the neck. So hang on tight and I'll see you back on the next one. Bye. 17. Head Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the head array topology. This is where we left off. And the head is actually, I would say, rather simple, like part of the character. It shouldn't really be that complicated because it's pretty much just following the central line and filling in this area right here. Now, in our case, we're going to have to do a little bit of extra work for the horn, right? So the first thing I wanna do is actually when I reduce a little bit here, I can see that this, all of these lines right here are getting a little bit heavy and I don't want my neck to be extremely heavy on topology. So one thing that we can do here is we can go back to our normal edges, select this edge is right here as you're seeing right there. And we can go Mesh tools or sorry, Edit Mesh collapse. While collapse will do as you can see right there, is, it will minimize the amount and then we can just relax all of these areas so that we just reduce the amount because we're going to be softening this guy or giving it a smooth subdivision level, right? So, so that's why I kinda wanna keep it as low as possible For as long as possible. So if we go here to the center line, It's pretty obvious, pretty self-explanatory, that this thing should continue all the way over here. But when talking about the neck or the, or the head, we need to talk about the neck and the neck. We also have our line right here. It should follow or it should create this ring going around the whole thing. So something like this. We have 123. And over here we're gonna have 12.3. So let's just keep connecting this guys with big squares. First. Number always with big squares. And then we're going to start adding divisions and simplifying this whole thing. So here, for instance, I don't want all of these lines to go down, so I'm gonna do another two to one simplification. You guys remember this one, this one right here. So that way we get a two-to-one simplification. Of course, we add one edge loop right there. And we do this right here. Let's just move the lines here. Some people like to really follow the neck muscle for games. I think it's not really that necessary to be honest. But if you want to do it, go ahead. So this guy says you can see, follow very nicely and then we have a problem here, right? So we either add more divisions, which I don't really like the idea of doing, or we keep this, we do another reduction. So there's another reduction. And I'm actually going to show you right here, which is called the three-to-one reduction. And the three-to-one reduction, I'm going to have it here underneath the jaw. And what we do is this, we create this trapezoid shape. And then from that point, as you can see, we're pretty much have only one division left. So it's a really, really handy or useful way to do the reduction. And it's in an area that's not going to move as much. Therefore, it really doesn't affect us and we avoid having as many polygons going down because again, I know we're going to divide things, but we don't want to have as much density down here as well. We have up here. Here. I think we're just going to push this thing closer. And that's pretty much what, this is a square, right? They're going to have a little star. That's fine. And you can probably see here how this thing is more. Now, on this side over here, we're definitely going to have another line. I usually have, like having at least two central lines for a character. But the interesting part happens right around here on this area. Because what we're going to have here is this element right here is going to loop back. It's going to create this sort of like a round shape around the ear. And it's going to loop back into the neck. One more division right there. Something like this. There we go. In this case over here on the top side, they will eventually go to the top side of the head. You can see I'm not being shy when they're adding more polygons. Like if I see that we need more polygons to, to better describe the shapes and the forms of this characteristic or this part of the character. I'm just going to do it. Again. I'm not adding too much geometry on the top part of the head because I know we're going to smooth it and the smoothing options will definitely help. Here, for instance, again, don't, don't think too much. Probably one more there and probably one more there. We want to follow the sort of like a round shape going down, smooth, distinct down here. And make sure things flow nicely to the back of the head as well. So here, here. Here we have three-to-one. Do we do a reduction? We can do a reduction, but I actually think we would benefit from an extra one right there. Even a triangle, right? That's fine. Once we smooth that, we pretty much like solve the issue right there. With all of this up. There we go. Here we have this other sort of like reduction is another kind of reduction. We've talked about this one before. It's like the chicken leg, like the one-two-three. So yeah, it's getting a little bit like weird over here. So I'm actually going to delete. This guy is right here. And I'm just going to add the extra loop because we are going to need it for the ear to be honest. So we're just going to try to on stress that area right there. Look at that. So it's very important that we create this sort of like loop thing going down. Mainly because we're going to have or want to have cylinders as much as possible. We're going to talk about the shoulders later on, but you're gonna do something real quick here. I'm going to bring this all the way down to the clavicle, all the way down here to the shoulders. And then this guy is gonna be like all the way over here. And we can start creating this thing which is, I like to call the bad man cape. Which is one of the ways that this thing is should be flowing with. Again, we're gonna be playing around with this once we get into the chest and the shoulder area, probably going to have to increase the resolution there. Sometimes instead of doing a reduction, we're gonna do an increase. So instead of going 3-1, we're gonna go 1-3, stuff like that. So yeah, this looks good. I feel like this is going to work. Let's add one division here. And just like softened the neck divisions a little bit. Because one of the rules we've talked about this before. One of the golden rules about topology is we want to keep a like a uniform distribution. You don't want to jump from really small, like a density two really big density in such a small amount of time. Now, over here, we need to define how we're going to create all of this like blocky parts of the horn. So the first thing that comes to mind, this, Let's loop it. Let's loop the horns. So I'm going to create a nice little loop here around the base of the horn, like details like this event here. This is going to be a little bit of a weird, weird polygon right there. But this is going to allow me to create the lobe right here. And this is the, as you can see, I'm just going to continue the loop, which is going to continue to, some people might be like, Do we really need to capture all of this if the horn is going to be overlapping. And the answer again, due to one of the maps, are they gonna, we're gonna be using later, which is the thickness map. Having this like actually mod n is gonna be really, really helpful. You can see here that some of these points are like colliding a little bit too much. Let's reuse them to capture the form a little bit better. Again, I'm confident that this smoothing that we're going to do will give us a little bit more resolution to capture their sweat even better. Especially this front parts of the horns, which are the ones that you're going to see the most on a particular character. This particular character, we should definitely try and capture them properly. Let's create the cap here. We can even do a triangle here, like I don't see why not just going to keep it simple. We can do a couple more triangles, and now this is a flat area. We've done flat areas before. What happens when we have a flat area? We can of course fill this in with just random shapes like that. That works perfectly fine. But if you wanna be a little bit cleaner, if you wanted your stuff to look a little bit nicer, you can just go mesh, fill hole, grab that face and say Edit Mesh, poke. And by doing that, as you can see now, we have successfully covered that specific area. And that's pretty much it would that we've covered all of the phase right here. As you can see, the density on the top of the head is less than the one on the front because this area is not as important. And we have successfully recruited all of the shapes, even a little bit of the neck right here. Again, make sure to pause the video and do some quick stop. So this should be your front view. This should be your side view. This should be your back view. It should be your top view or as close as possible, the horn. So make sure you get that because the next video, we're gonna be doing the ear. So that's it for this one guys. I'll see you back on the next one. Bye bye. 18. Ear Retopology: Very well guys. So we're finally on the Erie topology, and this is another one of those tricky areas I'm going to save real quick. Remember that right now, saving you might take a couple of seconds because we have all of the hypotheses even though they're hidden. But make sure to save. It's very, very important. Now here on the ear, what I'm gonna do is I'm actually going to look again at the looping technique like creating unnatural up around an object. This is really, really helpful. And what I'm gonna do here is I'm going to jump into my quadro. And we're going to loop, and we're going to create this loop at the border of where the ear begins. Okay, So right around there, for instance here I'm going to just push this to relax it a little bit more. In this loop is gonna be really, really important because eventually when we do the UVs for this section, we're gonna be able to cut the ears out very easily to help the unfolded process. Now the tricky part about the ears is that we need to kind of like push up, but we might need to increase the amount of, of divisions that we have because there's more detail that we want to capture, right? So the way I like to approach this is by pretty much following the anatomically correct like a forms of the ear. So in this case I'm going to follow like this. I'm not going to keep a loop on the ear itself because this shape seems to be easier to be captured like this. So we're going to just keep going like this. And here's one of those things. A lot of people hate sculpting every topologists in everything because they are like, I think they're a little bit boring, to be honest. But if you do them properly, you're gonna get a really nice result. Now from here, just keep going down. So there we go. Just keep adding points and pushing this in like this. Then here. This is the one that I mentioned, that it's not a loop, it's not a perfect loop. Because if I try to insert a natural, we can see it's not, it doesn't go all the way. But this should allow us to, to capture the silhouette. Remember that the silhouette is king. That's the, that's the most important thing about this. If you have a crazy point, I don't think I've mentioned this before, but you can just double-click and clear the dots right there. That's like the shortcut. Now here's where things get a little bit interesting because as you can see here, when you a little bit more surface area to bring these things down, getting really close to the border there, there. Okay. So I'm just going to ignore the fact for now and just continue my process here. Again, don't worry about how this is going to connect them. Worrying about the, the ear itself. If this happens again, just shift. You just extrude the edge and focus on this important bit. Here we go. There we go. What's this a little bit more. To try to keep these things as relaxed as possible here are probably going to need the triangle. It's going to be a little bit difficult to capture that specific area with other triangle and that one, I'm going to leave it exactly as it is here. I can start like doing this, but now what we're gonna do is we're going to use the stitching method where you guys remember that one. So we can do one big square root there, n triangle, then that's a normal connection, that's a normal connection. We go normal connection triangle, normal connection, triangle, normal connection, normal connection triangle. Okay? But this triangle is the cool thing about them is that they're hidden behind the ear. So we're fine and we're still keeping our main lobe right here that we're gonna be able to use to cut our UV seams. Same thing here. Make this a triangle, that's a square. You could just collapse that right there. And from here we keep going. So now we need to start building the inside of the ear. This one again, it's normal triangle right there. Small areas like this tend to be like triangle heavy. But again, don't sweat it, don't worry too much about it. Square, square, set. Now, all of this do we need to loop every single part of the year now, as long as we keep the main shapes and the main forms, we're gonna be fine. So in this case, we just need to, for instance, go down to create the Maine border. This, this creation of the silhouette is really important, mainly because of the shadows, okay? This one is better as a triangle. When you have a 3D model and you're instead of an engine, shadows are gonna be casted, right? Even though the normal map can fake those shadows. The best kind of shadows are real shadows, right? So if you actually have the geometry, they're gonna be casting a real shadows into the world. And that's going to give you a way cleaner and more professional results? Yes. Performance-wise, it's a lot more. It's a little bit heavier because you have more, more geometries are more geometry. But again, that's where each, each project that you might work on will be slightly different. Some of them will require you to be very, very efficient on the way you build things. And some others will require you to use as much resources as possible to get a super amazing, realistic results. There we go. So again, if we take a look at the ear, look at that. Perfect, right? Here's looking really, really nice. So at this point it's a good moment to delete the history of the character. Go to the front view, select this edge right here. Makes sure to de-select all of the other edges. So we're only with the center edge. Let's remove this thing for a second. Snap it and snap to the grid. And do the mirror x negative and hit Apply. Of course I'm gonna go to my vertex and I'm going to check that we don't have any guns. Seems like we don't. Great. We have a couple of we're here. Just delete dose. There we go. So this is the low poly of our head. We're still going to keep working on the low balling now that we're going to move onto, onto the chest. But it is very important that we do a test just to make sure that things are gonna be working as we expect. So what we can do here is I'm going to duplicate this guy. I'm going to hide one of them. And then this guy I'm going to say mesh, we're going to smooth. Let's take a look at how many polygons we have, 10,000 triangles. That's perfectly fine for a half because that's the most important part of that of the character. So that's perfect to perfectly fine. We've got this guy. We make a leaf surface if we grab this guy now and we do our mesh conform, mesh can form. This is going to push the vertices closer to the surface of the object. I think it did already, right there. That one's more. There we go. Now let's take a look. Yeah, look at that. Look at how nice the borders here on the horns are being marked. Look at how nice the eyes look. Look at the mouth, as long as you don't see any like polygon being positioned in places it shouldn't be. This is going to be perfectly, perfectly fine. Do we still see a little bit of that faceting look? Yes, and unfortunately, for video games, it's impossible not to have it. We would love to have an even like us, like an even better subdivision. This one's more like we would love to have this for every single character, but that's not possible. Again, I've seen some characters nowadays that go all the way to this. But look at this, this is almost 50,000 triangles were just to face. The games where I've seen this is games such as like Uncharted than games where there's a lot of cinematic shots in normally what happens there is you have that, that's the specific mesh for the hype, like for the close-up sequences than the cinematic skin. And for gameplay you have something a little bit closer to this. Again, performance wise, it's just a more productive to have something like this. There we go with this, my friends, we aren't ready. Our faces is completely ready and we're ready to jump onto the chest. The chest is one of those areas that's really, really fun. I really liked doing the chest for characters. And after that, we're gonna do the arms. And then just keep going, hands, bells, all of the other pieces. Hopefully you guys are getting more and more used to the way the topology works. Again, I think when I first started, it was always this sort of like very boring and tedious part of the process. Nowadays. I enjoy it. I find the fun. And as long as you do a good job, it makes your life so much easier on the reading section. So yeah, that's it for this one guys. I'll see you back on the next video. Bye bye. 19. Chest Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the chest every topology. And this is the acid or the mesh that we left the width last time. So here I'm just going to go into my front view and delete half of it. Because again, as we've done so far, we are only going to be working on one side and then mirror it to the other side. Select our measurements already on the leaf surfaces. So like this guy and let's just jump straight into the chest. The chest has some interesting features that we need to take into account. First of all, we do need a central line. Okay, that's pretty self-explanatory, right? Like we need one line that's going to go all the way through the center of the chest. Now, as you just saw here, I actually stopped. Instead of going just straight down, I actually stop at two points. There are gonna be really, really critical for our character. The first one is this. As you can see, he has a really big like pictorial muscle. So it is very important that we try to keep that like sharpness on the border of the pectoral muscle. And that's why I created this loop that's gonna go through this side. Omega, sorry, of the character. Now, the other thing that we're gonna do and we're going to try to do is we're going to try to keep this same flow that we have right here. See how this line is aligned with detector pictorial, like group, what we want to keep that line. So I'm literally just going to fill in all of these guys right here. Something like this. There, there, there. And there we go. One more and one more. That's pretty much our chest muscle done as you can see, it follows the shape and the form of the chest muscle very nicely. And it stops right here at the shoulder. Now, I'm gonna I'm gonna talk about the shoulder in just a second because that's a really, really tricky area. But the chest muscles you can see, as long as we have a good amount of polygons, which we do right now, It's working very, very nice. Now, of course, if you compare the density that we have over here to the density that we have down here. Some of you might be like, well, why don't we supposed to keep everything the same size? And the answer is yes and no, you should have more density where you have more detail or where the detail is more important, which in this case is of course the head over here. We can get that way. We hadn't big phases because obviously we're going to smooth, but also the shapes are very solid. Let's just keen detail, right? Like we don't have as much like intricate like wrinkles and stuff on the chest area. And also you can see how we're doing the transition from very thin and very small quads to bigger and bigger quotes as we get over here. Okay? So it's not necessarily have the exact same density everywhere. It's just that the density has to make sense and you have to have the density where it matters. Now from these muscles, I'm literally just going to go all the way down, all the way down to the border here. And it's very important that the torso has this sort of around the Earth. Soft defects like this, like the divisions. The divisions are really important as you can see, I'm going a little bit heavier here on the divisions. And the reasons why, the reason why they're a little bit more important is because the character might bend, right to pick an object up or he might stretch back. And by having a very uniform cylindrical distribution here, It's gonna make everything a lot, a lot easier. All of these muscles are all of this will eventually connect to the back. We'll talk about the back shortly. But now we need to talk about one of the well, wait, did I add one more line here? I think I did. This just like we added one more line here. That's fine. We can add that line if we needed it. But we definitely need to relax because it was creating a little bit of fun. What's the worth of a sharp line? Remember that when two edges are really close to each other, they create a sharp line. And that's sharp line could create some issues. Just balance things out and make sure that they're relaxed enough. There we go. Cool. Now, before we talk about this, we actually need to talk about the arm. The arm is a really important part of the character. And even though we could use the Ellipse tool instead of a blender, there are other ways in which we can utilize that sort of trick here inside of Maya, I'm going to create the new polygon. And this is gonna be a very basic cylinder. We're going to change the divisions of the cylinder to ten divisions. I like using anytime I can use even numbers, that just makes it a little bit easier to control. Let's turn off this thing for just a second. And I'm going to create this sort of like racer. This is gonna be resting here on the arm. And then make this a smaller. Again, it's kind of like a, like a brace or right around there. Let's isolate the cylinder, delete the caps. And now what we're gonna do to make sure that this cylinder fits the arm perfectly. So we're going to select the Object live surface and we're going to conform this just like this, just like that. Just come for. There we go. Now this band is following the shape of the arm. We can select both elements now and combine them back into a single object. Let's delete the history. That will be keep working. As you can see, we have the band, a ten sided band that's going around the arm. Sometimes I like to use an eight-sided band if the arm is not as bad as this one. But in this case this one works perfectly fine. The reason why we need this band is because this guide, like there's very interesting connection that happens here on the shoulder and that we need to be very careful about how we connect this thing to the rest of the elements. And the connection mainly happens at this way. I'm going to grab this line that's coming from the underside of the arm. In this line. Is going to continue around the shoulder. It's going to continue around the shoulder like this. And it will eventually go all the way to the center of the back. This is super important guys. This, especially this vertex right here is super important because that vertex is the vertex that gets pulled up when you move the arm up. So that part right there is very important because otherwise, if the connection was any different, when you move the arm up, right, there will not be enough like polygons to really stretch that right there. So very, very important that we follow that specific or this specific thing. And this again, is sometimes referred as the, as the bad man cape because as you can see, it just flows down and connects to everything over here. The arm, as you can expect here, will connect as normally as possible to this part. But over here, instead of connecting this side or that way, we're going to connect that down. Okay, So that's why we get this again, this is a six-sided point. That's one. I know we mentioned that those tend to be a little bit risky because they're very, there's a lot of tension there. But again, once we smooth, there's gonna be more divisions there and it's going to alleviate the depressor. So those sites right there Go down. Same thing for this things right here. We're going to have a little bit of extra geometry, as you can see right there going down. There's one goes down as well. And that's it. Now these muscles, as long as they can just keep going that way, that's fine. There's gonna be a movement especially right around here where these things are gonna get really, really big. We will talk about this one's a little bit later, but easiest solution is just to add one more line on the horizontal axis. As you can see, that really helps with the overall thing. And again, I know with this morning we're going to get more resolution and that's going to hold this shape a little bit better. However, in here, you can see that things are getting a little bit intense, right? So from this side, we're gonna go to the side again, very common mistake is for people to flow this down. We're going to float it to the side. Because we wanna be able to really just like bring this thing up in an easier way. I actually think I'm gonna go because he has really big arms. We're gonna go with 12 sites. I know we started with ten sites. I'm just going to add two more sites right there because it was definitely becoming a little bit difficult there. There we go. Now this, as you can imagine, we'll just keep going down. Could we simplify here with a couple of triangles? Yes, however, again, since I've mentioned this earlier, this a part of the character that moves quite a bit. It twists, it, moves, it deforms quite a bit so that more uniform we can keep it. The easier this thing is gonna be. Here's a quick trick for this super big square. Just create two big squares right there. And then just add the divisions, right? Don't try to draw every single square individually because it's going to take you forever. I know I mentioned what we're gonna do the back at another video, but we're pretty much doing it right now, as you can see here, very, very easy to just fill all of this with a quad like surface. Cool. So now the shoulder, the shoulder is one of the tricky areas here are for the characters because it's a mass that's really, really big. And we want to continue this, pretty much want to continue this begins if things are getting a little bit stretched. So here's what we're going to start doing. Our little like. Instead of doing a decreasing the edge loops, we're going to increase the slope. So from here, I'm going to do the inverse thing that we would normally do. We're going to create this little shape. Memorize this shape because it is very important. And as you can see, we have gone 1-3 while still keeping, while still keeping the same direction that we need. So that way as you can see, we can get more resolution and things flow in a nicer way. For the shoulder. Again, there's a couple of ways to do it. The one that I personally prefer is to loop the upper part of the shoulder right here. So by looping only the upper part, we don't need to look everything only the upper part. Like this. We're going to get enough or we should get enough resolution to properly captured the volume, the volume that this shoulder has, can take a look at this. There's a star there, so our loop right here. And this should flow nicely into the arm. Okay? Everything seems to be flowing nicely there. And look at that. Yeah, that's perfect. Here. We have an option and this is the kind of questions. This is one of the reasons why I love rid of biology. It's like a puzzle. You always need to be solving the puzzle. So here we have two options. Do we add one more line here, or do we reduce this into a triangle? In this case? And align is better? Why? Because the back again, it's an area that's going to have quite a bit of movement. So just having one more line, I think five extra polygons is not going to kill our performance. And it's gonna give us a super, super nice distribution. Look at this. Okay? So with that done, we're pretty much finished with a V. I'm with the chest. I mean, that's pretty much it. Normally. I like to add one extra inch right here on the inside of the arm just to help with the deformation when this thing goes up, when the army goes up, because otherwise it starts pulling other points that we might not want. But this is looking quite nice now, this is a really beefy character. He's really, really ripped. So a little bit of deformation as expected, if he were to raise the arms like super, super high, we would expect there to be some sort of deformation or problems, but this should give us a really nice result. Overall. That means since we're really here and we have a couple of extra minutes left for this video. Why not just finish this? I'm just going to go all the way to the wrist. If you guys remember. The wrist has all of the bandages. So we're going to have to do a little bit of tweak it or I'll work, I have to decide other things once we get there. But right now, this is what we're going for. So let's just keep going. Going there. As you can see, the faces are becoming smaller and smaller. Perfectly normal for that to happen. There we go. We add 12345. Some people like to loop the elbow to give it a little bit more mass. I'm going to show you how to do it. It's actually rather simple. If you find the elbow, which right now it's on dislike Foursquare's. You can delete those four squares. Then just create a small little loop right here. The way we've been doing so far. And what this will do is when we smooth than when we like rig and everything, we're going to have a little bit of extra volume to keep the sharpness of the elbow it nowadays I don't see everyone doing this, but I used to do this quite a bit back in the day because we didn't have as many advanced like rigging tools is what we have right now. But yeah, it's something that we can do. So yeah, that's, that's pretty much it. Now, the moment of truth, we're going to delete half of it. Grab the central line. Our, let's turn this off. Snap it to the center and mirror to the other side. Of course, we're gonna go into number three mode and just check that we didn't have any in the ambulance. There's one there. There's one there. Let's just delete them. And that since we're done with this part of the character, what we can do is we can just grab the whole thing and already give it its subdivisions so we have the final resolution. So we just as smooth and we say, we need to grab the other guy. They can live surface and then say mesh conform. You can see everything should jump. Boom, there we go. Look at that. Perfect, Perfect, Perfect, Perfect. This is looking amazing. This is a great element, as you can see, 16,000 triangles for pretty much the whole torso. It's perfectly fine. We have great resolution, great topology. Things are where they're supposed to be. So I know that if we were to rig this guy here will form a very, very nicely. So yeah, that's it for this one guys. We're pretty much done with the main torso of the character. Final thing that we need to do is just grab the main character right here, copy its name. I think I made a mistake right there. Did I just copy the whole thing? Let's just copy the name. There we go. And rename this underscore low. I think now we're going to jump onto things like the horns, the horn armor, like things that he has up here. I've mentioned this before. We're not going to be doing the hair on this. Like we're not going to be doing a rich apologize here. We're gonna be using Fiverr here. So we're not going to have to read topologies these guys right here. So that's another neither the musters, right? So all of these pieces that we have right here are not gonna be read topologies. But yeah, make sure you get to this point, guys. It's very, very important. That's a great practice. If you've never done read the apology for a character before, then this is going to be an amazing learning experience. It might take you a little bit longer than it took me, but it's just part of the process. So yeah, make sure you get all the way to this point and I'll see you back on the next video. Bye bye. 20. Horns Retopology: Hey guys, welcome to the next part of this chapter. Today we're going to continue with the horns. And this is the first, I would say, interesting asset that we're going to have to take a look at. So the first thing I'm noticing is this guy right here, this word, the original chains that were hanging from the element. And what we're seeing here is the decimation trying to decimate a low poly mesh mesh, there was already quite low poly. So I'm actually just going to delete them. I'm going to delete them, but we need to bring them back because one of the very common issues that I I've gotten into throughout the years is I delete something that I know that I'm going to replace later, but then they forget to replace it. And it's just it doesn't work right? Like we need to bring it back, otherwise we're going to forget and then the character is going to be incomplete. So we're going to jump real quick to our asset right here. Have here our thyroids, the high poly, not the decimated the high poly to the big chunky one that we have. And the first thing is we need to set the scene so that it's at the size. Remember that we did a size master. I don t think I saved that one. So just to make sure that the size of the objects that we're exporting is the same. We're gonna do the same process. So I'm going to go into the chest, which was the one that we use as a reference. I'm going to go see plug-in scale master. And we're going to use a set scene scale. And it was this one right here. So we'll just click it. And that should save everything. So now if we jumped to the horns to that little bit of melt their desk guys right here. Let's isolate dynamic solo. This guys, this is what we need. We don't need a high poly. That's pretty much all we need, is not going to have any detail. If we add any details, is going to be on the texture side of things. As you can see, it's really low on points. So just select this guy. So I'm going to hit Export. And I'm going to export this in 2D, 3D topo. I do want to export this as an FBX. I don't want the disguise. So thyroid hormone armored trains, that's perfectly fine. And we just export. We go back into Maya. I'm going to say File Import, his horn armor chains import. And the first thing that I might notice is that they might not be the size that are in the position that we want. They are the sides, but they're not in the position. You guys remember why? This is? Because when we created this group, we move with this amount of units up. So you need to go back here and just make sure to select the same amount of units. And there we go. It's now it matches exactly where it's supposed to be. This guys. I actually want to keep them hard surface yeah. When I want to see the beveled edges. So I'm going to, first of all, I'm going to assign the basic Lambert material. And then I'm going to say Mesh display Harden Edge. We might need to unlock the edges. Sometimes they'll normals are Luxor mesh display unlock normals. And there we go. So that's gonna be my, like my metal bits, That's what I want. And some of you might be like, well, what do we need a high poly or not? And the answer is, we really don't need a high poly, but it is useful to have one because it's going to give us cleaner bakes. So what I'm going to do here, so I'm going to drag this into our Readtopia meshes. I'm just going to change the name to underscore low. I'm going to duplicate this, Shift P to get it out of the group. And what I'm gonna do is I'm just gonna select the whole object and just double it, give it two segments. And this mole fraction. So I can get this very nice soft effects. So this effect that we're seeing right now, thanks to this extra level, is supposed to be baked down onto this guy right here. Okay? Now this guy is, of course we're not going to be called underscore high, they're going to be called or they're going to be called underscore high. They're going to be called underscore. Sorry, they're not going to be called underscore low. They're going to be called underscore high. I'm going to create a new group because it's gonna be my hypothesis. And this is the first true high poly that we're going to have. Because remember, all of these guys are a decimated version of what we actually want to break down. Because the ones that we actually want to break it down are going to have more detail. And therefore they're gonna be, we're going to have cleaner bakes anyway. So after that long explanation now we can think about what we're gonna do here with the horse. And here's again where we are going to need to solve this puzzle. First of all, the horse or asymmetrical, this horn has bandages and this horn has a bit of armor. That means that we're probably going to have to reach apologize them in individual ways. However, they're not asymmetrical on the top part of the horns like on this, probably from this section up there, pretty much the exact same thing. They might have slightly different details, but they're the exact same element. So in the spirit of, of working as little as possible, we're going to use a symmetry for this case. We're going to start with this guys right here. We're going to make them live surface. And we're going to start apologizing. We're of course going to turn a World Exon. I'm going to go to the highest point I can think of, which is right around there. The bandage is the one that goes higher. So we're going to use data set as a reference point. I'm going to bring this down here. The horns are not perfectly circular, as you can see right here. They have a border right around there, and then they're quite flat on this side. I'm still going to add an extra edge right there. Another one right there, another one right there, another one right there. I'm going to bring this down so they follow are a little bit closer to them to the bandages. I'm probably one more here and one more here. I'm gonna count how many we have and we have 18 phases. Of course it's 9.9. I don't want 9.9, so we're going to add one more line where probably, probably like here. Again, we just start smoothing things out so that we get the best possible distribution. As you can see, it's working quite nicely on both sides of the elements. I'm going to follow this like sharp lines that we have right here. So it's gonna be 1234. Now this is one of the other assets that I'm really debating whether we want to smooth or not. I know we can, but it's gonna be tricky because we have more assets. We have the bandages and we have the armor. So sometimes you might want to already be like thinking about the high resolution things at this point. Now I'm just going to keep it low poly and then we'll see if we need to do it or not. Now one of the things that you're going to notice as we go higher and higher into this, into this mesh, is that we're not going to need as many polygons, right? Because the surface or the volume that we have of here, it's not as big as the one that we have down here. Here, for instance, we can already reduce that volume. Like I added an extra line right there. So we might need to add one extra line right here. Smooth this out. There's gonna be a point probably around here where a triangle might be worth it. There we go. That triangle is going to keep things a little bit cleaner and we can continue pushing the volume up. And then here again, it might not be a bad idea to have another triangle. So it's probably going to be, let me clean the dots real quick. Go, which can extrude this out. And there we go. It's really going to be a triangle right there. And we're probably going to have two triangles here, 1.2. Because we're going getting to a point where we don't need all of this geometry to capture the silhouette. I do want to try and keep a central line. Because as we've mentioned before, central lines can be really helpful. So as you can see, I'm trying to keep the center line right there and then this side. Okay. That's not the most perfect pointy bit. Weather works. And there we have it. Cool. So at this point, things are going to start changing. Like that's pretty much as much as we can save ourselves. So I'm going to get rid of this thing. And I'm actually tempted to just separate this just mentioned separate so we can work them independently. We know that they're going to keep roughly the same amount of geometry, but we need to talk about how to handle this sort of stuff. So first of all, the thing that we're going to need to do is we're actually going to have to combine these things. We sculpted them separately when we were doing them inside of ZBrush who are high poly. But for the big purposes, we actually want them to be together. So what I'm gonna do here is I'm going to select all of these elements. Am just going to combine. These are gonna be the new thyroid horns right here. Let's middle mouse and drag. Let's bring them all the way to the top so they're closer to the head and everything else. There we go. Dilute history, very important to remove any empty groups, and that's it. So now this is gonna be my light surface. Let's start with this guy right here. This is the easy one. So for this guy, I can already see that it's gonna be pretty much like two extra edge loops, two more lines right here that we're going to go until we get really close to the base of the armor bit. And then what we're going to have to do is we're going to jump to the armor. So we're going to breach this and we're just going to ignore the fact that there are two different pieces we're going to reach apologize them as if they're just one single element. This only works, this technique only works if you're never gonna take the piece out of the other piece, right? So if we're never going to be separating the, what's the worth the horn from the armor bit, then this will work. Otherwise, it will not work because of course, it's not as clean. This will though, one of the advantages, the advantages of this technique is that it will give us a really clean effect. Now one thing I'm noticing here, as you can see, especially when we get here, is that we might need a little bit more resolution to really capture the roundness of this thing. So we're going to have to do some reductions, some tweaks right here, especially for instance here. We definitely need a little bit more like elements to really capture the armor bit. Okay. So that's perfectly normal because the shape of the, of the armor business is slightly different than the shape of the horn. That's why I'm creating this nice edge loop. It's going to capture. The edge of the horn. Now here, some of them, some of the faces can combine or can attach themselves to the next one fairly easy. Some others like this one, we might need a triangle, that's fine. We know triglycerides out bad for us. This guy is perfectly fine. Line triangle thing. I want to go here, keep data triangle here, and try it. That way we get this. Here's where I'm questioning and we can do the test. This is what I would normally do when I'm working on this sort of things like I would finish the low poly, see if I can smooth it and get a nicer effect. And if not, this is what we're going to get. This is where we're going to be working with. It's very common. I've been playing a little bit of Gulf War Reagan Europe lately. And it's very common to see certain assets be not as high poly as others. So the horns in this case, they're not as important as the face. It would make sense and it's justifiable that they might not be as high-quality as others. These guys right here are going to be a little bit of a pain because we need to capture the silhouette. Right? Now, a little bit of lists, something like this. So that's six. I always like using even numbers. There we go. So that's six. Then here, for instance, going to be 123456. This back. Such a small detail that I don't really care if if we don't capture it perfectly. Unless there's like a shot where the character is going to be like placing it on his horn. And we want it to be like super precise and stuff. That's where we would need to worry. Here. I'm going to add a triangle. And the reason I want to do this, just one quick connection to that specific place. Same thing here. Like let's add one of our, one of our trick. Like simplification, things like this. There we go. Triangle there. As you can see, things are getting a little bit complicated here, but we need that amount of resolution for the for a proper, like what would be the word? For a proper capturing of all of those details. Here, the extrusion is probably going to be our best bet, But then move it around because we do need to capture all of this. This is where things can get a little bit, a little bit tedious. Go, go, go. There we go. I'll just fix all of this vertex right here. Uvs for this things just are also going to be quite a complex. That's why when you see like games and stuff, nowadays, a lot of this are like assets, are not hollow. They have like a cap and there's just overlap. It saves a couple of polygons by not having to do exactly this thing that I'm doing right now. I'm going to make this a triangle as well. Again, not worried about triangles. Why? Because it's the thing that's not going to deform it, not even the horn. The horn will never deform. The horn is deforming, we're probably doing something wrong. It should be a hard surface sort of thing. There we go. As you can see, this keeps going down. Here. You can see that some parts like this, there's a little bit more depth to it. You want to be super precise about that. You might want to capture that depth as well. So for instance here, this is already telling me that we might not be smoothing this particular mesh. Because if we do, it's gonna be really heavy. It's becoming quite heavy already. With all of this detail, it could become way, way more heavy. I would rather just go and add a couple of extra edge loops here rather than smoothing everything else. So for instance, just adding one more edge right there. Maybe adding one more shoot right there. See how smooth or the horns are looking now. That might be a better solution rather than smoothing everything because we're also going to lose a lot of the sharpness that we just captured on the little like a link and stuff. So let's just take a quick look at how the element looks. Of course, we're gonna do a mesh display, soft and edge. What we will see in game, and I think it's fair, like it's, it looks fine. It captures what we want and it's doing the sort of it's fulfilling the goal that we want or do we have for this particular piece? So, yeah, that's that's pretty much it, guys. I'm going to stop the video right here because we're already at the 15 minute mark. I want you guys to give it a shot and start moving with this because it's definitely going to take awhile. And in the next video, I'll just continue working on this piece. We're going to continue working on the details here of the horns. So hang on tight and I'll see you back on the next video. 21. Horns Details Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the horn details. We're going to continue with this metal bit. I did like draw a couple of extra squares just to finish the, the main shape. And before we finished a little loops. Sometimes this is more like a mental thing rather than a 3D technique. When you feel like you're moving faster than you had you are, it keeps you motivated, right? So even though we need to finish this little loose, by moving on to this part of the horn. Finishing this lower section, that's gonna give me a little bit of extra boost to finish this. This is also one of the suggestions that I give my students when they are approaching or doing a project that's a very, very demanding, are very time-consuming. If you feel like you're not advancing trade to do the easy parts of the project. And the AC model and Nietzsche texture, something that just allows you to see the finished line, gets closer and closer. That's a good way to keep yourself motivated. Because since it does tend to be a little bit of a tedious work, especially here and read topologists we've mentioned being able to keep your spirit up. It's, it's a good idea. I also recommend getting your favorite. What's the word your favorite music? If you'd like to snack while working, or if you'd like to drink a soft drink, of course, such as lemonade or a Coke or something. This is a good moment. Anything that can keep you focused on your, on your work. There's a technique that I also use. I use this quite a bit while recording all of the sessions, which is the Pomodoro technique, which is you go for a, you go for a, let's say 15, 2020, 5 min work and then you'll rest for five-minutes. That also keeps you like quite the, quite the refreshed. So here's one thing. As you can see, I added a couple of triangles in this section of the element, but we need more geometry. However, I can insert another edge loop because it's not going to work properly, but they can go to my knife brush and just cut across and that's going to cut even the triangles. And it's gonna give me the resolution that I'm going for. So the knife brush works really nicely in conjunction with the quadro over here. To be honest, since it's a part of that we're not going to see. Easiest way to solve this is just mesh. Feel home. Grabbed the face, Edit Mesh and poke. There we go. So with that, we're pretty much finished with the horn and that we can focus on this little loops right here. So we use the six divisions on the other loops. So I'm gonna follow the exact same number right here. So that's 3333. Here we go. And then we're gonna go over here. There we go. And there we go. Remember that this is camera base. So sometimes you're going to have to move or rotate your camera a little bit so that the Maya knows how to, how to properly create the things that we want. Here I'm going to show you another trick. I like using this, especially for this sort of things. Just breach. So just double-click Shift, double-click, Shift, a double-click and we bridge. And that's gonna give us that. If that happens, don't worry, just assign the same material and it should be fine. And that will allow us to, to work on that part a little bit easier. Here again, we're probably going to have to triangulate a couple of bits. We're definitely going to graph this saturate here and bring it down. Go isolationist so we can see what we're doing. Here. We go. Just a couple of triangles here and there, that's fine. And a couple of triangles here and there. This is a very common patterns. You're going to see every topology where you have corners just going to the main area. The one thing I don't like about this one, as you can see, it's like really pushing it up due to the sort of like welding details that we gave it there. So we want to keep this as close as possible. Otherwise we might get some ugly Bakes. And of course that's not what we want for the final ones right here. So there, there, there. That's 12,345.610. Careful with those crazy points that we get sometimes 2 345-612-3456. That one goes pretty much there. And that one goes there. We go back to object mode. Grab those six, grabbed the sixth, and we just a bridge. There we go. We can even reach this one as well from here to here. And just to help us a little bit on the process. And there we go. So we'll go there. Triangle, triangle. Again, this thing, so it's floating a little bit. So I'm just going to move these points closer to the surface. There. There we go. There we go, and there we go. Cool. So as you can see, now, this horn is ready. We again do a mesh display, soften the edge. And then this is what we would see in game. Again, you're not going to have like a huge amount of density here because it doesn't make sense. Like look how small doses compared to the rest of the character. Like even if we just turn on our low poly characters, like this is the normal, like maybe on the close-up you're gonna see the character like this. Do we want to spend even more polygons? They're not really so we're not going to be smoothing this. You can also see it's really close in resolution, not the exact same, but is really close and resolution to our smooth character. But again, you need to make sure that you understand where you're adding the divisions and where you're keeping things a little bit lower. Now for this one. So once a tricky one, the first thing I'm gonna do is I'm going to add one more here and one more here, similar to what we did on the other horn. And the reason why I'm saying that this is a tricky one is because we actually don't want to pay too much attention to the bandages. Well, I'm gonna do here is I'm going to hit the border of the bandage. Following this thing right here. We might need to increase. So for instance there with my knee they eat triangle, okay, to, to capture this elements. But all of that negative space right there, I'm literally going to ignore it. Okay? Again, this is not such an important detail that we need to worry too much about. I'm just going to ignore it. I do mention this quite frequently when we're doing the main character is like try to keep this like floating bits as separate. This bustle we don't want to have as many of those. They tend to be or they can create some issues. And this is one of those issues where we're going to have to literally jump across in order to capture this. Now, now that we jumped across, I'm actually going to go in a little bit, especially on those areas so that we don't have any wrong silhouette going over there. But all of those bits right here, i'm, I'm literally gonna ignore them. As you can see right here. I'm just following the shape of the horn. And I'm just going to continue going like this. Why am I doing this? Because this thing is supposed to be really close to the upper surface of the horn, right? So all of this detail is going to be captured on the normal map. Yes, we won't have as nice of us whether we could have, but we're also not going to spend a tremendous amount of polygons on something that's so simple as this cloth thing, right? On the hands and the chest, where the belts are a little bit more important, we might spend a little bit more resolution. We need to decide and we need to be very mindful about mindful of the world war or conscious when two very conscious about where we spend our topology budget. And this is not one of those places like all of this can easily be done like this. Will we get a better base or a better result if we were to do the horn as a separate piece and do the bandages for some British, of course. But again, since we have so many accessories and so many points already on the character and we're still missing a lot. We still need to do a lot of them. This is a really important approach that we need to follow. We're not going to be doing every single bit. That's another one of the reasons why I kept this thing as close as possible to the surface. This one we might like, I'm even tempted to go back into ZBrush and just push it up a little bit more. Because this floating bed right there, that's really tricky. It can produce some really weird base because this bit right here is flowing. Another option though is we could just like that single thing. We could do it as a separate piece and save ourselves a lot of trouble. In this case. I'm going to do it like this. Just to show you that we can do this. I'm literally going to ignore it. So there's gonna be faces here. And we're going to have to bake that piece down. If I tried to bake this right now, it's not going to give me a good result. But once we calibrated that, I'm sure we can bake this in so that we don't have to worry about the topology on that particular piece. Then we have two rooms, just a matter of rebuilding that. But again, that's why I mentioned that hanging bits and anything that changes what is always something that needs to be considered when doing a retreat bulge. But that piece right there, which is also floating, we might have a little bit of an issue with debates. We've already talked about the way we can handle that by increasing the distance at which the rays are looking for things. We're going to be able to break these things down. Cool. So let's just have the final border right here. We go. There we go. I feel like a little bit extra geometry here might not be a bad idea. See how, how thin that area is. I'm just going to add the edge loop and just smooth it out a little bit over here. And then this h, of course we're just going to say mesh, feel hall, grab the face, Edit Mesh, Polk. There we go. Now this is the shape that we're going for. As you can see, it holds most of it. And we have something that we can work with. I'm just going to say Mesh, display, soft and etch. Now, since this is a tricky bit or peace, like both of these guys are tricky pieces. It's not a bad idea to do a little bit of tests. We can do a test. So I'm going to combine these two guys into a single mesh. Though the history, this is going to be called, these are called horns underscore high. Let's export those File Export Selection. Let's call this horns underscoring. High. It's very important that every, every now and then if you need to do this, it's perfectly fine to do it. Just do a quick, a quick, a quick big test and see how things are looking. If they're looking nice on a fork, a texture for just two horns, it's gonna look perfectly fine once the UVs are smaller and sharing the space with every other piece. So the one thing we need to do here though, is that UBS. Let's isolate this guys. I'm going to say UV delete UVs, UV planar mapping, or camera based projection, whichever you prefer, uv 3D cut. And the cut is gonna be very, very simple. We cut the bottom part of this guys right here. And in this case, for instance, this guy right here, just along the surface all the way to the like, the pointy bit like there. That should be more than enough. This one is the one that's gonna be a little bit different because we do need to cut the inside of this things out. To be honest, I would cut the whole thing out like the whole level like loop. It's kind of like a, like a little cylinder, right? So we got this little cylinder out. It's going to be the front and the back. We're going to have to do that for every single one. So we do that one there and there. So that's it from the back. We did that one. There. There, there. There we go. It's cut. Then we need a line that goes through all the objects. Well, so something like this, like that. This is not the final UV we're gonna do cleaner UV's later. This is just the very basic one control. You control L. There you go. You can see we've got a working UV again, not the Perfect UB, but they're working UP File Export Selection. Let's just call this horns. And I'm going to bring this into Substance Painter real quick. There we go. File. We're going to do a new one. Like horns, open textures that settings, go to the big mesh maps. Let's make this a fork, a super high-res Horns. Hi, there we go. And I immediately, it's super obvious to me that we're gonna get some errors, but let's just do one quick base so that we can see the errors. There you go. You can see where it's cutting. All of those like shadows and we're areas that's the rays that are not getting all the way to the top. But everything else looks quite nice as you can see right here. We're getting some interesting effects here and there. And that looks perfectly fine like, I know we can texture this. Yes, it's not the most like amazing looking band the tray here, but this is such a small detail that we really don't care. I'm going to increase the max frontal distance in this case because I know that that's one. I'm gonna increase their maximum distance a little bit. And the max rental listings a little bit more. I'm worried about this area right here. We bake. There we go. Look at that. We're catching the bandage. So even though the bandage is floating, we're making it so that it looks like this thing is actually there. Okay, so that's why we don't have to worry about all of those other details. Look at that beautiful. It's a beautiful beak. That's great. Works perfectly fine. Like if you see the character at this distance, it looks perfectly, perfectly fine. Yes, there's a couple of weird areas like this guy right here. Again, textures are going to make a great grade. They're going to help quite a bit. Look at this guy. Now, this is one of the unfortunate consequences of doing what we just did, which is increasing the race. This guy is right here, the face of this right here is actually baking a little bit of the face right there. Am I worried about that? Not really. We can of course, just like paint out that bit of normal map. And it shouldn't be that much of a problem we can do to Bakes and then just mix them together like the correct pig here in the correct BIG here, we can even separate these two guys into different meshes and bake each one separately. And that way we avoid having this exact same error over here right now while I'm taking a look at this, the horns like I want to make sure that horns look as nice as possible. And to me this looks perfectly fine. I would like to go here to the smart materials. And there's one that's called the this marble fine marble, final white. This is a great way to just like throwing a quick texture. Look at that, look at how much detail we're gonna be able to get, then it's gonna be very difficult to see that sort of stuff because it's gonna be cupboard, it's gonna be filled with Russ, For instance. Like if we throw in another quick rust layer here, just a black mask generator and we do like a church layer that's going to cover everything but most of it or at the worst possible case scenario, you can just literally go in there and painted ourselves. And it's gonna be very, very difficult to notice that there's an error there. Again, at any point inside of Photoshop, for instance, we can just paint out those specific elements. But yeah, that's pretty much it, guys. I'm going to close this. We don't need them anymore. This is not gonna be the final big. So our horns are ready, which is get them in there. And if we take a look at the whole character as well, we have right now. Just turn off the horns. We pretty much have all of the upper things that we need right here. I'm taking a look at what else we need for this chapter and I think we need the mouth. I'm going to explain how we're gonna get that one. We've already done the horns, and that's pretty much it because we mentioned that the beard, the side of your eyebrows, masstige, all of this beer things we're not going to use after this. It's all about like arms, pants and stuff like that. So in the next video, I'm gonna show you how we're going to get the mouth out of the character. And that's it, the ice. That's another thing we're gonna do the ICE way later after we finish the whole texturing, I'm going to show you my process for doing gameplay, the game ready? What's the word performance? Performance, wise, good eyes for her characters. So yeah, that's pretty much it for this one so far, my friends, I'll see you back on the next video where we explored the mouth and that's pretty much going to be it for Chapter two. So hang on tight and see you back on the next video. Bye bye. 22. Inner Mouth: Hey guys, welcome back to the next part of our series. Today we're going to continue with the math topology, and this actually has to do with ZBrush. We're gonna go back to ZBrush. If you remember, we were, we had this or like a proper size character right here, I'm actually going to save this one so you guys don't have any issues with the high poly. So I'm going to save this real quick. This is the high poly know decimation, proper scale character. It's really, really big hits like 3 m higher, something. We can scale that down later, but this is the one that we're gonna be using for debates and for everything for re topology specialty. So if we go to the mouth, which we do have right here, this now that we have right here, was actually a mouth that we extracted here from C brush. If you remember from the last project in the tools folder, we have this header, the demo had soldier, and we have this very nice mouth, which has the tongue and the teeth. The teeth and the tongue. Everything is a single mesh, which is great for us as you can see right there. And we really didn't sculptors much or anything. I usually don't do a lot of detail on the teeth. Most of the work I do it instead of texture to add a little bit of dirt or lower the blood if needed. But teeth and eyes are one of those things that inside of production, you usually will swap between characters. Like you're not gonna do a single set of eyes for every single character. Like you're going to use one, you're going to create one. I said, maybe add some sort of like customization to the color and then just reuse that for as many characters as you can. Unless you have something like a vampire or a snake, where things are a little bit more important than yeah. So here, as you can see, we already have the high poly, which is this one right here. And we have the low poly, which is this one right here, which is quiet enough geometry. So that's more than enough geometry for the teeth. And what I'm gonna do is I'm just going to export this. The Readtopia. We're going to call this thyristor mt. That's perfect. Okay. Then I'm going to press D a couple of times to go to the higher resolution. I'm going to export this as well. I'm just going to call this thyroid mouth high. And export again. We go back here File Import. And we import the mouth, File Import, and we import the mouth high. There we go. Now you can see that the mouth low actually didn't work. It didn't work. Why didn't it work? Because we already have one. And when you already have an object that has the same name as the, as the rest of the objects, you get into issues. So I'm gonna re-import this. I'm going to say File Import, thyroids mouth. There we go. So this guy right here has the low poly version of the mouth and the tongue. So I'm going to call this thyristor mouth underscore load. That's why the names are so important. You can't have an object with multiple, you can have multiple objects with the same name. And then we're going to say File Import, thyroids, mouth, Hi. He has the same name. He was replacing the other ones. Just call this high. And that this high that we have right here, it's actually going to be the height that we're gonna be using too big. So this one goes into our hypotenuse like ready, they're ready, high-quality that we have. This is our low poly, very important. We're gonna grab both of them even if we can't see them. And if we go back to the group, we're going to copy this value right here. And we're going to move them all the way to the top is very important and we want them to be exactly on the same position. So if I were to turn this guy's on, they should be exactly where they're supposed to be. So there we go. This guy's off. Let's give this guy it's own, like Lambert material. There we go. And the teeth are perfectly set up to work as intended. So yeah, that's that's pretty much it. I do think the mouth is sitting right where it should. I remember I was I was very careful when I placed this. But the cool thing about having a different mesh for the mouth, even though there's overlap, That's fine. The cool thing about having a different mesh is that we can move it around. So if we want the teeth to see the little bit higher or lower, we are going to be able to move those later on. But there we go. Look at that. The top part of our character is free, the image done. So we're going to jump onto the next section of our character. I know we're still missing the straps and all that stuff, but we're going to leave that for the prompts chapter. We're going to move to the next part, which is gonna be the, the arms or the bandages that we'll have here on the other character. So we are going to do the hands first answer, really, really important that asset of the whole character. So we're gonna do the hands first. We're actually going to do the hands inside of Blender because we're gonna be using some of the tools that we have there to accelerate the process a little bit more. And then we're going to come back here to complete the complete the remaining part, which is all of this arm badges that we have right here, since they're all loops, I think I think we're going to keep this as their individual assets. Okay. Although another they think of it. That might not be the best idea. No worries. We'll talk about this on the next video, guys. And so make sure to get all the way to this point and I'll see you back on the next video. Bye bye. 23. Hands Retopology: Hi guys, welcome back to the next part of our series. Today we're going to continue with chapter three and now we're gonna be focusing on the arm section of the characters are a couple of bandages and things that we have to do. And of course we have the hands. So I was mentioning the, um, I was thinking about what was the best way to do the Hansard, to show you how to do the hands. And there's a couple of options. So first of all, if we take a look at the high polish, this guys right here, we need to see if we can completely breached both elements because we already have the low poly for the body. And it might be a good idea to bridges even if the textures are not complete here, which does not like the mall is not like merged together. As long as we can create a single cage, that's going to be fine. And I think that's the best approach that we can do right now. The reason being that even though we're going to have the bandages covering and we want the body to be one single unified topology. So that means that we need to do the hands right here before we jump onto the onto blender to do the hand so I can show you cool stuff. I just wanted to go back to my low poly and I just want to count how many divisions we have here. So it was 24, which tells me that if I'm not mistaken, we had 12, right. I think I had 12 divisions. Why is the 12th division important? Because since we're eventually going to be some meaning of this guy as well, we want to keep it low so that when we smooth it, it's easy to connect both parts of the character. So we select the hands. Now, the hands are symmetrical. I remember them, I remember doing them symmetrically. So if we want to reduce the stress on the blender, we could export just a single hand. In this case, it's not even 100,000 polygons, so it's perfectly fine. I'm just going to export the selection. We're gonna go to the 3D topo chain or to the tuple here. And we're just going to call this thyroiditis. Hence. We're gonna go to Blender. Now some of you might be like, why are we going to plan there? I hate Blender. Blender is socks. It's not that it's sucks and I don't think it sucks. I should think it's a really strong software. And especially if you can see after we do this, the way we're going to be able to very quickly do the hands. S just like MAC. You guys are not going to believe it. So here's what we're gonna do. We're of course going to go to our project, to our Readtopia files and we're going to bring it into hence, they should have the proper scale, which in this case they do. Again, if we want to reduce, I think I do want to reduce the the general problems than we might have here. So I'm just going to grab one face. I'm going to press number three, grab one face and there's the L shortcut, which is the linked. I'm going to press X and delete faces. That way we pretty much delete all of those faces. We select this guy. And now we're gonna go to reopen flow. And I'm going to say Add active. It's going to create a new repo for a file screen, a temporal file, because I haven't seen this one. And we're good to go, we're good to start. So why is it that I want to do this? Well, because it's the loop. So guys still loose stools is just so amazing. I really hope my one of this soon because it's just so great. Well I'm gonna do here is I'm literally just going to draw a loop. Give me just 1 s here. Since seem to be working loops. Hey, why can I see the loop? That's really weird. I'm not sure if it bugged. That's weird. Oh, sorry, sorry, sorry, my bad. It's not ellipses the contours, the contrast is the one that I was taking a bath. So you do this as you can see, I just create a line around the wrist. Especially if I follow the direction of the wrist like this, I'm gonna be able to control how many loops I want, which if you remember, we just mentioned we want ten. So we could do this and look at that. We immediately get a ring instead of having to create the cylinder and then do all of these movements and stuff. We just do that, just 10.10 and that's it. And I'm gonna do the exact same thing back here. So I'm going to press Control on the border of the thumb and I'm going to bring this all the way down to 88 is like the magic number for four fingers. As you can see, I can very quickly create the fingers section. Same thing here. Let's make sure to click outside of just changed Tools. Click outside and then just go back to the contours. One. We bring this back to 102. Sorry, not 108. So two, like three. And to the tip like that for we're going to move some of these guys, don't worry, this is not the final way that they're going to be organized. Then again, just click somewhere else. Go to contrast again. Go control. There we go. We go to 8888. Then double-click. Imagine having to draw all of this like normally for the fingers inside of Maya, I will do like this. Square options like just the blocks and then divide and smooth. It just takes forever. If you're doing this with every tuple flow, it's so much faster. As you can see, I'm moving the camera a little bit. So we tried to find like the perfect section. There we go. That's it. We've just finished the main section of the fingers again, we're going to smooth this out because we do want the fingers to be a little bit denser than usual. And then we're gonna go from there. But I'm going to show you now we're gonna go to the polypeptide, how we're going to build the tip of the finger. So for the tip of the finger, we're actually going to push this guy back a little bit so that we can go to create this loop like that. See that? So we close the tip like this. Like a box. You know what I mean? It's gonna be this low point there. And the reason why we're doing this is because on the center line here, where two fingers meet, we want that central line, which is this one right here, to be breached when the next center lane, that way again, when we do our topology, we're going to be able to read topologies is really, really, really fast. So that's the central line right here. We keep going. That's the face right there. This one goes over here. This one over here, this one over here. The little point as close as possible to the center. That's the middle line. We go from there to there. Hopefully you guys can see what I mean by this. They were creating a line that's going to cut through the center of all of the fingers. And by doing that, we're going to save ourselves. A lot of pain on the UB process. Definitely need a little bit more resolution under the fingernails and on the bed of the fingers and stuff. That's fine. We're going to adjust all of that. We just want to make sure that all of these guys are flowing going in the right direction. There we go. The center here, select the edge control. Switch to the next one. Select the edge and control. There we go. Now from the thumb, this is a tricky one because again, this is the phase, right? Sort of like the loop of the phase that we're going for. Careful there. There we go. There we go. There we go. This is the middle line. This middle line, we'll do a jump. We're going to do one. And then we're gonna do two. This is important because these two guys right here are gonna be part of the loops that are going to mark the difference between the connection of the fingers and stuff. Now we need to do a little bit of clean up here. So we might need to move some of these bits, a little bit here and there, try to make sure that they're following. For instance, on this guy right here, you can see it's not really following the, the line. So here's where the tweak brush. It's really good. Just tweak. This. Falls a little bit nicer. And I personally like to add two loops to each section. But in this case, again, since we're keeping it low poly, I think one loop should be more than enough because we're going to smooth it. So I'm going to add the one loop to each part. And when we smooth it, you'd have doubled the amount of edges and all of the fingers and that should create or encompass the curvature a little bit better back in the day when, again, when, when performance was really important and we didn't have as much geometries where we can do now with characters, there was a very common technique would, you would add three loops on the bendy part of the finger. We don't do that anymore. Mainly because again, we have all of the technology available to, to be able to have way more to botch. So let's go with the Polly pan and we need to complete this part right here. And what we need to do is we need to create a loop around the thumb. So I'm going to change my colleague pen too quiet only so that we can do this script just the point they're gone, go. Very, very important that we complete a loop here, which kind of like the path that we have on the finger. Here we go. So see how this is the loop. So this guy should be attached to that guy right there. And I know this is stretching the thumb a little bit too much. But again, think about the, the, the eventual, what's the word smoothing that we're going to have? And that should help us with the intensity there. From here, this phase will continue a little bit like this. And eventually, as you can see right here, we want at least the central line of the finger. At least the central line of the finger. We want it to go there like that, at least one line. Let's see if we can bring it to here. So a little bit stretched for my taste, but we can do it one loop right there. There we go. And why is this important? Because eventually again, on the UP side of things, we're going to cut right there. We're going to cut the head in half. So we want at the central line of the fingers, which is this two lines right there. Let me use a tweak here. Is this two lines right here. We want those to connect to the side of the finger right here. Here things are getting a little bit too stretched. So I'm going to just relax them and move them a little bit if needed. We also need to have with the loops, one loop to the thumb, something like that. And there we go. Now comes the interesting part. Here, we want to start bringing all of the loops that we have on the fingers back into or towards the hand. The problem, as you can already see, is that we have a law, the divisions and the fingers, right? Like we have a divisions for each finger and we only have ten divisions on the wrist. So we're gonna start to do, or we're going to have to do a lot of simplification methods. So I'm going to show you how I like to do it. First with the PolyPhen. I'm going to bring out one loop. So the first loop, we're not going to simplify, we're going to keep this loop. Why? Because I want to have enough resolution here on the knuckles and stuff for proper deformation and everything. All of this first loop, it's just gonna be exactly the same. So it's gonna be like eight per finger. Pretty much. Go there, there. There. That's having a little bit of an issue there. There we go. There we go. We can push it up a little bit like that. Now here, let's do a little bit of relaxation. Here. We're going to start with the reduction process. And the way I like to do is, is following this section that we have in the middle of the fingers. So I'm going to use my polyp and again, I'm going to bring this out. I'm going to bring this out. I'm going to bring this out. Same thing on the inside. We're going to bring this out. The second rank, like this are to the second, to the next line. And what's going to happen here is we're going to bring it out again. And we're going to push the vertex out like this. And as you can see, we are creating this interesting effect where we create this loop that saves us or should save us quite a bit of space. Yes, we're gonna get a couple of stars, but they're going to be closer to the knuckles and there to the fingers. So they're gonna be on sections that the fingers usually don't bend as much. Some people would like to bring this all the way to like this upper side. I think that's fine. Because again, that's another section that you would normally bend as much as you can see. We're reducing 3-1. So it's really, really heavy and interesting reduction. We go here. This one goes there, which is bridge, goes there, and we just bridge. As you can see, we finish. The reduction to four. Over here is where things are gonna get a little bit tricky, but let's finish the reduction on this inside part first. I also like this this section, this palm section right there, to use it as a reduction place. Because the same sort of what's the worth. The same sort of fold that naturally happens on the hand, really helps with this sort of thing. There we go. See how natural this just falls down right there. And all of this extra geometry that we have here is gonna be really helpful for the elements. Now here, I'm not sure what calculation I did wrong does. You can see we need one more resolute or with one more option. Here's where I would definitely use the knife to add just like a little triangle right there. Okay. Because I don't want to have the triangles close to where the fingers bent. I'll rather have it here on the inside of the pump. That way we should be able to go there. Horses to the side a little bit. There. And there, we can relax that area a little bit. For this one right here. And again, once we smooth, all of that is going to disappear. So I'm not too worried about that. Let's go to the pen. Push this out. There we go. Push this out. There we go. There we go. There we go. Now, as you can see, we have a couple of faces over here. So let's start bringing them. So that's the natural flow of that phase, that's natural flow of that phase, natural flow of that face. And again, we'll just keep going. Just follow the natural flow of the faces. We're gonna encounter a couple of fishes. And this video, by the way, it's gonna go a little bit longer than usual. I apologize for that, but I want to keep everything in the in the same one. So as you can see, this three can pretty much very easily fit at this section right there. Then this one, again, since we don't want this thing to flow into the hand, we just had one more division there. And this thing is going to flow right there. Here. We're going to have our typical star, which is fine. Just go like that. Here we have another division. Let's just add the loop. There we go. We've got our polypeptide 12. And here we can decide, do we want to bring this with another loop or not? I don't think I want to add more loops if they're not necessary. Because otherwise we could be creating spirals and we know how dangerous those are. So let's just fill this in a little bit. They're there. And for instance, here we need to increase, we need to do any increasing or increase the divisions. So we do the thing that we already know how to do, which is we create this funky little shape right here. And then from here we'll just create our extrusion. And we just follow, follow the flow as nicely as we can. Okay? Falling nicely. Here we have the center line and we mentioned that we do want to try and keep the central line flowing as nice as possible to this area. So how can we do that? Well, we can do a little bit of reduction. We can do a loop right here. That one goes there. Here we reduce and we just keep a small little triangle right there. There we go. Remember triangles are not bad, especially on those areas where they're not gonna be moving as much. And this allows me to have one very clean straight line all the way to the to the end. Same thing here. Like, I don't like that, That's the way we too extreme. So prefer a triangle right there. And I prefer a square root there. We have to, and we have three here. Can we do something? Yeah, we could simplify it. Over here. The triangle, they're hidden under the palm of the hand. And that way with our poly pen should be able to just do this. Now here, can we do something here? Do we need to add another huge loop here? Now, let's just draw the triangle. In another triangle. Let's go from there to there. For instance, the PolyPhen. We're gonna go from there to there. And from there to there. Over here. Same deal triangle, perfectly fine. And there we go. Our hand is ready. So it took us 20 min, a little bit less than 20 min to finish a hand? Normally a hand would take me I don't know, like a full hour to be honest, because it takes forever. But thanks again to the contours, the polypeptide loops, all of the tools that we have right here, this hand is gonna be perfectly, perfectly fine. Let's very quickly exit this thing. I'm going to grab the object. I'm just going to export this file. Export FBX. The top project assets. We topo, remember we use the BR t, so we're going to use the same thing. It's going to be called thyroiditis. Hands of ERT blender read topo, selected objects only. Don't forget this. Selected objects. Only very important, I sometimes forget and it's, it's awful when that happens because then you reinforce things over here and you import a lot of stuff that you don't need. So we import, hence BR t should be exactly where we left it. There we go. Look at that beautiful, beautiful hand. And now it's just a matter, of course, it's moving smoothly. We select the hand. We made the hand alive. And look at the resolution of the hands. This is great. Have enough topology and enough everything to really move things around and bend it and create a nice, nice animation. So we grabbed this thing and we'll just say mesh conform. And look at how nice we follow the forms, the knuckles again, if a reader gets this, this is more than enough. We don't need to add any of the fancy loops or anything should be more than enough to create the information that we're expecting for a hand. The final part with the hand is gonna be joining these two things. But as you can see, since we follow this perfectly, we have 20 sites right here, and we have 24 sides right here. We missed one face. I think I missed one face, but that's fine. We're going to delete this guy right here. Maybe even this guy right here, to be honest, we're going to combine these two guys. Well, first of all, I yeah, that's fine because we're going to just delete. This is where the symmetry line is so important because we can just delete the symmetry line and then delete half the character. We're gonna grab both objects. We're going to combine. The easiest way to fix this is just go to a place like this. Collapse one face right there. Just kind of like make sure that they line up. Same thing here. Just collapse that face again. So Mesh tools or Edit Mesh collapse. And then you select this edge and this edge. It should be the same amount of edges. And we just bridge. We have 20 edges here and we might need to collapse a little bit more. Let's collapse like another one right there and there. So you can mesh tools. Mesh collects. There we go. And now we've reach a little bit the firm funky thing right there. No big deal. Let's add two divisions. There we go. I'm just going to assign existing material numbered one. And you can even without having a like anything here. Because we've really tried to smooth, it's going to look wrong. But if we just relax this without having any like life surface mesh, it's just going to relax the whole topology a little bit as well. So it should merge things a little bit nicer and look at that. They really, really, really clean effect this triangle is right, there are not going to affect us whatsoever. And the reason why they won't effect this is because they are in an area that's not going to bend. The area that bends is this area right here, the wrist, these are right here is pretty much always a solid object. So Mesh display, Software nach. There we go. We can mirror this to the other side. And we have our hands ready for our character. So yeah, that's pretty much it for this video, guys. I know we went a little bit longer than usual, but it's a really important part of the process, the hands and they're ready. As you can see, this fronts are looking very nice. They don't look like pizza hands or anything. They look quite, quite well-built and die. In the next couple of videos, we're gonna be focusing on the armor bits right here, all of the species. So hang on tight and I'll see you back on the next video. Bye. 24. Hand Armor Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the hand armory topology, which is this bandages right here. Well, all of this bandages and the big P, little bit of armor that we have right here, we're actually going to jump into ZBrush. This is why I wanted to do the series. When I started planning. It's like there's so many ways to do things and it's not unusual to jump from one software to another to generate all the things that you normally need. So let's close. We're back to the high poly version and then we go to the beam is here on the folder under the arm bandages. There we go. So if we take a look at all of the armband that just when we can start with the armor. This armor we did with DynaMesh and stuff. So this is one of those pieces that we're definitely going to have to manually read topologies. And we will do this inside of Maya. But all of the armors like this armband, which is right here. We actually have some nice this case or DynaMesh things, but we can use this or we can rematch these things. Okay, so what I'm gonna do here is I'm going to get out of isolates select, I'm going to hide everything. I'm going to turn on all of the bandages. Okay? So all of those elements are advantages. And then since all of them are already on the high poly system, on the high poly effect. I'm just going to say a sub tool, March merchant visible. It's going to be quite heavy because all of these guys are quite heavy. But we should get something in nice. Let's see if we can get all of them to be in the single sub tool. There we go. So if we go over here, you can see that we have all of the bandages of the arm. This is the super high-quality 12 million points. This is a super high-quality effect ready to be used. So what I'm gonna do here, first of all, this is, again, this is symmetrical, right? So if we want to make it easier for ZBrush and for Maya and everything, we're going to delete half of it. So I'm just going to hide half of it and just say, actually if I do delete hidden, I'm going to break everything. The reason why we're going to break everything is because it's going to have to rebuild a subdivision levels, just going to delete the lower subdivision levels. And now I'm going to delete it. I'm going to say delete hidden. So it doesn't have to reconstruct anything. Now that we have this, this is the perfect opportunity to generate the final big for this thing. So I'm just going to say C plug-in that you mentioned master. And we're going to preprocess current. The reason what we're gonna do this, well, we're going to decimate and then ramesh is because by decimating, we're gonna make it a little bit easier. And we're already going to have the final, if you want to call it that, we're going to have the final effect that work underneath. As you can see, it definitely takes a little bit of time. It's 6.4 million polygons. It's probably going to get a couple of minutes. I'm going to pause real quick. Wait for this to finish and we will continue. There we go. It took 1 min and 20 s. Let's go back here and we're going to decimate. I usually like to do 20% estimation for the final bakes because it keeps most of the detail and it brings quiet down, as you can see, even at 1.2 million, I think that's a little bit too much. So let me try ten per cent decimation and let's see how much detail we lose. That's perfect. So keep most of the detail, most of this stuff by the way, we can recover it in texture or we can accentuate with textures later on. So as long as we get most of the cards and stuff, I think we're in a good position. This is a great, great number. It should have the proper size. I'm going to export this. We're going to export this to our decimated meshes read topo. And this is gonna be theorise arm bandages. And it's not a bad idea to keep them exactly as they are right now. I know initially we had like four separate groups. But the more we can simplify, the easier it's also going to be. So I'm going to call this thyroid gland are images, bandages, sorry. Hi. There we go. We export normally. Technically since we emerged from the previous one, it should have the proper scale. I'm just gonna do a quick test to see if that's true. So let's jump into Maya real quick. File import, and let's import this guys right here. I'm going to delete them as soon as I finished importing them. I just wanted to see if they have the proper size. Yes, they do. As you can see right here, that's the proper size. They're just not in the proper position, but that's fine. We're just going to delete that. And now from these guys right here, we're going to see Ramesh. So the way we're going to do this is I'm gonna go to a poly groups and I'm going to say all the groups. This should give one poly group to each individual bandage. And it's important because we want each bandage to be remeshing in a different way. And they're pretty much all loops as you can see right here. They're just cylinders. So I'm just gonna go geometry, Syria measure. And the target poly count is set at 05:00 A.M. I just going to set this at two a little bit lower and let's just hit Siri mesh. And let's see what we get. I'm expecting we're gonna get something good but not perfect. So let's take a look. That's actually really good. That's actually really freaking girth. Yeah, this is great. It's still a little bit the high like that's 16,000 polygons for the whole thing. So it's a little bit, I'm gonna go back and I'm going to set this to 0.52 was a little bit high. I know if I do once not gonna be enough. So I'm going to try to 0.5 and I'm going to try to freeze at the border. The border is, as we've mentioned before, is the silhouette of the element. And that's what we want to be more careful about. Something bad happened there. Let's try one. Let's see if he can remember the ones. Sometimes when you go way too low, it's not enough to pull the border, hold the edge. Okay, so the frieze board is freaking this out. Let's try one, Let's try one and see how, how, how good we get it. And not bath, not for Breaking Bad. I think this is actually really, really, really good. And this is probably what we're gonna be going for. I'm going to show you how we can make this a little bit more efficient inside of Maya 4.6, active points, it's perfectly, perfectly fine. Yeah, let's bring this into my app. Let's export. Let's go back to our meshes here. Arm bandages are going to be the arm bandages. Low. Gonna hit. Okay, Let's go back into Maya file. Import our bandages low. There we go. So I'm not going to move them yet to where they're supposed to be. You can see this is, again, this is going to work perfectly, perfectly fine. There's a little bit of overlap there. I'm not too worried about that because that's actually what we want. I actually want some dirt in there to make it seem like they're part of the character. Actually, I do want to move them to where they're supposed to be because it's going to look really, really cool. So let's just grab this guys. There we go. So yeah, look at to see whether we're getting now, look at that amazing silhouette. Let's turn off the bandages over here. And that's the silhouette that we're gonna have in game. I like to press number seven to visualize how everything's going to look. You can see that that silhouette right there, like there's just barely like pushing out of the skin. It's gonna be amazing for the final result, but this is a little bit heavy. You can see that we have 9,000 triangles for all of the bandages and we don't need as many. Are we doing a hold? Most of the things here, but what I'm gonna do is I'm gonna go to, I'm going to keep the edges on the border active. But then after those edges, I'm just going to skip one and select one like that. My nut might even go there to be honest, There we go. So we can select for right there. We're going to select four in here and control supreme or Control Delete. It's going to delete the amount of extra vertices that we have, right? There are extra edges, and this should pretty much bring our poly count all the way down. Let's do that one. That 1100 careful here. Okay, So this is one of the problems of using serum measure. As you can see, this one right here is a spiral. So that's a no-no are going to have to fix that one. Let's keep going to the next ones and see if we also get spirals or not. Since we were Seems like we were only on lucky on that one right there. I mean, it's parents are not the end of the world. Like we can we can work around them. They're just really uncomfortable to work around, to be honest. So Control, Delete, Let's delete all of those guys. You can see how careful there. There we go. Delete. Because we still keep most of the, of the silhouette without having as many elements. 0 and other horrible spiral there on my goth. Get two spirals, this guy and this guy right here. Unfortunately, the only way to fix the spiral is to go back into ZBrush. Because yeah, this is just a spiral. Again, we can work with this. It's a little bit heavy, which I, of course don't love. Let me first finish. This guy is right here. Let's the spiral guy. Go. See other spiral guy. This should be the final. There we go. So yeah, it seems like this guy right here, which is a spiral guy, right? Yes. And this guy right here, they probably got that due to the way that they were. Like re re-interpret the right. So I'm gonna go here. Let's just wait for this to process. We know which of those they are. So I'm going to Control C. I'm going to select is this one right? It's this one. Invert the selection. And it's, if I'm not mistaken, this one, it's actually it's this one. And this one. Those are the ones I'm gonna see delete hidden to delete the other guys. And we're going to see Ramesh, this case. Because now if we don't have to think about the other ones, sometimes that helps the overall process for ZBrush. Okay, So you can see that we're getting this or like weird artifacts right there. And that's probably one of the things that's causing the spirals. So let's try bringing the poly count down to 0.5. Let's see if we get a better result on this one's worst-case scenario, which just gives the spirals and the worker random not ideal. So let's hope that we get some cleaner effects right here. Okay, that looks a lot cleaner. One way we can check is by going into C Mandler. If we go into Insert Edge Loop, there we go Look at that. See, when we insert that edge loop, we're only inserting one specific place is not going in a spiral fashion. So there we go. So I'm going to say export. Let's go back to our assets here. Let's call this our bandages. Fixed low. Okay, we go back into Maya. Let's select our guilty elements and just delete Dos, file, import, fixed arms. Okay, this is a problem. And the reason why this happened, actually let me not gonna be able to go back. That's a shame. So that's a big prompt weight. Is this okay? This is the one there. This is this is our normal component. Yeah. Okay. So we need to change the name because right now it's the same name. So just go, just call this arm. There we go. Now we say File Import and we import the fixed. There we go. Now this guy's, let's isolate them for just a second. There. A little bit heavier on the on the division side of things. So I'm going to really clean them up. You can see I'm doing a couple of them and then just skipping one or something just to give you a little bit cleaner, something like that. One too. And then skip 11 to skip one-on-one to skip one. And then the final one, final one to skip, to skip, to skip. There we go. Combine signs, the same material, wrap the number here, and paste it right there. Now we have clean meshes. She can see they're hugging the armor piece quite a bit quite nicely. Might need to move it a little bit like this piece. If we center the pivot point, we went to just rotate the slider or something, or at the worst-case scenario, after we're done with the text strings, which you just grab these guys right here and just move them a little bit just like that. That should be more than enough. And that's it. Our hand bandages are ready. Of course we're going to, as you can see, we are only at 6,000 polygons, so we did reduce it quite a bit. We could reduce it even more. I think it's not needed. So, which is mirror this to the other side. We have the bandages for our character ready. At any point we can turn on a wireframe unshaded to get an idea of how things are looking. Let's hide the hands. And you can see as long as it looks, again, normal, the density and everything, he's not like super extreme, then we're in a good position. So yeah, that's pretty much it for this video, guys. I'm going to stop it right here. And then the next one, we're gonna do this a little piece of armor, which is pretty much the last part. After that, we're going to do the nails and a couple of the other accessories that this guy has. So hang on tight and I'll see you back on the next one. Bye. 25. Hand Detail Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the hand, a detail or a typology, which is this little piece right here. Very simple. Again, remember that this is not the final piece that we're going to be baking. It's really, really, really low poly. It's estimated that we lose a lot of the details. We go really quickly here to ZBrush and we take a look at the actual character. You're going to see that all of the pieces have way, way, way more detail than what we're showing. Let me show you here real quick. Louis, this one. There we go. Look a lot of those nice little details and we're going to add even more details once we get into the into the textures and stuff. But yeah, all of that. So this, the only issue with this piece is that it's not symmetrical, symmetrical, but it's not symmetrical even though it's supposed to be symmetrical. So it's just a little bit of extra work to make sure that this looks as symmetrical as possible as we can get it. So it's going to try to land the points right there, something like that. And even though it looks like it's a even though this one looks like it's a square, it's actually a triangle is sexually square. As you can see right there. I don't need to add as much resolution to this thing either. We can keep it quite, quite low poly. And the main reason why we can do that is because this is one of those things that's not going to move. It's going to be probably parented to the wrist. So wherever the wrist moves, we're going to see this thing moving as well. And that's gonna give us a really nice, like a heart movement on the object. And therefore, we won't need to waste, we don't want to bend this. A lot of times in games you're going to see this famous name that they give things which is A-band the armor, especially when, when you are wearing like a full plate or something like that in games, it's very obvious when the character jumps are just like it does some crazy movement. The armor bends as if it's made of plastic. I'm going to try not to do that with this character. That of course means that our reading is going to be a little bit more extreme or not extreme, a little bit more complex. But it should give us a really nice, really nice result at the end. Actually thought this was symmetrical. It seems like it's not. Or this guy with you is causing some weird issues. There we go. Let's keep a triangle there rather. It's not letting me, that's fine. You can fill it later. We'll just push all of these lines down. Now, are we going to sub-divide this guy and confirm it? No. Why not? Because remember, this is a hard surface object. And usually a hard surface objects. You want to try to nail the topology from the very beginning so that you get the best possible shape out of there. There we go. Then we'll just go over here. And the fun thing about this guys is that again says there's gonna be, they're gonna be flat. They're not going to deform. As long as everything looks clean and cool, That's fine. On the inside or on the back here. I'd like to just give you the quick loop around in the push all of the edges in 11 time. Just to keep things organized. It's not symmetrical or it's not perfectly symmetrical, but that's fine. Let's do one triangle there and just mix those together. And this intersection right here, I might try to have a central line right there. But it's not mandatory. And then we'll just keep filling all of the scene. And usually for this flat surfaces, things just fall into place really nicely. So as you can see right there, that's it. That's our, our low poly for that piece, which is missing this little triangle reader. Just double-click, edit, mesh, mesh, feel. Free. Hole. There we go. And that's it. We of course, delete the history. The history, and we mirror to the other side. Mirror. It's not mirroring. No object matches. It's really weird. Okay, let's, let's grab this guy right here. Let's hide it. And let's mirror world. Yeah, there we go. There we go. It should be on the other side. That's it. So again, when we move the hand or the palm, this thing is going to follow the pump always. Okay. So if we were to bend this thing, it's going to bend roughly at this section right here. And this thing is always going to follow as a solid object you, we shouldn't have any sort of like Ben the armor on that specific part. So yeah, that's that's pretty much it for that one. I think we still have a little bit of time. So let's take a look at the character and let's see what other things were missing. Okay, so I can see the straps right here. Some of the will have this little guy right here. So it might not be a bad idea to explore this already since we're gonna be using it later on. And yeah, I think that's said the nails. So we're just missing this little structure right here and the nails. So let's, let's use a little bit of the time that we have right now to export this guy's, we're just going to export this is that That's perfectly, perfectly fine. Name just hit Okay. Going here, File Import, import the weight. Do they know that? There we go. Let's just refresh this. As File, Import, arm straps, key chains. There we go. So this is gonna be our high-quality. Oh, wait a second, that looks really bad and that looks really bad because of the name. So let's just delete this guy and re-import. So there we go. Should be down here. We need to paste the name or the name, the value, which is the distance. Let's of course change the material to Lambert one. I'm actually going to go to the Hypershade real quick and just say edit, delete, and use notes so that we only have the, the materials that we're using. Let's say Mesh display on lock normals. And the one thing I'm going to do here is first of all, I want to create the low quality. This is pretty much the low poly that we want for our element. I might even add a little bit of a bevel to disguise, to be honest, just to, just to get a little bit more interesting effect. This guy right here, I'm a little bit concerned by the fact that it has a lot of faces. So let's simplify those faces. I'm going to delete those. The lid, this inner ring, Control Delete. Okay, if it's not letting me control delete, that means that something might be broken. Let's just fix this. Yes. So it seems like the vertice or something or not welded this really weird. Let's do match feel hall. There we go. That's fine. I'm just going to delete, select all of these faces and delete them. Then I'm going to grab this edge. I'm just gonna grab all of the vertices. Seems like the vertices are on welded or something. I'm just going to say Edit Mesh and then merge. And that should give me an edge loop. There we go. I think it's my mouse. I think my mouse is having some issues. Just going to say mesh, feel whole. Mesh, feel home. Okay. It seems like my eyes section a little bit weird and that usually happens when you've been using it for awhile. So I'm gonna do file increments and safe. And I'll be back for the next video, guys. So I'm going to just close and reopen Maya and we'll finish this little guy right here. The only thing that we need to do is fix that stuff, give it a quick babble and that should be at that for some reason I'm having a little bit of a hard time right now. There we go. It seems like did recover. Let's feel hold. There we go. Okay, so lets just grab these two guys and we're going to say mesh, edit mesh Polk. There we go. Then what I wanna do is I want to select one of this, okay? Okay, it seems to be the isolate select option. That's fricking it out. Okay, so let's just skip one and select the other one. That way we, again are going to reduce polygons. There we go. Let's hit Control, Delete. It's going to make a low poly cylinder, which is fine. I'm even tempted to give it to just one bubble. I know it's not really necessary, but it's just going to make things look a little bit nicer. This model bubble there. I'm gonna mesh display on log normal's mesh display. Hardened edge should be like quite hard. Actually, I'm going to soften them so meshes place after notch. And we're going to change the name here to underscore low. Duplicate this, change the name here to underscore high. And I'm going to select these faces. This face is this faces and these faces. And I'm going to do a bevel to all of those small segments. Let me hide this. Go back to this one. Wow, my is really not liking what I'm doing. Okay, let me go back here a little bit. There we go. So let's hide the low poly, grabbed the high poly. Grab this faces. This face is this faces and these faces bevel. There we go. Two segments in a small fraction. For this one. I'm just going to actually got this guys right here. And babble. We go. So it's gonna be our high poly element. Both of them, we delete history and we're ready answers. We still have a little bit of time here. Let's very quickly jumping to see brush. Go to the straps. This one's right here. And as you can see, these are actually really clean and we can go all the way down to the lowest subdivision levels. And there are already the way we want them. They're definitely a little bit high on the subdivision count, on the horizontal axis, but on the vertical axis they seem to be working fine. So let's call this left arm straps underscore low. Hit. Okay. Let's go for the left arm straps. Delete that one because it's gonna be the same name file, import, arm straps low in port. Let's paste the same number. Here we go. So there's supposed to be where they're supposed to be or effect. This one's actually don't have any texture. I remember when we were doing this ones, they don't have any textures. So that means that we don't have a high poly yet. So easiest way to fix this is just same process that we did with the kitchen. Just duplicate this and call this high. And we're going to give it a couple of divisions. So mesh just like a smooth subdivision. There we go. So that's the low poly, and this is the high-quality. Now for the low poly, we do want to reduce this things a little bit. I don't remember if there was a selection to select one loop and then the other. So unfortunately there isn't a specific, what's the word, a specific tool inside of Maya, but there's a little script that they just found that they think it's gonna be really cool. So I'm gonna show you how to script real quick. Well, it's not scripting is just using a code. So we're gonna go down here to the corner, to the Script Editor and we're gonna go to melt, which is Maya Embedded Language. And we're going to write down this one right here. Do, do, do, do, do, do, do it. All of this. So it's poly select, etch every n, okay, make sure you use capital letters and everything is Pauli's. Select its poly normally and then select with capital S, H with capital E, Every capital E and then n space. You open this little thingies edge ring, close and then the amount of every how many, how I would like which ones do you want to select in this case to you double-click your object, you select this little thing and you just run the command. And as you can see, we've selected one edge ring every single two elements. Okay? Now, what we can do here to make this even easier is just grab this whole thing and just middle mouse and drag it up here. And this is now a little icon. So now if I just click here and click there, it's going to execute the command as you can see right there. So select this guy, select there, and we get this, we are getting a double selection right here. I don't think that's that big of a problem, so I'm just going to delete all of those edges. So select one, select that one, and then Delete like one, select that one and delete. And as you can see, that reduces the amount of polygons from whatever we have to this, which is a lot closer to our, our poly frame with our character. Okay, this guy is of course, our hypothesis, our hypothesis are ready, so let's bring them onto the same for the kitchen high that's ready. So let's go right there. Let's select everything here and just delete history to make sure that we don't have any extra stuff. And always, always, always make sure to clean your elements. For instance, here I forgot to clean my stuff and I'm already like having an issue trying to find out what these things are. So this, for instance, or the thyroid arm bandages low. This is the arm strap low, which is this little thing right here and it's perfect. And then key chain straps, this poly surface we had, that was the hand armor. So we just copy the name. And this is going to be hand, arm or low. And all of those low Pauli's, we can bring them into the rete apologize meshes folder. Again, always, always try to keep your stuff organized because otherwise it's gonna be really difficult to follow along and make sure we have everything that we need. So far. If we take a look, you can see that we're at 58,000 triangles. I'm guessing we're going to get all the way to something like 150 by the end of the whole process. But yeah, I mean, this guy is looking really, really, really cool. So I'm going to stop the video right here, guys, in the next one we're gonna do the nails, and that's gonna be pretty much it for Chapter two. We're gonna be done with chapter two, which was the upper chest area where missing the necklace. I know, but we're gonna do that in the prompts chapter. Other than that, we are missing some belts here, of course, the floor. I'll explain what we're gonna do doing there. And yeah, that's pretty much it guys. Hang on tight and I'll see you back on the next one. Bye. 26. Hand Nails Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the nails. And those are another one of those pieces inside of ZBrush that can work really, really well because the geometry is pretty much just a square, right? If we take a look at the nails right here, you're going to realize that there again, pretty much just a square. And I don't remember if I made them asymmetrical, but I'm pretty sure I did them symmetrically. So we're just going to clone this. I always like to work on a different file just to keep things clean. And we're just gonna go ahead and decimate this. I think we can decimate this. So we're going to preprocess this real quick, mainly because it's true, It's almost 1 million points and we really don't need 1 million points for this guys. See plugin, Let's do a five per cent that you mentioned. The estimated current. There we go. As you can see, those should be more than enough to hold in the little details and stuff. We're going to export this all the way over here. This are going to be thyroid nails underscore high it. Okay, then we're just gonna go geometry and Siri mesh. Let's see what we get. It's not bath, but we can definitely go way, way lower. 10,000 polygons is way, way too much. So let's try 0.1, like really, really low. And let's see if we can get it to work. It's fairly reasonable. I would say. I think that's quite nice. And there doesn't seem to be any sort of like a weird loops or anything. So I'm going to stick with this and that we're just going to export again back in our acids here, thyroid snails underscore low. And let's go to my acid. Okay, there we go. So over here we should have the nails which we don't need anymore. File Import, and we're going to import the nails low. Did not finish. There we go. File Import nail slow. There we go. So we have them right here. And of course we're going to delete half of them so that we can optimize this guy's a little bit further. And pretty much what I wanna do to optimize its just to lead a couple of edges. So you can see, for instance, right there, That's spiral. But this is one of those spirals that it's easily fixed because we can just control and delete to remove all of the elements. And then we need the hypotenuse. In this case, we're going to import thyroid snails highly. But before we do that, let's change the name. There we go. File Import, thyroid snails. Hi, there we go. Let's make them live. Select these guys and go into object mode. And as you can see, we're following pretty nicely. But since we deleted that spire, we have a triangle right there. No big deal. We'll just grab our cut tool. We do one cut there and probably another one right there, just to give enough of volume That should be working just as phi. Let's go over here. Let's isolate them real quick. Okay, so we don't have any loops right here, so we can select 12 and delete dose. That should be more than enough. Let's try this one right here, 12, maybe even three. There we go. Same deal here. Let's disguise. And finally, this guy, so it was only the first one that had spirals, abs as you saw there. We were very, very, very efficiently delete that spiral. Suddenly 54, That's fine. Might be a little bit too high. Trying to see if we can delete that big spiral right there. Because we don't have an guns, we should be fine. That seems fine to me. Same for this one. Like we might want to do list the delete this whole thing right here, but that's actually helping sustain some of the border pieces. Yeah, no, I think I think we're going to do it. We're going to have slightly bigger or slightly more dense nails, but it should be fine. Then at this point, we just shift and mirror to get them on the other side. Let's of course, delete the history and let's copy the, the number here. So we go to the nails, to the high polynomials, and we go to these guys. And there we go. This hypothesis that we have right here, Let's get them out of the effect. This guy is already the final hypothesis, so let's just see them as high because eventually we're going to have all of the proper hypotenuse right here. And this r, d, d low Pauli's, which are going to go into the low poly section. Now as you can see, there's a little bit of overlap here. It seems like this thing pushed out a little bit more than it should. Again, this is perfectly fine and we can always just like move a couple of these things we'd like soft selection for instance. Let's just make sure to turn on World x. Just push this in a little bit so that we can see a little bit more of the nail beds right there. As you can see that these nails, the fact that they're different geometries are gonna be, it's gonna be really important because it's going to change the silhouette ever so slightly, but it's going to change the silhouette. And that's gonna give us a way more interesting character. Of course, you can just paint in. The nails are just textured them in and they, they look nice. If you are working on the game world, there's a lot of characters, then you might need to do that. But for this particular one, I think this processes is better. We're going to get way, way better result. We can even get better shading. Like we can make them a little bit more translucent so that they look more like real nails. So by having them as a separate geometry, we're gonna be able to have more control performance wise. Yes, It's just a little bit of a hit in performance. But so far again, you can see right here, we're bringing up 700 frames per seconds. So some polygons are no longer really the bottleneck of our process. Nowadays, textures are usually what that really holds us back. But so far this character is looking really, really nice. I'm going to save this real quick. You can see I'm in version two, you can always like Increment and Save to get the best, to have backups and make sure that you don't lose all of your process or your project. And yeah, that's pretty much it guys. We're ready to jump onto the next section. For chapter number three, I want to focus on the belt, which is a really big part of the character. It has a lot of different bits and pieces. We have the chains and a lot of, a lot of complicated elements. Let me show you here real quick. I haven't mentioned the verb, but before we're gonna be doing it with real hair. So we're not going to read apologize that we need to read topologies, that letter scraps all of these guys right here. We need to read, apologize, or do something about the rope, all of this like little key chains, things and just keep moving from there. So hang on tight and I'll see you back on the next video. But Bye. 27. Axe Retopology: Hey guys, welcome back to the next part of our series. I know I mentioned the we're gonna be doing the legs birth. I thought it would be a good idea to just jump really quickly into dx. This is something that I've mentioned before bed, whenever you're going, especially for such an extended projects like this one, we've been doing this for like 5 h now. It's okay to switch it up a little bit. So I'm going to go to the ax, refresh my mind a little bit and then we'll go back to the character and the reason why I'm saving the acts and some of the other assets is they're easy acids. So that means that we can, we can do them relatively fast and it's just gonna not gonna be as difficult. I'm going to delete this one. We can rebuild it if we need it. And I'm going to delete it, especially because we do need to figure out what other parts of the acts are we missing. So this is the X handle original. There we go, because we do have some there we go. Bandages. That's it. Okay. So that's the lower van der just in the tub bench. I don't remember if we have this bandage is over here. Those are gonna be important. Now as you can see right here, we used a very similar method to the vendors on the arm. So we're going to have to decide whether we want this vendor just to be right here, or whether we want to combine them with the rest of the elements right now I'm going to focus on this guy right here. And I do want to have everything else like showing, because I do want to create a single metric. Think this is gonna be the best idea to create a single mesh with this three things, especially not advantages, I'm going to keep the vendor just as a separate piece. It's gonna look a little bit better. Yes, it's gonna increase the poly count a little bit, but it's, I think it's for the best. So I'm gonna grab all of these pieces and I'm going to combine them into a single object. And now that they're combined, now we can just hide everything else. Let's delete the history. Of course. Bring this back in here, go to the top, grab this guy and just hide them for now. So this is what we're gonna be doing or reach, apologize. I'm going to show you an interesting trick right here. I'm going to start with the cylinder. And the reason why I want to start with the cylinder is because we can go to the actual object. Let me just say one thing because, oh, okay, So this is an important factor that we need to consider. The ACS is not on the symmetry planes. So does that changes how we address things a little bit, especially because we're gonna be losing the symmetry side of things. So I actually do want to keep everything symmetrical. I'm going to bring back all of the hypotheses for the x. I'm going to grab the x right here. I'm gonna go to my top view and I'm going to move it. I'm going to move it. So we get this as close as possible to the symmetry line doesn't have to be perfect and it's not gonna be perfect because the ACS is not perfectly symmetrical as you can see it here, but as close as possible. You can see here, this is very important. 106.5, That's the distance that we move the high poly to the center light. So eventually when we re-export the proper high poly bag from substitute for Maya, I'm sorry, from ZBrush. We're going to have to keep or use the same number. That's why I'm not going to freeze the transformations on these guys because I wanted to keep that information in case we need them. Now, with that, I should be able to create this cylinder, go to top view or top view. And we go and move the cylinder so that we match this cylindrical shape that we have right here. 20 sided cylinder is usually a good number. For such things like this one. I'm going to use the cylinder to capture the main shape here that we have this, all of this cylinder shape. There we go. Let's extrude this out. And that's it. As you can see that pretty much it's covering the whole thing. Now you can see that the lines here are not perfectly aligned into toward the sword is starting to make things easier. I can just move this and give them a little bit less. So in this case, a 16 will still get a like a nice enough roundness to the, to the cylinder and now they match with the rest of the audience. So that tells me that we're going to have one that should be right there. And one edge loop right here. Probably another edge loop buck right around there. Okay. I'm going to grab the object is cylinder. As you can see, we're not using the topology right now. This is like a, like a more traditional route typology method where, where we literally rebuild the whole thing from scratch. It is not symmetrical. The thing is not perfectly symmetrical. We have a big hit here. It's pretty much symmetrical on the front side. I think the front stage is pretty symmetrical, but we have this bucket here. So it's pretty much symmetrical. That tells me that it's pretty much symmetrical. So let's just delete half of it. And then we'll do that last bit asymmetrical. Once we get there. Let's select that guy right. There we go. And of course we're going to have to delete that line and that line right there, because that's where the handle of the x is going to be extruding from. Isolate a little bit there. Delete that one as well. Perfect. There we go. So now we have the proper construction there. I'm actually going to delete this. I'm going to grab this vertices down here, push them up a little bit. So they're right at the border of this thing right there. That's what I want. Now what we can do is we can actually rebuild this main thing only with the edges that we have right here. How do we do that? Well, we can select these guys right here and say Extrude. We're gonna go up. Actually before I do that. In this particular case, it's gonna be way easier if we actually have the whole circle. So I'm going to mirror this on the z-axis. There we go. And the reason why this is gonna be a lot easier because when we extrude this thing, you can see the billboards on the center. So we're gonna be able to modify a little bit better. So we're going to extrude this out and bring it down. And then scale it here. So that's the leg. That way we're capturing that part Control E Again, just extrude this out right around there, I would say Control E Again, w, Then skill in right around there. Then we can control E. And scale. Like right around there. Probably like about that. There we go. Then you should be able to observe, I'm going to get this into a layer. This guys right here, I'm going to Control E, offset, then w, and push this up. And it's going to help me capture the light little round thing that we have going around there. If we take a look at this thing right here, it's looking quite nice. Right? Now for the loo like pointy bit here. We know that, uh, we pretty much have like the number of points that we need, but slightly off actually it's a little bit like move to the side. It's not perfect, but that's fine. So I'm gonna go to this guy right here, select this elements. I'm going to Control E again. Am I selecting the proper ones? Yes, I'm going to Control E Again. Scale them in so they're very close to the border. And then Control E and move them all the way up. Just go all the way. In this case we are going to go to a point. I'm just going to merge two center. Well, actually that's not the point. So let's go right around there. Okay. Now you can see that we have a little bit of a border here, like a straight border. So I'm going to use my knife brush to add a line there. And then just scale this out. Here's where things are not going to like match as closely. It's fine. Right around there. This is a, a, an issue with, with modeling, right. Like our modeling is a little bit off. Let's make this a live surface. Now. If we jump here, you can see where things are not lining up. But it should be fairly easy to just like move some of those points to where they're supposed to be. Another thing we could do is we could delete. This line is right here. It's going to cost the sum angles. But let me show you what I mean. So if I grab this edge is right here, which are the ones that are supposed to be flat. Just delete them and we'll get the shape. However, another they think of this after having all of these issues. This is a way to rebuild it. But to be honest, why not just delete this whole thing and have two separate pieces like this whole thing right here. We can just merge the center, that's the cap. And then we'll just remodel or reach, apologize, dislike cone bit as a separate piece. I think it's just it just makes it easier and that's one of the things that I want you guys to see from this whole process, like it's not always the same thing that you're gonna be doing. You might have to do and change your approach depending on how complex or not certain things are. Now, we're gonna go to this part right here, and this is fairly, fairly easy as you can see right here. We have very obvious ways in how we are going to be building the topology. Just this way right here. Here. Here are gonna go to the central line. We don't need to do both sides. We've mentioned that before. And the most important thing, it's always a silhouette, right? Especially on the blade because the blade, as you can see, it's a little bit thinner than what we've done before. So I'm gonna go big, big shapes first. Following the, the main form of the blade. That even an extra one right there. We know we can make this triangles if needed. Very, very common in weapons, especially on the under curved edges, to have extra, extra geometry to, to capture the, the roundness of the object. Instance here. Triangle, there's just gonna be way more precise than the rest of the elements. We go there and start pushing. This goes back to where the blade ends. And that was just a matter of bringing all of these things. We're probably going to have a couple of extra shops here. That's fine. You don't want to hear, as you can see here, we have the dislike relief of this daemon thing, like rooms and stuff. You don't really want to bring that into the ER placed points inside of the relief because that's going to change the flat surface effect that we're going for. So as you can see, I'm trying to place my options for my points in places where we don't have that or it's not as obvious. Over here. Down here you can see we have the spike. How are we going to approach that spike? What we want to keep? We've mentioned this before. I want to keep things going from top to bottom, from left to right. So all of this fairly, fairly simple, even like a nice little triangle right there. A couple of triangle. Well, that one, I don't love to be honest. So here's where again, we need to decide. I usually prefer this. There we go. We can triangle there. Unlike a triangle there, that's, it just looks better. It doesn't mean that it is better from a technical standpoint. It just looks better. There we go. So here we are going to do a little bit of an extrusion. We can do a triangle. That triangle will generate a square over here. And we can do another one here. And we can use a little bit of stitching, right? So just from here to here, you don't like triangles as much. You can have this as a square. Just move it to relax a little bit. And there we go. So with that, we're pretty much covering most of the curvature here for the x. On this side. We're going to need the, right. So we're gonna have to do this. This. And those phases are going to be capturing the side part of the whole thing. But as we get to the pointy bit, the edge is pretty much going to disappear, probably around here. So here that's gonna be a triangle right there. That way we can hold a really nice sharp edge. Some people might like to capture the edge, I think in this case, I kinda wanna capture the edge, to be honest. We've mentioned this before in games when you have things that are super, super thin, they, something's wrong. They look like paper thin and nothing is paper thin in the paper of course. But what they mean by this, this is like you should think so usually have a thickness, right? I think I read somewhere that 0.05 mm is the it's like the like the thickness of air, at least every single normal object that we work with. So if you're doing like using it like a cardboard or something, 0.05 should be the, the minimum. You can see how here it's pretty much raised within, right? So we gotta be very careful because we do want to have our edge. It's gonna be a little bit difficult to keep that edge. So I'm going to just push this thing so a little bit closer to the, to the insight, that edge becomes pretty much razor sharp. But then once we get over here, you can see how we start getting again. A new traditional like blunt edge. There. There we go. There we go. Then here, over here is pretty self-explanatory. I would say, just keep going here and that's it. So with that we've pretty much capitalist. I definitely think we need one more edge right there. You can see how we're missing some of the border. And I don't want this to move this guy, to be honest. So I'm going to delete this face at one edge, as you can see that pushes it out forward. And then we're just going to have a couple of triangles right there. Same thing here. Like, it definitely feels like one extra edge might be a good idea. So just add the extra edge. Push it a little bit more there so that it holds a little bit better. I just have a triangle right there. Again, this object is never going to deform. So we're not really worried about that right? Over here, we have three lines. So let's do 123 like that. And over here, of course, it's having some issues with that line. See how that line is can like hidden. That's a very common problem that we get with a rich typology. I'm just going to turn this off and just push it up. So it's outside of the camera, can pretty much see it. And once we have that a weekend, we can select this guy again, go back to leaf surface and keep going. There we go. Same deal here like that, that point, right, this kind of hidden. So let's just extrude this manually. And I clear dots, extrude this manually. There we go. Push up, push this up. This manually. Now it's kinda like hidden. And this usually happens when you have an object made out of multiple objects. Like the points they tried to go to two places, not the one that you want them to go. Just going to manually move this down and out. Here we go. And now just get it there. Cool. And following the same sort of like principle. Just keep going back here. Here's where we know we're going to need more resolution. So just add one more there. We might even need to do a little bit of a break here because as you can see, this is very straight, but over here we start getting like curvatures and we know curvatures can be tricky. Easiest way to fix that is at a triangle. Triangle's allow us to create more topology without modifying the DC. Let as much. Over here we're gonna go to the underside of the acts. We go here. That'll be my middle section. Will be the lower section right here. Like a weird square root over here as well. I always wanted to try to keep the central line. We've talked about this before. So here what I'm gonna do is we're gonna go from, let's say from there to this point right there. So that we can have this square root there, might need another one down here. So from here to that one right there, that what we're going to have, that guy and that guy. There we go. Now, we grab the whole object. My ice freaking out. This is a very common mistake. I don't know why it happens with Maya. It freaks out. And that what's going to happen here is that you do a selection, but it doesn't show. You need to move the camera to see it. When this happens, just save, make sure to save real quick. And open and close my J again because it's all know it's like a display error or something. So yeah, that's it for this one guys. I'm gonna stop it right here. In the next one we're going to continue. We're going to mirror it and fix some of the details. Hang on tight, and I'll see you back on the next video. Bye bye. 28. Axe Details Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the accessory topology. This is where we left off and we're going to start by doing the, the mirroring, right? So we're gonna go to the top view. Let's isolate this guy real quick. I'm gonna go to face mode and I'm going to be very careful to delete all of these faces right here. Let's get rid of soft selection by pressing B. And there we go. Technically, all of the lines that I'm seeing right here would be the border of the acts. So I'm going to double-click and select them. As you can see, we're actually selecting some of them that we don't want, which are all of these guys right here? We only want the borders are gonna be touching the central mine. We go to top view, are we scale them so they are perfectly aligned. And then with x, we snap them to the grid. There we go. By doing that, we've been able to block properly created the symmetry line. And that was just a matter of mirroring this using our mirror function on the z negative y, z negative, because we're going from front to back. That's it. We got this, we got the very cool looking shape right here. We can of course say UV and a softer edge or sorry, a mesh display softer niche. And that's gonna give us, again a couple of weird looking black lines, but all of those are gonna be gone once we do the bakes, this is looking quite nice. Very important to make sure that we don't have this horrible and guns that we sometimes get, especially on the border. We definitely don't want those angles right there. So I'm just going through the central line trying to look for those crazy and guns. That's fine. Little bit sharp on that one. We might need to move it a little bit. But there doesn't seem to be any more guns. And I say, as I say, there, there's one more there, there we go. It can be tricky and it can be quite, quite tricky vessel. Well, one of the best ways is to place number three to go into smooth mouth. And they're going to jump a little bit more obviously. Again, I'm not sure why this happens. I'm going to have to to investigate because it's a really, really weird like feature if you want to call it that way. So there we go. Now, one thing that we do might remember is from this piece right here, this part was modified in a weird way. So I'm gonna select this guy going to live surface and edit this corner right here. So I'm actually going to delete. I got sorry about that. I'm going to delete those vertices right there. And I'm going to recreate this section. What's the best way triangles? So I'm going to do a triangle right there. We're probably gonna have to do a triangle right here. So we can adjoin this two guys right there. You can see that this is a rather sharp corner. There we go. We do square right there, make it a triangle. Move it, even if it needs to be moved to the side of the symmetry line, that's fine. Over here. Same deal. Just big triangle right there to catch this like huge surface. And that's pretty much a square, so we'll just do that. And that's it. That way we've successfully. Like what's the word Greet, Apologize, that specific section. We can again do a mesh display soft edge to make sure that everything is soft or spray. There we go. Again, this shadows would look a little bit weird. Those are gonna be gone once we bake. And that's the, that's the shape of the x. Looking quite, quite nice. You can, I'm just gonna go to this point right here. That guy. And we w. And without this, I'm just going to push it forward because I want to be a little bit less stressed. There we go. Cool. Now, this detail right here, the upper detail. So I'm going to grab this new mesh that we created. I'm going to get it into a layer. I'll use layers quite a bit. Let's delete this other one. We don't need it anymore and just hide that for just a second. I'm gonna go here and we're going to reach apologize at this guy. So we make it live surface. We go here and as you can see, we have a very basic base. I would say. Let's just do a square base right there. And trying to put the points as close to the connection as possible. There we go. Then we go up. So very geometric shape. So we can keep it really low poly. Or that anytime we have this sort of hard surface effects are fussy like a meshes. If you can keep it like this, that's perfectly fine. Because again, it's going to catch all of the elements I might just for the sake of volume at a couple of edge loops right there. Of course it's going to double or triple the amount of points, but shouldn't be that much of a deal. And here, we can close it pretty much just like this. Or we can use the technique that we've used before. Just scrub everything here, mesh, feel home, grabbed the Face, Mesh tools or poke. That's pretty much like the like the top part. Here's where I would probably add the bevel just for just to have like a rounder effect right there. And yeah, that's it. One last thing, I'm going to grab this guy. I'm just going to push them down a little bit. Why? Because otherwise there's gonna be like a, like an empty space between these elements. You get the C3 layer as well. So if I added that one, it will be a little bit difficult to to get this thing to properly align with the other guy. Yeah, just mesh display soft edge again. And there we go. That's the metal detail right there. Let's go back to this one because we're still missing the bottom part on this piece right here. So I'm going to, um, I'm gonna change this to a reference layer so we can select it because this part is very cylindrical, so it's rather easy to just grab this edge right here. Control E, move it down, push it out. Control E, move it down. Control E, push it down. Move it in. Control E, scale. Push it in, maybe just a little bit up. There we go. And that final one, which is a mesh, feel home. So like that guy, Edit Mesh and poke. And with that, we're pretty much done with the head of the ax. So mesh display soft edge here, even though these are two separate pieces, we can still combine them. There's no issues in combining this, even though they're different meshes, we can bake perfectly normally. And it just makes for an easier topology transition up here because rather than having to see how all of these things are going to fit between each other, we can just do that. And again, it's going to work perfectly, perfectly fine. Let's do these layers. We don't need them anymore. So I'm just going to delete the layer. There we go. That's the X. And let's go to the next part. So for the x, that was the acts like the main acts. This guy, of course, this guy, it's not the final act. So this is gonna be x underscore a low. This goes into our rate apologize measures. And we can hide them for a second. The handle, and we talked about this one before. I have the lower bound and the upper bandages, which as we've mentioned, we're gonna be using ZBrush to recover those. So none of this we're gonna do right now. I think the only thing that we're missing is this bit right here, which is a metal bit. And again, it's a rather simple, detailed like metallic detail that we can just do with a cylinder. We don't even need to do anything fancy. I'm just going to create a cylinder. I'm going to go to top view. There's my cylinder right there. Just literally bring it right here. Let's close as possible as we can get it to the surface. I think that's really much there. There we go. That I'm not even that computer and I can I can snap it really, really closely. There. There we go. So I'm going to select the high volume. We're not gonna use any sort of weird stuff. I'm just going to make this a template or a reference. You can press Control and click on the little cube right there. So we only modify the y-axis. And I'm trying to find the thing right there. That's probably it, maybe a little bit more. There we go. Now we go to this guy. We delete the caps 20 is perfectly fine for this lower section, is going to give us a slightly rounder one dx. Again, the x is going to be covered by advantages and stuff like that. So, so no need to go extremely high there. This does seem to be symmetrical, at least in the general aspect. So I'm going to grab just the upper edge right here. Control E, scale out to create a little border, push up like that. And then scale up. Probably give it another bit of curvature right there. Scale up or scale down or scale up in. This is a big question like do we cover all of this like properly or not? And the answer is not really. We can do one, like one cover right here. And after that, that element right there, it can just be a very simple flat surface. Just going to say mesh, edit mesh and poke. Why? Because we're not going to see this, right. The handle is going right through there, so we don't really need it. Now, this guy, I'm going to mirror. But pay close attention to what I'm gonna do here. We're going to mirror on the y-axis, on the object mode, which is going to take the pivot point as the reference point and it's gonna go white negative. We could apply. And then we got this. But down here, we do have a slightly different the thing like we have all of this details on the high poly. Let me hide that guy, right, cool. So we have all of that. So that's an area that we might want to capture. So I'm actually, once we duplicate it that I'm just going to rebuild this intersection. And I mainly use the mirror option to get this sort of like border thing going. So I'm going to grab this border, move it up a little bit right around there. Grab this edge, Control E. Go in. There we go. Control E, go in. And again, we talked about this before. We don't have to do this. We could have just a flat surface and capture all of that in the normal map. But by doing this, we are ensuring that we get some nicer shadows. And this does seem like a nice detail. We could even add a logo or something like a CG or like a room in texturing here. And that's like small little detail that some people might find, right? So those sort of things are some of the elements that you always want to keep in or take into consideration. So here we're going to go Edit Mesh or sorry, Michigan feel whole mesh and feel sorry book. Just that one. Perfect mesh display, soft edge. That's it. This piece right here, or D. This guy, we don't need it anymore. Let's delete the layer. There's our super, super handy for death. And this is gonna be called wouldn't have a proper name here. Let's call it, let's give it a proper name. So it's gonna be lower or acts lower. Metal. Then this exact same name, It's going to be for this one, By the way, underscore low history on this one, we can even freeze transformation and this one on the low poly do not freeze transformation null hypothesis because we might need some of that transform elements. That's it. We got the ax up here and this guy right here, I haven't mentioned this, but when you're working with a big character like this, or the size of the characteristic big like this one, you might get this weird like dark looking elements and that's the clipping of the cameras, like causing some issues. Very easy way to fix this, just go to the attributes of the camera control a. And here the near clipping plane just set it to one and the forklift play and you add one more zero. And that should clean it. So that way you don't see those elements. This allows you to get closer to the object, this one without having any clipping issues. But yeah, that's that's pretty much it. Now I'm a little bit because I just remembered that the handle a good handle so we could have just done the one that we had before. I'm just going to rebuild this off camera real quick guys. And in the next one we're going to do the bandages. So hang on tight and I'll see you back on the next video. Bye bye. 29. Axe Bandages Cleanup: Hey guys, welcome back to the next part of our series. Today we're going to continue with the bandages, which are the bandages that are around the character. I have my high poly here. And I want to show you a couple of things that we can try. And I am going to emphasize really strongly here, try to avoid spirals. So the first thing is I'm going to clone this guy is in three different one. You guys know, I like to work on a separate file to keep the original as intact as possible. I can see a couple of errors here. So I'm going to use my BMT, which is a shortcut for move topological and just push this guy in a little bit there. And this guy, it shouldn't affect the spirals like this thing that we're doing here, this little movement. It's just going to make the objects look a little bit cleaner. That we call the overlaps Lucas, as nice as bus. Now we're gonna do the same thing we've done before. We're gonna go to decimation master, and we're going to preprocess this current file or discordance format, this geometry. Remember that by reducing the amount of polygons that we have, the remeasure can try to give us a better effect. Now, from doing a couple of tests, I found out that as the more complex the object is, the more difficult it is to get the proper what Stuart, the proper resolution for to avoid spirals. So there's one particular piece in this acts that has a little bit of Phoenicia. I'll show you in just a second decimal right here. So this piece right here, since it's not really a round piece, it's having a lot of fish is trying to, to create exactly what we want. So let's see what we get here. First of all, I'm going to go see plugin. Let's try a 5% estimation. We don't need that a lot of budget. Most of this thing is just noise and we're gonna re texture this once we are inside of substance. I'm going to export this in our assets folder, the retail Bot, FBX. Of course, we have the x upper bandages high. There we go. We save that because it's going to be our final high-quality. Okay. We're gonna go to see remeshing. We know that the serum meshing over here, geometry see remeshing and serum machine. Let's do, let's not do the half. Let's try to bring this all the way down to one. It will try to find the best possible solution. And this is again the unfortunate nature of automatic tools, especially for topology. When you're doing topology, we are dependent on one. Topology can find, you might get lucky. The algorithm here inside of ZBrush is meant to avoid spirals as much as possible. You might get lucky. So for instance, here you can see that we are clear on all of these guys. There's a spiral right there. That one's fine. That one's fine. There's a spiral right there. So those two pieces, the ones that were a little bit difficult to work with are now spirals. So what can we do here? Do we really need this, guys? That's the question that we need to ask ourselves. Do we really need this horizontal line going up here? And the answer is yes and no at the same time, because we do want to have that sort of like cross-section going, but doesn't want to be battling with the, with the serum measure and trying to do more iterations to find the perfect, perfect solution. So what I'm gonna do here instead is I am just going to export this. S is just going to say export. We're going to go to our assets again. Decimate, decimate the topo. We got the ax upper bandages low. And what we're gonna do is we're actually going to duplicate the high police and the low polish to recreate this bandage right here with one of the bandages that we have here that are actually work. Okay, I'll show you how to do that inside of Maya in just a second. Sure. Let me start opening it before we continue, because that We're gonna go to the x right here. And if we go to the lower section, I actually just realized that I made a super terrible mistake. I didn't foresee this happening, but it happens. So now we need to solve it and that's always good. And that's the fact that this thing right here, this bandages that they added right here, I actually mix some of them. Look at this. Like if I go all the way down to all the groups or poly groups, groups and we say all the groups, you're going to see that we have one very clean bandage right there. I messed up bandage right here. Another clean bandage right here. Another clean bandage right there, and another messed up bandage right there. And then dislike things floating around. You might find this again, this was a mistake. I didn't see it. It's not until today that I'm seeing this problem with advantages. So we need to try to find the best possible solution. And the best possible solution is to utilize the bandages that are working and eliminate the ones that are not. So for instance, this guy right here, I'm going to invert the selection. Then I'm going to hide that one. And of course I'm going to hide all of these guys right here. So this four bandages that we have right here, this are working. We can work with this once because there's a complete loops in them. I'm hoping that once we do the subdivision, we don't get any spirals. Then what we're gonna do again inside of Maya is we're going to duplicate both the high poly version, decimated high-quality version, and the low poly version to just recreate and duplicate the beverages. It's completely normal a face this, in a lot of times during production that you're going to have to reduce certain things that you thought were already done because they're just not working the way you expected them to work. So here we're going to go see plugin. We're going to preprocess current again. Again, we don't need a lot of detail. This pretty much just noise, and we just want to get a basic shape right here. We're gonna go see plug-in and 5%. This summation is perfectly fine. This homemade current. Oh, sorry, I'm going to delete hidden. And now let's you make current. There we go. So that's my, my high poly. It gets pretty much just noise. That's fine. And we're gonna go to our Readtopia. We have the x lower advantages. This is gonna be the high, high. There we go. Okay? And then we're going to use Z remeasure. So we measure, I think the polygon is a little bit high, so I'm going to have to redo that. Yeah, let's bring the polygon delta one. And he'd see Ramesh give us some really nice and clean elements. There we go. It looks very good. Let's very quickly go with C modeler or smaller brush and just check that we don't have spirals. There's a spiral right there. That's unfortunate. That one's fine. And there's another spiral right there. That's really weird. I didn't think we were gonna get so many spirals. It's usually on specific areas. It looks very clean though. It looks very clean. That's why I'm a little bit like weirded out by the fact that we have them, but that's fine. We'll use the same trick that I was going to show you. So I'm going to export this. I'm going to go back to assets. And here's the lower than the axilla. We're advantages low. Hit save. And there we go. Now we jump into my here inside of Maya. I'm going to import all of those. Actually a faster way to import this is to go directly to the folder itself. As long as you have the FBX blogging activated, you can just grab all of these guys and drop them right here. Let's go towards our precision. We know that the position is not gonna be exactly where they're supposed to be. But I'm just going to use this tool to clean this up so we get this horrible thing right there. The lower advantages, I don't know what that is. If all of those faces and delete them, there we go. Cool. So oh, you know what happened here? It seems like even though we told it not to reach apologize this measures, it's still there. So I'm just going to double-click the ED phases and that's going to delete them. So that's the top bandages or this is actually the lower bandage is low. So let's call them low. And we need to bring the lower bandages, again, the Lord by the just high because they had the same name. Remember that when we have the same name, we get issues. So there we go. Now, what we're gonna do here is if we go to the lower bandage is low, we know that this guy is perfectly fine. We know that this is a spiral. Or actually this is a spiral. This is fine. Actually. That's weird. Okay, So this is the only spiral right here. So I'm actually going to delete this guy right here, just get out of here. And then now we're going to use the little, we can do this manually or use the little plugging or a scripted I showed you last time to reduce the amount of polygons that we have. Let's do one to actually want to probably just 1.2. And I'm gonna go 12 over there because I don't want to go super, super low. 12123 and we delete. There we go. Now what we need to do is on the high poly itself, we also need to delete the high poly that we're not going to need to now, we only have this guy's lower than the Jewish underscore high and or bandages on their score low. And once we import this into the x, the only thing we need to do is duplicate this thing like both of them, like duplicate the low and the highest Control T. And just center the pivot point real quick. Pivot 0.0. It has very ugly things over here on the hypotenuse. Well, let's delete those. There we go. We grab both. We centered the PowerPoint. There we go. And now with this duplicated ones, hi Juan and low one, smooth them, rotate them around, scale them. Like just literally we can even use soft selection and stuff and just, yeah, just use what do whatever we need to do to make these things fit around the acts in such a way that they look like they were still or they were part of the whole thing ever since since we started. So you can duplicate a lot of these things. And now that we have clean topology, it's gonna be a lot easier to do. So we're going to do the same thing up here on the top bandages. So we know that this line right here and this line right here, this too, like a horizontal or vertical lines are the ones that are having issues with or work having issues with. Let's just delete this. Still don't know what all of this case are facing. There we go. Let's call this top bandages underscore high. Go to our folder here. Top bandages or upper boundary is low. We bring them in, isolate them. And again, we know this guy and this guy are problematic, so we'll just delete them. And that's it. Now we can use the script which we have right here. It's not working the way I was expecting this to work. It's trying its best, but it's not really doing it. So we're going to have to do this manually. On the y-axis. Control Delete. There we go. You just keep simplifying all of these edges. And again, with this edges, we're going to just recycled like this edge right here, this horizontal one, it looks really close to what we have. So we can just duplicate that one and use that one to rebuild what we had before. So let's just delete that guy, that guy, that guy, that guy, and that guy. There we go. Same deal here. Start there there, there, there, there, there, there, there. Finally, this guy right here. It's very common to do this in the in the production, to recycle things that are working or not working to get the best possible result. We go. So now we have two new hypotenuse and low Pauli's that match each other. There, I would say appropriately divided. Here's where I might be using the little script that we have right here. Not sure why it's not working now. It's not because it's a spiral, because it's not a spiral. But for some reason it's not working manually there. So because of the symmetry, could be. So the symmetry, I think it's a spiral though. He said spiral. Spiral. Anyway. So, yeah, that's pretty much it guys. So as you can see now we have all of these guys, we can just grab all of these guys File Export Selection. I'm just going to call this bandages or acts. Bandages. We export them on our assets folder. There are project sits on the 3D topo file. We'll just call this ECS manage their weight. So this is what we're going to get onto the other file end. Then we just do a couple of tweaks here and there, and we're gonna be ready. Again. I'm just going to duplicate high poly and low poly of the elements. This is very important that we duplicate both and we modify them and move them around to recreate what we had before. We deleted the ones that were being problematic with this. My friends, we're pretty much done with every typology of the acts. So we're going to stop the chapter right here. And in the next chapter, in Chapter five, we're going to start with the with the legs. We're gonna do the skirt first and then we're going to jump onto the legs. So make sure to get all the way to this point again, it your favorite music, your favorite snack, a good drink and everything. And we'll be, we'll be ready to continue. So that's it for this one. I'll see you back on the next one. 30. Belt Retopology Analysis: Hey guys, welcome back to the next part of our series. There we go. Might be sick on the background. Well, here we go. Now it's time to jump onto the next part of our character. This is the final result after we finished a dx. You can see the top portion of dx at the lower portion of the X. And I did have my where are my vantage is that's really weird. Should be around there. But we did them on the final video, so I'll get them inside of this file if I misplace them for some reason. So now we're going to jump onto the belt of the character and that we need to do a quick analysis to see how we're gonna be working with this, right? All of these things right here. We have the main belt right here, had the stitches, we have the skirts, all of these things right here, leather war there, there we go. But that's, that's pretty much it for this lower part. As you can see we have on the issue right there, that's a little bit of an overlap. I'm not sure what that mass is. Probably like an Eastern multi-master we didn't use. I'm just going to delete that. We've mentioned that the firm we're not actually going to be rate apologizing this firm because this was just a stylized first that we use. We're eventually going to be using a real hair for the firm. We're going to have to create some patches to do that. So I'm just going to grab the front, just hide it because we really don't need it. This is what we're gonna be working with. As you can see, we have all of these guys right here, a couple of issues like that guy right there again, these are not the final decimation, So we're gonna be using, we're using a higher resolution decimation things for elements. And the way we need to think about this is, do we want to have a single mesh out of all of these guys? Or do we want to have multiple meshes? And in this particular case, I think that the best option is to have a couple of separate measures. Okay? So the measures are gonna be the main belt with all of these guys. And this top bar right here. I think it's a good idea to have all of this as a single piece. That's going to be Rick to the torso of the character at this metallic buckle. And it's gonna be a secondary piece, very important. And then each of this one's definitely has to be a separate piece of y. Because if we eventually want to animate the character, we want to have the ability to add a couple of bones and risks to this things and move them independently, right? Like if we wanted this to flap around or to move around or two, just like like falling the more natural way, especially if we're rigging this because we're not stimulating it. We definitely want this to be a separate pieces. Okay, so in total we're going to have 1234, all of these bits. And then five for the bell book. Well, those are gonna be the main, the main things that we're going to have. The best thing we can do here to alleviate that problem is select the things that are going to be together and just combine them. So I'm going to delete the history. Same thing here. So like all of the bits that we need here on the on the belt and combine it to the history. So we delete all of the empty groups and then this gets are going to be separate. Now a big question, what do we do about the stitches? It do we need to reach apologize, I'm independently. Well, if you want to have a super high-quality character, then yeah, that might be an option, but in this case, not really. We're going to keep them as separate pieces. Like we're just going to have big squares on top of them. And the normal map is going to capture the detail fact that this has been month and will make the bake look way, way better than if we just textured them because we're going to have ambient occlusion and we're going to have shadows and we're going to have things that are going to give them away more depth. So even though we're not going to be reached apologizing each specific stitch, it's still going to make it look way, way better. So all of these pieces, as you might have imagined, which is going to combine this well. And that's gonna be, it's gonna be this leather skirt, Tesla or skirt at this leather skirt, the belt and the belt buckle, those are gonna be the main shapes that we're gonna be texturing for this particular piece. So I'm going to stop the video right now and we're going to start on the next one with the top part with this belt right here. So hang on. Tight handle. See you back on the next one. Bye bye. 31. Leather Skirts Retopology: Hi guys. Welcome back to the next part of our series. Today we're going to start with the leather skirts or a topology, which is this part right here. I know I mentioned that we were gonna do this, but actually this will waste that this one is right here are way, way, way easier. So I'm just gonna select this one. I'm going to isolate it and we're going to use the exact same process that we did before. I'm going to use live surface and here is where we're going to start drawing all of the points. Now, as we've mentioned before, the most important thing about doing this process is to try to do it as like with big chunks as possible, like you can see right here. And we want to try to preserve as much as possible is the silhouette of the character or the element, right? So for instance, this point right there, we definitely want to bring it forward for some reason. That vertex is right there on the back. If that happens, it's actually not a bad idea to just delete this guys, to be honest. I'm just going to capture the front points first. This C That way better right? Now we'll just go all the way down. So we definitely want to preserve or keep the thickness. That's where we model them with thickness. This is something very common and I've actually seen this in a lot of games, especially Warcraft. Like if you take a look at the World of Warcraft, leather armor. Leather armor, of course, it's not super thick. But in games like this, mobile games right here, they tend to give this like a thick effects to the elements because it's a lot easier to rig and it's a lot easier to just like player and look at how big those things are here at the bottom because you don't want to have just a floppy, like a single sheet polygon that down here. That's why they make these things really, really, really big. So I made them quite big, but not extremely big. So that's a little bit easier to manage right here. We're going to add the thickness that were just talking about. We might need to add a couple of versions. Go to capture that thickness. Remember, for this one, we are going to be using the smoothing option like this is not as low polys we're gonna go. If you're working for a game where where you are a little bit more limited in regards to polygons, then you might want to add a little bit more delicious. Now here I'm just gonna, I'm not gonna worry about the border just yet. We're going to use a lot of like stitching and stuff on those areas. Because as you can see, it's a rather complex at border. We added a lot of details in this crashes and stuff like that. So so what we're going to keep it as clean as possible for as long as possible. And then when we started working with the board, there we're just going to capture the rest of it. This is a very easy way to keep things clean. Otherwise, it can get really, really like uncontrolled real fast. So for instance here, we've talked about this before. You usually want to have at least a three divisions for each curve. Alright, so we do this and this. There we go. Now, if I don't want to bring all of this information to the other side. Like maybe that one is we can skip it. That's it. We just we just do something like this. That's the one line right there. That's a square. Then we can just keep on moving here. That, that, and we'll solve this like empty space right here with a couple of triangles in just a second. We'll just keep going here at one more division there. Pull this air because remember again, we're going to smooth this out. So when we smooth, we're going to gain quite a bit of a free topology. We're gonna, we're gonna win quite a bit of topology, rather, not written apology topology. And that will allow us to capture more of the detail. So here that's a square and that's the square root. Perfect. We need to, we can add one line liter right there. So far, I don't think we need it. So for instance here, do we add one more line? Yes, she's gonna make it a lot easier. So we add one more mind. And that extra line that we add the right there is because they allow us to capture that one or this one triangle. This is just a triangle to capture that particular corner right there. That makes it a lot easier. Because they're, they're, they're square, square. The, how clean the topology is. It's looking, right? You might be like, Well, can we please fix this? Yes, of course. Here's the here's the easy fix. I'm going to use a reduction technique. So remember the reduction technique, we go here, here, corner, then here, here, down, then corner, corner. That's it. So now we have three lines right there. And we should have realized right here. If this happens, as you can see that the polygon went to the backside, just go to vertex mode and with w, just push it to Fort Worth. Little unfortunate that that happens. You can see how it's trying to go to the backside of the element. Just push it to the front. And that's it. So we have clean topology and we managed to capture that specific area. Since here, let's just add one more length here. Here I already know we're going to have this sort of like reduction. We might even have like a, like a triangle right there. And then again, keep it clean. Is that a secret here? You don't want to over-complicate things. Because when you do, that's when you start getting a lot of loops and things going everywhere. Really want to keep it as uniform as possible. So here this a little bit of an intense change. So let's keep it simple. Square right there. And this is going to be a triangle. Right there. In that triangle, you can see there. It's going to allow us to capture this area. That's why triangles are so useful. Lot of people demonize triangles. They think they're the worst thing that you could possibly get, but they're not bad as long as you know where to use them. Look at that. They super, super clean effect. Now the secret here, one of the secrets is to try to keep this as uniform as possible going to the back. So the same sort of like amount of faces that we added here, I can definitely see that we could benefit from one extra line there, especially for this top area right here. I mean, it actually, it's not that important. Why? Because this top area is going to be covered by the belt. But we are gonna be seeing the backside of this thing in some games. In some games, you're not going to see the box is going to be a double-sided, a mesh, which can work, it's totally fine to use a double-sided mesh. It depends whatever you want things to be, or this case thick or thin. In my case, I do want to skirt to be a thick. It also gives better bakes. It will be extra geometry and extra texture space. So all of those things are things that you need to consider. But I do believe that it's gonna give us the battery. So one thing we do, we can do with this ladder, for instance, once we get into texturing is sometimes the front of the leather leather jacket or a leather coat is one color and the backside is another different color. And that makes for a very interesting thing. So here's what I mean. Like if we want to keep things as nice as possible, we're gonna be as mirror as possible. So good thing is we are seeing the backside here, so it should be fairly easy to, to copy the exact same sites of polygons. It's going to extrude this one right here. For instance, is just merchant rate. There. You go. See that? So we copy the exact same thing. And thanks to all of the rules that we already know, we've been practicing so far. This should be fairly should be fairly fast. So that one right there. That's pretty much right there. Go. Triangle if I'm not mistaken. Yeah. You can see we just continue the border in the most precise way possible. That's a triangle right there. Square right there. Now, we're gonna be doing the next, the next two, like skirts on the next video. And I remember I did promise that we're going to talk a little bit about like character, character backgrounds and stuff like that. So we're going to talk a little bit about that in the next week because as you can see here, it's really not many new tricks, just like following things as closely as possible. And that's pretty much it says here we'll just do this all the way to the back. I think another section might be a good idea. You can see that this, again, this vertex right there went crazy and went to the front. It's very, very common. And it gets more common like that sort of behavior gets more and more common if you have a really small characters. So that's why I've been mentioning that the scale of the characters is super important. Because when you're working with a character, like the real-world skill is really, really small. That happens way more often because the tool doesn't know how to, how to like separate things over here. Okay, that's gonna be an interesting one because it's asymmetrical right there. So I'm going to bring this thing back. Then we have this really long triangle. I don't love that one, to be honest, I'm gonna delete that one. Now rather just do that right there. And I think, or I hope maybe one extra line right there could be a better option. But I also hope that the smoothing options that we're gonna be adding will give us a better effect. Now it's important that we're as symmetrical as possible when doing this, because when we bend this, if you have the exact same number on the bottom side as you do on the top side, you're gonna get a good deformation. So now let's give it a shot with the smoothing options, a mesh, smooth. That's quite a nice like distribution. I would say we have an extra like geometries over here and we can just say Mesh and conform. Now let's take a look at the low poly skirt. And there we go. That looks quite nice. We do get a couple of errors, especially, sorry, especially here on this vertex right there. So I'm just going to push it to the back for that one right there. There we go. Bring it back. Of course. Play around with the topology here to make it matches nicely as possible. And we can of course do a big test if we need to. We can do a back test to see how good or bad this thing is gonna look. I actually think it's going to look quite nice. I don't see that much of an issue. And in regards to the amount of polygons, we only have 1,500. So that's quite nice. We have what effects? I'm going to show you here real quick why the plot effects are so important. So imagine that we have a joint chain, right? I'm gonna go here to rigging chains. And usually what we do, what do you do for skirts regards to rigging is you have a joint chain that goes along the whole thing like this. Okay. I'm going to position it right There. You go to a right view and can get this inside a little bit better. Let's gets to the top. That's fine. So if we grab all of those joints and we select this guy right here and we do a ringing skin, bind skin just defaults, that's fine. We can select all the joints and if we move it, wait, not the last one. There we go. If we move it, discourages gonna do this, right? This is the kind of behavior that we would expect on a game like if the character is falling, expect the Cape to go like, and then he falls in his goals. And thanks to that like very square distribution of faces that we have right there when we do that movement is you're seeing right there, it deforms very nicely. It gets a very nice effect. You'll be like, Oh, this looks a little bit like cardboard. We're getting some hard surface effects on the borders. We could avoid having those hard surface effects if we reduce the amount of or if we increase the amount of polygons. But that also comes with other sorts of problems. So that will be the, or this is a quick test that we can do to see if this thing is going to differ properly. And as you just saw there, it did. So yeah. That's a good option when you skin things together. Locked. So you just unlocked. Let's dilute history. Do not freeze transformations. We need that number just in case. And I did see or saw one. Vertex was having some issues. This one right there, see that, that line. So I'm just going to grab that line without having leaf surface turned on. I'm literally just going to push it forward. That's another trick that you can do if you're having issues, don't don't don't use light surface, just just push it forward. So that's like right on top of the surface that you want. And that should give you a better distribution. So if you find a couple of vertices that you want to fix, a good way to do it for this particular one. I can see the same thing is happening right here. The conform works really well when the meshes are thicker. This also why I made this leather scraps like thicker on the on the sculpting side of things because I knew that this is going to eventually happen under root topology. So you'll want to keep things a little bit thicker than you might usually look at that, like that protects right there. Isolate. There we go. You can see that vertex right there is really like instead of the whole geometry so which is pulled back. That's also going to help for the rigging. You might have seen some black, black lines on the Reagan. That's when two polygons are really like they're crossing each other. But they're going to hopefully with this with pretty much resolve that issue. And that's it. So our spirit is ready again, if we need later on to reduce the amount of polygons we can do it. This is not final resolution. We can definitely like soften it up a little bit more if we need to. But this is a really, really good, a really, really good approximation. So I'm gonna stop the video right here, guys. And then the next one we're going to continue with the left leather patch. Hang on tight and see you back on the next video. 32. Left Skirt Retopology: Hi guys, welcome back to the next part of our series. Today we're going to continue with the left skirt or a topology, which is this one right here. And as I mentioned in the last video, I mean, there's nothing new that I'm going to show you here. It's the exact same techniques that we just saw. Therefore, while I did the right topology, I want to talk about a different topic, which is the hero's journey. This is a very common thing that you see pretty much in all media. But games, movies, books, and it's the way to the character will go through its journey. I like the story that you want to talk about, or did you want to get the Jonah convey throughout the experience? And the hero's journey is very important because it allows us to think about where our character is coming from, right? One of the most important things that I always told my students to think about them to do whenever they're creating something is give them a story, keep them in porpoise. We, as humans, we are storytellers by nature, if you think about back in the old days, the caveman and stuff like that, people would gather around the fire, then tell stories about gods and the Huntsman, like just overall things. So we are naturally inclined to tell stories. I don't know if you guys are fans of gossip, but that's one way to tell stories. Of course. It's very important that we know how to tell a good story. And the first thing that we need to find is something called the status quo. The status quo is like the starting point of a character, this case thyroids. He's starting point is as a demon, he is a daemon. The leaves in the plains of ****. And the only thing he knows as Anna, like pain, anger, the structure like he has been brought up to be that kind of force. And he was a soldier. The story that I created for this curators, he was a soldier and he, he only knew how to be a great shoulder, right? So he, he killed a lot of actually he's a devil, a devil sliding the difference there in the D&D lore, demons are chaotic, so they only look forward to destruction and devils are more lawful. So even though their bath, they follow a special type of code and stuff. So thyroid is why say double. And he was in charge of killing demons. And he was really good at it. But at one point he, and this is the first step of the, of the hero's journey. He had a call, a call to action is called, which is the the detonator that starts anyone's kinda like a journey throughout there. There are development. If you think about like if we think about like Pokemon, right? Like the call to action was ashes selection of Pikachu. So that was the moment he was called to start his own adventure. In the case of thyroids, he found a call to action actually coming from the heavens. So he, he saw that there were some angels, a fallen angel actually called a serial. There was looking for him because she knew that he was really good. So that call to action is what starch or kickstarts virus's history in my own, in my head cannon, right, like my little story that I'm telling with this character. After the call to action, there are pretty much two things that you can do in regards to character development, and both of them are really cool. The first one is the refusal. So you refuse to follow that call to action. And the second one is the acceptance. Of course you accept the call to action and your story begins. So the best example I can give you guys about it, the refusal is Star Wars. If you've seen the first Star Wars, which in this case is episode for Luke, is look, gets the color fraction from OB1. He finds the two droids and OB1. Well, in this case, Ben Kenobi, he's like, Okay, well, we got to help Lia. We gotta help layer or layer Help layout. We're going to find her and system rebellion and stuff. And it looks like no, no, no. I'm just a farm boy. I need to go back to my uncle and I need to to just continue doing what I normally do. So he refused the call to action. They go back to the house. This is not spoiler by the way. This is very old movies. So if you haven't seen it, you definitely should go and see it. It's a great movie. And he refuses the call to action. He returns to the farm and he finds his family, murder Uncle Owen, and out onto Bruce are killed by the empire. And that is a way to pretty much force your character to go into or to follow its development, to accept the call. There's a lot of different ways to do it. I've seen several books. I've read several stories and comics and stuff of how, how people approach this. And this is where you as an artist can create your own story, right? Like that's what separates every single media. Even though pretty much everyone follows the hero's journey in one way or another, the way you tell that story through the hero's journey is what's going to separate you from everyone else. So don't think that because we're using a sort of like formula that makes us, or that makes everyone's works like a, like a copy. It's not that it makes things original because this is a formula that we normally go through life. And there was a really great author. Here is actually the guy who coined the hero's journey. His name is Joseph, Joseph Campbell. He was an old psychologists and then he became a mythologist. It was a really interesting career choice for him. He went through the world, learning about the myths that every single culture have. Asian myths, American myths, Western European myths, African myths. He went everywhere. He went everywhere and he learned and he found out that throughout all of the mythology, Greek mythology, again, Asian intelligence, Hindu mythology, Polynesian mythology, Mexican mythology. Like everywhere, everywhere there were common patterns and this column patterns is what he simplified into the hero's journey. So after the character refuses or accepts the call, a very common thing happens, which is, again, very, very common in the media. You get a mentor there. There's someone that appears and becomes the mantra of the students. You can think about Merlin for King Arthur, you can thinking about Aztlan for the Narnia boys in Chronicles of Narnia. You can think of, hey, Mitch for cabinets in the Hunger Games. All of these guys, Dumbledore, of course, for Harry Potter, Harry Potter. So all of these characters are mentors that are going to help the, the hero in this story will achieve their goals. Sometimes they are. Again, this is where you can create really interesting effects for all of the characters that you are coming up with. Some things that mentors are very fatherly and they, they really like a care for the character and they help him very nicely. Sometimes they're, they're like really bad mentors and they are horrible example like the fact that they, even if there are horrible example that they guide the character somehow, that's what's make, what makes them that type of character, right? So in the case of my character of thyroids, I thought that the mentor could be another captain on the army. He gets the coal from Syria, which is this fallen angel. And then, and then there's another mentor on the, on cereals army that gets a hold of a virus and he's like, Okay, I see your talent. I see that you can be a great warrior. I'm going to teach you how to be a great water. And then the journey begins. That's after that point that there comes to be very, very good. I think this is one of my favorite parts of the whole hero's journey, which is called the crossing of the threshold. That's the, that's the next step on the journey. By the way, there's a lot of information out there. I'm not a literary master, I just know a couple of dislike bits and pieces. It's going to hopefully inspire you guys by the crossing of the thresholds are really, really interesting part of the hero's journey. Because at this point, it's the first step out of what we know as the known world. And you jump into what we call the unknown world. As I was mentioning earlier, this hero's journey. So it's a really important part of human nature as well. Because we as humans tend to do this quite a bit. Every single time when you are enrolled in school, when you go to a new job, when you are when you are falling in love with someone and you're getting to know them on a more intimate level that you are crossing the threshold. You aren't going into an unknown part of your human experience. And you might have a metric, you might not, it might be useful, it might not be useful. But the point is that no matter what you do, you are discovering something new in this new part of the world and this new journey, you're going to face challenges. And this is what Campbell calls the road of trials. Usually begin like if you follow again, a Hollywood movie, this is very, very common. I'm sorry if I'm spoiling movies for you now, but the next time you go and see a movie or watch a show, you're going to see this beats of the story is very, very obviously there's like, okay, he's crossing the threshold. Okay. That's the mentor. Oh, okay. That's the biggest. It's formulaic, but it doesn't matter even if you know what's going to happen in regards to the flow of, what's the word of this, of this hero's journey. If any of you know this flow, you still enjoy it because it's something that we as humans look for. So when you go into this trials, usually there's three trials. And usually the first trial is like the challenging ones like, Oh my God, I'm learning the ropes. I'm starting to see what works and what doesn't work. I'm learning my powers, right? Look for a superhero. I didn't know I could do this loose Spiderman, just like flinging around town. The second one is when he gets confidence like, Oh, yeah, I'm really cool, I know how to do this. I'm I am, I'm awesome and I feel like things are going in and throwing it very nicely. And then the third one, the third one is usually where you hit the first crisis like you, you become a little bit overconfident about your skills and then you make a mistake, something happens, you, you mess up and you have to pay the price for it. In some movies, the prices maybe you lose the mentor, maybe the mantra has to sacrifice himself. This is what happened with, with Gandalf in The Lord of the Rings. If the first movie, again, snub spoilers, you guys. If you're in this industry and you're watching this video, you should have seen. A Lord of the Rings were throughout the whole thing or they're supporting the work handled. Asks for others like where should we go? Should we go through the mountains or should we go through the tunnels? And Frodo says, let's go through the tunnels. And you can see in the eyes of gallons like, ****, I didn't want to go through the thalamus because I know what is in there and I know it's dangerous. But he he follows in this case for though is the main character. And he follows for those wishing it's like okay, well, if that's how the story is going to unfold, then let's do it. Let's go through the tongues. And in the tunnels, they make mistakes, they have issues. They, they struggle with a couple of things and unfortunately gathered has to sacrifice himself so that everyone can keep going. And that's again, that's the trials that the character has to, to overcome the debt of the mentor is a very, very, very common trope or very common motif and this sort of like stories. But it's not the only one. There's a lot of the other ones that you might be able to see in movies or in different types of media. I'm quick parenthesis here, as you can see, we've pretty much finished with the front part, again, trying to keep this as organized as simple as possible. If we need to move things here a little bit or just like modify a couple of squares to give things a little bit more uniform, especially for the smoothing that we're going to have. We just do it right here. We don't want to add more lines for more polygons that we need. As you saw here, I added a couple of extra ones on the little flappy beats. This is unavoidable. We've mentioned this before. When the silhouette of an object changes, we are going to have to adapt to that silhouette change here, following the same thing that we did on the other one. I'm just going to try to mimic the exact same, the exact same topology. So now, going back to the hero's journey, this is what we call that, the moment of crisis. The moment of where the character has challenged the most, is usually called the ordeal or the final test. And sometimes the character is going to have to go through the preparation montage where he goes and trains or it looks for a specific tool or a magic weapon or something. And the after getting death, he can go back and confront whatever was that got him into that critical situation. So that's usually how it works. Like if we, again, if we think about the, let's say Harry Potter, right? Like the first one, he goes to Howard, he learns about magic. He's like, Oh my God, this is amazing. And then he learns history, chosen won, he survived. He needs to find the answers. He needs to find the philosopher's stone to beat the inclination of bolder more. That's, again, that's the way that normally like, that's the way that movie is normally go. They find, they introduce you to the character. They tell you why he's a chosen one, why he's important. And after you learn that, he goes through some trials while his learning what his skills are. And eventually he faces something that he can't heat, it gets defeated. He keeps training, he looks for more information, he looks for allies, and then he goes back and beats whatever was an issue. If you think about like The Avengers movie, same thing, just thinking about the first Iron Man. That's exactly what happens. You have Iron Man, he becomes Iron Man. He started being a superhero and then he finds that there's like corruption and his company and he tries to fix it, he loses, and then he finds more resources, more elements that he's going to be needing and he succeeds. It's a very common trope. But the reason why it's coming in, it's useful is because it works. That's one of the things a lot of people, when they hear about this tropes, they feel like they're bad, right? Like you shouldn't be using things that are so predictable. Well, the thing is, it's predictable because it's good. It works. If it works, then you can use it, right? So why fix what's not broken? Of course, and here's where that good movies and get a good series and the good books happen. If you can find this formula, if we can take this formula and use it to flip it around, like you change a couple of things on the formula that really separates you from the rest of the elements. I remember when I first was watching an attack on Titan, when it first aired like, Well, what's it like ten years ago or eight years ago or something like the way that the heroes are presented and then the faith those heroes have to endure. It was like, wow, I can't believe this show is doing this, which was a really, really welcome surprise from my bark. So you can always it's called it's called, What's the name of that? That's another trope. Says submerge. So bert subvert expectation, I say, I think is what they call it. Which is when, when people think that something's going to happen and then you throw a curve ball and then something else happens. Of course, you gotta be smart on why this is the way it happens, right? Like you don't want to be like subvert expectations is just for the fact of doing that. You always want to have a plan and like a, like a master idea, there's some authors that are gray. They're doing this, they, they build things up. And then when you when you see that this was something that was coming from A while ago and just like ****, this is going to plan that from the very beginning. That's amazing when they just like change things because they want to surprise the audience without really building up to it. That's usually bad storytelling. So going back a little bit to, to my character to the thigh rows. In regards to that expectation thinking. Part of the story is that he's master, his mentor rather. Dice, again, they will this N1 confrontation. He gets a little bit too cocky, right? He gets too confident that he can manage or destroy a specific like a daemon, Daemon nest. And then they realized that something else is cooking there. There was a little bit more advanced stuff going on there, and that's not gonna be as EC2 to beat. So hit the master, his friends, his mentor decides that the best option there for them is to juice or run. But unfortunately, if they just run, it's not gonna be possible for both of them to escape and demand toward the sides to sacrifice himself to death, to let thyroids escape. That's the, that's the general idea that I have for the character. That will be the start of his adventure. Now in my story, in my campaign, he is a little bit of a higher level, so you need to It's kinda like justify how he'd got to that higher level. So in my head or the story that I came up with is he has been haunting down. He saw that this was a specific kind of like a nest of dibble devils are demons, sorry, that has specific symbol. And he's hunting them down to try and find justice. What he's going to realize later on is the demons are actually allies with the same power that call him which cereal? Cereal, who initially call him to be one of his champions. It's actually working kind of like a double agent to put an end to the war. Because there's an internal war, war in **** or demons and devils. And she started off at, so she's playing both sides on my story. This is my own interpretation of the story. So on my story She's playing both sides because she doesn't care who wins. She just wants someone to win and put an end to the whole thing. So, yeah, that's, that's how you will normally come up with a story. And why is this important? Because all of those details, like the moment you start adding more information to your character into your creations, you, you start understanding things and you get a, It sounds a little bit weird, but you get the more human connection with your creations, which in this case is, I know it's just a character on, but this allows you to take or make some decisions. And the textures, the models, the problems, all of the things that you're going to be adding now start making sense because I could be like, hey, you know what the ACS he's holding, that was his mentor socks. He took it maybe he was a sore wielding character before, but after his mentor dive in order to honor him, he decided to pick up his acts and he discovered that he was even better with dx, right? So he's become really, really powerful with that specific weapon. That's the kinda stuff that you get ideas for. And you can start combining those ideas with which are modeling, which is sculpting. And that way when people look at your, at your characters are going to ask questions like, what about the x? Why does he have a skull on his shoulder? Well, maybe that's cool. Is the head of one of these demons from this sort of Nest. He was able to hunt down one of the big demons, maybe at level six or seven, and he killed him. And to show the other demons of that specific group that he's not messing around. He's wearing that hat as a reminder, I like a very gruesome reminders like you guys are next. Like I'm not going to forgive what you what you did to my, to my mentor, to my master. That we go, let's delete the history here. We're going to say modified or Windows. Sorry. Let's go back to modeling mesh. We smoothed this. Once we do a mesh conform, we just check to make sure that we don't have any like interlocking things. We want things to be as close as possible. It's isolate them, especially the borders. Here's where we get this sort of like problems from mistakes. That one right there. Let's just look back. Here we go. We've better, we want things to be. Same thing here you can see how a little bit of a problem, they're just random little bit, Let's slide it. That's it. Have another skirt, again, a little bit dense on the little floppy bits, but that's going to help with a very nice and clean bake. Not too many faces, 21,000, so it's fine. So I think I think we're still on a, on a good precision. And again, as I've mentioned before, we can reduce this later on. So hopefully you guys liked this little explanation of the hero's journey on the skirt. I might talk a little bit about other things that are important to history, to a character story. To understand how you can build him up and create something that's a little bit more more deep. So yeah, that's it for this one. Don't forget to save and we'll see you back on the next video. Bye-bye. 33. Left Skirt Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the right skirt and we're going to continue talking about character development and just a couple of things that you can use to excrete more interesting characters. So, you know the drill, which is make this a light surface. Before we talk about the characteristics and I've mentioned what we're gonna do here with the stitches. No big deal. We're just gonna ignore them. When we draw our initial squares. We're literally just gonna ignore them. And that face right there is going to capture the detail. So don't worry too much about those specific faces. Just do the exact same technique that we did for the, for the rest of the character. And we should be good to go. So as I keep adding more of these guys right here and we started building the, the overall skirt when talking about character development and the characteristics that you wanna do, there are a couple of different ways in which you can build it. I personally really liked the DMD, Dungeons and Dragons way, which is to create ideals, bonds, and floss. Like what are the things that your character has struggles with from a personality perspective? Is he very depressive? Is he? He does He tend to get really angry? Is he really nice, trusting of people? Always heat to gullible like all of those things like the personality traits that you're gonna use, your character are gonna be really, really important because you're going to determine how he reacts to specific situations. Like a AAA shy character or a really timid character will not respond the same way to intimidation than a character that's prone to anger, right? And when writing a book, when telling a story, when doing a pitch for a specific sequence or whatever, that kind of stuff can be reflected on the weight the character moves, on the way the character talks and the way the character behaves. All of those elements are important for building or constructing something that's gonna be way more deep than just that. There's your typical hero that's just good at everything, right? That's a very common trope or, or way to describe it here. They call them the Mary Sue's, which is a type of characters that kind of like an self insert character where he's perfect. You just create a character that's perfect and never makes any mistakes. He knows the answer to everything. He gets older ladies like all of that stuff and those kinds of characters tend to be very boring whenever I create the characters for my games or for my, for my stories, I always, always, always give them a floss. I loved you in my character's flaws. Sometimes it's physical flaws. Like maybe he's missing an arm or a finger. He is, he's blind in one eye. That sort of stuff always makes for very interesting things. If you have a character that's just perfect, it just gives you a very kind of like boring overview of the whole thing. So I mean, it can be done. There are characters that have absolutely no, no, no, no, no errors, no problems, and they worked fine. But if you think about the most memorable characters, there's always like floss to them. For instance, Batman, batman, very iconic character. What's his flaw? His temperament, right? Like he's his personal answer, very cold personality. He doesn't care about and he's super angry with the world. I don't know anyone who's like that, like Batman all the time. But I've definitely felt like badminton one point in my life or to write like, there will be moments in your life forms. You're going to identify a lot with a superhero or with a character. And that's when you can use that information to create more interesting effects. Our own life experience is the best way we can create interesting things because you are the only one, no matter how original you think something that you're creating is, you are the only one who has experienced the life exactly as you have, right? So even if you have a twin brother or someone that leaves us with your husband, learned with you for a long time. You both have a way, a way different perspective on things and events. So that perspective, your particular perspective, that's what it's going to make things different and original. There's a very famous quote, I don't remember who said it. But one of my friends who's a writer, he has told that one to me. It's like everything has already been invented. So whenever you're trying to come up with a story with a character, you're doing a character that everyone has or if people have seen already, like, I know this character that we're doing right now, thyroids, he looks really like quite close to to create those right from Gulf War. And that's fine. That was one of my inspirations. But the thing is how am I going to make a difference? Well, by giving it my own perspective, my own life experience will be, will bleed into this character. And I'll be able to create something that's a little bit more, more unique. It doesn't mean that it has to be completely separate from everything else is just going to be more unique. I find this very interesting, for instance, in Japanese culture in regards to like animus and mangoes, there are specific genres like, I think one of them is shown in which is the typical, the hero, the chosen one, and how he goes from being a weakling to being a super powerful character, kind of like Dragon Ball and the Naruto and one piece, all of these guys here are my hero academia. All of these guys are opponents. And they even have like a magazine where the mangas are published and you don't see people complaining like, Oh another Shannon, I'm sure there are right by them. People know what to expect from a shot and what you're trying to see for each, with each new shown in that you see or when each new show is, how are they going to tell the story differently this time, maybe the character this time is super happy or he is super angry or his, I don't know, like there's so many different ways to tell the story. And that's what you're also going to find on your characters. Like if you're like, Hey, I want to do a character, but I don't want it to be, I want it to be super original. It's not going to be like if you do a robot, people are going to compare you to transformers. If you do a fantasy character, people are going to compare it to Lord of the Rings. If you do steampunk, people are going to compare you to know there has to be some sort of like famous steampunk. If you do Cyberpunk, people are going to compare it to the cyber frog. It doesn't matter what you try to do. People will always compare your characters to the most commonly available characters. But again, it's not bad. That's perfectly fine. It's normal. Because every single work is, it's kind of like derivative, right? How you make that work into your own type of work. How you construct a new story based on that work that you're creating. That's what's going to separate you from the rest of the people? A couple of years ago or I think it was supposed to 2021 or 2022, 22, arcane, right? The League of Legends series came out. It's an amazing series. If you guys haven't watched it, you need to watch it as a 3D artist is one of those things. Monster watch because you can learn so many things from it. But I remember when the, back in the day, League of Legends was literally a copy of a DOTA. Though there was a what's the word though that was a, it was not a copy, but it was a derivative work from from Warcraft work are three and worked our three. It's just again like a derivative work of another thing. So that's what I mean by not being true, worried about where you're getting the inspiration from, because everything is a derivative piece from other things, it's totally fine for that to happen. What you need to do is you take that inspiration, then you make it your own. You insert your own experiences and your own. Yeah. Well, what you've learned in your life and that's what's going to make that specific work different from other things. So now, going back to the character itself, to heroes, That's where whatever character you're doing, that's when again, you need to think about what kind of characters you're building. Because all of those little pieces of information are going to give you a specific type of character. So if my character is prone to anger, which I think thyroids would be being a barbarian. Then I need to somehow communicate that with my, with the model. I need to communicate that with the facial expressions. I need to communicate that with the type of texturing today that I'm gonna be doing later on. So he's probably going to have some lots bladders and things like that. Going around some parts of this armor or his face to indicate that this guy does not mess around, right? If your character is more of a bookworm, he lives in the library, he's a wizard and he loves to study. Then his clothes are gonna be really clean. The details are gonna be really, really pristine and not as damaged as well. We have right here, for instance, on the cloaks are under skirts. That's the kind of stuff that you need to do when designing the character. I know that for this particular character, we didn't do a lot of the signing because we already had a concept. But there will be a point in your career where people are going to ask you, Hey, what do you think? Well, what should we add? Those sorts of questions that you want to ask, okay, well, What's his personality? Well, what are the things that we could expect from this guy? Oh, here's like this. He's shy. He's okay. If he's shy, he doesn't like going out as much, then he's probably not going to have like a very rough clots and stuff like that. He's probably gonna have more like fancy clothes and he's going to have to adapt to that. So in the first couple of chapters or the first couple of parts of repeated game, maybe he's going to start getting like a broken broken pieces of his closet and stuff like that. So that's the those are the trains of thought that I normally have when I'm designing this row of things. And that's what I invite you guys to do as well here as you can see, a regards to the bulgy. Nothing too fancy. Just going around this one right here. So a little bit weird about adding one extra line right there, but then it's gonna go all the way to the other side. Trying to find where this is. Like joining properly. See it now. There we go. We go. The super big one. Okay, let's see how that works. It's a little bit stretched as you can see right there. Like I feel like I'm losing quite a bit of form. That therefore, since I definitely can see that we're losing quite a bit of form. I'm going to push this out here. I'm just going to have a triangle. Once it was way, way too much. When they have things. You want to have things be as uniform as possible for. We've mentioned this before. Here we can just continue copy that the symmetry doesn't have to be exactly on the other side. But as long as it follows sort of like the same shape. It's gonna make it a lot easier for us to just fill this in. Another thing that you can do for your characters when it, when thinking about them, is again, like a, some sort of like redemption arc likes maybe you think about a specific type of idea for your character. As always, ask yourself what would happen if the opposite was true? Like in the case of thyroids, we are saying that he was his mentor sacrifice himself so the virus can live. Well, what was the other way around? What if thyroids decided to sacrifice himself so his mentor could live? What will be the consequences there? Maybe he was erased by the demons and eventually escaped. Now he's looking for his mentor. Now instead of his motivation vein avenging his mentor, his motivation is I need to survive, get out of here and in the safe My, or regroup with my mentor right here. I think I'm going to add like actual theory because it's getting a little bit tricky on the border. And then I'm worried that even if we smooth that border is gonna be a little bit problematic. So I'm adding this thing right here. Or maybe again, like the initial idea was, yeah, sorry, L. Who is the one that gives a thyroid some of the powers she's gonna be like, Okay, you know what, like she's not, she's not patchy. She actually does want to when she's not like a double agent or anything. So how will that work? How can we make that work? Sort of like a strawberry story beat for our character? Usually on a production here with the small students that I have. It's quite fun because I do have a little bit more artistic control over all of these things that I'm talking about. So if I don't like certain things, I can always tell my artists like now this is what we're doing because I think this is the best and they have to, they have to just follow through. But usually on the big studio there's gonna be writers and producers and directors. And all of these people are going to have their own opinions. That's when things get really, really complicated. When you have control of your character, or in this case over, over this particular production. It's quite easy because you can get the size of what works and what doesn't. If you don't like something, you just change it and that's it. But every now and then you will be working with a client. And even if you have a really good idea, the client wants to keep things simple or very, very predictable. There's not much you can do. My best advice, there is a first job you need. Just follow its job. Now that every, every single thing that you do has to be like perfect art. I mean, it has to be perfect art on the technical side of things, but you don't need to surprise everyone with amazing storytelling every single time. If you're doing a commercial for tacos, you're going to have to be a master at solely telling to just sell tacos. There's a big difference between a commercial product and an artistic product. Sometimes I feel like people forget about that, or they tried to to really push things into a really artsy, fat, artsy, fancy sort of thing. That's how we used to call it. And we need to understand that there's also the production side of things. So sometimes you will not have what's the worst. You will not have a production that needs you to be super artsy Farsi. You can be, you can create something that looks really nice. Works for the production, works to sell the product. And that's it. There will be a time where you can do something that looks more artsy, foxy. It's a really, really important distinction, that one I feel like a lot of people, especially in our industry, forget about that. There's, there's the production side of things, the commercial side of things where you need to it will sell and make sure that whatever you're doing can be a commercial or a movie or whatever cells. That's why a dangerous and stuff like that. A lot of the Marvel movies, some of them have tried really interesting things and some of them have succeeded at that and some haven't. So that's why you can't always take those risks because you're, you're playing. We'd like a multimillionaire franchise. Imagine you make a mistake and you lose all of that money. No, no, that's something that you definitely don't want them a little bit concerned about. This one. We're just going to keep moving on this side because I feel like a little bit slow for this one. So again, there will be times when you're working on projects are on products. There are just a paycheck. I just call them a paycheck. There's not a lot of passion there. It's just, it's just a very commercial endeavor. That's fine. You of course, are going to apply all of these techniques that I'm showing you when you need to read, apologize, a character that's just gonna be selling, I don't know, juices or something. But again, that doesn't mean that it's not something that you can benefit from. This one right here. Like this triangle right there, It's a little bit of an aggressive triangle. Again, not the end of the day, but I usually don't like having two triangles at the same place. I'm just going to collapse that one right there so we can save ourselves a little bit of a hassle. Same thing here, I'm just going to collapse that one. We've used it to, to alleviate a little bit of the of the tension that we have down there. There we go, That one. We do need a triangle right there. Not a huge fan of that triangle. Usually the triangles are there we go, That's way better. Usually the triangles should be an other type of areas that will go. There we go. Just pushes up. If it gets complicated because sometimes it does like that. One thing is to go out of that thing and just breach rich bridge. There we go. So this looks good. Again, a little bit dense in a couple of years, it's unavoidable to have way more density on the small areas because we need the topology to capture that piece right there. Just fix this one as well. It's an easy ones just to reach from one side to the other. There we go. Now it's a little bit worried about this face right here. The forms are right. It's just a flow that's a little bit weird, but let's try some more than see how that looks. Let's do mesh, smooth, then mesh and conform murder. We don't need to see the thing to, to conform to it. And yeah, that looks good. Because I'm looking for beats are pieces where like that one right there, that vertex right there, and just push it to the other side there we go. Looking for on any of those vertices, this one's definitely a little bit heavier. It's actually looked smaller. That's fine. But the proportion is looking great. So now if we take a look at these three polar surfaces, so you can see right here, they all share a very similar density. Think this one's slightly denser. It has this extra line right here, which again, we need to reduce later on we can. But this is gonna be perfectly fine because once we rig this, if we are when we read this, we can make it flap just a little bit, like up or down. And it's going to give us a little bit more control over the whole character. Technically, you can also simulate this, but usually for simulations you want to keep things as a single sheet because having a thickness on a simulation will generate a lot of overlap and that's something that you definitely want to avoid. So this is it for this one guys. We're finished with the with discouraged. Let's save this real quick. And in the next one, we're gonna be starting with, I think we're gonna go with the belt buckle first, so hang on tight and I'll see you back on the next video. Bye bye. 34. Belt Buckle Retopology: Hi guys, welcome back to the next part of our series. Today we're going to continue with the belt buckle, which is one of the pieces that we have right here. This was a rather interesting one. The reason why it's interesting is because we do have a little bit of detail on the spikes. But it's one of those things is one of those details that we can easily reconstruct with texture. So we don't really need to bake this down. So what I'm gonna do here is I'm going to recreate the cones that we have going around the spikes. And then we're just going to do everything else here instead of the belt buckle. But we're actually probably not going to be using this ones that we have right here for the final textures because I do want them to be quite spiky and we've mentioned spiky things before, right? The problem with spiky things in bakes is that they can create a little bit of an issue when baking the tip of the elements. So I'm going to create this thing right here, placed where I want it to be right around there. And what are the other things? That's the problem with spiky things is that we need quite a bit of geometry. I want to make it like DHL, like this and we can keep it just like that. That's it. The only thing we need to do here is probably play around with the shape. You can see that it's actually a bad thing for my part. I shouldn't have created this things like poking, poking back. We're probably going to need to make the book a little bit bigger. But that's fine. Let's just try to find the perfect size which is right around there. Perfect. Now I'm going to go to the cone and I'm going to change the divisions because 20 is way too much. 12 is usually a good number. It's going to keep it low and at the same time it's gonna make it easier. And one other thing, you will see that the cones have an angle down here. We're going to delete that one. We don't want it. It's going to be inside of the belt buckle. It's got a belt buckle again, this guy go. So now here's come, here comes the interesting part. If we go to the front view, you're going to see that this thing is repeated 36912 times. The pure point of this thing is gonna be roughly around here. I can see that that's like roughly at the center of this point right there. So we move the pivot point there. And I'm going to press Control D and move this. In this case it's 30 degrees probably I think it's 30 degrees, so let's say -30 degrees and then we're going to press Shift D. And by doing that, as you can see, I duplicate this thing 12 times. 12 comes right here. And those 12 columns are pretty much symmetrical to each other. Um, I might have missed the central line a little bit, but we can just correct it by pushing these things up. They're still in a perfect circle. So that's what we want. We can just combine this guy's til the history center pivot, as you can see the builds right there. And we have our spikes ready to go. Now you can see the small spikes. Actually, I was tricky enough. I just make them smaller and rotated this 12 degrees like that. Okay? Now here, there is a little bit of an issue. We don't want to keep all of the surface that we have on the underside of the cones because all of that surface is going to be hidden. So that's wasted texture space. So I'm going to isolate this guy's real quick. Select the edge loops on the center. All of this edge loops. Here we go. And if we scale them, as you can see, we're going to push them up. And it shouldn't really destroyed the tip, as you can see right there, it's going to keep it quite close. And that way we don't waste as much as much space. We also get a slightly different effect right there, which I think is fine. And that's it. So with that, we pretty much have the cones, which is one and this. Where's the other cones? They delete the other coach. I think I deleted the other columns, my bath. So let's go back a little bit. Forgot to duplicate. Here we go. Let's organize this a little bit because making me anxious. So this guy, Let's just hide them. We don't need them anymore. This guy right here, I am going to rename them. So let's call this. Actually, let me just grab this guy is controlled G pulled this belt. And we'll clean this up just a second. So let's just hide that. There we go. So this one, let's just hide that as well. So we're only left with the buckle and the coats. So let's go back to the cones. Let's make them a little bit bigger. Let's remove the rotation. So that's the original coast. That's perfect. We duplicate this and we smooth amine or make them smaller like this. And then we rotate this 15 degrees. Let's be as precise as possible to keep symmetry, which is going to be important. Now that we've done that, we can once again go into the sections right here. All of these guys. There was an easier way to select. I will show you, but I think that's what we have. We just scale this up. Good. You said it's right there on the border. Yes. It's going to make this a little bit wider, but I actually think it's not a bad idea to keep them wider and that's it. So this guy right here and this comes right here, we can combine all the history. And as you can see, that's the, that's the line of codes that we're going to have for the whole thing. Now, that means that here we go. Let's, let's isolate this 1 s real quick. All of these cones that we have right here we actually don't need. Easiest way is just double-click this to select the things that we do need. Select all of these bits and pieces, and then shift select everything else and we just delete. This is what we want to to read topologies. One day I'm definitely going to do is I'm going to scale this a little bit, 1.2. So it's a number that we can remember that the spikes and everything are inside the wheel and we don't see any of the back parts. Let's hide this just 1 s. And now for this guy, again, we need to think about what are the things that we're going to be actually read, apologizing and which parts we don't need to worry too much about. All of the like, the like, the whole thing here. It's rather a simple small elements. So we don't want to do like a super extreme or topology process. I'm going to create these cylinder. And I'm going to match the cylinder as close as possible to the main cylinder that we have right here. So we're going to rotate this 90 degrees. Let's go to the front view square right there. And we can match it right around there. Perfect, That's great. We matched the back part. That's perfect. And then this guy right here is gonna be right here where the collect the Bible starts, right? I'm gonna select this guy real quick. Let's delete this faces. We're only left with this guys right there. We select this guy. We make it live action. Now we don't need to make it live just yet because we can start working with this guy here. So this guy is gonna be right around there. It catches most of the details. You can see it's floating a little bit in certain areas. I might want to just push it in a little bit, trying to keep it as symmetrical as possible. Okay, here, my a is already on, that's fine. We want to keep translation and x at zero. So we have left and right. Perfectly fine. Now, this edge right here, Control E. We push it forward and then we scale it to create a little bit of a border that has, are the main things have right there. Then control ie at Fort Worth. Scale, push it back. This is gonna be the main war. They're right there. And then you can see that we have this vertex right here. That's the spike right there. And then this two vertex right here, they're pretty much the spikes right there. Then these two right here. And they kill them when they just move them up. Let's kill them in. I can get the shape really, really close to it. This guy right here and this guy right here, for instance, let's push it in, move it down so we can capture the curvature in the best possible way. There we go. Same thing here, this guy and this guy. We're going to push up skill in a little bit. That's it. That way we catch most of the, of the element. Now from here, I'm going to grab this whole edge again, control E, Push it back, scale it in a little bit. Very important to scale it. And remember that we usually don't want to have like 90 degree like borders anywhere because it can create some really ugly effects. Control E, scale it in to create a little bit of a border. And then all of this points, mesh, feel whole. And that new phase, they're Edit Mesh, poke. That's it. This piece right here. It's what's gonna capture most of the metal stuff, the loose call and the little details that are floating in the same way as what we have with the cones. We're going to have them as separate pieces because again, the Z, a solid metal bid that's not going to bend. So we don't need to worry too much about it. Now if you want to be a little bit extra, like pro here, we can give it a one just Swan simples mode right there. It's going to help us capture things a little bit softer, a little bit smoother, should give us a better rate overall. But that's it. That's the, this is the piece right here. Pretty much all we need, maybe one bubble here as well. It's not gonna be, gonna be a problem. So let's just keep the fraction low. And there we go. You say Mesh display Software nach. And again, this is going to be the main body of her book. That's all we need. As you can see, it has pretty much all of the things that we need and the normal map is going to take care of muscle. Yes, if we go really close and we're gonna be able to see it. If you can afford it with the smoothing option, we can smooth this and we get way, way, way, way better result. But again, I don't think it's really worth it to have it like that. Now I'm going to go back to this piece. I'm going to hide this one just a little bit same as what we did with the guns. I'm gonna go back to this base. Now we're going to turn on the leaf surface because we want to capture the skull. The skull again, we want to keep it simple. It's not this call like the one that we have on them, on a character like that, the main skull. So we can go a little bit higher on detailed than the ones that we have on the word, on the order of the data that we have on the main buckle. It's probably gonna be like six sides here to the, to the side of the skulls. We also don't need to be too worried about the deformation, right? Like the edge loops and stuff, because it's just a small detail. For the nose, for instance, here we could spend a lot of polygons trying to capture the nose. Or we can just literally do like his model. Small little hole right there. And create this thing like this. We do need to capture it. And you can see that those color has some faces in there. We do need to go inside of the mesh is something that we try to avoid on other meshes. But in this particular case, we do go inside of the mesh a little bit. So it might not be a bad idea to separate the skull from that guy. So really endless was having issues. Again, it might not be a bad idea to separate the skull from from the overall mesh. And again, this is one of those things that you don't want to overthink this, don't, don't start like looping and creating a lot of things around the whole thing. It's just a simple small skull on the belt, so it doesn't have to have as much geometry is the face of the character, for instance. Okay, So another very common mistake that students make when they were talking about the sort of things they want to, like just looping and create everything in half. Super clean topology everywhere is just the skull is just a very simple skull here. Just to help the topology, I am going to make triangles because you usually don't want the scores to be asked. Stress what we have right there. There we go. That's it. Go to the front view. Grab this vertex right here. Align them to the center. Grab the outer edge. Get rid of this thing a little bit and just push it then that's inside of the whole thing, gets it right there. And we mirror, of course. So shift mirror, this is negative x I do want to merge. Can see that some of them are not merged, which means that things are not aligned. Easiest way to do this is just select the center and just merge the center of mass, the center of motion sensor because there are a few, or just like real life things, right? Let's go to each parent. Merchants, a senator. You had an n glands such as that one. Just delete it. That's it. Mesh display, soft edge. And that's the little shape for the skull that's called yes. Again, it's gonna be but look at that, the size of the skull compared to everything else, even the size of textures that we're going to have for that one's gonna be so, so, so small. So you don't want to worry about that. Look at that. That perfectly captures what we want. Now, again, if we want to have the final little bit right here, which we of course 12 is a D. This little pieces right here, this triangular looking pieces. And again, super, super easy, just like surface. Just go 1234. That's a triangle. 12, this is square. 12, that's a square. Just push it in 1234234. There's one more minute. The next trash lobe right there. Triangle. Again, we're going to be painting and adding like Ross and stuff to a lot of this thing. So that's what I'm not too worried about these little details you could even like not textured this and this things are gonna be projected onto the what's the word onto the onto the normal map. But I do think it's worth it to have something there because as we've mentioned before, when you do have something, you get shadows. Like you get projected shadows onto the thing. Go kinda like this guy right here. Now we just do this guys, let's go to right view all of the vertices that are on the outer border there. Sure, we don't forget any. This one, to be honest. This guy skilled them. Let's get rid of this. We scale them and we just push them in. And those are gonna be the little bits and pieces. Tie this real quick. Let's bring this guys back. Mesh display softer niche. They're going to look really ugly, but that's it. This sort of low poly, as you can see, less than 1,000 faces for the whole thing. And that guy is going to be able to capture all of the elements that we need. Of course going to say Mesh display soft edge. Everywhere. There we go, You will get those like weird, dark like things on the spikes. Again, that's going to disappear once we add the textures or they should disappear. And that's pretty much it for the buckle. So now the only thing that we're missing, and let's bring this into the bell. We're going to clean this folder as soon as we finished. The only thing that we're missing is this thing, this whole thing right here, which again, I'm going to show you a very easy way to capture most of this. So hang on tight and I'll see you back on the next video. Bye bye. 35. Belt Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the belt every topology. This is where we left off. And the belt is an important part because opposed to the other things that we've done so far, all of this like a extra elements, this one. But the buckle, it can easily be attached to a point and the never moved from there, therefore, ensuring that there's not gonna be any deformation. It could be a point with the constraint or it could be a joint. Intriguing ways to avoid this thing from the forming. This guy says We've probably it previously mentioned are separate from the main body of the character and therefore will have their own like joins or way of summing another thing that physics. So again, we don't have to worry about those as much. But this one right here, thus in fact have a huge, huge, huge, huge, like a play. Or if you want to call it in another play, it has a huge impact on how we're gonna be working with this character right here. So there's a couple of things that we need to make sure that we follow when doing this. First of all, we want to try to maintain the same amount of resolution that we have so that we get the best possible detail. We also want to keep everything in a single mesh so that when it deforms, when it bends, when a character bends forwards or backwards, stretch out and move in a predictable manner. Now, as you might see here, we have this metal rhomboids shapes. This is one of those elements that if we take a look at the silhouette and I like to press this little icon here to go into, into light mode. If you take a look at the silhouette, there's really not much. You can barely see it there, so we can avoid having those. We can basically ignore those and just bake them into the underlying geometry. Another option, of course is to give them their own way topology or when rich apologizing, which now that I think of it might be the best idea, just consider them on the flow of the whole thing. Now, this object right here is very, very similar to a cylinder. So I'm actually going to use a cylinder as a primary shape to start working with this guy, I'm going to create these cylinder achy. Before I do that, I need to count how many sides we have over here. So if I take a look right here, double-click on face, you're going to see that we have there we go. 56 faces. That's quite a bit, That's quite a bit. We know that if we do by 56 by four, and thankfully, Windows comes with a calculator because I suck at math, 5504 should give us 14. So that means that if we have a 14th sided cylinder, we go here and we select if 14 side of cylinder, like so. We delete these faces and eventually smooth this out. Modeling mesh and smooth. We should get that same amount of faces or maybe it's half. Actually we're getting half, right? Yeah. So we're getting 28. So that means that our, our cylinder should be made out of not 14, but rather 28, okay? Because it's going to divide by four on both sides. That's why we're getting the, the different measurement. There. There we go. So we're going to start with a 24 sided cylinder right here. Let's go out here. Let's hide this character for now. Now that we know the number, we really don't need it for now. We'll just going to hide that guy. And we can start with this guy right here. Now, as you can see, the object is not perfectly cylindrical, so we're going to have to twist it and move it up a little bit. I'm going to go right around there. I'm just going to scale this so that we find this as close as possible to slightly asymmetrical. I remember when we were sculpting this, so we're probably going to find certain things like slightly off-center. There we go. I'm gonna grab this edge right here and I'm just going to push it up. There we go. So that pretty much covers the area where the, where the little rhomboid shapes are gonna be. Here's again where we can play around with how we position or topology so that we capture a little bit more of the detail. Again, we know that we're gonna be Moving and projecting this on top of the character. But we also want to make sure that we follow things in the best possible way. I'm a little bit worried about this piece right here, due to the fact that it actually goes over the whole thing. I'm really debating now what I want to reach, apologize this as a separate piece or essays singular piece. From a, from a mass perspective. I think it might be a good idea to reach, apologize as a separate pieces. So I'm gonna go to face mode. And the reason mainly so that we can focus on this border here on the belt and not worry too much about this guys over here. So I'm gonna select all of the faces of the little belt that we have right here and this guy right here. And we're going to say Edit Mesh. And then there's an option called extract. That as the name implies, we will extract the faces, this guy and the belt as two separate pieces because they're two separate ions. This belt, if you remember, is just a single poly strips. So we can actually get the basic policy strip from the ZBrush file. And let me hide this for a second. There we go. So now we can focus on the belt and it should be slightly easier to just cover most of this, some of you might be like, well, couldn't we just go back to ZBrush has we've done before and just get the original like low poly mesh. And I do think we have it. But in this case it might be a little bit easier to just follow along with this one right here. I'm gonna grab this image right here, this edge right here. We're going to control E, R to extrude out, to create a little live that way, however, they're moving a little bit of we need to so that we catch most of the deadlines. Lip, control, ie, push it up. I'm tempted to add one more line that, but I know that subdivision is going to help me there. So Control E Again Up and in. And this is one of the big questions. Should we, should we like cover or model, read topologies, the inside part of the object? It depends on the production that you're working with. Some people do like to do the full object. I personally don't think it's necessary because one, it's going to give us more resolution. And two, it's gonna, it's gonna give us more topology and he's going to steal resolution from us. However, since there are or there is a chance that we might see the insight here, I do recommend going a little bit in like this. Just a little bit and you kind of like a small little lip. And as long as you do this, when you rig, this should always be hidden by all of the leather and the chest and everything, and you won't see the inside of this object. So again, that's one way to solve it. And as you've seen throughout the series, there's really not an answer that is, it should always be like this. Rita biology. And in pretty much the whole production pipeline is very dependent on the production itself. Sometimes you will find things that work, some things we're going to find things that don't work. Well, I'm teaching you here are the general rules that are going to allow you to create something that it's approaching or works for a production pipeline. So here again, we're going to Control E, extrude, integrate that border. And same principle just extrude in it since this one is the lower one end, we might see a little bit more. I'm just going to push it slightly more into the insight. I think I definitely want to add a bevel, like I did on the upper part on both of these guys. And now of course we're going to select this guy. We're going to make a light surface and we're going to play with this guy right here. Now I'm going to add one central line right there. It might push a couple of points here and there to catch a little bit of the silhouette. And now we can do this moving so we delete history, mesh, we smooth. And of course we're gonna do a mesh conform. And let's take a look at what we get because we might get some small issues as you can see right there. The inside as you can see, it's like freaking out. No problems since it's a, it's the inside. We can very easily just delete those I shops real quick and we can rebuild them quite, quite fast. As you can see, some elements are like pushing upper or out and into the, into the world. I think that's a good idea. It will capture some of the shadow, some of these web, maybe a little bit too much. So again, similar to what we did on some of the other assets, if you see certain things or pushing away way too much. Like I'm seeing two with a couple of these guys. I'm just going to bring them back. This line right here or this face loop is making a huge mess there. Now we'll just grab this guy right here. Control D. Let's extrude in control, ie, push up. Let's get one more. I know that's like 100 faces more, but again, it's gotta be good for the overall process. Let's get rid of this. Hide this again, and look at that. Now if we bring the Rich apologized Michigan, we take a look at both of them. They're gonna be in a very similar, again density. And this is gonna be super important because when we bent this guy, we should be getting something that looks very nice. I am a little bit concerned about those points right there. So let's bring back the, the belt. There we go. Let's go to life Surface. Go to this guy. And we can use, of course, are relaxed to relax some of these points. Some people will be like, Oh, that's a little bit too much density for such a small area. Yeah, but look really cool. And again, if we need to reduce some of the polygons later on, it's no big deal. We're gonna be able to do that. And this helps capture the overall silhouette. Cool. So yeah, that's pretty much it for that one, right? So I'm gonna hide this. Let's get into the belt. We need to clean this one up. Don't don't forget about that. We're also going to have to clean this guy. So we're gonna do that with ZBrush and that this is the little bit that we're going to need. Now, this little bits it since, since it's going on a slightly different direction and it's very organic. This would be one of those things that I'm really tempted to just use automatic re-map. Why? Because I know that as long as it's right here on the center, when it bends, It's going to bend perfectly fine and we can do a quick test once we're ready. But let's, let's try see how the automatic remeshing works for this very organic thing. I'm going to go mesh. I'm going to go right, apologize. We do want to keep the original and I'm going to try and get this into 500 target points. Let's hit Apply and let's see how this looks. Yeah, there you go. Not bad. We do get how many points? 3,000 triangles, okay, a little bit higher than what I was expecting. Let's bring the Lambert back to this guy and of course, the League history number. Anytime we read apologize this case, we do need to delete history. I do want to bring this guy out, make it a live surface, and then this guy, we're going to throw in a conform. There we go. Happen there. Who lost the song? Someone lost the material. I think it's this one here. Just reassign the Lambert. There we go. That's it. With this. We've pretty much capture in a really nice way the other thing, and it's giving us a nice result here again, if we want to reduce a little bit, maybe I will delete one of these lines right here. Or another option is to grab this X-ray right here. And as long as he said is he complete ushering, you can go to Edit, Mesh and collapse. That's usually a cleaner way to reduce polygons because it allows you to preserve the distance between them a little bit better. I like remove this. It's not that much like surface area, so I don't think it's necessary for us to remove the elements. I think this is working perfectly fine. Let's see if we can reduce one more line. There we go. I'm going to say Edit Mesh and collapse. And maybe even like this one right here on the Edit Mesh and collapse. There we go. Perfect. So yeah, that's, that's pretty much it. Now we've managed to bring this all the way down to 2,500 faces. And again, the important thing here is when you take a look at the character, especially wireframe mode, it should look fairly similar. If you think that this is a little bit too dense, then we can make it a little bit less dense. Now, we should be able to turn everything else back on, including the bell towards the belt. There we go. And look at that. To be careful with this sort of things right there, see how that thing is. So pushing a little bit out of those faces is just bring them down just slightly so that it looks like this thing is actually on top of everything else. And look at that. Not freaking bad, right? We're pretty much done with the with the upper part. Again, we need to do the belts. I'm just gonna do the belt real quick inside of ZBrush, that should be a very easy one. Just pretty much export the policy stream that we have. And that's gonna be, there's gonna be pretty much it. In the next couple of videos. We're still going to be in chapter five and the next, in the next couple of videos, we're gonna be focusing on the legs. To jump now into the pants, we need to do the legs. There's not a lot of stuff to be honest on their lives. But yeah, it's just it's important that we hit that we'd go there. So we're missing the legs and then we're going to do the tail and all of the remaining prompts like the big belts and stuff that we have missing on the next video or the next chapters rather. So, yeah, that's pretty much it for this one guys. Hope you are enjoying it so far. Make sure to get to this point. Don't try to watch everything and then try to do it yourself because you're going to forget a lot of things. And then it's pretty much a counterproductive. So yeah, that's pretty much it, guys. I'll see you back on the next one. Bye bye. 36. Legs Retopology: Hey guys, welcome back to the next part of our series today we're going to continue with Directory Topology. And then this right here, this is all we have for the legs. Now, the lexer actually quite easy, I would say because you're pretty much just cylinders, but we do have to make a basic analysis of what are the parts that we can get more out of by following the process that we've done so far, right? So what do I mean by this? Well, the vantage is right here, right? Like the bluff, advantages and disadvantages, it's way, way easier if we just follow the technique what we've done so far, which is to reach apologize them with a Z remeasure with something like that. Other than that, we do have this bandages right through but they're really, really close to the actual mesh as you can see. They're not really changing the silhouette as much if I can turn on this little ride right here, you can see that they really don't change this wet that much. Other than that, we do have this guys right here, but again, they're really close to the surface. I'm a little bit concerned about this, things like floating here a little bit, especially that one because it seems to be like merged together, same for this one. But there's such a small detail there in the back of the characters are covered by the, by the cloaks and everything. So we don't have to worry too much about them. We of course have the foot, fingers, and the nails. Everything is pretty much a single mesh. So all of these pieces right here, I'm actually going to treat them as if they were a single elements. I'm going to grab all of the meshes here. We're going to combine them into a single element and we're going to export them, export the selection. We're going to go, of course, to our assets. We're gonna go to 3D topo. We're going to call this thyroid those legs. What am I explaining this? Because we've seen this before. Instead of blender with the little plugin that we have, the loops of the foods and all of the legs and everything. It's way, way, way easier to just follow along. So let's open Blender real quick. There we go. When you delete the cube with X and we're gonna go File Import, and we're going to import an FBX. Of course, we go to our character right here, assets, Topo, and we should have our legs right here. The skill should be working properly. Yes, this is gonna be a heavy mesh, but as you can see, a lot of struggle with this one and that we do have a rhetorical appeals, so we just click here and add active with this, we're going to create a new file. It's going to sample the high, high poly surface. This is a very common, like a warning when we haven't saved this industry new scene. So we have no safes. But there we go. Now, what we're gonna do here is we're going to focus on one leg. And then thanks to again, the conformed tool, most of the things that are going to fall into place, especially because we do have a very nice a division. Now, how many divisions do we want here? Well, we know the abdomen had 54, right? So that was 2026. We can go very quickly here to the belt. Like one of those guys, we had 56, sorry, 56. Yeah, that's 28 divisions on it's what we want to have here on the top side. But then we pretty much want to divide those. We divide it into half, so that's 24. And then we divide those into half because we want to have 12th on one leg and 12th on the other leg so that when we divide we get more right. So we're gonna do in this case the left leg or the left leg, because as you can see on the right leg, we do have this extra little bit and we're going to have to rebuild or change a couple of things on the topology to make sure that we captured this detail right here. So what we're gonna do this, we're going to use the contours, element Control and drag across like this. And we're going to increase this to, if it was 24, we're gonna go to 12th. There we go, 12 right there. And then we're going to start drawing. So we're gonna do 123 and see how each time I draw, I'm like going into more of a straight line. This is very important because we definitely want things to be as straight as we go lower and lower. We do want to keep things like a really nicely like what's the proper word here? Why they keep things really nicely inclined on the pelvis. Because we're going to use this as a connection with for all of this remaining part of the leg. We do want to have straight lines. As you can see, we're having a little bit of an issue. And this is mainly due to the fact that we have multiple meshes. So i'm, I'm actually willing to just double-click out and then continue down here. Like right there. Again, bring this down to 12. And then just keep going like that. We're of course going to have one line pretty much on the ankle. And that's it. Now for the fingers, we're going to follow a very similar process to what we did on the, on the hand. So I'm going to double-click out. We're going to draw a new one right there. We don't need 16, we're gonna go with eight. And let's just do that basic thing right there. Double-click and then go from there to there. It's bring that to eight. And then draw another one right here. Double-click. Draw one right there. Bring this down to eight. Go across. And that's it. This pretty much it guys like this is I'm willing to do here on this particular scene because this all I need, everything else we can very easily complete inside of Maya. But this that just took us 5 min to do here instead of Blender will probably have taken me about ten or 15 min inside of Maya. So I'm just going to exit, grab this mesh File, Export Selection. Fbx. Go back to our character acids. We topo, we're going to call this, Let's start. And we are going to export only the selected object and we export the FBX. Jump back into Maya. Let's hide this thing right here. Let's make this our light surface of course. File Import Assets. We Topo and we go, Let's start. And that's it. Now we can just go into this mode. And as you can see, it's going to be, it should be fairly easy to just like extrude this all the way down here. And that's going to allow us to pretty much like filling the gaps that we were missing. Could we have done this instead of instead of wonder, yes, of course, but as you can see right here, it's really no big deal. We're having issues with some of these guys. That's because, again, the multiple objects that we have right here and make it a little bit difficult, especially when we tried to enter the natural. It doesn't know where to go. It's trying to go to the legs, is trying to go to the bandages. So another thing that we could do here is we can go back to the object itself. This guy, just extract some of this first and then bring them back together. You don't want you don't want to do, even though it could work, is to do a Boolean mesh where all of these guys are combined into a single piece. That's something that you definitely, definitely don't want to do. Here we go. We're gonna grab all of these pieces and I'm just going to say Edit Mesh, extract. This is wait for this to process. There we go. Over here, we're going to have all of these guys. You select all of the other ones because we know that those are the ones that were not needing right now. And that way we can only, in this way, we can only focus on the paths. So we select this guy again, we go live surface. And there we go. So now, as you can see, since we don't have those things contaminating the scene, it should be fairly easy to just keep building this guy's 12 sites is, is more than enough for this basic one. Because again, we're gonna, we're gonna smooth. We know that. We know that trick. You can see that here on the calves, we're going to have a little bit of a stretch. But usually what happens with legs is on the top part, you get a lot of volume here and not that much volume here. And then on the bottom part you get more volume. On the other side, we definitely want to add a couple of extra divisions there underneath as what we did up there. Not really needed to do the whole Lego. I'm like looping thing. But if you want to do it, feel free to do it. Remember, we just grab this face is right here, Control E and we offset. That's gonna give us the, the knee, the knee division. So when we smooth, we're gonna get an extra division right there. Definitely need one more right there. And now we can start thinking about how to unify this. Usually for the, for the fourth year, I do a very similar process with like with the hand fingers. So we have the faces connecting both sides of the fingers like this. And then the first line, I keep it as is. Because we need this geometry to capture the knuckles of the fingers. Go, we'll just keep going around the whole thing. And then after the second one, we've grabbed this one, remember, and we do a simplification method. So we go like this. This case we just need to do to simplification methods because we only have three fingers. There we go, There we go over here. And same deal. We're going to use our simplification method. That there we go. Simplification method for the food. I know this was supposed to be a lag one, but we're already doing the foot for the food. One of the most important things is this line right here, the bottom line of the fingers. You usually want to bring this all the way to the back. So you kinda wanna go like this case, we can go around, I'm even tempted to here to loop around like this. This is technically a finger or it's not the finger, right? But it kind of looks like a finger. So we should have eight sites as well. So that's 45678. That way we try to keep the same sort of like symmetry on the front and on the back. Here we go. The technically distinct should flow through this element. And we just keep going on this other side. We have 1234. That means that on this side, I have 1234 as well. And that way, it should be fairly easy to just connect all of these guys together, like from one point to the other. Here, something tells me that we messed up at some point, but that's fine. Like a little triangle right there. No big deal. Sunday on the base of the food. So even less of a deal. Here, this line right here, we definitely want to keep going up. Like this, straight to align this to the same elements. Because there's gonna be a transition here. We're going to have a couple of stars here on the foot. You're going to allow us to connect everything. The most important thing about the foot is that we have divisions right around there like that one right there because the food is going to bend forward and usually it's going to bend at the ball of the foot. So right around that point right there. Again, this mode is going to take quite a good care of that things, but we still want to keep things nicely. Here on the front, as you can see the fore, front faces, they're going to connect straight to the foot. That to back faces are going to connect like that. And then this side faces, these are the ones that are going to create the star. They should go as like straight down as possible. You really want to keep things straight. Because again, there's a lot of movement that we normally have on the foot. And this will allow us to create that movement on the rig. And if you have a lot of slanted or inclined elements, we might have some issues. So as you can see, those, those first two phases for quite nicely. We're going to have one, they're just like I'm doing something on even their star. Okay, so you see how this star is right here and this star is up here. So that means that I messed up here. So to do diluted urine, this is a star. So that's how we do the start. There we go. I always try to keep things again as symmetrical as possible. And over here, it's an interesting, won't have to have tube, then we have three. A little bit uneven. Should have been even though we lose one line somewhere. Oh no, that's a little bit weird. That's fine. We'll just go all the way there. I'll just add one more line right there. And are going to have one square right there or one triangle. Everyone triangle right there. Again, it's not going to destroy anything that's still going to like smooth and modify or work perfectly fine. On the fingers. Of course, we do need a couple of divisions, which is probably just wanted division. Let's push this to the front. And then I'm going to stop the video right here because we're already going into the nails sorts of things and titles of the videos to be a little bit cleaner. But as you can see, that pretty much captures the whole silhouette here off the legs. Actually before he finishes, wanted to talk about the upper part right here because this one is, this one is important. We didn't mention that we want to have 24 sides, right? So a very cool thing that we can do here is we can, again, the gravity cylinder. Let's get rid of this guy. Change the size of the cylinder to 24. Scale this up, scale this down. Isolated real quick. I'm gonna go to a top view. I'm going to delete half of it because we're going to mirror that. We position this where it's supposed to be. Good, even scaled this up and down and stuff like that, something like that. Grab this guy again, live surface, grab this guy, mesh, conform. We get closer to the whole thing and move it up. The conference pretty much just to help us a little bit there with the positioning. And now that we're happy with this, we select this guy and the other leg. We combine both of them and we need to make them well, we need to make sure that they fit. Now, one of the things that we're going to have here on the legs is there's gonna be a center line. We've mentioned this before. So we know that here from the legs going gonna be a central line. And usually around the crotch area, you're going to have either a triangle or a star. In this case, I'm going to do is start to keep things simplified. But you might get a triangle if you are going a little bit denser. Same thing here. We're going to do a stars. You can see the star is gonna be right around there. Now the bot usually needs a little bit more volume. So that's why we're doing this sort of weird loop right there. Over here. This guy, again, we want to float things nicely. So as you can see, we're changing the flow. This guy's going over here and eventually just gonna be a little bit of compression. And this area, you're going to see a lot of edge loops on this particular part. You can simplify a little bit. We'd like a triangle there too. Alleviate some of the tension, but you don't want to simplify it too much because all of these lines that we have right here are useful. You might actually want to add some extra lines here and then go into triangles. I sometimes prefer to do this again to sort of keep things a little bit more balanced because this area right there is a really, really, really important area of characters. It deforms quite a bit when walking, when jumping, stuff like that. So extra geometry there. It's never going to hurt. Over here. One little triangle right there. That one's not going to hurt, of course. And then here's where we're probably going to have the, the star. Let's see. Or we can have some sort of like that looks super ugly, so we definitely don't want that. Let's clean this up a little bit. So how can we clean this up? Just make this flow inside like that, smooth things out. And as you can see, that solves the issue. Of course, we smooth all of this house or the typologies a little bit more relaxed than that specific area of the pens. And there we go. That gives us a really, really nice resolution. We can go front view graph, this vertex right here. Let's get rid of this. And we snap to the center. Perfect. Can we mirror? And that's it. We got this. And we know that eventually we're going to mesh and smooth this guy. It's gonna give us a really similar resolution to what we have with our reach apologize, character. Right? We hide this for a second. We turn on poly frame. Everything should be looking very similar in regards to like the density that we have. Looks great so far. And of course we're gonna give this a what's the word? We're going to give it a conform so we get the best possible scenario. But yeah, this is the main thing for the legs. Now, don't worry about the advantages that we hit. Because again, all of these guys right here, you're going to catch that. So We're going to conform to the leg. And then all of those are just going to be details are gonna be baked in, into the character Alexa or one of those things that are not as usually, usually, not always, but usually not as important as other parts. Because on a third-person character game, you're usually seeing like the character from this distance. So you don't see the legs as much. You see the upper torso and chest a little bit more. But if you want to go the extra mile and do the details for each specific bandage and little strap that we have there. Feel free to do so. Again, it's not needed for this particular character, but you can do it if you want to. One thing that I am going to check before we finish this and I'm finishing this video for a while now is the the transition to the connection to the belt. There we go. So I mainly want to make sure that even though the legs are hello, right? Like we have this thing right here, there's no possible way that we can see that hollow point. And as you can see, it's hidden by the belt. I would still probably, probably like add one extra sharp like this. You can just to just to be safe, just to be safe that we're not going to have any sort of like a little beat coming out of the belt. And in showing that we have things like incomplete. Look at that. Not freaking bad. So yeah, we're in a really good position here, guys. We're going to stop in this video and in the next one we're gonna do the nails. We're going to do the conformance, some other details. So hang on tight and I'll see you back on the next video. Bye bye. 37. Leg Details Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the leg, a detailed tree topology, which is of course the nails. So let's go real quick here to our rival meshes. And where are the No, that's not it. We get them out here. As a problem with not giving things to glean. There we go, over here. That's it. I'm going to select this guy is we're going to do this thing right here. Just live surface real quick. Go to the front view, delete half of this guy. This is very common if you press Alt and then middle mouse, you can scroll here and sometimes you lose the, there we go. The elements. So now that we're here, We're gonna go to our quadrature rule and we're going to draw the nails. So the Neil's, we'll do have a little bit more specific, so specific elements that we want to address here again, it's one of the unfortunate things. It happens with both like Blender and Maya. Due to the fact that the nails are a different mesh than everything else. Even though we are using the light surface for some reason, it can only see 11 mesh to reach. Apologize. Need to check if Topo Gun, which was the other tool that I've mentioned before, has the same issue because it is really annoying when for some reason the points or not, but that right there. So you'd like it's trying, but at the same time It's not being able to. Really, really annoying. But let's just keep going. The most important key thing here on the nails is we do want to have like a sharp nail coming into the character. And to do that, remember that we have the size like lines, this guy right here. And they kinda like merge on the center. Like we follow the central line. And then we have this funny shape right here, which is like a tip. And that's how we complete this guys right here. True here I think I want the other way. This should be the lower section. Just going to extrude this. We once I there we go. If you can't fill one specific hole like that one right there, don't worry too much about it. We can just fill it with the bridge to later on. As you can see, we're going to have a little bit more density on the tip of the nails. And I definitely want to add one more line right there. Again, it's gonna be open, annoying. Hey, when the, when the softwares are not working with you, which is which that there we go. That happens. Remember just reassign the same lab or material and then that's her name right there. Usually the toes and the fingers are to fingernails. You don't need to be as precise because it's really, really, really weird to have a character that's going to have a lot of range of movement on the toast themselves. I've only seen one movie in my life where there was a scene like specific scene where you see the toes of the character like moving in a way that would require like a really precise topology. And that was a tangled from Disney. There's a scene with a pencil on the forest. And she's like all happy and stuff because she's head of the tower and she wiggles her toes in front of the camera. So for that particular, specific part of the character, you will probably, well not probably, definitely need clean topology there. But again, it's such a, such a niche case that more often than not engaged, you're going to see characters with something called Pizza feet. It's when the character artists read topologies that character in such a way that the feet are just like pizza boxes, just like literally boxes. And it's usually fine. League of Legends does this water work-up, does this, it just blocky shapes because the food are not as important. In this case, we do have this big toenails. So that's where we're going the extra mile to make sure that we get something that looks it looks nice. There we go. The first to the second two that are roll around. There we go. There we go. Remember the central lines should be kept clean. This is going to help with UBS and stuff. Then here we're going to have two little weird squares like that. Can add one actually right there to support the whole nail. And we can do a little bit of smoothing. There we go. The same thing on the backside here, which we have this extra nail. So straight to go little by little to help the tool right here. I have an extra one. I feel like I have for now that's eight. Okay. So this guy goes forward here and the tip, just roll around. That's the weird choice quiz like a chicken foot topology that we have right there. That's the side right there. And we just rich, they're in the same field on the other side, we go here one to get pretty much the two-sided ones. They keep going pretty much exactly the same. And this is where we're sort of triangle or square hat. That's it. Now, as I've mentioned before, the bandages on the knee and the bandages on this left leg are pretty much going to be exactly the way they are. But on this side right here, we have this leather wrap and I do want to capture a little bit of that silhouettes. I'm going to show you the technique here to, to capture that. First, we're going to grab this guy, gets rid of this. We're gonna mirror to the other side, say apply. We're gonna give it the smoothing. So mesh, smooth. This guy again, live surface of this guy again. Mesh and conform. Should conform pretty nicely. Even like, as you can see, the folds on the pants should be working quite nicely. It's a nice, nice capture right there. And we get a really nice detail. It's going to try to capture the details you can see right here. It's not gonna be as efficient for the other pieces. Again, all of these bandages right here, I'm really not that word because all of this information can be baked down. If we increase the length of the race, we're gonna be able to capture all of that information. And even though the legs is going to look really smooth, it's going to look like this. It's still going to be able to capture it. We can, of course, try to scale or move things a little bit to give them extra volume. I think that might be a good idea to be honest. So for instance, I could grab this edge right here. Just get rid of this. Scale it up. I might even add one extra actually right there. Then this one right here, I'm just going to push it out so that we can start capturing things. So that's one way to do it. We can of course, combine objects and see if they're confirmed gets a better job. But for this one right here, what I'm gonna do is the following. I'm going to insert an edge loop right where this ends, which is right around there as you can see. And then I'm going to delete this face right here, or this loop line interfaces in this line of faces right here. And on this side, I'm also going to look for the loops, which is pretty much this one right here. I'm going to delete that loop. And then I'm going to delete this lobe right here, which goes to the front. Yeah, that pretty much captures most of the element. And we're gonna be left with this like shell right here, which is a really good like a silhouette of the whole thing. It's not perfect. So I'm actually going to delete some of these guys as well. Leap that could result that my A's freaking out again with the display. Remember we talked about this one. When you select things and they don't show, that means that my eye needs to close and reopen again unless we use like every typologies or something, let's delete the history and let's see if that works. Sometimes works, sometimes it doesn't, That's fine. So what we're gonna do there is that measure it there. On this single measure it here I'm going to extract, so I'm going to say Edit Mesh and, or mesh tools. Mesh extract. That's a separate piece. Now, grab this guy and let's delete the history. Let's see if it itself, itself cool. With this metrics tracked it. What we can do is we can actually just extrude. It. Could look very weird, but we're going to extrude it so that we get to the proper option right there, which is right around there. I'm going to shift select everything and delete all of the interfaces. So now I've successfully captured all lot of the same suit what we need, and we are keeping most of the same. What's the word most of the same amount of polygons that we need. I'm going to select this guy and the legs again. We'll go through the legs just to make sure. It's like that guy, we're going to recombine the history again. And now, as you can see, this is still one single piece. We're gonna go back to live surface. And with this, don't like that, we should be able to start rebuilding all of these pieces right? Now. We're not going to smooth anymore, so we're probably going to have to do quite a bit of stitching on this side. This is definitely going to increase our poly count, but this shouldn't be that bad. And as long as we capture most of the detail that we have right here, we should have a good, a good projection or if we could bake. So for instance, this guy right here, I'm not going to go to all the specific crevices and stuff. We can go like that. And we are going to be using quite a bit of triangles for this particular piece, because otherwise it's gonna be pretty much impossible to capture this, but this little separation that I'm not capturing here, that's what I'm going to go for. That little extra shadow that we're going to get, or extra silhouette. That's what's gonna make our character or this part of the character look really, really nice. Same thing here. Like, do we want to capture like two steps right there now let's just do one. Let's see if we can get there we go. So that's sort of like step that I want to capture there. Same thing here, just there. So there's gonna be a little bit of a weird bake on those specific areas. But it's one of those compromises that we need to mix otherwise, who want to capture every single bit, we're going to have so many triangles right there. And I really don't like the topology that we get when we do that. So we're going to keep it simple like this. With this done, we can just keep moving. And triangles in this particular area are not a problem because the leg, all of this part of the leg usually moves as a whole, right? You're gonna have the whole leg moving up or down. It's not like it's going to bend unless you break the character, right? But that's not what we're gonna do. So yeah, it's just a matter of rebuilding this. Now with this where again, we're not going to use a conform, we're not going to what's the worst? We're not going to re, reproject or add more and more divisions. This thing right here, see how it's floating across the whole section. That's fine. It's an, a hidden section. We're not going to see this much and it's gonna give us a nice detail. So even though it's like, just like doing that, yes, the banks there are going to look slightly weird. Some people might be like just have one extra line there. We could add it. It's just going to increase the poly count, right? So that's always the compromise that we need to think about. Do we want to increase the polygon or not? This case, I actually think it's not that big of a deal, so I am going to increase the polygon there. And it's just a matter of reusing what we already have. That's why it was easier to do the other leg because the other leg didn't have this detail. And now that we have most of the topology done, we can start playing with this section is right here. And just finishing up all of these elements, gonna be very, very careful to flow into the same amount of polygons that we have to remember that there was like a star right here. It's gonna be a complicated shape right there. We're gonna, we're gonna attack at shortly. And it's just a matter of, again, capturing all of this detail. If we need to do a little bit of stitching, like what we did with the ears and what we did with some of the armor pieces. We're just gonna do it here. Again, just a couple of extra pieces, they're fine. You need to find the most important like silhouette of the whole thing. So for instance, I know that this square shapes probably the most important. And then this sort of like shave right there. And that way I can build the border, trying not to add too many polygons everywhere. It's just gonna be difficult to uv. That's another question that I get often. Doesn't dislike make UVB WB process difficult? The answer is not really yes. It will make this part denser, but it shouldn't make the root of the UV process more difficult than it should actually be. The same thing because at the end of the day this is just a cylinder. So as long as we have one action that we can cut like a cylinder, we should be able to, to manage this very nicely. So let's keep going here. This is a curve, so probably at least two points there to, to capture this the best, as, best as we can. Also keep in mind that when working with game characters, you can't give every piece like the same amount of importance we've mentioned this before. But you need to think about the texture resolution that you're going to have. We haven't really talked about that yet. But there's a special kind of Like limit that you have a piece like this recession like this, we're probably going to have not that much geometry or texture resolution to capture this detail. So even though it looks really weird, really faceted and fragmented, you're not even going to see it because the texture is gonna be so, so, so small. So that's one of the other things that you worry a little bit too much about making sure everything is as perfect as possible. And yes, we should always do that. But sometimes it's good enough is good enough. So there we go. I'm going to stop the video right here, guys. And in the next one, I am just going to probably talk a little bit more about story as we continue doing this bit right here, because I do think it's important that you guys see how to approach this a specific element. Here. One final thing, if you see things floating, you can of course, smoothen. And when you smooth them, they should go to the closest face, which in this case is that the leather strap or the leather scrap. It shouldn't go inside of the boot. Already. We can see that that change right there is definitely going to help with the silhouette. Look at that silhouette changing. They're a little bit difficult to see, but all of those are little things and stuff will definitely make a make a change. So yeah, we're moving along quite nicely, almost done there. Let's keep going and I'll see you back on the next video. Bye bye. 38. Ankle Details Retopology: Hey guys, welcome back to the next part of the series. Today we're going to continue with the ankle details, which is was the last part that we were seeing right here. Now I do want to fix this upper part right here because as you can see, there's quite the bigger for quite a bit of a change on the other topologies. So this is one of those things where deleting a couple of parts and then rebuilding them might not be dead by the fighting of an idea. So I'm going to delete this top line right there. Even, I might even go one line higher. So we can catch all of these details right there. There we go. And we're going to delete this line right here. Yes, we're gonna lose the topology that we have. Therefore the knee let things for the better. So now I don't remember if this was kinda looks like they were symmetrical. This thing is right here because I can also see that we have the same sort of issue on the other side. So we might, I'll show you how we can do a little bit of a patching here from one side to the other. So we definitely need to grab all of these pieces and combine them once again into a single object. So lets just grab all of these guys. There we go. I'm going to recombine them, so merge them together, delete history, and make them live surface again. Why surface? There we go. We go back here and we need to look pretty much bring all of these guys down. Now, you can see here that we have for this are this Florida we have right here probably from here, I'm just going to shift and extrude all the way to the bottom right there. So that again, so all the way right there, perfect. Then I'm going to insert a natural right there to catch this elementary there and one more to catch the shelf like that. So this is gonna be right there where the shelf stops. This is gonna be on the upper. Let's see how that vertex where there's wants a little bit of a hard time, no problem, we'll just snap it out of the the shelf. And by pushing this, things like this, we're going to be able to capture the whole thing. There we go. So it should be fairly easy to go from here because this is the main shelf that we want to capture, all of these things right here. And the number of faces is symmetrical. It's pretty much like a cylinder. So I'm not too worried about this section right here. There, there, there and there. You can start with the first pass right here. Let me let me hide the belts that there we go. That was definitely getting underway. Jump to the border there. One thing that we haven't really talked about yet, but it's going to be part of the whole process. Definitely is the baking process. We're gonna be using something called an IT map. If you've never used it before, then it's going to be great because you're going to learn a really cool trick while doing that. The IT map is what's going to allow us to create masks so that we don't have to paint the magic painting a mask to select just the straps and not though like the leather cloth or something, it will be a pain. Right. So the the, what's the word? The ID map that we're going to be baking later on will be coming from the high poly. And that what we're gonna be able to select all of this guy's really, really fast even if we don't have proper like, dubious and stuff. Well, I'm not that we don't have property was like if the UVs done card on a perfect line, like right here, we're getting as close as possible, but it might not be the exact perfect line. That's, that's fine. Like the id map is going to save us a lot of trouble there to make sure that we get a really nice detail. So here what I'm gonna do is I'm actually going to remove the leaf surface that we know that most of the volume is going to be on this section like that. Like first shelf was probably the, the biggest problem that we have. So I'm going to isolate this real quick. Select. Let's start with five edges right here. Because we're not gonna be able to select all of them because of this edge is right here, actually another they think of it. I'm going to show you here a trick. We do want to have this flux right here for the knee, but we don't need all of the other ones. This is where things are smoothing out. So what we can do here is we can select, Let's do one and skip one. So like one and skip one and we're going to collapse. So now we should have the same amount of edges on one side than the other. And if we bridge, look at that perfect rich so little bit of stitching there on the underside of that specific border. And we get this. Now of course, we're going to have to give some divisions. I can see that there's four right there. So I'm just going to go Mesh tools, insert edge loop. Let's do four. We have pretty much the same amount of resolution, I think for way too much. Let's do three. There we go. It's a little bit better. And that we're gonna go back to this guy right here. Live surface again. And now if we select this guy and we go back here, we can do a little bit of smoothing. And it's mornings mainly going to jump to like some of the main parts of the bandages and stuff. It might not cover everything perfectly, but as long as we keep the border like properly, it should be perfectly fine. So let's head. You can see that border right there looks way, way better. It's going to do a mesh display. Softer nature, of course. And that changes the silhouette of the character, which is of course important. Now, you might be wondering, okay, how can we like, I don't wanna do this all over again on this side. And we know that this things are very similar. So how can we do it? Well, there's a couple of ways. Easiest. One is to select the edge loops. Let's go to front view. Select this section of actual, de-select the ones that we don't need. Those ones right there, and let's say this one right here. We're going to do an old-school method here. I'm going to say Edit Mesh. And we're going to duplicate. Now we have a separate mesh right there. And this one, we're going to scale this on minus one. Because you can see it's gonna go all the way over here. On this side, of course, we're going to have to delete the faces were this thing matches, right? So you can say it's this one. And this one. There we go. And then we can, of course, delete all of these faces, recombine these two objects. Over here. It should be a fairly simple bridge. And down here, since they're matching really, really close together. Well, we can try to do is we can try to do a simple merge. So I'm just going to grab all of the verticals right here. Like that. I'm going to say Edit, Mesh, Merge and the threshold. I'm going to bring it up a little bit like 0.1. And if you press number three, you're going to see where things are not really matching. That's fine. We can bring the threshold a little bit higher. So let's say 0.5. There we go. As you can see with B15 for those vertices that we selected, everything pretty much gets folded back together. Now of course, we need to go out here. So like this guy again, let's select this guy is actually all of those guys. This guy says, well, this guys, I'm not too worried about. I think those can be like we don't really need to capture that. Let's just select all of these pieces. There we go. We combine everything back together. Let's do the history so we get rid of all of those transforms, make it a light surface again, go back here. And of course, on the pants and stuff, we might need to do a little bit of smoothing. So the vertices jump closer to the actual elements. Same thing here on the bandages adventure actually look quite nice. It's mainly depends that lost a little bit of the capturing of the wrinkles that we have. There we go. That way we're able to solve the issue that we have here with that change in sea level, which is rather, rather than tense. Again, here, the bandages, I don't think it's gonna be that much of an issue, such as mesh display and soft to match. And of course to continue, we need to continue with this piece right here. It might not seem like a big detail, but I do think it really is worth it to do it. So what I'm gonna do here to accelerate the process a little bit more. I'm just going to focus on the main border right here on capturing this jaggedy edge. I need an extra one right there. And then after we have this border is gonna be a lot easier to just stitch everything together however we might need, right? So again, we've talked about this before and the reason why we can do this here on the leg is because this section of the leg is not going to move it. You're never going to bend at this area down here. Yes, there's gonna be a little bit of bend, so we need to be a little bit more careful about this guy over here. But up here, everything's going to move as a whole. And it's very common to have this sort of like intensive stitching. I've seen this in pants and shirts and arms and sometimes even on the chest area. You can see a lot of this sort of like like elements playing around. And it's important that we capture them again, not everywhere, for instance, there. Let's just jump right there. That's fine. Here. We might need to do one that's a triangle right there because we're not going to smooth anymore. Go and as you can see, some of these guys we can start stitching. Always try to stitch in a way that makes the most sense. Like you want to try to make it easy to read the topology pretty much. So for instance, it's having like, instead of having like a really weird triangle there, Let's keep the square. Square. One goes there. Pushes up square, square. There we go here. We need to add an extra loop that's fine. Or rather add one extra loop so that we can create this triangle. They're square triangle where square, square camera, Remember the things we might need to move the camera around a little bit. There we go. Make sure things do snap. Very common mistake is we are not sure if the vertices are snapping, and then we bake, we get super weird things here, for instance, easiest thing, just create a stitch right there. There we go. How we're capturing all of this. Same thing would just keep going with this big square where we can and we can't triangle is we don't want to add way too many divisions. Want to try to keep the topology flowing in a, in a constant sort of way. This is here, I'd rather do this. There we go. Square, square, where triangle, square, triangle, square. That's a weird square, but it's Alan Love With this can get like stress. I'm just gonna, it's gonna make that two triangles. I know it looks a little bit weird when I do that. Like, why, What's the difference? It's just a matter of I don't know, It just looks better. It's a matter of typology, of course, like you do need to take a couple of things into account. That should be enough. Now, we do have bandages, now that I remember, we do have bandages down here. So I'm thinking that I do want to capture this line here, but maybe not that intensely. I think we can just like keep things going in a smoother way to be honest. We just hit the high points here. For to hit the high points. I think in this case it's gonna be fine. I do want to capture it on the top here because it's an important to let the down here. I actually think now that this might be a better, better solution. So like here, we're literally just going to go across if I can grab when I go across like that, and that's going to capture most of the detail. Here. Let's do a little triangle there. I know that normally when we smoke, we don't get any more triangles. One of those cases where it's really not that big of a deal and I rather have the triangle. Then have like weird flowing the topology. See how we're trying to go for the high points here. So for instance, this one right there. Let's go for the high point. That one is really floating. I don't want to capture that high point to be honest. I'll see if we can catch that with the with the normal map. That's why we were doing the modeling. I was always like, be careful with things that are hanging or floating because that's extra polygons, it's extra silhouette and you might not want that to happen under your element here. Let's just simplify to a triangle. Two triangles, well, even a triangle right there is fine. There we go. This will just rebuild, which was a clean edge loop before. So with always want to have a clean edge loop, you always want to try and keep the edge loop as clean as possible. Here, things are gonna get a little bit crazy. So I'm just going to do a bridge. And another branch right here. Then that one we can do mesh, feel whole. We go from here to here, we bridge. Rich, rich. We're here. Still rich, rich. Let's keep rebuilding this. Go. 123. We're here. Again, simplify. It's a triangle, square. Big square. I don't love a triangle. There is usually a complicated area regards to movement like the ankle. So we can try. Yeah. Look at that. You try only one line here, that's the triangle there. Again. The other way we can push this vertex out here, it might be a good idea to be disabled that so that we can position it exactly where we need it, which would be like right around there. Then from here to here. You bridge. Because of course try to relax things a little bit. Okay? But again, Okay, that's fine. So we just save real quick here. Always, always save, especially when mailboxes. It's unfortunate, but it's a relatively common I don't know why it happens. But yeah, that's pretty much it, guys. I'm going to stop the video right here. I'm going to restart Maya, and I'm going to finish this bit right here. Just filling the gaps in the very similar way as you can see, we've pretty much captures the whole edge and we've finished with all of the upper part right here. So in the next video we'll talk about the knee, knee pads. The last part that we need right here. And I think that's pretty much it. I'm going to do the advantages as well. We'll do those off-camera just again to save some time, we're gonna go back to ZBrush, see Ramesh, bring them in and get them ready. So next chapter, we do need pets and we're gonna be ready to jump into Chapter number as six, which is going to be the tail end the prompts, and then we're going to be pretty much done there. So like Maya's completely freaking out here, just control S to save real quick. You can do an increment and save it out. So what I would recommend, sometimes you can't even close Maya, when this happens, you're going to have to go to task manager and like literally close it. And yeah, that's it, guys. I'll see you back on the next one. 39. Knee Armor Retopology: Hey guys, we're in the final video for this chapter, which is the knee armors. And it's gonna be a relatively fast one because it's a relatively simple topology, as you can see right here. We could go back to see you brush again and use Siri measure and stuff like that. But this is one of the pieces that I think it's worth it to to read topologies manually. Again, we've talked about hard surfaces stuff and how having a really hard edges and nice silhouette, it's gonna be super, super important for us. So as you can see here, I'm just going through the border and we're going to start going back now. This amount, I think for this particular one, I am going to give it a smooth. That's why I'm going like super, super low or resolution rate now, it's gonna be a little bit difficult to do a symmetry line, but I'm going to show you how we can do it. That's why i'm I'm trying to cover here all of this. And now I'm narrating as if I'm doing this like off-camera or fast, but this is real time recording every single step of the way. So this is also one of the objects that's not going to bend. It's always gonna be a very solid object. Here. We definitely need one more line. So just move that up a little bit. Try to hold the edge there because that's going to give us some nice shadows. And then we'll just go to the other side and try to copy the same amount or a close enough amount of polygons. And this side, like this, There we go. Push this in, I'm going to delete this one right there for a second. Don't want to have, actually don't want to have triangles on this particular mesh. So there we go. Can accreting some spirals here. Just not ideal, but clean them up there we go. There we go. Here. I don't want them more elements, so I'm just going to simplify there with a triangle. I know I mentioned I didn't want to triangles, but it's fine. It's just one. So let's go to the front view as you can see, one of the things that I did when I was doing this guys inside of ZBrush. It's actually didn't rotate them and I didn't wrote it in specifically because I wanted to be able to do a symmetry line. Now here we're going to have to guesstimate as close as possible, which to me seems right around there. And now if I press Shift and right-click, I can mirror this and use a knot world. But bounding box x negative. What this will do is you can see right there is going to try to do the mirror option, right where the edge of the element was. And that should allow us to create something that looks very, very nice like this. Again, I'm going to smooth this one, so I'm going to say mesh smooth. And then we're going to use this guy again. Let's surface and let's do it conform. Now that we've done the conformed, I definitely see that this is a little bit too big or, or dense. So I'm probably going to remove some edges. I'm gonna do one edge each like this. Then probably like some of these edges right here. See, that's a spiral, but that's fine as long as it's a quad spiral, I think we can get away with it. Control and delete. That's going to minimize the amount of elements. It definitely wanted to remove a couple more. There we go. That looks a little bit more like what I'm looking for now back here, just be very careful not to have any angles. So far I don't see any. That's a triangle, this a square, so that's perfectly fine. This will work and we're good. Now, after we've done this, the only thing we need to do is shift right-click mirror. Now we mirror to the world. So we have it on the other side like that. There we go. Let's hide this just 1 s because now I definitely want to see how all of my topology so far looks. Let's hide this 1 s. And let's bring in the belt, which is a really important part of the character. And there we go. Look at that. So not bad, not bad, Very good silhouette. We're still missing the advantages. Again, I mentioned I'm going to do this off camera in the same way we've done all of the other band that just so that we didn't have to repeat any information. You need to bring the villages that we did for the axis well, and we're ready to go, we're ready to jump on to the tail and the props of the robes are hanging all of the little rhomboid things that we have on the chains. Yeah, just a couple of more extra details before we finally jump into UVs. So chapter six is going to be the all of the remaining topology that we're missing. Chapter seven, he's going to be debates and the organization, the color maps, the id maps everything. So we get inside of the UVs, of course, we get it instead of substance. And then we're going to have several chapters texturing Hall of this character. We'll still a little bit the proof probably approaching the midway point by now. I know that topology tends to be very, very heavy, but I wanted to make sure to record every single step of the way so that you guys could see how we approach and how we solve all of the different issues that we might have with this character. So, yeah, thanks for hanging around. Make sure to get to this point and I'll see you back on the next video. Bye-bye. 40. Tail Retopology: Hey guys, welcome back to the final Rita biology chapter. This is Chapter six and we're gonna be focusing on all of the other things that we're still missing, such as the little prompts, the little straps, all of these guys right here, all of this like little elements we're gonna be doing throughout this specific video. So we're going to start with the tail ends. You can see we have this very bad detail here. These were some of the low poly meshes that we tried to decimate. And when you try to decimate the low poly mesh, you get this error. So we're just going to delete it. We're just going to bring them back from ZBrush very, very easily. Same thing for these guys right here. You can see that we really didn't add any sort of like detail or anything. It's just cones so we can very easily replace those. I'm not going to lead them because I don't want to forget about them. But today we're going to start with the tail right here. As you can see, the tail and the blade are pretty much the same piece. So what I mean by its emphasis that we have this very nice, like a fading or bleeding of wealth base to the other. So it might be a good idea to have them as a single piece. However, I know my software, I know how things are going to behave. So if I combine these two things right now, and I tried to do the automatic remeshing, which is what I'm going to try to deal with the tail. I know that's going to make a mess right here. So this is where again, if you, if you know how to work around with the software so you can get some shortcuts and save some time without having to do everything by hand. So I'm gonna start with the tail right here. I'm gonna go mesh rate, apologize, and let's bring this down. I think 1,000 Faces is fine. I'm actually going to bring this down to like 500 faces because I want to have the low poly or even lower like 300 faces and it's going to hit apply. We're gonna keep original of course, and we're going to hit apply. When we do this, remember the tail is going to jump up, which is very common to what we've done. And this is what I'm going for. As you can see, I want to make sure that we get this loops around the whole thing and no spirals. And it did a decent job. It's low poly, this is what I would normally draw if I was drawing this. And as you can see, we only have 624 elements. We're definitely going to smooth this thing out later on because the tail is one of those things that really needs to have a lot of divisions to have a smooth transition and the rigging process. But before we do that, of course we're going to bring this down to zero. There we go. So we can bring the tail back so we can see what we're going. Let's make this live, and let's go to our element right here. And let's take a look at the other topology. So one of the things that I don't like about the process that this thing here is that it actually didn't give me a central line. Remember, centralize are really, really important. So what I'm gonna do is as follows, I'm gonna go back here. I'm going to delete this extra right here. I'm actually going to go into face mode. Select that guy real quick. All of these phases right here, I'm going to delete because I want to manually prepare what's gonna be happening here on the transition to the, to the tail actually. Then on this side right here, I'm also going to delete the cap. And this guy right here. Again, if we take a look at this, it might not seem like a bad mesh and it's not that we see it from the front. We don't have a central line. And central lines are really important. So how can we get one central line mirror? If we just select this thing and we mirror this on the world and we can apply, we're immediately going to get a central light look at that right there. Actually two of them. But that's also going to give us an extra division on the upper side, but it's fine. You can just select that this guy is right here, this guy right here, and delete. That way we simplify it. This is an eight-sided or should be like an eight-sided polygon, which is great. And we have a central line. So at any point, I can now go to the center here and just delete half of this and just keep working from here. So again, it's always important that this is of course one of the reasons of this tutorial to understand how things work, how the, how the tools working software so that we can utilize them and do other stuff. Good, we have brought this into Blender. Could we have done see remeasure good. We have manually done this. Yes. All of those are options, but right now for minutes and we already have a perfectly good base for this day. This bands right here, I'm going to be separate measures. I don't care about those up, but this one's right here. I do think it might be a good idea to capture them with the character. Again, if you want super clean meshes, we can keep them as separate pieces, but if we want to optimize things, actually another think of this. Yeah, let's keep them separate. And the reason why I'm going to keep them separate is because we don't want them to the form. So they're gonna be solid, they're gonna be attached to a specific bone, bone properly. And when we move the tail around, this are never going to bend. So I'm going to keep those like that. But we're gonna keep going on this eye right here. And this is where we're gonna start having some challenging parts, right? So when we go into this knife thing, remember we want to keep our centerpiece. We're wanting to keep our center line, but we're not gonna be able to do that because these pieces are not to the same measure, so we need to grab both of them, combine them in now we can make them a single piece. So technically now I should be able to bring this center edge up and start capturing this thing right here. So this, I do not like this flat edge. I do want to capture it like this, even if it means like modifying the topology here. Like, I think a triangle is going to be added at that specific point. Those guys, of course, we're going to just keep going down. We'll go back there and just a second. And over here, we're definitely going to have another triangle. Remember with this very sharp lines, a triangle is usually like guaranteed. Now we have a sphere or a nanosphere is so-called circle. For circles, again, the magic numbers eight. That's the minimum amount of loops that you're going to need to capture a circumference. And we can do that like that. And we're going to move this vertices so we get the cleanest possible loop. And of course, this guys are gonna be pushing in towards the center. But they're there and they're perfect. So eventually we're going to just snap everything to the center and we're gonna be just fine. So from here, the eight sites will pretty much continued normally. Here again, we want to keep or maintain or central line. So I might need to do, might need to do a little bit of a transition here. Get that vertex right, There's trapped. Let's make it out. There we go. And that since this is the central line, right, one thing we can do here is we can do a split, split right there, so that we can keep the central line. Let's get this vertex out. There we go. This guy is going to allow us to hold all of this like thick border that we have on this side. That's gonna be my central line right there. Hopefully this, all of this makes sense. And then here you can do a little triangle right there. Simplify this one. And that should be the second one. It's probably this vertex right there. That's again trapped inside of the mesh. Because you can see we keep our central lines. This actually, let's just delete that. That's a square. We keep our central lines and we just keep going to this side right here. Now, for this transition here on the tail, we really don't need to worry too much about the, all of these details. We have discount like central line again going through the whole thing. So I'm just going to go to the high points and low points. As you can see, that pretty much captures the whole detail. We just do that. Again, careful with those racy vertex to go inside. And we just keep going like this. For things such as arms, tails, tentacles, all of these elements. One of the most important thing is you want to keep a uniform size on your elements, like what we have right here. And you want to keep everything flowing in the direction of the movement that this thing is going to have. So we don't want line's going to different directions for different elements. Let's add two more points here. And eventually, like I'm guessing, and we're going to have some curvature right there to capture the blade. Just keep going over here. Here I think we can simplify a little bit. Again, we're gonna have a, a smoothing division later on so we can simplify here. For the sake of speed. This part right here is definitely gonna be a tricky one. We need to do at least three elements. If you, if you are in a project and you can do more than three, that's great, but at least you need three to capture that specific silhouette. Then we just keep going. Here. We're definitely going to add a couple more edges. This not only will allow me to, to bridge this guy's in a more, let's call it a more predictable way. But also helped me with the, with the topology and the borders that we need here on the upper side. On this area here. 123, that's a square, perfect. This guy right here. And what can I wanna go to go down this end? If we have a little triangle right there, That's fine as long as it's a flat surface that usually additionally an indication that you can get away with with having triangles on flat surfaces because they're not going to affect the flow of topology or anything here. That could be a square. I'm a little bit worried about that one. It's a little bit too sharp. But let's see how we how it works. And if we can make it properly functioning right there, there we go. Again, I don't want these things to flow this way. I mean that the blade is not that much of an issue because it's usually going to be straight like you're not going to bend this blade, blade the tail as much. But you still want to follow the guidelines that we're using here. So if I see that things are getting a little bit stretch out rather have just the optimization point right there. So we add one extra line to have a better flow in regards to the rest of the elements. Here with one more extra square. I already know that on this curvature right here, we're going to have a like a triangle again to get the very sharp edge right there. And this will have its own sort of like loop here. So we can cover most of this. Keep going on this center line over here. The problem with the central lines is that we do need more polygons that you normally want because it's a curvature. Move some of them around. Again, textures are going to really help with that like sharp effect that we want to get there. Here. I'm going to simplify this or like a loop right there so that we don't bring all of these lines down here, even down here. And I'm really considering, again, simplifying a little bit more with another triangle. So if we go from here, there, that way we can keep this thing going without affecting everything else. Here it's a complicated section again because of this sharp bit. So I'm going to try to loop around it, extracting this thing right there. Then this guy gives me another loop right there. There we go. A little bit questionable, but the works should work. Then over here, we go back into this very sharp line. And we need to capture the roundness here. We need to reuse some of this. So we don't, again, we don't have to create some very big polygons. So let's just review some of this borders like this. This. Let's go right there. Okay here, that's 1.2. Just keep going on this side. If you get those crazy points, you just clear the dots. And we keep going. Now here for the final bit. And there's a couple of ways to do it. For hard surface stuff doesn't matter as much, but I'm going to try to loop everything like that. Okay. Why? Because again, from a UV standpoint, if I wanted to do a clean cut through the center, I need to have a Nash that pretty much follows the whole center of it. If I have to do a couple of extra selections, a very common, I do want to have that extra element. So, yeah, that's, that's pretty much it. Let's give this a shot. So grab the whole thing. Let's delete history to lower the amount of elements. And here I'm just going to double-click see this. This is what I mean. Like if I double-click, I immediately select the whole edge that's on the inside of the element. And then of course I need to select this guy right there. Make sure we're not selecting things that we're not supposed to be selecting, which is not the case right now, are just turn this off, scale them. So by doing this, that means that we are selecting something that we shouldn't or just push this to the center and let's see if that fixes it. Snap it to the center. Let's take a look at the plate. Yeah, it looks good. Shift right-click mirror x negative y. That's it. Successfully done the detail. Now I'm going to show you real quick why this sort of thing is very important. So I'm gonna go to rigging. I'm going to create a very quick like Rick. So imagine we have all of the bones for the tail. Actually, I'm going to show you that the cool way, the proper way to do it. You do one bone and then you shift and you select a couple more. Let's do like eight. And then you select all of the joints. Then the distance, Let's find like 150. All of them are probably like 200th. So the distance between each bone is pretty much the same. You have the first joint, position it where it's supposed to go. We go and you just rotate them. Just get this out to delete the first joint. There we go. You can start with second one. We position it right there. Then wherever the next one, that one's fine. We've got the fourth one. We can twist a little bit, the fifth one, this a little bit. So we get on the inside of the mass, right? And I actually like nail this because this final joint, joint ten is going to move the whole like tail. And that's roughly where it's going to be right about there. Because this is not going to bend right? Like the blade is not going to bend. It's just gonna be the tip of the tail. So now we can grab all these guys, select this guy right here and do a quick test, rigging, skin, bind skin. If we select all of the joints except for the last one. And we bend this, it's now working back. Let me select this guy and just the history. So let's select all of these guys except for the last one, select the mesh skin. But in skin. That's really weird. Oh right, My bad here. So the problem is that this, The guys are way too far from the center. Let's get them right there. Again. Let's do a quick skin. Bind skin. Now. There we go. Now we grab all of these guys except for the last one and we do this, look at that. So this is the kind of movement that we would expect from the tail. It's moving perfectly fine. Look at that beautiful movement. Imagine the animation of this guy. And this thing is moving exactly as we can even like twisted look at that. You can go for the really crazy twists and stuff and the topology is holding, it's definitely, definitely holding. So let's delete this. Of course, we don't need them right now. One thing I did forgot about the other detail though was the cap over here. So let's go live again. Grab this guy. Edit. We're going to delete. This face is right here. Is the mirror. Tried to do something really weird right there. We're going to have to go one more line up. And it's pretty much like the fingers. We're going to have this center line going towards the center. Like that. Here, like this one here. Or just go to the front view. Everything. So for this case, of course, delete, grab this vertices. We don't need to like re, resample all of the other ones because it's worth the only ones that we really added. And we just mirror. And now of course we smooth. We do want to have a little bit more resolution on the tail for, for better Bakes and for better deformation. We mesh smooth and we mesh conform. Just do a quick check on this guys, especially on the yeah, you can see there's a little bit of an issue here. It's really weird. Maybe it's because I made the mistake on some part here. Let me show you how to very easily fix this. Let me check first the blade, the blade looks great. I don't really see any issues. So to fix this very easy fix is just since all of this are clean loops, we can just delete the ones that are really, really ugly. Just look from here to here. Do we bridge? Let's do division. So we match the same amount of elements. Then this guy, guys, just start moving them back a little bit. This is a good option or a good moment to just like the store, not, not use the words. What's the word? Not used? That guy anymore. And we can do soft selection, for instance. Just bring some of this points down. Not too worried about this guys right here because they're going to be hidden by the, by the armor bit. Again, the closer we can get this to the actual tail better. Oh, I see what's going on here. So yeah, so since we have that big chunk right there, That's probably like influencing the way we're capturing the details. But yeah, that's that's pretty much it for the tail guys to just saw how rigging wise, it works perfectly fine. Phase wise. Wait a second. There we go. 4,000 triangles. It's perfectly fine for this particular piece. You're of course going to delete this. And let's choose p and bring this into our reach. Apologize meshes. So this guy, we don't need it anymore. And again, as I mentioned, we are going to be going to see brush to see what parts of this things we can extract and which ones we might need to do manually topology, I think most of them should have clean topology. I think I did the subdivisions. So let's take a look at the syllabus file in the next video, and we're going to be pretty much done with the tail, so hang on tight and I'll see you back on the next video. Bye bye. 41. Tails Details Retopology: Hey guys, welcome back to the next part of our series. Today we're going to continue with the tail details, which are all of these guys right here. You can see it's really, really heavy Scene. One thing that you can do when you have a really heavy scenes, you can go here and say, Oh, high or low, rather. And it's going to switch all of the sub tools to the lowest subdivision that they have if they have subdivision levels. So if we select this case right here and we press F, Of course, let's just isolate them. Press F. We're gonna be able to see their composition and they were see rematch from what I can tell over and whether you can see right here. So this is nothing to budget is going to be useful to us, but I'm going to clone them. So I'm gonna go to the highest of the which has just one higher subdivision level. That's fine. I'm just going to clone this. And then I'm going to continue working. I'm gonna show you a little trick here. So what I wanted to say, I want to create the new, pretty much in use soft tool that has all of the available things. What do we mean by dislike this other things, this are actually quite clean. So if I select them and then jump here and say append, of course, we can bend those specific ones. And therefore this new sub two that we're building, it's gonna be all the details that we need from the tail. Then we have this guys right here, which actually don't have a bad geometry, but we need to, of course, a simplified that quite a bit. Same deal. We just select these guys, go back here and we say append and select those guys. And then we'll go here. And I think than the cones, of course, right? I think that's the last one. So we go here and just depend on right there. Here we go. And the finally, this guy right here, which I think shares its poly group there, I'm going to press Control a to, to get them into the same poly group here. I'm just going to say again, go here, append, and there we go. So this software that we're seeing right here is the sub tool that we're going to have to export. This guy says you can appreciate, are ready, but that's all we need. Just a very simple circle. We can of course, delete a couple of edge loops inside of Maya. But I'm just going to export this as is. I'm going to export. I'm going to go to my repo folder. I'm gonna create a new folder. Actually just call this tail tail details because we already have a lot of stuff. And again, organizing is never a bad idea this way. So just save that. There we go. Okay, let's go to this guys right here. Now, this ones, as you can see, they don't have a lot of detail. We're going to add the detail in the texturing department. So this is the high poly, pretty much so as long as we can see rematch this nicely, we should get a nice result that's dynamic solar real quick. See rematch, and let's just write half. That looks okay, but we can definitely go lower and lower and lower. Let's instead try to go for a target polygon serum mesh. It's a little bit too much. So again, not too worried because I know that we can use our tools inside of Maya to reduce this. The main thing I'm looking for is to avoid having as many as possible. There we go. So this works perfectly fine. I was going to say export. The thyroid is bandages 001. That's fine. Okay. Let's go to the next piece. So the cones, that's an interesting one because the cones, I don't think we can sub-divide. We can try to reconstructing south division. There we go. And it will give us a relatively good one. We're still going to have to delete all of our components, I think. But since they're already where they're supposed to be, I'm just going to export them and then press Control a to give them everything. A poly group control. Or rather just say other groups. There we go. Just hit Export. There we go. That's it. And we're going to have to reduce but not that bath to do that. And then this case, we can try to reconstruct cell divisions as well. There we go. We can go really, really low. So as you can see that it's a great, great subdivision. So we're going to export this and hit Save. This is, I believe I talked about this when I was doing the hyperbolic character on the other course on the hydraulic force. And when you're doing this sort of stuff, there will be certain assets such as all of this that I'm showing right here, that will be very easy to just model normally without having to go through DynaMesh or, or any sort of like sculptures or anything, just clean, beautiful topology. And if you can already do that from the get-go, you're gonna save yourself quite a bit of time as what we're doing right here. So there we go. We've successfully selected everything. So I'm gonna go here back to maya and we need to bring them however, you know, and we know that this guy is have the exact same name, right? So I'm just going to F D underscore height to the whole thing. Select this little extra bit, and then just add this to the elements so that as soon as we import the new ones, We're not competing against the against these guys right here. I think there's four of them. Let's navigate real quick to our assets. There we go. That's five. Which ones are missing? So bandages or more spikes, bandages you through n1. Maybe they change names or something. So I'm just going to literally drag and drop all the key chains, but we deleted those, right? So the key chains, There we go. Remember that they are going to be where they're supposed to be. They're just going to be offset on the y-axis, right? So these guys right here, if we go to the group, there's this secret number that we've been using so far. And the only thing we need to do is translate this guy's dad is a specific distance and as you can see, they fit very nicely. So let's go all the way down here. I'm going to start with the first one. So the key chains, they look fairly nice, but this one got destroyed, as you can see right there, this one looks super bad, so just delete that one. And this again are one of those assets that we might not even need to to redo. So I'm going to center the pivot. Just literally duplicate one of those right there. And delete this guy over here. Let's get rid of self-selection. And there we go. So with that done, we're ready to, that piece is perfectly ready. We can of course, combine it so we have a single object. Second. And so for the next one to do, Let's do always remember to first transform. So we get rid of these guys right here. These guys are relatively easy. And what I'm gonna do is I'm going to go into vertex mode. I'm going to select all of the little vertices that we have right here, all of the polls. Because again, they would change the way we do UVs. They would add extra elements Control F 11 is the circuit and then just delete all of those faces. And that's going to leave the caps. Those caps should be hidden by the armor themselves. So that's what we do here. Control F 11 and delete. There we go. I'm not sure if my little script here is going to work. One that selects, oh, it did, okay, so it's not balanced, right? That one. And we want to do with that is of course, a delete a half of the amount of elements. So double-click, click on the script. We've used this one before, and then just de-select the, the border. Double-click, click the script. This leg, there we go. Double-click. I'm not sure if I can select multiple. Ooh, I can perfect. Double-click, Double-click, Double-click script, and then just de-select this guy right here. Control Delete, perfect. That's the same thing here. Actually let me try. Can we discuss yet, but I don't want to delete that one, the base one I think quite useful that little border that we get. It helps, again hide the, the hollowness of this whole thing. So let's keep going. Here we go. So we hit the script, then we just de-select border edge so we don't leave that one. I don't even think we can delete it. Usually you can still see the border edge. Just to be safe. Control and delete. There we go. So we're reducing the amount of elements. Now let me see, we can select this one right here and do the same thing. Yes, we can, but I'm not going to select that one. I'm going to select the one to the side so that we can keep our, our central line. So I'm gonna go to the central lines here and select the one that's right at the side of the center line. Go. There we go. Hit the script and again control and delete. It's gonna give us, it would look like spikes are a little bit more hard surface. See, I can see that they have eight sites. But from eight sites to 16, we're pretty much like reducing half of the, of the cones, right? So very, very important that we do, do, we do that so that we don't have as much a geometry for a part that doesn't need as much. Because right now you can see we have 7,000 triangles on all of these things. It's quiet. It's too many. It's way, way too many. So same deal here. Oh, my God. What happened here? Okay, so see this for some reason. When we deleted the vertices on this guy right here, we did not lead the vertices on the other, like other parts of the path, the object. Now this is unfortunate because we're going to have to clean this up. Hey, I think this sort of clean up because it takes forever. So what's the other option is we select these guys right here, delete them. And then we select this guy is right here, and then just duplicate them again on the top side. Now, one thing we can do here, let me see if it works. I'm going to select all of these faces and say Edit, Mesh, extract. Then now separate pieces, select all of the objects combined. And if we center the field point, it should be right there on the center of the objects because when we duplicate it, this thing, they should have been duplicated properly. So now we can delete this guys. This guy right here, Control D E 180 degrees. There we go. That way. We've, we've recovered the proper construction. We don't have to worry too much about that one. And we can continue with the next bit right here, which is eliminating this edges. That's why when you delete edges is super, super important, that you press Control and delete so that you lead the divergencies as well. Because otherwise you're going to have the exact same issue that I just had there. Cool. So we can recombine them the history again. And I'm still thinking that one more line here might not be a bad idea. Let me try and see what happens if I delete it. There we go. So as you can see, we deleted this edge right here. We're not leaving the border edge. So that save us a little bit of time. Just going to select all of these edges right here. This thing that I'm doing guys, it's very common when you are given sometimes in some studios, you are outsourcing a lot of stuff. So you get the high poly elements for cinematics and stuff. And your work is to make it work on the engine. So you need to reduce and you need to do this, this, this are called LEDs. Again, since they are, what's the word cones, we can really, really, really, really bring these guys down in regards to resolution. Even all of these guys. One more division and there we go. Because we've mentioned this before. If you can have poly, if you can save for Polish, it's a good idea that you do. It's just, it's just good practice overall. This and delete. There we go. Now we went from 7,000 to only 18,000. We have more. I feel like that's too many. How many we have here? We have 102 triangles. So why is because we have eight and then 16. Yeah, kind of make sense. Cool. Let's just make sure that we didn't have a double phase now. Okay. So yeah, that's it. That's it for the spikes. That will be the cleanup for the spikes. Let's go to the armor right here because that's that once this armor, if you remember from again from the previous series, we did this armor, we see modeler. So by doing that, by using similar, we should be able to reduce all of those like Beverly edges that we added, the support edges that we have right here. And that should simplify like this guy right here. We don't need it as long as it doesn't change the silhouette of the object, you really don't need it. I think that's good. It's definitely way, way too, like a testimony divisions on the y-axis. So delete some of those and it's not going to form, or at least we don't want this to the form or two bands. So technically we could delete this inner side as well. I'm going to delete this ones as well. Not really needed. And this one's just keep it as simple as possible and the bank is going to take care of stuff. Same thing here, just like this guy right here. Plugin, Delete all of those guys. And then do not delete the border edges. Those we do want to keep, actually want to keep that one for the Bible. Then not delete the border edges, but all of these other ones that are I wouldn't say contaminating but just filling extra information that we really don't need. Well, we can just delete. Should give us a really clean soft mesh. For this one, we don't grab the central line, will grab one of the sites, then we delete those. We simplify. This is a very common thing to do in inserting. Unlike pipelines, you are handled that high poly version or nowadays, like Unreal Engine does leak the LOD automatically or it will try to do them automatically. But back in the day you had to do this. For every object you did, you probably had to do like one or two LEDs. And it will definitely take quite a bit of time. So yeah, we've got that 1,200 faces roughly. And that's pretty much it. Let's take a look at the van that just bandages are the last part. So this bandages are perfectly fine. I might just again for simplicity sake, delete one edge right there. Lead one edge right there. Just to keep things a little bit cleaner. This, we're going to generate new hypotheses from this ones. Don't worry, but that's more than enough. Care for Lear and see that, that carry their triangle. Not ideal. So just delete that guy. And then same for those guys right there. There we go. Just keep everything square. We know that's usually a good rule of thumb. So those bandages not worried about a desk guys right here. We need to modify things a little bit because they're a little bit dense, especially like here on the edge. So 12 or actually 12, those two. Let's delete those 12. Let's delete those 12. We delete those. On the other side, on to delete those 12. We delete those 12, and we delete those. There we go. So let's clean. This ones are the these are the crazy ones because as you can see, we have way, way, way too many. The good news is that they should be cleaned loops so I can delete those. And then again and delete dose. That should give us a fairly Oh my God, no, that that last one didn't work. Maybe they're not even are just like a triangle there somewhere. That's fine. Let's go to the next one. Let's try here. Okay, That's a clean one. Can we do this? Yes. Can we think so? We don't get any weird polygons. Seems like it worked. It's going to definitely reduce, or to be honest, since against his work in rebuilding this guys, it might not be a bad idea to just use the automatic like remove tool either. In this case, we are getting a good simplification it good result. So there we go. So we're at 2,700, a little bit high. So let's manually delete a couple of them. You can see how we don't need all of these guys right there. I'm seeing something closer to that looks better. And every line with lead, this is one of the things that my students get quite surprised about. It might not seem like we're reducing that much, but every line we delete really removes quite a bit of elements, as you can see right there. We go from, I don't know how many thousands we have two hundredths. This one right here might need some of those, but I'm going to delete one there. One there, and this one there. Maybe even this one right there. There we go. Now we are all the way down to 2000, 2000 triangles for those bandages. So if we take a look at this piece is now ovary typology that we've done. It's a good level. Can we make this even lower? Yes, of course. Remember that there's pretty much no, no limit on how low we can go. We can go really, really low end pretty much have just like cubes. But this should give us a really, really nice results, especially, especially when we combine it with the tail. Whereas the tail right here, Let's turn it on and turn this off. There we go. So as you can see, this is the low poly for the tail. For some of those guys. Again, this guys we don't need anymore. I'm just gonna delete them. We don't need those. We're going to reconstruct those once we do need, but we're going to have, of course the final ones later on. Let's just hide it. Technically, we don't need this one, so I'm going to hide them as well. This guy, mesh display Software nach. There we go. And yeah, that's pretty much it. Let's just assign the same like Lambert material to the whole thing. And look at that. We get some really, really cool stuff. This ones, as you can see, they have a weird like shading. You need to go mesh, display and unlock normals. That's a very common mistake. Sometimes when you export an object from other softwares, they locked the normals and you get this really, really we're shading, but look at that. This will work unity on the game. And it looks amazing, like if I see this character at this distance, the silhouette that we're getting and all that stuff that's going to look amazing. We've already done the experiment with the rigging. So we know this is going to work really, really nicely. Let's bring in the where's the belt? There we go. Look at death, little by little. Hard characteristic. It's getting done, is getting production ready. Now some of you might be like, I can't believe I've just spent 10 h of my life learning how to read, apologize this full character. But believe me guys, this is one of the reasons why we get paid nicely on our studios doing this. Not everyone can do this, not even my students. Once they graduate, they make a lot of mistakes on that roof typologies had the thing. So by learning how to do this properly in creating acids are gonna be super, super efficient for the production. You are going to be one of those artists that people are always going to want to work with. So, yeah, this is it for this video guys. In the next one, we're going to continue examining all of the other props that we need. We're going to bring a lot of them from ZBrush. So right here we have the chest belts and we have this row right here. So there's a lot of little details that the beard stuff, all of those things we're going to start doing and we're going to prepare for the for. We have a couple of patches. We have this for patch right here, this for patch right here, and this big for patch right here. And we actually need to prepare or creating new mesh for those because we need to find a place from where that force is going to be coming from. Okay. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 42. Chest Details Zremesher: Hey guys, welcome back to the next part of our series. Today we're going to continue with the chest at details. And there's really not that many. We have the belts, we have the necklace, we have the Nicholas cord, of course, and that's pretty much it. So yeah, let's get to it. We're gonna do a very similar process to what we did on the last one. We're going to select one of these guys and just clone this. So we have it over here. And now that we have that, we're just going to select some of these guys and we're going to start importing them. So a sub tool band. And we just append whatever it's selected on the other sub tool, which in this case it's the other belt. We go for these guys right here. Very important that we give them a polar groups. I'm going to other groups. Both of them have their own polar group. Go back here, append. And we select these guys. And we go there, is this guy right here. Again append and bring them in. And yeah, that's pretty much it. There's one more thing here which is this like a metal cylinder. But to be honest that one's a lot is just a cylinder. So I'm just going to re-add it inside of Maya. On the back. I don t think we have anything. No, there's no clasp or anything. So we might later on texture or we can add just a couple of spheres or something to indicate that that's, that's something, right? It's attached somehow. Alice go to the necklace. Well, the nucleus, it's its own little folder. So I think I'm going to leave the necklace for the next video. Now, this one's right here. As you can see, they're like good topology. They have good topology so we can read, utilize most of it. We're of course going to have to simplify some of this cylindrical things. Or if you maybe give them a Bible or something. And that's pretty much it. This because right here we did DynaMesh. So this again is where doing are either every typology or a remeshing could be perfectly valid. In this particular case, I think we can get away with the Siri measure. So let's give it a shot. Let's go. Ramesh or sorry, geometry. See remeasure, but I'm going to use a detect edges. This one will hopefully give me, as you can see, heartbeat harder surfaces for the whole thing. Let's bring this down to like a one to zero measure. It's good, but it's really dense, right? So naturally think of it, it's gonna be way, way faster if we just read topologies and we already have those inside of Maya. So I'm going to read apologize those inside of Maya, this ones I do remember having a clean elements, but it seems like at some point I did this thing right here, like this guy, I think we can reconstruct subdivisions. So let's try. Can we know we can't. Really weird. Why not? Surely you at least get the option. Because you can see we do have a clean geometry going on around it. We have like hidden. Oh, now I see the problem. We have a twist right here, and that is something that I did not see. Wow, Okay, That's gonna be quite a bit of a problem. So let's try to see remeshing first to see what we get. Maybe we'll get something that is a workable. But again, this is one of those elements that are reconstructing or rebuilding them inside of Maya might not be that difficult and might not be a bad idea. Okay, that's not that bad. I'm pretty sure we're going to have some spirals there. Yeah. To be honest, I think it's gonna be way, way easier if we just rebuild this inside of Maya. And the way to rebuild this inside of Maya, it's actually quite easy, but it's success. 43. Chest Details Retopology: Hey guys, welcome back to the next part of this series. Today we're going to continue with the chest at details and actually have a slightly different setup for the screens. So I'm sorry if it takes me a couple of seconds to switch between one software and the other. So for the chest, we have a couple of pieces. I actually have a C brush down here. Here's a change. There we go. And we can see inside of ZBrush that we have the belts, have the necklace, how this little cord here for the, for the necklace, which we're going to redo, of course, these little guys right here and this little guy right here. And I was taking a look at my impels right here, and I actually realized that we haven't issued. So for instance, this guy right here, this belt is actually like offset. It has a really, really weird and bad look right there. And this one right here is not that bad. But still, I did not. This is DynaMesh, as you can see right there. So it's gonna be really difficult to reach, apologize. And we know how difficult it can be to avoid having all of this like spirals and stuff. So one thing that we had to do, I had to do when I was doing the past video is I had to try and make everything inside of Maya inserted inside of ZBrush, which was a challenge. But in reality, whenever I'm working on the character, I will do certain things instead of my answer and things inside of ZBrush. So here's what I'm gonna do. Here. I'm going to bring her, I'm gonna go to the high poly meshes. I'm going to turn on the chest, the bandages which we should have right around here. Chest upper, chest belt, upper inches below, lower. There we go. And I'm going to use a tool here inside of Maya to generate that this guy is in a cleaner way. Now, yes, we did sculpt a couple of details, but even those details, we can just redo them with a clean mesh or we can just work with them inside of our texturing. So here's how it goes. I'm going to select this guy isolated real quick and I am going to make it alive surface. But we're not going to read apologize, imaginary topologies in this, especially with this really hard border, it will take us forever. So I'm gonna go to Create curve tools and I'm going to use an EP curve. And we're going to start right here. And you're going to click. Letting me, maybe I'm not seeing it. There we go. So let's go back a couple of points. There we go. Let's get out of isolation mode. That thing is the live surface. Now, let's hide all of the retail permissions for now. There we go. So now again, create Curve Tools, EP curve. We're going to start right here. And we're just going to start clicking along the belt. Just trying to go as like nice and centered as possible. Very important not to go big steps because we will do want to capture the curvature as closely as possible to what we had before. The curve is being drawn right there and there we go. Then once we have that, we can select this object. And we can use a tool called the mesh. If you're using Maya 2022 or 2023, you should have access to the sweep mesh with the supermesh does. As you can imagine here, as you can see, it creates a sweep around the object and we can change, of course, the scale of the sweep. We're going to need to quiet the bigger scale. There we go. 20 seems to be the proper size. What we're gonna do here is we're going to change the size to four sites. For sites, as you can see right there, the thickness is a little bit too big. So we definitely need to change the thickness here. And I do want to change the rotation a little bit there we go, something like that. I just want this to be asked like flat to the same angle that we have with the belt spot. Cool. Now, we are going to use this optimized button. This is very important because as you can see right there, it's going to try to reduce the amount of polygons that we have. Otherwise, it's just way, way too many. But I'm still going to increase this a little bit actually let me get rid of that one and just reduce here. Yeah, I think this is better. We're not going to use optimize, we're just going to reduce the amount until we get a number that looks like this right here. And that's it. We select the object and we delete history to remove the strip mesh like a note that we have. And from here we can start working on what we need. So I can immediately tell that this is way, way too thick, but this is a really easy fix because I can just use one Insert Edge Loop. Let's not use this anymore. Inserted closer to the edge so we get the proper size, which is around, right around, there. There we go. And then I'm going to select this face right here, delete them. This face is right here. Did I not? Let's isolate this guy real quick. So this faces and delete them, and then delete this face right here. We're going to select this guy and this guy we're going to bridge. We're going to do the same thing on the other side. Rich. Then we should be able to select this except for this little two guys right here. And just preach. Sorry, not Bow. Bridge. There we go. Now, as you can see, we've successfully rebuild our belt without that much of a problem. You can see that the weld is not as thick. On the highest side of things. So easy way to do that. We just select the upper, pretty much all of the faces except for the caps. And we can press Control E to extrude along the normals to give them proper thickness that we're going for, which should be roughly about there, are a little bit less right around there. And that's pretty much it. Now if we want to, of course, reduce the amount of polygons because we don't want to assume any polygons. Those new lines that we just created, Control N, delete. There we go. We have this very, very clean mesh here. Let's bring in the chest, but I'm going to bring you the right apologize. Chest because this is the one that we're actually going to be like seeing most commonly. Let's hide this for a second. And here we can definitely tell that there's a couple of issues with the belt. So the first thing that I'm thinking about on the back, it looks quite, quite nice. This kind of overlap. It's actually really, really common in games. Again, I've seen this quite a bit. But you can just press B, an increase with a middle mouse at the element right here. And we should be able to just tweak a couple of phases, a couple of places to push this out and have a better, a better hole right here for this one right here. Can just move it a little bit. Here. I'm going to very carefully rotate this using camera based rotation to try to keep the thing looking. If you remember from the previous course, we want to make this thing look like it's actually like stretching, right? Like we want to see the tension of the element. Very careful on this part right here. Compress this and just rotate slightly there. But again, this kind of overlap is very, very common. For these phases. You can see here on the front, we do have several phases that would need a little bit of correction. So I'm just going to rotate slightly like this. And then I'm gonna go only to this ones. Same deal. Just rotate slightly, maybe push them up a little bit. There we go. There we go. Grab this piece right here, just get it into this area. And that's where the belt buckle is gonna be so well, there's this upper one didn't have a belt buckle. I'm just going to position it right around here. We're going to have the first section over here, like another extra geometry that we're going to have to add in just a, just a couple of videos, but yeah, this works fine. Now again, we've mentioned how sharp edges are usually not that good. So I'm going to bevel them. I'm going to bevel all of the edges. Even this guy is right here. So we complete the loop and that we don't get any angles. So we're just going to bevel like that. That's it. That's gonna be my belt as you can see right there. I don t think we need more divisions to be honest. But if you're in the production, they're like, Hey, this thing is deforming weirdly, you might need to add one extra division right there at the center. And as you can see, that matches the general resolution a little bit better. So in theory it should the form a little bit better. Bells and all of these things are usually quite tricky to work with. So it's perfectly normal to have this sort of fishes now, for this one right here, if you remember, it's, it gets covered a little bit by this front part. So to save a little bit, to save ourselves a little bit of pain on the rigging process, we can create a curve that gets hidden right beneath this guy right here, and then another one that starts over here. So we can do this as two separate belts. Remember this hypothesis, we're no longer going to use this. This is the new high-quality that we're going to use. And if we want, we can bring this into ZBrush, just give it a couple of subdivisions and the add some details, the same details that we had on this ones like this or like hammered or destroyed little edges. And it's when I work exactly the same. Okay, so let's go for this one now. This curve we don't need anymore of course, so we can delete. Let's go for this one. Let's hide this guy again, so we're not distracted. Let's actually hide the belt again. I promised before we jump into the next chapter, we're going to do a video on clean-up. We're going to clean all this up because at the end we should have only one folder with all of the reach apologize meshes. And then we're going to prepare one folder with all of the high polymers. We got this guy, make it alive surface. We go create turtles epi curve. And now that we have the epi curve, I'm going to start as close as possible to that inner side right there. There we go. And then just start moving in this direction. Now roughly about here. Oh, my God. Oh, sorry about that. I'm getting my my allergies give me 1 s. We're going to hide this one right here. And we're going to hit enter. Now, if you're drawing what's not as precise, you can right-click the curb, going to Control vertex mode and just slide the points. Pretty much. Pretty much as if they were a polygon. Oh my God. This allergies kill me. So, yeah, let's keep going here. I actually know, rather let me solve my allergy issue because otherwise I'm gonna just gonna be sneezing and posting everything. I'm going to stop the video right here, guys. And in the next one, we'll finish this back. 44. Belts Retopology: Hi guys. Welcome back to the next part of our series. Sorry about the last video. I wanted to continue, but my allergies were literally killing me. Well, not literally, but they were they got really, really bad and I need to take my medicine helps me with this nieces. So let's show you here real quick with the right topology. We were doing the bell, so let's just keep doing the belts. And we already created the first curve, which is this one right here. Now, one of the cool things about the sweep mesh function is that it actually works with multiple curves. So you can create the next crib already with the epi curve. Let's do 123, 456-789-1011 right there and hit Enter. Hopefully that should be more than enough elements. Now if I feel like, for instance, there, There's two points are really close to each other. I'll just move them around a little bit to make sure that we get a cleaner, a cleaner curve. There we go. That looks good. So now we select the both curves and we use the sweep mesh at the same time. And what this does, it assigns the exact same elements to both of them. We're going to switch this to 20.24. So we get a square that seems about right, seems to be following the proper temperature. But if we need to twist it just a little bit, we can do so. Maybe just there. That it looks a little bit now actually, let's keep it like this because we're gonna be cutting into it, right? So maybe we'll be able to fix this. The one thing that we're going to definitely do is remove or reduce the amount of precision. Let's go to something like a three-sevenths. I think that's a good number. There we go. So now as you can see, we have this two objects and now we're going to use the exact same technique that we used before to get the thickness. So we're gonna get rid of this guy. And that's pretty much the thing is there on the upper side, and that will be the thickness on the lower side. We delete this case right here, delete this case right here, and of course lead this guy. And now let's see how this looks. A little bit thick. I would say, let's just add one more line there. Delete that. We bridge these two sides. And we push these two sites. The function, the function is very similar to the, the curve function that we have inside of ZBrush. But to be honest, I find it a little bit easier to control here inside of Maya. So I personally prefer to work with the one that we have right here. Same deal here. Let's do like one cut there and one there, one there. There is because we're going to do an inverse selection. So it's like the inner roads. There we go. That way we get the inside and outside. We can pretty much everything here. Here we might need to, as you can see, it's slightly offset. It, this is common. You can do this bridge offset a couple of times until you find the proper amount that we go 113 on my case. That's it. So this guy, we don't need anymore. This is gonna be our new element. Let's bring in the apologize mesh. And that one thing that we don't need the curves anymore, make sure before you delete the curves, made sure to delete the history on your objects. You get rid of the curve influence that you have on them. Now of course, we do need to make this things a little bit taller, a little bit thin. But before I make them taller, I think it's a good idea to Let's bring the built-in so we know where they're going to disappear. And I think it's a good idea to play around with the proper position of this thing. So I'm going to use again self-selection, going to use w here and rotate them around a little bit and see how that gets hidden right there. That's what I want. I don't care again, a little bit about or about a little bit of overlap, that's perfectly fine. It's quite common again, for this sort of elements. Let's really rotate this a little bit. Push this up. Really hawks the surface of the of the pectoral muscle in this case. And now here I can definitely tell that I went way too short, but that's fine because we do have extrusion. So we can just extrude position this where it's supposed to be finishing, which I would approximate it to be right around there. And that's something interesting is going to happen here because we do want to have the thing like going over and under the buckle will take care of that in just a second. Here, you need to, you can of course, reduce the amount of intensity and just keep things a little bit straighter. I know that the bubble is definitely going to help with the hard surface effect that we have right now. Again, if you feel like some elements are like keeping things like not as nice or another substrate not as tense as it might look like. It can, it could look like a loose belt. You can just adjust it right there. This one as one of the tricky ones because it definitely has a couple of extra. Extra faces. I'm going to select some of this case like, like this. Then we w e, sorry, I'm going to rotate them all at the same time, actually going to make the influence a little bit bigger. So we rotate the whole belt, pretty much. We need to go here as well. There we go. That looks good. Again, if you see a couple of areas like this one right here, make the selection a little bit smaller and just play around with the intensity. This one definitely push it in so that we don't have as much overlap. We do want to have a little bit of that overlap. Make it look like it's actually going to the skin like that. See play around with the camera based rotation here, I can definitely tell that they went a little bit more than needed. Back. Camera visualization, which is this yellow one is really useful for this particular case. There we go. And again, we can graph. I'm just going to grab single edges. No soft selection and just clean up a little bit of this thing right there. Again, belts are one of those things that are really tricky. And the formation, why is there always a little bit of a mess? You're going to see them stretching and moving there. It really awkward wastes. Let's delete some of these guys. We don't need all of these elements. I think this one's probably going to be the last one. Let's of course, breach this guy right here. Now to give them the proper height, we select all of this ring except for the caps. We're going next truth. Checking the number on my left side which is like 18, 16, that's fine. Same thing here because there are different objects. So if we try to do this on one, it's not going to work on both. I think. Go for number that matches closer to what we want. There we go. Of course, to reduce the amount of polygons controlling, elite, control and delete. There we go. Grab these two guys. We can combine them. Let's select all of the edges, pretty much including the, in this case we are going to be including, Well actually, no. Before we do that, I do want to do that little belt buckle thing. I'm going to show you how to do that. I'm gonna select this guy right here. It's a very like, very like handcrafted thing because I'm going to literally do an extrusion. Then rotate this thing a little bit. And then do another extrusion. And rotate this a little bit again. Push it forward. Then I'm gonna do another extrusion. We should forward like this. Another extrusion. Rotate the face. Like I'm literally manually doing the bulk of the belt going through the loop. And then this should go right around there where it finishes the loop. And then push it forward a little bit like that. So that's how we can create this effect. You can of course add one extra library there. Play a little bit with this one to modify the curvature. But yeah, that's, that's how I would do that sort of thing. So this one right here, I'm not going to add that will be a little bit, just a little bit more extra work and it's gonna be pretty much hidden. And now that we have both sides, now we do select all of the edges, including this guy is here on the inside. We're in the bubble there. Slightly bigger fraction. That's gonna be our low poly. That's a little bit too much. Probably something like that. There we go. If you want this to be a round, the effect we could, we would of course need to add. And I'm actually right here at the center and grab this guy is right here. I'm gonna, I'm gonna show you a very cool trick. I'm gonna grab this guy is right here. Like going to the back those. And then I'm going to bevel them. When you babble, what happens is you create this shape which is just split the edge pretty much. And now with the edge being splitted, I can grab this guys. Just round this off. Of course we get an angle here. These are angles. So this face right here, we're just going to merge the center. It's gonna be a single triangle. And we're gonna do the same thing. On the backside CEO, who said that we were not going to learn a little bit about the modeling even at this stage, it's a very common technique to get an extra attribute there and give a huge round or having around the fact that looks really, really nice. Now, num is pretty much it. That the other thing that we need is this guy over here are probably want to push this thing closer to this element right here. Again, we need to create. I think I'm actually going to be creating in this video. Now let's do another video. Because otherwise, some people might skip ahead and they were like, Well, when did he did this? And I don't want people to be sharing the companies like, Oh, he's kept apart. It's like no, you forgot to see the last part of the video. Whichever this more frequently than you might think, like, we get a lot of questions on the platform sender, It's very common for students to be like, Oh, I didn't know how to do this. You just keep the words like no, no, we didn't skip it. You probably just skipped ahead. And on one of the last bits of the, of the videos, we did that. Here. I'm gonna grab this vertex right here, soft select, and just push them in a little bit. And then this case right here, Let's push them out a little bit so we can see that the final bit where this thing goes into the into the belt. There we go. So again, it's kinda like hiding this information from the eyes and no one's going to know that that built right there. It's not going through both sides of the character. So, yeah, that looks very, very cool. Now, as I mentioned, we're gonna do sort of like a leather, let's call it leather cover on the other. On the next video on the shoulder. I'll explain a little bit why we need to do that for the, for the for, but there's one extra thing that I want to do on this video just to show you guys how all of this is going to work. So I'm gonna grab this element right here and I'm going to isolate them. And I'm going to do a very quick rate. So if we grabbed me, Rick, we've got our balanced right here. I'm going to start right here, 12345, that will be the neck and there'll be the half. Okay. And then for the arms we would have something like clavicle. Clavicle, arm, shoulder, shoulder, wrist, and then head. That's usually the way the works, of course, this thing right here, it's going to be pushing forward in line with the arm. And there's a debate whether or not a straight spine is better than a curved spine. It's pretty much the same thing. Like for our purposes right now, it's pretty much the same thing, but usually I like to have a straight spine. I feel it looks better and it's a little bit better for the math of the whole thing. There we go. So I'm gonna select this guy right here. I'm gonna go to rigging, skeleton, mirror Joints, YC, hit Apply. And then these two guys, we're going to append to that bond right there. We're going to select all the joints, select the geometries, both of them. Okay. I'm just kidding. I'm just using these two guys. I'm going to say skin, bind skin. It's going to do a geodesic boxes. So now if I select this guy and they twist around, this is what we would expect to see, okay? So as you can see, the deformation is working quite nice. And of course, if we fix the weights and everything, things are gonna be working very nicely. One of the big tests that you're going to do, and this is B9 is not properly done. But one of the big tests that you can do is bend the character forward like this. And that's where right now the weights are definitely failing that we need to do a little bit of weight painting there. But look at the back, like it's not that bad. Like I know that all of these weights that we have right here, they can definitely be fixed and they're following the character in a nice way. So this tells me that we are in a good like we have a good though good base for the rigging and all of this that's white correction that we need to do on the rigging. This is a really bad break and that's where we're getting this. But yeah, like you saw right there, like the twisting from left to right, that looks really, really good. And things are going to be working perfectly fine once we, once we do a final reading, not in this course, of course better later on. So, yeah, that's it for this one guys. Belts are ready. And then the next one we're going to take a quick look at what's the important thing that we need to take into account for the fact that we're gonna be adding. So hang on tight and I'll see you back on the next one. Bye. 45. Fur Patch Modelling: Hey guys, welcome back to the next part of the series. Today we're going to take a look at the first patch or modeling that we need to do in order to generate the mesh that's eventually going to hold our elements. So first of all, if we look for like medieval for armor, I like this is the stuff that we're going for. The most common type of things as you're going to find our borders like this. It's very, very common in games. It's very, very common and costly. It's very, very common in a lot of media. This is what we're going for. We want to go for a, for a complaint for cloak or something right now, why is this more commonly available or more commonly seen? Because it's easier. It's very, well, not very big. It's a lot easier to just have a row of hair cards around the border of an object and make this the look of a furry effect. We could, of course, like hand painted, hand painted for, for instance, is very common in certain games. To alleviate the performance hit that you would have if you had to generate all of the fervor your character. Like this is what we would normally see in stylized or in mobile games. Games like World of Warcraft. You can see how they get away with this very cool looking for without having to actually do it right, this guy right here. However, in our case, we do want to do it and there's games nowadays they're actually doing it. The best example I can give you is, of course, California Wagner Act, where there's a lot of fur and the armors in the clothes and everything. So if you take a look at this for right here, it might seem like it's just the hair, but of course the hair has to be attached to something, right? So if we look for just a firm, let's call this crew leather. You've gotta find that when they kill an animal, let's look for a ship. For. There we go. So when they sometimes they kill the animals, sometimes they just trim it, right? But you're usually going to have this sort of hopefully I'm not hurting anyone says sensitivities, I apologize. But you will have this layer of skin. And there we go. And on top of this layer of the skin is where all of the wool or the learner, all of the fur is attached to something like this. Okay, let me look for like old for you, look for all four you're going to see for like carpet. Can be some animals here. There we go. So this is like close to what I was trying to show you. Look at this. This is how the firm gets like a no, that's not the first sorry. But yeah, like you usually will have this sort of like layer. And on top of this layer is where the hair is going to be moving from. Now this is extremely important for us due to the reading process, because the hair will be or needs to be attached to a geometry that's going to be attached to a skin cluster so that when you move the character differ most with everything else. Now in the original character, and you can see it on this other screen, 1 s. We go. So in the original character, we have three main for patches. We have, there we go. We have one patch right here, one petri here. Well I should for punches a little better right there. And this big patch right here, this patches down here, I'm actually not that worried about because we can attach differ then have like given that a little bit of a fade coming from this big scraps of leather that we have right here. And even this one, we could attach it to the built-in, that's fine. It's going to move with everything else. And since there's our independent, if you want to call it that sections because they're gonna be ripped apart from the body. We should be able to get a very nice, very nice thing working there. But this guy right here, we don't have that. We don't have any leather thing or anything over here that we could use. So there's a couple of ways in which we could do it. We could of course, go here inside of Maya and just create a very quick mask. And I actually think that's the best option, so let's just do it real quick. I'm gonna, I'm gonna clone this whole torso. So we're working on a clone and we're gonna go down a couple of other visual levels. We don't need all of this geometry. And I'm going to very quickly create what the leather patch or letter for it's gonna go. It's gonna be let me changed my screens as I've mentioned. Then, there we go. Now, this is my side, the way God like one screen beneath the other one. So this is where we're going to have the leather scrap. And since this is going to be heavily obscured by the skull and all of the other elements. I don't want to make the border extremely irregular because it's just going to make things a lot harder for everyone, for the rigor, for the animator, for us as artists. It's just going to make it really, really difficult. So I'm going to keep a very, very simple soft profile going around this. And this is the pieces where the whole leather is gonna be it's gonna be attached to. So as you can see, I'm trying to keep things. As clean as possible. Just a big patch of leather that's going to be covering this section of the care that we call. So now we're gonna go to Geometry. We're gonna go, sorry, two sub tool. We're going to extract with zero thickness. We've done this before, extract and hit Accept. That's isolated. This guy right here, there we go. I actually liked this border like slightly, we can call it slightly asymmetrical and stuff. Let's go to Syria, measure and see Ramesh this like assays. We don't care about all the details on all of the topologies and stuff. We're just gonna go straight to the, the big thing right here. There we go. And I definitely want to decrease this. We were not going to have to smooth this, but that's why I want to get it as close as possible to the final resolutions. So something like this, I think works fine. Now that's a little bit too much. There we go, something like this where it looks or works a little bit better. Now, there's a couple of vertices there that I would definitely want to change. And I will definitely want to have like a, like a border to be honest. Let's clean this up a little bit right here. Here we go. Let's export this thing. I'm going to say export. We're going to export to our Readtopia mesh meshes an FBX. And let's call this shoulder for leather. And let's go back to Maya. We go I'm going to say File Import and we're going to import, of course, our shoulder for leather. What is it? Did not export. Just export it. So File Import Assets, topo, shoulder from there we go. It's probably going to be down here. Yeah. So remember we have a magic number. If we still have a say, but yet still saved on their clipboard. There we go. So as you can see, that shouldn't be more than enough. It allows us to also attach to the bell so it makes for a better connection. It makes sense that the belts are going all the way there. I'm just going to literally Control E to extrude this and give this a little bit of a height. So distinct pushes up a little bit and we create this sort of like leather effect that we're going for. Let's isolate this real quick and fix some issues. Actually before we do that thing right there. There we go. Let's fix the topology. So mainly, I'm a little bit concerned about all of this like triangles and stuff. You can see that that's a bad topology, that's bad topology. Scab these two guys, we use merge the center. For this Mercy Center. We have a clean border or as cleans have water as we can, should be more than enough we can. I'm tempted to combine those now. I don't love that to be honest, So yeah, not too worried about these pieces. Yes, it's going to deform, but relatively easy piece to the form. So Control E. And we're just going to give this a little bit of thickness. Something like that works works fine, I guess. And what we can do here is thanks to that extrusion, now we should be able to select the whole border, especially the outer border. I definitely do want a bevel it just to round it off a little bit. Let's assign the material. And what we get this, this, this sort of like a leather patch that we have right here. We can definitely help the overlaps here a little bit. So that's not creating some weird effects. But we're going to have to texture as traditional leather as normal, whether the belt, of course, we're going to have to select it, push it up a little bit. So it's on top of that thing. Can not too worried about the final connection there, but just, just said it makes sense. We might add in texturing some small little rivets there to make it seem like it's like stapled or something to the shoulder thing. But yeah, this again is gonna be super important because this is where the firm is going to be attached. And if at any point they need to do a change, that change is going to happen here, not under character. You definitely don't want to attach to the hair to the character because that will like causal model for a lot of different issues. That yeah, that's, that's pretty much it. Yes. We're going to see a little bit before coming here from the mouth. That's perfectly normal. There's also going to be the smoke eventually. So as you can see, this is looking pretty, pretty good. In the next video, I'm just gonna do the necklace. I think that's the final one that we would definitely need to talk about. And after we're done with the necklace, I know that there's a couple of bits and pieces here. I need to re-import the buckles. I need to read topologies, this little square pieces here. Again, I'm going to do that off camera just to say, but get you guys a little bit of time. The last big one, it's on the on the character. I think it's like the rope, right? Some of you guys might be wondering about the rope. You got this row right here. I hope this one we can recover, can we? Yes. Okay, That's great. So that one that one was a tricky one. So the good thing is that we can recover that one. So again, just export that one and that's fine. All of these pieces just extra, I'm just going to export them and simplify them. And the last big one is gonna be this guy right here. I am going to do it in camera. But just to let you guys know, this is just a simple curve that we're going to extrude along because the UVs that we get from the sweep mesh are already cleaned to insert a rope texture later on. So yeah, that's it. I think after that we're pretty much done. I still need to bring the bandages here on the folder and the feet. But we're really close to finishing this chapter and thankfully, the whole topology process here for the character. So that's it for this video, guys. I'll see you back on the next one. Bye bye. 46. Extra Props Modelling: Hey guys, welcome to the next part of the series. Today we're going to take a look at some extra prompts that I actually found that if we definitely need to cover, because there's a specific thing that's gonna happen with this prompts. And I wanted to make sure that we are all on the same page. So the prompts that I'm talking about are the key chains, the belt rope key chains that we have right here. This guys, I've just exported the low poly versions. You can see we get the other ones which were decimated, the ones who this guy is right here. Okay, we don't need. And so this guy is right here. So this bells that we have right here, they're going to be on top of the rope that we have on our character. We can actually turn onto rope and I'll show you how to model the robe real quickly. But first we need to bring this guy up. Again, copy the magic number. There we go. We've been using so far and there we go. So let's bring into rope or actually no, we don't even need the rope to be honest. Because what we need is we just need a curve that follows along this line right here. So we're gonna go to my front view and we already have the channels through which the rope is going to be going. So we just go create Curve Tools, EP Curve, start right around here. A couple of clicks. We follow that section right there. There we go. Of course, we're going to have to move the rope forward. Let's center the pivot point. There we go. I'm going to position the points at the border of the belt right around there. Then if we isolate, we can go into the control vertices. And in a very similar fashion to how we would do this with a traditional polygons. We can use soft selection, for instance, just like move these things forward. Let's start with this one right here and just have it like a really big self-selection. There we go. So we need to move it. So it goes, of course, through the loops that we have right there. This guys move them through there as well. And we can reduce the intensity a little bit here, just to clean it up a little bit, make sure it looks like it tracks onto the floor, onto the top of the character. This one right here. Good, Right here. Definitely make the influence smaller. Bring it in again. Push this in. We go up a bar. Yeah, that's pretty much it. This case, of course we push them back. I think anybody want to like move or control this thing a little bit better, we can just move it now. This guy, we're just gonna do a basic sweep mesh, as you can see right here. We're going to play with the scale. Scale of like 15, too much, 12, a little bit too much. Let's try ten. Then it looks a little bit better. That's quite nice. I am going to optimize this one. Let's turn on our display and show that we're actually not optimized. We're seeing that reduce the amount here to keep it easy level to follow. There we go. Now you can see that it looks okay, but not perfect, right? So here's a very cool thing. The curve that we already have right here. If we go to the control vertices, you can actually keep on modifying the controlled Brazil. And as long as you don't delete the history of the geometry that you are modifying, you're gonna be able to move this around. And the geometry is going to adapt itself to the new, the new effects. So as you can see right here, can play around with some of these points. Make it seem like it's going the closer through the places that we want it to go. There we go. Yeah. Again, here might want to just like straighten this up a little bit and hide it underneath the belt. That's pretty much it. The great thing about this one is the UVs are already done for perfectly straight. So if we just add a very basic rope texture to this thing, it's going to work perfectly, perfectly fine. So yeah, that's that's pretty much it. Yeah. Now, we're gonna go on to the disguise right here. This is one of the important ones that I want to talk about. So when we are talking about this row details where it's a very basic geometry, very basic thing. The best thing we can do is actually simple. We don't need both of them. We can only need to bake one of these guys and then we're going to duplicate it as many times as we want or as we need to get the desire effect, right? So let's get rid of self-selection. They're not real rotate this, it's going to be your front view. I'm just trying to line this up a little bit nicer. It seems like it's a little bit offset it, which I don't like to be honest, and neither do I like this thing right here. And to be completely, completely honest, I'm also going to delete this guy right here. Why? Because they're really happy in regards to topology. This is perfect. This is perfectly fine. So on top of this or with this guy and this guy, of course, we're going to rebuild what we had. We had worse, a very basic cylinder. Let's bring this up right. There. Was a very basic cylinder. I think 20 sides is fine, but if you want to optimize this a little bit more, for such a small thing, maybe even 12 sites is gonna be perfectly fine. Let's do it 90 degrees of rotation right there. Go to the front view. And I'm going to snap this to the center of this guy right there. Make it smaller. And let's push it back down. Make it a little bit bigger, smaller. So this is like the thing that's going to be holding the element, right? Then there's gonna be another one very similar to this one. And I'm actually not going to follow this. I'm going to keep it in a size that makes sense that if we move it here, it will fit. So as you can see, something like about their work perfectly fine. Bring this back to 90 degrees. There we go. And we'll just bring this down right there. This guy is just bring them down a little bit. So you can imagine that thing is gonna be hanging there with the proper movement, of course were the proper rotation. And then this guys are gonna be connected by another single like metal bit. So we return this to zero. We make this smaller. And that's going to be like the little metal link or whatever you wanna call it. Always make sure that we're not hiding as much the faces because that's going to steal some texture space and we don't want that. So there we go. So this right here, this is going to be our little key chain and we only need one. And I do recommend moving it to the side very similar to how we have the x. We can even move it. I'm going to keep it in between the x and the character. So right around there. And now every time I need one of these guys, I'm going to use the textures that are gonna be repeatable. Of course we're going to have two textures, one on one side than the other on the other side. And that should be more than enough to optimize this and repeat this guy as many times as we need. I believe we have two of them hanging from ropes. And then on this side right here, we have a separate type of element. Let me show you here real quick, which has this bell strap key chain. So again, I'm going to import and we're gonna get to decimate the ones. Let's just delete that. Import. And down here, up, isolate. And it's gonna be very similar process that we don't need. And we're going to have this guys right here now. They're not perfectly symmetrical. And the first thing I'm seeing right here, It's really much like the same thing we already have with the only difference is that they do not have the, the chain right here. So easiest thing to do, just looked, just duplicate this, make them a little bit bigger. I do believe there will be a little bit shorter like this, and delete this guy right here. Now I did not export and I should have exported this things we're supposed to be connected with a little cube. Let me show you here. Do I have ZBrush now I close servers. But if you remember, there was like a little something that hold these guys together. So let's just rebuild it real quick and then create a cube. Move it to there. Do something like this. It'd be that the flat cube that we're going to be using, we probably do need a little bit more height on this guys. So right around there. Normally I do like to give at least a little bit of a babble, so something like that, It's perfectly fine. And I do remember that on the original concept. The original concept, we did have something there like a little sphere. So again, we'll just create these fear. Snap it to the center there. Rotate this 90 degrees, change the sizes to 12th. It's not as big. And we're going to delete half of the sphere. And we're just going to leave this guy right here. Like so. That's gonna give us, again, I know it's a little bit of extra polygons. I might even delete some of this guy's like that just so we can capture something there. And that's going to be, we'll call it small chain and big chain. Those are gonna be the two types of change that we can pretty much place on any point we wanted the character, we want to place one of these chains like back here on the bells, are like attach one to the, to the skirt just because we can do it because it's a little extra attachment. And I loved this process. I saw this process several years ago for they were showing something for Dragon Age Origins. And the characters that they were showing follow this same electric call, this the superhero toy process. So if you guys are fans of marble, marble cells, this marble legends figures, so I have a couple of them. And when you buy them there under package with all of the accessories like this. And the reason why we do this, it's called an exploded view, is so that we can facilitate the big. So I'm going to show you a couple of techniques to get proper bakes once we get into that chapter. But this is a perfect way to see how many pieces you actually need to model. If it's a unique piece that you cannot duplicate or just like a repeat, you definitely need to model it, such as all of these bells and bandages and stuff. But if it's a piece is going to be duplicated or if it's going to have unique textures. We know that the expenditure mirrored, but we might want have special texture here and especially texture here. Then in that case you do need to model them. But yeah, that's pretty much it, guys. I think that's all the details that we were missing. Some of these guys right here, the rope, it's already there. And the last but not least, we need to do the necklace. So in the next, and I think it's the final video, we're going to do the necklace. There's one more thing which are the hair beats that we have right here. But I'm actually going to leave those beats out until the very end when we do the hair. Okay. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 47. Necklace Retopology: Hey guys, welcome to the last part of this chapter. We're finally, we're finally done with the first half of this course, which is that every topology, and I know it took us very long. But after all of this hard work, look at how nice our character looks. We have a really, really nice distribution. We are a little bit below 150,000 triangles. Show that's great because again, in AAA games, this is a normal name anomaly, normal number nowadays. So again, we know that if we need to, we could definitely avoid having this smoothing and subdivision that we did to a lot of the pieces. Just have a way lower subdivision for care. But I want to create this amazing looking character is going to be perfectly fine. You can see that my computer here, no issues whatsoever processing all of this and we can bring this into unreal. And it's one that worked perfectly, perfectly fine polygons nowadays have repeated, and I've mentioned this several times. They're no longer the bottleneck textures are, at least at the time of this recording. Now, the last piece that we need to do, as you can see, where we have the bandages on the feed, the bandages on the acts. We have vanished everywhere, the rope but the little key chains, pretty much everything is done except for the necklace that we have, this nucleus right here, the main loop on top of the head of the character. And then we have this guy right here. For this guys is since it's a very organic and again, it's not going to deform traditional or just easy reach. Apologize here, it should be more than enough. I'm going to try to bring this down all the way down to 100 faces. Let's hit Apply. I know it's not gonna be giving me 100 phase is going to give me a little bit more. There we go. That's fair enough. Let's just zero this out. We of course need to turn on the original belt again on the high that it hides it by default when using that tool. And we select this guy, light surface, we got this guy and we can do a mesh conformance to conform a little bit better to the surface. As you can see, we get a really nice object right there is going to catch all of the effects and it should work fairly, fairly nice. Let's turn off this so we can appreciate the low poly, little bit better. There we go. Look at that. Sharp edges, sharp corners. That's what we want for our element. And this guy right here, I was figuring like, should we do, Should we try manually typology? Let's see, let's see what we get. Because at the end, they, this is just a very simple cylinder. I'm just going to try it, mesh and again reach, apologize. Give us a result of here. Not bad, actually, not bad. To be honest, I think we can get the you can make it better by doing it ourselves. So let's bring this back. Jump on to live surface. So we already know how this works. This is a very basic traditional like cylinder. It's such a small piece that it really doesn't matter. Like I'm definitely not going to smooth this thing. I'm not even sure if it has a What's toward a symmetry line, to be honest, I think it does. Now it doesn't, as you can see, it's a slightly, slightly skewed. So that's also gonna be a little bit of an issue. She's just a little bit of extra work here. The final the final extra word or we're to have to do. And it's very common for this small props to be low poly, very, very common. We're going to copy the exact same number of faces on this side. This allows us to save some time by just bridging from one side to the other. And then here we can expect there to be some sort of flat area, flat surface. There we go. That's it. Hopefully you guys can already see how I'm gonna be managing this specific shape. And I think it's a good piece to be finishing our topology process. I think it's been like 10 h of content at this point. And I know, I know it tends to be quite, quite what's the word? Tedious. But hopefully guys, after, after all of this work, you have a really good understanding of how to read, apologize, any kind of thing that you might get on your way. Topology tends to be, I would say, quite easy once you understand the principles and we've explored them profoundly throughout the whole of this whole like six chapters so far. So make sure you don't forget about all of this and make sure you do the work. I know it's tedious, but you have to do it. It took me 10 h, it might take you double that or triple that amount of time. Some pieces are gonna be faster, some people are going to be slower. It's part of the drill guys, it's part of the drill. And again, that's why We get paid and nicely when we're working in the studio, because this sort of stuff takes time. You can't expect to have perfect topology with just see remeasure. We saw that we saw the kinds of results that we get there and we know that even though they're, they're okay, they're not going to give us the best, the best effects. Let's just keep going. Just fill this in. Again. It's not an object that's gonna be the forming. Usually this kind of objects you don't skin to the body, you read them separately with a little extra bone or some sort of like dynamic thing that allows them to move in the way that you would intend. And there we go. So now we just go. There to there, and we're going to bridge there to there. And we're going to bridge. That should capture most of the detail for the necklace right there. Now finally, this guy right here, we can try doing the same sort of thing that we did before. But I'm gonna show you a better way, which is we're gonna go create Curve Tools and we're going to create NURBS primitives, and we're going to create a circle. As you can imagine, we're going to use the street mesh with the circle. But the cool thing about the circle is that it's a, it's a closed circle. So we can play around with this guy and just make it seem like it's really like symmetrically falling on the top of the neck. So it's going to start from back there. I'm going to grab the control vertex, this guy right here, press B to make this a little bit bigger, bring this down, bring it forward, and make the whole thing go through the loop. This guys, I'm definitely, I'm going to get rid of this thing. I'm just going to push them forward a little bit. And you want to grab the points and make it seem like the word the necklace is really like touching the skin on top of the skin. If you know what I mean. One of them make it seem like the skin is really like holding the element here might even scale some of these points a little bit. This guy is, for instance, we can scale them in a little bit as well. That should give us a very realistic looking like Nicholas effect with a little bit. And we grabbed this guy right here. We say, um, we just do a sweep mesh skill profile. Not bad. I still think it's a little bit vague, so let's grab the curve. Cool it down. Like this. Well, it's a little bit better on the bottom side up here, I don't love it. It's going to isolate that. Let's go Control Vertex. Guy. There we go. Forward, bring it up out of this two guys. Out. We want to make it seem like it's like naturally hanging from the care. Might look a little bit weird. And the main reason why you might see this looks a little bit weird because the beer and the hair really adds another level of detail to the whole thing. But yeah, that's, we're going to do that later. So let me just grab these two, this crystal because it out, this thing would just say Mesh display soft edge. And there we go guys. Our character is a ready. We can even turn on the ambient occlusion pass just to see a little bit of extra shadow. Look at that. Beautiful. And I'm already visualising you already saw it, right? You already saw the intro video, so you know how this guy is going to add? Yeah, look at this. We are done. Chapter six is on my friends. This is where I'm going to stop the video. And the next one we're going to start with a cleanup video. We definitely need to clean everything up because we're going to start preparing and organizing everything for our baking process. So hang on tight and I'll see you back on the next video. Bye bye. 48. LowPoly CleanUp: Hey guys, welcome back to the next part of our series. Today we're going to continue with chapter seven, which is gonna be the cleanup, the bakes, the UVs, all of the things that we need to prepare before we jump into texturing. Just gonna be a great, great chapter. So by cleaning up, I mean, we have a mass up here, like all these things right here. We definitely need to clean up everything because it's getting a little bit difficult to understand where things are at the proper naming convention, everything like that. So what I'm gonna do first, I'm going to select all by type and hit a geometry by doing Dad. What's going to happen is we're going to select all of the geometry even if your hidden, as you can see, even the hidden groups are being selected. And we're going to delete the history, delete by type history. That's very important because now I'm going to start deleting certain things that we don't need anymore. So for instance, this curve right here, this curve right here, this curve right here, which we used for the creation of certain assets, we don't need anymore, so we just delete them. And that ensures that when we delete stuff, we're not losing whatever connection to west to the object. Sometimes if you don't do that, then you delete the original, original acid. Like to curve the GAD January that mesh like the geometry will get deleted as well. I'm going to move this necklace down just a little bit. Actually, no, we can't do that because the hypotenuse there. So there we go. Now I'm going to select all of these guys right here. Look at this reach, apologize meshes. And I'm gonna hide this, you're gonna hide this folder. Then this is going to give us all of these other measures that we have not properly placed it what they're supposed to be. So all of these guys, I'm going to select, I'm going to press Shift P, very important shift P. What's Shift P will do is it will bring every single thing of this elements out into a different group. And then I'm going to middle mouse and drag this into our rate apologize meshes folder. Now, technically, we shouldn't be seeing anything. As you can see here. We have a couple of things. So let's take a look at what this are going to select these guys and okay, that's a high poly. I'm going to grab this piece is right here and bring them into the high poly meshes. We don't need this group anymore. We'd leave it. We have these guys right here. Again, high Pauli's. Let's get them into the high poly meshes. We don't need this extra cameras and you can see all of this extra groups, empty groups. We just delete it. We don't need them anymore. Last one that we have is this guy right here, which seems to be the high poly meshes of the ax, if I'm not mistaken. So I'm going to bring this into the high Pauli matrices again. And there we go. We have more high polish over here. Let's take a look at what we have right here. It's nails, bandages, teeth, and some details up here. So all of these guys, again, we're just going to bring them into the high polymerases. And there we go. So now technically this should be like if we select all of these elements right here, Let's H, HH. So we have everything like on, that's our full high poly character right there. And over here we should have all of the elements from our low polychaete, which looks good so far, Cool. Now, if you guys remember, we mentioned this before. We're actually not going to be using this high poly meshes. And the reason we're not, we're not going to be using this high-quality measures is because we heavily decimated them to get a what we needed. So we technically can just delete this, but I'm going to do something first. I'm gonna do a file increment and save. And I'm just going to keep this. I think it's gonna be topology main file.00 06. That's gonna be my final tree topology mesh. I'm going to create a new, I'm going to say File Save Scene As S. And this is going to be called thyroiditis. Set to, set up a C. I'm going to hit Save as. And this is where we're going to be again, setting everything up. Now, I'm going to delete this guy. The whole thing. The hypotenuse is gone. It's totally, totally gone. But actually before I do that though, because remember we have this interesting or important number over here, which is the, the movement. You can save this on another file. I've had some people like just creating another group here with the name of it. I personally am going to go here, I'm going to create a new locator. I'm going to call this locator information scale translation. Then the only thing I'm gonna do is I'm going to grab this value right here. I'm going to go to this value right here. There we go. And then this guy, we can select all of these elements and just lock selected. That way. We can't really delete it and now we can delete this one. And if at any point I need to recover that information, as you can see, it's right there. So we should have this, this is our low poly mesh, all of the low poly meshes. And we can see how many triangles we have, which is roughly the amount that I was going for. A little bit over budget, but I think it's fine. We're gonna get a really, really nice result. And as always, as we've mentioned before, if at any point we need to reduce something for a game, there are ways to do that, okay? We have this little guys over here, which of course we're gonna be using to generate or to duplicate them and place them where they're supposed to be. Like we have three here and two here. I think. We have this little guys right here, which are just a low poly. We don't need anything more complex than that. Same for disguise right here. That's a low quality. We don't eating anything else. Yeah. Now, the next thing we need to do is we need to make sure that we have proper naming conventions. So as you can see, most of these things do have a proper naming convention, like thyroid snails low decimated all of this. So I'm just literally going to go down the list. And when I find something that doesn't have the proper naming convention, I'm just going to rename it to clean this up. So that's gonna be the ax handle. If we are using capital letters and stuff, it's always important to try to keep it as, as important. So we have ax, I'm going to add another name here. I'm going to call this ax blade. Underscore low acts lower metal, low, ax handle low. And then we have this. So this guy right here is important because this guy is actually combining a lot of different things. This is why we need to do this clean up because originally we might've had like 75 or 74 different sub tools, but now we're going to have several shops. Those are actually going to be merged together to facilitate the rigging process, such as this one right here. So this one is gonna be thyroids legs. Hello. And what we're going to have to do is we're going to have to get the pants, the bandages, the legs, the leather thing right here, and the nails. And combined all of those high Pauline measures into a single one so that when we bake, we get a proper banking information. Okay. So this is gonna be the legs, thyroid style, that's fine. We're just going to add the underscore low poly surface six. What the **** is this? Okay? So we have this thing right here. Again, here's where we need to decide how we're going to be baking things. Because we might want the big things pretty much like together in a single asset and we might want to make things as separate assets. In this particular case, I do think I want these two guys together like this. So I'm going to combine them. I'm going to combine these two guys. Delete the history when we combine, bring them in again to this section. We're going to call this thyroid chest or let's call this a belt low. Okay. That guy is the what's the word is? The belt buckles. So again, we grab all of those guys and we combined because we want this to be a single element. Delete history, get this here, copy the name, paste it here. And we're going to name this belt buckle, have tail key chains, which we don't need a high polymorphisms, but I'm still going to do a low poly like underscore right there. Got this sphere right here. Like all of these guys right here, I will probably combine them into a single object. Again, delete history so that we delete all of those transforms. And we're going to call this skirt. Belt. Metal key chains underscore low. This is the belt strap. That's fine. Again, we're going to just say underscore low. Thyroid is bandages, underscores three. Okay, we're going to call this tyros bandages till bandages on their score low, That's fine. Little low, low P cylinder six. What the ****'s this? Okay, so we're pretty much going to grab the same thing here. Okay, very important thing there. I accidentally did a Control C Control V. I'm going to cancel this. As you can see, we've pretty much like, I know what happened. They would like kind of like recover the old meshes. Let's just leave those. There we go. I'm gonna grab this guy again. Today. I'm going to grab this name right here. It's gonna be the same thing, skirt, but I'm going to call it instead of belt is going to be called a rope. Metal key chains. The C-suite mesh, that's sorrows, chest, belt, a underscore low. That's gonna be the naming convention that I'm going to use. And then I'm going to copy that and use this for chest. They'll be hello, bring this up. So we have things where they're supposed to be. Crystal underscore low. They'll armor underscore low. Bandages. Let's give this acts top than the just underscore low. There. We have a couple of poly surfaces. These are thorough. Knee armor under low. Okay. This is again skirt. A low gonna go from left to right. So there's gonna be a. And then this is going to be b. And this is gonna be seen. Now this does mean that we're probably going to have to rename a couple of things on the hi Paula, write to him to match all of this, but that's fine. Virus fit bandage is low. Acts lower. Bandage is low. What's the sweep? Okay. It's the necklace. I'm just going to grab the same name for the necklace. Instead of Nicholas crystals It's necklace. Horse tail, bandage is low. That means that we have to take advantages. So it's this guy and this guy. If that happens, It's bring this up. Where is it? So these are gonna be tilde bandages a entail bandages be, I personally like to use letters instead of numbers. Some people like to use like seriously or 1002. I find that a little bit confusing sometimes, especially when you have a lot of stuff. But it doesn't really matter as long as the names match. This has to do with the necklace. So it's necklace. Let's just call this metal. Metal low. That's gonna be spikes, which those spikes or should be attached to the tail armor. So I'm going to grab the armor first and then the spikes and then we combine. Technically, we should inherit the same name. So it should still be a tail armor. Bring it here and the history. There we go. There we go. Now we have one more sweep. That's the rope. So thyroiditis, hip rope, rope underscore low. And finally we have an extra, which is the first patch, right? So careful here with the naming convention. I wrote it wrongly. There we go. This is gonna be thyroid most shoulder. For patch. We might not have a high because we were not gonna be like projecting any detail. This is just gonna be a placeholder for the whole thing that we're gonna be using later on. So yeah, that's pretty much it as you can see, we have what is it like, 30 or 40 different elements. But that's the whole thing for a character. I don t think I'm missing anything. I think we have pretty much every single asset, but as soon as we bring in the hypothesis like the proper hypotheses, we're gonna be seeing, uh, whether or not this is going to work. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 49. Preparing High Polys: Hey guys, welcome back to the next part of our series. Today we're going to continue with the preparation of the high polish. And this actually does involve a little bit of tweaking and finessing. So unfortunately, when you're working with characters, so high, so much detail, you are going to have a lot of heavy files that at the end you can delete. But in my case, I'm gonna do one more file right now. This file is almost a gigabyte, vague because of the amount of polygons. We're almost 150 million polygons for everything. So I'm going to save as, and as you can see, this is the thyroid high poly. I'm going to call this thyroid high poly optimized. And this is the one that we're gonna be using for all of our Bakes. And the reason I'm calling this the optimized version is first, we're gonna delete a lot of stuff. We don't need a lot of sub tools that we have right here because we're gonna be doing other things, right? So let's start by doing that. Let's start all the way on the bottom here. And let's start for instance, with necklace. On the necklace we need we don't need the courts. I'm just going to delete that one right there. If we then go to the chest bells, we also don't need this checkbox right here. We rebuild them actually. Another think of it that we not do the buckles for these guys right here. I think we might have not done them, but we can just grab this guy right here. The low policy, if you guys remember. That's a really nice low poly there. I also miss this guys right here. So this is when you're going to start noticing a couple of things that you might be missing here and there. That's fine. Again, we'll, I'll do this off camera and just export this guy. And this guy is right here for the belts. But yeah, so we deleted that guy right there. We don't need this smoke. So we're just going to delete the smoke. Well, oh my God. Don't worry. I'm going to load tool and just grab this guy. Again. Be very careful when you're doing this cleanup. That's why I save another version. Because if I had done this on the original one, as you might imagine, that might've been quite, quite unfortunate. So let's open the folder. Let's go into the smoke. That's the one that we're going to delete. So we delete the smoke. We're also going to delete this firm. We don't need it. We're gonna go to this first over here as well. Again, let's open the things all the way down here. All of this Belfort, which is going to delete it. We actually don't need the rope either because we're gonna be read texturing it. We don't need those guys before we rebuild them. Technically, we don't need this guy is really clean so we're not making anything. So I'm also going to delete that. And all of this deletes things that we're doing. It's going to allow us to simplify things, things a lot simpler and just make things so in general, easier. We don't need the beard. So all that beer, it's gonna be gone. Gone. The eyebrows are gonna be gone. The mustache gone. Those little guys right there. I'm actually going to keep them or not. We might not use them later on. I'll explain why. Let's go to the necklace thinking this guy. We just delete that guy. Okay. And this belt right here, we did rebuild them. So I'm also going to delete them. Deleted the deleted, everything else. That's really annoying, but that's fine. We can recover the little buckles from the other file. Because again, we're gonna be using this for WX. So yeah, this little guys right here, we've also done them before. So let's just go here. That's a shame that it goes that the software goes to all of the folder instead of just going to the toilet you're selecting. But there we go. So this should pretty much match what we have over here. Now for simplicity sake, I'm also going to delete this. This thing is right there on the on the beard, will get them back from the other file if you need to. And that's it. So we've managed to reduce know a lot, but a little bit of the process for our character. And this are the new hypotheses that we're gonna be using for our elements. There might be a couple of things that we might change. If you remember on the bandages, we change a couple things on both sides right here, but we're going to get the basic resolution from all of these pieces right here. So now that we have this, we need to do a decimation process and we need to do a submission process that does not remove as much detail as, uh, what, uh, we lost when we were doing the theory topology. So thankfully, we do have a couple of automated tools. They will take a while, so I'm just gonna explain how it works. You're gonna have to do it if we're following along or if it's just a file we're going to be generating, then, then what you're going to export it. So if we go to the decimation master, we're going to not use anything here. We don't need UVs, we don't have any poly paint. We're just going to we don't need to freeze borders because we don't have a lot of hard surface stuff. And what we're gonna do is down here we're going to press this button, not yet again, but we're going to press this button that says preprocess all. This will save a file to our computer and that you need to have space on your computer, make sure you have enough space. And it's going to pre-process all of the sub tools and save them in a cache. Once we do that, we're going to set this to ten per cent decimation. I think 10% is a good number. So if we take like for instance, the body, Here's an example. We're gonna go for 16.9 million to 1.6 min, which is still a little bit high, but it should hold most of the detail substance. Painter should be able to process it. Maya should be able to process it. Again, if we see that it crashes, we'll, we'll just bring it down. But basically what I'm trying to do is I'm trying to bring this 5.7 or 57 million polygons or points to a 10% at decimation process. But this will preprocess each individual tools. So the cool thing is that we're going to get a, what's the word like an adaptable situation here where you might see more decimation and certain objects and the lessor summation and other objects because it's going to take each individual object. There's this change right here. Also going to delete dose. Be careful or be very mindful of deleting all of the like very low poly things that we need. Again, because we want to reduce everything as much as possible. So yeah, now we're ready. I'm just going to go see plug-in and I'm going to say preprocessed coordinate. Once this is done again, it's going to take a little bit of time and I need to make sure that I'm explaining that things that I'm going to do off camera so that you don't have to wait 30 min here. This might take a while to preprocess, might take a while. You're going to see things like flowing on this. I write here that the tools are going to start doing it. And then we're going to bring the decimation here, decimate all. Again, it's gonna go through all of the sub tools and it's gonna be decimating them properly. Once we have that, you're going to go back here to the C plug-in. And if you remember, we have this FBX Export input, you're just going to export everything. So where it says here or you can change this to all, he's just gonna say Export All and every single sub tool that we have right here should be exploited. It should keep mostly the same structure. It should keep all of the same names and stuff. And then inside of Maya, once this is done, in the next video, we're going to organize everything. We're going to start assigning some materials as well. So yeah, that's the process. Again. One last time. Decimation, master preprocessed, all, decimate, all tweet ten per cent decimation. That's the number that we're gonna be going for. And yeah, that's that's pretty much it, guys. So yeah. Hang on tight and I'll see you back on the next one. This is all done. 50. Understanding Bakes: Hey guys, welcome back to the next part of our series. Today we're going to continue with a special chapter, especially video, which is understanding bakes. I want to make sure I know most of you already know how banks work. I know we've mentioned them before, but I just wanted to explain a couple of extra things that we didn't really delve into when we were exploring in the first couple of chapters. So here I have this sphere. I'm going to actually duplicate this sphere. There we go. This is fear is going to be my low poly. Let's imagine that this is our local. It's a very simple sphere. I'm going to call this sphere low. And then this guy right here is gonna be my sphere underscore a high. Now one important thing that we're gonna do here is I'm going to grab this fear. Hi, and I'm going to again, like exemplify what would normally happen. And we're going to smooth this. We're going to say mesh. We're going to smooth this once and twice. So it has a really, really soft curvature to it. And we'll wanna do is we want to bake that curvature down into this fear that you can see I have a lot of random shapes all over the place. And I'm going to be using this random shapes to explain a couple of parameters that we need to take into account when working inside of substance. The first thing is, I'm going to grab all of these guys and I'm going to combine them into a single one, the lid history, and then grab all of these guys, which are the cubes, combine them into a single one, the little history. And finally, all of these guys combine them into a single one and delete history. So technically, all of these guys are going to be part of the sphere height. We're going to have one single high poly mesh made out of multiple meshes, right? So what I can do here before we do that is I can actually assign a different material to each one of these elements of the high poly so that we can create these special kind of map, which is called an AD map. It's gonna be super, super helpful. I'll, I'll show you why. First of all, I'm going to assign a new material to this guy and it's going to be a very basic one just on Arnold Lambert one. And I'm going to try, Let's do this breath. And then this guy, I'm going to assign a new material, Maya Lambert and another color. I'm just going to sign this yellow color. This guy assign new material. Maya Lambert, This one's going to be green. And finally the high Pauli's fear, that one right there, sign-in material, Maya Lambert, it also needs some material is going to be blue. So now if I hide the low poly spheres, this is my high Pauline, as you can see, it has material information. Each specific section. This thing has material information. And again, this is going to be super, super helpful in just a second. So I'm gonna grab this one and then all of these guys and combine them into a single one, delete the history, and this is gonna be my sphere high. As you can see, we have this high poly and this is the low poly. Now let's export. Now I don't need to worry about the UVs, about this first sphere because it will say like super basic sphere, I'm going to export the selection. We're gonna go to our assets, of course, in our projects. So let's very quickly set our project here. There we go. So instead of assets, I'm going to create a new one called bakes demo. Here. Actually, let me go back, set that one. So an asset's begs demo, we're going to have sphere. I'm not going to add any extra number two, the basic sphere to the lowest term is going to call this sphere. And then this one, I'm going to export this as well. And this will have a suffix which is gonna be high poly or whatever, you can call this one, whatever. The important thing is the name of the geometry itself inside of Maya. That's the important bit. So now we're gonna go into substance 3D painter and you guys are a little bit lucky because at the time of this recording lay literally in the middle of the recording of this course, a new substance painter was released, a new version, which is, I believe up a version 8.3. And it has some amazing things with the baking stuff. So I'm going to say File New. Let's do two k. That's fine. And we're gonna go toward project real quick. There we go, textures, assets begs them on. We're going to select our low poly hit Open, and that's it. We don't need them right now. I'm just gonna hit, okay? So it's just a sphere which has got the sphere inside of this. In older versions of Substance Painter, you have to go to texture sets, settings, and click this option called big match maps. You can still do it, but there's also a new shortcut up here, which is the baking mode. So we're going to jump into banking mode, and this is what we get. So as you can see, it's a preview of what's going to happen. Now, the things here, if you've used substance painter before, they're pretty much the same thing. They're just like on a different place. You can see here that the settings, the map Baker's a texture satellites or whatever. So first thing, I'm going to change this to two k So we get a nice resolution on our bakes. Here. We're going to tell it that we want to use a high definition mesh. So I'm going to select our highly finished and I hit Open. And this is the amazing thing about the new baker that you can actually see your high poly mesh in real time. And you're gonna be able to identify what the problem is, which are bakes. So the first thing that I'm noticing here, as you can see, it's this blue and red color. So when you load in this thing, a, an automatic cage will be created, which is the projection catches. That is the distance that you're low poly mesh is going to look for details in the high polymerase to project into a map. You can see that it's this sort of slightly transparent mesh that we have right here. If I increase the max frontal distance here, you can see that the case increases and therefore we're able to capture more detail. So this is gonna be very important because it's going to allow us to troubleshoot if we have issues with our elements in this case, I definitely know that we need to push the cage up so that we capture all of the detail from our element right there. So by doing this a max frontal distance, I know that I'm gonna be able to capture all of the information from our meshes. So this is now going to be a successful bake. Now, a couple of things here. You do want to use this thing called match. We are going to be using this quite a bit and I'm gonna change this by mesh name. So what this says is, Hey. We are going to be looking for a geometry that has the underscore low naming convention or the suffix and the underscore high as well. And here you can find it that, yes, it's finding the hyperbola matching by name. It says yes, we have the low poly meshes is fear low and sphere high. So again, very, very handed. This is new, the baking log is new, so it's very handy to know if you've accidentally wrote something wrong. So if I have more elements, it will tell me, Hey, you're missing either high or low policy because we can find these specific matching element. Now on the ID map, this is the important part, as you can see here. I'm looking for the material color. That's why we changed the color. And technically, if everything that I've been explaining works the way I expect this to work, we're gonna be able to bake. One of the cool things about the big is that you can also, what's the worst. You can also see in real time, you can actually move the model to visualize how things are looking. And there we go. So now if I returned to painting mode, you're going to see that. There we go. We have the bait big. Of course we don't have the silhouette because all of these things are being projected into the, into a sphere, into a flat sphere or not flat. But you know what I mean? Like we don't have that diary topology going to all over the places. But you can see that we did, we did create this ID map right here. I'm gonna go back to the baker. I'm going to show you one more thing that's really important if I go to the Options here we have this thing called the anti-aliasing. So anti-aliasing is this thing inside the screens, since the screens are made up of pixels. Fortunately, There we go. So the screens are made up of pixels. So when you have a line that goes against the order of the pixels, because we know the pixels go from top to bottom, left to right. If you have a line that goes like this, The, you're gonna get a jagged edge. So anti-aliasing, what it does is it blurs a little bit the edge of those elements so that you get a softer effect. And it applies to this thing as well. Because when we have our textures, let me go to painter mouth. Like this is a map at the end of the day. So for instance, this line of that crisp lines, super clean, super nice and same for this one. But this one right here, look how ugly this anti-aliasing looks because it's trying to capture the curvature of this, like tourists, but it doesn't have enough, enough anti-aliasing to really fix it, so it's doing its best, but it's not really working. So if we go here and we change the anti-aliasing to something like four, or I'm gonna go a little bit crazy. Let's go 16 and we do bake selected geometries. This will soften up a little bit of those elements and it will give us a better baking result for all of the maps. I'm really impressed by this new edition or this new thing about a substance because it does have a lot of really cool stuff. Look at that. A lot of software still a little bit there. You can even go 64 if you want. It's definitely going to take a little bit longer, but, um, but this will work. So as you can see, look at this. We were able, thanks to the fact that we could adjust the what's the word, the textures and the cage. We're now able to get this very nice bake. Now, some of you might be wondering, okay, yeah, this looks good and it's just a normal bank we did before with the skull. But how is the, why is the ID map important? Well, imagine I tell you, Hey, I want this sphere to be made out of gold. Okay? So I'm just going to use this like a gold pure thing. There we go. So that looks good. Let's just gold. And then I'm like, okay, but what I want the circles to be made out of aluminum. So you would probably add an aluminum material. Right-click, add the black mask, and you will then paint the spheres. In this case, it's relatively easy to paint the circle, but you can see already there, I stepped out of the boundaries of the sphere and we're getting something that looks a little bit weird. So how can we fix that? How can we make sure to select only the spheres? Well, that's where the id map concentrate into place. And for the character, you know, what do we have stitches? We have all of the folds, we have robes, we have belts, we have key chains, we have advantages, are so many things that are interacting with each other. And if we had to manually mask all of those things when working with it, it will be just a nightmare. So in order to avoid that, we can just right-click and add this thing called a color selection. It's a color selection mask. And as you can see, it's sampling the ID mask, can pick a color. It's going to turn this on so that we can see them having me I couldn't be like, Okay, I just wanted to red colors. There we go. Now, all of these fears are painted with the material, in this case the aluminum pure, and I don't need to manually paint anything. So this color selection is going to be a key factor for the speed that we're gonna be developing for a texturing, I'm gonna do another one. Let's use this gigantic trunk thing. Let's say I want to, I want to paint this fear and this fear is gonna be made up this trunk material. Again, right-click, add a black mask. We go right here, right-click, we add a color selection, pick a color down here, and then we'll just select the blue color. There we go. So yeah, that's how we are going to be doing the whole thing. Oh my God, I'm just realizing that for some reason the mouse is not showing what the ****. I'm going to fix that. I don't know why the mouse is not showing or if it's just me on the video. So anyway, so this is how it works. This is how the id column works. Again, it's down here on the, on the lower section. I'm just going to be using this pick colors to select which one I want. One last time, I'm going to grab this, Let's grab this plastic cable thing. I'm going to have it here. Right-click, add black mask, right-click on the layer or on the mask. And I'm going to say add a color selection. And with pink color, I can select now the cubes. And as you can see now the kids have been filled and we can do whatever we want with this. We can, for instance, moved the tiling over here, down here, we can add more divisions on the tiling material, and yes, there will be. And this is a little bit more obvious when the materials are germ blending together are metal and non-metal. So there will be a little bit of a phone line. It can be like slightly fixed by going here to the color selection and you can play a little bit with the tolerance. But if you go a little bit too much with the tolerance, you are going to start fading into other things. So be careful with that. But this is one of the unfortunate things about the color ID map, that there will be a specific mask that you're gonna be following. But as you can see, super, super handy. So we're gonna be using all of these things for our baking purposes or for baking purposes, we're going to be assigning specific materials. We're gonna be like creating a specific groups. We're going to create texture sets as well, like right now this is only one single material, one single texture for our character. We're going to have multiple of them. So, yeah, hang on tight and get ready because things are going to get fun. I'll see you back on the next video. Bye bye. 51. UV Process: Hi guys. Welcome back to the next part of our series. Today we're going to start and continue with all of these baking and UV process. And I want to start with the x because I feel like this is a good way to explain the whole process that we're gonna be doing with hypotenuse low policy and everything. So the first thing I notice is that there's a couple of pieces here like this guy right here that actually don't have the proper material. But when they hit right-click and I tried to assign the existing material, look at that. This is just like a stupid amount of materials. So I'm going to assign a new material to everything, just a basic Lambert material. Then I'm going to go to the Hypershade. And since this is the only material that's been applied to something, I can say edit, delete unused nodes and it should delete everything except for that Lambert, which is fine. We can leave that lumbar two for now. Now. We do need to think about how we're going to be organizing all of our acids right into different groups. So for instance, we mentioned earlier that all of the shoulder thing, the T is like all of these guys are probably going to be their own little prop. And then the body of course, is going to be its own problem with the horns, the teeth, and stuff like that. The eyes are going to have their own material. We're probably gonna have one more material for the skirt and one final material for the element right here. Now on your project files, if I'm not mistaken, give me just 1 s here. No, we didn't have it. So on the source images file on your, on your folder, I am going to add a very special texture that I got a couple of weeks ago. This is actually, I don't remember the exact site. I'm sure you can Google it and it's a custom UB checker. So this is what we're gonna be using to visualize whether or not we have the proper UVs in our element. This are very common maps so that we know whether our UVs are standing straight, whether they are they have proper texts or resolution and all that stuff. So what I'm gonna do here is I'm going to assign, I'm going to start with the UVs first and then we're going to use, we're going to use the UV material. So let's start with the x right here. I'm going to isolate the UV process that we're going to follow is very simple. We select all of the objects. We go UV and we delete the UVs. Then we select all the objects again. And we're gonna do a UV camera based projection like this. Let me just make sure that the mouse is there. There we go. So once we do that, as, as you can see, if we go into the UV editor is that we have some UVs. They might not be perfect UVs, but there are UVs. Now we're going to select each specific part. Let's start with the blade and we need to define where to cut this. And we've mentioned this before. There's unthought of different ways to do it. But usually you want to go through an edge or through an area that's EC2 separate. Now, this guy right here, for instance, has phases on the inside or do we need those are actual node doesn't have faces, perfect. So if you don't need faces, It's important that you delete them because they're going to occupy extra resolution and we want to avoid that. So I'm going to select the object. I'm going to say uv 3D cut and sew UV tool. If at the same time you have UV editor open, there is a special thing that you can do here which is turned on. This thing, which is gonna give you colors. And this guy right here will show you which elements are different islands. And as you can see, we have an island like right there on the little spike and everything else is not an island. So I'm going to divide the cylinder from the rest of the honest. I'm just going to double-click on this edge and you're going to see it change color, telling me hate to say new island, which has perfect, do the same thing here and here. Right here, and that should be another island. So this part right here is going to be made out of four main islands. Now this cylinder right here, I'm going to cut the cap and the lower cap like this one right here. And I'm going to follow again, usually a hidden line or as hidden as possible. So we can cut that in half. So that thing, this piece right here, shouldn't fold properly now, the same as the spike. Now the spike, we can help it to unfold a little bit better, but just again, cutting the cap and cutting one line through it. Don't worry about the seam. I'll show you some techniques instead of substance so that we can hide that. And as you can see, I'm trying to align the seam right there just to make it easier on this blue thing right here. We also want to divide it in half, so we have a central line right there. And same thing on this guy right here, which pretty much went all the way for this one. There we go. So this is why the rate of biology processes so important. Imagine if we didn't have a proper topology process, generating this cuts right here would be really, really difficult if it's the C ring mesh thing with a lot of spirals and stuff like that. It will be very, very complicated, but doing it like this, pretty easy. Just grab this thing, control you to unfold. That's the basic unfold function. And as you can see, everything should be unfolding in a very nice way. Both elements right there, the spike, all of the cabs, blade and blade. Perfect. We're still going to do some clean up on this guys right here. But the unfolded work perfectly fine. Very common mistake is that people forget to activate the unfold tool, the unfolded funnelled here and modify. And then down here on Fall Control U again is the option. You need to make sure that unfold 3D is turned on. If you don't have unfold 3D turned on, you're not going to get a good result. To turn this on, you're gonna go to windows, settings and preferences. Plug-in manager. Just typing on fault. And you should find them full 3D right there. Cool. So that's the first piece. The second piece is super easy. This guy right here, just UV. The cut, Let's cut a little cap right here. As you can see, it's not the circular cap, but that's fine. Still a cap. So we'll just cut the cap right there. And there should be like small little cap down here. There we go. Then we're going to describe any line that goes through it like that. We go to the UV, UV editor. So like the UV shell and again, control you. Perfect. Sorry about that. That's perfectly fine. We select this guy right here. Let's go now to the bandages. Bandages are a little bit trickier. The problem with advantages is that they are very simple. Not simple, but they're cylinders, right? So we need to do a cut on the inside and then a cut along the surface like so, I'm going to say uv 3D cut. We're gonna do this guy right there. Uv 3D cut, this guy right there. And one on the second insight. And again, if we want to keep things as clean as possible, we probably want to select all of the central lines like this, which are the ones that are usually going to be a little bit more hidden. Again, see how easy it is to discuss, because we have proper topology. If we didn't have proper topology, it will take quite a long time. Over here, select everything, control you. There we go. Super straight lines everywhere. We need to again, find the proper position. Don't worry. We'll do that in just a second. So now we're gonna go to the lower ones. Same deal. So uv 3D cut, we cut in the center on the backside or on the insights so that we don't see the line. It doesn't have to be perfectly on the middle since it's gonna be hidden anyway. And then we should find our tried to find some sort of like central line here. Trying to find one that matches with all of them. There we go. We go UV editor and we unfold everything. Look at that super straight lines. That uv is going to work perfectly, perfectly fine. Finally, this space right here, it's just a cylinder. So the cylinder trick for cylinders is we cut the cap, we cut the other cap, and then one line across like this. And that way we're going to have a cylindrical shape and two caps right there. Perfect, Cool. So now that we have all of the UVs properly laid out and prepared, we need to give this guy, I'm gonna give this guy a new material. It's gonna be Lambert and I'm going to change the name of this material to UB checker because it's the material that we're going to use to check the UV. I like to use the m flag right there. And under color, we're going to introduce a color here. And we're going to use our custom UV checker right here. If I press number six now, you're going to see this. And this is where we start getting some errors and where we need to start really seeing, are making sure that everything is exactly as it's supposed to be. So what we can see here is that not every single piece of x has the exact same resolution. They have different resolutions. And we want to make sure that all of them have the exact resolution. Otherwise, certain parts of the elements are going to look at really high poly are really high-quality and some of them are going to look really low quality. So I'm going to grab all of the objects. I'm gonna go to UV, UV editor. Make sure to now freeze transformations you haven't phrased in the frozen transformation is because the scale should be set to one. We select all of the lines here. And I'm going to say modify, unfold again or modify it. I'm going to go to the layout option. There's a couple of options that we're going to select here in the layout. First of all, packing resolution, we want this to 56 is fine, one is fine. Like for the first pass, this is perfectly fine. I'm going to reset this actually. So let's read it. There we go. We do want to do this shell pre scaling. We want to preserve the 3D ratios. So this should scale the shells for the islands of the UVs so that they match the 3D object. The method we're going to be using for this axis or four K maps can be quite big. It's going to look amazing. So we're going to see for K map, I do want to have a little bit of space, a space from each shell at eight pixels. And I want at least eight pixels from the border as well, so we don't contaminate any other tile. And if I hit Apply, this is where we're gonna get. Now, this is not bad, as you can see right here. It's not bad at all. But there's a couple of features. First of all, well, the resolution is perfect. You can see that everything has the same resolution, so that's great. But the problem is that all of the islands of this thing are pretty much all over the place. So imagine we wanted to apply a specific texture to the advantages. Like a normal bandage texture, like a cloth texture. The texture is going to be going into all of these different sites. In item one that I usually are usually should want to have all the things align either left to right or top to bottom. So I'm going to select all of my UV shells again, go to modify, go to layout. And I'm going to change one option here on the shelled prey rotation. I'm going to try to keep everything vertical because I want to have the grain of the wood vertical as well. You can keep it horizontal as well. It doesn't really matter, but I wanted to keep it vertical for now. I'm going to hit apply. As you can see now, look at this. Isn't this way better? Like now, every single mesh, every single element has been aligned and has been rotated so that it follows this vertical, vertical flow. So not only is the blade on the proper size, we can see the letters there. This one isn't a proper side. But for instance, at the handle of the axis not done the proper side because we can see there under letters, it's actually rotated. No big deal. Again, we can just grab the whole thing like that. Just grab the whole thing. Grab this guy right here and we can rotate this 90 degrees. If you want to be precise, you can go to Transform. Set the pivot point to the center, and then there's a rotation option over here. There we go, where we can rotate this. Now as you can see, we're going to need a little bit more space. So I'm just going to grab everything, just scale things down a little bit because I think they were going out of the frame. And then very important, we don't want any Ireland to be touching other islands. And we don't want any Allen to be going outside of the border. So if you need to manually move a couple of things around, make sure to do it. This to me seems fine. There we go. And the energy can see where you are utilizing most of the stuff now, for some reason, these guys right here, which are I select this something that we didn't have to. My bad, I was selecting the key chase, There we go. So if we take a look at this, there we go. We have a really, really nice UV setup laid out for the whole thing. And this is ready to be baked. Now, some of you might be like, Well, we have some empty space right here. Shouldn't we use that for something else? And the answer is yes. If we need to, we could use this space to add another things like, for instance, we could add this key change right here. I don't think that might be a bad idea to be honest, but I'm gonna keep it like this just for now. Later on, if we need to do some movements before the final bakes will do it. But yes, usually you want to use as much space as possible. Some people follow this sort of thought where they're like, well, if we have space, why not scale everything just a little bit, maybe not the handle because it won't fit, but everything else. Can we scale it up a bill? Yes. But that's going to change the texts or resolution. And what's going to happen with the texture resolution is now you're not going to have the same sort of like a definition on all of the parts of the mesh. Sometimes that's not a bad thing, but just be careful when doing that, when modifying things so they're not uniform. Now one thing I do want to check is I want to know what's the texture resolution right now. Like if I were to get a fork a texture with this specific UV setup, how many pixels per unit would I get that textual density? This is a very interesting concept and it's important because we usually want everything on our games to have a very similar textual desk resolution. So if this is for K map and then he'd get here, I'm going to say, okay, you're getting a 3.1 textual density for the whole thing. So that's gonna be like my base number when I'm doing the texture resolutions for the character and everything else. This is a number that I want to go for because that's roughly the amount of taxes that we're going to have. Some people say that you need to have like 20 tax or resolution. But to get 20 textual resolution, we will need to have either really, really, really, really big UVs like this. That's even getting that It's not even close enough. But it varies. It varies on how much a resolution for a weapon like this, I would say three is perfectly fine. So that means we're going to have three pixels per each centimeter of dx or surface of the x. Now, the ECS is ready the low poly Israeli, so we no longer need the UV checker. We now need to prepare this with the maps, the id maps that we're we're talking about. So I'm going to assign an existing material. I'm going to assign Lambert two, which is gonna be like my base material. And we're going to create a new materials that are going to hold the color. Let's just saw on the last video, as you saw, we're going to hold the colors so that we can bake it into an ID map. So I'm going to select the bandages, I'm going to assign a new material. Let's do an Maya Lambert and this is gonna be called M wrath. And on the color it's going to be red. And then the metal bits assign new material, Maya Lambert. And this is going to be m, yellow. And this is gonna be of course, the yellow. Now, this bit right here, also metal. So we assign the same yellow material. These guys are also read, so we assign the red material. And you usually want to go through the RGB first. Sometimes you might need way more colors and that's fine. But this process works better if you keep the colors as minimum as possible. So it's gonna be green. It's going to be m. Underscore. Great. But they just made a terrible mistake because this is not the acid that should have this colors. You guys remember that? This guy should have let just a very basic material. I'm actually going to assign a new material to this one. And I'm going to call this again Maya Lambert. This is going to be called M thyroiditis x. That's going to be the name of the material. Okay. Very important because that name is also going to be inherited in substance painter. Let's bring in the high poly. So if we go here to assets, those high poly optimized, that's the one. This is the one. It's the heavy. It's really heavy. What's the word? Hi poly mesh? Remember it was like 1 gb beggar and stuff like that. It was really, really big, but I'm going to bring it in and we're gonna be exploiting things in pieces. Let's see, Let's hopefully we can get the scene. Usually again, my Edison struggled without millions of polygons, but it can get heavy if your computer is having issues. If that happens to you, just go back to ZBrush and export things in pieces like just the X bits, just a chest, just a belt, stuff like that. I'm going to wait for this to load in guys. In the next video, we're gonna, we're gonna do the debates. We're gonna do a quick big test with this guy. We're going to prepare everything. So hang on tight and I'll see you back on the next one. Bye bye. 52. High Poly Materials: Hey guys, welcome back to our next part of our series. Today we're going to continue with the high poly materials and just imported this guy right here, as you can see, it's a bunch of elements right here. That's fine. Just going to Control G to grab them all into a single group, which is gonna be our actual hypothesis or the hypotheses that we're gonna be using for debates. And let me isolate them real quick and very carefully. I'm going to select all of these guys and just hit H to hide them so that we only have the ax vessel. This should make it a little bit easier for me. I'm also going to turn off my ambient occlusion. If you guys remember, there were a couple of things that we did. First of all, all of this group right here, we need to move it this amount on the y-axis, very important. So it has the proper location and then the x itself. We're also going to move it. Now here, I'm actually going to make a decision. And the decision that I'm going to make is that we're not going to be using the high Pauli's of the of the bandages. We're not going to use them. Why not? Because as I'm just like taking a look at them right here, there's really nothing that we can't replace with texture like all of this changes and stuff that's just texture. So I'm just going to delete them. We don't need those bandages and we also don't need this band is right here. That's gonna make it a lot easier for our process. And each should, it should work, it should work. So I'm gonna grab all of these three guys right here, the spike and this guy right here. Let's go to the top view. And if we sent to the pivot point, we should be able to snap them to the grid and they should perfectly match our low poly. We're going to move it. If we need to move it a little bit, just move it a little bit so it matches as close as possible to what we have. That one looks very, very good. It might not be exactly precise, but it should be very, very close. Now, we need to start creating clean groups over here. So again, I'm going to grab all of this guy's not actually let me let me hide this guys for a second. There we go. I'm going to grab all of these guys. I'm going to press Shift P to get them out of a group. I'm going to press Control G to get them inside of another grid. I'm going to call this x underscore GRP or underscore high. Underscore a GRP. It's, this is my high group for the x. Let's bring this guys up. Let's hide this one's for a second. Let's grab all of these guys and again, Shift P to get them out of a group, control G to get them into a group. And there's going to be my x underscore, low underscore group. Very important. Now this or this guys, they all have proper naming conventions, is do not. So we need to copy the exact same name on the low, like this ax handle low. And that's gonna be the ax handle underscore. You guys know it. Hi, there we go. Let's bring in our answer. We can see them. H. There we go. So that's excellent. Okay. This is actually a blade low. So this will be ax blade. Hi. This is we don't have top bandages, we don t have lower bandages. We have lowered metal. So it's this guy right here. So it's lower. Mel, hi, we do have top metal. One thing here. So the blade on the low poly, if you guys can see here, we actually combine it a width at the top metal d ax blade. And the spikes on this case is called spikes. So all of these guys, we also need to combine the history. And let's bring it back here. So that's gonna be now my AKS ablate because the blade is encompassing all of those elements. So as you can see, we are going to be doing some combinations on the hypothesis. Well, now we do have the top bandages low and top band that is high, but we don't have a high Polyvore dose. Can we do something just to get a slightly better bake? And the answer is yes, we can duplicate them. Bring them up here to the group, changed their name, of course, all this high. And call this high. Then both of this, we can say Mesh and bismuth. And what that will do is it will give them a new subdivision, which is going to be baked down onto the normal map and they perfectly matched the ones that we already have. So I'm happy that we're gonna have a really, really nice bacon. They really, really nicely interpolation right there. So, yeah, that's pretty much it. Now, the big question here is, do we want some of this guys to be baked down into the world? Like we want them to interact with the world and we might want that for the ambient occlusion. Again, we're going to have to do some tests. So I'm going to grab the low group here. I'm going to hide it for just a second. This is gonna be my high group. And in this high group is where we're going to start adding the colors. Now, again, very horrible situation that we have right here. Each specific, like high polymers that we have right here, goddess a. It has a new material. So I'm just going to select that guy, Right-click, assign existing material. And let's try to assign something or just actually, let me do this manually. We might need to select all of these guys. If you can handle it, there we go. So like all of these guys which are the high polish, right-click. Assign new material. Arnold, or sorry, my Maya Lambert. Lambert eight or something. That's fine. The point is that now all of them have the same material. Let's go back here. Let's say edit, delete, and use notes. There we go. Well, unfortunately we lost the colors, but we can just regain them real quick. So I'm going to assign a new material here. Maya, Let's do Lambert. It's going to be again, m wrath. That's the red color. And then the metal bits assign the material. Maya Lambert. Green. Like the color green. Grabbed the bandages. Remember this is the disadvantages, even though they look like they're low polys, they are actually high policy sign-in material. Arnold, sorry, Maya Lambert. Yellow. Let's call this m. Yeah, perfect. So now before we export and we do a quick, a big test, we need to make sure that on this group, if we have five elements, we also have five elements here that matches, then we need to make sure that all of this low Pauli's history, they should all have the same material. Check. Second, they all should have underscore. Underscore. Hi, check. So seems to be working fine. I'm going to grab this whole group and the element's going to go File and we're going to export selection. Now since we're gonna do a lot of export in here, we definitely need to have again, a good organization. So I'm gonna call this a bake. I'm going to call this main bakes, okay? And here we're going to start, this is going to be x, x. Hi. I'm gonna call this a bake, a ready. Okay. I know it sounds like a really huge name, but believe me, guys, when you're working in a studio, it's better safe than sorry. So I want to make sure that anyone that grabs this, well, he sees the following. He's like, Okay, this hypothesis are ready for the big. So this are the ones that will match with low poly. They have the proper materials, they have the proper naming conventions, and they absolutely know that this are the proper ones. So I'm going to hit Export Selection. It will take a while because it's like quite a bit of polygons. There we go. And then we're gonna do the same thing, fertile, even if it's hidden, we can export it and we're going to call it the exact same thing we're going to call this acts low poly bake ready. This is not gonna be the final asset that's going to go into the game. The final acids probably going to be a single mesh combined into a single object, but it is better for us to do it this way for the bigs. So let's open Substance Painter, which as I mentioned on the previous videos. If you're watching this, you're watching this. The newest substance painter has already been released 8.30. And it has some really, really powerful tools. When I open the new file, there's gonna be a fork a file. Remember that if your computer is having issues with this, don't worry, you can go back and do it at two K or one k even. And we're gonna go main bakes, ox, low poly bag ready and hit Open or not using UTMs and we're just going to hit, Okay. There we go. My low poly is here. That's good news. Now, let's jump into the croissant here, the baking option. And we're going to bring in our high-quality high poly big hit Open. And it should load up right here. There we go. So the first thing I'm looking for is to see whether or not we have any red spots. If we have a red spot, that would mean that we have some issues. It doesn't seem to be the case, so things seemed to be ready to be baked. I'm going to go to the matching by name. I'm going to change matched by name here. Always buy image name and 0 have a problem. There seems to be some mismatch here. The lower middle low, it's not finding the element and the lower bandage is low, also not finding the elements. So what's happening here? Well, we need to check for meshes have no match. That's really curious because we do have the proper match over here, I believe. Ax blade low. Okay, Let's check which one has. The blade is fine and the handle is fine. The lower metal is the first one. So x lower, middle, low. And we should have AX lower metal high. There we go. What seems to be the problem? It could be a position issue. It could be a freeze transformation issue. It will be really weird because we do have bandages high bandages, low, make sure that all the letters are exactly the same. So x stub bandages, low, stub Enter. Yeah, things are okay. So things seem to be working properly. So what I'm gonna do here is I'm going to freeze the transformations. Let's see if that helps. Let's do File Export Selection expert again, right there. There we go. Let's go back here. Matching by name. I'm really curious why this is happening. Let's delete this and let's bring it back in. So high poly bag, ready? Yeah, it seems to be the same same issues. Now we are getting some things here that says Mesh normals are invalid. Just really, really, really weird. Actually, you can see that we have the hypothalamus, making sure we do have the hypothesis. Okay, Let's give it a shot. I'm just going to give it a shot here on the bake to see if we do get the proper bake. Because as long as we get to bake, then we don't have to worry that much like it's really weird that we're getting that error because as you can see, we are getting the bank right there. We're getting some weird effects on there. Okay, cool. Now, the problem or the reason why this looks horrible is because we forgot to change the output size two for k. I'm going to change this before K. I do want to keep, I want to keep the normal map baked on its own, but I do want to keep the ambient occlusion on so that they all of the different pieces, even though there are different names, they do interact with each other. I feel like again, the cages are perfectly fine. It doesn't seem to be to me that we're capturing debt much. We can make them as even slightly smaller, maybe just to ensure that we're not contaminating them more than we need to. And I am going to turn on the anti-aliasing to a 16th plus is going to give us a really clean anti-aliasing, but it is going to take awhile, okay? But since this is for production, I do want this thing to be quite, quite nice. Let's take a look at that super clean normals. Look at that beautiful, beautiful, beautiful. The id maps really clean as well. And be the occlusion getting some weird effects right there on the ambient occlusion. Let's see what we have there and we're going to clean them, of course. Yeah, I can see that right there. Those like empty spots. Let's go to painting more than see what that is. So right there, it's this guy right here. The final okay. So it's a bandage. This bandage right there. We're getting a little bit of an issue. Like it's I feel like it's doing a little bit too much overlap. This is the thing like this is where we need to go and be like, Okay, you know what, like we're getting a couple of issues with this guy right here and with the bandages. Let's just center the pivot point on them. I'm just going to scale them a little bit more, okay? Just to scale them a little bit more. Now the problem is we're going to have to re-export everything. Okay, Let's hide the high poly there. And here I just want to make sure that we get some nice, Yeah, Same thing here. You can see how that is going to generate a little bit of a problem. I'm going to select top bandages and the top managers low and top end they just high. And let's push this just a little bit to the left. So we avoid that overlap as much as possible. There we go. Let's check down here. Now those are so minor D hills like it's just a one minor detail there but the devils and the details, right? So if we can avoid those like overlaps as much as possible, then we should. I'm going to re-export everything File Export Selection. This is a low Ready export. Yes. Then we've got all these guys again, File Export Selection, high poly expert again, yes, That's why, again, keeping things organized is super-important because we're gonna be doing this quite a bit. So we're going to have to start a new file because there's low poly is no longer valid. Let's just select the low poly Acts. There we go. Okay, the scar. Back to the croissant. Let's bring our high poly open or K matched by mesh name 16 anti-aliasing. And let's go look at that. That looks way better now we're not having any of those issues will still fulfill the the thing that we want to. And again, like, I know there's a little bit of overlap there. We can fix it, a little bit of texture, a little bit for us just to hide it away. But if you want to be super perfect about it, then you're gonna have to just tweak things around a little bit more. In games, it's very often you're gonna find that sort of stuff. So don't worry too much about it. And there we go. We have a perfectly workable acts are right here. So this acts bake that we have right here. Oh, we got some issues here. What the **** is going on? Interesting, cool. Yeah, so this is again, relatively common. We need to find out what's going on. I think the cages are a little bit too big, so I'm going to bring the cages down, not too much because otherwise we're going to start getting errors. You can see a couple of errors right there. Probably something like that. And I'm going to go to the ambient occlusion. We can also change the ambient occlusion to self occlusion on the same mesh name. Let's try this. I don't love this because we're not going to get the same sort of like a pediatrician that I was hoping for. But let's see if that fixes z. The issue over here. Yeah, it seems to be fixing it a little bit. Not that much, but a little bit. You can still see a little bit of the issue there. It's good to paint mouth. Okay, It's definitely better. It's definitely, definitely better. So just to give you a quick example on why it was important to do all of this and the UVs and stuff. Let's go for some cloth. I do believe there's like a like them or dislike. There we go, like knitted sweater. So we add this knitted sweater here. We can add a black mask. Right-click. We've done this before, color selection and pick this color right here. And then if we go to the material, we can increase the tiling and look at that on all of the advantages. This thing follows properly with the rest of the elements, how it follows this, or like straight line all along. That's why, the reason why it does that is because we've successfully created the UV that goes in the direction that we want to. Again, a little bit of overlap there, and I don't love it to be honest, that looks really, really bad. So we might need to fix that. And that's this guy right here. This guy right here. So it's creating some issues. Now, the problem was not that difficult. I'm going to show you here. So what I'm gonna do is I'm going to make this a little bit bigger. I'm going to rotate this as well, like this. Now be very careful. I'm not going to move the camera. Tried to keep with the worry of wass. There we go. And we're going to have to go to the high poly. And this high poly, we of course need to rotate it similarly. Scale it and move it a little bit. Yeah, baking is a little bit of trial and error. And thankfully, you guys are now living in an age where we're doing basis, relatively simple, relatively fast. When I was a student, baking would take a lot of time. So, yeah, we're gonna try this again. We're gonna do, I'm gonna do another bake-off camera guys with this new setup here with again the high Pauline, the low poly. But you can see that this is working quite nicely. We're getting some very nice bakes right here. I'm going to try to keep or change one thing though. I do want to use ambient occlusion. Like always like I do want to have a basic ambient occlusion, but I'm going to show you real quick the problem is that that might contaminate a little bit of certain areas. I'll show you in just a second here. So by doing this different bake, we're gonna get there you go, those dark spots right there. It's really suck. I'm not sure what's going on there, but we're going to have to fear yet. So anyway, I'm going to stop the video right here, guys. And then the next one we're going to continue with the new base. I'm going to figure out what that is, showing you that the answer, and I'll see you back in just a second. 53. Axe Final Bake: Hey guys and welcome back to the next part of our series. So I was able to figure out what the problem was, what the naming matching and it's actually quite hilly areas. So if you guys remember that the objects were called AKS lower and with the underscore low, even though the word was lower, it was identifying that as a flag. So you'll learn something, everything and something new every day. If you're gonna be using numbers, don't use low, use under or bottom or something. Because if you are going to be using the underscore low, even if that word or that set of letters is before the element, it will find it and that's why you're going to have the issues. So we no longer had that issue. If we go here to the crosshatch, you're going to see that matching my name, there's no issues. We have the high-quality everything is baking properly, but we do have the problem with the ambient occlusion. I'm going to explain why this happens. So I'm gonna explain the possible options that we have. So as you can see right here, the width, the world is actually like the high poly worth is actually colliding with the low poly bandages right here. That those sections right there, those are the things that are being baked onto the object. So for this particular one in might not be a bad idea to turn off the self occlusion with the ambient occlusion. Okay, so I'm gonna go here to ambient occlusion and I'm going to check a self occlusion only same imagining. What is this going to cost? Well, it's going to clean that up. Definitely. You're going to see we're not going to have that issue anymore, but we're not going to have the dirt underneath this guy now. Is that Is that a big deal? Not really because we can always hand painted the dirt underneath the bandages if we need to. But it does remove some special things that we might have. So as you can see right there, the vendors are a lot, lot cleaner. Let's just wait for this to finish. Now we might be getting some contamination from the other bandages, which are also another thing that we need to consider. But no, so far as you can see this right here, it looks very nice. So again, let me show you what the main problem is gonna be. I don't think it's gonna be that big of an issue for us. But just so you guys are aware, how can we avoid that? We could bake the we can separate the bandages into other elements. We can go back to our low polys and just fix a couple of the intersections. There's a lot of things that we can do. But let's imagine are not. Just imagine, let's do some very basic layer in here. I'm going to create like four main groups. It's gonna be metal or three main groups, metal, width and bandages. So there's one color selection and we pick advantages. There we go. We can already go to the material here and increase the tiling. We know how to do that. There we go. Let's do ten tilings so we can see a little bit of the grain of the bandages. Then let's add. I like to use the steel rough as my base usually. So I got the steel rough. Add black mask, right-click add color selection and we're going to select the green. I'm just going to use, as you can see there, it's going to very quickly select the greens and make it really easy for us. And then let's go for a width. I'm going to use this H tweak one that I have. I'm not sure if this one is available for you guys. If not, don't worry, I'm going to use some of the other ones so we can all follow along lag mask, right-click color selection, and we pick the red color. Now as you can see, the world is going in a weird way. So we're gonna go to the material here and we're going to rotate this 90 degrees so that it follows the proper direction of the elements. We can also tell it if we need to, we may need a little bit more tiling are a little bit less time, that's fine. It's just a very basic like a thing here. Now, I just wanted to do this quick layering to show you how the ambient occlusion like detail is going to affect the overall thing. If I were to add in a dress layer and I want to add a very basic just rust like mask and a black mask. Right-click that a generator. When I add the dirt generator, it is going to work on the independent elements. So as you can see, it is going inside of the crevices of the x. It is going instead of the crevices of the bandages. Look at that right there. It is going to go on the crevices of the woods, but it's not going to interact between the objects. As you can see, there's really no roster between these guys right here. And the reason why we don't have any rust is of course, because we removed the ambient occlusion from the options. If I go back to the baking options over here and I do another bake, here's what I can do. I can turn off all of the other guys and just leave the impending collision turned on. And I can say always or never and just always on self occlusion. And we bake again. It's going to bake again. We're gonna get the same sort of like errors that we got before, which is the width projecting onto the bandages. But now, as you can see, we're gonna get rust between these two elements. Now some of you might be like, I actually don't mind like that. That looks good. Like if we go down here, that looks like blood splatters or something so I can get away with it. I like that. I don't mind having those weird effects. If that's the case, then perfect. This is gonna work excellent for you. Bob Ross used to call this the happy little accidents, right? So if you can roll with this and that's fine. But if you want to fix this, then we're definitely going to have to push the low poly version higher, even higher than the high poly. So I did not collide like it's doing right here. I do believe we might be able no, I don't think it's going to work. We might use the back faces above. I think if we do that, there's gonna be some other issues. Now here, of course we could go to like an overlay and we can of course decreases. But as you can see, those very ugly-looking like dark spots right there, they're going to remain. So if you can roll with them, if you like how that looks, then that's great because we can then use the remaining of the elements. But if it's not, you're not specifically what you want, then yeah, we're definitely going to have to do other banks or just fix it. Again. Don't worry too much because at the end of the day we can just go here with a paint layer, for instance, grab your brush on the side. Like this, dirt spots brush and for instance, see all of those places that were not getting rushed. We will of course one there to be roster so we can just manually paint in the extra Ross that we might need. Same thing, like all of this guy's like maybe one all of these parts to be like field where Ross, this is what we're gonna be doing in the next chapter when we jump into texturing, we're gonna be texturing all of the settlements. But this one right here, this x, this is reading this file. I'm just going to save this. I'm gonna go back to assets and I'm going to create a new folder called Textures. Actually, this is not the place. Sorry about that. Let's go here. There we go. When I create the new assets, cold texture extras. And here we're going to save this as Ax textures in the next chapter. After we've finished, all of the other banks, we're gonna come back to this file and we're gonna be texturing the axis. So yeah, that's it for this one guys, in the next video, we're going to start taking it. We're going to take a look at how we're going to organize her character and that we're going to start first with UVs. We already have the high poly ready or at least on the scene, but we need to UV all of the different elements. So hang on tight and I'll see you back on the next video. Bye bye. 54. Body UVs: Hey guys, welcome back to the next part of our series. Today we're going to continue with the UVs of the character. And it's now time that we started thinking about how we're going to organize everything, right? Because we have this very complex character with all of the complex high poly meshes. But it will be important to do something similar to what we did with the x. Just create a couple of groups where the things are gonna be. So for instance, the teeth, the face, the horns, and of course, the bandages. These guys right here, these little guys right here, and the nails, those are gonna be a single mesh. I'm going to Shift P to get them out of the group control G to group them. And I'm going to call this thigh arose thyroiditis, body underscore. Underscore group that we're going to start with UVs for this guy right here, so we can hide it or we can just hide this other guys and we should be fine. So UVs are actually like, I feel like once you understand the basics of UV Z tend to be quite easy. It's just a matter of like knowing the process with which we've done with the ax and just repeating it. So let's start, Let's go with this guy. Let's go UV, delete UVs and grab everything again, UV camera based projection. There we go. We can already assign the UV checker that we have. Wage we lost cell. Let's assign a new material. Maya lambert. Let's go. Let's go to the Lambert material. Let's call this UV checker. Think I wrote that wrong file. And we're going to use the cost of view. There we go. Let me turn on the car neck. We're not using a lot of shortcuts, but just, just in case. So I'm going to select the horns right here. Let's start with this one is very easy. It's isolate them. And if you have two screens, it actually becomes a little bit easier because you can have this on the other screen. I'm going to have it on my side screen for just a second, just so that we can see the islands. Because remember what the islands are, are quite important. So I think the most challenging horn is going to be at this one right here. So let's start with the easy one first 3D cut. We're going to cut the base and then we're going to cut a one-line, probably on the back and on the inside like this, so that when we see it from the front that we don't see that seam line. Yes, we're going to see it from here. So it's, if it's a third person game, that might be a little bit too obvious actually now that I think of it, maybe it might be a better idea to have it here. So when we see it from the back in the third person, beer was only see them when we see it from the front. It's also a little bit hidden underside. I'm going to show you how to hide the same instead of instead of substance. The one that captured that little bit right there. There we go, something like that. Now on this other guy, we're also going to cut the inside of the horn. And if you want, you can separate the metal, but it's not gonna help a lot to be honest for this particular case. But if you want, you could separate them. Again, I don't think we need what do we do need to separate this, this little guy is right here. So these are like cylinders. So that means that we need to cut in on the inside of this guy's pretty much like split where the welding point would be like that. And then this is a cylinder, so we need to cut one line going across the cylinder. Very important. Do not forget to cut the inside line because if you don't call it, it's not going to unfold properly. So that one goes like that. And finally, this guy double-click there, there. There we go, there go. That's it. So this guy, in the same way as how we did this other one, we don't want to have one line that goes across now, since we already have this guy's like this central line, it might not be a bad idea to use the same sort of like line going up. And like that. Let's give the check. Let's grab this guy. Control you. There we go. Nice and four right there. Nice and full right there. So very nice. Process that for a horse, the teeth, Let's go for the teeth real quick. So the teeth are actually rather simple. I do believe that if you brought this guys from C brush, they are actually already had UVs, but we're pretty much eliminating them. So the easiest way is to go here to the uv 3D cut. And since this is a hollow section, as you can see, I'm going to split the tongue from everything else. So I'm gonna go this guy, this guy, this guy, and this guy that's going to split the tongue. And then usually the tongue, I'd like to call it in half. So this guy right there, this guy right there. I need to find the second one. It's gonna be a little bit tricky. There we go. That guy right there. Let's open up the UV editor so we can see the islands. There we go. So top, bottom of the tongue. That works great. Then the teeth, I'm going to cut it right here on the gums the back of the gums. On this backside of the council's work. There we go. A different color. I might cut the thinking might not be a bad idea. Let's give it a shot like this. 11 important rule about your business. If you can save UE cuts, it's some things better. So yeah, there we go. So that's the upper palate. And this will be the lower palate, tongue and bottom tongue. And that's going to work nicely. If you want to check this out, just number six, and there we go. So as you can see, eventually we're going to of course, straighten this thing a little bit better. But the quality that we're getting is not bad. So, so that is already, let's go with the character now. Uv, UV editor. Well, let's say uv 3D cut. So for the character, it's a slightly different question number five here to go back to normal shaded mode. First, the head, we're going to split the head and usually this part of the neck is a good place to do so. Just to split on the head. We definitely want to split at the inside of the eyes. So we're gonna go to the inside of the eyes and we're going to split those ones as well. We're also going to split the inside of the mouth. That's why we created all of these loops on the mouth. So roughly about there, I would say it's a good point to cut because we're not going to see maybe even like like that one a little bit closer to the center, like that one right there. So we don't see the line when he opens the mouth. Now this bag on the inside, we definitely need to cut in half. So it's going to be the top section and the bottom section. Let me grab this line right here, as you can see, top section and bottom section, that should unfold nicely. Now if we don't want the throat to have as much space, we can do another cut right here and here. And that's it. So that'll be for the elements. We don't really need to know. Some people do like to cut the nose to get a slightly better relaxed effect. I don't think we really need it to be honest. We don't need to cut the horns either, but we do need to cut the ears and that's why we looped the ears. Remember under the topology process, look how easy it is to do the UVs 40 years we just got right there and that is it. Now, for the ears, the ears are really, really tricky because they have a lot of surface area, a lot of wrinkles in little things here and there. So it is a good idea to add an extra couple of cuts going from the tip, like this guy right here, back. And usually I also like to add another one, like probably right around the edges, just a couple of extra cuts to help relax everything. Maybe even like that guy right there are no something like that that will help the relaxation of the ear a little bit more. But let's give it a shot without death. I'm just going to add a little tip. Usually in Alvin ears. You do want to have that extra cut right there, which again is going to help relax things on the arms. This point right here. Remember again, this is why we topology so important. Because if you do Property topology, look how easy it is to do your UVs, like everything just flows nicely. And we've separated the arms easily. Same for the hands. We're going to grab that line right there than land right there. And remember that we did one line that goes across all of the fingers. Boom. All the fingers done. We just completed there. Keep going here and there we go. One side of the hand and the other one, array. Same stuff over here. Double-click here, double-click here, double-click here, and boom, we have the front and the back side of the hand. And that's it. You don't need to worry. On the arm. You usually are going to follow the inside of the arm. I like to follow this sort of like line on the like here on the back of the arm because it's just it's quite here then you don't really see it from a third person view as much. Again, I'm going to show you how to fix it if you can see it. But it just flows nicely with the texture of the hand, which I think it's important. There we go. For the chest. Some people like to divide the chest in a couple of areas. For this particular character, I think we can I think we can keep it nicely close. I'm gonna go here to the midsection, right around there. Same thing, midsection right around there. If it's not symmetrical, It's not the end of the world, but it's perfectly fine. Some people like to be super, super precise about it, but it's fine. Now I like to do this cut on the back. See this like little star right there. I'm going to use that one as my my my guiding point because I want to have as much surface area on the chest like clean as possible. So that should have given me like another island. It didn't just a little bit concerning. But let's take a look at the unfolds. So we bring this here, control you. There we go. So that's the chest, That's the back. This is the head. The head looks horrible and I'm going to explain why in just a second. Everything else looks fine, but the head looks horrible because we miss the very, very important caught on the head. Which is I like to call it The Luchador cut. If you've guys have seen a Mexican Luchador mask, it usually has like this, like a shoe laces on the back that go all the way around there. But in our case, we're actually going to go a little bit further. Usually when they go all the way to the to the forehead. So something like that. Now, if we take a look at this and we control you. Now it looks like a Luchador mask. I might be going a couple of more, actually, just two more or three more than say, UV Ga gb edges. And that's going to, as you can see, unfolded a little bit better. Just, just open it up a little bit more. This is very, a very traditional way to unfold a phase, which as you can see, if we turn on the texture, is going to give us a really, really nice organization of the texture. And that's it. The body there is gone. So I'm actually going to start like turning off the ones that we already have. So that's ready, that's ready to 3D. Let's go forward. The nails, nails are relatively easy. And yet the nails is just like front-to-back uv 3D cut. And we're just going to go front and back. So they're pretty much like squares, right? If you remember when we did the topology, they're pretty much squares. Oh, careful there, that's a spiral. We don't want that. So that's a really weird spiral as well. If you're having issues here, you could just manually, like paint, manually paint the edge. That's a spiral. This is why spirals are so hated. Because as you just saw right there, here I'm gonna go a manual. You're going to select this, the edges that I need. I'm just going to say UV JOB edges. So now we say uv 3D cut. That's gonna give me like a front and a back. Let's go to the other side. You could of course use mirror. I should have used Mirror to be honest. Then this one. Just going to grab like manually grab the edges. There are few edges, so it's not that big of a deal. We just say uv contribute. Now if we go to our editor, we just control you. Should have flat, very flat nails. That looks great. Cool. Finally, head these guys right here. Well not finally. We're still missing a couple of elements. Let's start with this guys. Now here's where again, like symmetry might be a good idea. So let's do object x symmetry. I'm gonna go uv 3D cut and just make sure that, yeah, there you go. You can see the little cursor over there. So we're probably going to go to the inside again to make it or to hide them a little bit better. And so we're gonna do that one dot, one, dot one, That one, that one, that one, that one, and that one thing we're missing. This one. There we go. And then on the inside, 12346789, technically, that should have done it on the other side as well. Let's see if it really does it control you? Yeah. Look at that all straight. Oh, we missed a couple ones. So that one we missed. And I think that's the only one that we miss. Let's find where that one is. Just press F. It's probably just one cut. The women. She could again. Don't see it. Let's do this one. Okay? So it's this guy right here, which means we just miss like one of those horizontal cuts. So again, uv 3D cut, and let's do that one. Control you. There we go. So all of the bandages have now been properly cut. And again, just to exemplify this, I'm just gonna do a very quick modify layout. So, oh, there you go. Now we discover two more here. Very easy to just double-click any of the edges and just say uv, Cut to be edges. Another unfold and another layout. You can see all of the bandages completely straight. Eventually, when we have our textures, look at how nice all of the textures are gonna look. So these guys are ready. Let's go right here. Similar process, exactly the same process. So uv 3D cut here, here, here, inside, inside, inside. And we unfold. There we go. So those are already as well, and we just finally just need disguise. Let's hide the nails as well. Let's hide this. Now this one's a little bit trickier because it's a low poly, right? So uv 3D cut, it's a cylinder. So let's do cap. Cap. And of course, back here across this guy's a box, boxes, you should cut the base or the base of the box. And if you want this to be even nicer, you can cut the corners as well. Like this. Now this guy, I'm going to go inside. It's a cylinder, so it's across, inside, across, inside, across its control you. There we go. Everything just unfolds nicely. So finally, just grab everything. And let's take a look at the texture resolution before we finish this video, I'm going to grab everything here. I'm gonna press Control L to lay them out in a single mesh. As you can see, we get this. It's a little bit low, to be honest, it's a little bit low. And the reason why I find this to be a little bit low is because we're spending a little bit too much resolution on other pieces. And even though yes, we do get a nice resolution, you can see it here, starts getting a little bit pixelated on the face. So let me check real quick how, what the number is. Because if it's too low, I might need to split this into two materials. So let's take a look here. We're going to do a get C, that's 1.9. It's like barely on the two. I think I think we can get away with it. Okay. I think we can we can make this work. But if not, if we wanted more resolution, one option would be to just keep the body as a single material and then everything else is separate material. You know what, I think that's the best option. So I'm just gonna do this control L with just the body. There we go. As you can see, it gives us a little bit more resolution. And on the face, this is where I will break my rule. On the face. I would definitely give the face just a little bit more resolution if needed, like right here. Because the phase is the most important part. And since we're going to have the necklace and all stuff, like the difference that you're going to see here shouldn't be that much. And that should give us just a couple of extra pixels to really make sure that we use this one right here. So that tells me again that this body shift P is going to be a separate material. And then all of these guys right here, they're gonna be able to modify themselves and occupy more space. And let's take a look, look at that 3.2. So now we get 3.2 for all of these props, which is, which matches or is really close to the one that we had on the, on the x itself. And if we check this one right here, 2.2 or one whole unit down. So that means that everything else is going to look a little bit higher poly. Now, can we fix this? Can we make this thing event like a better, well, we might be able to make more cuts on our UVs to give them a little bit more space, to use a little bit more space. Let's give it a shot real quick, but we're gonna do that on the next video because this one is already running a little bit high. So we're gonna try to fix the textile resolution. And if not, we might even need to divide the body into two parts. Like maybe the arms are going to be a different element or the hands since they are separated, we can have them on a different place. So yeah, hang on tight and I'll see you back on the next one. 55. Leg UVs: Hey guys, welcome back to the next part of our series. Today we're going to continue with the leg UVs and we're gonna take a look at what we were mentioning about like maybe the binding some of the materials into more tiles so that we can get an even better effect. There's a couple of other things that I want to fix, but let's get all of the UVs done first. And one of the things is that as you can see, for instance, on the torso, the letters are going in a slightly weird directions. So the ideal thing would be to go here and rotate things around so they are facing forward like this. Now for K it believe me, it's good. Like don't, don't think that because I'm saying that this is a low poly, that, that means that we can't really work with this. For K for you, like half a body is really good. You can see that we get quite a bit of detail. So that's great. But if we want to go for super, super close right here, we might need a little bit more resolution. Normally characters have a 2k k and you can imagine that this quadrant being divided into four, this will be a to K map. So as you can see, the face has like industry standard quality, I would say. Now here what I'm gonna do, as you can see right here is I'm moving the islands, especially the head and the torso. They are like this. It's a little bit like playing Tetris. I always liked this part of the, of the UB process because we don't want to scale them anymore. We know that the scale is right. We just wanted to position them in such a way that they make a little bit more sense. So for instance, I'm going to have my hair right here on this top corner. And then I'm just going to try to fill everything else on other places. This manual placement of the tiles is very common, especially for characters, because you want to make it easy for anyone that grabs your UVs for your textures to be able to understand where things are. As you can see here, we're having a love of the Phoenicia, trying to fit everything, which is very, very common. So let's just start pushing some of this things a little bit. The rules are, we should not touch the border and we should not touch other tiles. We can be very close to the border and as long as we don't touch it, that's fine. Let's move this out straight to bring this arm. Here. There we go. See how that one fits right there nicely. Which should have enough space on this arrow here for the hand. Again, as long as the islands not touching any other part, this is a slightly better UV distribution because as you can see, the letters are reading a little bit straighter. And in general, that tends to be a good thing, especially if we're gonna be adding like tattoos or things like that. You want to be able to design on a canvas that is just like a little bit nicer. So now that I see this, we are going to have to, so this is going to be thyroiditis body, Let's call this prompts underscore low group. And this guy is going to be thyroid underscore body, just the body low group. So the prompts are gonna be the bandage is the nails we can get, we can definitely get the nails and maybe even the horns, to be honest. Let's take a look. Yeah, I think we can fit the horns into the, into the body. So here's what I'm gonna do. I'm going to crop the horns right here. All of the UV shells, I'm going to turn off the image so we don't have to see it. Move this to the side. And then I'm going to select the horns, also the nail, so sculpted nails. Them over here. There we go. So we can get the nails, the horns, and the body. Can we do the math as well? Yeah, I think we can fit the mouth as well. So I'm going to grab the mouth. Let's go with the Ford UVs of the mouth. There we go. And then we're going to have the horns, the body, the mouth, and the nails. So now, as you can see here on the UV stuff, we have everything. Let's start with the horns, which are the bigger ones. Again, going to try to rotate them around so they're pointing up. Just to make it a little bit easier. If you didn't see where I hit the image. It's this button right here, this guy, so that we can just see the islands. And nowadays the UB packing tools that we have a really, really, really good, but you can always do a little bit of manual cleanup. So these are all the nails. Let's keep the nails close to each other and see how much more packing we can get. And we know that the distribution was really good, right? Like the amount of texture resolution that we have for each of these elements was good. So no need to worry too much about this. There we go. This is the part of the horns, so let's keep them close to the horns. And again, the mat board, the reason why we keep things close to where they're supposed to be. It's just for simplicity sake. So if at any point I need to check the texture in Photoshop or in, or in the other image editing software, we very quickly can know what each thing is. So that's the mouth, the tongue. That's the bottom of the tongue, I think. And this is the other part of the mouth. Careful here. I was going to say this is not unfold, but it did, it did unfold. So let's wrote to this thing a little bit here. Again, just try to get that in there while making sure we're following all of the rules. There we go. So that to me says that this guy, this guy, this guy, and this guy are going to be a single element, which is gonna be the thyroid rows. And then these guys right here, which are just the bandages, we might combine this with the shoulder guard. I think that would be a good material to combine things, a width. So now let's jump to the rete apologize meshes. And let's go for the legs. On the legs, I think I do want to have again, I'm trying to think. I think it's gonna be the legs, the tail, and the surface area wise. That might be it. They think we can get all of these guys as well, like all of these like little things. We might be able to get them in that single, single material. Let's give it a shot. So let's grab everything here. Shift P. Let's hide this guys. Let's hide this guy and this guy. And let's start with a UV so we know the process, select everything UV. We do a delete UVs, and then UV we do a camera based projection. And we start with the first one. This is very simple. I would say. We're gonna go uv 3D cut. We're going to cut depends. It's a great line too high the ECM. And then usually the ankles. See that little started we have right there. That's usually a good point too. This one's going to be a little bit different because we have the disorder like leather thing. But as you can see, it should flow fairly easy. Then it is recommended that we have a cut on the inside. I'm going to go in this line for the right leg than one looks good. I'm going to grab this line right here for the left leg. Again, it's a hidden line view. You don't see that line as much from the front. It's very difficult to see. It might seem a little bit from the side, but it should be quite hidden. The pants, we're gonna do two cuts. So we're going to do one cut over here, following pretty much the same line. And I'm gonna do another cut on the side like this. And on the side like this again, I'm usually on the position that you're not going to see it this much, and that's it. So we're going to have the front of the pants, the back of the pants, the legacy cylinder pretty much. Then the foods or all this food. Again, couple of wasted, we can do it. I am going to separate the class. I think that's the easiest one to be honest. I'm just going to double-click all of the costs and then I'm gonna do a cut on dislike corner of the cloth like this. Maybe even actually, I think I'm just going to go on the lower section. I'm just going to cut the Cloud in half like this. It will distort things slightly, but it shouldn't be that Beth, and they will allow me to paint a little bit better on this area right here. And then the food, the food is very important because in a very similar way to how we did the, what was it that the hand we want to go all the way around like this, look at that, that's beautiful. So we'll grab that line right there. Scrapped deadline right there. And that's it. So that's should split the foot and a half. I should've turned on my symmetry. That would have saved quite a bit of time. That's fine. Just do this. Careful here we're grabbing different one that we go That's a little bit better. Then this part of the foot, I usually like to cut on the inside like this, just so they don't force a little bit better because otherwise you get a lot of distortion, especially like on the ankle side of things. I'm definitely going to cut the light clock over here as well. Yeah, that works. Actually, that doesn't work as well. Script that one. That one. That's better than either one and that one. Perfect. So now we, we check to see if this works or not. We're going to take control you. And what I like to see here is every single time should look blue. That's the first one. And everything, every single thing should be unfolded. You can see this one right here. Something, I did something wrong. I think these are the fingers and I forgot to cut this line. And this line right here. I'm just going to go to Cut. And so I'm just going to cut and that's going to unfold a lot better. So that should be 1 ft. There you go. So you can see it looks more similar to this one. So that's it. The legs are properly cut. That's the first one. Tail. One thing we can do, of course, is we can assign the UV checker material. Here we go. This one is ready for now let's hide it. Let's go for the tail. You can see how bad the distortion is with the planar planar projection. I press number five. I'm gonna go uv 3D cut. We're like triangle right there. I don't love it. I'm just gonna delete it. I'm just going to collapse that one. Collapse. There we go. So it's a lot nicer. Uv 3D cursor. This is kind of like a cylinder, so we've got the cap. I'm probably going to cut here on the border. Like there. We cut around. Let me turn on symmetry. This is a little bit faster. There we go. And on the tail, of course we're gonna go on the underside. Now, this tail is really big. And the problem with this still being really big is that it's going to have a hard time fitting on the, on the UV place. But fortunately we do have this like bandages. So what we can do is we can cut a couple of times right beneath those elements, like that's first section, the second section. And I will be even tempted to cut here just to have the tail divided in a couple of more sections. And that way, even though we do get a couple extra seems, we are going to have a better distribution on our UV on RGB element. Okay? So sometimes you do want to do that. You'll want to cut a little bit more. So things just unfold and look a little bit better. We're of course going to cut the one line straight through the middle for the blade. And very important, straight through the middle in this little hole. Whenever you have a negative space like that one, you definitely want to cut on the, on the element control you. And there you go. I just missed this line right here. Let's just cut the shell, control you again. And there we go. So as you can see, we have the four sections of the tail, okay, which are very nicely laid out. And this is more than enough, like again, there's gonna be a seam, but I'm going to show you how to hide the seams instead of a substance. So tail, we take a look at the textures, look at that beautiful. Ready. Now, I think most of these are very self-explanatory. But I'm going to go for some of the tricky ones that we haven't done like this guys right here. So for this guy, as you can see, the cones are actually empty on the inside. So we only need to add a one or cut a line. So we're gonna say uv 3D cut. And it always depends, like you can always select the inside or the outside, whichever one you prefer. In this case, it's going in the inside. So I think we're gonna go for that one. As you can see, it is going across both of them. Which is fine. It's going to have we're going to have to spiky thing is but it works. Yeah, Gone. Gone are the days where we really had to be precise about the about the seam lines. I remember when I was a student, you had to really, really, really do super clean UVs because you were painting textures inside of Photoshop. And if things didn't line up, it was a really difficult to, to make it work nowadays thanks to substance, Mari, 3D code and all the other softwares. It's a lot this year. So this is a cylinder we caught CAP and CAP, CAP and CAP, CAP, cap, and then we call it cross on both sides. So here, here, here, and here. There we go. Let's check the UVs. Control you. Everything is blue, everything seems to be nicely. You can even do a layout real quick just to, just to see all of the elements. And you can see this looks perfectly fine. All of our UVs are already on this, on this elements so that one ready? Let's go for the bandages. Let's go for it. This one's first pretty self-explanatory. We've done them before. So it's just on the inside, on the inside. On the inside. Across, across, across. On the inside, across on the inside, across on the inside across. Just go to UV, UV editor. Control you. There we go. So you can see there's a little bit of an issue with this one that tells me that that's an issue with the geometry, but that thing we can get away with this with just cutting. Let's try this again. Control you. Cool. So yeah, there's some weird triangle right there. So let's solve that one. It's this guy right here. And it's usually like an angle or something. There we go. See that. So I'm going to grab that vertex right there, control and delete. Even though we've already done the UVs, that's fine. When you delete certain things, the UVs actually remain perfectly fine. So as you can see, everything's working there. So that one's great. Let's go with the next one. This guys right here. Same deal. Insight across. Actually wouldn't have a symmetry lines. So I'm just going to remove this right here. There we go. And then let's turn it back on. Inside, across, inside, across another, another one without symmetry line, that's fine. Which is, turn this off. There we go. Uv, UV editor. And the UVs are also a great point to check whether you did things right or not. Because if you did not submit, if you made a mistake, if you have an guns and stuff, more, more often than not, you unfold tool will not work. So that's another great way that you can tell whether you did things right or not. That's once. Same, same stuff. So inside cut. Inside cut. Cut. There we go. I'm not going to unfold them. I'm going to fold everything at the end. Let's go with this guys right here. Very simple disguise, because we just go UV and it will go across the half halfway points. As you can see, it's the front side and backside. So really no big deal. The last slide, a complicated ones is gonna be disguised right here. Which do have, as you remember, couple of weeks triangles and stuff. But that shouldn't really affect us unless we have some really, really bad like geometries. So I'm gonna go uv 3D cut. And there we go. Inside. Inside, as you can see, I'm trying to go a little bit more to the border because on the central lines, there seems to be a lot of triangles, which is not the end of the day, whether they can definitely make things a little bit trickier than they should be. Like this one right here. That's a tricky one, but if we go here, that's a border. And that should save it quite a bit. Let's go here, here, here, here. And I think that's pretty much it. And I'm going to go on this inside, on the inside of the foot. So here, here, here, here, here. That one, we're probably going to have to manually do it. So as you can see, in order to actually that one, we don't even need to call it like that. We can keep it like half and half. That's fine. Here. Here. Here. It seems like I don't have symmetry. That's fine. Cool. So let's go on this side. It seems to have less bandages. Uv, 3D cut, same deal inside, inside, inside border. And I do want to cut this on the inside. So I'm gonna go to this line and this line, this line There we go. That one, that one. Actually that's the outside. Let me go back. So we want to cut it here. Here, here, here, here. Go inside, inside, inside 123. And I think that silly, which is this one I think that should be at. So let's take a look. U, v, u, the error control you. And let's do Control L real quick. Okay, so here in the control l, I can immediately see where the issues are that they're easy to fix like that guy right there. We can say cut. And then I'm going to select this guys. I'm going to say as so. Now when we unfold, we unfold this guy right here. It's going to look a lot straighter. Like we split something here, that's fine. Very easy to fix. We grabbed this guy's cut, then we grab these guys and we're just so, and of course we are going to have to unfold again. And that's it. That one is fixed. This one is fine. This one. So this one is a little bit weird. I'm not sure what's going on here. It's the only one that's wrong. So let's see what this has. So it's okay, it's this guy right here. I'm going to double, I'm going to go into object mode or face mode. Double-click and isolate just this one. And let's see, maybe I just forgot to, yeah, I forgot to go to the inside. There we go. So very easy to identify when something is wrong by doing this and then Control L, Look at that. All of her bandages perfectly lined up. So once we add the texture, it should look perfectly, perfectly fine. Cool. So that's pretty much it guys. I don't want to make this video any longer. We we've already spent quite a bit of time. So I'm going to stop the video right here. And on the next one we're gonna do the UVs for the props, which is the belt and the shoulder armor. And once we have all of the prompts, we're going to start again playing around with how to properly place all of the elements so that we get the best possible Bakes and resolution. So hang on tight and I'll see you back on the next one. Bye bye. 56. Proper UVs: Hey guys and welcome back to the next part of our series. Today we're going to continue with the proper UVs. And I'm going to grab all of these elements right here, Control G. As we already know, we're going to graph this naming convention here and just copy it. I misspelled his name is Rose, and this is going to be less. Hello. Now, I mentioned that we're going to talk about the texture resolution. So let's just do a very quick test. Scarf. Everything here Control U again to unfold and then Control L. Like this will be a very general approaches have how things will be. If I grab all of this and then go to transform, and I say, okay, for a four K map, what's the texture resolution? 1.75, too low, too, too low. So we're gonna have to move things around like just accommodate elements in slightly different ways to get a better resolution. 1.7 is way too long. I'm going to try to keep things between two point 5.3. And this is something that you're going to have to ask your company that you're working for your client because every single project will be slightly different. Now if we go to this meshes right here, you're gonna see that we still have quite a bit of elements to go. So again, knowing that we're going to need a lot of resolution for our UVs. I'm probably going to keep this thing seem to separate elements. So I'm going to keep the skirt like all of these guys right here in a single one. And then I'm going to keep this guys right here as a separate one. So let's start with the skirt. And I think since the necklace is relatively simple, I'm going to keep the necklace on that one as well. I'm going to press Shift P, and then I'm going to Control G. So this is going to be called thyroid. The iris. Let's call this body prompts underscore, low underscore group. There we go. Let's hide this guys right here. Same process, UV, but the lead UVs, UV planar mapping or camera base. And we start, so let's start with this guy right here. This one is slightly interesting because we have two elements. This guy right here, this guy right here, and the belt, as you can see, it's hollow on the inside. So for the belt, we really just need to make a cut. So I'm just going to say uv 3D cut, uv 3D cut and sew. And the only thing we need is literally uv 3D cut. Just one cut can be on the back or it can be on the sides. Actually, I'm gonna do two cuts, one on one side and one on the other side. Because I think that's again going to help us with the overall distribution of islands and it's going to make things a little bit better. This one is pretty much like a ring, so same thing, I'm just going to do one there, one there, one there. And let's do a quick unfold and see if that works. Control you. Perfect or blue, all straight. Grade, that one, that one's ready. Now let's go for it. This guy right here. This one's a little bit interesting because first of all, all of the cones, we do need to give them a cut. I'm going to say uv 3D cut. And the usual thing is just one cut on the back. This case it's not going to the front, which is great. I think it's not going to the front because of the amount of lines. I think this word like 12 or 14 or something like that. So that's why we don't have as many. Just double-click on the back and that's going to unfold them nicely. Pointy bits are always tricky, as we've mentioned throughout the whole thing. Now this one, you saw just one code right there on the back. It will be more than enough. Same for this call. This call has no back, so we really don't need much. If we take a look at this and we see control you control L. That's it. Front, back of the spikes, the skull, and that's it. The belt buckle is ready. So that one's ready. That one's ready. This guy is right here. Should be fairly simple. Should be fairly simple. Why? Because we have a central mine. Central lines are going to be super important right here. Oh, we got a little bit of a spiral down here. That's fine. If this happens, don't worry, don't panic. We're just going to clean it. We're going to press Control and manually cleaned death spiral because eventually it will connect in some points. So for instance, here's where I see that it's doing the weird jump weed control. I'm just going to erase those and then just manually draw the line right there. There we go. So now that should be front and back and that's fine. These are gonna be big, big sections, bigger surface areas. So be careful with that one. Same with this one. Let's select uv, 3D cut. We should have a central line. Perfect. No spirals, That's great. That's done. And finally is this one right here, the middle one. So uv 3D cut, central line, perfect. Let's go with this guys right here. And are very low poly, this guy should already have its own, but if it doesn't, we can just recreate it. That's fine. The most important thing is we want to come like straightened down as much as possible. There's one uv 3D cut. And we're gonna go same thing like front and back like that. And I do recommend, especially for this belt right here, to divide it in two so that we don't have super long elements for the rope. I think we can get away with it. So that's it. That one's ready, ready, ready, ready, ready. Let's go for the necklace. So necklace. Oh, actually, I made a mistake here with the necklace is a very, very, very dense one. That's way, way too much. We have 11,000 triangles for just a single element that's no Bueno, but we have our script, remember, so we can grab one loop, use our script, control and delete. That should minimize the loops. Do it again, Control Delete, and probably do it again. There we go. I'm just going to delete that loan. So letting me delete that one. Delete that one. There. There we go. We like almost a decimation there. That's great. So now there's one uv 3D cut. That's the cut right there on the back, That's perfect. Then we need a cut on the inside or on the bottom side like that. And I would again, probably add a couple more cuts, maybe two or three. I think one there's finally have two sections. And that should be, should be good. This guy right here, uv 3D cut, we're going to cut the inside, outside and on the center like that. And then this outer part, we probably want to split the whole thing to be honest, just to make it easier like that. Then this thing right here, it's kind of like a cylinder. So we're gonna do the base, just like connect them like that. So we're going to have the looks sort of like a front side and a backside. And finally, this piece right here, which also looks like a cylinder. Uv cut. This guy right here. Like another cut right here. It's a very low poly elements, so it really doesn't matter as much. We don't want to cut on the back to make sure that we have as many of the seams as possible. There we go. Now we can grab all of these guys again. Uv, UV editor, control, you, Control L. There we go. Same deal. Let's take a look at the textual resolution. So get 1.8 is still a little bit low. So either we decide to bring every single piece, including the body and everything lower, or we're going to have to use more maps together, a little bit more resolution. You can see here some of the pieces are having a level of an issue, but everything is proportional. So we are doing what we're supposed to be doing it, this is the way to follow this process. Let's hide that one real quick. And I think the only bits that were missing or all of these guys. So let's do them as a single piece. I'm going to have, since this is a single element, I'm just going to grab this name. I'm going to call this thyroiditis, shoulder shoulder armor, low group, which of course has a couple of extra things. But yeah, this is what we get. So same process, grab everything, UV, delete UVs, grab everything. Uv, planar, camera based projection, and we start. So let's start with this one's simple. We just do through the center. So we're gonna go uv 3D, cut down the center, down the center here where my knee to help it, like that. Same deal here is help it. And that should give us both sides of the element. Some people for this very sharp objects, especially like here on the tips, they do like to cut like one extra line right there, like that guy. And that guy. That helps unfold things a little bit better, especially on the pointy side of things. Down here. I really don't mind as much, but again, just like cutting these lines right here helps a little bit. Okay. So if you're having issues with the with the unfolding, doing those two extra cuts, right? There might be a good idea. Let's start the skull. We've done this color already, whether we're going to have to do it again. So uv 3D cut. And if you guys remember, the process was very simple. We go to the base of the horns, horns where we have the little stars. So for every topology, there we go, there we go. And then I'll probably cut them side-to-side like that. Then this one probably in half. We need to cut this hole. So we cut the hole. And then we should have a very, very like a relatively easy line going through the middle of things. You guys remember all of this line, There we go. Then here you can just connect. Just make sure to clean all of the extra edges that we don't want. Sometimes the mouse does like weird things that we go over here. We connect right there. This guy, which is now very carefully, it's kind of like if my is trying to find its own way, but It's really dumping, doesn't know how to do it properly. There we go. Now we need to continue this. Like line. The back. We go. You can see pretty much the topology just flows by its own. As long as you have a proper re, topology is just, it just works. Actually, this one went a little bit haywire. There we go. That one, That one. There we go. That's it. Now, of course we finished that one up and that's gonna be the bottom part of the face, that top part of the skull. We really don't need to unfold the nose. I think some people again, they do like to do it like that just to help with the overall surface volume. Sometimes even on the eyes. I really don't think that we need it for this one, but if you want to do it, That's another option. D 0 T. I hate doing this. I hate doing things because it's so many, so many cuts. But let's go. So we can try doing objects symmetry, object z. Let's see if it works. Uv 3D cut. Now it's not working. So yeah. So teeth again, not that big of a deal. Just half-and-half. Very important here. As if you remember, we did this with like an automatic tree topology. So we're probably not going to have like perfect loops everywhere. But if you have the perfect loop, just, just go for the perfect loop. Not a big deal because again, I will show you how to clean the edges inside of a substance. So yes, some of this edges are a lot more prominent, are a lot easier to see than others. But I'm just going for simplicity here. For instance, we have a spiral. So I'm just going to grab a different one. Go there we go. There we go. Spiral scrub a different one. Usually teeth have like blood and grime and thanks. So you don't really see that this things go. There we go. There we go. There we go. Now UVs, I don't find this to be as boring as, as we topology, but they still strongly recommend that you get the nice playlist going. Because it does take time. Like, I think we've been doing this for like an hour or something. So yeah, it's, it's not as boring as root topology, but definitely, it's definitely time consuming. There we go. There we go. There we go. Here for the spirals are rather have an uneven loop than a spiral, to be honest. I'd rather do like those, like we're a little cuts here and there. Rather than to have a spiral. Here we go. There, we go side to side. That will be the ideal. Like if we were, if we had done this with manual rate topology and not automatic, the ideal thing would be to have like with the fingers just one line that goes through the middle. That's such a small detail. Sometimes in production, the ideal is not. It's just not possible due to time constraints. So you have to deal with what you can. There we go. Cool. So these guys are done. This goes down, this goes down, this goes down. That's got the job through the UV. This is a very, very simple one, just down the middle. And as you can see, that's pretty much it. If we want to sort this out a little bit more, we might wanna do like half and half. That's going to again make it a little bit easier on the topology to other things. But I think, I think once we do the organization, we might not need to do that. This one is metal, but also this is very square. If you remember, we like, we did this on purpose. We didn't give us much subdivisions. So we gotta be very careful here with the with the UVs because we want to hide them as much as possible. Just follow the whole border. Good, down. There we go. So that's should unfold nicely. We might get a little bit of distortion here on the corner. We can try to cut another one, but I don't think it's necessary. And these are cylinders. So even though they are cylinders, you still want to give them a little bit of a cut. Maybe not all the way there. So let's just cut it right there. And probably we do want to separate that from the from the jar. So like that. Cool. So that's done for patch. That one's easy. It's just down the middle. Right? It's just the shape of the shoulder. It's just down the middle. Now, I'm not unfolding anything as you might have notice. And the reason I'm not doing that is to just move a little bit faster here. I'm definitely going to cut them on the middle that, for that one. And for this one doesn't have a central line. So we're gonna have to manually select those guys. Oh, we have, It's not a gun, but it's a weird face right there. Interesting. Maybe I missed on the bubble something. There we go. So that's the one here. I would definitely do this one like on a card right there under the loop, just to make it a little bit easier for the whole thing. It's gonna be front-back and then front and back for this little thing right here. This two guys ready? This guy's center, center inside, inside and the little triangles. I don't remember if they are yes, that way. Okay, so there's solid. So since there are solid, we're going to have to do UV and cut them across there like symmetry plane like that. Okay, so it's gonna be the front and the back of the of the little diamond thing. Let's hide that one. Okay, almost done. So this guy, again, fairly easy. Hopefully by now after we've pretty much done with the whole UV process, you guys understand the whole thing. This gets even DC. Start with this one. So it's like cap, cap, cross camp across. Careful I normally like to cut the caps first. Because if you don't, when you cut across, you get a Pac-Man. You get the Pac-Man. On the caps. We go This little triangles right there. So that's done. This guy. Just front and back, that's pretty much EC. They're sphere we don't need, It's already cut in half. We do need to cut the cylinder though. Sometimes you really need to get in there to get the proper cut. There we go. There we go. Finally, this guy right here, uv 3D cut. There, there, there and there, there and there. Perfect. So technically, technically we should be done with all of these guys right here. There we go. We go UV editor, of course I didn't default everything, so I'm going to press Control U to unfold first, Control L. And what are the things that I'm looking for, this sort of thing where things are not perfectly God, we're gonna cut work, of course going to have to unfold again like this thing right here. I'm not sure what this piece is, what I'm definitely know that this like some sort of circle that I didn't cut properly, like this piece right here. I don't want to cut that part of the blade, so we're going to sew back. And this is the one of the tricky parts because you need to, It's kind of like find the Waldo. You need to find the specific. Like you just need to observe every single UV and see if you see anything that's slightly wrong. Lets you control you and Control L again. Go to another control L. There we go. Now let's check the resolution that we have for these guys. So we get texts, get 2.5. So this is a little bit better. This actually would be, I would say on the area that they think is proper. So I think this one we can leave like that. So all of these elements, they can be their own. There's gonna be its own material. I think that one properly covers the amount that we want. So I'm going to stop the video right here, guys. And in the next one we're going to talk about the textile density and how to make sure that everything, everything, everything, everything fields and the is exactly as we want. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 57. Defining Materials: Hey guys, welcome back to the next part of our series. So we're going to continue with the finding of the materials. We need to find out the specific way in which we are going to be like preparing all of our materials. So for instance, if we go to the body, which is probably the most important part of the character, we know that we really liked this material. And if we get the textile resolution, we're at 2.27, we might get a slightly less. What's the word at textile? Because we introduce more stuff. But we're really, really utilizing most of the elements in that. I do think I want to keep all of these guys here for one more very important reason. That is a subsurface. All of the things that we have right here will have some degree of subsurface scattering on the material. So that's why I want everything to be in a single material. This is, again, performance-wise. It's going to save us a little bit of headaches later on. But yes, we're not getting as much density as we want now, is this bad density? Not really. We check the character right here and we assign the UV checker, you know, as we've seen before, that way you can really get really, really close and you're going to have to get to this level of closeness to the character before you start seeing some of the pixelation. So I think 2.5 is going to be the range that we're gonna go. And what I'm gonna do now is I'm going to grab this thyroids body group and all of these guys. I'm going to right-click. I'm going to assign a new material, or it's gonna be a material Lambert and I'm going to call this M thyroid underscore body. So the body of thyroid is going to be here now just for the sake of what's the word? Just for the sake of clarity, I am going to give this a color. I'm going to go for like a pastel red color like this. Okay? So that's gonna be just again, just so that we see something that's a little different. Not everything is great. Now let's jump to this guy, which is the one that we just finished. If we take a look at this guy, first of all, I can see that we have some empty space right here. And if I get, I can see that we're a little bit above a deep character and that's not something that you want to do. Now, this guy is if you remember where on this prompts element and they were like, Hey, we're alone, we don't have anywhere else to go. These guys right here. Well, we could bring them into the shoulder armor elements right here. Well, the shoulder armor group. So now all of this guy's a or single group. Of course, if we now go to the UV editor and we unfold, and this is horrible. Okay, So this is horrible because I just forgot to save, but I think it's gonna be able to save it. It seems like they were able to recover it. So let me pause real quick and open again. Unsafe. Okay. So it seems that Maya was able to save my file, which is not normal. I'm really lucky right now. So first thing I'm going to do File Save Scene As, and we're going to call this setup scene. And let's say 001. There we go. That way we, we have a better seat. Now, the reason why this scene is so heavy is because we still have the good high polys over here, if you remember, I think they're here in group one right now. Yeah. So that's why they're so heavy. So we have the material here. Let's go again for this case right here, UV editor. Now before we do anything here, I'm going to just select all of these guys and delete history that might help with the processing. And again, Control L. Now every single piece, all of the bandage, all of the things are here. Let's take a look at the transform and let's see how much points do we have now? 2.1. Okay, So this is perfect and as you can see, we're utilizing a lot of the elements. We have the straps, we have the bandages. So this is great. This is going to be all of this process right here. I'm going to assign a new material, Maya Lambert, and this are gonna be called M. Let's call this top props. Okay, that's gonna be the name of the material. And let's give it a nice pastel green color. So that's gonna be my other material. Seems like. Okay, it's weird. Okay. So it has the same sorry, it has the same color. Now let's take a look at this case right here, which as you guys remember, we already had the number gets one point, they disguise her a little bit low, so we need to find a way to give them a little bit more resolution. Now, here, the main issue I would say is that there's a lot of empty space in it might be due to some elements like this guy right here that are occupying a little bit too much. So I'm gonna select this edge right here, cut and cut that one. Let's try another layout. Control L. There we go. So as you can see that like push things a little bit better. And now we get 1.9 were recovered a little bit more. Here's where Maya does a really good job, but sometimes it's not enough. And you can definitely manually move things around. So for instance, if I do this and I say get, now we're really at the, at the amount that we need. So the only thing I need to find is to find a way to get all of these guys into a single, into a single element. That's one option. The second option is to go to the other material which is as high the body for now, let's hide this guys. So we just have 1.2. Okay, let's go to this one right here and let's check what the number is for this guys. If we check the number on this guy's 1.7. Okay, so that tells me that the we need more space in that probably means that we need more materials. So I'm going to select the color, the rope, the belt, the pads. Advantages over here. I think those are going to be at, whereas I select all of those. We're going to lay them out on this one. So now if we get 3.1, that's even better than we want. So we can add more stuff to that material. So let's add this guy is this guy, this guy is this guy as well. So all of the little bits and pieces, we're going to add on a new control, LLM 2.9. Okay, so it's gonna be slightly bigger or slightly higher than everything else. But we are going to have them as another object. So let's grab them again, or actually let me just grab all of the other ones which are, this guys are right here. The failed Shift P Control G. And this is gonna be another group. Let me hide it for just a second. So all of these guys Shift P and they're gonna be thyroids, body prompts. We're going to call them Not necessarily not Bali province. Yeah, that's fine. We can use that group. Was the name of the other one. The other one. Shoulder armor. Okay. So this is gonna be we can't use the lower if we can is just a group. So we're going to call this lower body prompts low group. Perfect. Me bring the other ones because him getting a little bit confused here. There we go. We've got our body, this guy. And then all of these guys. Now to all of these guys, we're gonna assign a new material, Maya Lambert. Let's use like a pastel blue. There we go. So that's gonna be, that's gonna be another set of elements. Now this guy right here, it's gonna be the last set of elements. Or actually the, this guy, this guy, this guy, this guy and this guy, it's going to be its own group. So let's group that and Shift P to get that group that's going to be called belt. So it's gonna be the heroes belt low group. There we go. Now let's take a look at how this thing is. Look on the UBE side of things. So control you, control L. And if we get to, okay, that's fine. We're at two. So we're close to the elements for textile resolution. You really don't need to be exact. You want to get as close as possible. Okay? So I know some people will get like very, very perfectionist about those. Like not everything should be the exact same number. People like the audience, they normally don't see that sort of stuff. So, so don't worry if things are not perfectly, perfectly like that. And finally, the tail and the legs, which are big areas, v6 surface areas. They're going to have their own stuff right here. And we get 1.9. So as you can see, a little bit low, but it's, these are parts of the character data are not as important because there are gonna be covered, they're covered by a lot of stuff. So that's fine. Again, that is perfectly, perfectly fine. This is gonna be called thyroid lower body, low group. And we're also going to assign a new material, Maya land birth and is going to be m zeros lower body. Let's throw in a nice little pink pastel color. So it, this is the organization of my materials for the character. As you can see, there are a lot of things going on. A lot of things, but this is how we're gonna get. This are the materials that we're going to have at the end of the day, we're going to have five materials. One for the body, one for the upper prompts, one for the skirt, one for the lower body, N14, the lower props. So that's five materials for the character. They're all going to be for k textures, it is going to be quite dense. Again, remember, you can always optimize, you can make the texture is lower if the production that you're working on needs that. But yeah, this is pretty much what we're gonna be going for. The next step is we need to start organizing the specific like high poly model. So we're going to have to create the matching hypothesis for every single parts. For instance, for the body here, if you have 1234, we need to have for high poly elements as well. So on the next video, we're gonna be doing that organization. We're going to start creating the groups. And that's why we have this low group, high group and all that stuff. Everything here, I'm going to delete history and I'm going to say File optimize scene size. I'm going to say, okay, that's going to delete all of the groups that are not being used right now. We have this group one, which is the high polish, the acts, which has already been done. So eventually we're going to have a lot of this little groups like this. Let's bring the shoulder, arm or down here. I'm going to change the name of this group. Two main hypotheses. We're going to be extracting them from that group. And let's say real quick, our journey is getting closer. We're getting closer to the texturing phase, which again is going to be Chapter eight. All chapter is going to be full of texturing. So hang on tight and I'll see you back on the next one. Bye bye. 58. Preparing Material Sets: Hi guys, welcome back to the next part of the series. Today we're going to continue with the preparation of our sets. So I'm going to organize this in order of importance is gonna be the body than the shoulders, then the belt than the lower body, and then the lower price. That's how we're going to have in, eventually we're going to have all four structure here. I'm gonna grab all of these guys and just hide them because we're gonna be focusing just on this one. Let's open up the group. Let's open up our high polish and we need to bring in the hypotenuse. So I know that we need the horns, the mouth, we don't need the eyes. I don't remember what this one was. Okay. Perfect. Yeah, that's the body. So we need the body. We don't need the bandages, but we do need the hands. And that's it, right? Mouth, horns, the body and nails. We need the nails. So the names right here. Perfect. So I'm going to grab all of those guys right there. I'm going to Control G to create a new group of those guys. And then I'm going to Shift P to get the group out of the, of the heirarchy. We no longer did that one for now. We're gonna move this up, copy this name, have it right here. And this is going to be called thyroids body high group. Now if we open up, we're gonna know this that first of all the names are not the same. So let's change the names. This is gonna be nails. Hi, hence, and a body need to be combined. So I'm going to combine them. Merge right here. It's gonna be quite heavy. It's like 4 million polygons or something. Let's delete history immediately after we've done that combination so we don't have any extra information. We bring this back here. And if this is cool, I didn't like this goal being called decimated low, to be honest. So let's call this body low. And now we're just going to grab this. The name of this thing is gonna be changed to body high. Then thyroids mouth is just thyristor, mouth. Same for the horns. I'm copying and pasting just to make sure that there's nothing wrong and everything matches Perfect. Cool. Let's hide this guy for a second. Look at this beautiful. So this is the big they were going to have. Yes, there's a little bit of something wrong here, but remember that all of this is gonna be hidden by the advantages. So it's, it's fine. And that what we're gonna do is we're going to assign some materials for the ID maps. So if you guys remember, we already have our primary colors. So I'm gonna select this guy, right-click. Be patient because it takes a little bit to process, assign existing material. And this is going to be a wrath that we go grab this guy, Right-click, assign existing material. And this is going to be a green. Grab the mouth. Mouth, assign existing material, and this is going to be yellow. And the nails. An existing material. We're missing one or missing the blue. I think I'm going to grab that Lambert eighth and this is gonna be the new blues from glycolysis n blue. There we go. Now, hopefully some of you guys have been very observant and you're like, wait a minute, there's something missing on the horns, on the hypotenuse that we had for the horns, the, we had some bandages. We had the armor. We need to add that we don't need. This guy is, this little guy is remembered where they're no longer needed. We can actually delete them. But we do need these two guys right here, the bandages and the armor. So I'm going to grab these two guys and bring them all the way or actually let me just shift P to get them out of the parent. I'm going to get them here into the high poly. And since we already have the names, we grabbed the horns first and then those two guys, we combine them. So this is gonna be Horns. Hi, but this is the important part, is one of the most important parts, I would say, as you can see, this guys have a blue color. I think that all of the hypotheses have the land per day. That's why they have the blue color. But it's very important that we have this. And I might even be tempted to give them slightly different colors with how can we give them different colors if they are already their own material? Well, there's a couple of options. First, we can go back a couple of elements here before we combine and give them a new material, which I'm going to assign new material. Arnold, sorry, Maya Lambert. Call this m her poem. Let's keep them sort of like violet color. And then this guy's assign new material. Maya Lambert M. You can also use black and white, although I don't recommend it. Let's call this light. Blue, is gonna be this one right here. Now, it is important that we tried to keep every single piece as separate colors because the selection is just going to make it so much easier if we do it like that. Otherwise, you can have like this. Those could have been left blue, but then when I select those, I'm going to have to paint out at the nails. And it's just an extra step that we might not want to do. So there we go. We just delete the history right here. We grab this guy and bring them right here into the high group. So our high group is ready, are low group is ready as well. Let's take a look here. Everything seems to be in order for one final check here to the UV is to make sure that we have things properly done and we can already export. So I'm just going to select all of these guys. Well, final thing we need to make sure that this guy's all share the same like material thyroids, body perfect. We can go File Export Selection. And we can export this and do a big test. However, I'm not going to do that yet because I want to try and see if we can get the whole character in a single substance file. I know that it's quite heavy to do that. It's going to allow me to explain a couple of other things about texturing. So we're going to try to bake everything from a single file. So this guy is ready, but we're not ready to export that one. That's the first one. Let's do another easy one for now. Let's do like the, I think the lower body might be a good idea. So let's hide this real quick. Let's loot the lower body, which are the pants and a tail, and that's it. So we go to the hyperbolas. We go to the tail, tail. There we go. So we want the tail, we want the tail blade. There we go. We want we don't want the tail bandages nor the armor spiking or Germer. We want the clause, the leather scrap. We don't want those bandages, but we do want this wraps right here. Those are important top bandages as well. Yeah, we want to capture that one. This is the perfect Yeah, we want that we want that left arm straps and that's okay. So we just grab all of these hypotheses that we have right here. Control G, Shift P to get the group out. And we're going to rename this to thyroids, lower body underscore height. Perfect. Now we bring this up so we can work with this a little bit better. Here we go. The big thing is, well, we have a lot of things right here and just two things right here. So for instance, the tail is just the blade and the tail. So I'm gonna grab the thyroids tail terrors steel blade. We're going to combine, delete the history and bring this back in right there. This is going to be tail low. This is going to be tail, of course, high. Let me hide this guy, Ralph, the low poly for a second. I'm going to grab this guy, assign a new existing material. Let's start with the red. There we go. This one, Let's listen. We're going to combine things we should, or it might be a good idea to just give things their own color beforehand. Let's do red for the skin. So and everything that's skin is gonna be, it's gonna be yellow. This is going to be light blue and blue. There we go. So as you can see, we gather a little bit of something for the whole thing. I'm a little bit concerned about this guy right here, like that thing right there. Then show you very quickly how to solve this. You can use soft selection. And we can try to select one of this case, press B and we w just slightly pushed this in because otherwise that might generate some like weird base on the elements, similar to what we were getting on the next cell. There we go. That I don't care too much about. But if you want to be super precise, W, just push all of this n. That's just gonna give us a way better bake. Remember this is the high-quality that we're modifying. So nothing should change on the low poly. Same thing like there. And grab that face right there and just push it slowly out to avoid as many of those like ugly overlap. So that's what we have. All of that information is going to be baked down. So not too worried about moving things just slightly. And all of this, we're doing it on the high poly. There we go. Cool. So everything else looks good. Now. Yeah, we'll just grab the whole thing. All of this except for the tail of course. So all of these guys right here, and we're going to combine. And this is where things can get quite heavy because of the amount of geometry that we have. So if you're having issues, you can again decimate this even further or split it into more parts. Thyroids likes high terms like Luther was like 13. There we go. So yeah, that's it. The Alexa are done as well. I'm going to stop the video right here, guys. And in the next one, we're going to continue with the, with the rest of the hypotenuse. So this is the drill we combine. We give them the colors that they need and we prepare everything for the final big that we're gonna be doing. So hang on tight and I'll see you back on the next one. Bye bye. 59. Finishing Material Sets: Very well. Let's continue now with the last material sets that we need to do. This are gonna be the, the tricky ones. I would say we already have the body, we already have the lower body. Let's now go with the belt. So if we take a look at the belt, we got the main like leather things and some other stuff. So let's go to the hypothalamus. And thankfully, due to the way we have things assign, it should be fairly easy to find the things that we need. So it's all of those guys right there. And then we've got the main belt with the square details. Those are important. We didn't not captured those on the low polytopes are going to be baked down. We've got the bells call, we got the border, the base spikes. We've got the top. Honest. That's the other stuff. We've got the stitches, those are important. We're going to have all of those stitches on this side right here. Border belt. And I think that's pretty much it. So yeah. So now I'm going to grab all of these guys right here. Let me just double-check to make sure that we have the proper things. It seems like we do Control Shift P. And this is gonna be the thyroid most belt high group. I'm going to hide this guy for a second. And first we need to of course, assign the colors. So all of the skirts, let's give them like a green color. Just give them a red color. They are like the contrast color, so they're like a post colors on the wheel. So the masks should be crisper. This guy right here, Let's give it the light blue. This guy right here is also leathers, so that should be green. And then all of this metal beds should be like yellow. Yellow. And we can keep the rhomboid shapes as, as blue, that's fine. I can see a couple of things that they don't like. This guy right here. Again with soft selection. Make sure to hide any weird overlaps that you might see on the high poly. Like all of those guys see that. So again, just a little bit there. You don't need to exaggerate it just by pushing that. That should be more than that. Now, here, this is a belt, this is Mall building. We have some also going to give this a red color. Actually, let's give it the purple color. That's a belt. It's not we did not capture that on the on the information right onto the low poly information. But it is definitely going to be important. So if we take a look at the thyroid is a belt law. We have a couple of skirts and then we have the belt. Belt and the belt buckles. So we know that we have skirt see here. We definitely need to see to know which ones they were. I do remember that I did them left to right. So that's a skirt a. So let's grab skirt a. And it's this one right here. So it's gonna be skirt a high. And then we've got scared to be, which is the central one. Sqrt be high. And then we've got skirt scene, which is this one right here. Skirts see high. The big question here is, what are we gonna do with the stitches, right? Well, the stitches should be with the skirt that they are assigned to. We're going to combine those, the history. And that's gonna be skirt a high. Okay? So they're gonna be part of the big because we want them to be on the normal and we want them to be on the middle collusion and everything with that particular skirt. Then we have the leather border belt, which if you guys remember, It's pretty much together with the, with the square detail and the belt itself. So all of the species we're going to combine. And over here it's the belt low. So there's going to be built high right there. And the history to remove any empty groups. And then all of these guys right here are also going to be combined. Now, there's one thing I'm seeing here and that's the fact that now we are matching them, okay? Okay, where we're matching is slightly off. Slightly off. We're going to have to see how the brakes work but should work fine. So that's gonna be belt buckle low. And therefore this is going to be belt buckle high. As you can see, by keeping things organized, it goes relatively smooth. It's not that time consuming. Now, let's hide this one right here. And everything is looking good. Like we know that we're doing things the way we're supposed to be doing things. That's the belt though. Let's have the high on top. So we're gonna have high, low, high, low. And yet we just need to continue going with this one. So let's go with the shoulder prompts. Let's bring them in. Let's turn off these guys right here. These are quite a bit more, okay. Very, very common. Okay. So I know that's the hand armor, the bandages, all of these bandages, the arm straps, not the feed bandages, not the knee pads. It's all of those guys. And of course, all of this call all of these guys as well. We don't have chest belt because remember we rebuild this from scratch. So these guys are, are new. I did forget to give them the mesh display, soften the edge. There we go. So this is our guys aren't used, so we don't have them same for these things. We don't have high-quality, so there will be certain objects that we don't have high, high policy. I think this is the first time that we're encountering some of this and I'm gonna explain what we're going to do. We've done this before, but I'm just going to re-explain it again. So I'm gonna delete this eyes. We don't even need them. And I'm just going to do a quick check here to make sure that we're not missing anything and it seems like we're not. So we grab all of these guys. All of these guys, there we go. Control G, Shift P. Close this for a second. If we take a look at the shoulder, arm low group, we have a lot of pieces and now it's the opposite. We don't have the same amount of pieces on the high group that we, that we do on the low group. Can we do something about it? And the answer is yes, we can grab the pieces that we don't have as many off like this guys right here. And even if we're not going to have a high poly, I would still recommend duplicating them and getting them under high policy. So there's a high poly equivalent because we're gonna be doing the matching by name. If you're matching by name and there's nothing there matching, then you're going to have some issues. We're not going to smoke them. We're not gonna do anything. We're just going to have them, they're going to represent the high poly, even though it's the exact same element. Okay, so we're going to do that. Now. Let's start assigning colors first. So on this side right here, wait a second. Where are they? At this? All of this and delete hidden. Okay, yeah, my bad. So what happened here is all of this loads that we got. They have some transformations if you guys remember. So well, especially discuss right here they have some transformations. So I'm going to unlock them for some reason, they're locked. We need to bring them down. So on this grid right here, or on this thing right here that probably had some sort of electrons form. That's fine. If we can't find them. The old school approach is to just like literally move them. It should be the same like magic number that we had before. With a negative control B. They're just going to say minus. We can tie this case again. And that's cool. So all the better letter stuff, these guys right here in this case right here, I'm going to assign the red color. So that's gonna be read all the bandages, all the bandages that we have right here, which are a lot. You're going to assign the green color. This is also leather, so let's assign read. All the metal bits are going to be yellow. Actually, not that one. Like basic metal bits are going to be yellow. Bone and teeth are going to be blue is fine, but I'm going to keep the teeth as light blue. I'm going to keep this plates as purple. There we go. So again, the important thing here is we want to be able to quickly select different parts of the objects of the high polish without having to paint a mask. So as long as you know there are colors and you know where to find them. Any color that you choose can work perfectly fine. Now, we definitely need to start cleaning things up, things up over here. So first of all, I know this one, this one was easy because all the ones that say low should say high. So all of these guys would just rename them here. There are ways and tools to do it automatically. There's a search and replace function here in Maya. I don't want to mess it up. So then we need to go back to the low polys over here and see how things are organized. So for instance, I can see that on the low polys, the hand armor, That's an easy one. Let's just grab. I'm going to try to match the same order as well. So the first one is hard armor low. So this is going to be hand armor high. Then we have horn armor chains low, which are these little guys right here. I think I duplicate it, those so they not. I think I didn't. Okay. So those would definitely need to be duplicated. So we're going to duplicate them. They're gonna be here. They're going to be chains high. And of course this chain is high. We need to assign the yellow material. There we go. So I'm starting and start hiding stuff so that I know that we're done with those. And then we have chest belts. So it's chess belts, a and B. Chest belts, a and B. Perfect. I load. Then we have chest belt buckles, high. Chest belt buckles, slow. Go for pitch high, pitch low. Go. Then we've got the skull. So actually let's do bandages first. So I'm going to grab all of this where it says arm bandages. Let's put them up here so you can see the armed bandages or all of the armband that just said if we got 123.4, all of those from bandages should be the same. We combine them. Okay. And we delete history to remove any extra groups. We copy the name, paste the name. We go paste the name. This is going to be high up, this guy that goes right there. So we've got first patch for pitch and then bandages slow. There we go. Bandages. Hi, there we go. Let's see. Let's do skirt bell. Okay, let's do this guys. This things which are also right here. So it's a metal chains. Those are ready. And those already left arm straps are high. Left arm straps low. There we go. Lift her arms, drop slow. This are going to be left arm straps high. Careful there with the naming convention. We go hide that one. That one. Get the key chains, we forgot those. Control D, get them down here. Going to be high. Again, they're going to be the exact same thing, exact same things signed, the yellow thing. This is just to make sure that when they are doing the match by name, it finds something. Okay, so that's a key chain, low, kitchen, high, cool. We should be left with the skull now. So let's start. Upper teeth are pretty low. So let's start over. Teeth are pretty low. So this is hi, sorry. Should be a pretty high. This should be upper teeth low, high up. So make sure that the naming convention is exactly the same thyroids yet Seems like you this skull blitz low. It's called blades, high plates, plates. And then it's a top than the lower armor. And at the end of John or as the top, then the lower armor. And then the job. And some of you who are very observant or you're gonna be like way the second, this underscore low is going to break it up. So let's change this lower to under skull, Under Armour low. Same for the teeth actually, now that I see it. On their teeth low. And on their teeth, hi. We're still going to have to go into Substance Painter and check whether or not we have everything the way it's supposed to be. What's here. Okay, cool. So let's just show everything again. Make sure that we have the exact same. I'm like We counted so I'm sure we have the exact same number of things. We just changed the names here to keep things organized is going to be my high poly group. There we go. And there we go. So that's the shoulder group high and she'll do group low. Hide that one and height down. I'm gonna select all by type geometry. I'm just going to delete history. Hopefully this doesn't crash. Let me save real quick as well to make sure that we don't have anything. And I know that we're going a little bit over the last ten to 15 minute mark, but I just want to finish this in this video, we're just going to go for the lower body prompts, which are fairly, fairly simple. I would say. Some of them don't even have hydrolysis. So we're gonna do a very similar trick, this group right here. Anytime you are going to delete something, make sure you check what we have right here. So I can see that we have a paste that first patch right here. I'm just gonna go to my high poly. And we do have the full picture right there. And the low poly should have its first batch as well. So it's probably a duplicate or something just going to delete. Now, that's the lower body. Pretty much all of the things that we have right here are the remaining ones. Like if we look here, that's pretty much all the remaining pieces from the pieces that have a specific element. You can see some of the things that are not matching perfectly, but that's fine. And the ones that don't have such as this guy, this guy, this guy and this guy, we're going to duplicate and get them into that glute right here. This group, which was our main high-quality groups now going to be the lower high group. Here we go. Let's Shift P to get it out. And let's start matching. So we got tail armor. Armor. Now this tail armor, as you can see, has the spikes. So till Armour, until armor spikes, we're going to have to combine history, get it to the top. So armor armor, high, bandages. Okay, It's a single one that's great. Fit bandages. Let's copy the name. The name. That's the one. Knee pats called Disney armor over here. So this is gonna be called the armor knee pads. High horse. Okay. That's fine. We know that those that have the the low or EC. So Nicholas course, you'll load on the armor. It doesn't matter the order by the way, you can have them anywhere. Let's just for for us. So belts, straps, I teaching, high tail bandages. So let's see how we have the tail bandage over here. We have till appendages be and that's still bandages one so they'll bandages below. It's this one which is high. I would guess. They'll bend just a it's going to be this one. It's going to be high. Just making sure we don't have any low, high or and stuff like that. Crystal was the low. Crystal. Hi. Nicholas, metal. Nicholas Biddle. Hi. I'm just gonna change this to die Rose belt strap. The name because everything else has the name. So again, it's, it's a good organization process to keep everything in the same name. Cool. So yeah, that should match everything. I think we're not missing anything again. 123 456-789-1011. 123 456-789-1011. Cool. So now we can hide the low for a second and we can just focus on this guy for the colors. So I'm gonna use, I'm gonna do bandages red now. So these guys are going to be right. And then the metals, as we've done before, all of the metal bits are going to be yellow. So yellow. This guy right here, I'm gonna, I'm gonna keep it light blue. This one, I'm going to keep it to green. This one, I'm going to keep it purple. This guy right here should also have a slightly different color, or we didn't have more colors. So I'm gonna keep it purple as well because it's far enough from the rope that if we mask and we can very easily like a delete or hide the rope, or actually we were missing the blue. So let's keep it. There we go. Cool. So yeah, that's that's it, guys. We are ready for the bakes. We are ready for our baking process. All of our elements are ready. Oliver, hi Pauli's have their proper material. Let me show you here, which is bringing everything back on. We have our main sets are basic idea materials, the bakes, everything is ready. I'm gonna, I'm gonna, we're gonna use next video for the base. And I'm going to show you a technique where we can bake every single thing in one go. So yeah, it's gonna be I hope it works the way I am expecting it to work. But if it does, we're gonna be able to texture the whole character, not the ax dx is going to be a part where we're gonna be able to texture the whole character in a single scene. It's gonna be a heavy scene. So if you can't replicate this on your computer, on your projects, make sure to split it up, okay. It's not ideal because you can't see all of the stuff, but if it's another way to work, so yeah, hang on tight and I'll see you back on the next video. 60. Final Export for Bakes: Hey guys, welcome back to the next part of our series. Today we're gonna talk about the final export for bakes. We're going to get everything ready. So here's how it's gonna work. First of all, I'm going to hide the acts. We already have that x squared and that's one of the things that I would normally texture as a separate piece. We're probably going to be starting with the ax, by the way, because I'm gonna be able to teach you some cool stuff about it. But here what I'm gonna do is I'm going to group all of the high poly groups together. So that's the body, the low word, the belt, the shoulder armor. This should be the prompts with the second column. So it's 123-451-2345. Perfect. Now I'm going to open all of the groups. All of them, All of them. Low Pauli's and hypothesis. And what I'm gonna do is I'm going to select the high Pauli's with the groups and all of the elements, all the way until there. It's like the full 3 million cell. Know how many there were. I'm going to export this lecture. We're going to export the selection on our assets folders, on the main Bakes. And again, since I want everything to be in a single file, I'm going to call this thyroids High Poly, High polys, bake ready, FBX. And we export selection. The patient we're exporting, it seems 9 million polygons here, almost 9 million polygons. So it's going to take awhile. I'm going to pause real quick while this finishes and then we will export the low poly. Cool. So now we're gonna do the same thing, but with a low polys, we've got two groups and all of the elements inside File. Export Selection. It's going to be thyroid most low poly bag ready. Now having the FBX, this is also a great thing, a great tool because now of course I'm going to save that one. I want to have any issues. But if by any problem, let's imagine the worst. Let's imagine that the Maya gets infected with a virus globally and no one can access the Maya files because everything is corrupt as well. We have the f v axis and f vx is our system agnostic, so we can open those instead of Blender. See the C4D ZBrush, like there's a lot of places that we can do. So having other formats for your character is always, always a good idea. I'm not going to close this because we might need to do tweaks and changes. We know that. But we can already bring this into substance and see, first of all, if we don't have any issues with the naming convention, I think we did clarify most of them, but let's see. First we're going to say New Project. We're of course going to select the file which is thyroid low poly. We're going to hit open. We don't want you them for K is fine. But again, if your computer is having issues, if you don't have as much memory, you can work lower. That's fine. The only result, the only difference is, is you're going to have a slightly lower quality on the textures. It should be the same sort of like we're going to have the same sort of like construction, but the amount of pixels are going to give you a slightly lower HD feel. I'm just gonna hit Okay? And what I'm hoping to see here is, I'm hoping to see the whole character says that it needs you with data in channel zero. I'm a little concerned about that. To mesh thyroid, tail, armor high has no UV coordinates. Okay. So let's see, where did I mess up here? I'm going to grab all of the low policy again. Let's isolate them since it's looking for thyroids. Hi. Oh, okay. Okay. Okay. I see something that There we go. So there's something here tomorrow's high. Did I mess up on the selections? I think I might have messed up into groups. So let's go back here. So it's high, high, high, high, high, low. Let's hide the high groups. There we go. Low. There's no low police here. Okay? Re-export File, Export Selection, sorrows low poly export. Here we go. File. Select iris, open. Okay, scarf. Okay, so we do get some errors, but the, what's the worth? The object is here. So, so that's good news. And this is the interesting part. We get all of this right here. So first ever did I'm seeing and this is why it was important for me to do this final thing before we jumped into textures. First thing I'm seeing, we forgot to add specific materials to certain parts. So we have the body, we have the lower body, have the top body prompts, but we are missing. I think it was the belt and this one right here. I do believe we did assign elements. So if we go to the belt, for instance, it does have a material but we forgot to name it. So let's call this m underscore belt. There we go. And then it's this one? Yes, this one. We're going to call this M on their props. There we go. So again, we grab everything. File Export, Selection, Policy, export. Yes. And since we haven't really started anything, it's a lot easier to just start again over here. Please open the scars. Again, we should have this and there you go. So now as you can see, we have this thing colleague texture set list, which are all of the available materials that we have. And the cool thing about this is we're going to be able to turn off things and focus on specific areas of the element if we need to. And then just turn everything on again and use those as a reference. So for instance, if I want to add a little bit of dirt here, I can turn the belt on and off to paint the skin and then just continue to like, what's the word to perfect the whole thing. So we're gonna go into a little croissant here, and we're gonna go to our high polys. And we're going to use our high-quality bake, hit Open. And let's see what we get. Here's the moment of truth. He's we're going to see whether or not we have any issues with the naming convention. Okay, so matching by name, we're going to enable it. And we have 11 things that are not matching. Okay, so let's take a look. So we have the thyroid armor low. This one. Okay. Let's start with its tail bandage is a low Nicholas cord low. Okay. It's really weird, maybe did like select things wrongly. Let's go back to Maya. So this is a high look in 4.4. That's fine. Low body 2.2, that's fine. Belt. We have 12345. Nobel have 12345. Okay, so, so far, no problem. It's probably here. Let's go again here. And as you can see, the issues are on this side and the low poly meshes. So we start with thyroids, tail are more low. Okay. So we look for it. Go over here. So this is the thyroid is tail, arm or low, it's under lower body prompts. You should be here. Virus tail are high, so we do have it. We forget to select it. Maybe we did. I think I think we forgot select that one. So I'm going to select all of these guys again. All the way to here, right? That should be at the five groups, 12345, cool. And let me re-export it because I'm seeing that it's pretty much all of the ones at the last part. So let me export this. I'll be right back. Okay, So it's been exported again. Let's go back here and I think it's redoing it. If not, I'm just going to delete this and bring it back in. So thyroids high poly bag, ready, Let's do this. And let's see, we're getting some alarms again. Nope, There we go. No matching issues, so perfect. Now, as you can see, we got some issues here. That's the cages like going a little bit too far. I don't really mind about those. I'm more worried about the rest of the elements. Everything seems to be quite nice. The only ones that are giving you those are like purple things are the low polish, the low Pauli's. I didn't have any sort of like it's a smooth version or anything. We do have a little bit of an issue here on the belt. Definitely need to increase the max frontal listed is just a little bit. I don't want you increase it that much though. So we're going to have to play around with that. I will show you how. But let's do a very quick test. So I'm just going to bake and we're going to see how things are looking. So right now, the bank is only baking the normal map from each piece to its own piece and it's going to go, it should go from one texture set to the other. As you can see, we're not really getting any contamination. The ambient occlusion is going to be affected by everything and that's something that I don't want. So for instance, I don't want the ambient occlusion from the necklace to affect the skin. Because if the necklace moves in an animation or something, then there's gonna be a really weird, ugly shadow on the character. So there we go. Let's take a look at the Bakes. And the first thing I can see, it's not bad. Now this makes our five K vales for 500, 512 elements are pixels. That's why it looks so bad, but I'm just looking for big errors. For instance, here under the bell, see how we had a weird error. Pretty much on noticeable right there. So some really, really confident that all of the bits are going to work nicely. Now let's go back to the base and let's do a couple of changes. First of all, I'm going to go to Ambient Occlusion and I'm gonna do self occlusion only same mesh name because again, I only want the middle cushion for each match each mesh to effect itself. I don't want it to affect any other meshes. If we need to paint things, will paint them manually. And now that we have that, the other thing that we're gonna do, of course, is wearing going to vote, go to common settings. And we're gonna bake this at four k, which is going to be quite, quite, quite big, but it's gonna give us the best possible result is going to look amazing. Other than that, I'm also going to change the anti-aliasing to 16, which is gonna give us quite a bit of anti-aliasing. And remember we're making five texture, so it's five for k textures, 20 K In total of texture space, which is quite a bit. But again, I want to make the best thing possible. Now another thing that you need to understand that both pigs is that you can bake really high like a fork. If you're gonna be using this for a mobile game, you just export everything at the end that five-twelfths and that's fine. You're gonna get more detailed by compressing down. Then if you start with really low effects, okay? You never know later on down the line. It happens very frequently in nowadays in, in games where they do like an HD version and stuff, you're already going to have everything ready for the HD stuff. So let's make, this is going to be for k. You can see how nice the skin looks. Look at that. I may see this is of course going to take a little bit longer. It depends on your graphics card and everything. I have a 30, 38 DTI, so it's quite fast. Here's the ambient occlusion only baking on itself. There's one other thing that I wanted to do with sale for collisions, so I'm actually going to cancel the bank to show you. There's this thickness option. And then the thing is you also want only same mesh name. Okay, So now let's rebate. And yeah, let's just wait. Shouldn't take that long. As you can see, this is really cool. The fact that we can actually rotate the view as well to see how things are baking is just amazing. That's the ID map. We're now going forward the ambient occlusion, which is super important as well, we will get that beautiful ambient occlusion. You the full view of the form. As you can see, the ambient occlusion of the, of the belts are not contaminating the character. So we shouldn't get any sort of like banding or anything that way. We can also have the option of having the character with or without the shoulder. Which is also another really cool stuff. Yeah, Let's say we're now on the position. I think that's the position. And finally, we're gonna go with the thickness, thickness, thickness, ambient occlusion and normal are the ones that take usually the longer. But as you can see, this is 9 million polygons being baked by Substance Painter, and it's not struggling at all. Of course, your system might require different things, but usually, usually you should be able to do it without that much of a problem. That's the thickness mapped right there. It's giving us which parts are thicker, which parts are thinner. And we're gonna be using this map for some subsurface scattering later on. Go. Oh no, sorry, actually it's doing it finished doing the body and now it's doing the other parts. So yeah, as you can see, it's going to take a little while. It's probably gonna take like five or 6 min, believe me guys, again, this is one of those things that when I was a student, it took like 30 min, 1 h to do the full bakes. We were using x normal back then. And it's just, it's just amazing how technology moves. Though. I think from what I'm seeing right here that the Big Sur, like turning out quite nice. I just want to wait for them to finish and we'll do a quick test on the on the actual painting side of things. But yeah, after this, we're done. This is Chapter Seven, pretty much done. We're going to now jump into the texturing process, which I love texturing. You guys are going to love this next chapter. It's gonna be a big chapter because as you know, we have a lot of stuff, but I'm gonna try to keep it simple and at the same time teach you some really, really cool stuff. So that's the lower body prompts, I think, and I think that's pretty much it. I think that's the final one that we're we're missing. Because as you can see that the final map that we didn't have doing the armor, I'm looking at the armor here on the tail to see if it's doing it as well. Think of this. Look at that beautiful. It's going to tell us, well, that's the position. Finally thickness. And we are done doing the tail now. Okay. Okay. So that was the normal force del wellsprings number ID for the tail. We got the ambient occlusion. And that's it after a cushion which has got the curvature, should be a fast one for the tail, it's not that big of a deal. Another thing that you want to watch here is you want to make sure that you can see the same amount of data. Remember the texture resolution that we were talking about, the fact that we are, or we should all be in a very similar position. That's what we want. Let's go to the painting tool and be ready to, to appreciate the urine baked character. Look at that. Just amazing, just great. You can see the pores on the skin. We're going to add more of those. And the most important part here is look at this. I'm gonna go to the top body prompts and if I turn them off, we don't see any of those elements like projected on a character. Okay? We don't see them. So that's great because that means that, that the shadow isn't being predicted. We can always paint stuff in, like just turn those off and just paint stuff and that specific area. But just like having the ability to turn off and work on different parts of the character is going to be super, super helpful for us. There we go. Look at that. The brakes on the legs, look at that bandage. Remember the vantage that doesn't exist. That's just the geometry, but it looks great. If you see this character walking in the game. I think this is just great. I'm just going to show you one final thing. One thing I'd like to do is I'd like to go into my smart materials. And there's one that I really liked this. I think it's this where it's at. Like any, any sort of like, like even this bone stylized effect because it gives some sort of like metal which we're, so, what I'm gonna do is I'm going to have to go to every single one of them. So here's just a nice straight right-click and you can do something called instantiate, a cross texture sets. You're going to duplicate this on all of the other texture sets so that you're gonna be able to see the exact same material everywhere else. Look at that. It looks like a statue. And let's very quickly save this file. Let's say this folder is going to be thyroiditis texture. There we go. And we're going to render I'm going to go to Ira. I want to throw in a quick render. It might seem like this is gonna be really heavy because we're thinking about the high poly. But remember this is already the low poly. We're only at 150,000 triangles. So it shouldn't be that much. It's gonna be warming up here. Let's just go to Ira. Ira, you say like write trace, the ray trace rendering engine here instead of, instead of substance. And this is going to allow us to see things in a, in a better light. So this is, this is a lot closer to what I'm expecting to see in game like if we were to do a screenshot on the game, this is a level of detail that we're expecting to have them look at the amazing silhouette that we have. Just great, just great. Back view, the tail, everything. It's really, really cool guy. So I'm really happy with this. I know, I know it sounds like a lot of advertisement, but I'm genuinely happy as an artist to get to this point of the process. I think my sorry about that. I think my computer can handle the recording and the IRA. So I was just mentioning that for us, for me as an artist to be able to see a character at this point, like being, being aware or being able to see that this is literally getting ready for our, our game process is just a great, great feeling. So now we're going to start with the, with the creation of all of the textures guys. We're going to finish this as the final part, as I mentioned of chapter seven. And we're going to start with chapter eight, where we're gonna be focusing on all of the textures. Texturing is going to be all of Chapter eight and then chapter nine, we're gonna do some quick render setup inside of Maya. We're gonna do a quick material and render setup. We're going to do the eyes, which I'm going to show you a technique. They're usually done as a separate piece. We're gonna be doing the ice and after death, we are going to be talking about the beard, does the final part, the beard and the for that we need to add to bring back the older character that we're accustomed to. So yeah, that's pretty much it, guys. I'll see you back on the next video. 61. Texturing the Axe: Hey guys, welcome back to the next part of our series. Today we're gonna be texturing the ax. And this is gonna be really, really fun project because it's relatively easy, but we can get so much out of this. So, so, so much, Give me just 1 s because I want to show you something. So this x is really funny because I was actually hired a couple of years ago to work on this commercial. I unfortunately cannot show you the acid itself. I do have it, but that was in charge of doing texturing. And one of the texturing things that I did was the AX4, the barbarian here. I actually did that one from scratch. Other things I was just doing a retraction and stuff. Let me see if I can get It's supposed to be HD. So the ax was really fun to do because they pretty much gave me a blank like modeling. There were like we need to look at as cool as possible. There's a couple of close shots here. You gotta make sure it looks as good as possible. So I'm gonna be showing you some of the techniques that they use for that specific commercial. You can look it up. It's the Diablo in mortal battle at home screen commercial. So we already have some stuff right here, but we're going to organize this in a better way. We're going to start today with the blade, which is probably the ED, like one of the most complicated and at the same time, one of the easiest things I'm going to delete the rest. We don't want that right now. What I'm gonna do is I'm going to use a steel roof. I'm gonna look for a steel roof material. One of the challenges that I'm going to give myself is I'm gonna make sure to try and use as little like costume materials as possible so that everyone can follow in case you don't have access to substance source. So this is the steel roof and the first thing I'm gonna do is I'm going to create a group control G right-click and add a black mask. And then once I have done this, I'm going to create a black mask that it's going to select this polygon filling person number four. I'm gonna polygon fill the blade right here, and of course, the thing down here. Now this is still rough, we don't need it anymore. So the reason why I love using folders is that everything that I do inside of this folder is already masked with the in this case, as you can see, the AKS plate. So it's a very comfortable way to work without having to worry about masking more stuff. Now, if we take a look and this is very important, reference is going to be very, very important. Old steel like AKS for instance, we're going to find a lot of reference about how the axis should look. And I wanted to go for this very nice dark color thing with a nice effect right here. So something like this. Of course there's gonna be more like interesting effects and colors and variance, but this is roughly the thing that we're going to go for. So I'm gonna go to the steel roof and the first thing I'm gonna do is I'm going to increase the roughness. Going to increase the roughness and under color, I'm going to start with dark colors. I usually like to start with dark colors and then build my lights up in the texture so that it's a little bit easier to find the specific point. I'm going to bring the roughness down a little bit. Probably like 0.55. Let's think. There we go. That looks interesting. Now, as you can see, one of the important things about like this steel is a sort of like texturing effect that it has, right? Like it has this sort of like bumpiness to it. And right now my, my specific metal here, it's very smooth. It looks kinda like a stone or something. So here's where we can utilize the power of Substance Painter to use different types of elements in play with them to generate the sort of detail that we want. So for instance, I have this crumbling rock. They think this was not, I don't think this is included on the unlike the basic folder, so let me use another one. Let's see what do you have that we could use. Then we can use the concrete or something. It just stopped. Give me 1 s. There we go. So what's trying to That's my bad. It was trying to apply the same one. So I'm just going to look for steel again. There we go. Cool. So let's just de-select that right there. Let's go back here. So I'm going to look for something like more to walk could be, but I don t think that's the best one. Let's try let's try this concrete the bear. So if we bring the concrete bear on top of this thing, yeah, there we go, That's going to work. So if you bring this here, as you can see, this material has a lot of information that we could use, but not the color, right? Or maybe not the color. So one thing we can do is we can go here and turn off the color. And by turning off the color, we're only left with the normal information. Look at that. Now we can increase the tiling here listed like a three tiling to get even more like roughness to it, maybe not that much. Let's do two, and then we can get rid of the roughness as well. So now as you can see, we're utilizing pretty much this exact same thing now here it seems like I kept us really low. Let's darken this quite a bit. There we go. We're starting to get something that looks a little bit more interesting. Let's go back to the concrete there. We have the metal. I'm going to get rid of the metal because the metal is changing the way things are being captured. Let's go right there and let's increase the roughness a little bit. Now as you can see, if for some reason it's getting a little bit slow, it shouldn't be this slow, to be honest. We're not working with that much resolution, but it's getting a little bit slow. But we are getting a little bit more visual interests. This is what I like to call visual interests because instead of just having a very, very smooth effect, we're getting this. Now we know that this concrete bear is helping or giving us this through the height information. And here's the magic. We can go to the high channel and we can play with how much height we want to be contributing to the surface. So as you can see, we can really lower this and create a really nice, interesting surface without the need to really bring this into a more complex estate. Now, let's go for the sharp effect that we want over here, right? Because again, if we take a look at the reference, you're going to see that usually there's like a, like a nice polished surface on the front That's a little bit lighter. So I'm still going to use the steel rough. I'm going to duplicate it to the top base color. Actually, let me just Control D to duplicate. And this is still rough. Coffee is going to be lighter. I'm going to make it quite lighter. And of course to this one we're going to apply a black mask. And here we can go to our brushes and we can use a brush such as this. I think the splash looks really good. And by pressing X, we can reveal a little bit of that, like, like clean effect of the element like that. Now of course, I would recommend turning distinct on which is the symmetry and changing symmetry to symmetry C axis. You can see that line is not perfectly there, but we can move it a little bit. We can use the, the settings right here. And we can move it just a tad bit. Like minus points. Use your one. Should be pretty much there. Now we can of course, select to not show it. So I'm not gonna show intersection. But we are going to have the symmetry, which is going to have, we're just going to meet need to make sure that we are properly painting on both sides. There we go. Now, this blade right here, I want it to be a lot smoother than what we have, right? Because I don't want I don't want this like sort of damage that we have here to be there. So I'm gonna go here, I'm going to apply a white mask. And then I'm going to paint out this area right there. And as you can see, it's gonna give me a really, really nice and smooth edge. There's going to be having a nice transition to the sort of like damaged effect over here. Let's paint back a little bit of the chord and look at death. Like really abstract effect. That's what we're going for. That's gonna give us a really nice effect overall. Now usually the blades tend to be a little bit more, again, like less rough. So I'm going to bring the roughness down a little bit. And what we can do is we can actually add a filter here and there's some very cool filters. There's one called the anisotropic filter. So it's, this one's right here. So we have this matte galvanized, grainy grinded hammers. And there was one that's like a sit, like this rough filter for instance. Let's see how that looks. And we can play around with the scale. And that's also going to give us very interesting variation on the metal without the filter, as you can see right there, it's very uniform, but with the filter, we're adding some spots and the effects that are going to make this thing look way we sharpen like that looks really, really dangerous right? Now if you feel like it's a little bit too bright, which I do in the moment. I'm going to bring this down a little bit in brightness. Still keep it on top and I'm going to bring the roughness just a little bit up, but look at that. It looks really, really nice. Now, very common things that we add to the melt is of course, a metal edge where beneath this guy, because I don't want the middle edge where to be affecting this new like sharp thing that we have beneath this guy. I'm going to go here to the steel roughness. I'm going to add a field layer. I'm going to call this metal etch. We are only going to be using color. I just want to affect the color. It's gonna be a very light color like this one. I'm going to add the black mask, right-click, add the generator, and we're going to add a metal etch where that's going to, as you can see, like really bring in a lot of the effects and it's going to give way more, as I'd like to call it a visual interests of the whole thing. We can of course increase this or reduce it. Well, I'm going to show you one of my magic tricks. I've shown this before in other platforms and stuff. But it's a very common trigger, a very common mistake that people make. And that's when they bring in or they use this sort of like disinfect right here, this metal that's where effect, what tends to happen is that they just throw within and that's it. They don't bother editing it. And there's two ways to edit this. First of all, you can right-click this thing and that the paint layer. And you can paint out certain areas where you would not expect there to be as much metal edge where because these areas are not going to be affected or they're not going to be exposed to the outer edges as much. So there's things that are closer to the border and maybe those rooms that we have there on the element, we wouldn't expect there to be the same amount of destruction everywhere, the same amount of effect. I'm also going to remove symmetry here because I don't want both sides to be. The exact same thing. So as you can see, I can remove some of the effects. I'm also using Shift and right-click here to, to move the light to appreciate some of the close a little bit better. Because you can see I'm removing some of this damage because I don't want the damage to be perfectly uniform everywhere. That's one way to do it. I'm going to show you with the rust, another way to do it. Now we're going to add the rust. So again, very common thing you can see here on the reference that we have as well. Very, very cool looking like rust. Rust in this case is tends to be quite dark. So I'm gonna go here and the materials, and we're going to add a rust fine. This one again, I'm going to keep it underneath the main blade because I don't want the blade to be rusted. I want it to be like super clean and polished. It's going to be on this area right here. I'm going to add the black mask and I'm going to add another generator. In this case, we're going to use the famous dirt generator. Now, the cool thing about this generators, and that's one of the things that I always tell my students to do. Always use blending modes to blend things so they look a little bit better. Overlay works really, really well because as you can see, it gives us this darker, deeper color. I'm still going to bring this down a little bit darker like this. And I might use the overlay here to blend it in because I don't want this to be super intense or something like that. So as you can see, I never let the layers do automatic stuff. I always like to have a little bit more control over how we are like blending and adding stuff. So how are we going to make this Rush look even better? Well, again, if we were to increase the amount of rust, you're going to see that we're going to have Ross pretty much everywhere and that looks okay. I mean, it's not bad. Right? But it's very obvious that there's rust everywhere and normally things don't rust uniformly. There's always gonna be certain spots where things are going to rust a little bit more than others. And the way we can control this is as we saw with the other one by painting, or we can use the Fill Layer. I'm going to use a fill layer and use a Clouds noise for instance, like this clouds to, I'm going to increase the balance of this clouds and the contrast a little bit. So as you can see, what's happening now is instead of using the rust, is using disorder clouds thing. Let me increase the contrast that's a little bit easier to see. I'm also going to increase the tiling a little bit. There we go. So we have a couple of more clouds, something like this. So once we have this, what I can do is I can actually multiply this against the rust. So now only where the clouds are presented or present, present, only where the clouds are present. Will I have the Rust C. So this is without the clouds Ross everywhere with a close multiplied, only certain areas will have the rust. This will give me a more natural look because you're going to have certain areas that are free of rust and they look a little bit better. And that again, is going to allow you to make sure that your creations, like if I were to share this model with everyone, they use the exact same like dirt and everything. They're gonna look the same. But by using this sort of techniques and by creating some variation, you are going to be able to create things that look slightly different. And then on top of this, we can add the paint layer and paint out like certain things. Maybe the rooms are being kept like I would expect the rooms to have more rows to be honest. So I'm going to add a little bit of rust and maybe some of these areas right here, I'm not going to have as much rust and we can just remove some of the rust. And the closer to the effect, I would expect there to be a little bit less rust and dislike point right there. I would definitely expect to be Eros right there, but maybe not as much again, maybe we can clean some of that up. Lean some of that up to create something a little bit more interesting, especially like down here. Then we can take into account like advantages like okay, there's gonna be this band is just gonna be filled with blood. So that tells me that the way we're going to have a little bit more like rust on the areas where the vanishes is touching the, the element, right? So, yeah, there we go. That's, that's how we would add this sort of stuff. Now, let's, let's bring in another level of detail because I really like how this looks, but I think we can make it look even better, especially here for the blade. And the detail that I'm going to add is I'm going to grab the metal edge that we have here. And I'm going to Control C and Control V. I'm going to duplicate it. I'm going to bring it to the top. I'm gonna get rid of this guys. I'm going to show you another one. We're going to use a fill layer here for the mask, of course. And then this fill layer, I'm going to change. I'm going to use a field. And there's a, sorry, I'm going to use it, you feel. And on the fields there's a very cool generator called the scratches generator. So there's this grunge scratch, there's this scratch, fine. I'm going to go for the grunge scratch. And as you can see, look at that, we get some really cool scratches everywhere. Now the cool thing about the scratches, we can go back here to the height information and we can actually like engrave this scratches into dx. There are now affecting, as you can see, the normal map information of dx. And we're going to get details that we didn't have when we were sculpting the whole thing. We can change the scale of the scratches and stuff, but I think this is pretty, pretty good. I like how those guys are looking here. I might change the tiling. I'm going to give this a chuh tiling. So we're going to have here under the crunch scratches, we're going to change this to two tiling, so we have a couple more scratches. I'm probably going to bring the height lower, so -0.03. So it's not as intense or something like this. And then of course, I'm going to add a paint layer and I'm going to paint out certain scratches. I didn't want there to be scratched everywhere, everywhere, for instance, it doesn't make sense to have scratches here on the inside because that's not an area. You will normally damaged dx, right butt on this leg, back part. Those extra scratches right there. Those will definitely definitely be part of the thing. Same thing here. Like I'm the lead some of the scratches but leave some of the other scratches. And here's word, the word the like. I'd like to call it the artist's hand comes into play. This is where you, astronaut artists need to make those decisions to know where to place and we're not to place a certain things. Okay? So, so far this looks really good as you can see from what we had before. If you remember, the first, the first approximation that we have was just the steel rough thing. So it was something like this. To this, it looks way, way more complex. This is now looking like a AAA game, right? Like a AAA asset for a game. There's one more thing that I want to add, and this is a little bit of color variation. If we take a look again at the axis, you're going to see, or at least I can see that there might be some green, some blues, some interesting things here and there, so that we don't see jus, just a black and white, right? So I'm gonna go up here and I'm gonna look for any material. Again, he doesn't really need to be a specific material. It can be any material like this concrete again, I'm going to grab the concrete again and what I'm gonna do with the concrete. So I'm going to turn everything off except for the color. I'm just going to leave the color right there. Then down here, we can change the hue of the color. I'm going to go for. I think the character is going to be slightly reddish. I think actually haven't thought about this scheme for the tip link. Could be purple as well. There are so many hues or maybe just like a traditional human skin. But I'm going to go for a blue greenish hue, something like this. I'm going to bring down the luminosity so it has a little bit more contrast. I'm going to increase the saturation. Look at that view of the foot like this. It looks like a like an like an up CDN or like a stone or something. And then I'm going to add the black mask. I'm going to add a fill layer again. And I'm going to add some search like grunge something or just the noise. I'm going to go here again to the field. And we're going to add a, we're going to use just the clouds. So I'm going to look for a cloud. So let's do those coats. Klaus three, there we go. Look at that, that looks beautiful. And what we can do here is use some sort of overlay, for instance. Okay, look at how that blue gets impregnated into the metal, or you can try using it like a multiply. That looks a little bit more interesting. And this just something that we can do here. We can of course, change the balance. We can change the contrast. I'm going to go for a soft contrast. And then of course we can lower this intensity. So it's just, it's just a way to bring in a little bit of extra color there, because without this it looks very, I think it looks a little bit bland. So by adding this blue color, it darkens certain things a little bit. And it adds this extra level of complexity to the whole thing. You can do like a screen. Screen actually looks a little bit better. And then just lower this quiet low so that we get against some sort of like whew bluish hues inside of the metals. Just that, again, those layers of complexity that we can add to the element to create something that looks really, really interesting. Remember to keep the edge sharp, that's very, very important. Keep this thing a little bit more math. We do get the female ash words that's making it look cool. Some scratches, and you're good to go. Dy, dx is ready. Here are the X plate is ready. In the next video, guys, we're gonna be taking a look at the details, the width and the the bandages are so hang on tight and I'll see you back on the next one. 62. Texturing the Axe Details: Hey guys, welcome back to the next part of the series. We're going to continue with the details. So I love this guy. I think it looks very, very nice. Here's one thing we can do. By the way, if you want, you can use this concrete bare, turn on the metal property, on the concrete bare, and then play around with certain attributes. We can go all the way here to the technical parameters. And we can just change, I think I want to change the roughness. Can we change the roughness? Now? One thing we can change the roughness right now to turn it on though, because you couldn't make this. I think I was thinking you can make this sort of some sort of like iridescent effect like oil, which is not that difficult. Let me show you real quick how to do like oil spills or blood spills. We can add a very simple layer here. It's going to be just color, maybe a little bit of height. It's kind of like a dark red is definitely going to be roughness wise. It's gonna be really lower roughness like this. Lack max mask field layer. And you can add a spots. So there's this like grunge spots which are like blood. There's some that are a little bit more uniform like this. Crunch spots dirty. There we go. Then if you make this metallic and then play this into normal mode or overlay mode, it looks like some sort of like a demon blood, I think metallics a little bit too much. I'm going to bring it down. You can play around with distinct right here. As you can see, just a nice little splashes of blood. They're very, very easy to add. This is the kind of stuff that you might not want to add on the prop itself. You might want to have it as a mask or something on the game. So when you hidden enemy, it appears. So this is the mass that you will probably export. But you can see it here. Let's go to the height. Just add a little bit of height. Almost nothing like points here. One is a little bit of like smeared blood right there. You can go here. And I do think this grunge hes like seeds. You can change this to find something a little bit more interesting. But yeah, just an extra layer therefore for you on the blade. Now let's go to the woods. The woods, really, really fun. Again, I'm going to try to use as many basic materials as possible. So I'm going to add the black mask, that, that folder, and I'm going to select that guy right there. And they will look for wood. I'm pretty sure the walnut is included on the basic materials. I'm also going to talk about some more advanced materials in just a second. There we go. So first thing that we needed to do, and this is why the orientation of the UVC so important. And we need to make sure that the grain of the wood and off any texture we're using matches the object. So we're going to rotate this 90 degrees. And by doing that, we're gonna get a really nice like movement or elements right there. I do want to go for a little bit of a reddish Woodson. I'm going to go more towards the orange colors. More alive, probably a little bit less saturated. So a little bit older. There we go. And definitely refer, I'm definitely going to increase the roughness of this word right there. There we go. Because what tends to be quite rough, quite dry, right? Especially like the sort of like old weapons, they tend to be quite, quite dry. So once we have this, we can start adding more stuff. So for instance, the classical is some dirt. And for dirt I'm more often than not, like almost all the time I used a rust. But one thing that we can do with the rust is we can remove some stuff like the metal or some other layers. In this case, we're not gonna do that black mask right-click black mask generator and we're going to add a dirt generator. There we go. And this one, I'm definitely going to change to overlay, which is going to darken everything as you can see right there. I do want to increase the intensity of the roster little bit more. And then I can fade this in a little bit more like that. So as you can see, that's going to add that sort of like level to the width. I'm gonna go to the Rust itself. And there's one thing on the generator which is the grunge amount. I'm going to reduce the crunch them out. I don't want that much rust on the inside of the element. I want more on the crevasses and under big word, like for instance there with the rings are actually showing. So that to me looks, looks quite nice. Now again, looking for references always important. So you can see this would, for instance, it's a little bit like greener and I think that looks interesting. So let's go to the wood walnut and the wood walnut, and we go to the color. Let's go forward. There we go like less red, a little bit more like basic or greenish hue for the width. Now, here's where some smart materials are really, really helpful. So I downloaded this H teak wood material. I think I downloaded that for this one that we were doing some examples with the ax. There are two main places where you can download stuff. First of all, is substance 3D acids. If you have access to an indie license with substance source, which is like, I think like $25 a month, you get access to 30 materials per month, as you can see, throughout the years, I've saved so many like downloads. So I can then look pretty much the whole library, but they can download so many stuff. And if you look here for a wolf, you're going to find a lot of really cool stuff. Old word rotten wood, like damage would like this. Cat Judah would like, there's so many words that you can use and the height information, the color information that you have in this thing is really, really, really cool. So for instance, that one right here, I think I did download this H Tik from there. So if I just drop it in here, as you can see, we're gonna get some really, really interesting lines. So what can I do here? Well, if you have access to this, you can of course, rotate this around. It has the knots which I really, really like. And I can just change this to something like an overlay. Of course, like bring this down a little bit. And now I've created a material that's way, way more complex than just that basic material, there is definitely a little bit darker. So I might want to bring this down or even, but one of the things that I like about this is the extra fibers that we get seal up those extra fibrous and the height map, those are really, really, really cool and make the world look a lot more realistic. So I'm going to keep that. Now. Usually when you're, when you have an object like this, there's gonna be certain areas where you're going to be grabbing the object more, right? There's two things that can happen. That object can get dirtier on that area or it can get shinier. Can you get your kinda like bringing back the, the old natural width. So I'm going to copy the wood walnut again. So Control-C, Control-V. Get it over here. And what I'm gonna do is I'm going to saturate this wood walnut a little bit more. You go for like a like a nicer cleaner would like that. And then I'm also going to bring the roughness down. So it's gonna be a little bit shinier. I'm going to mask this other black mask. I'm going to go to my brushes and I'm going to use this dirt. There's one called the it's not there spotters like a soft wear it. It could be the third one. So I'm expecting the character to be grabbing the weapon like right around there. So as you can see, I can use that to to just clean up that area because it's going to make it look like the character handles the dx from those areas a little bit more. Now this supposed to be a two-handed acts. So I would expect all of this area pretty much to be like this. Now whenever I'm using a lighter color, I personally like to use the linear dodge because it brings more color into the mix and then tweak it down with the opacity so that I can control how much of that I want to show. Which as you can see right there, makes it look really, really, really interesting. Other than that, of course, we can add a very simple metal edge where that's always, always useful, right, for the objects. So I'm going to, I like this color, so I'm just going to Control C, control V to copy and paste this color. There we go. Then this one lakh mask, right-click at the generator and it's going to be a metal etch where it's going to give me some nice effects right there. It's a little bit too much as we already know. First of all, I'm going to bring this down quite a bit. So I don't want as much mental elsewhere. And that we can still use our trick. So a fill layer with a very basic like clouds texture that multiplies this creates a contrast, increase the balance. Or in this case, decrease the balance. And that way we reduce some of the mental edge where it's just a very, very tiny detail that we're gonna be able to see in certain areas. Now at this one, I think I'm going to increase the roughness a little bit more. Rough. This is one of the most, was one of those things that a lot of people don't think too much about. And it's so, so important because it really makes it like a different material. So it's quite, quite important too, to really play around with the changes in roughness of an object. Otherwise, things look way we choose similar. So be careful with that one. There we go. That's that's the word that's probably what I will do. Now. We do have this room on this side only, which is quite cool, and we need to decide what are we gonna do with it? Are we going to paint it? Are we gonna just leave it like that, just like a card like metal thing. I think it would be nice to paint it, but I want to paint it with a color that's not too obvious. Like I don't want this to glow or the one that you sent me a message on this, on this ax. So I want this to be more like, remember we talked about this, like maybe this is the acts of his previous teacher or something. Well, he's going to have some sort of like burnt width. So I'm going to just add the black mask right here, field layer, which is going to be, It's only going to be probably color and roughness. The color is going to be dark and the roughness is going to be quite high. Black mask. Here. If you have a tablet, by the way, I think I've mentioned this before, you can of course use the tablet normally in substance. I worked with my work with my mouse. Would you can definitely work with the tablet. I'm gonna go a little bit over the root itself. So we can really see it. Look at that. We can really see like, like burned wood right there. And that's it. That's pretty much it. I mean, there's not much we can do with this. Like stick, to be honest, but it looks good and it has the same amount of complexity and visual, visual detail as the metal. So we're in a good position there. So we got the word we get dx now we need to do the bandages. For the bandages. Same deal. Just going to Control G. I'm going to call this folder bandages. I'm a little bit dyslexic when it comes to writing stuff. Sorry about that bandages, black mask. Number four to go into polygon fill and we're going to feel all of this guys so that we can build them with a bandage effect. And then now we're going to select the proper clothing because the one that we had before, I don't think it was working as well. So again, from the ones that we have, there's one that's this fabric suit that I think it looks a lot more like a traditional or like old bandages. So I'm gonna go here to favorite suit. First of all, we're going to change the tiling. So we need to give it enough tiling that we see, there we go. The bandage itself, probably like eight. I don't want this to be super small when you have a pattern that's repeating such as this one, and you have a really high tiling, something interesting happens. Pixels start creating some sort of like a visual trick on your eyes. So that's why you don't want to go super, super low. Probably like even like a six might be better. There we go. So that we don't see that effect that I'm mentioning. Now, down here we have a couple of materials color top and bottom. I'm going to go for some more like a beige colors. So the color top is going to be like this. So like saturated. And this one is going to be the same but darker. So that's gonna give us some nice effect right there. As you can see, that makes it look quite nice. As with everything else. A couple of very simple dirt passive versus implement ledge where and blood. Remember the blood was looking really good for this ones might be a good idea. So what I'm gonna do here, we've done before, I'm just going to grab breakfast, grab this rust right here. The black mask, right-click, the generator, click and dirt. There we go. Look at that very cool looking dirt. I'm going to change the color of this roster. Of course, I'm gonna make it darker and less saturated. It's pretty much like a, like a like just dirt. And I'm of course going to use overlay. So it looks like like this spots. Here's again, we're going in manually adjusting a couple of things might be a good idea. So I'm going to paint in some more dirt as it gets closer to the border. Because yes, the generators are great. But our hand or artistic hand is usually even better. See how nice we can make this thing look at the dirt or in this case we're adding that they're worried makes sense. Okay, Very important to do that. Really, really good there, especially on this ones right here. It's gonna be really, really like dirty, sturdy them up below the more That's one. Because the dirt generator works with the ambient occlusion. So if there's nothing to occlude width like this guy that's just like free free floating, pretty much having issues trying to understand how it's shaped. Like a merchant greed disorder, like spots with everything else. Let's go to both sides. Very common mistakes is for, for us to focus on just one side or the phasor we're seeing. So let's go to both sides. And there we go. Now, as you might be wondering, here is like, well, that looks really cool, but there's one problem. It doesn't match the amount of dirt that we have right here doesn't match with the mountains there that we have in the plate. Well, here's where we can copy this guy. Bring it to the ax. Get rid of the of the dirt, get rid of the paint as a new paint layer. And we can manually paint in a little bit of that dirt to blend in with the third from the bandages. Okay. Again, this is not something that you're gonna be able to do as easily with a generator. This is why the like knowing the software and in doing this sort of stuff is so important why they pay us, of course, be able to come up with this sort of solutions for those particular things. Same for this thing over here. Like I would expect that if the vendors are gonna be like so with blood and stuff, I would expect that this exact same thing to be on the width. So I'm going to add another one here in the world. Let's get rid of that one. Painting new one. And on this area underneath that place can add darker spots. Right-click all the dirt that's being like accumulated on that part of the width. It's going to make things look really, really realistic. To this one again, because over here, I would expect there to be a little bit more. As you can see, that's the way we can create a very nice effect. It makes everything look a lot more cohesive. Of course, we can reduce this a little bit. I'm going to go for like an 80 per cent. Same for the width. Let's go for like an 80%. Does not asking tests. And there we go. I think, I think that's it. I don't think I want to add anything else right now, to be honest. So yeah, this, this looks really, really good. Let's say real quick. Always, always save them, forget to save. And yeah, really don't see what else we could add for now. I think like darkening the rooms on the blade might be a good idea. So I'm gonna go to the blade, I'm going to add another few layer. It's just gonna be color. And it's going to be a dark red color, black mask. I'm going to turn on symmetry. And we can paint in like just add a little bit of extra depth, especially to like some of this that we're losing a little bit. I'm like that. Then we can change this to be like an overlay. And we can play around with here we go. So see how that like just an extra step, just manually painting the detail that I want to see. Just so we get a little more conscious. And I think we're getting a really nice result. I really liked the blood splatters there, to be honest. Actually, I'm going to grab the blood, I'm going to bring it all the way to the top. What that's gonna do is we're going to have some blood on the bandages on the wards as well. Some splatters you can see right there and the metals, it's gonna be everywhere. It's gonna be affecting everywhere. If you want to add the detail and let's say we want to add another layer of fur rust for whatever reason and you want it to affect everything. Remember to add it at the very top here. So that affects every single piece. But yeah, like with this guy. So this is the same process that we're gonna be using for a lot of the assets, asset wise. There's not many extra tricks that I think we're gonna be seeing. There's, of course a couple of things that we're gonna be doing. But look at how different this looks like when we first started. This was just a very basic like white, white X. And now, after all of this passes, we get this very cool. Looking at the fit looks good here instead of substance, it's gonna look exactly the same or even better inside of Maya or inside of unreal or marmoset or whatever it hedging we're using. So yeah, that's it for this one guy. So I'm going to save real quick and I'll see you back on the next 11. We're going to start working on thyroids. Hang on tight and I'll see you back on the next video. Bye bye. 63. Skin Texturing Basics: Hey guys, welcome back to the next part of our series. Today we're going to continue with the skin texture. And this is one of my favorite processes to be honest. And it's gonna be quite fun because I'm, I'm just deciding what kind of skin we're gonna have. You probably already saw in the intro video, of course. But as we've mentioned before, this kind of like a, like a time travel for me. So what I'm gonna do here is first of all, I'm going to turn off all of the things that we don't need. We just need to focus on the skin. We're gonna be focusing on the skin right now. And of course we're going to delete this layer right here. This is coming from one of the other ones. That's fine. We're going to talk about instance layers later on. But this is the one that we want right now. So the waist skin works. I actually got this file for you. By the way. I have a lot of reps reference about leather, old metal for by kings, which this guy is of course, heavily inspired horns, bones. So this file is going to be in your Assets folder, includes again, a lot of stuff. And as you can see, well, Vikings tend to have this sort of like a very fair whitish skin, deep links. On the other hand, that's, that's an interesting topic of conversation because deep links in the Indian d lower, they tend to be, like it says, that they can be any skin color. So you can have like a normal human skin color, but a lot of people will make them like purple or red or just like a lot of different colors. I think I'm gonna go, I'm gonna go with a more traditional skin tone, a little bit like a biking. But this technique that I'm about to show you can be applied pretty much any sort of skin. This is an excellent example and I think we're really close to this same sort of like detail. This is from boulders gate three, which I would consider it to be a AAA game for the amount of stuff that they have. So yeah, we're gonna get here, we're going to get really, really close to that. So let's start, let's start with our basic creation here. The first thing we need to do is we need to create a folder. So I'm going to say Control G is full. There's gonna be called skin. And I'm going to create a new layer. It's gonna be just like a basic field layer is going to be a base layer for everything. And then here we're going to add another field layer. And if we look for skin tones, There's of course a ton of different skin tones on the world. And all of them are really, really, really cool. I'm gonna go for the, I think this one right here, which is a little bit more like Scandinavia and white Hewish colors. So what we can do here is you can have a window on another screen and you can sample the color from that specific one. So I'm going to go for this very basic, like cream color. Now, I'm definitely going to bring this down. This is gonna be my base color, so I don't want it to be either too saturated, too bright, you has to be like roughly about there. And for this particular piece right here, I like to keep my roughness all the way up. Like I don't want to focus either. Want to think about roughness. It just yet. We're going to think about it later. We're just going to start building from here. So this is gonna be my base skin. Of course, this basic scheme, we're gonna do a black mask and we're gonna do a color selection. And we're going to pick a color, and it's going to be the color of the character so that we're only painting on the skin and we don't need to worry about the teeth or the horns or anything else. We're just worrying about this guy. The way to look at the base of the horse. Not bad, right? Not freaking path. The metal bit there. We have a little bit of the we've talked about that one before. It can be avoided, but it's a little bit more complex. So there we go. Now, the technique that I'm gonna show you is a technique that I learned several years ago, which I like to call the clown technique because the character is gonna look like a clown. It's gonna be like painted with a lot of very funny and interesting colors. But I'm going to show you a couple of ways in which we can accelerate the process a little bit so we can get to a nice result faster. So the way this works is the skin has color temperatures. Okay. Different parts of her body temperatures. Different parts of our bodies might look slightly different because you can see right here, cool, warm, really warm, et cetera, et cetera, et cetera. And then we're going to exaggerate this sort of like color of composition of the skins. So you can see right here on rembrandt look at this. This is beautiful, blue, yellow, red. There's a little bit of everything. So we're going to exaggerate a little bit of those tones to get the exact or to get a really interesting skin creation, you might be tempted to use some of these schemes that we have right here. But unfortunately, these are very flat color schemes. These ones are fine because they have the color of the, of the character. But these are very flat. We're going to use them, but for other stuff later on. So what we're going to start with is a very basic red layer. So I'm going to fill this color and we're going to call this a href and this red layer, I'm going to turn off all of the elements. We just want color and we're going to select a red. Never select the corners like you always want to work on this area right here. You don't want to go to the extremes because when you go to the extremes, you no longer have enough room to build more layers of interests. So a good rule of thumb is to try to remain here in the center. And the more you specialize or just specify certain parts of the character, that's when you start pushing to other sites. So we're gonna go right around there, things, something like that. I'd like to go a little bit darker in this case, there we go. Right-click black mask and we're going to start with a PHY layer. If I go for a few layers and I look for dots as we did before, we're going to find, or we can just look for a noise. And we just wanted to give very basic like uniform noise. I wouldn't suggest going further like this third one looks very good like that. So what I'm gonna do here is I'm going to increase the balance because I want a little bit more noise. I'm definitely going to increase the pilings something like a four. And as you can see, what this will give me is it's gonna give me a really, really interesting repetition of little dots pretty much everywhere. This one I would like to have an overlay. And I'm going to start playing around with the opacity to get a slightly different effects. So as you can see, we're building, we're creating a little bit of something there. I might even bring this up a little bit more. There we go. Something like a ten, maybe like an eighth. Looks a little bit better. Let me bring the overlay up a little bit. And as you can see, there's gonna give me a lot more stuff. We can add the balanced there to add a little bit more red. And this is the kind of stuff that we're gonna be using to create the sort of like interesting effects on the character. Now I'm going to switch to my tablets. So you're going to see some of the strokes that I'm gonna be making a lot softer. I'm going to add the paint layer here. And with the paint layer, I'm gonna go to my brush. I'm gonna use this dots erased, which is very, very solid. I'm also going to turn on my symmetry line. However, if you show the plane, you might see that it's not perfectly symmetrical on this case, at this perfectly symmetrical, sometimes you get slightly like not symmetrical. There we go. So if I start, like my tablet is not working. 1 s. There we go. So now that we have this, I'm going to start adding more red points. I'm going to use, I'm not going to change the size. I am going to change the flow. So by not changing the size, the size is always going to remain the same. I'm going to press X are actually white is fine. Let me bring the color all the way up. And you can see now, when I started drawing here, I'm going to get this effect. So that's a little bit too much. Of course I'm going to bring this down right around there. Then I'm going to start filling this in with this elements. Okay, so you can see I'm painting red, the areas where I would expect there to be a little bit more red, feeling like I'm not moving fast enough. There we go. So I'm getting rid of, of pen pressure so that we can cover this a little bit faster. Let's bring the opacity a little bit higher. There we go. So the areas that you're going to paint red are all of those areas where you have a lot of muscles or a lot of blood flow. Those are usually the areas that we're going to have. Still feel like I'm not advancing fast enough. I'm going to change two dots. I'm not sure if it's because of the opacity or what. There we go, That's a little bit better. Okay, so let's bring this down. Let's break this up because you can see that it's just looks like a splash of color. And what we're trying to do here by using this like dots effect is we're trying to create this sort of like airbrush effect where things are software and we get a nicer, more interesting texture on the overall character. You can, of course do those. You can, of course do this procedurally, but it definitely takes a little bit longer. Now for instance, the ears, they tend to be quite red, so I'm going to add a little bit more pigment there. This is the neck muscle and this is where you definitely want to take your time sometimes I I have a bad like I'm used to recording so many like closets and I need to make them interesting for you guys. I tend to make the mistake of rushing things a little bit too much, but when you're in production, you're gonna get like two or three days to texture the full character, maybe more depending on how important to production you're working for is like, I know certain productions where a main character will take anywhere 6-6 months to maybe a year, going through all of the different teams such as animation, grooming, texturing, like that's just how this on the indie world, however, we tend to work a little bit faster because we don't have as much a budget. The budget is tends to be a little bit more limited. But that doesn't mean that you can't go here and start like, and take your time to do all of this. So even if this video takes me like 20 min, you can take an hour, take 2 h, like, take as much time you need to do this very common mistake that people make when doing this past this first-pass for that, for the red points is that they can make the brush too big. And when you make the brush too big, what's going to happen is the dots are gonna be too big and it's gonna look like blemishes or something. So it's definitely something that you don't want. That's why I'm saying, take your time to really push this, really, really paint this part by part. So don't, don't rush it. Again. If you feel like we can add a little bit more red, we can just push this up a little bit more like a 69 go. So all of the places where we have a muscle, that's where we want to we're gonna do this thing. Try to, try to not leave any marks. As you can see there, the brushstrokes are looking a little bit too obvious. I'm not gonna go into the temptation of, of making the brush bigger because the dots are going to be bigger and that's going to look horrible. So just take the time to really fill in the gaps. Now, if you if you miss a spot, don't worry too much because we're still going to have time to. To come back and fix it. Let's rotate the light. The nose is another one of those areas that tends to be quite ready. For the mouth. The mouth is a little bit more like purplish. We can add a little bit of intensity there. And hopefully you can see why I call this the clown technique because as you can see, kind of looks like I'm doing the makeup for a clown. It looks really, really weird. So let's set the next layer. The next layer is going to be the cold layer. So I'm going to again get rid of everything except for the color. And this is going to be a blue or purplish hue. I'd like to go, in this case, I'm going to go for purplish, to go a little bit more into the alien thing. But you can go for blue. And let's call this cools. Right-click, black mask, right-click. And we're going to add the generator. We're going to add a dirt generator. Why? Because the degenerate is going to show us all of the like. What's the word of the low points of the character? Now here, as you can see, that their generator is actually gathering information, really interesting. It's gathering information from other elements. It shouldn't do that because we did not bake unless we baked the texture. Oh, that's interesting. Let's go to the cross out real quick. And what I'm gonna do is I'm gonna go to thyroids body. Have self-focus should only same mesh name. Really weird. Same mesh name. Yeah, that's right. Surely this settings apply to everything. Yeah, that's really weird. I'm not sure what we're getting those effects. I mean, it's not the end of the world whether that shouldn't be happening. So whenever you have this sort of questions, we need to go to the map, to the third map. And one of these maps is contaminating it. So it could be the ambient occlusion map. But I don't see the contamination. There. Could be the curvature map. I don't think it's the worst pain is normal the position let's go back to the baker because it'd be the curvature map. There we go. This is new or at least I don't remember this. Okay, No worries. So as you can see here, we have this always and we have this only same mesh name on the curvatures map as well. So it seems like it is, it was getting some curvature information from other elements. Don't worry. What we're gonna do is I'm just going to say real quick to make sure that we don't lose anything here. Saving the project, It's definitely a big file. So let's just wait for this to properly safe. And we're gonna go back here. I change this to self intersection. And technically we don't need to bake any of these guys. That's going to also make it a lot faster. So we just turn them off. We're just going to bake the curvature again because that's the one that we changed and we're gonna say bake selected textures. There we go. I saw, I saw the thing there. It was looking really weird. And that should be it. That's I mean, the occlusion. That's the curvature. I'm going to pause real quick guys, and as soon as the bank is done, I'll be right back. Okay, So I've finished the bakes again. And now if we go back here and we turn all of these guys off, you're going to see that the dirt layer is not affecting the skin with all of the other elements. So this is where we're going for this one. I also like to have an overlay. Of course we're going to reduce, sorry my bad, over here. This is going to be Overlay. There we go. It's going to go into it like the purple tones, a little bit more natural. And I'm going to break it down because as you can see, that we have really strong effects right here. So I'm going to add a new fill layer. And I'm going to add again a noise such as a given dislike clouds. One works very nice, but we need to definitely increase the tiling to make it really small dots and we're going to multiply this. What's going to happen now is we're going to have to sort of like dirt fact that's gonna be like slightly or not as intense as other effects. And this one of course, we're also going to reduce with how much intensity we wanted to affect the overall character this guy has, you can see right here, is going to go to the, to the crevices, to the cold areas. And here, if we need to change things, we can of course go to the element here and just change the tones a little bit. I am going to go a little bit more into the dark blue instead of like a purple. There we go, Something like that. Now I'm definitely going to add another paint layer here. And we're going to paint in area. So for instance, all of those like underneath the chest area. And you usually want to have at least a little bit of everything everywhere. Make the brush slightly bigger, just a little bit bigger. Not that much. Because as you can see, that's already increasing the size of the particle. Maybe, let's try. Let's try it like an 0. Like a six. Oh my God. Six, There we go. So all of these crevices that we were not getting as much, we're going to add a little bit of dots everywhere. It's going again, it's going to increase the, the, the visual interests of our texture. That's what we're going for. We're of course going to reduce right now the overlay is a little bit too much, of course, going to be reducing all of that. As you can see this, this helps us break down the skin and get them more interesting effect. Right now he's going to look really sick because we didn't have any any yellows in it. It's just red and purple. So that's kinda like a six kin. But we're just going to keep on going. Cool. Now of course this, Let's reduce a little bit within one's much. We're also going to reduce the red. We're going to start toning down the elements. So we get this very interesting effect on the skin. So we got our blues that are really adding a little bit of depth. And we got a rat's right there. We're going to go now for our yellows and for the yellows, I like to use a mustard color, something like this. Again, we're going to turn off everything except for the skin or the color or the black mask. And let's add a fill layer. We're going to add a noise again. Something like this with a high tiling is going to use this sort of like effect. And this one I like to having leaner Dutch because it's going, It's going to punch the colors up, but this one definitely needs to go really, really, really low. It's gonna be like, like a ten per cent or something. Really low as you can see, it really brings the Skinner and combines the skinny eat it, gets the finishing touch for the skin altogether. Now that one, we can also add on top of this, I'm actually going to duplicate this. I'm going to have to I'm going to have a base yellow and this one instead of a fill layer, I'm going to use a generator and we're going to use a metal edge where? Metal Ashworth, There we go. So we're going to hit only the high points, which are important as well. We're going to lower this intensity a little bit. And this one we're going to use a fill layer to multiply. Of course, a cloud or something like that. Maybe even like a sales is just any material that we can use to break up the element like that. So we get this very splotchy look for the whole Florida Hoskyns going to give it this really, really nice effect. Now that we have this again, now it's time to start playing around with the main skin color. So I'm gonna go with the base skin color and then control C, Control B, I'm going to get it on top of everything else. It looks like we're removing everything, but we set this to overlay. That was gonna be a little bit too much actually now I'm going to keep it normal, but what I'm, what I'm gonna do, I'm going to reduce the intensity that is going to be like a blending layer. I'm going to use to just tone down all of the other tones that we might have had. Okay, It's kinda like a, like a hamburger. This is like the bread on the top of the hamburger that we can use to go from really intense definition of all of the colors. So like a smoother definition, we could also go to each individual layer of the colors and give them a blur filter. Let me show you how to do that. For instance, right now, if I take a look at the skin, the rats are definitely way too intense. So I'm going to go to the red color in here on top of everything, I'm going to add a filter. And we can use a Gaussian blur. So it's this a blur. Of course, 0.5 is too much. I'm going to see something like 0.1. And that one right there is going to make it look a little bit less intense. We might even go to like a 0.05 to be honest. So we can blur this out, but not as much. But usually the way I like to control this, this, with this scheme right here, we're still going to be building more stuff on top. This is just like the base a skin. I'm gonna show you one more layer which is going to be super, super important to make this character look alive. And that is the surf surface color layer. So skin is a surfaces of material and we are going to be using subsurface effects later on to get this effect. But skin lets light through a little bit and we get this sort of effect. So by adding it to the character, we're going to get a more interesting look. So I'm going to add a new layer here, a new color layer. There's gonna be a darkish read, something like this. It's gonna be linear dodge. Definitely Linear Dodge. There we go. And we're going to add a black mask, and we're going to add a fill layer. But instead of using a texture, we're actually going to go for the thickness map that we got. We go for thickness map here is a thickness map of the character, but it's inverted. To invert this, we're going to right-click on the mask and we're going to add a levels. And with that one we can invert. And now you can see that we get this very nice red color on the ears and stuff. And we can control how much intensity, how much or how intense we want this subsurface to be. Which as you can see, gives us a really, really nice and natural look overall to the skin. This of course is way too much. I usually like to give this to a 15% or something, maybe a little bit more. You can go for a 25. And we can play around with this too. We can intensify this a little bit. We can even go here on the red color and really push it all the way to the top. And then again with the levels, we can control how much of this like a reddish hue we want in different parts of the care. There we go. So this is the base skin color that would do. And the cool thing about this basis skin color is very light. You can create so many variations with this skin color. What I mean by this is if we want this skin color to be a little bit darker, which is good to the base skin, which is making the whole character darker. And then we just adapt or modify the colors a little bit to get something a little bit closer to what we're looking for. In my case, I think we're gonna go for a more ashen looks something like this. I'm going to definitely reduce this guy now. I think it's a little bit too much. Let's go look at 15%. And we get something that looks really, really, really interesting. Instead of having just the flat like pink color, we've got a texture that looks very, very cool here for the character. It can detect this small little error there. I'm going to press the letter C. It's under normal map. Okay, so that little error right there, I'm not sure why that's happening. It could be a bad polygon. Also see that there's another bath polygon right there, but those can be easily fixed into post-production at the very end. So yeah, this is pretty much it. This is the base of skin. We're going to continue with the more complex stuff. So hang on tight and I'll see you back on the next one. Bye. 64. Skin Texturing Advance: Hey guys, welcome back to the next part of the series. Today we're going to continue with the skin, and now we're gonna go into some more intense looking elements so we can get skins that look a little bit closer to what we see here on the concept art. So this involves a little bit more of shading things that we're going to have to do. We're going to have to change the shading parameters, but that's something that we're gonna do later. We're gonna do this in the, in the final rendered or we're gonna be using. But we can definitely paint some more stuff to keep the character again, a little bit more life. So this is the one that the next layer that I'm going to show you is not something that I'm going to have here on my main skin layer. It's going to be on top of it. And it's the layer that I like to add as sort of like shadow layer. It's a fake shadow. They like to add another, a very basic red color layer on top of the skin layer. It's going to go like a dark red, like this. I'm gonna go black mask, right-click Add generator. And we're going to use something called a lead generator light. It literally points a light towards the character. And we can rotate this light around and make it so that it hits a specific parts of the character like this. So if I move this around and they point this little guy, so this little knobs up. As you can see, we're gonna get a color light that's hitting the back part of the characters are lower parts of the character. We can change the highlight glossiness to make it softer or stronger. As you can see right there. We can change the highlight level as well to make it more intense or less intense. This is of course, going a little bit more into this stylized look of things, but we can definitely use this. If I press letter, letter C and I navigate to the color. This is the color that we have right now. And again, that little shadow right there is just so good. It helps, it helps us with just like the whole overall effect. You can see how it gets way, way more definition to the character. I really liked it. I'm definitely going to go overlay as well. I always, uh, try to get this layer so with some sort of like a layer, layer blending modes so that we get some interesting interactions with the colors underneath. But yeah, there we go. Just a very simple layer, I'm going to call this the shadows layer. This is the layer that you can use if needed, but you don't always need it and it's gonna be the shadows layer. Now we can start working on the details. And actually I'm going to create a new group here because this new group is gonna be the skin details. I want to keep things organized here inside the substance as well. So all of the skin details such as this shadow right here are going to be inside this group. The next one is definitely the dirt layer because as you can see, we do have a nice definition of the norm and everything, but a lot of the wrinkles and stuff, they're not really well-defined. We can really push the intensity of the face again, here's my, some of my references. If we take a look at some of the games, some of the crevices and stuff, they look really, really, really dark, right? So that's one of the things that we want to get in there. I'm going to go for my rust layer. I really like using the rust layer. You guys have already seen because it has a lot of interesting variations on the color is not all a solid color that has all of these things. And then increase the tiling done. I'm gonna go to a ten Thailand because I want very small details on the Rust other black mask. And we're going to add a generator. And this is going to be eight dirt generator. Of course. This is going to fill the whole character with this very interesting dirt layer everywhere, everywhere. And we can change this to a, an overlay and bring this down so we can add a little bit of dirt everywhere. It definitely makes the character look dirtier. So I'm gonna go to the grunge amount. I'm going to bring the country mount in a little bit. We've also seen very common issue, which is the fact that we can get some sort of like a problems when we have a big patches of skin, right? So I'm going to use a fill layer on top of this Ross layer set to multiply. I'm going to change this again to something like a, like a class mainly to break up some of the effects right there. Definitely increase the tiling. So like 50 or something and as you can see, that gives us the dirt, right? But it's not everywhere. It's just a nice interesting detail, therefore, for the character. Now, the face is one of the important parts and I'm noticing a really big problem even though we open them out to avoid this thing right here. We still got the issue. We still got the issue that under normal map and some of the other maps at the top part of the lip is baking down into the lower part of the lip. How can we avoid that? Well, I'm going to have to go back to the baker. And if we take a look at the shells right here, you can see that the shell of the face is really, really, really big. So I don't want to bake anything. I'm going to turn off all of this. I just want to bake thyroids, probably going to have to bake everything here. I'm gonna go back to common settings. And I'm going to bring down the max frontal distance. I'm going to try to find the position that would need. I would probably need something like this as you can see right there. So it's not ideal because if I tried to bake this, I'm gonna get so many mistakes everywhere. So what's the proper way to fix this? Well, unfortunately, the proper way to fix this would be to go to bake this SSS as we're seeing it. And then we're going to have to blend both textures together. Okay, So that means that either we fix this here or we fix this inside of Photoshop. I'm going to show you how to fix it inside of Photoshop so I know that the problem is here and the main, like maps that have this problem are the normal map from what I can see right here. You can see it right there, the normal map. And we also have the ambient occlusion map, right. So the way to fix this, you're going to have to go to Texas at Settings, select this normal map right here. This guy, or find that actually the textures. Here we go. Where is it? Here on the textures are going to have the bakes. We can look for the mesh maps. There we go. This guy right here, we're going to have to export. So we're going to right-click. And I'm going to export a resource. The next board here on the assets textures, like the folder. I'm going to open Photoshop. And here, if we go to our assets, textures, here is gonna be in the normal map. That's probably still exporting. It. Should be done. There we go. So we navigate to the normal map. You're going to see that here. Those lines that you see there, those are the bad lines. So that's the, that's the problem that we have. So we can just use the healing tool, for instance, make this a little bit smaller and just feel it. Like literally just let Photoshop try to find the best possible solution for those elements. Right there. There we go. We save the scene. Save this file, that fix of the file. You've been here on the eyes you can see a little bit of that problem. So he'll that problem. Not gonna be perfect. It's gonna be better than what we have. The other option is to do two Bakes. And then here in Photoshop, combine the proper bake with the bad bake. Get the final result. Same here for the nose. Like that error, just patch it up. Was another error on the chest. This guys right here. Same thing. We can just fix this. That there we go. So Photoshop nowadays is just magic guys. There we go. See another little issue over here. That's a big issue actually. Here we go. Sometimes in-between the fingers, we get that sort of effect like here. We're going to have to see if the thing we have it or not. We save the image. Very important that we save the image. Okay, so this is the new normal map with, for this to finish the safe. And once this is finished, we need to go back here and re-import. So we're going to get this guy right here, import. So this has a texture. I'm going to import this on the project. Say import gonna be right here. Technically, it should replace this one. But if it's not replacing it, just like drag and drop it. And we're going to have to rebuild the ambient occlusion because that line that you see right there, that's also the ambient occlusion. And we need to rebuild the ambient occlusion now with this normal them. So we'd have to go back to bake mesh maps. We're not going to make anything where the thyroids body, we don't want the big the normal map. And we're actually going to remove this guy right here because we don't want to grab it from the front. We want to grab it from the normal map. And technically, if we have a normal map, we will be able, we should be able to bake from the normal maps. So now if we take a look at the, if we go to the ordinary, I haven't actually. Well, as you can see, the occlusion is now working properly. Same for the curvature because it's grabbing it from normal map. We're going to have to probably rebuild this because we're going to lose our id maps and that's no Bueno scrubber Garrett thyroid hyperbolas. Make ready. And let's increase the max frontal distance. A little bit. A couple of errors. There's again, some of them are not even part of the things that we're making right now. So that's fine. I wish we could hide. Can we hide project Mesh? One thing we can hide, so let's do a real quick. We're not making the normal map because we already have it. We do want the ID map again. And let's see if that fixes the issues that we have. That's part of the drill I'm here with, characterised as advanced at this ones, we definitely have to play around and just figure out what works, what doesn't work, and just get it to work. So I'm going to stop the video here very well. So we've finished debate with the new normal texture and hopefully. There we go. No more issues on the lips. Why do we not have any issues now? Because since we are not baking the normal map and we correct the normal map on her own in Photoshop. It grabs the information from that normal map instead of baking it down from the from the ambient occlusion or any other maps. So yeah, there we go. Now, I think the character is looking a little bit pale, to be honest. So I'm gonna go back to the skin and I'm going to add another layer. I have one of my references images over here and it's a little bit orange here. So I'm going to grab this orange color. Again, no roughness yet. We're gonna work on that later. And I'm going to use an overlay with this one. It's kind of like giving him a tan. Then we can lower this to like a five or a tan and that's going to make the skin look a little bit more alive. I like this one a little bit better. Cool. A couple of things that we need to do for the phases are like details are working to be adding. Usually the face has a little bit more temperature and all of this is going to go into details. I'm going to add another layer. We're going to go for a purple color, dark purple color, only color. It's always black mask. And again with my tablet, I'm going to draw, I'm gonna give him some tired eyes. Usually the eyes have a lot of purple in them. Also, as we've mentioned, the lips tend to have a little more darker colors. Kinda wanna go. We do that. There we go. So under the eyes, on the lips, we're going to add a little bit of this purple color, horse overlay and lower the intensity. This is going to give me a little bit more visual interest on the eyes. Make them deeper. Can add a little bit of that purple here. And all of the colors that we used before to build up the D interesting effect on the face. We can bring them back if we need to bring a little bit more of that red, if we need to bring a little bit more of that yellow, like all of those colors, we can bring them back. No problem, because this is what, what texturing is all about. Generating all of this cool looking effects. Really like this or like purple deemed as the worst throwing here. Sometimes I don't like working with perspective. I'm gonna go here, I'm going to change to orthographic view. So the face is a little bit flatter. Now if it actually is freaking me out, Let's go back to perspective. There we go. A little bit of that tone here. I'm definitely going to reduce the amount of intensity, so probably like a 30. And that way when I add all of these elements, now remember he has a beard, so all of the colors that can be hidden. But that's gonna be, I call this the, the makeup pass. If you're doing female characters, by the way, this changes quite a bit because you actually have to do the makeup here inside of substance. My sister, she's she's a makeup artist and she has taught me a lot of like cool techniques for female characters that I use a lot because again, that's the details that you want to make sure your characters has same thing here, like, let's add a little bit of purple in some of the crevices down here because you can see that it's looking a little bit too flat down here. It looks like the face looks very alive. Very, rather nice. Though we're helix, very, very flat, very dull. I'm going to add another layer here. Again, turn off, everything is going to be a dark red color again. Black Mask. Probably make this a little bit bigger. Just bring in some color because it's definitely freaking me out that there's not a lot of color here on the muscles. And the muscles definitely should have more like bluff irrigation and stuff. So little bit of this and this here though of course, overlay and bring this down. See how we can get back some of that very nice texture. Now, here's where we can bring in some of the top body prompts. For instance. When I have those, I don't need to worry too much about the areas that I'm not going to be seeing. So I'm gonna be focusing a little bit more on the shoulders. Let's move the camera around just a little bit here. I personally have this. I have a lot of spots on my back, so I'm going to duplicate this layer and I'm going to bring a new black mask. I'm going to increase the intensity of the overlap a little bit more. I'm going to make the spots a little bit bigger. I'm just going to give him a little bit more of this or like skin detail on the back. When you're exposed to the sun or when you go out a lot. Like, I know truck drivers, they get a lot of sunspots and some sun damage on their skin. So this is the sort of stuff that we can have here on the top. For instance, in faith, always faith is a very important technique. We don't want to have the same amount of detail everywhere. So we're going to add this sort of like spots on the on certain parts of the arms and stuff but not everywhere. We're gonna be fading. Same for the head. We don't want to leave the head just like that. Let's add some interesting blemishes and stuff and then we can go lower. And we cannot smaller blemishes. Like maybe, maybe, I'm not sure if this is a good idea or not. We can look here to the front. We can add some freckles. Freckles. Look at my look. Interesting for the character. And little by little, we'll be building this now. One thing that might be bothering a lot of view and it's bothering me now is the roughness. I know we've mentioned this before, so I'm gonna go all the way back to the first base of skin. And this is the one that we're gonna be using to control. The base roughness. So I'm just gonna make sure it seems like I might have the one point that might've added, there we go. That one we don't want that one. We don't want any other layer. We just want the one layer to be able to control the roughness and that's the first layer. That's why I leave the roughness off because now I can change the roughness and they can start looking for that sort of like oily skin look, look how nice. And I haven't even looked properly presented or prepare this skin layer. This is just a very basic, just like slightly, slightly like a sweatshirt skin and it's already looking really, really nice. So one more layer that I want to add here on the details is a green layer. And this might look a little bit like stupid. But it's really important because for some reason, sometimes we get other types of colors on our skin. And especially here on the beard, it's very common to get this sort of like greenish hue. If you've seen anyone that has shaven like a clean shave, you can see it looks like a purply cleaning fish, weird, especially on white skin. You get this quite a bit. So I'm going to add all of this here. And then when I change this to an overlay, you're going to see how nice that transition is going to look. All of this. We fill it in with the sort of green here. And when we change this to an overlay and we're bringing that down. It's gonna look interesting. I actually think the screen is a little bit too green. Let's go little bit more. Sometimes I go to that blues as well. Feel like did I miss something? I think I know what I missed. I didn't remove all of these things right here. There we go. So overlay looks interesting. See if there's like a multiply, you can press your arrow keys on, look for like a darker tone. Really lose something like that. There we go. That one right there, it's like a dark green. And then I'm going to add a filter to this guy filter. It's gonna be alert. Alert those. There we go. Not that much. We're going to go for something like 0.5. And we can go back to the paint layer. Just like fix a couple of areas that I want to be I don't want it to be as a splotchy. Just like filling all of the spaces. They're probably going to have to add a little bit of this to the eyebrows as well. It's kind of like painting the shadow of the character of where the hair is going to be. And then of course, we reduce this. It's just a nice little detail there, right? So we do want to have it seen but not super obvious. It's just that the indication that that looks pretty good, I would say. I really like it. I'm gonna show you one more technique, one more. That's not that, it's not super advanced, but it really helps you. You saw how the shadows were really a good way to punch some of the skin tones. Give it like a, it's kinda like painting a little bit of the shadows on the character. Now I'm going to paint a little bit of light. So I'm going to add a new fill layer here. I'm gonna go and grab from my reference a lighter skin tone like this one. Again, turn off all of this thing. Black mask. We're going to use another generator, is going to be a light generator. And it's gonna be pointing down like this. And then this one, what we're gonna do with this one is we're gonna do linear Dutch. Just going to multiply it the, that light against everything. We can. Of course push this up. There we go, That's a lot better. And what we can do is really bring this down. It's kind of like a layer of dust that we have on top of the character. But it's going to make the skin on the top look a little bit brighter than the skin on the bottom. So again, if you see this on the game, this is what we're gonna be seeing and look at that. That's a really, really nice and complex skin. We take a look at the flat color loops are really, really, really good. So I'm going to stop the video right here, guys. And now we're going to start working on the details. We have scarring. We have, we might want to add a couple of the facts. I definitely want to show you a little bit about the true subsurface that we can add to the skin to make it look like real, real skin. And we're just going to keep pushing, but this looks really good. I think we're in a good position and we're going to continue on the next video. 65. Skin Texturing Details: Hey guys, welcome back to the next part of this series. Today we're gonna talk about the details of the character. And the first thing I want to talk about is a subsurface scattering. We are going to give this guy true subsurface scattering. So how do we do this? There's three things we need to do. First, in texture sets settings, we need to add that the scattering channel. To do that, we add this plus sign and we add the scatter and channel. I've already done that, so that's why it's here, but you're going to find it on this list. Then in the layers, we need to create the layer that's gonna give us subsurface scattering. So we're just going to create a new layer. We're going to call this true true SSS. There we go. And here in SPSS, we're going to turn off all of these guys except for scattering. And we're going to turn on scattering. Now you might be like Okay, yeah, that sounds fun, but now, why am I not seeing the scattering everything? It looks flat still. Well, first, we need to go to the shader settings and we need to make sure that subsurface scattering is enabled. In this case, it is, and it is taking the default will be the, which means it's going to take the color of your character. That's why we did all of this color first, it's going to take the color of your character and it's going to use that information as the scattering color. In other versions, you had to create your own like a color for specifically the scattering, but now it takes the color from the object. It works. But in order for us to see it, we actually need to go to the display settings and we need to activate the subsurface scattering down here. So now will not activate this, as you can see. Now we get a more realistic look at how nice that looks. This is without subsurface and this is with subsurface scattering. Now as you can see, it's also trying to add subsurface scattering over here, like setting subsurface scattering everywhere. And we can change the scale. If we go back here to the shader, we can change the scale of the subsurface. If we go really low or really high, there's gonna be more or less right now. I think it stops at one, but let's try going through like ten. Now it stops at one. So it stops at the one right here. We can change a couple of things here like the redshift. How much subsurface we want really. But yeah, this is true subsurface scattering now on the engines. Later on when we are in the engines for the final render, we're gonna be able to change this even more. But the cool thing about this as surfaces, as you can see, gives us a really, really nice effect for the character. Again, we can deactivate it That's without subsurface and this is wheat Atreus of surface. And it's going to look more and more realistic, especially like the fingers and thin parts. It's always going to go for the thin parts. Those are the ones that are going to look a little bit better. Now, as for details that we want to add, scarring, that's the first one, right? So scars tend to be really, they tend to be a little bit clearer. We get this sort of like key keloid, that's called keloid scarring. I'm going to add a new layer here that it's perfectly fine. I'm just gonna, I'm gonna keep color, roughness and I don't need scattering is just color and roughness. I'm going to go for a more pinkish hue like this. I'm going to add the black mask. And this is where, again, the artistic canons is going to really come into play because there's no mask, there is no filters, there's no nothing. We literally have to paint our scars. So I'm going to go to my brushes. I'm going to grab a soft brush because the scar is very defined as you can see there. So I'm gonna go for this. Given this cement one looks, I'm just just a basic software. Think we the basic soft and probably the effect here. As you can see, I'm going to start painting where my kilos thing S. We just paint this one with you. Now of course, we're not going to leave it like this. We're probably gonna be using something like a linear dodge. And we're probably going to be reducing the intensity here. Now that we have this, we can see you, okay, what kind of colors? So we're going to go for like a, gonna go for a really light color and really lower this a little bit more. It looks like that. And then probably roughness wise, we're going to increase around this a little bit. We don't want this to be slightly more rough than the rest of the elements, but not like that. Or we can be like No, you know what, this is gonna be like a brand that he got. So it's gonna be like a dark dark red, which means we're probably going to go for like an overlay, right? Like there's there's a lot of things that we can change here. So yeah, I think like an overly my work here, Let's increase the intensity. So yeah, here's where if you want this to be like a tattoo or a scar, like you can change things. I do I did like the idea of this being a scar, like a pinkish scar. So we're gonna go a little bit more into this sort of like colors right there. There we go. That looks It's really nice. Definitely decrease the color a little bit there. And now it's just a matter of going through this thing and like manually painting the layer. One of those things that again, it's very, it will be very difficult to generate a specific mask unless we model this from a different sub tool. It will be, it will be quite complicated, right? Oh, careful here because I have a symmetry turned on. So here we definitely need to turn off symmetry. Let's just erase it on this side. And that way we can again focus. On this side as well, but see how interesting the skin looks like. This is the technique that I would do for characters when you don't have a scan. Okay, because I've had some students ask me what about like 3D scans? Like if you have an actor and then you're doing like like dislike thousands of photographs and stuff in those cases, since you have the textures like pretty much done for you, what do you need to do is you need to project those textures into the characters. You're going to use a lot of texture images. This is a more traditional like hand painted approach for the whole process. But hopefully you guys can see it still gives you a really, really, really nice effect. There we go. Move the light or Shift and middle mouse click to move the light. And it's all about this. Like it's all about how you blend in between things. That's why I'm always using blending modes and I'm always using a low opacity, this and stuff. You never want something to look like. It's just, it was just like painted on. Everything should be or feel part of the thing. Alright, so if the character, now remember that we have a scar in the leg as well under I think it was on the right leg. So all of those layers that we're using right now for the skin and we're going to reuse them for the, for the legs because we want to make sure that the character looks like it's part of the same, of the same element, right? So there we go. Yeah, look at that. Not bad, right, for the scar. Not bad. Veins. Veins are really important as well. Fill layer only color. The paints are beneath the skin so the roughness is going to be coming from the color. Here. Again, some people have like greenish purplish. It varies a little bit on the tones. Going to use this black mask. And I'm going to very softly draw on top of the layers on the veins. This especially the big ones, you don't have to follow the whole vein. You can, again look kind of like fade a little bit if you want. Just like a couple of tones, a couple of lines are going to be visible here and there. Some of these like we don't really even need, as you can see, there's sometimes I'm using my mouse and then the tablet. When they use a tablet, I get pen, pen pressure resistance here for this small ones on the hand is definitely valuable to them like that. We do overlay. Blends, will lower the intensity quite a bit. Then this ones I definitely throw in like a filter, a blur filter. We go. I think, I think that 32 is still a little bit too much. I'm going to keep them really, really, really soft. You can throw in a couple of here, you can throw in a couple of lines here and there, like perfectly, perfectly fine. Especially with the tablet, can throw in a couple of blue lines. It seems we already have the filtered on. We just need to worry about being as close as possible to what we drew. And that should be, that should capture the element if it's too much, just remove a little bit of that very carefully. That's a big one right here. Tricep definitely needs to, to push out of the skin. There we go. Cool. Now, we do have a couple of big scars and smaller scars that we can call them like fresher for so for instance, this one is like a fresh scar. Or it could be relatively flesh. It doesn't have to be super, super fresh. So I'm going to add a new layer. Again, just color, dark color, black mask. And we're going to fill in, I'm going to use a different brush. I'm going to use the plush. Let's break the size, smaller. And we're just going to fill in this. So it looks like blood is pooling on that specific element. Go. And here's where we're having a really good sculpt helps because the more precise your scalp was, the easier it's going to be to do all of this overlay. Again, I'm going to bring this down a little bit. I don't want this to be like a super fresh wound or anything. It's more like an old scar. Like a cut right here as well. One of the bad things, one of the things I don't like about subsurface is it tends to erase a lot of the details that you have. So be careful there was another keloid scar right here. So I'm going to just paint it. There we go. On the face. We have one big scar here on the, on the eye. This one, I'm gonna make it again kilos. So it's gonna go like this, cross the eye. That then this one's going to be like a fresh one. Fresh cut. Can add another fresh cut right there. Very common on the nose to have the sort of like cuts. This is where you can have a lot of fun because you can add all of this like little lines and cuts and bruises because that'll not a Bruce. I don't think we have a bruise on this character. Well, we could add it. And look how interesting the whole thing is looking. Eventually when we have all of the other elements, like a lot of stuff is going to be covered, but things that are not covered, as you can see, we're gonna be looking quite, quite nice. Again, I always try to go to the position that you might be seeing the character, which would be this one right here. And I want to make sure that there's enough like a visual interests everywhere. And yeah, I think that's I think that's pretty much it for the skin texture. Now we need to think about the roughness. So let me turn off everything again so we can think about the roughness and the roughness. I like to play with this on the roughness channel so that they know what's going on. Look at this. This is a beautiful flat color scheme channel. I'm gonna go to the roughness, which is this one right here. And this is telling me how the roughness of the skin is looking right now. And as you can see, it's not bad. It's not great, right? We have a lot of flat areas like all of these areas, and usually the skin has a lot of interests, visual interests. So I'm gonna go again here. Let's call this. I'm going to create a new layer, new fill layer. This is gonna be Control G and this is gonna be my roughness, the roughness layer. So this layer right here, I'm going to turn everything off except for the roughness. I'm going to start with a very basic just again like a Clouds roughness. I'm going to increase the intensity, the tiling. And if I just do this, what's going to happen is we're just going to have a very obvious like clouds the roughness everywhere. But what we can do and I really like is that we can go to the roughness channel and use this to break down the roughness of everything. Look at that. We'll just add a very, very basic and let's go back to material. We just had a very basic roughness layer and now everything is broken down. Alright, we go especially if you like, take a look at this glossy part right here, we break it down, and now we have a little bit more interesting points everywhere. Now, that's not all because usually when we see again the channels, there's going to be parts of a character. They're gonna be more glossy than others. So once I do this like base paths, I'm going to start adding in more like roughness passes. So this is gonna be my gloves. Remember the lower the roughness, the more glossy things are, the more shiny they are. So in this case, if I bring that, this is gonna be like a glossy section. I'm going to add the black mask. And I can paint and say, Hey, you know what? I'm gonna go again with usually dots erase is the one that I use. And use my tablet here. And we'd like, Okay, you know what, I want the nodes to be a little bit shinier, right? So I'm going to add a little bit of glossiness there on the nose. Definitely the lips are gonna be sharing. I'm going to have a special, I'm actually going to have a special layer for the lips. I'm just gonna add a little bit of like glossiness already. Saved for this part of the eyes. Like ice tends to be a little bit glossier. Going to add a little bit of glossiness. There might be a good idea to, to turn on the symmetry there too, to make sure that we're affecting both sides at the same time. So the head, right? Like we would expect this part of the head, especially since it's quite exposed to be a little bit glossier. But as you can see, I'm using glossiness with my little dots here to make sure that it looks, it makes sense. Like think about what parts of the character are gonna be shining a little bit more like the shoulders here. Therefore a little bit more glossy than the rest of the area because this is where the sweat is going to be. This is where the yeah. Where are you going to have a little bit more interests? Ears, a little bit on the ears as well. You can do this in the material as well. The only problem with doing it on the material is that I find that, that it becomes a little bit difficult sometimes to know whether or not you are adding the volume. But yeah, you're free to do it, of course, on any channel that you might want. So this little spots right there. And the cool thing is, if I need to bring this down, going to affect everything. So it can be like a really flat or a really glossy effect depending on how I want it right, that right there. It's a way to glosses, so I'm going to bring it, bring it down like this. I can go a little bit more extreme. It can be like Okay, you know what? Let's use this like cement one which is a little bit more fluffy, fluffy brush. And it's gonna be a little bit more of a big, big effect on this part right there. For instance, hands sometimes get a little bit sweaty. Pictorial muscles, they're a little bit more. They're there on the biceps, this bar right here on the tricep. Back. And again, if we take a look at the visual interests that degenerates, it really makes for a more interesting like effect. You can look at their, their shoulders, how it changes for a very flat, just like a very flat back in this case, to a more interesting effect. There's gonna be shy in your areas pretty much everywhere. So yeah, that's that's pretty much it. I think I think we're done with the skin or at least for like a very basic skin. This would be like if I, if I'm doing a character, this will be like the first pass or they show the client and then they're going to be like, okay, we need to add more damage to your maybe bruises, maybe there's maybe dad, but this is a very basic quote. The skin that we can create for our character. So, yeah, that's, that's it for this one guys. I'm going to stop the video and in the next couple of ones we're going to continue, I think, with the horns first, and then we're going to bring everything together and just keep moving from there. So hang on tight and see you back on the next video. 66. Horn Texturing: Hey guys, welcome back to the next part of our series. Today we're going to continue with the horns. And as you can see, the character is not looking back. I think we're in a really, really good position. To be honest, the skin is probably the most time-consuming part of the texturing process. Everything else is going to be moving along a little bit faster because usually with assets such as leather, bandages, even the bones and stuff, it becomes a little bit easier. So we're gonna go now, again, we're going to turn off all of the things that we don't need. This also frees up a little bit of resources for them, for the machine. And we're gonna go to, I want to go to the viewers settings because there's one thing I wanted to talk about. You guys should know if you've used this thing before, substance that we are using this panorama by default. Now, the problem with the Panorama and all of this HDRI is right here, is that they tend to give us some color. They tend to introduce some color into the scene. So it's not the same for me to texture this character with this environment, this, with this environment that this would, this environment like i'm, I'm going to see different tones and different things on the character. So usually one thing that I recommend is using one of this studio lights that we have right here. Maybe this one right here. It's a little bit more contrasty so that we can appreciate things a little bit more neutral in a more neutral way. That way I know that I'm not like being biased by any color and we can get the things to look the best possible. I personally don't like to work with the opacity. I'm going to turn that off. I don't like working with shadows. I know there are some people out there that like to work with shadows. I don t think it's really necessary. It just introduces a couple of extra things that we really don't need and just contaminates the scenes a little bit. So let's go to the body here. And as you can see, we have a lot of the things we have all of these guys right here, roughness, the skin details of skin, this original field layer. So it can become quite heavy if you go or if you get to the point where your computer is not being able to handle this, one of the options that they can give you guys is to export the textures as they are right now. So pretty much you bake the textures down and then re-import those textures, and then just use them as few layers, create a new layer here. And if you create a new field layer, you can pretty much go down here and insert your base color. You have metallic, your roughness, your normal, your height into this parameters right here. And you're going to have one single layer holding or making sure that you get all of the elements, not the most ideal thing to do. But again, if you are having issues with the intensity or the, or the weight of the project, that might be a good idea. So I'm going to create a new layer and I'm going to make this age just like a dark field layer. Let me open pure if again, because I wanted to see a little bit of the reference that we have. So again, this this folder that I'm showing you, it's gonna be available for you. This thing right here, we take a look at the horns. There's a lot of different horns, but most of them tend to go into the darker colors. I didn't want to go for something like this. I really like the sort of like like bull horns. This one's look really cool as well, to be honest. But yeah, we're definitely going to go for a dark dark horn going into a lighter gradient. So I think something like this matches my idea a little bit more. So I'm going to use, I'm going to sample the color. I'm going to sample that sort of like dark red or dark brown color. I'm probably going to go a little bit darker. I'm going to Control G to group this other black mask to the folder. Then we're going to use a color selection on that mask and we're going to pick only the horns. So that way we're gonna be able to get this right there. Now, here's where again, if you have access to the extra materials, it's a really good way to get more interesting effects. So I have this bone material right here. You can of course, build this up with other stuff, but I do believe I got this bone from substances share or from substance source rather. I forgot to mention that there's also substance share, which is a really, really good asset or a really good place to find stuff as well. So I'm gonna be using this as a base, might not use the full color, like we can roll this back a little bit. Well, I'm definitely going to be using this one a little bit right there. Now you can see here that the mask, it's not capturing this properly. I don't know why that happened, but we can just go to the mask or they paint layer on the mask. And this will be one of those things that I will probably just manually paint out. There we go. Just a small little detail right there. I'm also missing oh, that's an another I would say in that I was missing the little chains right here, but that's another layer. So this bone right here, as you can see, it's giving us a really nice texture, but we're definitely seeing the same. And this is one of the things that they promised that that was going to show you how to fix. We really didn't have that issue with the character. As you can see it. It's very difficult to see the same. It's there, but it's very difficult to see due to the way, the very organic way in which we build the texture. But for this one it's definitely noticeable here. And what I need to do is I need to do to the material that I want to faith. And we can change a couple of things. First of all, we could play around with the, with the rotation and tried to find a rotation that works a little bit better. But if we can't really find the best option is to change the projection to something called trip planner projection. And as you can see, triplet and prediction. We will predict this thing and they will get us a faded effect on the border. So as you can see here where the seam would be, we're going to get a more faded effect. I'm definitely going to increase the tiling to something like a four so we get more detail. And now we can again play around with the rotation. I'm going to keep the rotation very low and look at that. Just like that, we get this a very, very cool looking base for our horns. Remember that this one right here is set to a normal. We can even change this to like an overlay which just going to darken everything. But I think normal was looking fine. We can play around to see how much of the dark effect of the horn we want. The cool thing about the bone layer right there is that it gives us a really nice base to work with. Here's where I would definitely go back to the skin look to the skin details. Probably I'm going to add a new layer. And even though we don't have like any sort of dirt, I think it might be a good idea to add a little bit of something. I'm going to use a rust right there, black mask on the rust. But I'm going to tell the Rus to not have roughness. I just want I just wanted to effect because as you can see where the bones joined with the skin, I will expect it to be a little bit of dirt, some manually gonna go with my brush here, something like a dirt spots for instance. And I'm going to paint in a little bit of that transition like that. Definitely got to turn on symmetry. All of that. I definitely want to like paint in there sort of like that's the first thing I want I wanted to take care of because it looks very weird. The bulge is poking out of the of the whole thing, right. So we're going to do this thing right here. On the skin, on the very border of the Skinner really want to push the dirt and grime. So I don't want to see any of that sort of effect. There we go. It's going to darken the horns a little bit. Then of course, this is going to go into an overlay mode and probably decrease intensity. They're a little bit just to, just to get generates something, right? Then we're gonna go back to the horns. This folder right here. I'm going to assign a, another rust layer, black mask. We're also going to paint in the same sort of dirt. The dirt on both sides, the horn and the skin makes sense and they match both elements. This one, I am going to leave the roughness on. I'm also going to change this to overlay, so it's dark. There we go. See how nice the transition becomes that way. It makes it a little bit more sense. And if at any point I need to go back to the skin and just like fade things out a little bit more, work, just like modify them. We can very easily do it. I'm definitely going to increase the darkness on the horns right here. I definitely want to have a little bit more this sort of like dirt and grime, especially on all of these areas. I'm going to turn off the symmetry of this areas where the where the bandages stop. I will expect there to be like an extra layer of dirt and grime on this that metal bit. And that's where this is why the rust is such a powerful thing when they use X to remove a little bit because I still want to see a little bit of the glossiness of the, of the horn. There we go. Now again, if we take a look at the reference, you can see that then we get some like white or clear effects. Multiple ways to do this. We can do it manually with brushes or we can try to find something here. For instance, I do remember that we have this H wallet. I'm not sure if this is part of the basic materials, but I'm going to use that one. I'm going to rotate this a little bit so we get some interesting effects rate, they're definitely increase the tiling. There we go, even more thing we can go to a five. That's it. I don't think we want this much height, so I'm going to go to the height information and I'm going to bring the height information of that layer down because I don't want to have a little bit, not that much. Let's go back to base color and then I'm going to assign a black mask. And what they can do is you can go again to my brushes. I'm going to grab something that's a little bit more like this one. There we go. And we can start bringing in some of that would affect see that how it looks like the chip, like the horns being checked or something, right? So we can play around with this sort of like chipped effect, especially as we go closer to the tip, right? Now what we can do to merge the colors a little bit is we can change this to again to Linear Dodge. So that adds to the colors underneath. And we get a really nice transition. You know, how, how certain wild animals will constantly crashing and bumped their heads against each other. I'm actually going to remove a lot of this. And once I'm happy with that, we can bring this down. So it's not as obvious. Even like remove a little bit there. So we get this very nice transition, very natural transition. Look at that. Just a simple layer and it changes completely, changes completely the feel of the whole thing. Then finally, we can add another field layer is going to be just like a white, like a beige leather or layer. I'm going to grab this are really clean, white. There we go. That's going to be for the tips. Remove a little bit there. Same thing, Linear Dodge. Just bring this down. If we feel that we added a little bit too much in certain areas. This can play around like some interesting spots and scratches here and there. And remove some, just add. Then remove the little bit, remove it. This is how we build up the layers, right? How we create the interesting effect them differently going to undertake, but then again, remove. Same thing on the other side. Remember, don't, don't forget all of the sides. You need to always be looking at all of the sides. For instance, something interesting that we can do with this white color, which I think is going to really help is add some scratches so we can add a new fill layer here. Look for the scratches that we've done before. This one's right here. Definitely increase the tiling. Like small scratch. Look at that, look at that. Beautiful. Now let me go here. I'm going to actually bring hide back. Just push, push the scratches in a little bit. That really, really cool extra detail there. And as you can see from nothing, from having absolutely nothing, we now have some really, really, really strong elements right there. Things, this looks quite nice. We can see a little bit of that right there for the scratches. Very easy way to fix that. Same thing. We'll just go, Oh, your prediction trip planar mapping. And that should fix the scratches a little bit. So yeah, I really like those hormones. Even the roughness is nicely there a little bit like a more shiny than the skin, so that's perfect. Now let's very quickly do the next parts here. I'm going to do horns. Now for the metal, since we're gonna be doing, or we're gonna be using a lot of metals in, might be a good idea to build a smart material, which is gonna be a material that won't use any paint and we're going to try to control it with only generators. Okay? So I'm going to create a new Fill Layer Control G. I'm going to call this damaged iron. Then if we go up to the materials, we can go for the steel. This is still rough. Have it right there. It's gonna be the base. Of course this one, we're going to add a black mask. And we're going to add a color selection, which is gonna be this magenta one. There we go. You might want to be like really shiny. I don t think I want it to be that shiny. I'm gonna go to the material first thing, I'm going to change this to Thailand. I'm gonna give it a five tiling so we get more information. As you can see there, I'm going to remove the height information. I don't want this thing to have hide information actually. Do I want to I'm not sure. It's a little bit weird anyway, so let's leave it like that for now. Then I'm going to use the same trick that we did for the x. I'm going to bring my concrete here. I'm going to increase the tiling. So you get some nice detail right there. Like a five, we don't have a lot of resolution there, which is normal. And we're only going to be using the hide information right there. Now the height is a little bit too much. So of course we're gonna go to the height layer. We're going to bring this Hide Layer down. This is just to give a metal a little bit of surface. Back here, the steel roof or the roughness here, we're definitely going to increase it a little bit. Not that much. What this to read like metal, 0.3, 0.55. Sounds good. We're going to add rust. So rush, there we go. Black Mask. Add generator, generator. I'm going to remove a little bit of the grunge amount. We only have the rust on like the borders of things. I do think I'm going to break this into overlay, so it gets darker. And I definitely want to break it. I think there still is a little bit too light. So I'm going to bring the value of the steel down a little bit. Always in contexts, always look at the contexts like this, looking like what you want to look. If it's not looking, you got to change things. That one does look interesting. Now I'm gonna go back to the color selection mask. I'm going to play around with the tolerance a little bit. Let's see if we can get rid of those weird pixels right there. That's probably as much as we can get. So you can see there's a little bit of something there. Now, technically, we could paint out those pixels. If we add the paint layer here. As you can see, we can paint out, but this is very, very common. Like those little pixels are very common, especially when the change in material is from a metallic surface between non-metallic surfaces. Very, very common. So unfortunately we're going to have to deal with it. We're gonna go back here. Let's add a metal elsewhere. So I'm just gonna do a color. Roughness. It's going to be a low roughness black mask at generator and it's gonna be a Metal Edge way, of course. Thank you as this very nice effect. And they increase the contrast, lower the damaged a little bit. And I want that much. And I'm probably going to bring the intensity down because I don't want this to be super obvious. I still think the, the original steals a little bit too rough. So let's go to 0.6. That's a little bit better. And I am going to use the trick for the metal edge. Where's so here we're going to use a field layer. Look for a Klaus. We go, any of the Clouds is fine. Or of course you can increase the balance. And the tiling is telling you is very important because it's telling us what's going to break this down. And we're going to multiply this. Now as you can see, not all parts of the element are going to have the same sort of seems sort of mental edge where as I mentioned, we're gonna be using this as a smart material, which means that we're going to be duplicating this quite a bit in other parts of the character to get this to work. So I do like it. I still think it's a little bit too shiny. And that's one thing I don't personally like about video games and metals. They tend to have really, really shiny. So I'm going to bring the shininess down. I'm also going to bring the color down. There we go. So the metal etch were like just shows a little bit better. I'm also going to go to the middle edge work and I'm going to bring the roughness a little bit up. Say the one that metal to be super, super shiny. You go, that looks, that looks interesting. So how do we save this? Well, first thing, we definitely need to rename these things. It we're going to be using this as a smart material. So make sure that every layer has something that makes sense. And then you can right-click this guy and just say, create smart material. And as you can see now we're going to have this damage iron. And anytime I want to use it, I just drop it and we just need to do the color selection again. And it's going to work just as well. I'll show you in the next couple of years when we jump into other elements. But yeah, that will be the way to do it. Now for the bandages, which is the last part here on the horse, I want to keep all of the horn things in the same layer. I'm going to go for like a cloth material. So we go over here and we're using the fabric suit. I don t think I want to keep this I think this bandages appeared. They look like little more like cloth. So I'm gonna I'm gonna use the fact that they look a little bit more like club to give them a clot effect. I'm going to use this fabric BRAF. Everything else are gonna be like actual bandages, like boxer bandages, but this one I do want to keep like clock. So let's pretend that looks good. The size of the element looks good. Control G, right-click black mask, right-click, color selection. We pick this color, as you can see, it's having some issues there, that's fine. We go here at the paint layer and we can paint in. Those remain even, even like having that sort of like like bad edge. I don't think that's that bad of a problem here, that a try and see if we can increase or decrease the hardness. There's a tolerance just to remove as many of those points as we can, because it looks a little bit weird. And we can actually use color. I think this is where again, using color like, uh, like some symbolic thing might be a good idea. So I'm gonna make this a href. We're going to go for a dark red color. There we go, like that maroon thing. And let's just add some basic stuff. It's a simple thing so we really don't need to add that much like visual information. Let's set a black mask. Let's hit the generator. That's how the dirt generator and it is adding it. Let's increase this. This is where the ambient occlusion really comes into play, really going to bring the crunch amount down. So I really want to have the generator there. As you can see. Of course this goes into overlay. Look at that, that immediately makes it, makes it pop. I'm gonna go to the Mask. And one thing we can do with the masses, we can right-click and we can actually add a filter to the mask, such as a blur. That's going to blur the mask because you can see right there. And if we play around with this, you might be able to, just like I'm trying to find if we can do something there to hide the fact that I don't think the pleura is really helping. You really hate those points right there. Makes it look really weird and I don't want to go in like manually paint those. I mean, it's definitely an option, right? You can see right there, but it's not ideal. Now, here's the thing. When we did the horse will also use the color selection if you guys remember. So what I can do is I can go back here and they fill layer, and I'm just going to add a dark material. There we go. So this dark material, I'm going to add a black mask. And I'm going to go to geometry selection. And that what this is going to do is there's gonna be a black mask underneath all of this so that pretty much hides the problem. I think that's a that's a good compromise. Finally, on this folder right here, I definitely want to add some metal edge where I'm going to add a new layer. I'm going to sample the center like reddish color, only color. We really don't need anything else. Let's bring this color up a little bit and desaturated, maybe even switch it to like an orange black mask generator. Metal edge where change this to like an overlay or Linear Dodge and lower this a little bit. Definitely will not reduce this. There we go. Just a little bit of damage. They're uncertain. Coroner's go for a really high contrast and we definitely will definitely bring this down. I'm going to bring it down, but I'm going to bring this thing up. So it looks or shows a little bit more. Finding the perfect balance. There. There we go. The bandage is looking quite nice to remember. All of those bandages are baked in under the texture. But again, when you see it from this, like, like if this is a character there, we're just going to see like a, like an interesting bandaged going on. So that's it guys. That's pretty much it for the horns. I think they look good. 22 min. And we made this thing is look quite, quite nice. We're not really using any weird techniques. It's just again, layering, finding out how we can combine all of the materials here instead of substance and creating something that looks good. So I'm going to stop the video right here, guys. And in the next one we're gonna do the teeth, so hang on tight and I'll see you back on the next video. 67. Teeth Texturing: Hey guys, welcome back to the next part. Today we are going to continue with the teeth and the teeth. Again, this is one of those assets that you normally don't do just for one character. If you're working on a game, you're gonna do it for multiple characters. Now here it's a little bit complicated to do it because it's inside of the mouth, right? So I'm going to be using F2, which allows me to see my UV map and my textures at the same time. And we're just going to throw in some very basic stuff. Okay? So I'm gonna do this on, of course, on top of everything else, this is the bandages. And we're going to add a fill layer. Control G. We're going to call this teeth. Right-click other black mask, right-click, add a color selection color, and we can pick the teeth. So as you can see, we get. So let's start with the teeth. I think those would be the easiest ones to do. For this is just a matter of grabbing a nice beige color or white depending on how clean or not you want the teeth to be. I personally don't love the TTB like perfectly white, but we can push them close to that sort of effect right there. So something like that looks interesting. Again, it depends on the character. Sometimes characters are going to have like a dirtier teeth are clean your teeth. It all depends. Let's also throw in there is gonna be the, the teeth. Let's also throw in the gums. So they usually are quite pink. So I'm going to grab this pink color, maybe like saturated a little bit more. I'm gonna go more towards the pinkish side of things. Something like this. Here's where we're going to have to go to this part right here, which is the inside of the mouth because we're gonna be adding a black mask and we're going to be painting the gums. I'm probably going to be using a soft brush to be honest. I'm gonna go basic soft, something like this. Something like this. Then of course we clean up a little bit of the teeth that we don't want to affect like that. And like this. This is one of those things that it really depends on the project. Because if the character, for instance, in this case, this character who's going to have a big burden, a beard and everything. You really don't need to worry too much about the inside of the mouth, right? Because again, it's not the part that you're going to be seeing as much, but it's always a good rule of thumb to be as detailed as possible. But unless he's gonna be screaming to the camera and the shot is going to be really close. Get not really necessary to be dev. What's the worst as intense there? Now, here we're going to clean up the teeth or leave a little bit of the gum line. And they definitely want to create a little bit of what's the word? Like? Like just a little bit of dirt. Right. Like I don't want the T to be like just very simple and perfect. So I'm going to grab rust again. Just drop it in here. We only want color. We're going to add a black mask and we're going to add a generator, which is going to be a jerk generator. As you can see, it's going to dirty up the teeth. And we're probably going to go into an overlay and just lower the intensity. So this is going to give us a little bit of damage to the fact. And to be honest for the, for the, for the basic things that we're going to have for this character. I think this is more than enough again, unless you want to go really, really, really extreme the model of this deeds, if you guys remember, we just took it from Sievers. So it's not even the best teeth model that we could do. We could do individual teeth like what we have on the skull and do a whole bunch of other things. But usually in an action game again, unless you're going to have really, really close shots. Something like this could work perfectly fine. Also, normally in a production, as I've mentioned before, you're probably going to have one set of teeth are gonna be shared between all of the human characters, for instance. And those things are going to be modeled to perfection. So you're not going to have this guy right here. You probably got to have a full two k or four K texture for the teeth, but it's gonna be shared between so many characters, okay? The important thing here is that the glossiness. So just want to make sure that this look glossy enough. I think they're a little bit too bright steel. So I'm going to lower the brightness just a little bit. So it makes sense with the, with the rest of the colors that the character has everywhere else. And the one thing is to be like super simple right? Now, since we're already talking about this stuff, Let's go to the nails because we're definitely missing the nails. And the nails are quite interesting because they pretty much are like, I'm not seeing their bones. They could work like boats, so we can make them a little bit more intense. Now here I'm thinking we might even be able to use the horns. We can use another color selection, pick a color and pick the nails. And that's going to, there we go. That's gonna give us a very similar effect on the, on the nails as well. But those dude look a little bit darker and it actually messed up a couple of other things. So let's get out of there. Let's do it. Let's do them again. So I'm going to add a new, I'm going to use the bone layer again. I'm going to group this Control G. And I'm going to add a black mask. Then I'm going to add a color selection. We're going to pick a color, and this is the color that we're going to pick. There we go. Here. I definitely think a trip planner projection is going to work best. So I'm gonna go to the bone and change the projection mapping to trip planner. Going to give us a slightly different effect. Definitely going to increase the tiling. So we get more detail on NH bond. There we go, something like that. Some dirty nails right there. I'm going to add a fill layer. And I'm going to use this field layer as my main color for the, for the nails. And nails tend to be semi-transparent. So I'm actually going to keep this like insert a white flag, white color. Slower this I might go for like a beige color as well. There we go, something like that, something that makes it a little bit of sense for this character. And I'm gonna go to the bone actually I'm gonna read least reduce the amount of details. I don't want there to be as much like dirt and grime, trying to find the perfect color here. Now, nails usually do have sub-surface as well, which is gonna be an interesting effect. I think that's why it looks, looks nice. But dirt would definitely need some dirt. So let's add eight rust layer. We're going to add a black mask, the rust layer, and we're going to paint layer. If we go here, I'm going to use our dirt spots. I'm going to dirty up the debates of the nail. Then let's change this to overlay. Reduce the intensity a little bit. There we go. So that's the sort of, sort of effect that we want to go for. I'm going to turn on symmetry. So I don't wanna do this twice. Always work smart, not hard. You can see some of these snails are not perfectly aligned to the finger. That's something that we can fix later on, on the low poly once we're back inside of Maya. So don't worry too much about it. And I'm gonna go back to the skin. And if you remember, we have this like Ross skin. We can actually use that to, to again add a little bit of dirt on the fingers themselves. And that's going to make sure that the connection are, or how these things are blending between each other. We're going to look a little bit better. There we go. Now a metal edge work actually works really nice with the nails, to be honest. So I'm gonna go all the way up to the nails here. Let's add a new field layer. Only color black mask generator model, where you can see it looks very nice. Of course we're going to reduce or increase the contrast and reduce the intensity. So we only get it in certain areas. Changes to Linear Dodge, maybe reduce the contrast a little bit and lower the intensity. You can see the front part of the nail is doing it. I'm going to add the paint layer here to fix some of this errors. We're going to paint out the damages or the middle edge where that we have on the inner borders, which is one that on the outer border There's also seem, it looks a little bit too wide. I liked it, but it's a little bit too white. So I'm going to sample the same color here and just increase the lightness a little bit. It's going to give us some very nice looking very nice looking nails fill now that the dirt might be a little bit too much. So I'm going to bring this down a little bit. That looks a little bit better, cool. So yeah, that's it, guys is you can see we're pretty much done with the nails as well. As I mentioned, we're probably going to have some subsurface later on. Feel that there's still a little bit too light. I'm going to bring this down. And also this down a little bit. Here we go. So this is looking quite nice. We're just one, I just want to do one more video with this guy or with this part of the guy which is the skin. And that's tattoos. We're gonna do some quick tattoos. I want to do some face paint, which is again, very common for this type of characters, and maybe some sort of like other thing here, the nipples, of course, we also need to fix them. So yeah, hang on tight and I'll see you back on the next video. 68. Tattoes Texturing: Hi guys, welcome back to the next part of the series. So today we're going to continue with the tattoos and the nipples, the lips also. I think those are three things that we need to finish up to make sure that the skin is pretty much done. So I'm gonna go to the Skin details, if you remember, we had a skin details and we're going to work here. First. Let's do the nipples and I'm just gonna do color. Maybe roughness. Nipples tend to be a little bit rougher than the skin itself. So we're gonna go for pretty much like a dark pink like this other black mask. And you don't want to have like a, like a point. You always want to, again blend things so something like that. We can again modify this a little bit, make them a little bit darker. I think that looks really good. So we're gonna do that and of course we're going to blend this so we're gonna get an overlay. And we can play around with the intensity. And as you can see, that looks quite nice, nicely blended. It's not too distracting, which is always a little bit of an issue with things that tend to be or can be related to sexual things. So for a male character is not really that bad, But for a female character, it's always, it's always one of those things that makes it a really complicated lives. They say lips and nipples are pretty much the same colors. So I'm actually going to duplicate this layer, the New Black Mask. I'm going to paint the lips with the same tone, same sort of like dark tone. We're not going to see much of the lips because we are going to have the beard. And as you can see, we don't have as much a detail here on the lips. We could add some more like striations and stuff to get the detail. But due to the intensity of the texture that we have right here, it might not even be visible. So that's one of those elements where you always going to want to do are we actually going to be seeing it? Because if we have a fork, a texture just for the face, then yeah, we could definitely captured all of the striations of the lips. But for now, this, this, this sort of character and visceral level. It works, it works fine. For this 11 thing that I am going to change this, the roughness, I'm going to bring the roughness down because lips tend to be a little bit glossier than other elements. Now let's say you do want to add the thing looks like Abraham. I do want to make sure that I have some of those associations as you mentioned, well, we could add, for instance, again, we could use or make use of layers like a, like a tree layer or something to get that. Or we have this human elements like human skin, human nose tip. I do believe there was a I don't remember if we have a lip or something. But for instance, this one, the eyebrow skin you can see it's very like it has some very nice details, so we can bring this in. I'm going to really titled this up quite a bit. As you can see right there. And if we rotate this 90 degrees, we're gonna get some normal map information that we can use for our ellipse. So if I add the black mask here, I can paint in that normal map information. Okay? Again, the texture size that we have won't allow me to get as much detail. But it's something it's something that looks a little bit better. And if we go here, we can again turn off the color, for instance. And that we were going to get only the normal information and our lips are going to look a little bit more interesting. I would definitely go hide information here and just lower that a little bit because I feel it's a little bit too much. But yeah, you can see how easy it is to add that detail to the lips without having to go all the way back to see Russian sculpt. So is it possible? Yes, we just did. So finally, for the tattoos that those are always fun. I love adding two twos are like blemishes and stuff because it's relatively easy. So I'm going to add a new fill layer and I'm going to go for a blue. I think I always loved like this sort of like dark blue color. So we're going to go for something like this. This is gonna be my, let's call this war paint, or paint. There we go. Right-click, add a black mask. Let's get rid of symmetry and that he already has a scar on this side. So I told him, I think it might be a good idea to have it on this side right here. I'm going to use a brush like this church splash that looks like a brush. And we can just literally add the paint right there. Of course, I'm going to show you some some things here to make this thing look even better. I want him to have like two lines, three lines right here. That looks okay, right. Like this is what everyone does. Like. They just add the paint and they're like, Oh yeah, that looks perfect, but it doesn't. Let's add more stuffs. First of all, I'm going to bring the height information up because I want this to look like paint that's actually being pushed forward. And then what I wanna do is I want to add the sort of like a skin crackling that you get when you are when the when the paint dries. I'm also going to bring the roughness up or the one that's going to be as, as new. So a little bit drier paint. And I'm going to add a black mask or actually to this black mass that we already have. I'm going to add a new layer. In the field layer. I'm going to look for again, some sort of like skin effect. If I look for skin, there's no scheme, but there is one called cells. These cells right here. Have a couple of them. I like this one. Or actually no. Let's go for another one. This one. There we go. That's perfect. So what I'm gonna do with this one of course, is I'm going to bring the tiling really, really, really, really high, like 50 to get this very interesting effect. And then if we grab this paint and we multiply, what's going to happen is we're going to have that effect on the face itself. See that? So that way we can generate this sort of like crackling of the paint. I do believe there's a couple of things here like balance, which we can change a little bit, contrast as well. I think the tiling might be a little bit too much. Let's go for something. There we go, something like that. Trying to see if we can get I'm not seeing that much. Change. It, that's not that bad. Now, one thing we can do is we can actually modify this intensity here. So as you can see, we can play around with how much, how much influence we want from this particular element. So let's go to 50 on the tiling. The elements are smaller and you can see how the effects are looking like crackled effects. And then I'm going to add another generator. I'm going to add a dirt generator. And I'm also going to multiply this. So as you can see, we can actually invert this. And we can play around so that only on the high points of the face is where we get the paint. And the low points which are the crevasses, the things that fold a little bit more. The paint is going to be reduced a little bit more. It's gonna give us a really, really cool looking effect. For instance, on the inside of the eye. We're not going to get any more paint, which I think is a really nice touch to be honest. I'm going to increase the roughness even more on this to be really, really rough. And we can of course overlay this. We can overlay this whether it makes us a little bit with the skin. And we get this very, very cool looking effect from just like a couple of strikes that were looking okay ish to something that looks more like war paint. That's how I would do something like this. Um, we can do the same thing for a full mask. I'm actually going to add a couple more. And the cool thing is, now that we have that built-in, I can literally add more of those like paint strips anywhere. And as you can see, I don't really have to worry too much about it. It really makes no sense to add it there because it's gonna be, it's gonna be covered. But for instance, at this arm right here, I don't think we have any sort of like tattoo or anything, so we can add one band underneath the first patch and stuff just like an extra detail That's going to be layered and hidden there. And again, if we get closer, you're going to see that it looks like the crackle pores since cancer of the character. So it makes for a really, really convincing sort of sort of assets. And again, one of the other cool things is that at any point can change the color, can go by alert, we can go green, I think by law, it actually looks quite nice like this dark brown, blue, that looks really good. Yeah. So that's that's it. That's pretty much it for tattoos. That's pretty much it for the nipples, That's pretty much it for the lips. She could see we get a little bit of extra detail there. And you can also do this by the way, for the rest of the body. So let's do want to add more pores or you want pores to be a little bit more intense. I personally like when things look a little bit softer, but if you wanna go for it, again, we can go for instance, this head bolts kin. And if we add it on top of everything, we'll probably beneath the, the lips, so right about there. And then we increase the tiling quite heavily. You can see how we get that, all of that like pours information, probably like 50 we're going to need if we remove the color. That thing right there is contribute, contributing to the roughness and is contributing to the bumpiness of the whole thing. Again, I will definitely bring this down a little bit. I don't want to overwrite what they already have, and I will probably go to the roughness as well and just tweak this down. A really good way to break up certain elements as well. But it might look as you can see here on the scar, it might destroy a couple of things. That option That's just don't don't let this, don't let this give you any contribution to the, to the skin and be very careful on how much hide information you'll want to give this. Again, maybe just a tad, but just a very basic effect. And it can really, really push your character to the next level. But again, be careful, the one that everywhere it seems like, for instance, you can see how this is affecting the teeth. That's something that we would need to add a paint layer here. I'm going to add a white mask. And then I'm going to just remove the teeth from there. Probably remove the horns as well, the metal, the bandages like I don't want that thing to affect anything but the skin. So it's one of those like little tricks there that you can use. You can see it doesn't really change that much on the face because we're really pushing the face to the maximum limit, the UCF from afar. It can definitely add a little bit of breaking points are break textures everywhere else. So yeah, that's it for the, for the thyroid is body Guys. We're pretty much done with this. Now. I know that we've been spending quite a bit of time. And again, as I've mentioned, usually in the production, you're going to have to spend this much time. It's totally normal. But the good news I have for you is that most of the next things that we're gonna be working with are not going to require as much. As much. What's the word as much time? Because we're gonna be doing a lot of leather, a lot of metals, a lot of bone, and all of those things are gonna be pretty much the same thing. I'm worried about one thing and that's the fact that he looks really cool as a character here. But I'm not sure how the tail is going to look, right, because the tail and the skin might not look as cool as I might say I'm thinking. So we might need to change some of the hues later on. But let's just keep working for now. I'm going to stop the video right here, guys, in the next one, we're going to go over the I think we're going to go for the belt, which has a lot of basic stuff that we can we can work. So yeah, hang on tight and I'll see you back on the next video. 69. Leather Texturing: Hey guys, welcome back to the next part of the series. Today we're going to continue with the leather texturing. But before we do that, I'm just going to show you a very quick way in which how we can reuse some of the materials that we already have. So if you guys remember in the last section we were doing the what was it? The metals the metal bit for that, for the horn? Well, this middle bit here, this call is pretty much the same thing. I'm just going to use this damaged element here is this is more material. Just going to bring this in. And when I tried to bring this in, we're probably going to have something that looks really weird like there. And that's because it's using the color selection. You guys remember to grab a deeper color. In this case, we're gonna change this to yellow color. We no longer need the purple, so we'll just delete that one. As you can see, we get the exact same sort of like metal do we have here on this part right here. And this is what we're gonna be doing for every single metal piece. Because what we want or one of the important things that we want is we want to make sure that whenever we're doing any sort of any sort of technique or whatever, either it's compatible with everything else. Now, I do have one extra texture here, and I'm gonna see if I can include this on our assets. Usually, I shouldn't be I don't think I should be distributing this, but if you keep it a secret, I'm gonna be happy with that. So I have this material here, which is the book texture, old book that right here. And I love this one because if I get this inside of the folder, I increase the tiling. You can see that we get that sort of like very damaged and worn out effect. So what can we do here? Well, of course we could just get rid of everything except for the, for the height and the normal. Of course we're gonna go to the height and just reduce this a little bit. So as you can see with that, we can add another layer of complexity to the belt without really having to sculpt anything. So as you can see, just a small little detail there and it makes the whole belt look way wait, nicer. So for the leather, this is what we have here as reference. And as you can see, there's a lot of different leather. We can go for some very soft and like raw leather, we can go to enforce some more advanced and shiny leather. There's a lot of leather and this is of course creators. And you can see he's wearing very, I would say new leather. But we can we can mix it up and create some things that look similar to that. Now, the first thing I need to decide this wetter, I want all of this leather elements to beat this same sort of leather? Or do I want them to be different types of letters? And I think for a sort of like a, like an 0 balanced look or a valence effect having the same sort of leather, the side ones might be a good idea and then a different one for the central one. So again, there are several others. I think this laser scales, leather churned leather, soft grain leather Ralph like oh, this guy's are included with Substance Painter. But this is where having access to some extra letters is really, really good. For instance, after this warn horse leather that I got from the, from the site. And if I just drag this on top, like look how nice this looks, It's really, really good. So I'm going to Control G, This guy control-click black mask. And I'm going to use my polygon field to just fill this guy in here here and that guy right there. So all of these guys. Now there's a couple of things I want to do with this one, because it does look quite nice, but the height is a little bit too much. Now, besides going into the height layer and just bring it down, you can also go to the, to the base color two parameters here and other technical parameters. There's gonna be one called high position. If you lower this like a 0.1, that's also going to lower the intensity of the height, as you can see right there. I do think I want to increase the tiling just a little bit. So something like a two to get some more variation. But something like that is, I would say like really getting close to the effect that I want. I'm probably going to bring this up a little bit more. Let's do a three so that we get some interesting effects right there. I do think I'm going to bring the leather intensity a little bit lower, so 0.05 because I don't want to have as much bumpiness, roughness wise. I definitely want to increase the roughness a little bit more. So I don't want this to be super, super shiny. And there we go. Now, don't worry about this part right here. That's the skin just like overlapping with the low poly. Remember we can just push the low poly in a little bit on the, on the Maya file and that's gonna be, that's gonna be it. Yeah, that looks really good. Let's add now the stitches. For the stitches, i'm I'm gonna go for the Probably just like this leather medium grain. Just have it right there. I'm going to add a black mask. And then I'm going to add a color selection. And I'm going to pick the red color. And as you can see, that's going to add that everywhere. Okay? Now this one, I am going to get rid of the high deformation because I want them to be flat. And I don't know what else it has because it's giving me a slightly weird effect. It's not that bad. Skimming is slightly weird effect. Now, let's add a roster of course. So we're going to add the rust fine to this guy right here, or the black mask. And let's add a generator, a dirge area that's really going to help with the stitches because as you can see, it's going to go inside of the stitches. And if we change this to overlay, we're gonna get this very dark effect, which looks very good, which by the way. This, that's exactly the sort of technique that they're using it here. This is a little bit more complex. There is a little bit more geometry here as you can see, but that's where like dark color that you're seeing there. That's just a generator. So there's not a lot of industry secrets, but that's one of them. We're definitely going to bring this down a little bit on the intensity, or I am going to bring it down. And I definitely want this to make it a little bit darker. There we go. Now, I really like the effect that we're getting with the dirt. There's even some like dirt effect right there. We're getting some weird bakes on there. Unfortunately, we could repeat the Bakes and do something similar to what we did with the face. But let's keep it like this for now. Now. I definitely want to add a little bit more dirt on this area right here, but here's where the self occlusion that we were using is not working, right? So we need to grab a paint layer and just painting in some of this stuff. I'm gonna go to my brushes, I'm going to go for the dirt spots, this one right here. I'm just going to dirty up a little bit of the dirt. Let's turn off the body. There we go. In a dirty up a little bit of this text right here. Very hand painted the factory. They're like, again, using my experience and my own sort of like artistic intuition to know where to place a little bit more, where to place a little bit less. So also want to darken just a couple of spots here and there. Especially on the lower sections here, I would expect this to be a little bit dirtier. So journeying some of this leather right there. Look how nice this leather it looks. So I did mention it, but if I didn't, there is another one called the 3D substance share. So if you don't have access to the premium materials, if you're not subscribed with, again, I strongly recommend that you subscribe because you'll get access to so many things. There's this substance share and substance share is free, It's the community. So the community shares and stuff. And as you can see, for instance, we have this dirty leather. Just download this one and it will give you a very, very similar effects. So you can get a lot of free materials also, if you know where to find other sorts of materials, there's other sites that offer this sort of things. You can do that as well. Let's throw in, I'm gonna go back to the materials. I'm going to go for a leather, this one the leather rough because this is the one that I'm going to use him for the metal edge work. I'm going to add a black mask. I'm going to add a generator and we're going to have a metal Ashworth. There we go. Look at that immediately. This whole thing looks way, way better and this is where you're gonna be able to see the trach in place like a little bit better. So I'm going to look for my clouds, a generator that's one right here. And I'm going to increase the tiling quite a bit. I'm going to increase the balance or decrease it, increase the contrast. The contrast is a really important one. There we go. And now if we multiply this, That's how this thing right there is multiplying, as you can see, it's removing some of the metal edge work so that we don't get as much and it looks a little bit more natural. So look at how nice that looks. Oh, it's doing an out-of-state. Let me pause real quick and I'll be right back. This is going to take awhile. There we go. So yeah, look at that, that looks really, really cool. Now, one thing I'm gonna do with this is I'm gonna see if I can push the technical parameters here, the height position. I'm going to push it in. Okay, See that? So that's going to carve in the damaged. So it looks like we took pieces out of the leather going to make it look really, really, really cool. Now, keep in mind that the firm we're actually going to be attaching to this section right here is gonna be just like coming out of this like a raw leather. So that's why I'm keeping it really, really, really wrong in this particular case. Just kind of like puffs for coming from this side because we're going to blend them in. So that's pretty much it. The final thing I might add in the, I could do this on this one right here is another field layer with the scratches. You guys know how the scratches make these things look really, really cool as well. So I'm just going to add another scratched later. I'm definitely going to increase the tiling so the scratches are smaller and we can balance or lowered the balance. We don't want this many scratches. So just something like this. Looks good. Really good. Perfect. Yeah, I think maybe I'm going to reduce this a little bit, just the intensity of the scratches. We also need to multiply it by the way, or in this case, I think we need to Linear Dodge Add so that we can see both at the same time. So we see the scratches and everything else. And then I'm going to lower the intensity of the scratches. That said, let's turn on the body. Again, always important to look things into or to see things in context. Again, context is really important. So we need to always take a look at how everything is looking with each other. Right now, of course, if we turn everything else and it's going to look really weird. But yeah. So now this thing that we just did with the with the with the leather. We actually didn't paint this many things. We did paint the rust and stuff so we can actually utilize this thing. And if you don't want to realize, just keep in mind that we use this word horse leather. So we might be duplicating this to other parts of the belts like the, like the chest belts for instance. I think those are gonna be an important bit. Now for the centerpiece, I am going to use, I have this, again, this patent leather gear leather. So I'm going to throw this in all the way up to the top. Actually, let me just delete that. Let's call this side panels. We're going to throw this paginated thing on top. Of course, we're going to group it, lack mascot. And I can go to geometry and just like mass that one. And then this one, we need to increase the tiling. So let's go to like a five, a little bit more like a ten. Content looks, looking a little bit better. Again, the technical parameters are a little bit too high. So on the height arrange points, you'll find probably a little bit more. Let's try 0.1. There we go. That looks a little bit better, and I do like those lines, but I want to rotate this thing a little bit. So the line start going down. There we go. So as you can see, this creates an interesting contrast on the letter itself because we're going to have this dark leathers on the side and then this central, central letter. It's gonna be a little bit more interesting. I'm going to push the roughness up for the variation, maybe even a little bit more. I don't want this to be as shiny. Really, really. Up. There we go. And I kinda want to bring the color variation down. Maybe the tiling media telling us too much lives of five. There we go. That's a little bit better because I don't want to have as much noise. I want things to be a little bit cleaner. Now this one, again, we're gonna go for the leather rough. I'm going to add it's a black mask generator and it's metal elsewhere. This is where we can actually duplicate the other one. To save a little bit of times. We're just going to say Control C. And then over here control V, because it follows a very similar pattern. Now the only thing that we need to do is go to the clouds and play around with that. With darkness here. Maybe change the color here a little bit more like make it a little bit lighter so we can actually see it and probably change the height. I think the height might be a little bit too much for this particular one. So I'm going to move the height a little bit more control spaces. Let's go back to the color. I'm gonna do Linear Dodge for this one. I'm also going to reduce the intensity. There we go. We don't have stitches, so it makes for a slightly different effect overall. But it looks interesting. And let's of course add our dirt. So for this one, I actually don't want to add a dirt path. I want to paint this. I'm going to go black mask and I'm just going to paint a little bit of dirt manually where I would expect there to be. Again, a little bit of this sort of effect. Something sometimes as simple as that should be more than enough. Let's do an overlay there. That as you can see, just adds a little bit more stuff. I usually like to have my dirt underneath the metal edge work so that we get this very, very cool effect. Let's start on the body again. Now, here's one thing that I'm seeing. The leather is really complex and the skin of the character is not as complex. As you can see. The skin looks very smooth and then to leather looks really, really rough. And that is creating a little bit of a weird contrasts. Now, we need to ask yourself, what's the thing that's going to be easier to tweak the leather or the skin. And to be honest, it's the skin. So we're gonna go back to the thyroid right here. Real quick. We're gonna go to the Skin details. And I'm going to add something like the, like, even like the like even just as a roast actually, the Ross is going to have a lot of complexity. And then we throw in an overlay and we bring this really, really low. Just, just increase there a little bit, just change the tone a little bit as you can see right there, it's just, it's just adding that again, that's sort of like visual interests. But actually the rust that it's not doing the straight down worn horse leather. Really weird. I know this is gonna be really, really weird, but if we turn everything off except for the color, you can see we're getting a lot of visual interest. I'm going to change this to try planner projection. And then we change this to an overlay. And that's going to bring the tones closer. I noticed it looks very, very stupid, but it really brings everything closer. Probably going to be able to lower this to like a twin. It's like adding a filter onto on top of everything so that we so that we can work a little bit better at what the **** did they change here? Geometry mask. I'm using a geometry mask. The ****. Do I deactivate this? Oh, there we go. Just click on another section. Yeah, so that's the geometry of S, but we're not doing anything like that. Okay, cool. So that helps a little bit they think, let's go back to the belt. Again. We're missing all of the other props. So maybe with the chest belt and everything thinks are going to look a little bit better. We also need to later on think if we want to add a more dirt to word like the belt is. So for instance, on this area right here, I want to add a little bit of dirt, but so far I think we're in a good position. Now for the leather belt. We also need to think about what we're gonna do for the leather belt. And I think we can go for a maybe like a lighter color. I was thinking about a darker color like here on the hat, but maybe a lighter color might be better. So I'm gonna go again to the leathers and I'm going to use the let's look for leather. And that's what we have here. So those are some of the ones that I've downloaded, but this should be the base ones. So let's just leatherbacks. Leatherback works fine. So I'm going to go all the way to the top. There we go. Add black mask, color selection. We pick that color right there. You can see that this is properly, there might be a little bit of a problem there. So let's add a mask selection color. That's it. Oh yeah, you can see there's a little bit of green there. So we're going to have to add the paint layer. Painting that sexual right there. And this is because the thing is hanging so it's projecting a little bit of the, of the problems there. So let's go to the leather. Let's check the tiling first. We definitely want to increase the tiling a little bit. Probably like a ten. It looks okay. The technical parameters that again, a little bit too big, so I'm going to bring the height range 0.05. We definitely want to rotate this so that the thing goes in line with the leather, so a little bit closer to that. And I'm going to change the color. One is to be a little bit more like a, like a, like a nice there we go. Look like a light. A little bit of a nicer red, so something like that. Now we definitely need to create the group. I forgot to create the group. Can we copy this mask? Yes, just right-click and then copy mask. We create a new black mask here. Right-click, paste into mask. There we go. So now this is the exact same one. We can actually delete this mask or remove the mask. So remove mask, and since we have the mask and the other one That's it should be working perfectly fine. I am, I think I'm sick. I kinda wanna kinda wanna get rid of this. I don't want to have as much height. Or if we have height, definitely want to bring this lower. Like really, really low. And I've seen this belts where the border of the belt is a slightly different color than the rest of the belt. So I'm going to add a new fill layer here and I'm going to select a deep red color like this one. I'm going to turn off everything. I'm actually going to go for a brighter color. There we go. And I'm going to Black Mask. And with my paint brush here, I'm going to paint the border of the belt so that when we do overlay, get this nice red deep color, there might not be a bad idea to turn on symmetry. Save ourselves a little bit of time. Go. We definitely need to go back to the original mask. This guy right here. We need to paint in a little bit of leather there. That always happens with this sort of bakes. Unfortunately, when you have two objects that are really close together, it's very common to get that sort of sort of problem. Let's go back here. And then we of course like lower the intensity here pretty much just to create a sort of border for the dark red color. That's nice. That's throwing the rust. So we've got the Rus here at Black Mask, roast and leather. They play really, really well to be honest. We can create some very nice-looking things very fast. My bad there. Change this to dirt that we look at that, yeah, you can see it very easy to create something interesting with because it just kinda like stains the borders, makes it look really cool. So as you can see, something interesting is happening here as we add more stuff. The disparity that we saw before between the skin and the leather is no longer as intense. Because we have this very interesting looking where we have more complexity, more and more visual interest, I would say, and it makes it less obvious, pretty much. So. Yeah, that's, that's pretty much it for this one. Of course I'm going to throw in a middle edge first, I'm going to grab this leather rough right-click black mask, right-click generator. We throw in a metal elsewhere. There we go. And we throw in a field to, to break this up. It's like a Klaus. I don't want to do is scratches on that one doesn't really make sense. Let's increase the contrast that and we multiply. You can see we get that. Then of course this one goes into linear dodge. And we reduce the density a little bit. You can even change the color of the sky a little bit more into the, to the reds and the oranges because this is the sort of color that we would expect for that particular belt. And look at that. Now, Beth, I am just going to finish one more thing here, which is this guy right here. I know we're already close to the 25 min, but there's a very cool smart material that I really like, which is the sort of like copper, like this, bronze armor, bronze, copper. So I'm just going to drop this in here. It already has some sort of like like Ross and everything. It's a very simple one. And I just want to add it to the big things. Actually now that I think of it, it makes a little bit more sense to just realize the one that we have. So over here on the color selection, we're just going to pick another color and that guy right there. Yeah, that looks way better. There we go. The belt is ready. Not bad, right? Not freaking bad. I would say. Now, can we add more stuff to this? Yes, we could add like patterns or like inscriptions on the leather and just like mask them out and stuff. But I think for now this looks really, really good. We're in a really good position. So we're now going to jump onto the next problem, which are the top bodied like this guys right here. Let's finish this top part before we figure out what we're going to be doing with the tail end the skin. So that's it for this one guys. I'll see you back on the next video. 70. Belts Texturing: Hi guys. Welcome back to the next part. So today we're going to continue with the belts, which is the top part here on the character. And as we've mentioned before, We already have a base like this guys right here are the ones that are giving us the direction and how we want to do the belts. So here we need to make a decision. Do we want this belts to be like the leather skirt or do want to be a little bit nicer like this guy right here. And I personally think that it might be a little bit better to have them like this. So I'm going to graph this folder right here, which is our main belt. Let's call this like nice belt. And you can actually copy the folder just like copy layers. We're gonna go all the way to the top body prompts. Let's get rid of that bone stylized and I'm going to paste layers. So right here, there we go. So of course there's a couple of things that are not going to match. You can see that we're selecting things that shouldn't be selected and stuff. So we're going to have to do some reconstruction, but it should only be a color selection reconstruction where we pick the belts like that and look at that. We get this very cool looking belts and the third patch and everything. And I do think this like match pretty nicely. Now, of course, a couple of things that we can change here. For instance, the clouds, there are definitely helping, but I can see it's still that there's a couple of right there that are too obvious. So I'm going to add a paint layer here. And we're just going to start removing some of the damage that we have. We can also add a little bit of damage like, Hey, maybe you want to add some extra detail here and there, just to indicate that this belts are a little bit older. And as you can see, little by little, the whole thing is just like a becoming a little bit more complete. And we can add this really cool looking effects. I feel like this guy over here perfectly fine. And it's mainly just like deleting certain areas that may look a little bit too obvious. So that's mainly what we wanna do. Let's go a little bit of edge where I don't know if it's square, what I'm going to just paint that in. It's probably the normal map, again, projected on top of itself. A little bit unfortunate, but it's part of the process. So let's crop the smart material that we have here are damaged. Ireland. Just going to drop this on top. Go to this guy right here, color selection, get rid of this one and let's pick the Not that one. The yellow color. There you go. As you can see, we can also save a little bit of time there by quickly adding this to the belt buckles and they're going to follow or they're going to have exactly, or should have exactly the same sort of like colors and values. We have everywhere else. Over here it seems like we're also getting that nice, nice little shine right there. Now, what else can we add to this elements? I do think in this particular case, a couple of scratches might not be a bad idea. And actually when the goal for the, we're gonna go for the horse or the book, the old book layer. And again, as you can see, we can add some more visual interests there. So I'm going to use for tiling. There we go. That looks great. And I'm going to try and use an overlay here. It's a little bit too much on the color that the normal Looks good. We can just reduce the color. And of course go to the hide information and reduce the height as well. It's gonna give us some very nice looking belts are going to be interacting quite nicely with the character. Now, remember the right now we're not getting any shadow from the belts on top of the character, but you can very quickly go here to the visualizer, turn out of the shadows. And there's gonna be some self occlusion that's gonna be eventually happening right now. We're not really seeing it as much because we're not using ray trace the shadows. But we should see a little bit of a darkness here. Now, if you want to, I don't really recommend this because it's going to damage or paint the skin, but if you want to, we could go to the skin. Now another thing is now that we already have a good skin, we can go to the display and we can go back to a nice material. I personally really like working with the Corsica pitch because either it darkens the colors a little bit. Some people like this glaze patio, which is like a softer pastel tone, or even the bony fastest street, the ones that one's also quite nice. Or if you just want to go for the basic one, the panorama is the one that you normally work with. So yeah, there we go. That's looking interesting there. So the leather belts are pretty much done there. I would say. I'm not sure if I want to add anything else, to be honest, I don't think we really need anything else. It looks quite nice. Now again, I'm again seeing everything in context and I'm like this guy needs more dirt like that. The skin needs merger. So I'm going to go back to the body. I'm going to add a dirt layer to the skin, but this is gonna be like a traditional like dirt layer. So I'm going to the, to the base color or gonna go to the skin against the skin details. In here, I'm going to add probably like a, like a roast again. I'm going to add the black mask. I'm going to add a fill layer. I'm gonna go for a dirt. There are some very nice like cool grunge dirt masks like this ones right here. This one right here. Fingerprints, crunch, leak dirty like all of this. I'm going to try this crunch, this third layer. There we go, see how, how much of a change just having a couple more extra details help. So let's do a four there. This one's definitely going to be dark. And we actually don't need to overlay this. This is just like literally dirt on top of the character. Just battle damaged, battle worn, or however you want to call it. You could maybe soften it up a little bit, but I wouldn't recommend doing it as much. And the cool thing is, this grunge mask should have a balanced value that we can use to dirty up the character a little bit more. And that's going to, again, like, kinda like I'm not sure. I'm trying to find the word in English, but in Spanish we call it complement. I think that's the way it's going to compliment the whole thing right here. I'm going to increase the contrast so that we get some very defined like dirt layers. And again, we can just play a little bit there just to give some more texture to the skin. And the unify it, unify. That's the word unify. The whole like, uh, like acid with everything else. Now, let's use the time that we have right now to do the bandages. And the bandages is one of those things that we're gonna be doing a lot. So here's where another smart material could really come into play. So I'm going to go back to the top body prompts here. And we're going to create a new smart, smart materials. So let's just create the new fill layer. Right-click. Well, actually a group this, we're going to call this bandages and these are gonna be traditional bandages, so we're gonna be using, it was this fabric pseudo was looking quite nice. Right-click. We're going to use a black mask. And the black of mass is going to be driven by a color selection, which in this case is gonna be this one right here. Let's find the exact size for the mapping. So I think we're gonna go for something like a ten. Maybe a little bit too much. You can see how we lose a little bit of the pattern there. So let's try eight. It looks good. Let's go for the colors now. We're going to start with a base, like neutral beige color like that. And then this one is going to be the exact same color. A little bit more red and a little bit darker. So it matches the rest of the elements. There we go. Little by little. We're going for a very warm, earthy palette, which I think is fine for this character is supposed to be a barbarian. So a lot of like primal ration stuff. I think I'm going to lighten up a little bit because I think it's a little bit too dark. Especially since we're gonna be adding more stuff. There we go. Look how nice this bandage it looks. So remember why we didn't, we chose at the end not to use the, the hypotheses for the bandages because we're we're gonna be adding this detail here. And there was no real need to bring all of that noise from ZBrush. We can rebuild the, reconstructed here inside of, inside of a substance. So now let's throw in our basic layers. Let's do a rush real quick. Let's go and do a black mask. And this is gonna be a dirt layer or sorry, a generator. And it's gonna be a generator going to go inside of the bandages. There we go. Definitely. Let's go for a darker, more or less saturated the one. And I'm gonna go to the generator itself. I'm going to bring the contrast down. I want to have a very soft dirt. They're probably a little bit more sort of like the battle worn ones. We're definitely going to add an overlay and bring the opacity down. So that's what's going to give us the depth on the bandages. Okay. Now remember we're not painting anything yet. We can add blood and other stuff later on, but we don't want to paint or add anything yet. I still think it's a little bit too dark, so I'm going to lighten this up a little bit more, especially in the light colors here. And maybe even here on this colors right here. There we go. Especially because we have a lot of dark colors and it's always good to have a little bit of contrast between different elements. Now, we can see this is one of the cool things we can actually see through this guy. And we're actually seeing the skin. So the skin is showing. And that makes for a really, really interesting read on the whole thing. Let's add the layer for the, for the metal edge where you can just color black mask. This black box is of course going to be a generator metal elsewhere. There we go. A lot more contrast, a little bit less wear, tear. And the color itself should be very close to this one right here. Just a little bit lighter. Like that, changes to Linear Dodge. And bring this down. Again, we have the same issue that we've had with all of these things when we're using automatic generators. And that's the fact that it's everywhere. It's everywhere. Still think that this might be a little bit too light, so I'm going to bring it down a little bit, tone it down. Yeah, let's definitely use a Clouds generator here so they feel layer. Use our cloud generator. Play around with the tiling and with the balance, mainly with the contrast. Those are the pieces that are going to be multiply against. That's what's going to break. As you can see, it's going to break up our stuff a little bit more. We go. Now I do think it might be a, might not be a bad idea to go into the character and dirty up the areas where the bandages are not covering to have again, a little bit of ambient occlusion. So we go back to the body. As you can see, this is a process where it's continuously going back and forth. It's, it's, you're not done with a piece just because we finished that huge keep going in. You keep changing things if you need to. So let's go again to the skin details. I'm going to use this russ fine that we're using. I think it works really nicely. I'm going to paint layer turn on symmetry. That a little bit of dirt there underneath because I would expect if the bandages are dirty, I would expect the arms to be dirty as well. I can of course, like remove a little bit of third here and there. In general, we want to give it this sort of feeling right? Now. Remember the thing that looks a little bit weird on the connection of the forearm and the arm will no longer there because it's still there, but we no longer see it because the bandages are gonna be hiding that specific asset. So yeah, I think I think that's pretty much it for this one guys. We got the belts, we've got this guys right here. I think we can also use we go back to the top body prompts. I think we can also use the same sort of like metal thing for this damage Iran, the color selection. You can also use it for this guy right here. Let's see how them look. Yeah, look at that. It's perfect. Just like this metal blades. Again. The more you use the same colors and materials, the more cohesive and the more unified a character looks. If you, if you tried to rebuild the materials every single time you're doing a new part of the character, you're gonna get into a big, big mess. So, yeah, that's it, guys. I'm going to stop the video right here. I'm going to save make sure to save frequently. You don't want to lose any of your progress. But everything looks really, really cool here. In the next video, I'm going to show you how to add some metal rivets to their belts. And I'm also going to show you how to do this call. So hang on tight. And I'll see you back on the next video. 71. Skull Texturing: Hey guys, welcome back to the next part of the series. Today we're going to continue with the skull. And this is pretty much the final part that we have here. As you can see, these guys are also done. This is pretty much the final part that we have for the top of the character, for the top part of the character. After that, we're going to jump to the lower body and the andro prompts, which are not that different from what we have right here. But yeah, so before we jump there, I do want to show you how to make some nice little rebuts on this element. So I'm gonna go all the way to the top and I'm going to add a new field layer. This is going to be a metal layer. So the roughness is gonna be up, the middle, this is going to be up and the clutter is going to be down. Okay. So it's just like some dark metal rivets, probably a little bit lower roughness. I'm going to add a black mask and we're going to push the height information up a little bit. Then if we jumped into the brushes, it go into the mask of course, and we grab a soft brush or a hard brush. We're gonna be able to do is we're gonna be able to add the rebuts like that. This is a very common technique or process that we can do for this sort of things. And it just adds an extra level of interests if you change this to a basic heart by the way. So we're going to look more like round effects like that. So it's just a quick way to add the extra little details that you didn't have before. I'm going to bring the roughness down, to be honest. The yeah, that's pretty much it. Just the lower height. There we go. You don't want these things to look like they're watching too much. Especially like back here, guys, remember, we mentioned this. We could of course bake this with geometry, but to be honest, since this is such a small little thing here, I'm gonna go with soft. So it looks more like a, like a sphere. Same thing here. And it just makes for a nice little detail here and there. We can add a couple more like that where it makes sense. Of course just add them where they make sense. You didn't need to add them, don't, don't overdo it. So for instance, there and there, It's just a small little detail. Well, anyway, for the scope, we're going to add a new layer. We're going to add a control G to group this. We're going to call this column. Right-click. Right-click at a black mask, at a color selection, and we're going to pick the blue colors. You can see the teeth are in different color. We could include them here. And I actually think it's not a bad idea to include that in the group. So both of them are gonna be here. And now we need to start with something. We do have this bone elements, but I don't love this one for the skull because it's going to add a lot of detail. We can use it as a base. But as you can see, it's not really doing a great job. We can try to use a try planar projection as well. Just going to make it not bad, a little bit better, but it looks a little bit too obvious. So I might use it as a base, but I'm going to use a new layer here. And we also have a reference and we have a couple of bone reference. And you can see how it looks like this, like whitish, interesting bone like this tones right there. Those look amazing. So I'm going to sample that color from the skull. Sort of like beige color. And we can try using a Linear Dodge. Linear Dodge because it's going to add, and I do want the school to be a little bit cleaner. I'm gonna go back to this one and I'm probably going to, or actually this one, I'm going to increase the roughness because I want this to be a little bit flatter. Because you can see we do get something interesting, but I don't love the what's the word? I don't love the overall thing. So I'm gonna go back to normal. I'm going to play around with this guy a little bit. And then this guy, I'm definitely going to take off the normal map. I don't want the lines to be showing through. Something like this to start with, could be a good idea. It gives an interesting like overall field. Now, in the same way as how we did it with the skull or with the metal. We can also use a concrete here. Increase the tiling a little bit like a four, and remove everything except for the height information. We get some more roughness, like a more porous effect. Go to the height lower. This wouldn't want this much, just a little bit of contribution there to break up the silhouette. And that already looks quite nice. Now I'm going to use our traditional like rust layer. Right here. I'm going to add a black mask. And that generator, and this is gonna be a very obvious uttered generator. Just fill in all the gaps right there. Overlay. Increase the dirty little bit more, not that much. I might increase the dirt but reduce the crunch amount. So it's not as intense and definitely lower this. That gives me the base like the color law, basic color effect. But now we want the shiny effect like the, you can see here that the skulls and the references are quite white, quite, quite wide even like a, like dislike Lion or disguise right here. So we definitely need to bring in the, the nice like white effects. So I'm gonna go back, I'm going to use this concrete pure. The concrete pure because it has, again, I'm not going to use a normal information actually, or the height information I just wanted to color variation that we have right there. I'm also not going to use the roughness and we're going to add a black mask. And for this one, I'm going to add two generators. I'm going to add first, a light generator is going to be coming from the top like this. It's gonna be, of course, a linear dodge color of this thing. Unfortunately, we can't really change this, but we can change the hue a little bit to try to go to towards the same color. And then what we can do is we can use on top of this light generator, we can use another generator and it's going to be a metal edge where and we can multiply this. So what this will do is we'll only going to get this on the upper parts of the elements. See that that's a really, really cool way to like mix and match these guys right here. It's a little bit more grunge there and we're definitely going to reduce the amount and it's layering. We're doing this layering trig, this layering effect. What we want, not just like add a couple of stuff. I'm going to change the lights. I feel like the slides are not giving me the effect that we want. Let's go for the glaze patio. I kinda wanna go for yeah, just imagining on the game like I feel like the character is a little bit to red. Now, look there, we have a lot of warm colors, so we need to find a way to balance that out. Light is one way that we can balance it out. So you can see right here, but we gotta be careful there. So I like this, this initial construction. Let's throw in another layer of clear light. So I'm going to add a wanna do a leather to be honest. Straight this concrete. There we go, because I won. One concrete that we can select a color from. There we go. Again, no high, no rough, no metal just to color. That's definitely increase the tiling. Other black mask, the generator in here, I'm actually going to use a different one I'm not going to use to generate. I'm going to use first a field. And we're going to look for the ambient occlusion. The ambient occlusion for the Skoll, which should be this one right here, is going to be inverted as well. But it's gonna give us a nice effect and we can add a levels and play around with the levels that we go to really push certain parts of the effect. And then of course, we can add another field layer, such as a cloud. To break it up a little bit more. It's increased the Thailand as well, five. And we're gonna another outer safe. That's fine because I haven't saved them that and a couple of videos. So, yeah, we're just going to multiply this Gauss. And again, in order to, to not use normal textures, we're, we're procedurally generating all of these textures to create something interesting for our character here. So let's just wait for this to finish. There we go. And we change this to again to Linear Dodge. And we're multiplying. And so what's going to do? And with this, we can again tweak around and create something that looks interesting. It looks quite, quite nice. I still think that the original rust is a little bit too orangey. I'm going to go more for the dark colors, like a dark brown colors like that, so that we don't have the same sort of like rust everywhere, right? That's going to be an important distinction that we want to make. I also want to bring it down a little bit. I want to show a little bit more of the skull. Now in regards to like those like details, I don't love them. Where are they coming from? Something is giving me this concrete barrier. So this guy right here, we're definitely going to go to the height. Really bring it down. Now if we go to the roughness, you can see that this is really rough. We're pushing this thing really, really rough. Here's a quick way in which we can bring this back into a glossy sort of like a polish. The effect if we go to the really top layer here and we are the PHY layer with just roughness. We can push the rough this down. And then if we go to the layers, we can bring this one down. It's kind of like a, like an overall layer two to modify how much we want overall because I do like the breakup, but I think it was going a little bit too low. It's also a great way to visualize how the roughness in general is looking. You always going to have one-and-a-half like interesting effects everywhere. So I do want the school to be a little bit glossier. Look kind of like a fresh skull. Here we go. I think I'm going to add another, I'm going to throw in another light modifier. So I'm going to add another field layer, just color. Go for this warm yellowish hue. The black mask generator, and we're going to use another light generator. Just hitting the top part of the skull like that probably increase the highly glossiness and it's only on the high points, kind of like a dusty layer. And when we throw into a linear dodge and bring this down, just going to push this call a little bit more. If we check the color, like this layer right there is highlighting a little bit of the skull very nicely. Also remembered them. Usually when we're texturing, we're texturing in a very I would say, very standard environment. One thing I'm looking at again now the body looks a little bit too red compared to everything else. So I'm gonna go back to the body and remember the layer that we added, that we added like a like a big overall layer to everything. It was worn horse horse leather. Now I'm gonna get rid of it. We don't need it anymore. And this is again how, how things like advanced and change as the project moves along. You're going to see things that don't make a lot of sense when it's just empty, when there's no context. That's why I mentioned that context is so important that you keep adding more and more stuff. The context makes more and more sense, and therefore, it's just a lot easier to visualize. Usually there's a funny thing about dirt. So usually there doesn't stick to the this course is much because scars don't have any sweat glands or sweat, sweat glands. So they don't get sticky as much. Just gonna I really like how that looks. It really looks like a scar. That's pretty cool. So, yeah. Now the other thing that we're missing here with the scholars, of course, the teeth. So let's go back to the top props. And for the teeth, I actually just want to give them like this or like I've seen some dinosaur teeth that are darker. And I feel like that could look really cool. So I'm just going to add the new layer here, and it's just going to be a dark layer. Changes to overlay. I'm going to add a black mask. And then color selection. We're going to pick the teeth. Yeah, something like that. I think it's gonna look interesting. Red like blood. Rather. It goes with the demonic sort of thing. Probably going to bring this down a little bit. And then the glossiness or the roughness, probably just push it a little bit up. And finally, I think the final thing that we can do for the whole thing is just a middle edge where everywhere. So just color, maybe a little bit of roughness, like make this really rough. The black mask, later, metal etch where especially on the teeth as you can see right there. It's going to really give us the pointy bits. Let's make this a linear dodge. This might be a good idea to use this just for the teeth. And this. Like damage white. I'm not sure. I don't love it. I think just traditional white. My better. I think traditional wide but just really, really, really low intensity. And I wish we could have another dirt right there. So I'm gonna I'm gonna manually paint the dirt under the teeth because they were different objects. The ambient occlusion is not really affecting them. Here. This is one of those moments where I put that came. Maybe, maybe it might have been a better idea to just combine the teeth and the skull so that we can, so that we could have done this right here, right, like a little bit of dirt on the teeth. Because this is where I would expect there to be like accumulation of dirt. Let's do an overlay as well. And of course, like lower the opacity. So we can get everything looking a little bit nicer. Cool. So I'm going to save this real quick. Before we jump onto the next one, I want to see if I can do a quick render here with Ira because again, as I mentioned, we're not getting a lot of ray trace shadows and it might be a little bit difficult to measure how good or not we're doing with that, with the overall character. So let's just wait for this to finish saving. I'm going to pause the video. Let me actually let me pause the video and I'll show you the rendering Justice Act. There we go. So I had to remove the subsurface for the render here instead of fiery. But look at this, like Come on, There's looks really, really good. All of the materials look really realistic. Look at how soft and non shiny the letter looks once we're in an actual render engine, same for the belts here, like things are looking quite, quite nice. The scheme looks really nice that the different changes and everything, I think we're in a really, really good position to horns the metal. Everything looks really, really nice. So, yeah, this is it guys. We're halfway through a couple more extra elements and curriculum. Be good to go. So hang on tight, and I'll see you back on the next video. Bye bye. 72. Bottom Props Texturing: Hey guys, welcome back to the next part of the series. Today we're going to continue with the bottom props. And this ones are fairly easy, I would say, because as you can see here, we have very similar materials is just leather, metal and the bandages. So let's start with the bandages and we forgot to make a smart materials. So I'm just gonna go to top body prompts and we can just make some are material or the bandages right here. Now, another thing that we can do, and I actually really like doing this, doing this thing called instantiate across texture sets. And I can select where I want to instantiate this. And the cool thing about this is if I change something in one of them, it's going to adjust on the other ones. So let's say we have the vantage is ready on all of the, all over the body and we want to change the color. Maybe they're not going to be like white, they're gonna be slightly different. Well, this will allow us to use it. How Wherever I just realized that something is not going to allow me to do that. And that's the fact that the id color might be slightly different. So essentially it works really well if you are on control over that. But here I made a mistake and they have a different color. Anyway, let's just go back to the top bodies and I'm just going to go to the bandages and just make some raw material. Smart materials or that one or both of them are really good ways to work. Again, the, the advantage of instantiating is that we could have saved a little bit of space over there. As you can see, the color is wrong, So that's it. That's all we need to do, which is bringing advantages. We just copy the color and boom, boom, boom, we got this ready. So no need to adjust anything. They're gonna look exactly the same as the ones on the top. That's going to again unify the whole project, the whole process. Here we do have this guy right here. It's not supposed to be that supposed to be another color. Then I'm going to show you how to fix that real quick. So let's bring in the middle as well. We have the damaged iron, so it just brings it in. Go here, grab a color selection, pick a color, we pick the yellow color. There we go. We've got rust metal edge where it's random. The important bits. Again, no need to worry that much about it. We got this one right here for the for the knee pads as well. So I'm going to turn this on just to see how everything is looking. Actually no. Distracting me a little bit more than it should. So yeah, that's that's it. Now, as you can see, again, we're getting an extra color here on the rope. Let's fix that. So for the rope, I don't think we have a rope here. So let me get one real quick from 3D assets. So I'm gonna go to 3D assets. There we go. And if we look for rope, usually rope materials like this rope Manila. They are dislike rope. A youth old, I think this one's a little bit better. They already, they come already with the proper length distribution. So you just need to drag and drop this here, assign this to the library, and just hit Import. Now, every time I hope this, I got this and I can just drop this one right here. And as you can see, it looks really nice. Of course, if we go here, we need to increase the tiling. And we might need to rotate this a little bit so that it matches the proper like direction of the rope itself. There we go. That's a little bit better. Maybe even a little bit more tiling 20. There we go. I'm just gonna do black mask and I don't need a color map, I just need a basic element right there. That's my rope. Ropes. You really shouldn't worry too much about them. This is the easiest way to do it just with textures. Same deal with this one right here. We do have the, the the belts like we did the the clean build a nice belt. I'm just going to copy the layer, copy mass or sorry, copy layers. Then we're gonna go to the other props. And we're going to say paste layers. We're gonna get rid of this one and this one. And I'm just going to use the normal objects selection. And there we go. There's always going to give me a slightly different color, which is going to create a nice contrast, nice like overlapping and play here on the character. And yeah, that's pretty much it. You can, we're going to add a little bit of dirt, of course, a little bit of rust. But that looks really good right there. Now, technically, we should be able to use the same rope for this guy right here for the necklace. So as you can see, we can just do that. Or if the necklace is going to be a different material, maybe it's gonna be like lather or like a string or something. You could change this as well. But I think, I actually think I want to do it differently. I'm going to add a new layer here. And it's going to be like a dark leather. So actually let's go for this like this one. Leather. Yeah, that looks good. So black mask. And it's just gonna be that one. And I do want this to be darker, so I'm going to go for a really dark color. Why a dark color? So the contrast a little bit more with the character, with fair skin of the character. And with the rest of the elements, you really don't want to add any dirt or anything to this. That's a very simple props, so that's pretty much it. Now for the little crystal here, there's a lot of more advanced stuff that I can do here, but I want to show you a miss it because I think I'm missing is gonna be really, really cool. So if I think about why they want this thing to be, I probably want this to be some sort of like a rock. So I have this crumbling rock material here. And I wonder to be like, like lava going inside of this elements. So I'm going to add the the crumbling rock. This is a heavy material by the way. Hopefully we can handle it. This a lot of Leica Photogrammetry stuff in there. If a substance can hold it. If not, we'll do something slightly different. I didn't say that's a bad thing. Well, there we go. It worked. Cool. So I'm going to add the black mask. And it's just gonna be on that guy right there. So as you can see, we get a nice rock effect. And what we can do is we can change the color. I'm gonna make this rock really dark as well, has several colors. So we're going to have to go to each individual color and make it really dark. All of them. There we go. I want to distribute like a volcanic rock. And then I'm going to add a new fill layer. And I'm going to add a new channel to this specific texture sets. I'm going to add an emissive channel so that when we fill this, we can turn on the offensive. And we can give this sort of like volcanic, like red or orange glow. Other black mask. I'm going to add just this guy right here. And then I'm going to add a field, sorry, another field, it's gonna be a generator, is going to be a jerk generator. It's going to overlap everything. But once we hit Multiply, you should only affect the rock itself with that. And of course we can do a really big contrast here are not as big. I'm gonna get rid of some of the crunch amount. So I just wanted like the insights of that thing to be doing, the effect. Sometimes it's a good idea to also paint with a color so that if, even if it's not glowing, used to get a little bit of color against that volcanic rock. It could be a crystal or something, but I kinda wanna keep it very, very primitive, very, very barbaric. Let's increase the third level a little bit. There we go. Now, it might not look like much right now, but under render, if we are on a low light setting or a lone light scenario, that thing is actually going to be emitting light onto the character. And he's gonna give us a really nice effect. So yeah, there we go, guys. Not too much for this honor. Props were fairly easy. Most of these things again, just generic metal, generic bandages, and that's it. That's all. That's all we need to keep on filling our character here. Again, remember that in this case, this could eventually be like a magic crystal. So it could be like a blue. Actually think a blue might be a good, a good contrast. So like a blue magic crystal might be a little bit better to what we had just because we have a lot of warm colors everywhere. So that blue is going to really help bring some of that balance back into the character. So, yeah, that's, that's pretty much it for the other props, not much to do. Most of the materials were already have. One thing that I might want to add, especially for this metal bid right here, u and the damage iron is more scratches. So I'm going to add a fill layer, rough black mask only on this guys. And then fill. And let's go for some scratches. Here we go. Here's a tiling, so the scratches are smaller. There we go, Probably three. What I love with the balance. That's just to give a little bit more visual interests to those guys. And yeah, that's it guys, That's it for the under prompts. Finally, we're going to jump onto this guys right here. And we're going to have one of the big questions which is, how are we going to handle the tail and the legs? Because I didn't anticipate he looks very human from the top part, but if we give him human and then this demonic feeds that might look slightly off. So we're gonna have to see how this turns out on the overall character and will continue to adjust things if needed. So yeah, hang on tight and I'll see you back on the next one. Bye. 73. Tail Texturing: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the tail, and it's now time that we see everything come into like everything is gonna be combined into that what we want, right? So I'm gonna, I'm gonna go here to the lower body. And the first of all, I'm just going to quickly go through the things that we know are going to be very basic, such as the, as the bandages, right? So we're gonna go to our smart materials right here and we have our bandages. Just drop them right there. I'm gonna go to the color selection, real quick selection. And we're going to pick blue. That one right there. We might need, as you can see here, we might need to go to the fabric and rotate things a little bit because here, the rotation, this is slightly off. There we go. I'm a little bit concerned why it picked the pants. Excellently graph the green as well. There we go. So that's the advantage is right there. And I think I'm also going to grab the pink ones. I think those kind of look like bandages. So it might make sense to have them as well. Then we need to think for or think about what we're gonna be doing for the pants, right? So depends. I'm just going to throw in a very quick like basic layer. I want to work on those on another video. So let me throw in just a very basic fabric rough G max. Like we're going to add a color selection and we're going to select a dark green. There we go. So I think, I actually think that we're going to go for green pants, green and brown. So you can see I really close on the color wheel. So they make four nice, like I wouldn't say complimentary colors, but they make for some nice, like a nice colors in general. So we're gonna go there and let's already start thinking about the tiling, which is gonna be probably something like that. There we go. Again, we're not going to focus on that right now. I want to focus on the skin, which is a big, big, big, big deal here. So technically, technically we could go all the way back to the body. So I'm gonna go here to the skin element, which is the main one that we want. I'm going to Control C to copy the main base. And I'm going to turn off a couple of things. Mainly the top body props go and even the Andhra props. So we can focus only on the skin section of the character. We're going to jump to the lower body. And we're going to paste the new scheme folder. So technically if we go to the color selection and we pick color, would pick the skin, just get a very similar skin. And here's how, here's where we're going to see whether or not this is making sense or not. It's not that bad. It does look a little bit creepy. I'm not going to lie because I like, I'm used to seeing like normal human feet and recruits. And there's definitely looks slightly, slightly weird, but it's not that bad. It's not as bad as I thought it was gonna be. What I think I'm going to do is on the lower section, we're going to add a little bit more dirt. For instance, here, since we did create a slightly like a slight division, I'm probably going to add a different texture on the tail, which might go into the body as well. So we need to create a new layer, which is going to be, if you remember, this is a scheme details. So we're going to add a black mask as well. We're going to add a color selection. And I wanted to make sure that they get this like the proper color first. So I'm going to graph here. I'm going to sample this color right here. Skin color. Of course, nothing but the color. And we're going to make it a little bit darker. Usually would like animals and creatures and stuff. You get darker colors in certain areas and it's sort of like a way to mess things. Alice definitely turn on symmetry. And the tail. Especially on this area. It's going to be a darker color. All of this thing right here, it's going to fade in towards the light. This thing right here is gonna be bones, definitely going to be bone. Like a like an extension of the of the tail itself. Carefully, we just clean up a little bit of the border there. We can of course go into something like an overlay layer around with the intensity. I just want to make sure that this doesn't look weird. Because in Spanish we say that weird things are, are, are close to ugly things, right? So we don't want things to be weird. Now another thing that I might do is I might go back to the skin. And just for the sake of argument, I'm going to fill in and give it a red color. Let's try an overlay with this thing. And let's play around with the intensity here to see how the flame would look like. Not like it doesn't bother me that much To be honest. It's a little bit weird. We're definitely missing some of the main shadows are the important shadows that we had on the other one. No. Little bit. We started really like how it looks on the top side. I don't love how it looks on the bottom side. It's not that bad, but it's just weird. You know, I mean, maybe with all of these things it doesn't look half *** bath. But now this color doesn't come visit me. So let's try something else to go really dark or way darker. Yeah, that looks a little bit better. Or we could invert the mask, maybe not inverted. The other side is darker. It's also relatively common in some species. Not here we go. I think we're going to have to go with this. One thing we can definitely do is throw in a leathery effect on this side. So for instance, we have this lizard scales. Then we can throw in. Let's hold them up a little bit more. We go, Let's try it. Try planet projection. It's a little bit better. And I'm going to copy this mask. So copy mask at Black Mask, paste into Mask. And then we can also overlay this. Yeah, that looks way better. I think it's a better compromise. Would definitely going to have to increase the tiling here to ten and definitely reduce the hide information. Like overly or do it too much. Then we go back to the color. We probably want to reduce the amount of color a little bit. That's gonna give us an interesting reptilian sort of like a sort of like full, I would say it's still looks a little bit too pink. One of the things that we're missing, one of the main elements as the shadow layer, you guys remember that one? So let's add it was a sort of like dark color. And we were using a black mask. Black mask and they will say generator. It was a lie generator that was pointing upside down like this. That's sort of like dirt. Really helps. Overlay and small font. It looks interesting. I'm not gonna, I'm not gonna lie. It definitely looks interesting. Cool. Let's add some placeholders real quick. So for instance, for the nails or the clause group here, like mask, color selection, Let's pick the class. Go. Just for, just a very basic, again placeholder. Try planar projection. There we go. So that we can see that I kind of want to see the whole thing. And that's going to allow me to see like pretty much everything in a better light. And I'm also going to grab my horse worn horse thing that we have right here, Control G, black mask, color selection. We're going to pick the light blue color right there. Remember that when we're using all of this color selections is important to have a fill layer at the very bottom, which is like a dark black one. So that when we don't have that, we don't see those little pixels just to color. There we go. Now this one of course, then increase the tight link to something like a five. And we're gonna go to the hide information and bring it down quite low. That way. Thanks, match between every, every, every element. We get an interesting, an interesting look. So this is the judging moment. We need to think a, just a quick break and analyze and be like, okay, do I like how this thing is looking? Do I like the skin tone? I don't hate it on the on the arms right here. It looks very weird to me on the on this guy right here. So maybe the dark colors, not the option. Let's go back here. Let's get rid of dislike, dark skin color. There we go. That looks a little bit better actually like just like this or like fish scales look a little bit better. I think more in line with the rest of the element because this one looks like, it looks like ****. So that's not what we're going for. This one doesn't look as bad. Still not in love with it, To be honest. I didn't want to go green. Green looks really weird as well. Green looks weird, so it's sort of like the scaly like slightly darker color. Just so some reinforcement, I guess. This is, again, this might, might've been one of my mistakes when I was designing this character. I didn't think that if we had humans skin that would look a little bit weird. But we're going to have to roll with it and see how can we make this work. So another thing that we need is this guy right here, the blade. Now, I don't remember if we have a color selection for the blade. You can go here to the bone real quick. Pick a color. No less you can see we don't have, so this is one of those things that we're going to have to manually paint. The way I have to do it, similar to what we did with the skull right here. So let me create a new folder already. Base folder there, Control G, lack mask. And let's go over here to paint this out. This is one thing we can do here is do a very quick, ugly paint. And if we bring this beneath the scales, right there, we go, Let's kill us, are going to be on top. That way. Should be slightly easier to paint things in and out if needed. That's gonna be the bony protrusion of the tail. Now, maybe with a little bit of dirt and stuff, this is going to improve. So I'm going to throw an overall dirt on top of everything. Just gonna do a quick rust layer on top of everything. Black mask, generator, a dirt, so the effects, everything. There we go. Yeah, that definitely helps a little bit. As you can see, it really modest, a lot of stuff. So we're going to have to do a paint layer probably. And and paint out some stuff like all of this intersection right there. We really don't want to smudge. Third, I do want a little bit more dirt on the on the boots. That's fine. It's definitely go and throw in an overlay. Yes, definitely going to help with the sort of like ugly monster feed. It kinda reminds me, I don't know if you guys saw this, a show called what's it called dinosaurs back in the day. And then this huge lack humanoid characters they have feed like this. So that's what I come like visualizing. And again, it's important that we see it, how we would normally see them in the game. So it will be like this or if it's a third person can bleed like running like this. So as long as it makes sense, I think I think we're fine. The color of the pens now not loving it. Probably going to go for the caret. Saturated, saturated, saturated dark red. We're going for this. There we go. That's a lot better. Because the green was looking a little bit out of place a little bit. So this is not looking at that bath. Definitely going to have to bring my scar tissue thing back here. And they think what's going to really help is if we add a little bit that can up that sort of like dirt on the tail and on the stuff. But yeah, this is I think this is a good a good position to be in. So I'm going to stop the video right here, guys. And then the next one, we're just going to keep detailing stuff, detailing the skin anymore dirt in the keloid processes and some overall blood and stuff. So yeah, hang on tight and I'll see you back on the next one. 74. Skin Refinment: Hey guys, welcome back to the next part of the series. Today we're going to continue with the skin refinement. And I've been doing some research to make sure that this looks good then. Yeah, there's some armadillos as follows, something like this. There are some echidnas, so usually you have this very light skin on the inside and then like a hard surface heating on the outside. So even though I'm not super, super fond of detail, I think it can work. And now we're just gonna go for it for two bones. So for this one, I do want to have a little bit more for blood bone. So we're going to use this bone right here and then go all the way to the top where my bone was. So actually when I was on the bottom. Let's just scroll here. And right here we're going to insert our stuff or bone. There we go. I don't like the sort of like normal math that we get. The texture is fine. I am definitely going to increase the tiling a little bit to like a four. There we go. That looks a little bit better. And then that's gonna be like our like our tail. It seems it seems to me like we don't have as much like baking information as what we had before. One thing I definitely want to do is similar to what we did with the ax. I want to add a little bit of a sharp edge to the whole blade. So I'm going to add a new layer here. And I'm going to black mask this. I'm going to use my flesh just like create the sharp effect here on the, on the element. And of course this goes into a linear dodge. And we lower this so we get a slightly different effect. Of course, why this a little bit too aggressive. So we're going to try to sample the same sort of like beige color that we have here and just make it a little bit lighter. That's gonna give us usually a better result when using leaner Dutch, because the multiplication is just, it just blends a little bit better. There we go. Careful with the roughness. I don't want to affect the roughness. Can I want to keep it the same? And that's still a little bit too much to be honest. I'm a little worried a little bit more. That's it. Now, we did sign a dirt material all the way to the top, but I'm going to sign a secondary one and do something similar to what we did with the skin. Because as you can see here, we have the armor and other stuff. So it might be a good idea to add a little bit of dirt where this thing is connected, right? So they're a little bit there. A little bit there. Hello. This bandage is right there. What you would expect like dirt to accumulate. That's where you want to place this in detail. Even like a little bit here, close to the to the skirt. Like if it's an MBA because you're well, actually that one, maybe not that much because the tail is going to be moving. So I would expect it to flow over more on the inside of the fingers. Underneath his bandages? Definitely on the on the base of the foot. Right there. Careful under the symmetry there because this are asymmetrical. So remove this a little bit there, there we go. So of course this goes into overlay mode. Remember this down. And we want to break it, right? We don't want to have just like all of those like crazy brush strokes that we just added. So we're going to add a fill layer. We can use to another. Let's just the noise in this time, like black and white spots increase the tiling, increase the balance. So we have more. Then multiply this against the mass that we painted. So as you can see, it really helps break down all of those weird elements. And if we need to, we can of course come here and remove a little bit more of that, so some will have bad, I think it's fine. One of the important things that we have here are some scars. You remember we had this like a element there. Let me lower or remove the belt. We go. Yeah, it doesn't look bad. I think, I think it makes sense from a, from a character perspective, so I like it. Let's go to the lower body real quick. One thing that we can do here is we can go to the body and we could copy the lizard scales, just have a little bit of that flowing here, but the belt there, so that really doesn't doesn't make that much of a difference. Yeah, let me go to the body. Will go to the body. And we're going to copy the scar, the scar layer that we have. So let's look for the scar layer. I think it's this one. Yep. So this layer right here, copy layer. And I go to the lower body. Now, we're going to paste layer. Of course, we're gonna get rid of that black mask. So just create a new black mask over here. Look, I'm not seeing much. There we go. So 45, number there we go. Pinkish hue. And over here, feeling this were like a moon shape. As you can see, even with just the basic scheme that we were able to get, we're getting quite some nice details, so we're all set. Now. Both scars should look fairly similar. This one I feel like it looks a little bit more purplish. So I'm gonna, I'm gonna darken them up a little bit more. The way that everything is just like behaving, it just looks slightly, slightly different. So let's take a quick view here and this doesn't look bad. It's quite nice. I would say quite, quite nice. Dirt everywhere, really crazy, pink hue everywhere as well. And then just look great. Yeah, I think this is a really, really cool effect. Again, take into account that this is not the final lightning that we're going to have. Our still missing the eyes, we're still missing the beard and a good render is always gonna be able to, we're gonna be able to use it to present it. One thing that I definitely want to add a say that seemed like dirt layer that I added on the body. I see. I think we're missing that one. So again, let's jump into the ball real quick. Every time I jumped into the body, I get scared because I feel like this is going to crash. So I think it's this one, right? This one. Copy. Layers. Let's go back to the lower body. On top of everything Control B. Yeah, that's the one. So as you can see, we just add a little bit of dirt everywhere. Depends the pencil ready, Blake, have what we want. That's a very basic, just like pants pattern. Maybe the one thing that we can add to the pants is a little bit of metal edge where for cloth it always helps. So I'm gonna select this guy right here. And we're gonna go a little bit lighter, like mask generator, metal elsewhere. As you're about to see it, Should we go push some of those? This one I usually like to Filter. So I'm going to add a filter here with a blur to get something like that. And of course, linear dodge and soften this up just to, just to get a little bit of detail there. What else? I don't remember if there's anything. We want to add more stuff overall. Or I did mention that having bloody spots might be a good idea. So let's add some blood here. So I'm going to add a fill layer is just going to be color and roughness. The roughest is going to be quite high. The colors of course going to be like dark red. But I mainly want to hit the bandages. This is one of those layers that we can actually instantiate across everything. So let's call this lats, lats LAC mask. And we're going to add a fill layer. We're going to look for dots. As you can see, we have this splash dusty or this grunge shavings, grunge pebbles, spots like all of these guys work very nicely. I'm not seeing as much. There we go. Let's play around with that, with the balance. There we go. That does look like blood, a little bit of blood everywhere. And if we select this layer, we can click and say instantiate. So instinctually the cross texture sets and we're going to do the belt. We're going to do not the body the body props. And Jesse under props and hit. Okay. As you can see, we're gonna get some blood splatters pretty much everywhere here, here, here. And when the cool thing about this is if we change this to something like an overlay, it changes here and it changes everywhere else. So whatever happens to this layer here is going to be transferred to all of the other layers is an excellent way to make sure that if you're adding one detail like this, blood splatters either respects them and that's the pretty much everywhere. So I think that helps quite a bit with the with the overall character. So yeah, I think that's it guys. I think we've managed to get to the end of this element, even like the plots, but others on the tail look really, really nice. That's great. Merchants things together quite nicely. So we're done. We're pretty much done with the textures. It took us what I like about five or 6 h, something like that. So yeah, the characteristic is complete. And the, now the next step is the material calibration. This is gonna be the next chapter. We'll, again, we're still missing the eyes and the beard, which are huge, huge part of the character. So we're gonna be working on those as well. But before we finish Chapter eight, I do want to talk about how to properly export all of this textures. Now remember, as with everything we've seen so far, getting to this point to, let's say a complete point doesn't really mean we're finished. It just means we're finished with this stage. But if at any point they see something in the render that I don't like, I'm going to have to come back here and fix it, fix the texture, fix a height information to fix a, a bumpy effect like something, a roughness elements, something like there's, there's so many, so many things that we can that we're going to have to maybe fix. So in the next video we will talk about texture bakes, how to export all of these textures. And then we're going to jump into chapter nine. We're going to start Chapter nine with a quick setup inside of Maya to get everything ready for a nice presentation to make sure everything is working fine. And then we're going to start working with the ice and finally DB. So hang on tight and I'll see you back on the next one. Bye bye. 75. Exporting Textures: Hey guys, welcome back to the next part. So this is the final part of Chapter eight, which is exporting the textures. I'm saving the project right here, so that's why it's stuck right now. Don't worry, it's going to recover. But the exporting of the lectures is probably one of the easiest things that we can do that we're gonna be doing. We just need to grab the two, go into file and just exploit the textbook, but we're going to be exploiting them in a specific way. And I do want to explain that as well as a couple of settings inside substance. Let me just wait for this to unfreeze. There we go. So if I go all the way here to the top part, come on, There we go File and we hit Export textures. We're going to get this. And as you can see, first, we need to of course tell it where we want to export our stuff. And it's going to be to the assets texture folder. Everything is going to be here and just hit Select Folder. And the first question that this thing is going to ask me is what kind of output or you're going to be excreting too. Because it's not the same to export for Arnold, for instance, like if you wanted to do an Arnold redder than it is to export for Unreal Engine, which is right here, Unreal Engine 4-pack. Technically you do get the same information and technically you can get the same results from both of them. But it's a slightly different to export from one or the other. If you export to Arnold, you're gonna get a, a standard like specular roughness sort of workflow. And if we export to Unreal Engine four pack, which is what we're actually going to be doing. We're going to get a more traditional game engine effect, which has also going to pack things in a specific way. Now, the size is supposed to be on the site as you're working with for k. So it's gonna be quite high. We don't want any padding is fine. Deletion, that's fine. But here's the interesting thing. If we go to the list of experts, you're going to see that the name that we're going to get for the textures is going to be really long. It's thyroid underscore, low ball is underscores bakery the underscore. Other Score built underscore base color. What's happening here is it's actually grabbing a couple of flax from the file, is grabbing the name of the object and then the name of the material, and then the name of the layer. If we go to Output templates and I go all the way here to do a real engine 4-pack. You're going to see that we have this flexes, the dollar sign, dollar sign texture set and then base color. And we actually don't need all of that. It's too much information to be honest. So what I'm gonna do here is I'm going to grab this Unreal Engine four pack. I'm going to copy it. I'm going to call this, I'm going to rename this and call this empty. Like you E4. Okay, It's gonna be our own stuff. And then here, I don't want the name of the mesh, I just want the name of the textures and which is the material. That's why we created the material. And it was very important that we created the proper material. So that when we get to this point right here, we can just do this. And if we go to Settings and select our own stuff and T4 on the list of experts we're gonna get em belt base color and belt emissive and belt normal. And that way we know which material should be assigned to each of these individual elements. We don't get any extra information and all of our elements are named properly. So now we just export this. We wait for this to finish. Of course it's gonna be quite heavy like a fork. A texture is like 20 mb. So we are at 80 mb per sets, so times five, that's 400 mw or half a gigabyte. Almost of textures adjust to capture all of the information that we have here with the, with the character. Let's open the output directory to see how this thing got experts and look at this beautiful textures. Now, the orange Unreal Engine four pack texture, which is the one that we're using here, actually has something really, really interesting. Let me see if I still have Photoshop open. No. Okay. So what it does is it actually saves more than one map into this one texture which is called the ORM, occlusion, roughness, metallic. So usually you guys know that every single texture in the Internet is made out of three colors, three pixels, red, green, and blue. So when we want to define all of the colors like this ones right here, we need red, green, and blue. However, the maps, the ambient occlusion maps, the roughness map and the metallic map, they only use the black and white is a gradient instead. It's either a metallic, which is a white or non-metallic which is black. Is it rough, which is white or it's not rough which is black and ambient occlusion. So in order to save a little bit of space, instead of having three separate textures, we combine all of those elements into a single texture which has that information into each specific channel of the element. So later on we're gonna be taking a look at the Unreal Engine. And I'm gonna be showing you how to import all of these guys into unreal. And we're gonna do some setup there. But it's very important that we export it in this particular, especially like a particular effect. Because otherwise we're not going to get the thing that we need. Now, there's one more thing that I want to export here, and that is the, the subsurface effect or the subsurface element. And the best way we can get the subsurface is through the thickness map. Because at the end of the day, the thing that is map is what we normally control. So I'm going to go to the textures over here, and I'm gonna look for mesh. Start Here Is here. There we go. So we look for Mesh, not there. Where is it? Filters, brushes, alphas, textures. There we go. There we go. So we go to the mesh maps. These are the mesh maps that we got when we did our first bakes. I'm gonna go to the thickness maps and I'm really interested in this one right here. I'm going to export the resource to the texture's going to hit Select Folder. And I'm really interested in this one right here, which is the one that has the the claws and the feet. Okay, So this one is right here. I'm also going to export the resource. Got it. So this is really, really important. Those two maps are gonna be necessary later on if we want to control how the subsurface scattering effects of care. Because otherwise it's gonna be affecting every single part of the character and that might not be what we want. So that's, that's it guys. Now one more thing that I want to do just to, just to show how this looks is I'm going to pause this real quick and I'm going to take a quick render with the camera before we finish this chapter, this chapter eight, and we move out until the next one. So hang on just 1 s here. There we go. Here's a quick preview of how this looks with proper renders. As you can see, the difference is quite noticeable, especially on the shadows underneath the belt and how the shadows for the project between each of the different objects. One of the great things that we're gonna be able to utilize AS instead of from real, we're going to have access to lumen, which is a automatic sort of a real-time like global illumination system. So all of this things should look a really, really nice instead of lumen. So this is it guys. We've successfully gotten to the end of this, of this texturing journey. And now we're ready to jump on to the next things which are going to be a little bit technical. The eyes are a little bit technical in the way that we need to prepare them. And then we're gonna go for the, for the beard, which is quite technical. I would say we're gonna be using action. So hang on tight and I'll see you back on the next one. Bye. 76. Extra Touches: Hi guys, Welcome to this extra video. I know I mentioned that the past one, the export in your textures is going to be the final one. But sometimes when you're working and you step out, step away from your computer and then come back, you see the thing and you're like, I like it. But it's missing something, right? Like you feel like you can you can push this thing a little bit more and give just a couple of extra details to make this thing look even better. So one of the details is a little bit more a warping. I think we can definitely get a little bit more warping, especially like on the chest area because otherwise it looks quite empty. Not not only the chest area, but I'm really worried about like the back of the character because I know when we see him from the front is quite nice. There's a lot of stuff, a lot of communication. There's some rest areas wherever which are really important. But then when you look it from the bag is just a law, the skin right here. So I want to add some sort of like a marketing or tattoo on this area right here where we're the biggest cars are loading the thyroid thing here. We're going to go to the to the war paint right here. And I'm going to make this a little bit cleaner. I don't want this to be like warping. Don't want it to be more like a tattoo. So I'm going to go for something like a dirt brushed, which is gonna be a little bit more interesting. And I want this to be some sort of like patterns that represents something about the character. Some sort of like, like maybe something like memories from the past or are again like a clan circle. Here's where the story really comes into play and you can design something a little bit more interesting. So I'm going to go for, I really liked square shapes like a runes and stuff. So I'm going to press X here and I'm going to go for something a little bit more geometric, something like this. I don't want to go for a square shape and make this a little bit brother. You can turn on this option over here, which is the lazy mouse option, which is going to give you a little bit more control over the mouse. The mouse is very similar to the option instead of ZBrush. And this is going to allow you to, to control things a little bit better. So knowing again, a little bit about the anatomy, I know that here's where the scapula is roughly. So if we follow the shape of the scapula like this, we indicate that there's something there that also makes for some interesting effects. It looks a little bit too big for me. Believed this a little bit here. Start over. Remember that this, this warping already has the sort of effect and details that we're going for. I have my reference over here. And then what's being inspired by some of this because like I like this guy slick hold paint. But you can see that there's a lot of thought like this thing right here. I don't want to go for Celtic knots and stuff because it's not supposed to be Celtic. But yeah, just look something here that looks interesting. It looks spiral. Here we go. Something like this. Something that plays with the shape of the shoulder and at the same time reinforces his, he's a story. I'd like to sort of like waves, like fire waves coming from here. And kind of like a symbol. I'm not the tattoo artists, so I'm really like free styling and free like painting this free hand. And I want to go there a little bit bigger and then smaller. So when we see it from the front, you see a little bit of this things just like flowing back. Who? Now I get an idea. There we go, Let's go back. So remember, I think I've mentioned this quote, but inspiration will get you while you're working in the history of the Lord of DMD, there's this like nine rings of health. So I think that's a great thing and we can follow along with that sort of stuff. So there's gonna be, I'm gonna have like one point right here. Then we're going to have this or like looping lines creating a sort of spiral. And they're gonna be nine of them. So that's two. That's three. We're going to loop them forward as well. We're going to have a fourth one right there. You can see I'm I'm kind of like creating a nice trail off. So maybe we don't need all of the spirals. We can have this or like a nice shapes representing the non-health, right? So that's three, that's four. Let's, let's count that as the central one. And let's add a couple more maybe spheres. So how can we very, very easily and graphically creates something that has Lower information. And that makes sense. So that's 123-45-6789. There we go. So we can call this three layers, like the initial layers and then like the empty layers or whatever, the shadow layers, and then the central layer. Now for the central layer, I'm definitely going to remove the center right there. Actually, no, I think it looks better like that. So that's it. Like just one single little thing like that. And that already makes the character look really, really nice. On the front here, I want to add like against something. Like I'm trying to figure out where because it is quite busy. There's a little bit of everything, but I think a couple of blemishes. Like, what's the word moles would be a nice idea. So I'm going to add a new field layer, black mask. I'm going to go for a soft, basic soft brush. And I'm gonna use my tablet for this. I'm just going to start drawing like just some imperfections. Of course this is going to be pretty much only color. It's going to be like a dark color. Like that. Can do the same thing on the face. Go to the mask. It's kind of like the, like the freckles that we did before with a little bit more intense. Again, those, it's the little details, right? There's a very famous quote, the sets that says that the devils and the details, and that's what we're currently going on for. This little moles. I have a lot of moles on my on my arms. Not a lot of my face brother on the arms. I do have quite a bit. There we go. And that looks pretty nice. Like the blog guys, like I think that blood looks really great. Trying to think if we need anything else to be honest. So I really like the war paint as well. Oh yeah. I remember one extra thing that I wanted to add on the leather. I'm gonna go to the top, the lower body. And I'm actually going to show you this technique because we're going to need a Photoshop to do this. I'm going to look for like some, uh, random rooms. Let's call **** rooms concept, something like that. And we're going to find like this sort of stuff like panting, like this or like this guy right here. This looks great. This looks really cool because they, they kinda follow the same sort of thing that we're going for, even like this guys right here, some of them are really, really cool. So what I'm gonna do is I'm going to go into Photoshop and I'm going to create a new texture. I'm gonna give you guys this texture by the way. So it's gonna be a two k by two k texture. There we go. And here we can grab all of these guys right here. Actually, let's grab them one-by-one. Copy Image control V. And what do you want to do is you want to desaturate this. So Control Shift U is the, is the element and then Control L. Because we want to try to get only the white part of the room. Like that. It's one way to do it actually let me other types of rooms. So it's not bad. It's a little bit too again to like Viking ish, want to go for something a little bit less biking ish. That sort of stuff looks cool. I was really, I really liked this ones to be honest. They look a little bit sci-fi, but not too bad, I think so I'm going to copy this. And here's what we're gonna do. We're going to make these things are really, really big. Like this. And then we're going to under like, what's the word? I'm going to change the color so that's black and white. And we're going to save this here in our computer. We're going to save it in our project. We're gonna go to the Assets folder. I'm going to save this as a JPEG. I'm going to call this like rooms. Okay? And then if we go to the project itself, we can, we can grab this and drag and drop this right here. We're going to copy this as an alpha because it's black and white and to the project. So that would wherever this product it goes, this image at follows. We're going to go to the lower, the belt, the belt, and all the way to the top, I'm going to add a new layer. It's going to be a dark layer. We're going to add a black mask. Now we're gonna jump to number three. Number three is projection mode. And in projection mode we can drop this image right here on the Alpha. Sorry, not there. Grab the brush again. There we go. We can go to our Alphas, four rooms. And this, this guy so lower here in the gray scale, we can drop this. And this is projection mode. Prediction model is really, really cool because what we can do is we can press S and scale this to get this things like really big in here. And when we draw, as you can see, we're gonna be like. Imprinting the patterns on the element right there. So I can go with something like that. You can press S again and middle mouse click to move this S and right-click to modify. It can give this whole element at pattern, which I think is going to really, really be helpful. You can also press S and middle mouse to drag and position this things are supposed to be. Look at that. So very, very interesting pattern on the skirt. That will be very difficult to happen. I'm going to go to the eraser. I'm going to erase this one with you because I just want it to be on the screen itself. That way that you get an extra us, we'd like to call it an extra wreath on the whole thing. We, we're now seeing a little bit of this guys right here. I'm of course going to modify a couple of elements here. So I'm going to increase the roughness to make it really, rather than programming this really, really dark. And you definitely want to go into like an overlay or something. So at the colors mix together. So imagine this is like burned leather. So again, an extra level of detail if you feel like it's a little bit too much, if you feel like things are getting a little bit too nicely, we can reduce this a little bit, but just having that, there is also one way to, to add complexity to the character. I'm still a little bit concerned about the skin and the fact that we don't have a lot of dirt where the belts meet. I don't want to add that much dirt though because I know that if we add dirt underneath the bells, like underneath this guys and stuff and the belts shift around or at any point I removed the bells. You're not supposed to see anything. So this is one of those things that I think it's a substance playing a trick on us because I would love to see this thing properly, properly lit. And unfortunately, the render engine that we have here in the viewport is not as good. We can, of course, jump onto the IRA, but that's a whole different thing. So yeah, there you go, guys. So small to two here on the bag. That's going to definitely give us a nicer effect. We can even add some to Tucson the leg. Some changes here on the front. I'm still thinking about war or another one, like something else right here. I'm really, I know that I've said that this is already quite busy, but they really want to add something. So I'm gonna go really quickly here to the war paint again. And let's just do something, maybe something simple, like like a room or something. Let's go number one. I just know that something like here, like the letter theorize. I think the letter D, if you guys remember, when we were sculpting this, there's the awareness alphabet. This is like the, the official like letters that you can use. And there's the T, There you go on unless that no versa T. Little bit crazy, but it's like a hook thingy. We could of course, copy the exact name, but that will be more like a tattoo. I don't want to hand paint this a little bit more. There we go. And the best advice I can give you guys is, at this point, have fun. We're going to end the point of the project where, where a lot of things are are working. We have a really nice like general overview of how the project is going to look. So this is where you can get to play around and find other options here. I'm a little bit worried about the fact that these are following the same direction as the scar. Don't love that. You know what, like the thing that we have here, this logo, this logo shirt or things are actually quite nice. This kinda looks like a T auto saving. I'm going to use this one. It's kind of looks like a T. So I'm just going to have it be big on top of the scar And just, just like another extra symbol therefore for him. Let's just wait for this autosave to finish. By the way, one thing that I did and I think it helped for the saving is once I'm finished with the bakes, I went into into the Baker and I remove the high poly from the cache because I think it was being a little bit, it was saving it as well with the alternatives, and that's not something we want. So there we go, we can go right there. And that two right there. Now one thing that I'm going to do with this statue is I'm gonna go to the scar and we're going to remove or erase it. This car is like going through. And that's important because scars do modify the skin. Here we go. There we go. So yeah, I think that detail right there. It's just a nice little touch that can help the overall thing. You're gonna be the judges to know if, uh, if that looks good or not. I think it does. I think the circles are really good. I'm kinda proud of this one right here. I also need to go to this one right here and remove the one inside of the scarring tissue. And that's it. Now we are ready and now we just do the same thing. We just export the textures and we're going to export using our NTU E4 exactly in the same place. Nothing else has changed is just the exact same thing. And we are ready to jump into chapter nine. We're going to start, as I've mentioned, with a quick setup inside of Maya just to visualize things and make sure that we are like everything looks and works properly. And then we're going to start working with the eyes, the hair, and everything else. So hang on tight and I'll see you back on the next video. Bye bye. 77. Maya Setup: Hi guys. Welcome back to the next part of the series. We're going to start with the Maya setup. And it's gonna be fun part because we're actually going to be preparing a render here inside of Maya. Some of you might be what lawyer? Why are we rendering inside of Maya if we're going to bring everything into unreal. And the answer is, we're still missing the hair and the eyes, which are a little bit more technical in regards to shaders. So we can make sure that everything looks good here inside of Maya. Then transferring that into Unreal is gonna be easy as well. Now, I'm not going to go back to the project setup that we have. We're actually going to start a new scene here and I'm going to import, we're going to go here to Import. And in our Bakes and our main bakes have thyroid, low poly bag ready, import all of those assets. And we go and of course we're going to import that dx. So x low Polly Baker that we call. Now the Act didn't have any like specific colors or anything. It did, it does have its material right here. And that's very important. The fact that we still have the materials are very important because it's going to allow us to modify things a little bit easier. Now, one thing that I forgot to do was to export the ax textures. So let me really quickly do that too while we prepare the scene over here. So we're going to do a very traditional render setup. I like to call this the, well, it's not that I like to call it. It's called a three-point light setup with an infinite background, super classical. And the way this works is fairly simple. We start with a plane right here. The first thing you can see is that as I move the camera, since the skill of the character is quite big, we are losing the elements. This is called the cleavage planes instead of the cameras. So I'm going to click this camera right here. And on the near clip I'm going to set a one and the forklift going to set zero. We've already done this before, but we need to do it every single time that we have a new camera. So something like this. Now this is gonna be my background plain important for the bounced light and stuff. And we're going to grab the back edge, push it up, and then grip does Guy push it up as well? Grab this guy, push it up, grab this guy, push it up. And that's going to create a nice little round effects that we don't get any weird shadows. I'm gonna go rendering, create a new camera. Panels, look through selected, and we need to find the element as well. Now this camera, we also need to modify the clip plants so we can see stuff. I'm going to go to the, I'm going to turn this thing on, which is called the resolution gate. And I'm gonna go to my render settings because we're gonna do square renders and it's gonna be a two k square. Let's actually start with a one k square first, so we don't have as much resolution. And this is what we're going to do, is to very basic, like a random set of four for our character. Now, if you guys have seen other stuff that I've done before, you guys know that I love poly haven, which is a great way to get HDR rise and we're gonna get an HDRI. Are recently they released this one, this blocky for the studio and this one does Christmas photo studio. Both of these guys are amazing. I love both of them. Why? Because they have really soft light and a very neutral light. There's not there, it's not warm colors or cold colors. They're very, very nice. This is probably the most balanced one. This one that has a little bit of warmth to it because of this, like a wooden beams and stuff. So I think I'm going to be using we want to go for the studio fact, this is probably this one. So this is the one that we're gonna be using. Now this one is also gonna be on your project files. Polyhedron is completely free so we can share all of this stuff without any issues. And we're going to go source images and it's gonna be right there along with the UV checker. Arnold lights and we're going to import a sky dome light. Now, don't worry about the scale is a very common question that people have. Like, Do I need to worry about the scale? Not really. Not really. The scale can be anything you want. You can actually set the scale to zero and it's gonna be perfectly fine. One thing that I do need to take into account is I think this character is a little bit too big. So if I create a cube and my, and I make this cube, I'm going to make this a 200 units high, that's 200 cm, so that's 2 m. This should be the size of the character. So for some reason, my characters is stupidly huge on this one right here. Now, is that a problem? Not really, but we definitely do want to scale him down. I'm going to grab all of these things right here. And we're just gonna scale them down. That's also going to solve the issues with the what's the word with the camera? Like scales and stuff. So it's another plus, go to the camera, panels, looters selected. And let's focus this guy right here. Perfect. Why do we need to have real-world scale? Because lights and everything inside of the render world and in the CG world, it works better when the units are properly laid out. The intensity of light and everything just match. So under sky dome light on the attribute editor right here. Let me very quickly turn on Karnak slope dx. There we go. I'll do it crashed. I think it's crush. Open that up because we definitely need the axis. So Control a to go here into the attribute editor and under color, we're going to inject a file texture, which is going to be, of course, the block is Studio HD, like that. It's just need to wait for this to be set up. There we go. And now we can actually render if I, if I hit Arnold Render, we're gonna get a renderer. Of course, we're going to render from the camera shot, and this is what we have. So as you can see, even though we don't have any of the texture yet, we can already see how this thing is going to be looking. I'm going to stop the random real quick. We're gonna go to the options and one option I'm going to change. So I'm going to change the system to GPU. If you have an NVIDIA GPU, you're gonna be able to use the Arnold NVIDIA GPU option, which will allow, allow you to render a little bit faster the first time you might take a little while, but after that, it's gonna be, it's gonna be really nice. One thing that you might know this Is this a little bit Grenier. When you work with GPU, it's gonna be a little bit green here, again, normal. Now remember that we had some issues here with the chest. It's going to grab the chest. I'm going to grab let's isolate it. I'm going to grab this face of the chest. And with soft selection, I'm just going to slightly bring this in. Maybe a little bit more. There we go. Just a little bit, almost nothing so that we don't see the overlap as much as we have right there. Cool. So let's go back to substance because I want to use the ax as the example. I'm going to say File Export textures. And we can export using our preset NTU E4. There we go. We're going to export two textures, of course. So assets, textures right there, Select Folder and the four k, right? So export for k, thyroids acts base color. Cool. So I'm going to show you real quick how to do the connections inside of, inside of Maya because it's a slightly different than what we're gonna be doing inside of, inside the for unreal. So the first thing is we need to change the Lambert. We're not going to be using Lambert, we're using an ordinal materials, so we need to use our note. Or you were saying we're using Arnold renders, so we need to use other materials. So if you select the object, are actually like all of the objects. You can change the type here and we can automatically selected the AI standard surface right here. Now this is an ASR. It just switches from Lambert to AI standard surface. You might get a different name. So we're going to have to rename this. We're going to call this m Cyrus acts. Now, if I can't get the name, that might be because there's already another object with that name, but in this case we were able to get it. I'm going to jump into the Hypershade. Let's just make sure that we don't have anything that we don't want. Cool. So there we go, empires x, and we're going to click this little two arrows to map things out. So we want to import all of the textures that we have for our character. And to do that, There's a couple of ways. You can, of course, just create the final notes. Or if you just navigate to your textures, you can literally drag and drop the textures into the hyper shade. Just wait for this to load real quick. Come on Windows, taking a little bit longer. Let's go here for the philtrum. So he's going to press Tab and then file texture. That's gonna be the first one. And the first extra day, usually low is of course the color. So we'll just click here. We go to Assets, we go to textures, and here's all of the textures. Again. They should have a normal or they should have a good name so that we can find them quickly. And we have here at thyroids acts base color hit Open. And this one's going to be attached to the base color. So the color information, the color node, is one of those things that you can see on the viewport. More often than not, if I press number six, you're going to see that we see this, but it looks a little bit dark. And this is normal because nowadays instead of Maya, we have this thing called the aces, like a color correction thing. And they use this for the academy and for compositing and stuff like that, that we don't really need it. So I'd like to change this to on tone map so that it looks a little bit closer to what we would normally see. So this is the color they're working. Now for the normal map, you could use a traditional bump map, but I personally like to use the normal, a normal map. So the output value goes into the normal camera. And then on the input we're going to need an image. So we're going to need another texture file texture, which just look for the file texture. Now, there's one like downsides to using this and one like advantage. The downside is that we're not gonna be able to see the normal map on the bill probably because the AI normal thing is not compatible with the upper 2.0. It is compatible with the real-time view port if you, if you use Arno. But that one's a little bit heavy, so I just prefer to render. And this is the one norm. Now there's one thing that we need to do. Normal maps should always be set to raw. So here on the color space, we need to change the sRGB color space from the normal map, too rough. Let's just wait for this to low then the process properly. Let me close this. We don't need it anymore. Here on the normal map, we change this to utility rah, rah neuron. And again, as you can see, we're not going to see that the effect of the normal map here, but we will see it on the underwriter. And the reason why I like this, and you're gonna see that in just a second, is as follows. I'm gonna go to my camera panels, look to select it. We're going to focus on the on the ax because that's the one that we have, the word preparing right now. If we render, you might see that the normal map of the object is inverted. This is very, very common because. I'm normal maps inside of Maya usually work with something called the OpenGL in the neural maps instead of from real, work with something called Direct X. So you might see certain normal things inverted on this particular one. And the reason why I like the AI neural map is because here we actually have the option to switch the y-axis. And that's gonna give us a deep proper, as you can see now, it looks like this things are going in. It's going to show us the proper effect you can see. Again, just take a look at the rooms which we know do not exist on the low poly is because it's flat. Right now they look like they're being carved. Then, right? Now, take a look at how it looks. When we inverted this right here. Hello, It looks like slightly wrong. I can't really explain what it is, but it just looks slightly wrong and this is the proper way to do it. So we're going to invert this thing right there. And finally, we need to insert the other file, which is really cool file, which is the ambient occlusion brothels metallic. So for that one again, we just go to Assets, textures and we look for the input, papaya explosion, roughness, Metallica. Now we've talked about this before. This map right here has three maps inside of it. Each channel, the channel, the green channel and blue channel control different parts of the element. The red channel is an ambient occlusion. We're not going to use it here instead of Maya. We're going to use that one instead of from real. But it's a multiplier that we can apply to the thing to give it a little bit more contrast on the ambient occlusion areas. The green is the roughness, so that one goes into specular roughness and the blue is the metal. So we bring this into the mentalist channel right here. Somebody's done, I think is because of the four K textures That's like automatically trying to process them and converting it into texture files once it finds it, that's what's getting stuck. But that's normal. So this goes into mental illness. So this will tell the object that's certain parts are metal and certain parts are not metal. Finally, again, this texture is a flat texture. What I mean by this, and again, this is super important. I know some of you guys already know this, but for everyone else, I really need you guys to understand imagining a curve where zero is black and one is white. Okay? Normally, if we draw an image like a blackened and when you mentioned like a roughness map or a metallic map, we want the zeros to be zeros and we want the Wants to Be once that we want this gradient to be perfectly straight. However, computers use something called the sRGB, which is a curve that they used to modify certain colors so that we can see them properly on a screen because the screen works, we'd like so it pushes the curve. I don't remember if it was down or up. I think it was up like this. It puts it as a triplet like this. It modifies the actual value of the blacks and the whites and everything in-between. And it gives you a slightly different result. This is a very common issue that people have when they export things from substance and they import them into anywhere else. And they're like, why does it need to look exactly the same? What you probably didn't properly set up your color space. So the normal map and the black and white map such as this guy's, should be set to run utility wrong. You can see right here should change this slightly. And once we have that, we can give it a check here on the Render, Arnold Render. And we should see the difference. Remember that in Arnold, it's going to convert all of the textures first. And once it finishes converging, we're going to get the actual render. So now you can see we get the proper roughness and the proper shininess of the object. And this looks really, really freaking cool. So let's go out and reframe the character again. I'm gonna check or select the camera. I'm going to change the focal length to a flatter. I want to like 55. So it's more like a, like a portrait like this. There we go. If we render that, the x looks really, really, really good. Now, it's really noisy. There's two ways to solve this noisiness. First of all, we can of course increase the resolution. If we go from one k squared, 2k took a square, we're going to have more pixels, and therefore the noise is going to be smaller than to be able to appreciate things a little bit better. The other option is to increase the samples. So if we go here to Arnold renderer and we go, I'd like to use adaptive sampling. I'm going to turn this on and then set this to five. And if I hit render, the render is going to take slightly longer as you can see right here. But it's going to give me a cleaner, a cleaner result. And later on here inside of Maya, we can use nicer or not gonna be using the noise, sorry, inside of our real of course. So yeah, that's pretty much it. I'm a little bit concerned about the fact that this guy is mesh display softer. Nash was getting me sort of like a weird faster that look, but there we go. Now, I don't want to do this thing that I did all over again. It's really, what's the word? It's really, it's really annoying where we'd be really annoying to spend all this time doing this thing that we just did for the, for the acts. So what can we do? Well, we can actually duplicate this whole setup. If I just grabbed this guy right here and I say Edit, Duplicate, you can duplicate the Shading Network without the N. I'm gonna use this called width connections to network. And there we go. Sorry, my bad. Edit, Duplicate Shading Network. And we're gonna get an exact copy of the shading. Now we're the only thing that we're not going to have is this thing right here, which is called the shading group. We really don't need it as much right now. But if you want to, you can just create a new like Arnold material. If I create a new AI, standard material or standard surface, we delete this guy right here. And we can connect the color to the surface. And that way we have another like shading group. Now this one, for instance, that's called the spirals body. And the only thing we need to do is go back to the file notes and just replace this with body. So this is the thyroid acts normal. So let's go with thyroids, body normal. Hit Open. It's going to load. And remember, we wait for this to, to process. And since this is a normal map, we need to change the color space back to row. There's one more thing I forgot to change. Give me just 1 s and I'll show it to you. So this guy right here we go. So we changed the utility rock. So the occlusion refers metallic, this one right here. You also need to check this option which is called alpha, is luminous. Okay? So as you can see now, we're having an issue here because there's already one material that's called Empire as volume. We could have done the other compression, but that's again going to take more time. So let's go here too. Shutter off this metallic body. A coalition of this metallic and hit Open. You might need every time you load an image, it automatically switches back the color space to sRGB, which is quite annoying, I'm going to say. But it's just part of the whole process. So just wait for this to load. And once it loads, you change this back to rock. There we go. And we'll change this sera, Alpha's luminance. And then finally base color. We select m thyroids body color and hit Open. It's converting the texture. The reason why it's taking longer is because it's converting the textures back from the order. It's just doing the texture thing for our node, which is fine because we're going to need that. And this is the color of course remains as SRGB. So now we go to the, we can go to the Hypershade. We can right-click this and say select objects with material. So now all of the objects that have the red like cherry material, oh my god. Of the materials that have the red cherry material will be selected. And then we'll just assign, right-click and assign to the next one. I'm going to do the whole setup, the all of the other materials setups off camera guys to of course, again, save a little bit of time. I don't want to bore you with all of that process, but it's the same thing that we just did. Now. Hopefully it did save that scene because I didn't have anything saved and that would be really bummed out to have to do that again. So yeah, that's it. I'll see you back on the next video. 78. Eye Modelling: Hey guys, welcome back to our next part of our series stealing. We're going to continue with the AI modeling, which is like the second to last thing that we need to do for the character. And here's a render. So as I mentioned, I just connected all of the materials. And as you can see, where I'm not doing any subdivision surface, I'm not doing like displacement. This is literally just a basic ray trace render. I'm not going to deny that, but it's just a ray trace render with four K textures that we have for the whole character. So as you can see, it looks really, really cool and this is the most basic default light that we have, as you can see right here. Now there's just one thing I want to mentioned before we move on to the eyes and that is under normal map configuration. I was mentioning that I was using the AI and it was having some issues, some weird like shading. So it's better to use in this case, it worked better for me for this particular one to use the bumped to denote it's plugging the Alpha. This remains as raw, very important. This one you change to tangent space normals. And very importantly, if we're using the Unreal Engine preset, which we are, you need to go to the attribute editor, not the property editor, the attribute editor. And there's gonna be an Arnold section. You need to turn on the fleet at g channels so that the normal map behaves as an OpenGL normal map, which is what I mentioned. That's it. I'm not gonna spend too much time on the lights here in Maya because it's really not needed. So I'm just going to save this in real quick. As you can see, very light scene is just this guy. We only have 126,000 triangles, which is really good for a, for a full character like this guy right here, I'm going to press number five. This thing glows white because it has an emissive mapper connected to it. If you want to see everything just normal, you can click this button right here, which is going to show you the basic shader lamp or thing. So yeah, Control S and let's open a new folder or a new file. So inter source images, I'm gonna go to the right view here and injure sources, source images. You're going to find an image plane that we're gonna be using, which is called I. And the reason we're, we're gonna be doing this is because I want to show you how to build a very cool, a little bit more realistic either, of course, always like different levels of how much detail we can add to a character. This one is, I would say, a good balance between performance and realism. So we're going to have a couple of layers to the eye. Normally you would just have like a sphere and the texture paint into this here, but it looks really fake with this one, we're actually going to get some interesting reflections and refractions. So the eye is made up of a lot of different pieces. But the most important piece that we need is of course, the place where we're going to have the color of the eye. So I'm going to create this here. I'm going to rotate this 90 degrees. I'm going to leave it like this. We 27 divisions. And that's gonna be my sphere. I'm going to move this thing so that it's right there on the center. This sphere right here is going to be the, we call it the sclera, which is the white of the eye. This is the one that's going to contain the normal inflammation of the iris as well. So the color of the eye. So this guy is going to be called sclera low. Then I'm going to duplicate this thing. I'm gonna make it a little bit bigger. And we're going to move some of these vertices around so that we can create this sort of like convex shape that we have. So I'm going to graph, let's say this guy is right here and this guy's right here, and even this guy is right there. And we're going to push this forward without this thing right here. So as you can see, we pushed this things forward a little bit to create this sort of like concave shape. I'm going to grab this guy right here, push it in a little bit. And it's going to create like a little bit of a balloon shape on the front. You can see it's going to be a little bit difficult to see, but hopefully you can visualize how there's like an, an insight element in this thing that we have right here. This is going to be called the, or, sorry, actually, this is going to be called the sclera. And the other one we're going to call the cornea. The cornea is the inside of the eye. The sclera is gonna be the outside of the eye. The one that we're gonna be like painting white is this one right here? Let me just make sure I'm doing this. Yeah, No, Oh my God. This is why you need to study medicine. Cornea is the one on the outside and sclera is gonna be the one on the insect. Cornea is gonna be the transparent one, sclera low, and this is going to be corn yellow. Now what we need to do is we need to model or create some high Pauli's for those elements so that we get a softer effect on the base that we're gonna be doing. I'm going to push this down like this. There we go. Now, let's start with this one which is the easy one, which is the cornea. I'm just going to duplicate the object. Hide the other one. And this one we're going to call cornea high. And we just want to smooth mesh. And we're going to move this a couple of times here. One, let's give it the two divisions to have a really, really, really smooth cornea effect. And then I'm going to grab the other one, the sclera. Isolate that and this one's going to be slightly different. I'm going to Control D. I'm going to isolate this new one right here. I'm actually going to grab this guy is right here. I'm going to push them in. This edge right here. Actually, I'm going to push this in because with this, well, we're actually going to be creating is the border of the iris. If we take a macroscopic view of the limbs here, we actually have one like real macro. So as you can see, there's this little white thing and it bleeds in into the iris. It's not like a, like a like a super strong cut is a bleeding of the eye. And then there's a hole here on the center right. So that's the kinda stuff that we want to capture here. And that's what we're doing this. We're creating that sort of like convex shape where the iris would be. And this is going to give us some very nice death. Now this one, I am going to give it the bubble, two segments in the small fraction to get an interesting effect. And then we're going to smooth this one as well. So smooth probably twice as well. You can see that we get those very weird-looking like triangles on the center. Those could result problematic, but usually there's gonna be like a dark the pupil, the hole on the eye, it's going to be there. So it's really not that, not that big of a deal. And this one of course is going to be called sclera. Hi. With this done, we now properly have the eyes, this one right here, and we have the sclera. Those are gonna be the two meshes that we're going to have. The reason why I mentioned that this is not the most like super cinematic either you're going to see, but it's going to give you a good result. It's because we only have two low poly meshes, the sclera and the cornea. Now, this two guys right here, I'm going to isolate the Real quick, grab both of them, make sure we soften the edge so we get a really nice soft edge. We could even give them a subdivision. I don't think it's like it will be that much of a problem to be honest. But I don't want to increase the amount of triangles as much as you can see right now with this two guys who are already at 5,000,000. So we will have doubled that because it's two ice, right? The I don't want that. So I'm going to keep them like this. We do need to get UVs though, so we're going to use the same process. We're going to select both elements here. And I'm going to say UV, delete UVs, UV camera based projection for this one, uv 3D cut, and I'm going to call it a back here. Same for the other one. I'm going to grab the sclera uv 3D cut and we're going to cut back here. Why bag there? Because sometimes you're going to see a little bit of the side of the eye and we don't want to see the scene and we're not really going to see the back. Again. I've seen some production houses where they are caught the eye in half or three-quarters to save a little bit of geometry space, I'm going to show you another slightly different way. Let's start with the sclera. And we're gonna have two more materials for this one's control, you control l. So this is the big guy. This is the one that I want. So I'm gonna grab this guy right here. I'm going to center this as closely as I can. Because this is the one that we want to have them most of the geometry width. So something like that. And this one which is the back of the eye, we're going to make it small. Here's where were we break a little bit of the rules in regards to, um, to our geometries. We break the rules a little bit because we're going to have different levels of textual density. But it's fine because this is again, the part that we are gonna be seeing. So that's the sclera for the, for this one, we're going to do the same thing. Control you, control L, which will you. There we go. This one is the main one, so we're going to make it fit. I'm trying to make sure that it lines up. I believe we can snap it to the grid. There we go. So we have a perfect rate right there. And then this one, we're gonna make it really slow, small and habits on this side right here. Remember the rule, we shouldn't be touching any anything outside of the box. And that's pretty much it. So we got sclera cornea, cornea, sclera, sclera low. It's going to have its own, Let's just leave history for everything. It's Clara low is going to have its own materials. I'm going to right-click assign. The new material is going to be Maya Lambert. And we're going to assign N M underscore. We're going to call this. There we go. Then the cornea low gonna assign a new material as well, Maya Lambert. And this is going to be called M underscore cornea. So that's the, I just find that to be a little bit easier to understand because I know that that's the color of the eye. And then cornea, I know it's gonna be the transparent thing that we want to have. So with that done, we're ready to proceed with a debates and the texturing process. Now this is one of those elements that I personally prefer to texture inside of Photoshop. Just because I think it's a lot easier. So what I'm gonna do here is I'm going to grab both Lowe's File Export Selection. We're gonna go to our assets two main base, and this is going to be ice underscore. Hello. And then we've got this two guys gene to repeat the last action, which is the export. And we export the ice underscore. Hi, There we go. Now, I do want to show you before we jump into the hole, like a baking process, I do want to show you why this is going to be so important. I'm going to hide this two guys. And I'm going to show you what the main processor we're gonna do is it's going to contain. So let's imagine that this guy right here is an eye texture, just like a very basic I texture, I'm just going to assign a new material here on Arnold AI standard surface. And we're going to make this standard surface like green or yellow. Let's make it yellow, like that sort of thing. This guy, I'm going to assign a new material as well. Arnold. Ai standard surface. I'm going to leave it like this for now. So we need a basic like a light. So I'm just going to go for a sky dome light. And let's bring in the HDRI that we have. This blocky for the studio. There we go. So let's of course save the scene setup. And let's do a quick render. If we render this scene right now, what we're about to see is this, we just see a very basic, like a very basic object which has an object inside of it. What we're eventually going to be doing inside the firm real is we're going to be calibrating the sclera, the outer portion work like glass. Glass is a transmissive surface. It lets light through and you're allowed to see or you're gonna be able to see what's inside the elements. Okay? So we get this right here. So when I do this, as you can see, now we see the inside of the eye being covered by this very cool like plastic film on top. And we want this plastic film to go be a lot glossier. The specularity of that film is going to be lower. You can see it's going to look at very, very shiny. But there's an interesting thing here. There's a concept called index of refraction, which is this thing right here, index of refraction, IOR. And that pretty much means when you have a surface in a ray of light hits, there's gonna be an angle over here. I don't remember if it's this one or this one, but there's an angle at which the light is bent. Air, for instance, like the air that's around us has an index of refraction of about one point something. So that's why when you are in a really open place and you'll see an open, like a flame or some lights really, really far away. Sometimes it distorts the image a little bit. That's because the air is a volume. It's something that light has to travel through. It's very clear there's not a lot of stuff in that air, but it still needs to travel through it so it will refract a little bit glass, for instance, ice, diamonds, like every single thing that we see, plastics will have an index of refraction. If the index of refraction is set to one and we render nothing, we just see through it. It's an each transparent object like goes exactly through it. The more we increase the index of refraction. So if we go like 1.5, the more light is going to bend. And that's why we can see a little bit of the reflection from the background inside of the eye. In this case, if we really crank this up, we're going to start getting this sort of like a metallic abuse because we're, we're, we're viewing way more reflection or delight. This is being bound in a really extreme way. So you're usually not going to find this sort of things. But we're gonna go in this case, I would say for, for a glass which is like our eyes, a 1.5 is perfectly fine. I've seen some people use something like a 1.3. Another very common number, which gives us a nice results as well, but we're gonna be using probably 1.5. Now, here's why this is so important. Imagine we're seeing the eye is straight from the front. When we see the eye straight from the front, I'm expecting to see the reflections of the lights right here. And this is gonna give us a really realistic effect. Of course, we're going to be texturing and the iris right here, which is gonna give us a really nice look. And we're going to have the center of the eye, everything. We're going to have everything inside of the, of the texture on top of those textures which are going to have their own roughness and their own specularity and everything. We're going to have this glossy surface. Usually the glossy surface is like a 0.0 ones like really, really, really glossy. Just like bounces back every single bit of light. Let me, let me change to GPU because I'm worried that the audio is not saving properly. There we go. There we go. So this is the, again the effect. But here's the interesting part. When we move the eye around and we go to a side view to like a perfect side view. The refraction of the I will let us see, as you can see, a little bit of the insight of the Odyssey, very interesting like behavior that happens with DI. And you can see it on all of these pictures. Like if we take a picture of the eye in a perfect side view. Like if I look, I, I macro side, look up how, even though we're seeing through the side and this is supposed to be a clear substance. We're still seeing the black and the color of the iris. Again, even though we are on the side view, that is thanks to the refraction, the way that the concavity of the effect generates the sort of thing allows us to see inside of the eye even though it's not under direct path. Look at this right here. So that's what we're going for. Okay, that's the effect that we're going for. This sort of like exaggeration of the eye so that we can see the inside of the iris and the little bit of the pupil. So, yeah, and now I'm doing this with the hypotheses. This is like traditional render, but we can mimic this and nowadays renders are really strong. You can generate this very, very cool effects with, with very basic stuff. So yeah, that's pretty much it. I think. I do want to show you this because I did this a while back on the marmoset. So let me just show you real quick here. Here we go. So this is the exact example that I mean nowadays with what's the word with marmoset, you actually have access to that sort of effects are right now, if I move this to the side, I'm not really seeing it that much, but as soon as I turn on ray tracing, everything looks like a more realistic. I look at that. Look at how deep those eyes look, how realistic they look, because they are actually refracting and reflecting the light the way we want. So this is what we're gonna be going for. So no, don't save that. Yeah, We're ready to go into the texturing, so make sure to model this guy's sclera cornea. Cornea sclera high, low. And that we're going to bring this into substance first to get a normal map, and then we're going to bring this into Photoshop. So hang on tight and I'll see you back on the next video. 79. Eye Texturing: Hey guys, welcome back to the next part of the series. We're going to continue with the eye texturing and it's a rather simple process. I'm just going to go here, create a new file. We don't really need for K, I think for case a little bit overkill. So we're gonna go to k, I'm going to hit okay, with the eyes glow. So we should have m cornea, m, m. And I know it sounds really stupid, but we actually are going to get something here. Because remember the difference from the inside to the outside eye on the hypotenuse is like, it's quite interesting because of the dip that we added. So I'm going to go here. Either high-quality here to two k bake. And very important here we're gonna do match, same mesh name, ambient occlusion, match same mesh name, curvature only say mesh name, thickness, say mesh name, and we bake. That's it. That's pretty much it. So that's the cornea. And there we go. Let's go to the painter. And if we turn off the cornea, this is what we have. So big problem, right? What's happening here? Well, remember, we need to push the cash in and out enough so that we can gather all of the elements. So let's go back to the baker. Let me close this window. Residue I is really weird. One that seems to be some sort of log bog or something. Anyway, we're not going to do the coordinate, we're just gonna do the eye. And that we're gonna go to the common settings and let's increase the max are reared distance in this case, that's pretty much what we wait. Let's do a quick bake. I can see that it's getting better. It's still not enough. Cancel, which is more vague selected. There we go. So as you can see, that is properly capturing the eye texture that we need. So let's just wait for this to finish. And that's it. So let's go to the painter. As you can see, now we have the proper base. So even though this is a sphere, it's this interesting thing. Even though this is a sphere like a complete sphere, you can see how we are seeing the depth baked into the effect. This could be like the most basic eye you could do. By the way, it's a fake eye of course. But as you can see, gives you a really nice effect. And when we add this thing on top with its proper refraction is going to give us the greatest or that the cool effects. So we're going to export this. I'm going to go File and Export textures. We're going to export in the unreal or NTU E4 to our assets, of course, to the textures folder. Let's just check the name. There we go. Am cornea, that's perfect. And we just export. Oh my God, sorry about that. Should be a fast export. And here we go. Now, this is the interesting thing. We actually don't need the ambient occlusion. We don't need the base color, we don't need the roughness and we don't need the cornea normal because there's, well, the dermal know that one we do need, we just need this MI, normal and the coordinate normal because we're using this once, this guy right here as a guide to create the colors inside of Photoshop. So let's close this. I'm going to save this for you guys in case you need. It. Should be a fairly easy setup, but it's going to be included I textures. And let's open Photoshop. So inside the Photoshop I'm going to open a new folder control or new file. It's going to be a 24-year by 2048. And in this element we're going to bring in DI normal like that. So now it's just a matter of knowing where the eye starts and stops. And that's something that we need to get from Maya. So I'm going to grab the cornea low. I'm gonna go UVs, UV editor, and we have our UVs here, of course, the corn yellow. There we go. According yellow sclera. The sclera is important one. And what I'm gonna do is I'm going to select the UVs. And I'm gonna go to image and we're going to create something called a UV Snapshot. We're going to have this on our assets folder. I'm going to call this I. Uv is gonna be P and G 2048. By 2048, there we go, and we hit Apply and Close. So what that's gonna do is it's going to take a picture. And we're gonna be able to use this picture as a map inside of Photoshop to know where the art starts and ends. And as you can see, we got this very, very nice line here. Now we need to look for some textures and we're going to look here in the Internet, of course. And what I'm going to look for, I textures. And it depends on the kind of character energy going forward to the cartoon character. Like a normal character. I'm going to try to go for a very realistic picture like I wanna go for something like that and enter to do that, we need the iris. I close up of the eyes. I'm going to say human iris. And let's see if we can find something. Not what you want to look for when doing this sort of search is you want an, a picture of the iris that is not influenced by any light like this one right here. This is really, really, really good because we can see all of the colors. I'm not seeing a lot of reflections, and it just looks very nice. This one is also really good. I do see a little bit of reflection here, but we can patch it out. So I'm going to use this one. I'm going to copy this right here and then bring it in here. Control V, as you can see, pretty much match what we want. So I'm going to scale it up a little bit. The first thing is I need to mask this out, so I'm going to use my selection tool here. We're going to select the iris, like right around. They're going to try not to select the upper eyelid there. Something like that. I'm going to mask this out. So I'm going to create a mask. The mask is very sharp and usually, as we've mentioned before, there's a smooth transition. So on the mask I'm going to add a filter Blur, Gaussian Blur. I'm going to blur this out a little bit, just a little bit, probably like five pixels. There we go. Now how do we fix this? We can leave it if we want to. But the quick way to fix it, I'm going to apply this mask by the way, it was going to say it Right-click Apply Layer Mask. So now we've covered the effect, and I'm going to duplicate this thing. Rotate this a little bit like this. Mask it out. The brush. Paint black. There we go. So we mask it out. And then with the brush again, with soft brush, I'm going to bring it in that specific area. As you can see, we're just going to blend things a little bit like that. No one's really going to know, it's gonna be very, very difficult to know. Now, I am going to look for I texture because just one that I very frequently use, which is, I think it's this one right here, which has the Baines and stuff. I am actually going to go for this one, which has a more natural color. The other one looks a little bit too creepy. So I'm going to copy this image control V to paste it. And we're going to make it a little bit bigger. Now of course, this one is gonna be underneath this two guys. These two guys we can Control E to merge them together. And then this guy, which is going to like position it so that it's behind our iris. Like that. Now you can also see that there's a little bit of light information here on the iris, which I don't love. So I'm going to press Control L to go into the levels. I'm going to see actually on this guy Control L. I'm gonna see if I can like creating more like a reduce the highlights like this case right here. We can reduce them to try and have as little as a variation as possible. It's fine to have a little bit of variation. But the least or the less variation that we have, the better, the more realistic the whole thing is gonna look. Actually one thing I'm gonna do here, and it's just gonna make it a lot easier. I'm just going to duplicate this and rotate around. So Control D, Control D, Control T. And let's rotate around. We're going to mask it again. Brush. We're going to mask everything here. And then I'm going to bring in this thing right here. So we do lose a little bit of that like interesting colors that we have, but we get a more neutral, a way, way more neutral effect here, which is important to keep things as nice as possible. You can see it's not perfectly round, so I have to be careful here. There we go. That looks really cool. So again, we grab both of them, control each combined, and that's a lot better. It's neutral color. We're not having any, any weird colors. And again, this is important because you don't want there to be any light information. You'll want the lines information to be happening on the scene itself. So for this one, I'm going to sample this or like beige color. And we're going to replicate it everywhere. So that's gonna be the base color of the, of the eye. Now, I think there are more textures out here that you can get and some of them have nice materials like this one is actually usually quite nice as you can see, it's really big. So I'm going to copy the image, paste it in here. And yes, I'm going to use it, but I'm not going to use it as much because I do think it's a little bit too red. So I'm gonna go like there. Then with the eraser. And that's a soft eraser. I'm going to erase the center there. So I just wanted like the veins. I'm just going to play with the opacity a little bit. Try to help. I can move this or Hey, when this happens, there's some sort of input that I'm missing. The worst input. There we go. Okay, so let's go back here. Let's paste the image again. And again. I'm going to delete like the outer edge of the eye, just leave like the veins. And we can use something like. An overlay or lightened like a multiply looks actually quite nice. Play a little bit with the opacity. There we go. Distinct right here. So weird for there somewhere. This one. You can see it. I'm not sure where that were boarding is coming from. Yeah. That's really weird. I'm not sure with this border is coming from, but as you can see, this is looking a little bit better. It's not this guy. This guy is this guy here. There we go. So we're gonna have our nice cream color and then our veins right here. And then the, I think the color here is, it's not perfect. So I'm going to Control L. And just like or, or maybe this guy right here, we can smooth it or softened a little bit more. There we go, because I don't want to see the veins like superintendent, there we go. So this is gonna be my diffuse channel. We can save this. I'm going to save this on our assets, of course, textures. It's gonna be a JPEG file is fine. Or let's do I think it's P&G. Yeah, so we have MIs and instead of the normal, this is gonna be the texture or the color. And now we have to old school do the, the, the effects. Now, before we do that though, we need to decide what kind of color we want for the eyes. And I don't want to go for this or like yellow eyes, like demons. I've seen some diamonds with yellow eyes that look really cool. So demon yellow, I can see that it looks interesting. I remember the first time I see them it was in, in supernatural and it's like an interesting color. It's going to press Control U. And we can change the hue and go for something that looks a little bit more. Interestingly, the golden, golden yellow. There we go. That looks really that blue right there. That I think it works really nice. So Control Shift S, we save this again, C, P, and G. That's gonna be the color. Now, we need to generate the other two maps that we normally use, which is the we can use auto-generate the colormap or sorry, another color map, D specular map, and then the what's the word DEP entirely? Well, we don't have any metallic, so it's mainly the specular map like which parts are going to shine more and less. So I'm going to Control G disguise. I'm going to call this group diffuse. And again, this is like old school way of doing it, but I find it works really, really nice. Eyes are one of those things that a lot of studios like you'll just go online and buy an iPad that looks really, really good. Someone else already did it and prepare it for you, and then you just work with this. But this is the way I would do it if I had to do it from scratch. This one, Control Shift U, we desaturated. This one controls you view with a saturated and this one Control Shift deal with the saturates. So this is be my roughness map, like how rough it is each of these things gonna be. Now remember that the wider you go, the rougher it is. So in this case, I actually want this white to be a lot less intense. I'm going to press Control I, to invert. I don't want the inside of the eye to be as a shiny, this one same thing, control I want, or we can press Control L and play around with some of the elements here. So for instance, you can see there that we're starting to see the veins. And we can make the veins be a little bit refers. So we make them black first like this, and then we invert control eye. And that's what this is going to happen, is this part of the eye is going to be a really shiny and the veins are not gonna be as China because the wider you go, the less shiny you get. Now, that means that this one probably needs to go into like a normal mode. There we go. That's a lot better. Well actually it's a little bit weird. Let's blend it up a little bit. There we go. So something like this because we want the colors to be really similar. Even this one, to be honest, I'm going to Control L. Just like darken things a little bit. So it's gonna be really, really shiny. And the eye, the sclera tends to be quite flat. It is really rough, so I'm gonna, I'm gonna push this roughness up. However, I do want to make sure that the center there is extremely rough because it's the black thing, right? Like no light should be bouncing from that. So I'm going to use a hard round brush. It really hard round brush here. And I'm just going to do that. So that plays right there is going to be completely, completely rough. We're going to save this. I'm going to go Assets, textures is going to be in P and G of course. And we're going to go M. Roughness. So we really just need those three things. We didn't normal. We need the roughness and we need the color that I'm gonna show you one extra trigger right here. And if you take a look at the roughness, it might be a good idea to have a little bit of extra bumpiness because the normal membrane now is very flat. So we can duplicate this thing again. I can press Control Shift or Control D, Control-C, Control-V. There we go. Control D, which is duplicate. There we go. Just right-click and move it Control D to combine all of the things inside of that carpet. And there's a plugin here called a D. If you grab this layer and you go to Filter, there's this 3D generate normal map. Now, you always get this meshes that this message, message that this thing is going to be obsolete and you're no longer going to have it then, blah, blah, blah. But the thing is, they've been doing or saying this for a very long time and it's still there. Right now, I'm not seeing it. Filter 3D, generally normal map. Oh, it's no longer here. Okay, don't worry. So now there's another filter if you go here and there's this, I think Neural Filters. And the neural filters are like dislike smart thing elements. And I do believe the other did they know they haven't that bumped back. Okay. No problem. So I'm gonna show you a different way to do this. There's a plug-in or a little thing that we can do and should be working. Give me 1 s. Okay, I'm getting an error now. So it says filter 3D generate normal map. And that was getting some sort of like graphic things. I'm going to go to Preferences General. And there has to be something here on performance about the graphics card. Performance. Use graphic processor. So it is working filter through the normal map. It's not really working. Don't worry. There's this side right here is called a normal map online. Like if you literally just like look for general normal map from texture, There's a lot of ways to do this. People have been doing this for a long time. So the only thing we need to do is you can see is Click Here. We go to our images. We grab our color, hit Open, and it's going to generate the normal lab. Now, here's the important point. Egn, original normal map, you need to visualize where the colors are. You can see the green is on top and the red is on the bottom. So it should look something similar. There's gonna be, there usually is an option to degenerate that. In this case it doesn't seem to be one. But if it's if it's not, I'm going to show you how to fix it. So I'm going to download this. And now we have this normal map right here, which has all of that very cool detail. I'm going to grab that image, bring it into Photoshop. And what we can do is we can use a, an option called a multiply. If we multiply or if we can do overlay, not really overly. There's one option that just gives us the proper contribution here is we want to remember that when we combine normal maps in this case, which is what we're gonna be doing, we need to make sure that this purple color remains as a purple color. And this is a little bit too intense to be honest. Now, I do feel that we have the wide channel inverted as well. So I'm going to rasterize this layer. I'm going to go to the channels, I'm going to grab the green channel. I'm going to hit Control I to invert it. So what that does now, if I check again, is now the colors match the green on the top and red on the bottom. In this case, it's on the other side. You can also flip it to the other side on the red channel. So Control I. And now it should be the exact same ones. So greens on the top and rats on the bottom. So they are in the same sort of like language. And let me remember which one was it? Soft, light. Soft light. So as you can see with soft light, we can combine both of them. And now we might just need to adjust this thing a little bit. I got this thing again. Control T channels. Let's go here. There we go. We'll just position this where it's supposed to be on the, on the old normal map. And even if we need to make it a little bit, like, we shouldn't need to do this because the normal maps should be aligned to the whole thing, which then this tells me that the diffused then is no longer a line to the proper channels, so we need to change that. We also flip this channels here. Oh God, I'm making a mess, right? Hopefully I'm not confusing you guys as much. Let me let me open a new file here. This guy. So that's the color. And this color, we need to have the old normal map and the new normal map. So this is the old normal map. If we align there, you're going to see it doesn't match. So I'm going to graph my Beth again, we're going to grab this little Home tab right here. There we go. Match it to the square for you just lower the opacity a little bit. That color should match that. So let's modify the color a little bit. If we need to. Make it a little bit smaller and stuff, it's really matches closest bottle, that's really close thing we can make it even better. There we go. So that's my color. That's where my colors should be. So there's normal map is still the same one. And this is the new color that we're gonna be using. Even if we have that little border, that's fine. We're not going to see them, the image. So let me save this again as the eye color. Yes. Okay. And we're gonna go online again. Click here. Let's grab the new Eichler, open. Refresh. Open downloads. Let's bring this into Photoshop, but not in here, but in a different one. So we can flip the channels first. So control, I direct the green channel and control ie, the red channel. And this should be matching the same colors. And now we bring this in here. Not there, sorry, here. There we go. And if we turn this into multiply overlay or soft light, we should get, Thanks, That's normal math looks really good. I'm still going to adjust this a little bit. Or actually we can leave it like this. You can play that are a little bit with this intensity is just still a little bit of normal map information that I want to add like that. Let's save this is gonna be the new, let's call this I1 normal V2. V2. There we go. And that way we're gonna be able to have our normal map or roughness map and everything else. Now the roughness map is also going to be slightly off, right, Because we move things around. So I'm going to have to bring in the roughness map, which we already exported this one right here. And I'm going to have to scale this so that it matches the color. So let's very quickly go for the color. Lower the opacity. I'm going to match this pretty much one-to-one. This one does need to be matched one-to-one. There we go. That's pretty much it. Now this one we save again as the roughest. Cool. So this should be it guys, I'm gonna stop the video right here because I know we already went quite a bit like more than we should have done. I'm sorry for the further problem there under the texture side of things. Then the next bit I'm going to show you instead of marmoset, a quick setup just to see if this is actually working. So hang on tight and I'll see you back on the next one. 80. Eye Setup: Hey guys, welcome back to the next part of the series. Today we're going to take a quick look at the eyes setup instead of marmots at first, just to do a quick check and then we're going to set it up inside of Maya. So instead of Momma said, I am gonna go to my textures and my assets, have this on the other screen. And if I bring my main base, I can break the ice low. There we go. And we have the cornea and the eye. The cornea, I am going to change the diffusion, or sorry, the BRI will. Where is it going to change this transmission? And this is gonna be refreshing. Now as you can see, it's refracting where of course, the index of refraction is 1.5. We're going to bring the roughness down. There we go. And as you can see, that's pretty much glass and it's refracted the eye, we're going to texture it. I know some of you might not have more or less it don't worry again, I'm going to do this instead of Unreal later on. I just wanted to show you how this is going to look at to see if we're like there. I'm going to grab the eye color and the eye color is going to go to a Albedo map. There we go. Looks really good. We're going to grab the eye normal. And that's gonna be of course the normal map. As you can see that really it kind of like pushes the eye back, which is really, really cool. Uses some interesting details there. Then we're going to grab the roughness as well, which is gonna make certain things like shine little bit more than others. Now it doesn't look like much right now. But again, if we go over here to the retina and we turn a ray tracing, which is going to actually activate the ray tracing effect when we see it from the side, as you can see, we're going to see the red colors and the effects. So this is gonna give us the realistic sort of either we're looking for right now, it looks a little bit darker than it should. And that's, I think because we need to go here to the cornea. And we can change a couple of things here. There's one way to give it just a little bit more life. Of course later on when we have an actual light like shining onto the object. It's also going to help with the overall effect, but it looks a little bit too dark. I'm not sure if this is because of the transmission. It's this guy right here trying to figure out which one that is on this one. Oh cool. Reflections, rate tracing, man sampling. Now we're doing things properly. I'm sure for z, the intensity of the light maybe. But yeah, like the maps are working as intended as you can see when we see it from the side, we get this effect. So let's close this real quick. And let's go quickly into, let's save the scene, of course. And we're going to go quickly to the other scene, two thyroids character scene. We're going to import the eye. So we're going to bring in the ice from our assets folders, main bakes. I'm going to bring the AI slow. We go. We need to properly positioned and where it's supposed to be. I'm going to group them. Very important that we grouped them. So we modify the group and we're going to position them on their plates. Let's turn it on number six here. Again, let's turn off the aces to untold maps so we can see things a little bit better. This is gonna go right around there, then make the ice is slightly smaller. And usually you want the bumpy like bumpiness of the eye that we were modeled to push out a little bit more than you would expect. Are also a little bit higher. So it's a little bit of the iris is going to be hidden by the upper lip. Lift. There we go. That looks it looks good. Now let's set up the materials. The sclera has this MI, material, which is again the color one. Let's make this an AI standard surface. Let's call this m underscore I. And let's input the maps. So the colormap is gonna be, of course, the color that we have. Assets, textures, got the eye color. There we go. Then the cornea change the material to an AI standard surface as well. But this one, it's called this, I'm cornea, is gonna be transmission. As you can see. We can see the eyes right there. There we go. That looks good. I like that. We're going to bring the weight or the roughness down to like a points here, one of the cornea. So it's a really glassy, it's there. It's just that we're not seeing it, right. It's, it's, it becomes a little bit invisible if you wish. So on the sclera, we still need to add a couple of things on the geometry. We're going to add the bump. It's gonna be a file, it's going to be tangent space normals for Rob and we're going to flip the G channel. And then on the file, we're going to bring in the eye. Normal b2. Just a little bit of detail there, open. This is going to be a utility rock. Can see, it looks good. Breaks down the light a little bit. And we're gonna go back to the material and on the roughness. And then another file. Be seen or sorry, assets, textures, I, roughness open. And there's gonna be a utility raw. And very important. We're going to use Alpha as luminance. There we go. Now we grabbed this group, we're going to call this Cyrus ice control, and we can just mirror it. So shift right-click. We're going to mirror x world narrative and hit apply. And it should be on the other side. We go. The important thing about the ice is you don't want the character to look cross. I, that very, very, very important to, to try to control. So let's save this real quick. Let's go into Arnold and give it a shot. Let's see how this look with renderer, because it's not the same thing to see here, to see it here on the viewport and to see it with the proper lights and everything. So yeah, there we go. Look at that. Really nice reflections on the eyes. Really nice reflections there. And that's it, guys. With this, we are pretty much done with, with the eyes set up for the character. Again, this is a, a, an intermediate level of I set up. You can go super basic, which is just a sphere with a texture, and you can go super advanced. I've seen people that model the iris and the cornea and everything. It looks really, really, really good, but it's really, really, really expensive. But you are going to have a lot of shaders, you're going to have a lot of elements. And it makes it a little bit difficult to control in-game. But as you can see, this one right here looks pretty, pretty **** good. So it can change, of course, to our camera here. Again, the most important thing is when we see it from the front, it should look cross, cross. I, he should look like, very, very nice. I'm going to show you one thing because this is one thing that I wanted to do. I actually want it at this I to be like a cataract eye. So I'm going to graph this coordinate right here. I'm going to assign a new material, Arnold AI standard surface. And it's going to be a transmissive surface, but it's gonna be really rough. Okay, so I'm going to increase the roughness quite a bit for that one. What's going to happen is that eye right there. It's gonna be like cloudy. It should look a little bit cloudy. I think it's a little bit too cloudy. We can also remove a little bit of the transmission and bring back a little bit of the diffuse. As you can see, it's going to look like a, like a damaged I probably keep the transmission higher. Kind of like frosted glass. Little bit less. There we go. We're going to have cataract I. Okay, so that's one way to do it. Now there's a couple of more things that are going to happen here with the character. And you guys already know what I'm talking about, which is of course at the beard, we need to do the beard, we need to do the eyebrows. We're probably going to be doing some eyelashes as well. I'm going to show you a couple of extra little details that we can adhere on the ice to add that extra level of realism to the character, which is not going to really hit on the performance. But yeah, look at everything else, thinks are like turning out quite, quite nice. So on the next video, guys, we're going to talk about the basics of oxygen because they really need to show you the how action works in, in general as a system. And then we're gonna be starting with the groom. We're gonna be doing the groom for the beard, and we're gonna be doing the group for the eyebrows and some extra little things. Yeah, hang on tight and I'll see you back on the next one. Bye bye. 81. Xgen Basics: Hey guys, welcome back to the next part of this series. This video is definitely going to be a little bit longer than usual because we need to cover the basics of the action a system. And I want to make sure that we have everything in a single beat though before we start with the grooming process. So there's a couple of things that we are going to explain it and I'm going to explain before we jump into the grooming system. In regards to here, there's three types of here we have sculpted hair, which is very traditional. I've done this several times for several projects, and it works really well. In games. It's a really good way to do hair because it's really lightweight. In regards to polygons, it gives a nice shape. It holds the shape perfectly because it's a solid thing. However, it is tricky to sculpt and some types of stylistic choices might not be good for this. The second type is haircuts. I've also done here cars before, sorry about that. And the hair cars have one really cool feature, which is the fact that they are lightweight relatively, you do get a lot of hair hair carts. But if you can get them to like, like if you can properly plays them and you can properly generate the maps, which is slightly tricky, is like the technical. You can get some really, really cool results. I recommend the hair cards when the game has to go a little bit more realistic, but you also need to keep performance in mind. Finally, we have things called hair systems. So inside of Maya, for instance, the hair system that we have is called action. There's a two more did I know that a really good one of them is called Getty and the other one's called ordinate tricks. And the hair systems use a guide like this guy, such as here right here to generate the hair that you're gonna be using to populate the character right? Now, the cool thing about action is that it's already included with mine. It's completely free and it gives you Probably the best possible result because you're actually getting individual fibers for each part of the hair. The bad thing about that is the fact that you, it's really heavy. Like even for animations, It's really heavy. So again, whenever you're working on a project, you're gonna have to think about, well, what's the best way to do it. A couple of years ago, the hair systems were pretty much incompatible with, with game engines, but nowadays, especially with Unreal Engine five, which is the one we're gonna be using later. It's very easy to use them. Like you literally just export the curves and you're gonna get them inside of Unreal Engine. The settlements of the Unreal Engine can be a little bit tricky. Keeping in mind that none of those games nowadays where at least at the time of this recording, using this system, there's more and more developers using them. But it's still like where on the, on the edge of the new technology. So how this actually works? Well, again, After we've just covered that point of the three types of hairs, I will say there's three things you need to have. You need to have a clean scene or a scene where you're gonna be working with in this case is gonna be this thyristor characterising. You need to save the scene. This is super-important that I'm mentioning it right now because it's a very common mistake with action. You need to save the scene. Because we're gonna be saving a lot of things like descriptions, collections and things like that which involved the action system. I'm going to explain what those are in just a second. You need to have this setup, the project setup. So your basic Maya project setup, It's really important that we have it for this specific like part of the process. Then you need to have a specific geometry, which is word. You're going to be placing the hair itself. Now, if you take a look at the character here, this geometry that we have is really, really big and we really don't need this much geometry to attach the HER2. So what I'm gonna do is I'm going to duplicate that character Control D. I'm going to isolate that for just a second. That new duplicated effect. Let's unlock the elements. What I'm gonna do is I'm going to delete all of the phases that we don't need. So we're gonna be working, let's say on the head of the character. This is the only part that we need. And talking about the like the mustache and stuff like that. We really don't need the nose. So we can delete the nose. We really don't need the ice. So we can delete the ice. We of course don't need it. The ears. We're all going to go really close to the ears, but not as close so we don't need the ears. And where we're generating here is called a CAP. Very, very common in grooming systems. We're going to have a cap. So we're actually let me, let me go back a little bit because we might need some parts of the of the upper eyes for the eyebrows. So we're not going to need the inner eyes like this guys right here, something like that. We're not going to need just to make sure I grabbed the exact same 112, this guy right here. There we go. We don't need that one. We can also delete this part of the nose. Again, thanks to the way we've, let me turn on symmetry. Thanks to the way we model the whole character, this should be fairly easy to do if we wanted to grab parts of the face, the head tube to add here, we could, this case the character is bald, so we really don't need to write this guy right here. And I would say, I'm going to go right view F. I'm going to use my Lasso Tool. I never use this tool, but in this case it's actually quite handy. I'm just gonna grab all of these faces and delete. And then on this side right here. This is probably going to be the, the area where we're going to be working, right? Like that's the, those are the phases that we're gonna be using to generate our beards and our eyebrows. Okay? Of course we also don't need the inside of the mouth. So we can split them out like outside right around there. Probably one more just in case we want to have a little bit of hair so close to the lips. And we delete all of that. There we go. So this mesh that we have right here can actually be hidden later on or we can just, yeah, it's usually going to be hidden or later on so that we don't see it, it shouldn't, we shouldn't really see a difference here. Some people like to scale it down a little bit to get it inside of the character. We're not gonna do that right now. Let's go here. And I'm going to grab that guy right there. I'm going to Shift P to get it out of the elements. So this is going to be, we're going to call this thyroid face hair attachment. This thing eventually is going to be parented to the same bone as the face. So however the face moves, this thing is going to move. Hopefully you can picture that without having a rig just yet. So this is where we're gonna be working. Everything else we really don't need. So I'm going to grab, I'm going to select all by type geometry. I'm going to press, I'm going to de-select this guy and de-select this guy. I'm going to press H. That way we're gonna have our two elements right here, which are the only ones that we need. So far. We don't need to worry about anything else. So we already have our mesh. This one, I'm actually going to get it into a layer and I'm going to set this to reference so we can't touch it. The only mesh that we're gonna be able to touch as this one right here. So once the, once we have this right here, what we can do is we can start taking a look at the action system. I'm gonna go to windows. This is like the all of the setup needed for the actual system. I'm going to go to Windows, Settings and Preferences Plug-in manager. And I'm gonna make sure that action is turned on. So just write x g. There you go. Action took it is there. I'm going to load everything just in case we need anything. I don't usually keep this in all the load, but I'm just gonna do it for now in case maya crashes. Let's say real quick. Of course you can, of course do increments and saves as well. And now we can go to the action window and we're going to have this. Now, I need to explain two things. There's two actions systems and it gets confusing. We got the traditional exchange system right here, which is this window. And then we got the interactive group editor, which is this one right here. For this particular project, I do think that we're going to have a little bit more control. It's gonna be a little bit easier to get exactly the result that we want by going into the traditional action system. However, who are eventually going to convert what we're doing here to a global splines. And then those winds are gonna be the ones that we're gonna be export. So if later on, you'll learn more techniques and you feel comfortable working directly on the interactive system, Go for it. However, again, for, especially if you're a beginner, I strongly recommend that you learn how everything was built because this was the first system, the action system. And it's just gonna be a little bit easier. I'm going to open the extra window and we get this. And here we have three options. Create a new description, import the collection, or import a preset from the library. We're going to create the new description. The description is sort of like the, like the main group, like the big group of all of the things that we're gonna be doing. Instead of a description, we have collections. And then collection is a name implies a collection of sets or data with a specific settings that we're going to use it to generate the hair or dislikes. Now, the description, think of this in this case, we're going to call this thyroids underscore description. So all of the different types of fears, if we do eyebrows, mustache, a long beard, shard beard, like all of the things that we do, are gonna be saved on their desires description. And this is important because in a production pipeline, you don't want to do things a lot of times. So if I'm working on one specific room for tyros and someone else is doing other, other specific groups for him as well. We can save all of those into a description. So if I need to gather or a reference that one, I can get it from the other. Character artists are grammars. So thyroids description goes right here and we're going to create a new collection. Sorry, sorry, my bad. The collection is the big group and the description is this specific. So this thyroid description is gonna be called, let's call this rose like beers. Let's call this central beers. Okay. Sorry. The description is that the individual and the collection is what's gathers everything. And this is gonna be called borrows underscore collection. Super-important. Do not use any weird symbols on your naming conventions as a rule for Maya in general, you never want to add, like, I know in specific languages, like for instance, in Spanish, we have this letter right here, which is like an N with little thing on top. If your language has a specific symbols, never used them, always use like very basic English lengths. Second, what kind of thing that we're gonna do, we're gonna use this blinds were gonna be creating curves and we're going to use those splines to create at the beard and all of the hair systems. If you're doing other things such as grass and stuff like that, you can use grumbles brands, which I would suggest you use the interactive grooming spline instead. Then this one, where are you going to generate this randomly across the surface, but we're not going to be using attributes. We're going to be placing a shaping guides and I'm going to hit Create. There we go. So now with that done, while we have created, we've successfully created a collection called thyroid collection, and we've successfully created a description called central beard. And instead of the central beard, we have all of the things that you can see right here, which is the action panel that we're gonna be using. In order for us to see the first hairs coming out of a thyroid. I'm gonna I'm gonna go to here real quick. Let me hide this. Let's go back to action. So in order to see the first hairs, we need to add guides. And we have this option right here, which is called app or move guides. So I'm going to add, you need to add at least three guides and where that guy, I'm going to add 12.3. And when they click this little button right here, boom, we get here. So this is really important because now this guys are going to shape how the hair is going to be distributed and how the hair is going to be like mother being modified on this part of the carriage. So the guides are literally just crypts. If I select this guy right here, right-click, it has this guide control points. And they can use this control points to make the beer, for instance, a lot longer. Usually this guys only have four control points or five. You can see here that's the modifier counter we have. So if we move this like this, and I hit this little icon right here, you can see that now the hairs that are closest to this guy are going to be pushed, are gonna be moved down because you're going to try to follow this line as much as it can. Now, as you can see, there's a gradient since this guy is shorter, it's trying to find the way to, to blend these things to be like, okay, the hairs that are closer to this guy are going to be really long, but the ones that are closer to this guy right here are gonna be shorter. Now, this thing has also worked with self-selection, which is great because we can select one thing. Then like a really small or big effect can rotate this. Careful here we can rotate this around. And let's make this beer go down like this. Okay, so we're gonna go like a, like a goatee thing. We can do this guy right here. Again, just move it down, rotate a little bit and move it down like this. There we go. Now we update this. All of the hair that we have coming from the face is doing this very, very interesting effect. Again, we can jump from one guy to the other and at different points and modify those points. And that's going to change the behavior of the guides. At any point, you can add more guides. I can just click, let's say another guide right there. And the new guy, this is very interesting when you add a new guide, is going to try to find the average like distribution compared to the other like previous guides that you have. But if you decide, you know what, I want this guy to be really crazy. I want this guy to go like this. When you do this, there's gonna be certain hairstyle going to be doing that because they're being influenced by that specific guy. So it's really, really, really, it can get quite technical. It is, It's very technical software and you can do some really amazing stuff with action. But it works in a very, I would say basic math fundamentals. So, yeah, there we go. Now, there's a couple of properties here on the attributes that we need to take into account. First of all, this guy, remember how I mentioned that we really don't need it. I can hide it. I can hide the thing. And if I go back to this guy and see, it's gonna be a little bit easier to visualize how this here is looking. And as you can see, creating a goatee can go here again, go back to action and keep on working on this description. You can see we're working on the thyroids collection up here and under thyroid central beard. So what can we change in regards to the curves that we're generating? What we can change the density. So we can add way, way more fibrosis. You can see right there, we can change the length of this virus right now. The length is connected to the amount of or to the length of the curve. But we can change that length, make it really long, or make it really short. Okay? We can change the width, which is really important. Oh, please smile at them. Crush. I believe in you. I got to warn you, this is a heavy system, as I mentioned in Maya, is calculating every single thing in real time. So it is definitely one of those things that, that makes it a little bit complicated. Let me see if I can recover here. Good way to know if this is going to recover another, if you'd go to the Task Manager and you check Maya, if the numbers are moving like on the CPU and the memory than the parole means that you are safe. If it's not moving, then you're probably lost. There we go. It saves itself. Cool. I'm going to save real quick because we already have something here that we can work with. Let's bring this back to one. Now. Right now we're seeing this density thing here on the preview output. We have a 100-percent preview of the fiber. So every single fiber that I'm seeing here is the fiber diet we're going to have on render time. We can lower this, we can lower this percentage if your competitors are struggling. We can be like, hey, you know what? I only want to see 20% the density that I'm going to see on rendered time. So I know that when I render or if I export all of these curves, we're going to have like five times more than what we have here. There's a limit, of course. It usually it's not as heavy like this primitive since they're just curves, they're not as heavy performance-wise. But I've seen some computers are struggling with this. So if we go back to the primitives, other things that we have, for instance, are the width. We can change the way we can make really thick elements or really thin beers depending on what kind of beard we wanna do. We have this width ramps, super-important hair is never like just like cylinders. It always starts like a, it's kinda like a little drop. You can move this and this is the profile that r is a root and T is deep. So we can move this and as you can see, we can create a smoother sort of like. Teardrop effect. You can right-click or change the interpolation here to smooth. And it's also going to change how this thing looks. So this looks a little bit more like a hair, right? You can add points. If I add a point right there, I can make this thing really smooth. I can change this to linear and continuous is too flat and change the interpolation method. That's going to give me slightly different effects, right? So again, linear. Let's go, let's go linear. If you want to eliminate, just click on the X on the bottom part and you're gonna get rid of those. So usually we add a little bit of taper here, or you can not taper here with this slider so that the hair becomes thinner as it gets farther and farther away from the origin of our character. Once we have that, once we, once we have a little bit of hair, the other things that we can do, we can do a little bit of tilt. So it's going to move the hair into different directions. We usually don't use that. Okay? So Control-C is really freaking out This thing right here, but it's recovering. There we go. So yeah, that's, that's pretty much it. Now, once we create this guides, the guides are actually creating this appliance. The appliance have a specific CB council. We can select the guides, but these are made out of five points right here. And the reason why these points are important is because we're gonna be talking about the modifiers now. Modifiers are things that we can do to the guides to change how they look. Very basic one, and this is actually why I, when we were doing the console for this character, we went for like a, like a messy beard. We're not going to go super clean room because it's not the grooming class. We're just going to use the tools. You can use this element, the modifier window, and you can add something like a noise if either a fight at a noise and I hit Okay. The noise is going to change how the hair looks. If I increase the frequency here, for instance, and I increase the magnitude, we're going to start getting a very messy here. However, there's only five points on all of these curves. And therefore, even though I have a really high frequency and they're really high magnitude, we're not going to ask a lot of details just like a very simple, messy beard. How can we get a better effect? Well, we need to go to the primitives and we need to increase the CB count. If we bring this back to ten, you're going to see now we get way more detail, but be mindful because this curves are way more complex. They have ten points instead of five. So yes, you're gonna get more detail on your hair as you can see right there. But it's also going to cost you, or it's going to cost you to have a little bit more intensity or a little bit more performance issues. Now for instance, I can add a couple more guides. Let's go here and let's add a guide. We need to select the geometry, so we select this guy, Let's unhide it. And I'm going to select, I'm going to add that guy, let's say one right there and one right there. And when we replace this, you can see that this guy, since they're really sure we're getting this very like Fauci here. We can push this down. And when we check the preview again, now we get something that looks a little bit more realistic and look at how nice disappeared looks. Instead of having to do all of the haircuts and stuff by utilizing this method. As you can see, we can start generating a beer that looks really, really interesting, right? So this is the main thing that we're gonna do. Now before we finish this video, I'm going to talk about the maps because we're gonna be using something called maps. And maps are really, really important. A map, as you guys know, is the texture that saves information and that will allow us to generate something that looks interesting. I'm going to go to this guy and the high that for just a second. And if we go back here and to the action element, you can see that we have the density, right? Let me bring the preview output back to 100%. This will be the render that we would get, like if I render right now, and I assign that in our material of course to this thing. We would get at this sort of effect, which looks very good. I think it looks like a really interesting effect. But let's say we just wanted to limit this whole thing to a small little patch on the chin of the character. We don't want this to go all the way here to the lips. That looks really weird. We only want this to him to be down here. The same sort of like noise and everything, but it's just down here. Well, we can do, I'm going to click this thing to hide them for just a second. At any point I can just click this again. And if I go to primitives, we can go to the density up here. And right now the density is trying to look for a Mac or a mask, but we don't have anything, so we need to create a new mask. I'm going to click this button right here. And there's this thing that says Create map. I'm going to create a map and I'm going to call this central beard mask. The start color is going to be black, is because I want to vary in a very similar fashion to how it works inside of substance. I want to have no hair whatsoever. I'm gonna hit create. Now, once we hit this, we can go to this point right here. We can grab this guy and go to this painting. We're getting an error here. Chip what that problem is, expression k, That's really weird. Normally we would get this. I'm not sure if it seems like we are having a little bit of an issue here. So I'm going to stop the video right here guys are. But we're going to talk about the mouse in the next one because it's really, really important. It is creating the map, but for some reason it's not like finding it or something. We do have everything set up properly, so I'm really not sure why this is not setting up the paint tool, but the paint tool should allow us to paint a mask on the character and tell it where we want the hair. So anyway, this is the very basic introduction. We'll go on to talk about the masks and the next one, and we're going to start working on the first part of the grown. So hang on tight and I'll see you back on the next one. 82. Xgen Masks and Modifiers: Hey guys, welcome back to the next part of the series. Today we're going to continue with the action masks. So the issue was the material, it had the Lambert lambert, the AI standard materials setup and that was causing the problem. So I just said I'll be basic Lambert. And as you can see now, if I click the object and I click the paint tool, we jump into this option that allows us to paint. I'm going to show or hide those guys. And then we'll jump into our Paint Tool. I can select what color, what I'm paying, width, and I'm going to paint white. So I'm just going to, I'm literally going to start painting where I would expect to see this sort of like goatee effect. You can use textures with your brush, can do whatever you want here, you make a mistake, don't worry, we can just go black. And let's say we do something like that, okay, back to white. It's like Fe, this and a little bit, just create something that looks nice like that. Once you're happy with your mask, you're going to save it. This is the most important thing. A lot of people forget to save it. And if you forget to save it, you are not going to get the effect that you want. So as you can see by saving this and now the hair is only growing on that specific section that I've determined with the mask. And this is very important because that's the way we're going to be controlling. Now, as you can see, again, we can hide this guy right here. We can go back to the character and turn it on. And now it's gonna look a little bit more realistic because we're going to have these things right here. Now, keep in mind that at the guides will always push something. So even though due to the fact that this guy, these right here, there will be a couple of hairs that are coming from that specific position. So the placement of the guides is also really important. What if you don't want to have a guide? Well, if you don't want to have a guide, you can grab the guide and delete it. That's it. Just resume that and there we go. We're not gonna have as many hairs on that specific position. You can also like, let's say we delete that one and we check again. And we're going to get a slightly different effect right there. Okay? You can hide and show the guides with this button right here. You can lock the guides if you're happy. There's options, mirror and specific guide. So I really liked this one. I can mirror this guy to the other side and we get it. We're going to get a slightly different effect right there. That's pretty much it for the painting of the mask. And again, it's very important to you to understand that every single thing that we have right here, we can actually paint things. Those are also really useful for more than stuff such as the color of an animal you're doing like a tiger, you're going to input a mask using disorder like formula. So the color of the hair grabs that specific effect. Now, let's talk a little bit more about modifiers. We've already talked about this noise modifier. So I can do like six, I can do like authentic and change things around, as you can see here, we also have a mask right now this mask is affecting everywhere. But I could be like, hey, you know what, I don't want this thing to be as intense in certain areas. Just click on this guy or sorry, on the little triangle and you create a map. There's another really interesting modifier that I want to show you. And this is one that again causes a lot of confusion with new commerce inside of the action system, which is the clump effect. So the clump effect, which is this one right here, clumping, when you add it, you immediately get an error. And this is what's very confused because you're like, what the ****, What am I doing wrong? Well, the problem is that the clumping and needs you to generate something called a clump of map, which is a way for the modifier to know where to form clumps. Here has the tendency to form clumps. That's just nature of the hair. So when you add a clumping modifier, you need to go down here to where it says set of maps. We're gonna be setting up a couple of maps. There's two types of maps that you can set up. You can generate the guy a map using this thing right here, or you can use a January 1 based on the guides. I'm going to just generate it for now, as you can see, and degenerate map will generate all of these lines across my element. I can change the density, which is gonna give me more or less clumps if I go here and I generally we're going to have a lot of clumps. If I go really low, 2.5 and they generate, we're going to have very few clumps. And when they generate, we get this little guides. If I click Guide, you can see that the clumps are gonna be generated on the gates themselves. So there's two ways to do it. A basic like generation here, which just random clumps everywhere or a guide based system. Once you're happy with one of this, you're going to hit Save, and that's going to save a clump map. And as you can see now, the hair is going to start clumping. Based on that map, we can change how much or how intensely disc clumps, for instance, if I go to a, to the clumps are gonna be really intensive by the halfway point. Like they're literally going to cross each other, which is not something that we want. So I'm gonna do a number one. This ramp right here will control how things are clumping. You can see that the tip is clumping quite heavily and the roots not clumping as much. If I bring this up, we're not going to have as much clump. If we bring this down, there's gonna be a lot of clumps. So again, interesting ways that we can change this around to generate different effects. We can pull the tip up. We can just generate really, really weird and intense looking shapes. Usually the hair tends to clump towards the, towards the end, so the root tends to be not as clumpy and then the tip is the one that tends to clump quite a bit. The mask is also going to be like a, it's kinda like an on and off slider. So I can go 0.5 and we're going to have a little bit of a clump, but not as much in the beauty about the action system is the combination of all of these modifiers. So if I have a clumping and noise at the same time, I can play around with both. And they can get interesting effects where the things are gonna be clumping a little bit more. Look at the difference between just a single leg, just noise and noise with clumping, it's gonna be slightly different. We can push this up and now you can see how we get the more intense clump, intense clumps like up here, right. Like each there's like small little clumps of hair going and forming on the base of the beard. So that's how we're going to be creating the grooms and thinking about the production of her beard. We're gonna be doing this sort of effect to generate an interesting, an interesting variation. There's a lot of other modifiers we're not going to be using all of them. Some of these models is hard for animation so that when the characters on the cinematic or something the hares moving or it falls down, it doesn't collide with other objects. It's a, it's really, really complex. But for us we're just going to keep it really simple. And we're gonna do a basic grooming system. We're gonna do the masstige, the beard and the eyebrows and eyelashes problem. So yeah, that's that's pretty much it in regards to the things that we have right here of the VM. And again, there's way more complex stuff, but this is not the grooming class. We're just going to be using the basic tools to get something that looks interesting. Now, how do we render this? Hey, is there a way to, to see how our project is going? And the answer is yes, we can actually do that. I'm going to say Select all by type of geometry that we're going to bring back everything else. Of course, the body, we need to bring it back. This face hair attachment. We don't need to bring it back. If we do this again or actually, Let's do that. Where did it go? I hide it. Unfortunately, there we go. So excellently hide it. So this guy, we Hive and we just lived the hair right there as you can see, a goatee and just very simple like facial things to change the character quite, quite a bit. So let's say you want to render this. You want to see how this looks. Well, first of all, let's save this file. The only thing you need to do is you need to select the hair right here. The any of these guys, I usually like to select this guy right here. And I right-click and assign a new material. And Arnold has a material called a DAI, standard hair material. We're going to use that one. And that ai Standard here material will allow us to, actually, I think it's this one. Yeah, It's under the central beard. Right-click assign existing material, ai Standard here you can see the hair changes color. And now if we go to the Hypershade, we can take a look at this AI standard. Here. We go right here. And it has some interesting properties. It has the melanin color, which is the color of the hair, Melanie and redness and melanin randomize this here. A shader is one of the best hair shaders I've seen in like engines because it's really, really into it intuitive. So here is either like either it has melanin or it has no melanin. Melanin is like the dark pigment in our skin and hair. If you want a very dark here, you're going to have a lot of melanin if you want really belong here, you're going to have really low melanin. If you go all the way down, you have no melanin, you have gray hair. So as you can see here, if we go really low, it's gonna be like a blonde color and they've got really high, it's gonna be a dark color. Then here has a certain amount or melanin has a certain amount of redness on the hair. If we increase that redness is going to be really, really saturated. And if we decrease, that is going to be not as saturated. So by playing around with this two sliders, we can get a hair that looks really, really interesting. I'm gonna go for like an old man's hair. So it's going to be really low and pretty much no melanin. If we do that, let's save this real quick. And we opened our render, we just say our render. Let's wait for this to process. We are not seeing the red. What is going on here? I think it's because of the GPU render. Let's try that again. Could not read a rain batch mode to time samples. That's really weird. It is exporting the thing. Let's write CPU because I think GPUs not working with this one. So Arnold, Render Something different, Give me 1 s. Okay, my bad, I just forgot a very quick thing about this. So you need to assign the material, as you can see right here. And you need to go to Preview output. And for some reason, it normally does this automatically. As you can see, it has the oldest set, but it didn't work in mine for whatever reason. Just get renderer and make sure you say like Arnold renderer. And that way, when you render it, you should be seeing your element. If you didn't see it, just pause it and just redo it as for the error because it was really weird we got this error. I did some quick searching. And it seems like if you go to animation, you need to change the evaluation mode to dg. I had mindset to parallel by changing this to Digi. I didn't get the error anymore. So yeah, that's it. So as you can see, if we render, we got our hair and it looks really, really cool. It just looks like here. So the ones we have this, we can play around with the hair and generate some really interesting things here. Let's go to the shader itself. I'm going to go to my Hypershade. Let's move this to the side a little bit. We can turn it. I had this denoise or turn off because it was generating some weird effects. But now we can just, I am rendering good GPU by the way, I was able to bring this back. And so in here on the AI standard here, again, we can change the color if we go for like a brown color and we render, we're gonna get a brown color for our character, which makes him look a lot younger. If we are playing with this, we can change the retinas of the melanin and the hair is going to look a little bit more like a, like a red color. You really want red color. You need to bring this down a little bit, I think, play around with this. There we go. It looks a little bit better and you can use the base color, but just keep in mind that the base color is like a, like an overlap or an overlay on top of everything. So for instance, I grabbed this red color right here. It's definitely going to look rather, but it's kinda like if I died the hair with red color. Okay? Now another thing that we can do here, which I really, really like to do, is to play around with the melanin randomize. This is one doing it renders here inside of Maya. It works a little bit different once we go into unreal. But here in the melanin randomized, I can push this up, like really, really up. And what's going to happen is certain hairs will have more melanin than others. And you're gonna get this really, really cool like variants where you have this really wide, nice hairs and some darker hairs that when you get older, right? So yeah, that's that's pretty much it. Now here one thing that we can do is I'm definitely going to reduce the melanin quite a bit because I want this guilty to be like older and you can see how we get this very nice, yellowish, whitish colors. Definitely reduce that a little bit. I don't want to have as much variation and I'm going to bring the melanin randomized or Madeline redness down as well. And that's gonna give us a really nice, interesting look here for the, for the beard. So you can change the roughness like this is a really rough here. If we bring this down, we can have like a, like a shinier hair, a little bit more oily. We're seeing this a little bit blurred because of the filter, of course, but this is how we would prepare a character. Now one thing I'm seeing for the here is that it seems to be poking out of the face like right there on the border. So here's how I see that some people grabbed the hair and they push the face just in a little bit. I'm going to center the pivot point on that geometry. And you can make it a little bit smaller so it goes inside the head. You're still going to hide it, of course. But what that's going to cause, let's grab a screenshot here. What that's going to cause. It's just going to make it look like the hairs coming out of the skin. Now, usually when the hair gets on the skin, you also get this sort of insertion point. And this is great day. You can just go here and see like, okay, and then what? Let's make it a little bit smaller. So when we render the root looks like a needle going into the skin, so it's a little bit softer. Can add another point here. We just have the root be really thin and then it gets ticker as we go as we go out. But yeah, that's that's the process. My friends. That's how you set up the hair here instead of for action. This is how you render it here instead of a Maya as well. Now we're going to jump onto the actual grooming of the character. We're going to start creating the specific guidance that we need for the specific beard system that we want. And we're gonna be using those guides to generate the hair that's going to eventually go into the game engine. So hang on tight and get ready because this is going to take awhile, but it's gonna be really, really, really fun. I'll see you back on the next video. Bye bye. 83. Moustache Block In: Hey guys, welcome back to the next part of our series. Today we're going to start with the blocking off our hair and that we're going to continue from here. So the first thing I'm gonna do is I'm actually going to go to the collection and I'm going to delete this description. We don't want it. We want to keep the collection, but the discretion was just something that we're we're using to start with, that we're going to start with the blocking of the moustache. So let's isolate this thing real quick. We're going to select this and we're going to create a new description. As you can see, we no longer need to create a new collection because we already have the description. We're going to call this mustache base. Why base? Because we might have a couple of extra descriptions. They're going to generate extra hairs that are going to help us break up the general message. Mustard space splines randomly across the surface placing and shaping expressions. I'm going to hit Create. There we go. So when thinking about here, we need to think about the main shapes are blocks of the here. Here is one of those things that a lot of people struggle with because they feel that they need to do each individual strand. When in reality we need to do like big bundles, like the famous like does this locks of hair. So we're gonna go, I want to go for something like really crazy like this. Now, I do remember that the original character had this like beats on the beard. Unfortunately, for the beats, we're going to need some more complex stuff. So we're going to have to leave those for another time. But this character right here, we're going to have this very long mustaches, as you can see right here. They tend to be quite messy. So let's start adding some, some guides. I'm gonna go here with my guides. I'm going to start on the right side. I'm going to do 12.3. And we can use this option here to mirror the guy on the other side. And then we can select with just cube, select this guy right here. Actually, let me, I'm going to grab all of these guys, just H, so we don't have to worry about those. There we go. Got that one. We're also going to mirror that one, grab that one, and we're also going to mirror it. So we have six guides and then we hit a check. We're gonna get this. We're gonna get some nice distribution. Of course, if we increase the density, we're gonna get more dense stuff. So if we take a look at how these things go, they usually curl down and to the site. So that's what we're going to start doing. We're gonna go with her first guide. We're going to go to the control points and we're going to guide it down, rotate it a little bit. Just a little bit. Just start pushing it into the direction that we would expect this to go. Something along those lines. Probably closer to the face. There we go. This one right here, it's gonna be one of the long mustache ones. We're going to move it back. And again, I want to go for this very long and crazy mustache. So we do something like this. This one's going to be like an intermediate between the two of them. So we're going to push them around and just start creating the basic shape. I'm gonna go to this one is actually, which is, I believe 13, 1,212. Let's just delete those. Why? Because once we have this and I like how we have those, that looks good, that's a good basic blocking. I can just grab them and just mirror that to the other side. Hi them for just a second. And I'm going to add a couple more guidance. Now, again, we've mentioned this before, but when adding guides, one of the cool things is that the new guides that we add are going to follow really closely to the guys that we had before. So this is really, really helpful because it saves us quite a bit of time from having to do the whole like shape again. So this is again following the sort of like creating complex shapes out of simple shapes. So we start with few guides, and as we need more of them, we're just going to be adding more and more. As you can see, I'm pushing this thing forward. So it's kinda like floating in front of his face. We're going to be trimming down this a little bit because I don't want to have as much as what we might see. Quick check, that looks good. Control S real quick. Always, always, always save. And then now I think it's a good idea to grab all of the guides and let's mirror them to the other side. So we get this, as you can see, we're gonna get a really, really, really cool, like parting of the whole thing. Let's add one more guide there at the center. As you can see, it's going to go slightly to one side, which is great. And we can play with that one. Maybe move it a little bit too, one of the sites to break the symmetry, right? Same for this one. It's like we can go this case right here. I can actually go, I'm gonna go to the Options here. I'm going to say all components of where it sits. This guy, this guy right here. Now turn off geometry so we can select the geometry. And that way, when we go on top of this guy, which should only be able to select the guides. Or you can do the thing that we did before, which is this guy. Get this guy into a layer. That way. We can select, we can see it, but we can't select it. Straight. Going for this, once again, we want to break the symmetry a little bit. We don't want the mustache on both sides to be perfectly similar. But we follow a general shape, right? So we can play with some of this like Lang Syne and curvatures. That way when we. Update here, we're gonna get this. So that's not bad. I'm actually going to hide this guy right here. And let's bring the body so this guys back. That way we can see how this thing is going to be coming out of the face. So we're going to need to see this other one to be honest, because we have this one. There we go. Because we're going to paint a mask. So I'm going to select this guy. Let's go to oxygen. Let's hide the guides for just a second. And I'm going to go into our mask up here. I'm going to create a map. We're going to call this mustache base mask. And we're going to start with a black color. Hit Create. There we go. Hi the skin. Now if we go to our brush tool, I'm going to paint this white. Let's make the brush radius slightly smaller so that we can paint only where we want. Something like that. Something like that. And the fact that it's slightly irregular, It's also good because beards and the hairs, they don't grow perfectly symmetrical. Save, don't forget to save it. If you don't save, you're not gonna be able to get this effect. There we go. We've got a really, really cool mustache right there. It's brings us back and we can start seeing how the whole thing is going to look. So that's not looking bad. That's actually giving me a really nice, really nice BIF. One thing that I'm seeing though, is that we're still getting a couple of hairs on the on the lips. I don't love that. And we're not getting as many hairs up here as I would've liked. So a couple of things that we can do, we can add more guides up here, closer to that, to the nose. Then we can also go for the hair attachment. Go back to the mask and paint a little bit more up here. Like that. We save very important, and there we go. Now, we're going to have those things coming out of the nose a little bit more. You can of course, go to the guides themselves. Go to this guy. So we're gonna change them to reference so we can select them. And we can move the control point up a little bit. More. Puffiness to the, to the whole beard because you can see a lot of these guys are those you can select multiple, by the way, multiple points. There we go. That's a little bit better. The same thing over here. This or like crazy mass such as fine. There we go. Cool. So that way we are getting this sort of like long mustache for the, for the character. Don't worry about that. That's the thing that we're using, that's going to disappear. Once we have this, we can start playing around with the density. How much, how many points do we want? I think we definitely want a little bit more, so probably something like 20. And we're going to add the taper due to the hair should be a little bit thinner. I do want to change the shape of the hairstyle little bit. So this sort of thing. We can increase the width a little bit depending on how thick or thin we want the beer to be. This also is going to have to do quite a bit with the, what's the word with the performance that you want to have? You want to have a lot of hairs. The performance is going to be taking a little bit of a hit. But this is giving us a nice, a nice So like construction here. So now what I'm gonna do is I'm going to add a couple of modifiers. And the basic modifiers they would like to add is of course the clump. I'm going to start with the clump. So we're going to add a clumping. And remember we get this error very common. We need to set up the maps and I'm going to generate them with guidance. So we're going to see guide in heat safe. So as you can see, the hairs are going towards the guides. That way we get this very interesting clumping effect. This is like a 0.5 or 0.7. And now I'm going to add another modifier, which is of course the noise modifier. We're going to increase the frequency like ten. Now let's try the magnitude to a two. There we go. As you can see, that's going to start creating some nice effects. We can lower the mass to something like a 0.5. And as you can see, this is going to be creating the general effect here. Yeah, that looks good. Let's turn off the visibility of the guide so we can take a look at the mustache itself and it's not bad. Not bad at all. I think we're getting something interesting. I kinda do want to have one more guide right there. And I want to use that guy to kind of blend together both sides of the monsters see how the hairs are moving slightly there. So you might need to do. Very fine tweaking. If you want to get specific shapes on your character. But we can get it. Let's go to the primitives, increase the density a little bit more. That's like a really weird like empty space right there. I'm not sure why we're getting that. Take a look at this guys. Maybe it's because this guy's moving the elements a little bit too much. I'll, it's this guy. I think it's this guy that's a little bit too far apart. We go. Yeah. So let's let's bring in men and it's pretty much like if you're combing a, like a, like a doll or a character, lot of manual tweaking to get something that looks interesting. Now remember, we can definitely grab some guides. So for instance, I can insert another guideline, let's say right there. Grabbed the control point and push it up. Like going like really, really a wave from, from the rest of the points. And what's going to happen. You can see right there is we're going to start getting some more crazy, crazy hairs because there's gonna be a little bit of influence. It's trying to go completely into a completely different direction. If you want to go for like a very crazy mustache thinking, you can do that. And then we can go to the grooming or the modifiers and maybe increase the clumping a little bit more. So we get this. 0.5 was looking good, 0.6. Let's try 0.6. There we go. Like this or like puffy effect over here. So I'm going to add one on this side, another guide. I'm going to use this guide point to push the effect over here. A little bit more like the more extreme we go with that point, the more the the influence of those specific hairs are going to try to, to play around with the elements. As you can see, we can generate some really, really cool looking things. This one. So I'm probably going to push them a little bit closer to the center. So for this one's fill, the center is a little bit like empty. There we go. Okay, that they really, really interesting looking mustache, which is what we're going for. And yeah, it looks, it looks quite, quite nice. Now, some of you might be like, Yeah, this looks interesting, but what about this part right here we have the insertion point is not that great. So I'm gonna, I'm gonna make the route a little bit smaller. So the insertion point looks a little bit nicer like that. And maybe lower the width a little bit. There we go. So this is giving us an interesting effect. Now, when we take a look at the reference, you're going to see that there's different layers of hair. We have the main clumps and then we have something that I like to call the breakpoints, which are hairs that are not going in the same direction as the rest of the elements. And for this sort of stuff, you want to do this as a separate description. At the end we're going to export everything has a single, like a clump of, of curves, but it's gonna be a lot easier to control as a separate description. So let me show you. I'm going to grab the thyroid face attachment again. I'm going to say File and we're going to do a new create description. This is gonna be called masstige break. And I call this breaks same collection, just hit Create. And now we can create again a couple of lines, 123456. Let's do seven right there. And we will populate. We're gonna get that. Of course, we're going to need to increase the density, but we're also going to need to paint a mask. So we're going to create a mask. We're going to call this must touch, breaks, black, create. And we're going to paint, let me isolate this. Only like the upper boarder of the mustache. Okay, so something like this. We're going to save. What that will do is you can see it, so you're going to create it, this thing right here. Now, the ideal thing is for this here's to be exactly the same as the other ones. We can jump to the muscle HBase and be like, okay, the width is 0.14 and the taper is 0.82. So we grabbed that and we say the width is going to be 0.14 and the tip is going to be 0.82. So we should get a very similar effect. Then we can go to the masstige, take a look at the curve, go to the breaks, and get a very similar curve. Why? Because we want to make the hairs look as nice as possible. Route will increase the length. The Control C, for some reason the control freaks out, Let's say real quick. Constantly, you need to constantly, constantly save guys. This is one of the, one of those things that's really unfortunate when you lose progress. This guys, we're going to really push them into different directions. Okay? So we're going to really do some crazy crazy stuff because they're the brakes, so they're the ones that are going to not follow the rules as closely as the other ones. So we're gonna be doing this sort of stuff. What's going to go down? Now? What's going to go up a little bit? They're going to be shorter. Like they're definitely going to be shorter as you can see right there. I think maybe we need to decrease the length. We're going to really keep them close to the masstige itself. It cannot do want to follow the general thing first. And then we, we create the variation. There we go. And then of course we're going to add modifiers. I'm probably not going to add comp modifier, but I am going to add a noise modifier. Let's try it. Like a big frequency. There we go, look at that with a big frequency in a bigger magnitude. I mean, not that frequent. There we go. We're gonna start getting this very interesting effects. Or the masstige is just getting a little bit crazier and crazier. Careful with the density. We don't want to have a lot of density because then it's very obvious how we're building this. Just gonna be a couple of extra hairs here and there. Like going for a ride. Pretty much. I do think I want to move them down a little bit more. I don't want to be I don't want to point them or push them too far up. I was wondering to go in slightly increase your directions. As you can see right there. It's gonna give us a more interesting effect on the mustache. And you can spend as much time as you want here doing all of the breaks and all of the stuff for the, for the character. Now, let's say we want to see the render again. Make sure to go preview output Render Arnold Renderer on both of them. So renderer, Arnold renderer. And we need to grab the descriptions this guys right here and assign the material which in this case is the standard here. It should change color, which is a good indication that we're doing things properly. This guy, of course, we hide it. We don't want to see it. And we can bring back all of the other elements including the render elements. And if we go to our Shotgun, I got my shot come here, panels that to select it. Let's go for a close-up because this is the area that we're gonna be working with in the next couple of videos. Save real quick. Again, this sort of systems are quite finicky, so it's very important that we save frequently. We're getting an error. It seems right here. We're seeing box filter, okay? It's there. We might have forgotten to do something. So here I'm just going to redo that and redo that. There we go. So just read, visualize this to get the new sample and look at that. They really, really, really cool mustache. Look at how nice the shadows look. This is a cool thing about using fibers instead of cards that you get a very natural like effect on the shadows and everything. So in general, you're gonna get a very nice effect. Now here I'm definitely seeing things that we can improve. And for instance, I want to go to the mustache base. I'm going to go to the modifiers and the noise. I'm going to increase it a little bit more. I want to, I want to live in more nice. If we rendered now, the mustard should be there we go a little bit crazier. Supposed to be like a war veteran. He doesn't care about personal grooming. And that is it. I'm also seeing that this thing right here might need to be pushed a little bit up. So I'm going to push it up, re-sample that. And it's pretty much like if we were pushing up the mustache. So that's a little bit closer to the nose. Now that looks a little bit weird. Maybe that's too to let let me go back there. She think that was looking fine then. I'm a little bit concerned about this empty space right here. I'm going to have to go to the mirror and see my own, my own notes to see how far we are from the actual element. Maybe just that. Almost nothing. There we go. That looks interesting. So, yeah, that's pretty much it guys. So now we can start working on the beard. I'm going to jump into the blocking of the beard. And the beard is going to be a little bit more interesting because if you remember, we do have or we did have some very specific clumps. There was a lateral clump in a forward com, so I'm going to try to keep that a little bit more. We're going to try to work a little bit more with that sort of clumping. Okay. So yeah, hang on tight and I'll see you back on the next one. 84. Beard Block In: Hey guys, welcome back to the next part of our series. Today we're going to continue with the hair, with the beard. And this is where we left off. There was 11 more modifier, the ones show you, and this is called the cut modifier. And sometimes you're going to have certain hairs that are gonna be cut so that right now every single hair measures the exact same distance and that's something that you might not want all the time. So what we can do here is we can go and add something called a cut Modifier. By default, this got modifier cuts a random distance from 0.02, 0.2, which is great because what we can do here with this is we can increase this to a 0.5 for instance. And we're going to have some really short ones and some really long ones. I'm gonna go to the massage breaks as well. I'm going to add that cut modifier. And this one's gonna be a little bit more aggressive. I'm gonna go random from 0.02, 0.8. So for some of them are gonna be really, really small, like this guy right there. And some of them are gonna be late, we're gonna be kept longer. That's gonna give me a very natural feel overall. Remember that anytime you can also change a couple of the density, I think a little bit more density on the brakes is going to be a good idea in general. And we're ready to start working on the beard. So I'm just going to run through this fear attachment again. Well, let's again grab all of these guys and hide them. Let's hide the render elements for now. And I'm going to grab this guy right here. Description, create description. There's gonna be beard, base. I'm going to hit Create. Again, placing and shaping guides create the beard. If you remember, it was this very big bundle of hair on the center, similar to this guy right here, that would go into a little like a bundle. And then from there there was a metal bid that we could then proceed. The problem with the metal bit, it's not that difficult to add. We can just add it. I actually have the right topology model there. But the problem is that on the reading side of things, this guys right here are gonna be attached to the two. Dislike it like floating piece of geometry. The part that goes from the little bundle out would need to be attached to the little to the little metal beat. And then that little middle bead will need to be extremely specifically or very technically rigged to the whole character so that everything moves normally. And that is definitely a little bit complicated to do for this, for this particular course. So now that we have this new attachment, we can, or we have this bird beard base. Let me go. Let's isolate this. There we go. You should be able to place some guides and we're going to place one there, one there, and one there. And this guy, so we're gonna be using, so I'm going to use this control point. Just push it down. How far down? It was really, really big like this. We're really want to push the beer, like poof it up and then kind of like faded down, kind of like an S-shape like this. We're going to grab this guy right here. We're gonna do a similar thing. We're going to pull it out to the side like this, and then the tip is going to come back towards the center. So we're going to have this sort of like like puffiness of the beers. Same for this one. Move this, we know that tip is going to be like getting closer to the character, to this part. We can make this slightly shorter, that's fine. And this one's gonna be puffing out the side. Then just coming back like that. If we tried to see an edge like a, like a basic overview. As you can see, this is not bad. It's actually really, really good. It looks quite, quite nice. So let's hide the guides for an hour actually, Let's hide here. And I'm going to start adding a couple more guidance. So for instance, I want to have one like lower guide here and then little lower guide here. And I want to make sure that this are a little bit shorter. So they're going to get here and for instance, this one that kind of want to push it to the side a little bit. Same for this one. I'm wanna go out. But they also want to pull them out like this. There we go. One more right here on the center. That one's pretty much straight and I want to keep that one straight like that. And then usually on the beard, if we take a look at the reference, Let's see what reference we have this good like this guy right here, there's usually a little bit of extra beard right here at the center. And then at the sides, like usually get this to empty spots at the sites of the beard. You can see it a little bit right there. So I'm going to add one line right there. Then I'm going to make that really, really, really short compared to the, the rest of the beard. So it's not gonna be super short but is going to be shorter. Right? Can push it up. That. And then we're going to add a couple like here and here, which are gonna be the silence. And as you can see, those are already slightly shorter. Because as we've mentioned previously, the way this guy to, or being creative, you generate things and they kinda like look for the average of all we have. So we get something like this. Then add one more right here to help with that center line. To push some of the fibers right there. Let's take a look. So not bad, not bad, but still we need to, to work a little bit more. Of course we're going to have way more density. It's a good idea to check how what's the density of the moustache. So that was 49. So that's probably what we're going to have. 49, which is quite a bit, but it's fine if it's a little bit too much with them, of course, like minimize it a little bit more. Something like that looks, looks interesting. Now let's start throwing in, let's say real quick, and let's start throwing in some modifiers. I'm going to throw in a clump modifier, which is gonna be really, really important. So clumping, we're going to set up the maps. Let me try generating the maps and see the result that we get. That's not bad. I actually like that. It looks really, really nice because we do get the effect that we're going for. And let's add a very quick noise modifier. Frequency 5.2 or 5.5. Here we definitely need to add more modifier CB counts. We're going to add ten. And as you can see, that's going to increase how this is working. Straight leg frequency of ten. Let's bring up clumping down to like 0.50, 0.7, maybe a little bit too much here. So I'm going to lower the density a little bit on the, on the modifiers on the noise. You can see that the root is not getting as much noise. Let's, let's push the root up. So we also get some, some nice Honda roots as well. And maybe not so much on the tip. So I'm going to reduce the noise on the, on the tip because of the clumping. Same thing here for the comp. Remember we can tweak this thing around and modify how much clumping we want on the root or not. I do think I want to have quite a bit of clumping on the root. So we do something like that. Definitely need more noise. I think. It looks a little bit more interesting. It's a little bit too much though. High the hair for now. I'm going to start moving some control points because I don't love the shape that we're getting. There we go. It looks a little bit better. Just like this big, big like care stuff, like this one for instance. I'm going to move the control points up. So it sits on top, a little bit closer to the top than the rest of the elements. That point where there might be a little bit too crazy. So let's bring it down. There we go. Of course we're gonna go to the primitives. We don't have any sort of thinness to it. So let's add the taper that we had. It was like point a or something. And the width, let's make a little bit wider. That's going to start giving me a really, really interesting look in effect overall for the beard. The cut modifier definitely going to be important for this one. So let's add a cut modifier. Let's do random 0.02, 0.5. Now I do want to increase this a little bit more. And we need to paint our density mask because right now we're getting like a beard everywhere. That's not what we want of course. So let's grab this guy isolated for a second. Say real quick again. We're going to add a map, black. We're going to call this beer base Create. We're going to paint. So I want all of this area. You still look like they U-shaped that I was mentioning. We're gonna go really high all the way over there. Like all of this section. It's gonna be the beer section that we're going for. All of this area. Here we go. Besides, we're gonna do with a different description again to just get a couple more control. Let's save. We go out here and we check. Look at that, look at those beautiful effects right there. Cool. I really liked that. I really, really, really like that. The only problem than seeing though, is that the mustache and the beard are really separate it. So here we need to start thinking about how we're going to solve that fact, right? We can either add a couple more or we can paint a little bit more on the the element here. I think we can maybe increase the density going closer to the mustache, maybe even include a little bit of the musters right here. I am going to leave those empty spaces, but not as much. And we're going to include a little bit of the mustache. If you remember that if you make a mistake and you paint something that you don't want to, you can go back to the black and just paint that. Painted back. Go and safe. Don't forget to save. If you don't save, it's not going to update. Okay, so there we go. Now again, as I mentioned in the problem, if you are one of the problems that we have is that this is not like the both elements are not like mixing together that the monster is really short compared to the beard. So either we push the beard up on the guide themselves. Either descriptions here. So we can start pushing this guy's a little bit to degenerate a better connection with the beards or Where we go to the mustache. Let's go to the most touch base, which is the important one. For instance, we can increase the length. By increasing the length, we're going to bring them down. However, by increasing the length, I'm also seeing that the guides are like really far away or far out. So I'm gonna grab the guides, just bring them lower and closer to two, the whole thing. So when we see the character, kinda like hiding the math a little bit, right? It has to, has to make sense that it looks a little bit better. Things are like welding will be better or modifying themselves a little bit better. I'm gonna go back to the mustache or the beard base. Tie this instance, this guy right here. It's definitely bring this up. So that helps with the unification of the beard and mustache, right? Something like that. There we go. Now Beth. Beth, as I mentioned before, you can grab all of them, go into control points. And you can even use like soft selection. And it's going to move everything at the same time. Royalty of things and just play around with them and we're going to get the, you can see that this thing right here is a little bit more intense. Doing more traditional grooms right there. To help with the overall shape. That's looking quite nice. Let's do a test. Let's save this real quick. I'm gonna grab their beard base, right-click, assign existing material, AIs, hair, preview output. We're going to say Arnold renderer. Do a quick refresh. Save again. Let's do, let's bring our render elements back on. And even we don't even need the rest of the assets. Let's do a quick render. Something's not working here, just refresh. There we go. Not bad. Not bad. I still I can still see a little bit of that division. I don't love that division. So that tells me that we need to do something in regards to that. And it can definitely see a little bit of the characters like it's visible there. It looks a little bit weird. Maybe. I'm going to continue with the next part, which are like the size of the shapes of the element. Because as we've mentioned before, with little thing is in regards to 3D, it all has to do with the context, right? So if we don't have the rest of the beard, it might be a little bit difficult to identify what parts of the year do we need to fix. But that's a blocking. I think this is working perfectly fine. I'm going to be stopping to be right here guys. And then the next one we're gonna do, decide to beards. So hang on tight and I'll see you back next video. 85. Side Beard Block In: Hey guys, welcome back to the next part of the series. Today we're going to continue with the site beard and sorry, we're gonna be following in a very similar process. We're just going to grab our hair attachment, which as you can see, every single part, like all of the collections that we're doing so far are attached to this specific one. And that's important because we, we usually want us few geometries as possible controlling this sort of stuff. So I'm going to grab that guy right there and we're gonna go to descriptions, create a description. And this is gonna be called Side B Earth. The only thing that would change his placing the guides, so we say Create, let's isolate. Let's go to Place guys, and we're going to have 12345. Let's start with five. We're gonna go this control point right here. And we're going to start modifying this guys. Let's get rid of soft selection. And you can imagine that there's gonna be, some of these guys are gonna be way, way longer than the others. Remember that this part of the beard on the concept being quite puffy as well. So we can play around with that. They're all going to collide into a little bit of a buckle. And I call it the buckle because in Spanish, we will use a word called a booklet. But it's not the buckle, it's a lock lock of hair. That's the proper proper English word. We go here. Here. Here, which is a little bit with the silhouette of the curves. There we go. And usually this guy right here, It's like the sideburns. Remember that we're still going to add a breakup or like a break your patterns. So we get the main ones. That should be good. Let's take a look. Yeah, it looks quite nice. Let's just keep playing with the lengths a little bit. And I don't want to have this big mass right here. Let's add one more right there. We're going to use this one to really push this guy up a little bit. And it should go around the main mass of the beard, right? We also want an organ increase the density, of course, quite a bit of density. And we can of course graph the guides. This, this guides. And let's mirror them. The other side. Now we get some crazy here up there that's, that's again expected because it's hanging to the eyebrow shapes. And again, it's a little bit expected, but we're gonna, we're gonna be fearing though sadly just a second. So one thing that I'm a little bit concerned about is that we don't have as much here. And I'm not sure if it's because of the seeds, because of the geometry. So I, yeah, there's, there's not much we can do there. That means that he has a clean, a clean shape here. Now, we might be able to bring more geometry later on or to create a different geometry to attach it to. But this is one, this is a mistake on my part, like I should have added a couple more faces there so that we could play around with more of this guys. Well, let's taper this guy's a little bit because the width play a little with the like the tip shape. And let's paint our density maps. So I'm gonna go here, create map. Well God called this side beard. We're going to start with black create. Let's isolate so we know we can see here and I'm going to grab all, like we definitely need as much of this room as possible. We're going to go up all of this section right here and even going a little bit into the into the mustache. Maybe not as much here on the other side. So like right around there. And of course we need to do cut on this side. Being very careful not to grab anything near the eyes. One that black color. Here. We go. Save. Now we check this thing right here. Should only be appearing right there. It looks good. Let's add the modifiers. This is gonna be you definitely way messier. So I'm going to add a noise modifier straight like a 10.5 on the primitives. We're gonna give this ten CB counts. Little more density. And we're going to clump this. So we're gonna go here. Then another modifier, clump. Okay, set up the maps. We're going to use degeneration. So we get some random facts. I want the one that tips to be S like clumped. I want to pull it up a little bit more like this code right here. It makes for an interesting, an interesting character. I would say. We definitely want more noise here. So let's go there. I'm going to add or grab some of these points. What? I kinda want to move them back a little bit. And I want all of them to be going forward. It's not like he had he kinda like has like a couple of different layers there on the hair. You can now see we can blend this together. Now. We're, now we're talking, this is what I mentioned about the context, right? Like now with this context, it's a lot easier to see and to understand how we want to blend every single part of the character that's already give it the proper material. So let's give it the AS ten their hair so we can see it a little bit better. There we go. Now again, we can go to there. Control vertex I, this the render things can freaking me out off the south a little bit more. So there's really push us up for this guy right here. Push it up a little bit more. Same for this one. Up. There we go. You can see it's clumping and it's giving us a really, really nice read again, let's take a look at how we would see this from the back. It's not bad, not bad. It's definitely like clumping a little bit more to the forward to the front side. So that's great. We can push this down a little bit. Or some of these guys just down there. This very interesting old man look overall. So yeah, that looks good. You can definitely see the main shapes of the of the beers like happening. So I'm really happy with that. See, you didn't context. Careful here with the overlap. So let's go right here. I'm going to push it up. You have to see the root of the hairs for it to be displayed. If I do this and I tried to see this, you're going to see some of them disappear because only what's visible is what you like, what you actually see. So be mindful about that one. Yeah, So I mean, I was thinking that what we're going to spend a little bit more time here on the side, but on the site beer, but it actually looks quite, quite nice. I'm going to use a little bit of this one right here too. To hide the back. Maybe add a little bit more density. It's also going to help to give the beard a little bit more volume. This looks really, really, really good. Definitely looking quite, quite menacing, Let's say real quick. And let's give it a shot on the render. So I'm just going to grab this guy preview Arnold renderer. And let's update this a couple times. Arnold render. Update. Render again. There we go. Yeah, so that's looking better. I do feel like the code right now is very clean. Now this could be that the noise. Remember that the nursery is doing its thing and it's trying to simplify the hair and the closer or farther away you are, it just says it's like a big lump. If we get closer here, You're going to see how it's way, way more interesting. It looks too interesting. Really, really cool. I'm trying to see what else we can do. A little bit more noise and the cuts, we definitely need to add some code. So I'm gonna go here to the modifiers. Let's add a cut to cut element 2.5. And let's go to the noise. And I'm gonna, I'm gonna give more noise to their roots, a little bit more to the roots. The beard and also on the beard base. So on the noise, actually that one does have quite a bit of noise with the mustache must touch base. Yeah, just a little bit more noise in general. So when we see it, it's not as nice. Little more crazy looking. There we go. I feel like the masstige is a little bit long. So I'm gonna go to the base, must touch. And we're going to bring the base or the length down a little bit. Of course it's going to show a little bit of the mouth brother. So a little bit weird. I don't want this to be like too much. Also density wise, I think we need more noise. It looks very soft and decides, you know what I mean? There's another modifier that could work here. Let's try it on the beard base. There's some modifier called the coil modifier. And that one will, as the name implies, tried to give you like a like Kirby here. So it's going to really, really, really, really mess up the hair. See that giving us a really like a crazier effect. And you can see how it's affecting the tip or the root over more than other parts can play around with this thing. Could give us a crease you're looking for you because right now it looks a little bit too clean. It's easier to clean because it looks really good here in the preview, but then under rendering gets a lot softer. So let's give it a shot with, well maybe the breakpoints might help because we know like the masstige looks really nice because of this breakpoints. And right now I think all of this like sections on the character. They look good. It looks a little bit to, to like uniform. So yeah, we need to keep again, Let's move with the context because we had a really weird looking beard, like a central beard. When we added the side view, it looks better, but now I think we definitely need to add the eyebrows. Once we do the eyebrows, we're gonna be able to do the break points for pretty much everything. So let's do the eyebrows next and then we'll keep tweaking face thing to make it look even better. So yeah, hang on tight and I'll see you back on the next one. 86. Eyebrows Block In: Hi guys. Welcome back to the next part. Today we're going to continue with the eyebrows. And the eyebrows are also one of those like EC parts. One of the interesting thing about the fibrosis that they have a specific direction that we're going to have to follow. So yeah, let's do it. We're gonna go to again our thyroids hair attachment here. And we're gonna do another description, create description. This are gonna be eyebrows. Eyebrows are not going to have breakups. They usually we don't have so many eyebrows, so we don't really need the break-ups. You can add them, of course, if you want, which we're just going to call this eyebrows. We're going to isolate this case right here. And the eyebrows usually start at this point. I'm going to start with four. I'm gonna do 1234. Okay? Now the interesting thing about the eyebrows is that again there is a direction. So this iris tend to go up like this. They don't, they stay really close to the head. They don't go as, as far out. The last eyebrow is really interesting because it goes down. Stars like going down due to the direction of the skin and the muscles and everything. So it's going to start going down. And then the remaining there kind of like a, like an interpolation of all of them. So this, this this is gonna be the most intense one. Just gonna be going up. And to the side. Can they tend to remain close to the character like they're, they're not gonna be flying away as, as intensely as other, other hairs. Something like this. And this one also becomes shorter as it keeps moving forward. It becomes slightly shorter and shorter. Like this. Let's try it with that. Of course, if we do this, that's not bad, but we definitely need a map. And the map we're of course going to need to mirror this guys. So I kinda wanna just do one first. So I'm gonna go here, create a map. Lack create paint. We're going to start here. We're gonna become narrower and narrower. So as we get to this final part and then become narrower like that. So actually a very, very clean shaven, very nice-looking, safe. We go, definitely going to need a little bit more density. We can start playing with the values. So taper root, this guy right here, I'm gonna give this quite a bit of a uniform points or CV points. You can see how nice this looks like a, like a very combed eyebrow. So I'm going to play a little bit with this thing. Just like modifier. We don't need it to be super, super clean. We can move it out of the head third of the face a little bit more. And I don't think we need to clumping for this one, but we definitely need a noise. So we're just going to add the noise here. Now the frequency ten, frequency five, magnitude to play around with this wants to get some creepy looking a little bit longer. And the cut, the cut tool is gonna be really important. So on the modifiers, we're going to add a cut tool or he cut the modifier. This one's gonna be quite heavy, so we're going to have some really short ones and some really, really long ones. Even that one right there, it looks really cool. So yeah, now we can of course graph the guides to the eyebrows and grab the guides in, mirror them to the other side. But if we render this, nothing's going to happen. Why? Because the map that we initially painted is not there. So we're going to have to paint a similar map over here as close as possible as you can get it. And we save. It's gonna give us both sides like properly laid out. Yeah, We go really helps, right? Why the change? So let's grab this guy signed the standard hair material, the eyebrows. And whether you need to assign the material to the description itself, Let's say real quick. And let's go to the previous outputs. Ordinal retro, cool. Now, if we go to our camera and I use this panel so to select it for like a tree quarter view, it's very rare that you can see the character from the fronts are like a three-quarter view is usually the most common shadows you're going to get. Go for something like this. Say real quick. And let's throw in the render. I'm sure that the first render is not going to appear properly. That's part of the process. Let's try perspective. Let's try camera shape one. There we go. Yeah, so we just need to update this. And that should be there we go. That looks way better. Yeah, there we go. So now as you can see with thanks to the eyebrows, were actually getting something that looks a little bit more interesting. So again, contexts, this is why context is so, so, so important. Now what we can do here is we can definitely increase the density. Medium a little bit more populous. I'm going to increase the length as well. Make them a little bit crazier. Let's see how that looks. I think that might be a little bit too much on the length side. Maybe a little bit too much on the density as well. There we go. A lot, lot better. Feel like we can make them a little bit thicker on the density map. So let's go back to perspective. Grab this guy and paint again. I think we can paint a little bit more here on the upper side, maybe even a little more on the underside as well. Save, there we go. Raise here looking hybrids there. That bath. Get out of here. This a shot. I think they're a little bit hi. Did you guys think I think it should be a little bit lower here. So what we can do is I can add another guy here. I think we're running into a very similar problem now that's fine actually. But this new guy, let me go back. And you reuse this one. So I'm going to go to this guide and make it smaller. Waist, smaller. Same for this one. Usually you start with small eyebrows. And then they get bigger and bigger. Also going to push them out a little bit more. Same thing here. Just push them out a little bit more. I might throw in a clump to be honest, because I think it might look good. So we're going to clump the maps. Let's do generate. I don't want to use guides, but I'm going to increase the density a little bit. So we get more of those guides. And that way we get a couple of more comping as you can see right there. I want as much clump under root. But yes, on the tip. Again, it's all about like grooming this. Making things look as nice as possible. It takes time. With everything. This takes time. Grab your guides and push the hair to where you need it and where you want it so that you get the, the result that you're looking for, that it looks a little bit better. Let's take a look at the Render and not bath with crazier eyebrows. Now I think the map's a little bit too big on the upper side. So again, I'm going to go back to the primitives, the paint section. Let's remove a little bit of density on the top. Safe. And we'll check them out. Let's paint again because it seems like we take couple of points there. Safe. Those crazy hears. It will look like crazy hairs, but even those could be an interesting, an interesting characteristic to that guy. There we go. Those look way better, way, way better, really close. Nice. Let's go to the camera. Let's take a look at the full shot here. When the acts into the game. If we analyze now. Lecture is looking quite, quite nice. That beer, right? They're not bad. I feel like this guy right here is a little bit too straight. I like the puffiness of this, but I'm going to go crazy now. Now it's time that we can start like a modifying some of these guides again. So let's go to the site beard. Let's hide this guys. And I'm going to start grabbing some control points here and really pushing them out. Remember how we mentioned that if we exaggerate the placement of this guys, we're gonna be creating a more random sort of thing. Like a crazy beard here. Now here I'm gonna be careful because we do have the score. So I'm guessing the score with sort of like control, a couple of things like those, like thanks, just like pushing the silhouette in and out. Like that's a, that's a good way to add visual, visual interests as we'd like to say. Even some of this guy's like, once I'm there on the main years, Let's go to the main beard. Then also play a lot with here on the a side view. So we start getting a, a crazy or increase your beer. There's one right here and let's go to the side, period again. Kinda want you can press Alt to as well. All too will hide everything except for they will have all of the geometry. So if you're having issues like a ham, altruistic good way. There we go. So we push this one out as well. Make sure it makes sense though. You don't want to be like a comb being this thing in a way that it makes sense. So just imagine how this would accommodate itself. Like this guy right here. Again, that guy showed up giving us this very scraggly, sort of crazy be earth. For the mustache, twirling moustache. I really like how it's looking, but I do think I want to add a little bit more variation. Push. Some of this guy's up. The blends in with the, the rest of the character. Let's say real quick. Give it a shot here in the render and see, let's compare this. So this was like no change. We're render lot better, I would say a lot better. Now here I think that the noise is really, really, really like hiding a lot of stuff, but we're going to need a way, way more resolution under Render to be able to see it. So as you can see, there's a lot of interesting silhouette and thanks Bye. The thing is like definitely, definitely hiding a little bit of that. I'm gonna show you something really cool here. I'm going to bring the sky dome light. Give the scale back to one so we can see it. Right now. We have a very intense light here on the front. What if we move this to the side? So we have a site light on the character. Things are going to look really different. This is one of the other things that I mentioned and frequently about presenting your job or your work. It's not the same to have a super intense light coming from one side than seeing it from, like from this perspective where things are a little bit more intense. Here if we turn off the noise, Sir, Yes, We're gonna be able to see the character. It's going to look slightly, slightly different. So, yeah, I think, I think we're in a good position. I'm going to stop the video right here, guys. And in the next one we're going to add the breakup because one of the things that I'm definitely like a little bit worried about this, all of this empty area. And I think we would benefit from having a really nice, it really nice break up there for that, for w. So hang on tight and I'll see you back on the next one. Bye. 87. Beard Breakup: Hi guys. Welcome back to the next part of the series. We're going to continue with the beard, a breakup. And I'm going to try something slightly different here because as you guys remember, we don't have enough geometry. I made a mistake and I'm going to show you how I could fix it or how we can fix it. So I'm going to grab this guy right here, the, the main character. Let's isolate this guy real quick. I'm gonna go to the right view again. I'm going to go into face mode, grab our Lasso Tool, and I'm going to grab a little bit more of the beard. So all of this area right here. Then I'm going to de-select the mouth because I don't want to have breakup there and probably deselect this thing. It's mainly the, the, this outside part of the beard that we want to add a little bit of breakup too. Something like this, I would say maybe even like a couple of faces. Like those two guys, maybe this guy's a little bit here, might not be a bad idea. Then I'm gonna say a mesh or Edit Mesh and a duplicate. What I will do as the name implies, it will duplicate the mesh. So we're gonna have words, the hills that there we go, That's what we want. So this intersection right there, this extra one we don't need anymore and it's one-to-one that we need. So what I'm going to try to do here is I'm going to grab the attachment and this guy together. I'm going to try to find which ones we are missing now. I'm not it's not that big of a deal if we have two caps like usually when you have like the hair cap and the bureaucratic like it's not a problem. It's just advisable that we don't have extra geometry. So if we could have selected the proper geometry from the beginning, we would be saving ourselves this little bit of a hassle. Now, I don't want to combine these meshes. That could be something that you guys might be thinking. I was like, Oh, let's just combine them and it's going to be a single mesh. But the problem if I do that, is that we might get some weird artifacts on the UV map through because they're going to be sharing uv maps and the black and white masks that were painting might generate an issue. So I'm just going to call this beer break attachments. There we go. And we're going to shift P to get this out of the main place. And we're going to get this right there we go. So of course that one there, it can remain right there or we can send to a point, just make it a little bit smaller. So that's inside of the character. Again, that's gonna be a hidden geometry. So not do we really don't need to worry too much about that. We're gonna go to XJ and we're going to create a description, create description. There's gonna be beard, breakup and he's gonna be on the thyroid collision, placing and shipping goods to create the now of course we can create some guides. So a couple of guides here, and that's gonna be a shorter beard is going to help us to, again break up this like weird patch that we have right there. So let's turn off this thing right there. And I'll go into L2. So we can select the control points. There we go. So we went to follow a very similar like you very similar road as well. We have on the other ones, on the main ones. But we do want to make this thing a little bit crazier, right? It's gonna be the ones this guy is we're gonna be using to, to fade the beard. And this are going to be shorter as you can see right here. Your gonna be quite, quite short compared to the other ones. So it's another important information, this bottom ones are going to be longer though, like this guy's can make them a little bit longer. Because we're gonna be using them as a blend information. So something like, there we go. So now if we take a look, this is where we're gonna get. Of course, we're going to have to paint a mask. So let's select the beard break attachment. We're gonna, we're gonna assign a Lambert material. Remember this is very important. We're going to assign the Lambert material so that we can paint and we are going to paint black. Let's call this beard break. But anyway, all of this map guys are gonna be there. They're being saved on our folder. That's why the folder structure is so, so important. Let's go with white. And let's make this thing a little bit bigger. To pretty much all of these guys right here are going to have the beards. All that's going to help me for my break-off. By the way, I didn't mention this, but you can actually use grayscale. And if you use grayscale, that also works as a, as a mask. So you're gonna get it are more or less hairs on that particular area. Let's save, let's give this a shot. That's it. We're of course going to increase the intensity. We're going to add some taper, the root tip bit thicker. And I'm going to select all of these guys and mirror them to the other side. We can get this very cool looking. Reduce the length a little bit. And here the magic is going to happen, of course, with the, with the grooming or the modifiers. I'm going to start with the cut modifier. I'm going to go really aggressive, is going to be 0-0, 0.8. So we get some interesting cuts. And then we're going to add, of course, our noise, really intense noise with this one's going to go into primitives and let's give them more element there, maybe not that much noise. So I'm just going to bring this back to a 0.5. There we go. Looks good. Let's sign or material already so we can see how everything blends together. Not bad, not bad. A little bit more. Shorter length, I think. Yeah, we go that's even better. A little bit more density probably. Yeah, that looks good. The modifiers, let's see how a clump works. So I'm going to add a clumping modifier, set up the maps, generate safe, get some clumping there. Especially I want to get a little more clumping onto the roots to be honest. That's it. It's something that looks really, really, really interesting. Let's say real quick, go to the output, changes to Arnold renderer. And let's take a look. Let's go to perspective, shape and render. Where's the first one is not going to come out nicely, but the second one. Look at that. So now by adding those like that little breakup there, look at how nice that we're starting to look. Now, we do get something that looks interesting. The denoise or is removing a lot of, it's simplifying a lot of stuff. So how can we get a nicer renders so that we see a little bit more of the here, we need to increase the samples. So if we go here to the Arnold renderer, we can turn on, for instance, adaptive sampling. Turn it really high to like 2020 is really, really high. But that's going to let this thing like process more and more and more, give more and more time in the more time we give it, the cleaner, all of these things are gonna be resolved. The, the, the more detail we're going to get all of this specific elements. So I really like how this looks on this side right here. Front view. It looks really good. I think making this guy's a little bit shorter might not be a bad idea, even going to help break the whole thing a little bit more and maybe a little bit less density. We can see the connection points. I kinda want to add a little bit. They're like, I know sometimes beards don't go all the way up. A little bit more density there. That makes sense to me to be honest. One thing that I'm definitely noticing is the fact that texture wise, we could have a little bit more darkness there, like a little bit more blemishes and shallow because you can see that even though we do get a very nice, very nice transition there, the texture is not really helping us much like if we can dark in that area a little bit more than we could get something that looks a little bit more interesting. I'm going to change the, I'm gonna go to my shotgun actually, because the shotgun should have the focal length is silica 55 focal length. It's gonna give me a little bit more of an interesting effect here. Kim. There we go. It's a little bit like Santa, but it's not bad. Yeah. So that's pretty much it guys. Like with this, we've pretty much constructed all of the necessary steps here for our hair. Like all of the necessary curves are ready. And now we can start thinking about bringing this into unreal and the like, just setting everything up so that he looks so that we can replicate what we have right here. Now, also keep in mind that the, the HDRI that we have right now, it's a very flat HDRI. I'm trying to think what else we can do. I think the masstige is a little bit too dense now. Makes it look really funny. So let's go to the must touch base. And I'm going to bring the length of the masstige down. Yeah, there we go. That looks a little bit better because the masters was a little bit too intense. This is way, way, way better. It's like a shot from a far upper elementary their airway go now we're talking that it looks way, way, way better. Cool. So yeah, guys, with this, I would say I would call this a very efficient blocking of the hair. If we were working this in a production pipeline, we would spend literally days working on the hair. Like it's not something that we can do it like an hour or two. But I just want to show you the tools and the techniques that you can use so that you can spend as much time as you want on your own character and get it to look as nice as possible. But yeah, I like this guy right there. Now we're talking, now, this is a character. Let's grab the light here and I'm just going to rotate this so we have more frontal light. You can see, we can appreciate the beard a little bit better here. And I really like how this looks, really, really, really like how this looks. This left, I remember that we gave you the sort of like cataract thing. Let me see if I can. I'm going to go to the cornea. There's gonna be this AI standard surface. I'm going to remove the transmission on that one. I'm just going to have like a, like a broth, semi rough, white, glossy like element. Only notice the white little bit darker gray color that I, now, I'm going to show you one very quick thing here that's going to help with the, with the character. And that's an extra detail that we can add to the eyes to give them the wetness that you sometimes get. So here it is. It's very, very simple. I'm going to select this inner eyelid that we have right here, one right there. Then I'm going to delete all of these guys. We only have the upper one. You usually get on this only on the lower one. I'm going to select an extra edge loop here. I'm going to duplicate again. So Edit Mesh, duplicate. I'm going to push this up just a tad bit. Or actually I'm going to push this down then. And then just a little geometry there. We go. That little geometry right there. I'm going to extrude it up. We're going to create this sort of like band on top of the element. Maybe not that much. I'm going to push this local translates a little bit lower. There we go. This guy, I'm going to sign the new material, Arnold, a standard. Let's get rid of the history. I'm going to call this M tear duct. And this is just gonna be a glass material pretty much. So we're going to turn on to wait here and we're going to keep the roughness quite high like that. So what that will do might not seem like much. Of course we're going to mirror this to the other side. So X positive Y. What that will do on the render. We go for this or shot. It will add a level of glossiness, little glossy level on top of the ice. Right there. It's not loading. Let me close that and open it up again. When it's new geometry, you need to do that. We go only going to be a little bit more visible on this side. That's hit that right there. I'm going to, I'm going to actually modify the intensity of that light little line right there. Let's go here. Let's a little bit less roughness. As you can see, that's going to add a sort of like a tear layer on top of the whole thing. One way in which we can like a fake, the fact that usually eyes are a little bit wetter. This is a little bit like a faceted. It looks a little bit like this, just that little thing right there. We can even increase the index of refraction. Remember we talked about how that thing will generate a more like metallic look, look at that. And now we get that nice loop going around. It looks, it's going to look quite, quite nice. We see the eye. There's always gonna be like a nice little thing right there. That's a little bit too much though. So I'm gonna go with my line right here and we're going to push it in just a tad bit. That it's barely there. It's kind of like that. It's kind of like the tear that accumulates on the on the border of the eye and that thing right there. Even though it looks like a very simple thing, it just adds one extra level of detail. Look at that, beared by the way, look at that. Not fricking, bad. Not bad. Really looking cool for this tyros guy here. So, yeah, that's pretty much it guys. I'm going to stop the video right here. And in the next one, I think we're going to start talking about Unreal Engine. We need to create a project and we need to get this. Now, I'm going to preface this by saying that since the Unreal Engine project is really heavy, I'm not going to be able to provide it to you. So I'm gonna, I'm gonna try to make the steps as always like very, very simple and thus easy to follow as possible so that you could do it on your own. But Unreal Engine is one of those things that you're definitely going to have to do it like per your what's the word on your own computer and stuff like that because the project by itself is like 8 gb. Okay, so, yeah, I think this is the end of chapter nine, guys, we've finished the eyes and we've finished the beard, is looking quite nice. Like imagined that this is a cinematic shots from the game. This would look really, really cool. We're going to talk about rendering. Don't worry about that. But yeah, that's it guys. I'll see you back in the next chapter for Unreal Engine and presentation. Hang on tight. And I'll see you back on the next one. 88. Four Patches: Hey guys, welcome back to this. Next are the final chapter nine. I almost forgot about the very important one which was the first patches. Now, this is something very common. They just opened the scene again and you can see that we're missing all of her stuff. Don't worry, just go to each individual element and when you go into the action element, you're gonna be loading in all of the stuff just like that. There we go. I remember that we can change this to until map so that we can see colors a little bit better. And we can, of course, it started like hiding all of the guides if needed. So for instance, I love this guy's can again go to each individual element and just hide the guides. And that should give us a relatively better, better look overall. There we go. So for the patches, Let's start with this one. This is the one of the most important ones which has the third pouch that we have underneath the big scope. So patches are one of those things that we, we need to think about. We can't do the same thing that we did for the character. But that's not really a problem because in this case at this big elements like discursive stuff, those are gonna be holding the masks. So I'm gonna grab this guy right here. I'm gonna go into X Gen Bu hip right here and we're gonna say description, create description. This is going to be called shoulder for and we're not going to have breaks. It's just gonna be one shoulder is going to be placing in controlling and we're going to hit Create. There we go. So the main blank lines that we want to create is pretty much the ones that we have here on the side thing. So something like this. I'm just going to create a couple of them pointing forward. Of course. Those are the most important ones. Of course we can add a couple more, and this is gonna be short here. I'm actually not going to use, are not going to modify things as much. We're going to try to control it with this, maybe a couple of one right there. It'd be one right there. There we go. So now we generate, are gonna get this very nice like furry patch on top of the whole thing. We definitely want to grab this thing and paint a mask because right now it might be possible that we're getting like a lot of paint everywhere. So we're gonna go here and we're going to of course create a map. We're going to call this shoulder mask. Let's start with black create. Also will in this case, we are going to assign a Lambert material to this guy for just a second. But at the end, this is just to paint the mask and then we can change back to the shoulder. So we go here, we paint, and we go to Options. Let's make the brush quite big and white. So pretty much all of the element here is going to have for all of these guys right here. On the front side, of course. Like this. We save. We go out here and we check. There we go. Now we can go back to the material which was this was the upper props. There we go. Unless we need to paint again, we can keep the new material here. So what we're gonna do here is we're definitely gonna increase the density quite a bit. I'm gonna increase the length. And as you can see, it's going to push the length directly on top of the elements, which is going to give us a nice effect and it's pushing out, which is what I will expect. The clumping modifiers, what we mostly are going to be using, we're gonna go to the modifiers. We're going to use a clumping modifier, hit, Okay? So the bump map, really high density for this or like animal for you really want a lot of density. So something like that. Well, maybe not that much. Depends on how many elements you want. Probably, I think five might be good enough actually. Let's do five and generate. There we go, Save. Now, we're going to really push the clumping of the effects as you can see right there. And that's gonna give us the desert like for effect. Right now it looks very stiff. First things that we're going to do, of course, is modify the hair. We know this already. This is going to help us with the overall profile of the firm and that we can taper this as well a little bit. We're probably gonna have to, we're probably going to need a little bit more density that you might expect on this particular one. And I am going to go to the modifiers again, I'm going to use one called d bar. Let's just the force modifier. I don't think we've used this one before. But the force, as the name implies, will apply a force to the whole thing. For instance, here is negative. So if I say this a two, or if I actually landscape with a one, but if I say instead of minus one, I say minus ten. Which should be pushing this down a little bit more because minus ten is negative y. Unless I'm missing something, I think I might be missing something. Let's get rid of that one. Let's add the noise. Of course. Just to give ourselves a little bit of intensity here, 5.10. I'll probably tell us a little bit too much. Listen to. There we go. Now, we can of course go to some of this guy's control points. Just move a couple of them around. Just to get some, some more information here. Careful not to generate as much overlap. And so what we're doing right now, wouldn't it be tried to keep it nice? It definitely want this to be thicker. So I'm going to increase the width of this, like for right there. Let's read this at length a little bit. And I actually think we have too many clumps. So I'm gonna go back to the clumping setup maps. And let's bring this down to like a two. Even like a one, because it's an iterator, it's a really big surface. Let's save that. There we go. That looks a little bit better. That way, way, way better. We can remove a little bit of the clumping, especially on the tip and have like not as much clumping on the tip. The general sort of like clumping effect. Everywhere else. That looks interesting. Let's go to the primitives. Let's try a little more length. And it's definitely going to be heavy. As you can see, the, the amount of fibers that we have for this special one or for this particular one, it's quite high. I'm going to add a cut modifier, of course, random all the way to like a one or a five. You can go into like bigger integrals by the way. Like a two. There we go. We have some shorts and some long ones. Now, let's visualize this. Again. You have to see everything to be able to see the fur. And I remember on the concept that was quite, quite long. So we push this a little bit more. It shouldn't be super, super long because then it's not going to look like what we see on the real life. Like not every single animal has that sort of like super big hair. The clumping a clump. This guy's a little bit more on the route. We can see the individual elements a little bit more. It looks good. And yeah, let's say real quick. On the collection. I'm gonna go to the shoulder for, I'm going to right-click and assign a new material Arnold ai Standard here. And it's gonna be like a brown hair. So let's go for sort of like dark brown hair or something like that. And I am going to add a little bit of melanin randomize. Of course, on the action options, we need to check on the preview output. The Arnold renderer right there. Let's say real quick. Let's take a look at the other render. Let's go to our render elements, camera, panels, looters elected. Of course, these guys right here, we can hide them. We're going to say Arnold, render. Let's see what we get. Just give this a little bit of time. Very nice beard for the character. You can see the hairs right there. It's a really dark though. Of course we don't have as much light, so that's a factor. But I would definitely make this a little bit lighter. We can see it. This is also probably where I would start adding some more lights you into my scene. So I'm going to add an Arnold light area. Light is going to be a rim light rain later, really good by the way, you're going to see how would this like, nice room like that I'm about to add. Things are going to look way, way better. Ten exposure there. Might need a little bit more exposure. 15. Well, a little bit more. 18. There we go. Now, look at that. Some beautiful effects right there. We're probably gonna have to go to oxygen and just give it a, an update there. So at this thing updates properly. That's it. We've got the third patches right there. Thinks a little bit too thick. So let's go here and reduce the the intensity or the amount of hair. It even more. I wanted to be able to see like the strands that might be too few. Let's try double that. So like ten, I'm going to reduce the width as well little bit. And that's why having the other effect or the other element was really important because by having the What stores? By having the leather on the bottom part, we are going to be able to actually see what's going on here. A little bit too dark. Then go to the shoulder for again, maybe bring the melanin even lower. Nope. Come online. You could do it. You can't do it. There we go. So I'm not sure what the thing is here. They can look at the amount of hair, the amount of hair to me, it looks good. Maybe maybe what's happening here is that there's a lot of shadow or some sort of like conservation thing. Let's bring the length in a little bit. On the proper side though. Yeah, I'm on the proper side. I'm going to, I'm going to draw something here. I'm going to go Object Mode, grab the light, and then move it to the side. Rotate a little bit more solid phases into the skull. I want to see. Yeah, it's fits there. It's maybe the it could be it could be the what's the word the the noise her that's like since it's very shadowy there, it's very difficult to see. But they can definitely tell that there's something going on there. Let's bring this back as a rim light. Was looking really, really good. You can see how much like rendering has to do at this point. Now this is looking a little bit more photo-realistic, thanks to the way that we're placing delights and stuff. So yeah, that's I mean, it works. It works. Okay. I think we can still tweak the material a little bit more, but it looks fine. Let's see what else can we do? Less melanin, less melanin, redness, less melanin, randomize. A really white here, but it's not really giving me, oh, you know what else could be? Let's make this thing. Are we refer by making it, we refer, there we go. Now we're seeing the individual strands. So that was hitting the roughness. It was, it was like bouncing backward, reflecting the shadow instead of the other thing. So let's bring a little bit of the color back. We should be able to have this very nice looking like that's like blonde. Let's go towards the browns. There we go. That one looks really cool. And we increase the roughness quite a bit. And the more roughness is gonna be like a really, really dry hair look at that. That looks gray, that just looks great. Perfect. So let's continue on to the next one. We're going to go to this one right here. Same deal. We're gonna go to excellent description, secreted description is going to be left or actually right skirt. Right skirt for. And we're gonna do a map. We're going to create a map. There's gonna be a lack map. Actually now that I think of it, I think I might have made a mistake. Let's delete that description. Let's grab this again. Description, create description. Again, right? Skirt for lasing and shipping. And there we go. Create that because we don't want guides everywhere, right? For this one, if you guys remember, it was only like a patch that we have. Like right around here. Around that area. We're of course going to paint. You can do that. We're gonna get a little bit on that side and that we're going to paint a mask. So I'm gonna go here. Of course, you need to assign the Lambert material for now. Let's just say the number one. And we're going to create a map. Lack is going to be skirt, right, map or mask and create. There we go. So this one, look at what I'm gonna do here. I'm going to paint the section of the element. And then what I can do is I can actually go here and I can lower the color to like a gray. So by doing this gray, we're going to create a little bit of a gradient. And this gradient is going to be important. I'm gonna go even darker. Because we want to have a sort of like faith stuff where certain elements or are more intense than others. Okay? Then I go like really dark. Now, there we go. I'm going to save this. And what's going to happen is we're gonna get less and less on this side over here. And here's the interesting thing. I can go to the length as well. Increase the length a little bit for the whole thing is probably going to be something like that. And we can go to the length itself and we can also create a map and it's gonna be the skirt length. Create same deal. Like I can just go here. I'm going to grab the light color flood paint. And then I'm going to start with white. So the longer elements are gonna be here. And then like a middle value. It's gonna be after that one. And then another intermediate value, it's gonna be like there. And then even darker. Finally, almost dark like this. We can save that. Save that. And we check the elements. Not working. It seems like it's not working. We get an error though. Let's see what that was. Part of path doesn't exist. Okay. It's weird. Paint. Now the paints there, there we go. Save. Okay, cool. There we go. So as you can see, the hair gets smaller and smaller. So we can play with the width, the length on the, on the density for instance, or in the density. And that's gonna give us a really interesting effect. The fours we're going to taper this. I think my length is really short in this case. And unfortunately we can't push it anymore because we're now painting this with white. And the white is kind of like destroying that. They do believe we have a modifier here which allows us to do some stuff. Let's first do a very easy clumping here. Generate safe. There we go. That's like the further we're going for. It's too small though. And I remove this. I don't think. Let's reset this to a slider. Like length of that we go, we're going to have a value of four. And I'm gonna explain how this works in just a second. But first, let's add some more modifiers like the noise or two. To complete with the clumping here. This a little bit less on the tip. This looks a little bit too fake right now, right? It's funny because it's all of them are pointing forward. What we know, of course, go here, hide this. I'm going to grab all of the elements, go into control OR gate control points. We can grab all of the control points. We go to the front view and we can just kind of like make them go down, can even turn on soft selection. Probably not as much. This they're going to be going to different areas. And now this is going to look a little bit better. With more natural, mainly. There we go. The primitives. Thing is fine. Maybe a little bit more density lengths way too much. So let's reduce that. You can see how we get less and less hertz as we keep going. Now, this is what I was mentioning. We do want to have the effect that I was talking about how the height of the elements are gonna be, it's gonna be reducing as we get further and further down. In order to do that, we need to know what the length, the current length is, and it's 2.95. So if I go here to this object and I tried to paint another map, create a map. Map resolution is fine. Let's start with black hole, this length skirt for mask. Create on the, on the thing right here, the value here, this value right here, we can actually set this value to three. Okay? So it looks like white, but it's more intense than whites. Okay, So it's, it's a value of three. Then we go here again and we go to a value of two, which to our eyes is pretty much going to be the exact same thing. But to the computer, it will know that it's a different value. We go back here again and we go to a value of one. We're going to have that right there. That's probably as the smallest we're going to go that we save. If we save, should have checked that we're going for. What? Why is it not working? Maybe this another thing that might be happening here, and it's very common again in computers, is that you sometimes will get a, a clamp on certain values. So it seems like that's what's happening here. Let's try a value of four. So this was mainly a way or I wanted to try and do this to save myself a little bit of time, but maybe we're not gonna be able to do that. Let's take a look at how this looks here. So I'm just going to grab the rescuer for sine, the exact same material, the center here to say real quick. We're going to run there. This would run there are no view. Throwing the render from perspective. Stop, reset, and then do it again. There we go. So yeah, it's not bad as you can see, this for patch looks way better. It's very nice. I like the clumping that we're getting there. It's quite, quite interesting and we are getting this sort of like faith, so the leather is losing some strength. I'm gonna grab this guy, of course, reassign its material, which is the belt. And if we do another render, should look very nice to have this sort of like for patch coming from this specific area. And the allowing us to, to just see the effects. Not bad as you can see, it still looks quite nice. But it's not as precise. So what would be the solution here? We need to grab each individual, like little strand right there and give it enough, like make them smaller, start with a really long ones and then go for smaller well, with the guides. Because right now since all of the guides are the same size, when we use the length modifier, it pushes everything at the same side. So I'm going to do that off camera real quick just to fix that and we're going to properly do it on this side. For the next one, we need to do this one right here and we need to do a full picture right here. If you guys remember, there was a little bit of fur coming from this area rate, right at that point. But as you can see, it's looking quite nice like just by adding those extra little details on the character. Again, it's helping with the context and making sure that everything feels unified because there's more materials that are playing with each other and creating some interesting shapes and elements. So yeah, hang on tight and I'll see you back on the next video. 89. Fur Skirt: Hi guys, welcome to the next part. We're going to continue with the skirt and we're gonna do it on this side. Now we're gonna go to the descriptions, created description. And this is gonna be the left skirt for placing any shipping guides and create. So what we have are the problem we had on the last one, and here's how to solve it is we're going to place the guides. We're gonna do 123456. Okay, that's gonna be like the transition from more to less for now that we have that we need to make some of this longer. So this guy right here, It's gonna be a little bit longer, little bit longer. We can even push this to the side a little bit. It's going to be a little bit longer. And then this guy's going to be a little bit shorter. Little bit shorter than this final one, is going to be tiny like the what we have right there. That way. When we do our elements here, the first is gonna go from big elements to small elements. We're going to assign a nice material here, a lot of nice material. We're just going to assign a Lambert material here real quick to do our density maps or we're going to create our map black. This is left skirt for our mask create. And we're going to paint on this area. I wanted to paint a little bit higher there. And then all of those guys right there, I'm going to go back to black. And I'm gonna make this smaller. So we don't have any for like up there. Just in the pores that it actually let me go. It's a lot this year. Just delete all of those. Then let's bring this back to white. And we're just going to paint on. There might be a little bit of further like overlapping but shouldn't be that much. We're going to have this going back like this. And that's it. Again, we can do the same thing here with depressant. So you can start doing a little bit of faith. That's going to create a slightly different density amount. I make it look a little bit more natural. And we save, not forget to save, you don't save. Things are not going to work. Increase the density. And we start with the modifiers. We already know the ones that we need, so we're gonna get our clumping. Okay? So the maps generate a clumps right there. Now, it's gonna be a lot easier to push the line because if we push the length, as you can see, it's gonna affect all of them uniformly. So this guy's, since they're like going to a small guy, they're going to be smaller. And these guys are going to be bigger. So that's, that looks quite nice. We need to add the taper, of course. Paper here. Couple of more densities. Of course. We get to the modifiers and now we're going to add noise 5.2. And I'm going to press Alt to hide this guy's going to the guide control points. The same that I did for the other side. Just grab all of the points here, bring them down a little bit more. The thing is falling down and looking a little bit better. Altitude to bring the geometry back. Because there's a couple of crazy hairs right there. Much we can do unless we go back and paint. That looks good. Let's bring this back to its belt. The belt material. I go. And we can of course assign the existing material, which is the AI's turn or HER2. Going to give us a very, very cool looking for patch on that piece of leather. So yeah, that's pretty much it. Now finally, we need to grab this guy right here and do the same thing. Create the description will be felt for. It's gonna be really small for this one, to be honest. I'm just gonna do one too. And three. That's all to be pushing out a little bit. That altitude to bring this back up. Weird thing, they're out. And then we check to see that that's what we want. We wanted this thing to be pushing out. We only wanted like small patch, right? So of course we're going to assign the Lambert material to this guy and create a new mask for this great map. It'd be a black mask, then be belt for mask and create. And we're going to paint the really, really small section with white. Just that section right there. We don't want to get a lot of overlap, right? That's the, that's the important thing. Like a triangle to help with the overlaps. We go safe. That's it. Just got a couple more density there. Little more density. And of course the paper in this case, I think we're just a clumping, might be fine. Clumping in the noise and set the noise. We've been using 5.2, which works really nice. And you see very quick a clump here. As you can see, we're playing with a law, the full descriptions and stuff and it's not really creating any like big issues for Maya. So it can handle it's stuff. You can definitely handle that stuff back. And we're going to assign the same material that we have right here. That's it. That's all we need. Preview outputs. Arnold renderer. We go for the belt or the, sorry, the left skirt. Arnold renderer. Let's say real quick. Go towards camera panels, literal selected. Look at this side right here. And let's save and render. Let's see what we get. We're going to render from the camera shape. And of course, as we know, probably going to have to go here to the skirt and the belt, just like reassemble them. Understands where they're supposed to be and look at that. Like we even get the rope going in-between the hair, which makes this look really, really cool. Look a little bit further there. This first picture right there, look how those hairs are growing in here with the density. That's what we want. That's the sort of stuff that we want. So there we go, guys like this character like this with this rim light. I mean, I might be a little bit biased because it's my character, but he kinda looks like a character that could be on a cinematic, like on the commercial. Probably not like a AAA commercial, but this is definitely, definitely good. So yeah, now we're ready. Now we're really ready and we can start our journey into our unreal. In the next chapter, we're going to start first with the setup or from real the project, the scene, everything that we're gonna be doing in after Dad, we're going to jump and we're going to start with importing the character, creating the materials, tweaking them up a little bit to give it a nice effect. And eventually we're going to jump into D rendering and all this stuff. We first need to get the character, get the materials, get the textures. And once we have that, we can talk about bringing in the firm, which is gonna be really, really, really important step of the process. So hang on tight and I'll see you back on the next one. 90. Unreal Engine Setup: Hey guys, welcome to the next part of our series. We're finally in Chapter ten, the final chapter. Now, even though it's the final chapter, there's still a couple of whole nother, couple, several things that I need to teach you guys. And we're gonna take a look at the presentation, rendering and even rigging. We're going to be rigging the character and we're gonna be creating a very simple, just a very, very simple rig so that we can pose him and have him in a more natural postman, a more natural look. So right now as you can see, I'm just opening the epic launcher. And at the time of this recording, the most recent or rail engine, engine or epic, rightly engine like version is 5.1. Give me one sec. There we go. So if you've never used Unreal Engine, this is might be a little bit of a steep learning curve, but it's not that bad. First of all, you're going to download the epic launcher, which includes the library store. You want to play for nine, this toy to go, you're gonna go to Unreal Engine and under library, you're gonna be able to install and launched the engine that we're gonna be using. So in this case, I am going to be using a project that I already have it. I'm going to show you how to create a product. So actually let's just create one. It's just easier. Again, as I've mentioned in another video, I'm not going to be able to share this project with you because when you create a project on a lot of things were created like literally a lot of things. And that makes it really, really, really happy to share. So this is not difficult to follow. Hopefully you can follow along again, just open epic engine, open 5.1, which is the engine that we're gonna be using and wait for everything to finish. As you can see right now, it's compiling some shaders that usually take some time. Give me a couple of minutes and I'm just going to pause real quick for you. It's just gonna be skipped and we'll continue. Very well. It finally finished compiling and we've got this right here. So all of the different products that have been working on in the last couple of months. The first thing you're going to select this, we're gonna go to a games and we're going to select a third-person game. That's the one that I personally like. Because of the things that it has. We're going to select this one. We're gonna be working with blueprints. We're not really going to be doing any sort of like programming. It's all going to be like rendering. But I want to show you that this character can in fact get into an engine properly. We're going to call this thyroiditis. And I'm going to name the name of the character, of course, and we're gonna get this, I'm gonna get this into my folder again, I'm not going to be able to share this particular project with you guys because it's gonna be really happy. We do not have started content and I do want to choose our real-time ray tracing. So Eve, you don't have a graphics card that can support retracing. Unfortunately, there's not much I can do to help you right there. But the ray tracing is gonna be important to get the best possible outcome. So we're going to create this. It's going to create the project, is going to load it, and it's going to take a little while to compile the new shader. So again, quick jump here for you guys and I'll show you the, the, the interface. There we go. So we're inside the phone real and the interface is very simple. Haidt, most very similar to a Maya. So Alt, Enter three clicks are gonna be your main navigators. And of course not going to be exploring all of the amazing things that are real has to offer. We're just going to be focusing on renderings. So to do that, we're actually going to have to create a new level. And to do that, we want to keep things organized. So down here, this is called the Content Browser. And this is where we're going to be importing and setting up pretty much everything. So I'm going to right-click here and I'm going to import or am I click create a new folder right here. I'm going to call this thyroids. So anything related to thyroid is gonna be right here. Right-click and arcs. I'm going to just go File. I'm going to create a new level over here. Why? Because with this new levels, we actually have a couple of options that are really, really good. So for instance, we have this open world, we have this basic, we have this empty. And I'm going to grab the basic. I'm going to create. This is what we're going to have. A very, very, very, very basic setup here for our, for our character. And the thing that I like about this, the new engineer right now is that we have something called a lumen. Lumen easily real-time ray tracing thing that we can use to build a scene that's gonna give us some very, very realistic lights. So let me show you. I'm gonna go here to the starter contents. And if I go to our shapes, we have this very basic shapes. I'm going to bring in a cube, a scale this up with R, and then just create like a little wall here. I'm going to create a, another wall. I'm going to click Alt and drag this to create another wall. And then I'm going to press again W Alt and drag, that's a third wall. Rotate that one as well. Scale it up. As you can see, I'm creating a little bit of a room. There's other shapes that we can use. There's one, some architecture things that we can use, but this is going to work for the example right now. I'm going to rotate this right here, and this is gonna be our selling. So as you can see here, inside of this walls, we actually have some very nice bounce light. Like even though we don't have any, any sort of like, like we have global illumination. So if we were to be instead of this thing right there, we'll have a very nice effect. I can create another wall here. And let's say we create a nice little room right there. If I hit play the bass character, look how nice the light works, like it really works. How would you will expect them? We have this Eye Adaptation things so the light will correct the exposure so we can see instead of this thing. So thanks to this, like neon lights hubs that we have here, we're gonna be able to create very basic scene, very basic like a nice rendering scene for our character. Press Esc right here. And let's start bringing in some of the stuff. So even though We're gonna be bringing the hair and everything else. I just want to bring some very basic stuff right here. So I'm going to select, I'm going to, I'm just going to select all of the groups right here, all of the mesh groups. And we're going to export as they are. They really have nothing else. We're not selecting the hair, so we're not exporting to here. This is where we're going to select. Just make sure that all of the objects have the proper material assigned to them. Because this is going to be important for the whole thing. So I'm going to select all of the elements right here. I'm going to say File Export Selection. As you can see, I'm not exploiting the things that are holding the effort. That's fine. Experts selection. And we're going to go, of course, to assets. Let's go create a new folder. Let's call this render. And here instead of render, I'm going to create the warm cold virus. The name is just gonna be thyroids and we're going to export. So you can see a lot of things are getting expertly. I'm getting some weird like warning. That's fine. Let's go back here to unreal. And inside of our thyroids folder, I can right-click and I can import to this element. If we go all the way to our assets here and we go to render here we have thyristor. Now, very important that when we import, there's a couple of things that we need to keep into account. Right now we're inputting a static mesh. Therefore, this Skeletal Mesh option should be unchecked. Later on we're going to import a rig character. So the pose, or we're actually going to be importing the pose of the character. So we might need to change this to a skeletal mesh, but for now, this is fine. Down here. If I open this up and go into advanced, I'm going to say, I'm going to have this option called combined meshes. I want this to be off as well for now, but later on, again, we might combine them to make it a little bit easier. So I'm just going to hit import all. What's going to happen is it's going to import all the different low policies that we have. This is something that we're going to have to optimize later on. It's gonna be very important that we do that. Otherwise it's gonna be against very, very difficult to control. But the really cool thing about this is as you can see, we actually get all of the materials that were assigned to the objects already built up in here. So all of these green guys right here, that's the material. What I can do is I can select all of the objects here, drag and drop them into the scene. And as you can see, we're gonna get this like the character is going to have all of the basic shapes already. So technically even the eyes should be in their proper position, which is great because we definitely want this to be the case. So there we go. We have all of the necessary things now we need to bring in textures. So I'm going to make this thing a little bit smaller and all the way to the top of their create a new folder. And this folder is going to be called a textures because we need to start grading. We need to recreate the materials. So double-click right here. We're going to import this not because I didn't put the proper one. Yeah, I did. Here, we're going to again go into our folder, go to our textures, and we need to import all of the texture. So I'm going to convert this into a list, so list. And then I'm going to sort by type so that we have all of the jpegs in the same place. So it's belt, cornea, all of these guys right here. So all of the jpegs and we just literally drag and drop. There we go. So we got to have the belt. We're going to have the normal math. We're going to have all of the occlusions and all of the different things that we're going to need here instead of a real, are going to be in this particular folder. As you can see, every single normal map is automatically converted into normal map. This one we don't need, so I'm going to delete everything else we do need. Now before we start connecting everything to the materials, I do want to do a couple of things here and that is I want to make sure that the roughness or cushion metallic maps, these guys right here are properly set up. And if you guys remember inside of Maya, we had to change the sRGB thing to rock. We have to do the exact same thing here. So I'm just going to double-click, go down here and this sRGB thing, I'm going to uncheck it and safe, okay? So we're gonna have to do that for every single one of this. So uncheck it and say, That will convert this textures from a color textures into linear textures. That way they're gonna behave the same way that they were behaving instead of substance. And we should get the exact same result. So all of these guys right here on check SRGB and save this little texture right here, this one right here. And check is RGB. And save this one right here. Now, let's save this file. I'm going to save this level. So over here, I'm going to save current level. I'm going to save it inside the thyroids and we're going to call this render map. And there we go. So you can also click this option which is safe all which is going to convert to all of the things that you just imported. All of the FBX is all of the textures into you asset folders. This us with folders will be me and say that the Unreal Engine project, which again, I'm not gonna be able to share with you. But if you do this and you follow the steps, you're going to have the exact same thing. All of these things are being saved and compilers you assets. And that way it's just gonna make, make, make it a little bit easier to work with them. And also, if anything happens in a real crushes, we're not going to lose all of the important thing that we just cool. So now it's time to start building the materials. Let's start with the basic one like the x. So I'm gonna go to thyroids and if we look for the M thyroid x and we'll just double-click this material. We're gonna go into the material interface and it's very similar to a hybrid shade. So if you know how to connect things into a hyper shade, I can assure you that even if it's the first time that you're doing this here. And so the formula, you are going to be able to do it. We need the colormap, we need the normal, and we need the occlusion roughness. Once we have, this is just a matter of connecting things where they're supposed to be. So color goes into color. Normal, goes into normal RGB. And then this one, you guys remember, it's made of three channels, are, is the ambient occlusion, green is the roughness, and blue is a metallic which is hit Save. It's going to take awhile or a couple of seconds to compile the material. But once it's done, as you are about to see and let me just close that. Dx now has the proper textures and look at that, look at how beautiful this looks like. This ax is completely, completely ready. We can move it around. Not that one. We can move it around and the edges looks really good. Behaving with real time like her real-time rendering. And it just looks really, really good. Like it looks exactly the same as what we see in Maya. But the great thing of this, like Unreal is of course it's unreal time, so we don't have to wait for the render. Let's keep going with the materials. So let's go with the main body. So thyroids body over here. Same deal. We'll just go here. We go. Thyroids body, we need the normal, the occlusion and map right there. We go. Grab this one right here. That's the base color. That's the normal. Then this one is ambient occlusion, roughness and metallic. And since we export it, this guy is from Maya with their materials assigned. We don't need to assign it to the assets. They already are linked to the material, so we just do that like I just did. There we go. The skin is ready and look how nice this is. Skin looks. We don't even have subsurface yet and it already looks quite, quite cool. Let's keep going. Let's go now to the upper bound. Let's go to the upper props texture. So that's under prompts and that's to, to, to, to, to, to, to do or are they top body? So it's this top, but the thing here, drag this into this place right here. That's the ambient occlusion. That's the roughness. That's metallic. This is the color and this is the normal, which is safe. Wait for the thing to compile. And once it's compiled, there we go. Perfect. I'm gonna get rid of the eye adaptation because as you can see, things to look a little bit overexposed. So the adaptation thing is in here, in the show options. There is this post-processing thing and we can turn off the eye adaptation. So this is like the normal intensity of the light right now, which is gonna give me a better effect. But look at how nice this looks like if this was a game, this is how the character will be looking at. As you can see, it gives us a really, really nice result. Let's keep going. So now we're gonna go with the belt. Same deal. Scrubbed belt. The three guys. Color goes into color. Normal goes into normal. Ambient occlusion is red, green is roughness, and blue is metallic. We save. And we'll just check to make sure that things are looking right. There we go. Perfectly fine. Keep going. Let's do the other props now. Textures, lower body, lower body, lower body. Sis, color. This is normal. Ambient occlusion, roughness, and metallic. There we go. Save real quick. Wait for this to compile. Look at that beautiful ope. Actually made a mistake there. As you can see, I used the wrong textures. So I did the other props and I use the, I think I used the lower body. So let's delete this real quick. So that was the other props. Now we go onto props. Now, ardor prompts have an emissive map which is the different one. Not a big deal to be honest, the MSF just goes into the emissive color and everything else goes exactly in the same place. So our ambient occlusion, green, roughness, blue, metallic. Say real quick, that's going to of course, upgrade or replace what we have before. We can go back to theorise. We're just missing the legs now. And these are the lower body, lower body, low Butler, both the, there we go. And we get the color. We get the normal. We get the ambient occlusion, we get the roughness, and we get the metallic safe. And there we go. That should do it. So that's pretty much the main thing. One thing that I want to mention about like setting up or you definitely need to have enough free space because it's gonna be doing this, it's gonna be compiling shaders. And sometimes he'd saved those shaders to do local space or to your local effect. So just keep that in mind. Now, let me delete the little house we made here so we get more light everywhere. I'm just going to just bounce around and you can modify the live with this guy right here. You can rotate it. So I'm gonna do a three-quarter view. And a very cool thing is that this actually is sort of like a, like a like a time of day thing. So if you rotate this, we're gonna go for an evening that you go really high. It's going to be like noon. So we can go for this or like golden hour effect very, very easily. Now, if we want to add more lights here, which we're going to be doing later on when we hit Render, you just go here. Lights. We cannot, for instance, like a point light. And as you can see, this point light is going to react very, very nicely with the character. It's going to be illuminating this with real-time elimination processes. So yeah, all of our textures are done. Let's do the eyes real quick because their eyes are going to be slightly different. We're going to go to thyroids and let's do the first. So the eye, we have a color, we have this guy and we have this guy. This is the normal map. This is the base color, and this is the roughness. Rgb is going to go straight into roughness in this case because we don't have the ORG. And as you can see, that's the eye right there looking good. Let's save that. But the cornea, the other one, the one that's supposed to be transparent. We need to modify it a little bit. So let's go here to thyroids and we have this M cornea. So this are the shaders that similar to how we do it in Maya. We're going to have to tweak them in here. We're not going to use any maps, we're just going to use values. So the first thing is we're not going to use opaque. We're going to use additive, additives going to add to the object. As you can see that actually it's not additive. You select the material and we're gonna go with the papa, papa bomb. Translucent. There we go, translucent. This is the one that we're going to reuse. We don't need any of this thing, but we are going to have a refraction. Refraction. I'm going to press number one. Number one is gonna be my refraction. If you just press number one, then click to create a float value. And I have 1.5. And we know that the refraction is 1.5. So that should give us This thing's gonna be two-sided. Definitely. It's going to be a bomb. Going to change this to additive. Additive was the one that I use. There we go. So as you can see with additive, now we have this sphere. A little bit difficult to see, but it's a transparent sphere that we have right there. Okay? So that's gonna be, that's the thing that's gonna be distorting our stuff. So if we check now the eyes, if we save and check it out the eyes, we should be able to see the change the speed here of the camera to something lower so we can move, you can move with WEA is D. There we go. So right now it's like a mirror. But we're getting there, give me 1 s. We're gonna go here and to this guy right here. And we're gonna change one more thing on this material. It's already giving us the refraction, but it's missing the metallic and the base color. So we need to go all the way down here and we're gonna change the lightning mode in translucency from volumetric two surface translucency volume. This is going to bring us back all of these elements, as you can see right there. And then if we save this, this is already going to look a little bit better, but we're not gonna be able to add more stuff to it. So first of all, I'm going to add a specular value, which is the, how, how shiny this thing is going to be. I'm going to add one. As you can see, it's going to reflect a little bit and we have a little bit, but for now that's fine. We're gonna get rid of that one later on. I'm also going to press number one for the roughness. We're going to have a zero roughness. There we go. That's what we're going to go for. Let's say this real quick. If that's gonna give us the result that we're going for us a little bit better, but we still seeing I'm not seeing that we have the I feel like I don't have the eye mesh in there. That's weird. Then we're going to add the opacity as well. So I'm going to press number one. And in opacity, we're going to have an opacity of 0.5. Let's try that and save you how that works. That's looking a little bit better. Let's try a higher opacity like a 0.9. Let's see how that looks. I can kinda see the light there. Put this in the proper. Oh, yeah. Okay. Sorry. It's translucent. We wanted to have translation. I was doing adaptive. We're going to have translucent. Let's save that real quick. And the opacity is gonna be really low. So like a 0.1 safe. And there we go. So now we should be able to see the I am seeing the corner there, but seems like we're having a little bit of an issue. Let's get rid of two-sided. Maybe that's like modifying something there. Let's try this. I preset right there. Okay, That's fine. So I am going to use that cornea thing for the, for the tear ducts, which you can see it's going to give me the sort of like reflective effect. And this the sender's surface with it. The one that's gonna be like a, like a doll I this one right here. I'm going to just go to the color and I'm just going to go for like a cream desaturated color right here. I'm going to press number 12 or the roughness value. And the roughness is gonna be something like 0.6. So it's like a it's like a glass. I pretty much I'm a little bit concerned about this thing right here. I feel like it's, it has something to do with the distance of the camera or something because we shouldn't be seeing that much reflection. Oh, you know what it is? I know whether this my bath, It's the specularity. Do or is it cornea? We added a once peculiarity, right? Yeah. So the specularity is not going to be one, it's going to be zero. That'd be more like a plastic liquid transparent plastic thing because the specularity was probably Dad. No, that's not it. It's really weird. As you can see. We do have it right there, but with the refraction, too much refraction. 1.3. Okay, I think it's the refraction then. Okay. Okay, Let's get rid of the refraction and let's see how that looks. Just for 1 s. And this is one of the things that I was mentioning, like we're going to have to tweak certain things. Okay, That looks a little bit better. Now we don't have any refraction, but at least it looks, at least we can see the eye. I'm going to leave it like this for now. Once we hit the render stage, I'll explain how to properly set up this material. But yeah, this is, as you can see, this is working perfectly fine. The characterised now here inside the form real. Let me move this back to a longer or faster speed. And everything is looking quite, quite nice. The next step is, of course to bring all of the fur eine. But one thing that I want to do before we bring in is I want to post the character. Posing. The character is one of the most important things for a presentation. And since we're not doing the rig the full rate, we're just going to pose the character. It is very important that we tried to have a nice boost so that the hair is like on the position that the pose is going to have. And that way we can bring in the character the way it's supposed to be. So in the next couple of videos, we're gonna be focusing on the optimization and the preparation of the asset. But as you can see with this, we pretty much guarantee where we pretty months demonstrated that all of the processes that we've done so far have been successful. And our character is inside of Unreal Engine five. So we're still not done. We're on the final, final stretch, but things are looking very promising, so hang on tight and I'll see you back on the next one. 91. Preparing to Pose: Hey guys, welcome to the next part of the process. Today we're going to continue with the preparation of depots and we're gonna be posting the character. Now, this is actually a little bit more complicated than they might look because we need to get the character into a post. But one of the important things is we don't want to mess up with the hair systems. Usually you do the rigging before doing the hair systems, but since we only want a post to present the character, It's not really that important that we didn't follow that order. However, you work in a production, you're usually going to have the rigor finished with the rig first and then you're going to do the hair systems on top so that everything is just binded the way this why do I, what do I mean by this? Well, if I tried to combine like, let's say the belts and everything into a single mesh to regular or something the firm is going to break. It's no longer going to be attached because remember that this guy knows that it's attached to this piece. If I move this piece and I update this as the script for it's gonna move. But if I, if I combine them with another object, it's going to forget or it's going to lose that connection and we're not gonna be able to move it normally. We can still move things as you just saw there. So even though we might have a couple of extra, What's the word? We might have a couple of extra elements. This posting like technique that I'm going to show you is only for presentation purposes. This is not a proper rigging process. So what we need to do here is I'm going to hide the hair for now, so I'm not distracted. I'm also going to hide the render elements, so we're not distracted. And I'm going to start assembling all of the things that might need some assembly. So for instance, remember this guys right here. I'm going to move the pivot point of this guy up to there, which is the attachment point, five-ninths taking there we go. And let's and I'm going to place this where it's supposed to go. So I'm going to position it over here, rotator and get it on the element right there. There's gonna be a little bit of overlap, that's fine. And if you remember, we had three of this guy, so it was one then to rotate this so it follows the gravity. And then the third one was gonna be right here. We go. Probably bring this down a little bit like that. And then this guy right here going to duplicate it as well. This one was hugging the rope. So we're gonna go right around there. We can go to this guy right here, for instance, and just rotate the faces. That's fine. Like the textures are not going to be modified. And we get this in here as well. I think those were the only pieces that we had to move. The x, for instance, we can combine it into a single object. It's gonna be an object, it's going to have multiple materials. That's perfectly fine. Okay? Well, in this case it's just one material. And then we're going to move the pivot point probably around there so that when we move with them rotate around, it's from a position that we understand that it's gonna, it's gonna work. Then we can combine or we need to think about what part of the character are we going to be rigging like which parts are going to be in a skeleton. And I know the volume for sure. We know that the legs for sure are all just gonna be there. Probably the bandages, of course, the tail. Of course these guys with the tail, and this is, this guy says, well, so all of these guys are gonna be a single mesh. We know that this belts as well. I can't add this bell do Why not? Because remember this belt has a loop, a little bit of a painting thing here with further. If I combine it, we're going to make a mess. So those guys right there, the horns are gonna be part of this whole thing. The eyes, both geometries of the eyes, those little things right there, the teeth. There's bandages right here. This thing is right here, the nails as well. And that's pretty much it. This guy's the knee pads. I will probably keep them separate just to be able to modify them and move them if needed. So all of those pieces that I just selected, maybe even know I think I'm going to keep those separate just in case I need to like because I don't want them to deform. So all of these guys, I am going to combine as well. So I'm going to combine them into a single mesh and we're going to delete the history. You can see a lot of things are going to disappear. And this is now going to be just thyroid character underscore G. Now, of course I'm going to save, this is a different scene. I'm going to call this tyros character pose seen or posts, because I don't want to lose any of the progress. Again, don't worry about the firm still there hasn't disappeared. This guys, I'm not worried about Why not? Because these are not attached to the face, isn't attached to this other guys, remember? So these guys are still gonna be hidden and they're gonna be inside the head. So you're not even going to notice that they're that they're missing. So let's hide those again. And this shoulder, this big thing right here that the big skull. We can grab all of these pieces right here and combine them into a single object. This is also going to make the scene a lot easier to manage because all of this thing would just move with is this piece right here, the patch, again that we can't combine it because it's gonna be here. But normally you would combine that so that when you form the shoulder, it deforms as well. In this case, we're gonna just have to overlap with this as well as we can. Let's hide this for now. And let's just select this guy right here because this is what we are going to be working with. We're still missing disguised as well. Those can definitely be in there. So let's recombine their history. There we go. So this is the character that we're going to be ringing. I'm gonna go back to two materials here and we're going to isolate this one. So in regards to the skeleton, I'm gonna do a very, very, very simple skeleton. The only thing I wanna do here is I want to give enough like a divisions to the tail so that we can move it around a couple of divisions to the legs so that again, we can bend it a little bit if needed. Divisions to the arms. We're definitely going to have to give divisions to the fingers so that we can graph the x. I'm going to give one division to the jaw so that we can close the mouth a little bit if needed. And that's pretty much it. I'm not going to be doing this again, this is not a functional rate. This is what I call a posting. Rick is just a rake to can make the character work. So we're gonna go to the front view and let's start with some very basic joints here. And I press number four. We're gonna go to rigging. I'm going to go to my joints. I'm going to create a chain. It's going to be one for the hip shift, one for the abdomen shift to for the abdomen shift. Three for the abdomen shift. Chest, base of the neck, base of the head. That's it. I'm going to go to the right view. We're going to have this on the middle of the element. This guy right here. We're going to rotate back. This guy right here, we're going to rotate forward. So this is again, the neck element. I think the neck is a little bit low. In this case, this is something that will never do if I was doing proper rigging. But since we're not doing proper rigging, we can just move this thing up like this. Why do we not do this? Because it breaks the orientation of the joints. But again, we're just going to be using this for posting, so it's perfectly fine. So there's gonna be there on the base of the neck. And then I'm going to add a couple of more joints. There's gonna be one right here at the jaw and then one right here at the head. And those two bones are gonna be parented to this one right here. So this one, if we need to, we're going to rotate and that's going to open and close the jaw. It's gonna be right around there. And this one is just to anchor everything in the head to that specific bone. Okay. So that's the, that's the main, the main domain at spine of the character. Then for the legs, we're gonna go 123, usually on the side view. You're gonna go hips. And then that's going to be the knee. And this is gonna be the ankle like that. Then from the ankle we're gonna do ball of the feet, toes, tip of the toes like that. That one gets right there. We go to the front view, you're going to see that these guys are a little bit off-center. That's fine. I'm not even going to bother renaming things. We really don't need that right now. This one goes right there. I am going to rotate this a little bit though. We tried to find the center line wherever we go. And that's mainly for the weight for weight purposes. That's when we move to the side. Usually are technically we would need to have one individual like bone for each finger. But in this case, all these bones right here control the whole thing. And this one will be parented to the hip like that for the tail. Very important. We've done this before. I'm going to grab this guy right here. We can just draw like 12345, tried to go through the center, 678. There we go. That's gonna be the last one because the tips solid piece. So that should be it usually and again, ideally, all of these things would have the same measurement that we can actually do that if we select all of the joints from the second to the last one, we can go to the Translate and say, Hey, what about 15 or dislike? 18th magic number, there we go. So now every single one of these joints should have an 18 on the distance. And that's gonna give us a more balanced like a flexing of the whole thing. So that's gonna be the the tail, which is apparent that right there. Then we got this hip bone right here. And we're gonna say, we're gonna go to the rigging menu skeleton and we're going to mirror this joint from y to seeing. You really don't want to look for anything, they just apply it. It's going to give us the other leg right there. We're gonna go to the front view now. We're gonna do the arms. For the arms, we're going to have a clavicle right around here, the shoulder, the elbow, and then the wrist like that. As you can see, it's not really going exactly where it's supposed to be going. But we can just again move it into position. And then we're gonna get something that is just going to work. Can move this here. Push this right around here. There's way, way, way better ways to do this, of course. But again, I'm just trying to teach you how to post this so that we can get a very nice render. Grab this guy right there. Meshes or sorry, skeleton. And we're going to mirror the joints. Now for the fingers, for this one we are going to be a little bit more precise. So pay attention. I'm going to go right view here. I'm going to go to my joints. I'm going to create one. That's the metatarsal. And then we have the first finger, second finger and tip of the finger. It's very important that we do that. Why? Because when we bend the fingers, I just want to select all of these joints. And if I wrote it in a single axis, I want the joint to rotate properly. Okay? So that's what we're gonna do. And then we're going to position this so that the element here is pointing in the same direction that the thing is there's something called the Local rotation axis. I'm going to show you for this one. So I'm gonna select all of these guys. If we go to Display Transform, Display Local rotation axis, we're gonna get this. This is the direction of the joints and you want to be very mindful, especially on the fingers of how we place this. So this guy is gonna be here on the metatarsal of the wrist. It's gonna be like really close to the race right there. Then we're going to rotate and scale things so that we can create the connection of the fingers. So this one again, that's going to be like the metatarsal. So right around there, this guy, we're going to rotate in C and we're going to scale in until we find the knuckle. Same for this one, we're going to scale in a rotate. And finally with this one we're going to scale in and rotate. And as you can see, we've successfully created the finger, like the bent finger right there. And once we like skin this to the fingers, we should be able to just move this in and properly have a grip on the hat. I'm going to grab this guy right here, Control a D, move it a little bit. And this guy right here, we're going to rotate or just modify the position, so it's right around there. Rotate a little bit. And if we need to adjust a couple of the of the sizes, we, we might need to do because this fingers slightly longer. We just do it. There we go. Once more. See how all of them are pointing in the same direction. That's super, super important because that's what's going to make it easy for us to, to, to move all of the fingers. This guy right here, the metatarsal us to the not cool roughly. This guy we wrote it down. Bring it there. There we go. And then we grabbed pinky finger. Scale this in a little bit smaller. This one, we can move it towards the pinky finger is going to be right around there. We scale on x only to find the proper position. Careful there. Which this in. There we go. And finally, for the thumb, the thumb has only, has one less division. Still going to have its metatarsal like this. But the direction, as you can see, it's just slightly, slightly different. This one goes to the first knuckle. When it goes to the tip. Then we don't need this ball. There we go. Now, we could grab all of this change right here and attach them to the wrist P to create the connection. Some people don't use metatarsals. It's fine. Like again, it's just a poster so we're not even going to move those. I think that we need to grab each one of these guys. Skeleton and mirror Joints. Skeleton, Mirror Joints. Hit Apply. Oh wait a second. Before we parents than one important thing here before we parents that we'd need to freeze transforms. A freeze transforms on disguise, and now we can parent. There we go. So I'm going to parent this arm right here and then delete the whole arm. And I'm just going to grab this guy right here. I'm going to say a skeleton mirror Joints and that we were going to have the hands on both sides. Don't worry about the local rotation axis, we can hide them. So it's just a matter of finding the fingers, which are gonna be like right around here from the mistaken. This guy's, all of these guys are the fingers. I'm just gonna go again, Display Transform, Display Local rotation axis. The same thing here. Display Transform, Display Local rotation axis. In that way, we're going to turn them off. Cool. So, yeah, that's pretty much it. Finally, the only thing we need to do is grab all of the elements except for the last ones were except for the tips and not this one? Not this one. Not this one. Not this one. Actually, no, we normally you don't grab the test in this case again, which is posting, so it's fine. The other option is just delete the bones that you're not going to use. So for instance, if we're not going to use those steps because this is going to control the fingers, which is delete that one. We do want that one there. And then here on the fingers. I'm going to delete the ones that we don't need against. All of this are gonna be deleted. Some people like to keep the tips for for display purposes so they see where the element ends. This ones we do need again, that one is going to hold the whole face and this one's going to hold the jaw. So now we grab all of the joints. So all of the joints, including the hip joint, we select the mesh that we created and we're going to go Skin, Bind Skin. And we're going to use select the joints geodesic box. So Max influence for that's the only thing that I changed on the resolution of the flexbox. So if you can do 512, That's great. I'm going to save real quick before anything bad happens, because last time I tried 5 ft failed. So I'm going to try five-twelfths and let's hit Apply and see if it works. I think it didn't work. It did work perfect. So there you go. So now as you can see, when I do this, detector is rigged. So all of these joints are going to be moving specific parts of the character. And this very, very basic rig that we did, it's going to allow us to pose the character. We're not going to go for a super dynamic pose because this rig will definitely break. This is a great way to just create something. For instance, in here, we can move the tail a little bit. As you can see, certain things are going to be moving around. And that's the weights that we're going to have to correct whether it be correcting those in the next video. So I know this is a little bit difficult to follow and I know I went a little bit fast, but it's just a very simple skeleton as long as you find the points that I just have here and you follow the instructions we're gonna be able or you're gonna be able to get to this point. Pause the video. If I went a little bit too fast there, I apologize. We're in the homestretch, So I'm trying to to get to the final point to note as fast as we can. But we've spent a lot of time on this character. So I think it's a good idea to just wrap this up. So get the skeleton like this, skin it real quick. And in the next video, we're going to post the character and fixed all of those weights. So hang on tight and I'll see you back on the next video. Bye. 92. Posing the Character: Hey guys, welcome back to the next part of the series. Today we're going to continue with deposing of the character and we're going to go for a very, very simple posts. So we have L of the accessories were still on the scene with a firm. Remember that? It's right here. So at any point I can just bring it in. But we need to prepare a couple of things. First, before we start posting, I'm going to grab the beard and the thyroids face both of them. And I'm going to shift select this head joint right there and I'm going to hit P. What that will do is it will parent those elements to the joints. So if I move this joint, those elements are going to move. And therefore D is also going to move, which is again, really, really important for what we want to do. Now that we do that we did that. We can start thinking about divorce and we're gonna go for a very basic heroic pose. I'm going to grab this guy right here, this guy right here, and this guy right here. And I'm going to rotate the character a loop like this. This is going to generate a little bit of a contrapposto. So he's gonna be like facing slightly or twisting his body slightly to one side. Then I'm going to grab this guy right here and I'm gonna rotate the head to the other side. Okay. So towards her to one side, to the other side so that when we see it from this angle right here, we're gonna be able to see a really, really cool our character. Now, this arm is the arm that's going to be holding the x. So this arm's going to go low like this. You can see how the weights are having a little bit of an issue there. Again, we're going to solve this, but I want to get the post as close as possible to the final one. I'm actually going to go to my camera here. Panels look through selected, I'm gonna go, this is sort of like the shot of the ones that go for it. This is the profile that when a captured a character adds. So if this is the profile, this is also going to allow me to see what parts I really need to think about and which parts are not as important. I can do panels, tear off copy, and I'm going to be able to see the camera on this side right here, and go back to perspective view to be able to analyze it from here. So I'm going to move the face a little bit like this. And then for instance, I can grab this face right here. I can move it and lower it and make it face the camera. It's kind of like this defying look like really straight to the camera. Now this arm, we successfully moved it down. Now what I'm gonna do is I'm going to close the fist. And again, if we did this properly, especially here in the fingers, I should be able to select all of these fingers right here. All of these guys right here. And rotate them on the c-axis to close the hand. As you can see, it's not perfect. But it's doing the job, right? It's giving us a nice like Feste on the hand. I can also grab this guy right here and lower the rest or rotate the wrist a little bit to get a slightly different position like this. With that done, I'm going to grab the x. I'm going to position the x on the hand. So we're going to go right there. This tells me that the x is a little bit thicker than I thought. So I might need to go back to some of the fingers and play around or move around. This guy is a little bit, I'm going to try to find a nice. There we go. I kinda want to move the X a little bit to the side and maybe like roll this closer to the fist so that we can see the blade. So we can see the details that we did for the plate. Something like that. Remember this thing that we're doing here, this boasting in this presentation is only for presentation. This is no longer production pipeline. You can consider this to be a liberal if an extra for this particular session, for this particular video. This is not a production pipeline. There we go. This finger, Mr. pulling the fingers out of the leaf. This one right here. That's the metatarsal. Push it a little bit more. There we go. Same for this one. A little bit more careful here you can see how the fingers or the forming quite a bit. So I'm going to turn off this, the thing so that we can see how good or bad this looks. It looks a little bit bad, sir. I'm actually going to bring the fingers closer. Usually the fingers will seemed to a fist like this. Now, don't worry, I know that there's a couple of weight things that are causing a little bit of an issue. We're going to fix those so you can see how the nails are getting stretched and stuff. I'm going to show you how we can manage that. And this is just like the preliminary posa where there were accommodating. So that's a nice one right there. Usually I like to grab the legs and rotate them a little bit so they're not like perfectly straight, same for this one. It's going to rotate this to the side. Now the way the feet are slightly pointing to different sites. Now of course, this face right here. And I rotate because it should be. Facing and pointing in the same direction as the, as the foot. Same for this one. This is also why we save in a different scene because we want to keep the other one, the very clean and organized character in a clean scene. There we go. Then this hand or this arm right here. I'm going to keep it like this. I think that way we don't have to worry too much about this piece of geometry which has a firm. But what I can do is I can just relax this arm a little bit. Maybe just like Bring it down or back little bit. This. And I'm going to close the I'm going to close the hand that we get a little bit of negative space right around here. So maybe not like closer to completely, you can just like give it similar to what we did in ZBrush. Like the pinky finger can be really like curled up. And then this next finger is going to be curled up a little bit more. And then this one right here, that'd be curled up a little bit more. Then finally, this one is going to be very little. The hand with constrain it up a little bit so it looks a little bit more relaxed. That's the sort of stuff that we're going for there. Here we go. Again, you can see there's a little bit of a problem here with the weights. And I fix that. And now we can start fixing some of the positions of these guys right here. So we're going to move this guy for worth so that it matches where it's supposed to be. Center the pivot point. Go, Let's turn on this call. And we're of course going to have to move the school forward as well. Look at the camera because the skull is gonna be, well, it's actually going to be an important factor here. We might need to modify or are moving a little bit so that we can see the face of the character that looks good. It's a really, really cool silhouette. And finally, we can grab the tail again similar to what we did before. I'm going to rotate the tail. I'm going to keep it straight there. And then it's going to rotate like this. Well, a little bit less, less there. And then I can grab this guy right here, rotate them a little bit, making sure that it doesn't look like it's a broken tail. I want to kinda keep it on the frame. Something like this. I'm thinking about the final shot, the final image that we want, and that's getting close to what we want. There we go. That looks good. Got some nice depth on the shot. As you can see right here, the character is facing us. It's holding the acts very, very nicely. And it's just like showing the full power of the demonic per variance. Think I'm going to move the tail. Let's see if I can move it down. There we go. I'm going to move it down a little bit so that we can see a little bit of the tail through the pants like on the back there. It makes it a little bit more sense. He's gonna be a little bit more relaxed if you wish. We might be able to push the tail in a little bit as well. That's going to look really, really cool. Node camera with a really nice camera, really nice shot right there. There we go. So the character looking straight at us, the phase you can see it's, it's like moving a little bit, probably because of this bone right here. But that's what we're going to be fixing. Okay. I'm not too worried about this because most of this is gonna be covered by the beard. But still if you want to try to keep things as clean as possible when I'm posting the character. Now, the belt, because that's another one to build them actually, it remains quite nicely. I think we didn't get any ugly overlap. I think. I think in right there it looks it looks quite fine. Now we're gonna be doing a turntable. We need to fix those skinning issues. So I'm gonna select this guy right here. I'm going to go skin. I'm gonna go paint skin weights. And we need to figure out what the **** is going on here because as you can see, how a lot of weight that's not being manipulated by the bones that should be manipulating it. So the way this works is you select the tools right here and you're going to go to the different bones are going to be highlighted. And we're going to select the bone that we want to modify. The issue with not naming bones is going to be a little bit difficult to find which one that was. But by names, I know that this is like bone too. So it's probably joined three, the one that I need. And what I want to add here is I want to paint a little bit more. I'm gonna do like 0.1. I'm going to add 0.1, 0.2. Now we're going to try to add, that's really weird. Locked should let me paint their reason. It's not letting me have something to figure out if there's something that I'm not selecting properly. But yeah, like the thing here is we go to the joints and we'll just paint. Okay, I just visited the tool that changes that I'm doing and the use of color ramp. Now as you can see when I tried to paint, we get that. So I'm going to add, and I'm going to add 0.2 to this area right here. So what I'm pretty much saying is Hey, bring back this whole thing. Like I want the torso to be controlling this area of the character, not the arm. Then we can of course go to something like a smooth go to the stroke and change the radius a little bit because it's a little bit small. And we can start smoothing out all of this points right there. That should allow me to recover a little bit of the weight that we lost there. Then we go to like joint one. And we can also add a little bit more there, again, recovering the volume that we lost. And then we smooth, smooth all of that area. Let's increase the opacity of the smooth so it's a little bit stronger. And that should allow me to little by little recover all that stuff right there. Go to join to soften that up. As you can see, it's fixing a little bit of the volume that we just lost here. Another option is to just remove the skinning, like keep this pose but remove the skinning. And then just like manually rescaled those areas. To be honest, not a bad idea for what we need right now, which is just the basic posts. But yeah, this is the scanning process and it's all about smoothing. A little bit, like concern about the where each thing is. It's joint for actually we get a very clean there we go. That's sham far. So as you can see, joint for his missing a lot of stuff right here. So by smoothing all of this, we're going to be recovering a lot of this volume as well during four supposed to be part of the abdomen. So again in here, it's going to recover a lot of that and then joined five. I'm gonna go to Add, and we're going to add all of this volume to join five. And then we're going to smooth. And that's gonna allow me to rebuild all of the same skinning is, are those really tricky things with right now again, we just want to get something that looks nice. For presentation purposes. Let's go to joint for go to add and add a little bit of volume there. Smooth. Again, that should help with the overall overall effect. Look looks a little bit better. Not great, but a little bit better. Again, from the perspective that we're going to have this. It's not that Beth missing all of the hair. In this case. We can go to action. Let's go to all of these guys and we're going to literally just like switching to them. We'll update them. As you can see, it should follow the proper face of the whole thing. Now if we see it, this is what we get. Okay? I'm going to save this real quick and let's do a quick render test. Let's do a quick render tests. We have our camera here, so might as well get an idea about how this thing is going to look. I'm going to rotate this thing to the side a little bit so we get a nice backdrop. Again, Let's say real quick as to Arnold and render. Render is also going to let us see like things that might look slightly wrong on the posting. So let me pause real quick. There we go. So as you can see, the boats looks really, really good. The hair looks nice. There's a couple of overlaps here that we need to fix. Remember, this is just the presentation posts. This wouldn't be a rig. This is not, the rig is not something that we can use to animate or anything. Of course, we need to lead a couple of things, but everything else looks really, really nice for a portfolio piece. This would be definitely, definitely good. And we can rotate a little bit here if we go to a side view to see more of what, to do, more of a front view of the character. And let me show you a random. There we go. So as you can see, yes, we have a little bit of distortion here, but it's not that bad that we can't appreciate the character and the, unless you're really looking for it, it's actually rather difficult to see. Here, what I would probably do is just duplicate the character like the pose that I have right here. And the manually, just like racecar up that area with the sculpting brushes here inside of Maya to fix that a little bit of a thing before exporting to aren't real. So we got the post guys, we got to pose ready and we can now start thinking about the construction that we're gonna be doing inside of real. So we're again on the home stretch. This is the last final bits of this thing. We're going to prepare this new asset for the exporting process and we're gonna be exploiting the first wall. So hang on tight and I'll see you back on the next one. 93. Unreal Engine Lights: Hi guys, welcome back to the next part of our series. Today we're going to continue with the preparation of our final render and that we're here inside of Unreal. And we're going to create our little studio setup. Now, there's a lot of different ways in which we can create this. Or you have like started assembling our stuff. Actually, I feel like this is the final pose. By the way, we, we finished this in the last video. And I'm going to save the scene because we're gonna be using this character posts to export the assets from here. Again, just wanted to be very clear because sometimes we oh, my God, we get some messages about like, oh, it's not the complete or is not the proper way. I know this is not the proper way. This is just a pose like a quick skeleton for Boesky. Now, I'm going to close my yeah, we're going to work with this guy for now because it's easier to just set up something here instead of from real. And then once we have the proper light ready, we just start bringing everything that we need for our rent. Sorry about that. I got sneezing attack again. So I'm gonna delete the floor. We don't need it. We're gonna build our own. And if we go here to start your content, there's this architecture option where we can start building something a little bit better. The cool thing about the architecture is that it has this gray material or really like setup. So it should be fairly easy to build a photography studio. Now, the way we're gonna do this is we're going to go for this sort of like portray the fact if we grab this light and we delete it, we're not going to have any single light to be careful with that because we do want to have that one, but we're going to use that as a secondary light. Okay. Let me bring this in. Again. I'm going to go to this layer. I'm going to bring the intensity really low to something like a 0.1. Maybe like a one. There we go really low. I like to do this with my lights, especially when they are working as sort of like ambient lights. Because I want to make sure that we get a nice effect. Now this source angle, we can change it, as you can see, that's going to soften the shadow quite a bit. I'm going to go even lower, 0.5. There we go, really, really low because I wouldn't be able to control my portrait light here. Now I do want to have a background or backdrop. So I'm going to duplicate this thing, rotate this 90 degrees, and push it up. That's gonna be my, my main backdrop. And let's start lighting the character. We're gonna go over a very, I think we're going to go for a dramatic lighter, a little bit more dramatic than usual. So I'm gonna go here to my lights. I'm going to use this spotlight. Spotlights are great for this sort of stuff. Because we're gonna be able to control really, really nicely how we want the whole character to look. So this is gonna be my key light. And it's going to be like pretty much eliminating the character from like a top, like a top front view. I want the eyes to be casting some are very nice shadows on the, on itself, like this. Dark shadows. There we go. It looks really nice. Now we can change the radius. This is the size of the light and that's going to soften the shadows. As you can see. Soften the shadows a little bit. They're the ones that have a super harsh shadow right there. And then what we can do is we can increase the intensity a little bit. I'm gonna go a little bit higher on the intensity. I want to oh, I don't want to overexpose, but I do want to see the true colors of the character like that. And see how nicely this to start like building something. Now imagine this character again with the pose that we're gonna be having and it's going to look really, really cool. Now I'm gonna go back to the skylight here and I'm actually going to use this as a field lights. I'm going to rotate this around so the light is hitting the shadows so that the other side right there and it's going to soften the shadows a little bit so it's not as intense. And finally, we're gonna go back here for a very traditional rim light. So we're gonna go again lights and I drop another, another, another direction. Now, we're going to drop another. What's this word at other spotlight right here. So by dragging this spotlight into the scene, we're gonna be able to position this outside. I'm going to make the cone angle a little bit smaller. So we only get the sort of like a rim light on the, on the shoulders of the character. One thing I'd like to do with rim light since I like to give them a little bit of color. So I'm going to position this right around there. Right around there. Rotate them around. There we go. You can see the rim light there. Increase the intensity to really kick in the room light. And we're going to go for it. A cool color here. The cool blue color. There we go. So again, you can imagine that this is going to be like the shadow we're going to have and the character is going to be giving us this very intense effect. Now we can go back to the skylight and start increasing the directional lights, start increasing the intensity, something like a one. Just so that we get a little bit more light into the scene. I don't want to see the sky. That's why I'm creating this big blocks right here. You're going to be like my walls. And I can just open it up really big what I get back and we can just move this up. That way we can focus only on the character is going to be like a cinematic portrait. Talking about portraits, one of the things that we need is a camera. So we're gonna go here and we're going to add a cinematic cameras, scenic camera actor. We're going to have it right here. And as you can see, this pseudonym camera actor has the little viewport over here that tells me what this thing is seeing. And I'm gonna be using this one to properly position this one over here. Now I'm going to pilot this camera to pilot that you just right-click and say pilot the camera. Pilots. That way we're gonna be able to talk properly focus where we want the character. So the cool thing about using a cinema camera actor is that it has a couple of presets that make it really, really, really good. Degenerate, very cool looking images. First of all, it works like a traditional camera. So for instance, the focal length, we can change it to something like 55. And we're gonna get a more like a flatter effect, the flatter depth of field. Another thing that we can do is we can actually like again, if you think about how this is gonna be focusing on the character. We have focal length so we can change the focus distance. You can see the right now, we don't have any focus settings, but we can set this to manual. And if we click something like this character right here, the character is going to be in focus and everything else is gonna be out of focus. We can intensify that by changing the current aperture, we go really low, like a one-point for we might be able to bring that down quite a bit. You can see this as the debug plane. There we go. So that's what we're focusing and everything that's not there. It's going to be our folks are it's going to be losing focus a little bit faster. Okay? So, yeah, that's the cinema camera actor. Again, this is shorter. This image that we have right here, this we can literally just export at anytime. And this is going to be our render. Now when I add a little bit more light into the scene because it looks a little bit too dark, especially on this side. So I'm going to get out of the pilot camera. It might look weird here on the preset, but that's because it has some, I think it has some Alda exposure over here. If we go down here to where is it? Believe it has same thing like the eye color correction thing. There we go. Exposure. We're gonna do metering. We're gonna do manual metering. And then we're going to use this to bring the exposure to where we want. This case, something like a six or a seven seems like a good number. And that way we're not gonna get any sort of like automatic thing. So you can see this is roughly the shadow we're going to go for, and that we can add more lights. So for instance, we can literally grab this light and if I like it, the cone angle, even smaller. And I can be like, hey, you know what? I would like to have a little bit of fluorine light coming from this other side right here. Bring this down and rotate this. Hits this back part of the character. Maybe increase the cone angle a little bit. Again, if we check the camera, this is where we're gonna have now we're going to have another like rim light coming from this side. Maybe the intensity of that light is a little bit too much. So we can make it a little bit not as intense. And we might want to have like an extra light from the top. Maybe I'm going to add a, like a basic light, just a point light top of the character. Very important. The source radius. We're going to really increase it to have a really soft shadow. It's kind of like a lamp. We can make this warmer. You can use temperature, by the way, similar to Maya. We can make this warmer. And look how nice We're getting this composition. Look at that, right? The shadow that we have under the arms. A little bit too much for my particular tastes. I'm going to bring this down. I'm going to bring this to the side just so that that light is not as intense. Not sure if this source angle, yes, the source rate, this is way too much, so I'm going to increase as well. We don't have that much source angle. Now you can see we're getting this little symbol right there. That symbol is pretty much telling us, hey, you have two lines that are really close to each other and you're not getting the best option, we can change the source radius or sorry, the attenuation radius. So it only affects that guy right there. And same for this one. You can choose your generation radius so it doesn't interact with the other point light. So if you have two point lights that that gets tricky. That's why we're getting that. I think the shadow calculation where you can get as many lights there. Something like that, that looks really good. Really, really, really good. So hopefully with this guys, you can imagine how we're gonna be able to pilot. This is the sort of like shot that we're going to have with the hair, with the elements and with everything else. Now, I want to show you something really cool. We're gonna go to the blueprints here, the particles, and we're going to add a smoke, a nice fire and smoke inside of the math of this thing right there. Look at that. That's a way, way too much of course. But I believe we can make this a little bit smaller. And we can rotate this so that the smoke is going to the outside. And you can see that the sprites and things are not working perfectly. But yeah, this is how we're gonna be doing it. Then I'm going to grab this a smoke. I think on the concept that was just smoke that was coming out of the character. There we go. Let me get out of the camera. And let's sort of like preparing that. This is one of the reasons why I wanted to bring this character all the way to unreal, because it's gonna be a lot easier to, what's gonna be a lot easier to do this sort of thing. So this thing, let's move it to the other side. This guy is like smoldering hot. So that looks really cool. However, it's a little bit too big. Let me see if we can scale this down. Let's try 0.5. There we go. It's a lot closer to what we're going for. Yeah, look at that. Now we have the smoking effect that the character half. And we're gonna be able to render this out. We can even render a video with this with the character just like staring at the camera. If we have like a full proper rig and everything, we could maybe make the character like like breathe and stuff. But unfortunately, we're not gonna be able to cover that in this course. But yeah, look at this, like not freaking bath. The character is ready. The light seen here, it looks really good to me. Of course, we can keep modifying it and k by adding more stuff for more light changing things. But as you can see, thanks to lumen, we get a super, super cool effect here on the element. So now we're ready to start bringing things here into, into, into real. But first I need to explain how we're going to convert all of the curves that we did for our hair so that we can bring them in as as a specific group systems. So make sure to save hearing are real. We want to make sure that all of these things that we're doing are safe so that this nice rendering scene is ready. And I'll see you back on the next one, guys. Bye, bye. 94. Fixing the Mesh: Hey guys, welcome back to the next part of the series. Today we're going to continue with the exporting of the post, but I'm going to fix it first. So since this pose is separated from everything else on the skeleton, everything is exactly where it's supposed to be, which is great. I'm just going to Control D. I'm going to duplicate it. So this duplicated mesh that we have right here has exactly the same material, is exactly the same pose. But with one very important difference. It's separated from the skeleton. So I'm going to hide the skeleton, hide this mesh and we're gonna be left with a decimal right here. I'm going to isolate that. And the inside of Maya, we actually have some interesting sculptural so we can use, which you can find here on the sculpting TAF. So let me just get rid of them. Until now. There we go. So for instance, we have this option which is just like the moon brush pretty much. We can make this big, That's big, probably there, and we can smooth out here. I'm gonna get rid of symmetry. I'm just going to smooth out some of these elements right here so that the mesh is slightly nicer. And then we can literally just recover the mesh. Just be very careful because this is definitely going to destroy a little bit of the textures. That as long as we're being careful, we should be able to recover most of the like that autism is dorsi muscle, which we have right there. Same thing for instance on the back like if you want to do in a fix a little bit of the back muscles. Again, this is not production, but it's gonna give us a nice result for our renders. We can modify some of these things. Same thing for the fingers. Let's make this really small. And we can just modify a little bit of the fingers, especially like on the nails and stuff. Things could destroy, could just smooth out there a little bit. Just like get this things look a little bit nicer, right? It's going to try to recover the shape and the, and the forms that we had. Some of those details are like We're never going to see them, right? It's just a nice little touch. Their hand looks really good. So yeah, that's one way to fix the mesh. So now we have this mesh ready and we need to export everything. We're going to export all of the meshes. So I'm going to select the character, the skull. I'm gonna select this guy right here, the belt, this guy right here, the mesh, this, this, this, this guy, this guy, this guy, this guy, this guy and this guy. Ok, careful here. We modify this a little bit, so should probably fix that. There. There we go. So again, I'm not going to do select all meshes because we might select the hidden mesh which we don't want. This is the post character, which is the one that we're gonna be taking into unreal. Don't worry about the hair just yet. I'm gonna, again, I'm going to have to go here. Let's graph that guy right there. Soft selection. Let's push this up a little bit So it's on top of the belts. Thing for the for the necklace. That might be good idea to move the point. Like they're just rotate it out. So it's just like barely touching the character. So, yeah, just give a quick check here, for instance, that remember that developed buckles. Let's move them into position. Here we go. This guy right here. Let's set the field point. I have to reposition them where they're supposed to be, right around there. Everything else to be in place. So that gave me the lead. We don't need it anymore. And again, we'll just select everything, all the meshes. They should be less meshes because if you guys remember, we combine a lot of things. So all of these guys will just select. There we go. The eyes are combined and everything. This little guy is right there. Make sure we're not forgetting anything. Tail cu on this guys. I'm going to say File Export Selection. I'm going to call this, we're going to go into assets, render. I'm going to call this virus final model. Everything should have been exported perfectly fine. We can jump into on real or not, not just yet. We're going to jump into unreal in just a second. I'm going to hide everything and we should be left only with the hair. Now, this, all of this here descriptions, we want to export them exactly where they are in order to have them inside of Unreal. And we can do that by doing a couple of steps here. So the steps that we're going to follow, first of all, you guys remember at the beginning of this whole thing, I told you that we were using the traditional extra thing, but we're going to have to convert this to other elements. So, well, I'm gonna do here is I'm going to go to first dy. We're gonna go to the descriptions. We need to grab the descriptions. Remember the description is that little extra we have right there. And I'm going to start with the upper description. So it's gonna be the most touch base. Mustache breaks for your base, side, beard and eyebrows, beard break up all of those for those elements, I'm going to select them. I'm going to go to the upper section. Two effects are actually two, modeling and generate. And here instead of generated, we have all of this action things. And there's an option that says convert this to interactive group. We're going to convert all of these groups into an interactive group. And we're just going to hit convert. What's going to happen is all of these are now interactive grooms. Interact decrements is slightly different than the traditional groom. I mentioned before that it's like the new way to work. It's a little bit more interactive, but they don't find it as controllable, especially when teaching the basics of action. I feel like the traditional way. It's a little bit easier to explain. Now what they have. Now that we have this, we need to export all of these things, all of these elements into curves. We need to convert all of these elements into curves. So I'm going to select all of these descriptions that we have right here. And I'm gonna go to the generate menu again. And we're going to look for the cache option. And we're gonna do something called export cash. I'm going to click the little option box and we're going to select a couple of things right here. First of all, we're going to select the current frame. We're going to select up here, right, final width. This is very important. We're going to write the final width. And we just wanted to current frame. And that's it. We're going to hit Export. It's going to send us somewhere. We're going to go here into render and we're going to call this thyroid most beers curves. And we're going to hit Export. That should export all of the elements that we just had intercourse. Now, how do we know if this is going to work or not? The best thing is to open another Miocene and just check to make sure that we're getting them in the proper effect. Now one thing here that I might have forgotten, give me just 1 s. I just want to make sure that when I export it this cash, we export this as an Alembic Cache. There we go. Yeah, it was Olympics. So as you can see, 4.333 mb and then we have thyroid births curves. So again, to know whether or not this thing worked properly, we're going to go and open another Miocene here. I'm going to say File Import. And then we go to the render options of our assets folder. We should have our we're gonna go for all files. And this should be the curves. And if we import, There we go. All of the curves are right here. So as you can see, every single hair has been converted into a nerve curve and the inflammation of that here it has been combined into this element. That's the beard. The whole thing. The whole beard is right here. Every single bit of the beard is right here in the position where we left it inside of our post a character. Now, the last thing that we need to do is we need to bring this thing into Unreal. We need to bring this Alembic file. So let me open them real, real quick and I'll show you how we import this inside of the engine. Actually, another way to think of it, I'm going to leave the importing of unreal into another video just because I'm the one that confuses the titles. So we're just going to finish the exporting of this other part. Belt for scared. But I'm sorry. Belt for skirt, shoulder and left skirt for which are going to be the same color. And we're going to grab all of those. And we're going to generate convert to interactive groom convert. And then shoulder for right, left belt. We're going to go back to generate and we're going to export a Cache. Export. And this is gonna be not the thyroid birth. This is gonna be theorise for okay, export that same thing and expert. There we go. So that's it guys. That's how we export the mesh. Now, I do want to show you how to re-import the mesh inside of our real. So let's go back here. Let's go to our level of real quick. She's just render map level. I'm going to grab the character and I'm actually going to delete everything. As you can see, there's a lot of thyroids things. All of this thyroids things we're going to delete. We don't want to have any repetitive stuff and that we're going to bring it into character. So file over here, I'm going to create a new folder. And I call this final pose. Since I textures, That's fine. Right-click and we're going to import to this folder right here. We're going to the final mole. If I hit Open now, it is going to combine all of the atoms, but actually when they combine every single thing, so let's say combine the meshes here. I'm just going to say import. All. You remember that was one of the settings that we've mentioned before. What this will do is it will import a single static mesh with all of these materials right here. So if I drag and drop this into the scene, now we have the proper thing, however, well, we don't have the proper materials. However, what we do have are all of this material slots that we can very easily go over here and just replaced. So that's the belt. And we just drag and drop the belt. Where is it? Belt? Those are props. Upper props. So upper props under props, under props. X, DX, AX, lex, lex virus, body, body. I, I, corneum. Corneum. Send their surfers want to send their surfaces one and tear duct. We're just going to copy the cornea. And there we go. So as you can see, we have successfully imported the pose. It's right there where it's supposed to be. And if we take a look at the camera, look at how magnificent this, this was going to say a bad word, but this dude looks, look at that. Great. Now we'll just move this thing. Oh, not the camera. We move this thing into the skull. And we're going to have this very cool looking pulse. Look at that. Great. So he looks pretty cool, but we're still missing the beard, right? That's gonna be on the next video. I'm gonna show you how to import the beard here on inside that from real, because there's a couple of things that we need to take into account. So hang on tight and we're about to finish this with the beard inside the form real. I'll see you on the next video. 95. Importing Fur: Hey guys, welcome back to the next part of the series. Today we're going to continue with the importing of the first, one of the final steps. So we already have the Olympic things right now. There's one very important thing that you need to do before you try to import DLM mix here into Unreal, you need to go to edit or sorry, windows. So now added plugins and you need to look for groom. If you look for groom, you're going to have this to plug-ins that you need to activate on my computer. They already have an activated and therefore, I don't need to restart the engine, but when you activate them, you're going to have to restart the engine. Alembic grooming Porter and grew. Once you do that, I've created a new folder here on my thyroid like main folder and I'm going to import the Alembic of the beard. So this one right here, I'm going to hit Open. Now, this is what you should get. As you can see right here, this thing is at the it's just telling me that the Olympic file is valid, that it has uv, uv, so the color is just gonna be one color that we're going to sign right here. And it's pretty much ready to be important. So if I import this thing right here, I'm going to have this groom acid. And this is the group that we're gonna be using here for our character. Now, I'm going to warn you again, since we're doing things that are not like perfectly, they're not the way to do it for production. This is just for presentation. You're going to have to import this thing right here. And as you can see, it's not exactly on the character, even if we zero out everything here. It's not gonna be on the character, which is quite, quite unfortunate, but it has a relatively easy fix. First, to position this where the character is being generated. I'm just going to grab the character, as you can see, it's 670 -30. So I'm gonna grab this guy right here, not that one. This guy right here. I'm going to say 670. And then here is -30. Actually, I think that was Sarah is here -30. There we go. So from there I should be able to just rotate this a -90 degrees. And now it's going to be roughly on the area's not gonna be perfect. And the reason why this is not perfect, you might remember, Oh my God, really rarely. No worse, we're back here. Yeah, It's unfortunate, but it happens. So again, we're hearing the groom, we're just going to import it again. And I was saying that the reason why it's not exactly where it's supposed to be is because it remembers a different sort of orientation and we pose the character, so it kinda like freaks out the transform of the object. So here again, 670 and a -30 is going to be the magic number. There is zero everywhere else, there's going to be -90. And the beer should be really close to the position that it should be. Now up here you can turn off this thing and this thing which is the rotation and the movement Snapping so that we can more freely move this thing around and tried to find the proper position. You can see I'm just going to keep rotating this until we align it to the character as close as possible to where it's supposed to be. And that pretty much matches it as you can see right there. So there we go. You got the character who they are inside of the engine. So now, how do we change this? How can we make this thing look a little bit better? Well, first of all, I think the hair looks nice. I like that sort of like beige, old color. That's great. Like blonde. But certain things are like fading allo but it kinda looks like the hair is floating. I do think we are on the proper position, but the reason why it looks like it's floating is because there's a couple of settings that we need to change in regards to the tips. Are we doing on the proper position? And we can rotate it a little bit less, then just move it a little bit more. Here. There we go. Again, just like finessing. That one, it looks a little better, cool. Yeah, that's way, way better. It's a little bit low though, so let's bring it up a little bit. Not that much. There we go. So now if we select the hair, we are doing a little bit of overlap now on the, on the eyebrows. Again, a little bit finicky, this like setting, but there we go. So if we select the hair, we can go down here to the options of the hair, of the groom system. And we have the hair width, for instance, right now, it's using the hair with the we technically assigned, but it might be a little bit bad for you. So you can click this thing and play around with how much thickness we want. It can be really, really thin or make it a little bit thicker. I'm going to make mine a little bit thicker. Just so it looks a little bit older. Probably not that much though. It's 2.1, 0.15. There we go. Now we can also change the scale of the root, for instance, make the route a little bit smaller. And we can change the scale of the tip, make them a little bit smaller as well. It's going to fade it out a little bit more. And that should give us a really good result right there. Now, the eye, we lost some, I think here. Let's go back to our surface. There we go, That's it. That's the bad either we have right there. So as you can see, that's how we get it in here. Now, remember how the groom had CB counts. See how we're getting this very jaggedy hairs. That's because some of the CB counts were set to five. And that's going to give us this very jagged the effect. It's going to keep it relatively low performance, but it's going to give us that sort of effect. If you want your hair to be super, super smooth, we're going to have to increase the CB count. But that's also going to increase the overall effect everywhere. Now a couple of other things that we can change here on the groom. There's an option for shadows if we want to make this a beard way deeper. Can change this hair shadow density and push it up. As you can see, we're gonna get a lot of the shadows on the beard, which is gonna give us where we're more depth. And I think that makes it look really, really, really cool. So yeah, that's it. It's as easy as that. Just drag and drop the specific element. And we're going to be here inside of our unreal. I do think we need to bring this down, so I'm gonna bring this down to zero. There we go. That's closer to what we have. Feels a little bit low. Let's try 0.5 points. You will 25. That's a little bit closer. I think. It looks really, really cool. Kinda reminds me of the photo that JK Simmons took of himself when he was going to the gym and getting pretty ripped. So yeah, that's that's pretty much it for the fruit of my friends. There's of course, things that you can change in regards to the materials. If you feel like the materials are not looking as great, you can go here right now it's using a basic like here material, which is this one right here. The basic here material is nothing more than default material. And then on the options here, as you can see, the shading model has been changed to here. It has a 0.5 roughness. We can make it glossier. We say like 0.2 and we save. It's going to look a little bit shinier as you can see right there. So the more oily and we can change the color as well. So if we want this to be wider and change the color right there, it's going to be white. Kids can be green, blue, whatever color you want. There's of course, other ways to make this here way more interesting with more color variation. But for now, we're going to keep it simple. It's a very nice beige color right there. I think the shininess is a little bit too much. Also, the width looks a little bit too much, to be honest. It looks like a broom. So I'm gonna go back to points 12th. This thing a little bit thinner as well. The show density to the hair looks a little bit thinner. There we go. Now further, I'm actually, this is the second time I've recorded this part because the fur has a little bit of an issue where when I tried to import it, the thing here on the skull does not match with everything else. So I'm gonna go back to Maya. I'm going to select the descriptions down here, but I'm not going to select the shoulder for I'm going to select the right skirt, the left skirt, and the belt. Okay? I'm going to say cache, alembic cache or sorry, generate cash. And we're going to export this cash. And it's gonna be there's gonna be the expert. Yes. Let's start with that one first. So we're gonna go again here to the firm. Let's save everything before something bad happens. I'm going to say import. Going to infer the open seems to be working fine. But if we bring this here, again, it's going to be a little bit difficult to find the exact spot. So -96, 70 -30, and that should get really close. It's not exactly there. You can see this one is slightly offset it so we're gonna have to we didn't rotate. I remember we didn't rotate the belts. Technically, we shouldn't need to rotate it this much. Or maybe we just rotated this a little bit here. Let's see how it's slightly skewed. Like, I don't remember this thing being so close to the surface. Probably going to be right around there. There we go. So it's gonna be the secondary patch again, just want to make sure that it's not like floating around or anything. It seems to be floating there a little bit. I'm not sure if the scale is right. It should be though. If you need to scale it down a little bit, we can also break this thing and just like lightly scale it to make it. Here's where it was supposed to be feeling. There we go. That's refer that further. Of course, we can go and change a couple of things. For instance, you can turn on the width so that we can get a thicker effect right there. And it looks a little bit better. It was so weird thing. I'm not sure why this thing unfolds itself like that, but moves itself like that. To find the perfect position. That one looks the best. I think it's a little bit long. Still floating. I'm not sure if it thinks that we modify the asset because we certainly didn't not that one. But yeah, like that doesn't look half bath, so just push it a little bit over there. As long as we don't get something that looks extremely horrible for now, I think we're in a good position. Now. We definitely want to change the color for that one. So I'm going to create a new material. It's going to be for color. And in here I'm gonna change this to here. I'm just going to work like a here. We need a base color. I'm going to press the number three and click. It's going to create a color. It's gonna be the base color of my hair. I'm going to press number one and that's gonna be the roughness. Roughness is going to be relatively rough, let's say 0.6 and color, I want to go for a dark brown. So let's go for this really dark brown color. Hit, okay? And if we select this guy right here and we navigate, should be able to drop this one right there. Not letting me drop it. Why? Let's navigate to where this thing is. That's another option that we can do right here. We can duplicate this guy. Then this here default material goes in there. Then this one is the one that we modify. Very common thing to do shins either from real, duplicate one thing, and use it in the marketplace. So now as you can see, we're going to have this dark for coming from the size of the characters. Just nice patch right there. And we're of course going to have to bring now the other one which is the shoulder for so same deal. You know what it could be? It could be the action is not updated. Really weird. Now it seems like it's like it's in the position that it should be. So just grab this guy. Cash or sorry, generate cash and we're going to export the cash. And this is going to be thyroiditis for shoulder. Now we go back to a real we're gonna say we're gonna go back to our all the way to the thigh rows, groom, import, and we're going to import the thyroids for shoulder. It's valid, which is great. Cyrus for shoulder. 670 -30. Zero, that's the origin, -90. And it should be lows. It's the other way go. That's 180 there. The third right there. And it's just a matter of rotating this binding its proper placement right around there with W. Push it so that it matches its location. A little bit to the side. We go. You should see it right there. Let's select this guy. I select it. Turned on the hair width so we can see a little bit better. There we go. Look at that beautiful. And again, we can go to any of the other ones. Locate this guy right here, and select this guy and just assign the same sort of like dark material to it. That's it. With that, my friends, we have successfully imported a for and the character inside of our unreal, Let's pilot this thing. Very nice close-up there for a character. There we go. Great. So now the next part then, I think this is gonna be the final video, my friends is I'm just going to show you how to export a really like a final image from this guy, like a render. And how to do a small like push in with a camera. So we can get like a, like a five-second video of the particles, just like moving along into, in this visual here. Now, I do think we need to more lights. I'm going to go to my directional light here. I'm going to push the intensity to like a two. So we get a little bit more light here on the scene, maybe like a 1.5. There we go, because things were getting a little bit too dark. We can also change that here on the Sinek camera actor. We can go to exposure and remember we can import, export or increased exposure here. **** am I not seeing this? Oh, right here. Let's make sure that on the ball and the post-processing know we don't have the local exposure. Now we're fine. That's weird. Well, you're going to see it outside here. So here we can see the camera. So we can increase the exposure a little bit and increase it to something like an eight. But what I'm gonna do is I'm gonna go to this guy right here. And they should have a very basic material. I'm just going to go to the color. I'm going to make this color a little bit darker. That way when we see the Wendy's see, we see the camera. Let's just save everything and we go. So when we see the Senate camera actor, the character is going to look a little bit better. It's pilot. And look at that. Cool. So, yeah, there we go with friends. Oh, good. This with successfully arrived to this final presentation again, remember, it's presentation, this is not production. We stopped to production when we, when we did the grooming on the T pose of the character. This is mostly for presentation if you're gonna use it for your portfolio or for art station or for whatever you need. This is what we are going for a final presentation of her character. So yeah, that's it for this one guys, hang on tight and I'll see you back on the next video. 96. Exporting Videos: Hey guys, welcome to this final video. This is the farthest going to be the final video here inside of the series, there's probably going to be one more video of the closing of the whole series. But yeah, this is just the exporting of the view here inside of our real. So this is the shot that we have right here. I really like this shot is a little bit to the side, which is great. By the way, if you want to grab any assets from from a like on any of the things that we might have here, like here on the starter content, there are some models and prompts, chairs and stuff. Like in this case, I don't think we really need anything. I want to keep it really, really clean. But you can download materials or elements from the library or from the unreal library or the marketplace. And you can create a little bit of a better composition right now I'm going to keep it really simple like this. So what we're gonna do is I'm gonna go to a thyroid. Again. I'm going to create here something called a level sequence. So the level of sequence is what we're gonna be using to record something inside the form real. So I'm going to go right here, and this is where we're going to save it. We're going to call this thyroiditis Render Render Sequence. Let's call this. When we do this, we're going to get this timeline right here. It's the sequencer. You can also double-click on the little thing that what you got here and that's going to allow you to get into the element. And we wanna do is we want to add the camera to this track because this is the check that we're gonna be using to render. So if we add the track here, we can add, or literally, you can just go to the your objects here and just grabbed your similar camera actor and drag it in here. And there, we will have our character. Now, I can see that the image is a little bit exposed. So that's a little bit worrying, shouldn't be that a little bit too exposed. Let's keep it at seven, which was the number that we'd like. So what I'm gonna do here is I'm gonna go to the Transform options of the camera, and I'm going to set a key, it's going to add a keyframe to the current location of the camera. Then I can define how many frames I want. In this case, 30 frames per second. If we want 10 s, that would be 300 frames. But the hundred and 50 s is usually a good number. So 5 s, I'm going to push this to 150. I'm going to push my camera in a little bit like this. So we get closer to the character at that. And I'm going to resample the focus distance because I definitely want this character to be in-focus. We're also going to have to go here and set a keyframe on this focus distance and set a keyframe on the transform. Then I'm gonna go back here. Actually, it didn't register. So here. Let's go back to frame one. Frame one. We're going to sample the distance of the character, that's 900, 870. We're going to set a keyframe to 870. There we go. And now we're going to move our camera to frame 150. And in frame 150, we're going to push in with the character. So we see a nice little close-up of the character like this. And we're going to set first the transform. There we go. So now the keyframe has been set. We select the character that's gonna be the focus of the character. And we set a keyframe there. So we're going to have here, as you can see, is the movement of the camera pushing in. Now, to render this out, you just need to hit this button right here. Go to the render options, and we're going to select what kind of render we want. Well, we want the full HD Render. We want 100% compression quality, so we want, or we want, we can use no compression. I personally like to export this as jpegs, so I'm going to go to Image Sequence jpeg. That way we're not going to have any compression problems. As you can see, it's gonna be exported to the unreal project to the same the folder and then to the Biggio captures 30 frames per seconds is fine. And yeah, that's, that's pretty much it. Once you're happy with this, we just say capture movie, safe. And what's going to happen? It's going to start running. And once it starts running, it's going to start saving. So we're going to see the smoke as well, calming and everything. And there we go. We can go now to our folder very quickly here, two thyroids character, but not here to that, to the actual BD and not the videos. That's where I save all my videos. Thyroids project equal to the safe. Video captures and look at this. We're going to have all of the images ready. So this is our animation and see how fast that animation rendered like if I wanted to render this animation outside of Maya or from Maya, it will take me at least, at least like three or 4 h. However, here we do not real, but utilizing this effects, we can very quickly render the full character. So, yeah, that's it guys. There's really nothing else that I can tell you. You can use the sequencer to render a single frame, multiple frames, multiple camera movements like whatever you want. And you can animate lights, you can animate characters, you can animate pretty much anything you can think of. And once you do that, again, you can produce as many, as many different variations of your project as you want and present those in your portfolio. We can do a turntable by, of course, animating the camera around the character and this image right here. We can then take, of course, anywhere we want, such as Photoshop or After Effects, or any other place to get a really, really cool result. So, well, we've arrived, my friends. This is the final section of our process. This is a DNE. There's one more thing I wanna do though. One more thing. If you are a fan of filters, you can use a couple of things here. For instance, we can add a volume. There is actually already a volume like a ****, have this exponential height fog. And we can give more density to the fog. If we bring this all the way to like one or like a four or five, there we go. And we can play around with how close or not this thing is. The start distance, like there's a little bit of a feel, it's definitely going to make it darker. I don't think it's going to really benefit me right now, but it can work in the scene, the camera, actors, a lot of things you can play with. You sought the exposure. If I change the exposure, something like eight, I'm not I'm not gonna see it here, but I'm definitely going to see it down here. And there's other things we can do. There's like Chromatic Aberration. If you want to add a little bit of chromatic aberration, there is like a lens flares. If you wanted to add like lens flare as well. Like there's so many things here on the post-production effects. Again, this is not a real class, but there's a couple other cool things here. Temperature for instance, we can play with temperature if it's too cold, if it's too light, we can change this around and get a slightly different feel. We can change the color or the saturation of the shadows. All of these things that you would normally do in the post-processing world, you can do it here. And if I were to go here, a very important if you're gonna re-render things, you definitely want to go. And there's an option here to overwrite existing so that you don't get double the amount of elements. So we captured this now and we set the render. We're gonna get this very cool looking. In fact, you can see that the exposure is a little bit better. There's a little bit of extra fog right there, and we get a slightly different result. So, yeah, that's it guys. Go and have fun. Finish your character, finish your textures, finish your posts, and there's your grooming, finished everything, all of the necessary steps and go make amazing looking characters. This is it guys, this is the end of this journey right here. My name is Abraham Lille and I'm going to see you on one final video after this one.