Hair Creation for Game Characters

1. Introduction: Hey guys, do you find it difficult to create realistic looking here for your characters and creatures, have you tried using exponent inside of Maya but don't know where to start. If that is the case, then I welcome you to next to its hair creation for game characters. My name is Abraham wheel. I have 11 years of experience in this industry, and that will be your instructor throughout this course. In this course, I will be showing you my workflow and techniques to create realistic looking here for characters inside of caves. I will show you how to create bake, place and render all of the hair information that you need to create amazing results. In this course, we won't cover extra regeneration. How to bake maps, proper hair placement, hair shaving, rendering and marmoset, and hair systems inside the frame rail engine phi. This course is divided into four chapters. The first chapter I will show you the full workflow so that you understand how to create and generate all of the maps that we need to have really good-looking here. After that, I think Chapter two, we would work with what I call the universal hair system. We will create a system that you're gonna be able to apply to pretty much any engine out there. After that, Chapter 34, we'll take a deep dive inside the Unreal Engine five, and I'll be showing you how to create amazing looking here. If you want to learn all of these techniques, tips, and tricks than joining me and become a great grooming artists in no time. 2. Types of Hair: Hey guys, welcome back to the next part of our series. Today we're going to continue with a little bit of theory about the types of hair that we're gonna be creating throughout this series. One of the things that I'd like to do this kind of like a little history lesson backing the ages of Nintendo 64. Here was something that it was pretty much impossible to get. Here has always been one of those tricky subjects in game development because it requires a lot of geometry or a lot of resources to make sure it looks as nice as possible. In supermarket 64, which was one of the revolutionary through the games of its time. Most of the hair was always just, just a blob. If we take a look at voucher for instance, there's always had this very nice intense here. You can see here that the eyebrows and the low, like a top hat right there that has some hair. It's just a blob. It's just the polygon painted to look like here, but it's not actual here because back then, of course, the resources were not as good. If we didn't go to something like PS2 Tomb Raider, for instance, you can see that with time, a render engines and the end game developers were able to get some nicer effects done. So in the, in the ages of PS2 and Xbox, we started getting something called hair cards. And the way they were able to solve this issue is they would create just plains of hair that would have a little bit of transparency to indicate where the strands of the hair where I placed. This has been improving and improving and improving all the way until we now have things like alloy in horizons, you are done. This is we're talking about like Triple a game development months and months of work to get this sort of effect. But we're gonna be looking at the principles and the general workflow that is followed to create this sort of elements. Now, nowadays, there's two main ways to create hair for games, haircuts as you're seeing right here. And actual hair generation like the strands of hair, gets generated in real-time and you can use them on DiAngelo. Both of them are really, really useful. Both of them have drawbacks, pros and cons. Throughout the scores, we're gonna be taking a look at the hair card creation and how you can use this for pretty much any engine that you need. The other one the other type of care. And I do want to take what's there. I mentioned that because it's a really nice hair as well. I really like what they'd been accomplishing in the last couple of years with this is this sort of like meshed hair. It's not here, it's like per se. It's more like blobs of polygons that looked like sculpted here. It sometimes uses a little bit of often transparency to get this sort of effect. But as you can see, it looks really, really nice for knife has been using this. And like lots of stylized games have been using League of Legends, of course archaic you're seeing here. And it gives a very nice and cool results. As you can see, we're not seeing like each strands of the hair. It's just the general look, the general form. And I think it works very nicely with several productions. There was this movie, Mitchell versus the machines, which also uses this sort of effect. You do see a little bit more like fiber it should look, but it's also like big blobs of here. Let's see this kid right here. And I think it works. I think it works. So depending on the type of production that you're gonna be working on, this kind of things are gonna be a good option if you're trying to create different types of here. Now, I'm gonna show you a real quick all of the maps that we need to create. And we're going to cover really quickly what each of these maps do. Because this is probably the most complicated thing about the heart hair card generation. And it's the fact that we need to create a series of maps from a geometry that gives us the, the sort of information that we're looking for. Let me see where this image just want sick. And we have at right here. Perfect. So these are the eight maps they're gonna be showing you how to get out of action. We're gonna be using action to generate the hair strands. And then once we generate those hair strands, we're gonna be projecting and obtaining all of these different maps. The Alpha map is gonna be to transparency maps is gonna be the cutout. This is what we're gonna be using to, to tell like any sort of a renderer like mama said or Unreal Engine, where the hair is gonna be like the wide is going to be solid and the black is gonna be transparent. The color, as you can imagine, it's just the color of the object, the color of the hair, blonde, brunette, redhead, white hair, black hair, whatever color is gonna be defined here as you can see, it's a map texture. There's no shadows or light information. There's just color variation. Ambient occlusion is going to give us a nice little depth to the thing. It's gonna give us a volume and weight to fake the fact that even though we're using cards, there's gonna be volume in those cards and it's going to look like There's more depth than there actually is. Then we also had the depth map, which I'm gonna be showing you a very, very cool trick. This is a trick I actually created myself to generate this things because there's a couple of ways out there that can give you this result. But I always thought that they were a little bit too complicated. So I came up with my own system to create this at depth map right here, which is going to tell us which hairs are like deeper or closer to the camera. And that's also going to add a little bit of variation once we use the real engine shader. This one's very difficult to see right here. And I know it looks like I'm trying to trick you guys, but there's actually information there and there's the information of the direction of the hair. So how the hair is churning around in space, this one's gonna be really important for the reflections of our element. This one's called the object ID. It will give a different value, very subtle value to all of the hair strands. And this will also allow us to get some variation later on. The normal map, as you can imagine, that will give us the sort of bumpy effects that the hair looks with a little bit more depth as well. And finally, the route map is going to allow us to control of colors and elements down into root and all the way to the tips of the hair as well. I'm gonna be showing you how to generate. All of this maps, we're going to be generally generating them from Arnold. I've device the method that's really, really cool and really useful and it gives us really, really clean result, as you can see right here, like the softness of the vague and the result that we get is quite, quite nice. We're not going to need to do any sort of like x normal banks or anything. Everything's gonna be directly inside of Maya, inside the 4-node. Now, all of this maps, you're not going to be using all of this maps every single time. But I want to show you how to get all of them because if these are the ones that you normally are asked when you're in the production pipeline. Some of these maps and when you're working on a presentation for Marmot said for instance, you are only going to need like the alpha, the color, the ambient occlusion, normal and the direction you're not going to need the deaf, the root or the object. But if you're doing a real, you're going to need the depth throught the object, but you're not gonna need, for instance, the aim of the occlusion or the color. And then there's a couple of things. Things will change depending on the pipeline that you're working on. We're going to see both of them are going to show you how it works on marmoset, which is more like a universal approach to here. And then we're going to see the actual or Unreal Engine five hearsay there that we can use to create the very, very realistic hair like the one that metta humans have. So those are all of the maps that we're gonna be doing before we jump onto the actual creation of the whole thing. I like to explain the general method or workflow that we're gonna be following. First of all, there are, I like to divide the hair creation for games into several phases. The first phase is the fiber generation, which is where we're gonna be focusing on the next couple of videos. For this we're gonna be using. The next part is the bakes. The bakes of all of these fibers. We're going to break this down into textures, all of the textures that I showed you before. The bakes we're gonna be using or we're gonna be doing them. We'd Arnold inside of Maya. Finally, we have the cart creation and cart placement, where we actually create the little hair cards and place them on our characters. This we're also going to be doing inside of Maya. Finally, we have the shader setup, which is a very, very important part of this four steps, this force stages are all important for the final result that we're going to get. People think that only by getting perfect fiber generation or perfect bakes that's old. You need to know, you need, of course, the four of them. The shaders settled. We're gonna see two options. We're gonna see Momma said, we have an ogre. You probably saw it in the thumbnail or in the renders. We're gonna be doing the ogre on marmoset. And then we have two characters that we're gonna be doing in our real engine five. So we're gonna be using Unreal Engine five. Just a quick list of all of the softwares that you need to make sure that you have everything ready before we start. We of course need Maya. Inside of Maya, it's very important that you have extra and Arnold installed. I do recommend having Photoshop do because we're gonna be doing some adjustments on the images. Very, very simple adjustments. Don't worry. If you don't have experience with told her shop I'm who I'm sure you're gonna be able to follow up. If you don't have Photoshop, you can use any sort of image editing software as long as you're able to modify the levels, the exposure, and things like that inside of the software. We're also going to be using marvelous AT tool bag for. We're gonna be using our real energy. All of the scenes are gonna be provided for you. Probably already have them on your project files and the uvular have mercy to work for. Again, don't worry. You can get a free trial. I believe they have a 20 or 15 day trial or something like that. And if you haven't used it, I would strongly recommend using it. But we're going to eventually jump into a real engine five, which is completely free and you're gonna be able to utilize the same stuff. Yeah. That's I think pretty much it. If there's any other softwares plugging or things that they need you guys to install? I will of course told you throughout the duration of this course. So with that setup, I think we're ready to jump onto actions. So yeah, let's get going. I'll see you back on the next video. 3. Xgen Overview: Very well guys, welcome back to the next video. Today we're going to take a look at exchange. We're going to explore what action does. And I'm gonna be showing you just a general like ropes of the software. So this is not the hair card creation just yet. I always like to explain things seen such a way that's easy to understand because one of my most sought after things, whenever I record this sort of tutorials, I don't want to show you just how to do it. I want to show you why we do it the way we do it so that you understand. And later on, if there is a challenge that you need to overcome, you can take all the things that you've learned and apply them and improvise and create something interesting. So what this action will extract the east, a procedurally generated like plug-in here inside of Maya that allows us to generate a lot of variations of the same element. It's usually used for here, for grass and anything that needs to be duplicated. A lot of times, usually Fibre he thinks. But I've seen people use section with other, other stuff like, like rocks and trees and stuff. The way this works is actually very simple. If you go here to the tab, you're going to have all of these options. And there are two types of action and this was not present a couple of years ago. This is, we'll say relatively new. And the first thing is we have the traditional action, which is this one extra window. And we also have this thing called the interactive groom editor, which is another version of action slug and more simplified, more artistic friendly version of affection. However, it does not have all of the things that we would need to properly create the card stored the fibers that we need. Therefore, we're gonna be using the traditional action. Let me grab, for instance, a, just a simple plane. We're going to get this right here. Now, one of the first things that you need to do when you're working with action, you need to save your scene in very, very common mistake that students make, they forget to set up their seen, save the scene. So you're gonna go of course, to file, let's save the scene and you're gonna find the scene by the way, I like to save this as ascii files. I'm going to call this extra overview. Now that the scene is safe, we can start working. I'm going to rename this. I'm going to call this section plane. Decide to know that this is where it might extend. Like elements are gonna be like a generating from. I'm going to go into the action section. And if you click this little window right here, we're going to open the action window. Now action is divided into a couple of things. Descriptions and collections. Collections are like a family of descriptions, so a lot of descriptions can make up a collection. Usually you will have something like, let's say a lion collection and all of the different rooms and all of the friends of descriptions. A deadline will be inside that collection. I'm going to create a new description and we're gonna get this nice little box right here. The first thing I'm going to call this R, I need to give it a name. I'm going to call this hair. Let's call this hair demo. What's gonna be the name of the description here? Demo, sorry for all of this thing over here. This is for the shortcuts. By the way, Dave, you are you're trying to find or if I'm using any shortcuts, you're gonna see it down here on the corner. This is gonna be a new collection, I'm going to call this Demo collection. So if I ever do any more descriptions, all of them can live inside the same collection and that's a very nice way to keep this organized. Now, the reason why it's super important to save your scene is because this description in this collection will be saved on your project files. If you move that project, all of the descriptions and the conductions, we'll go with it. Now, here's where the fun starts. We need to define what kind of action we want to create splines grew mobile costume geometry is fierce or carts. In this case, we're gonna be using splines because we wanted to create this sort of like long hair. You could also do grow mobiles plants, but this is usually, as you can see here, for a short hair and fur. Use this whenever we've done like Bloom animals like a cat or like a square root or things like that. This is a little bit easier to work with. But for us, for haircuts, we're probably going to be using a science most of the time. We're gonna randomly generate them across the surface. This is very important because we want them to be everywhere and we're gonna be controlling and specifically where we wanted later on. Finally, this is super-important whether it's going to ask us whether we want to control the placement of this guides with expressions which is code pretty much or by placing a shaping guides. And again, most of the things we're gonna be using, it's placing in shaping guides. So I'm going to hit Create. And there we go. Now over here, as you can see where on our collection here demo collection and we're on this description, hair demo description. And this is where we're gonna start adding our group, like our Oliver splines and all of her hair. How does this work very, very easily. The first thing is, as you can see, there's no hair, like we're not seeing anything even though the extra in collection that has been created. And the reason why that is is because one of the options that we selected, which was the use of spline option, needs us to have some guides. This button right here is the app or MLB guys Bowden, and we can just add, let's say 123456 guides. Now if I produce a little icon to update it, you can see that we get like random Harris across all of the plane. This guides, as you might imagine, are the ones that control where and how the hair is being placed on top of this plane. So for instance, if I grab this guy, right-click, right-click and select guide control points, I can modify the control points of this guy. Move them a little bit. Generate a nice interesting effect. Now if we do this again, you can see that the hair is going to try to interpolate between those guides and all of the remaining guides. And it's going to create this sort of thing. As you can see, it gets a little bit difficult to select the control vertex. You can try doing. There's the F7 button, which is going to go into multi-component selection. And now I should be able to select that component. Now it's not letting me, or what I like to do obviously is to go up here and turn off geometry so that we can select the geometry. And that way it should be a little bit easier to just select the control points off our object like this. Again, you can select this, these are the vertices of a curb and you can modify them. And again, how you modify them will change the way this looks. Now, we haven't different tabs here on the exchange element, on the action description. First of all, we have primitives and the permanent IP section is how all of these hairs are gonna be generated. How they're gonna be like a populated along the surface. Here we have the density very important and which is how many hairs we want to see. Depending on your computer, you might find that if you increase the density quite a bit, your computer will slow that a little bit more than usual. That's very, very common. Don't worry, you can keep the density high. And then here in the preview output, you can actually change the percentage of preview. So you can preview fewer hairs on your viewport while still remaining. Laura, we're still keeping a really high density on Render type. Right now. My computer can handle it, so I'm gonna keep it really, really high over here. Other than the density we have, of course, the length, which as you can see, even if we push the length L. So we'll try to respect that the curvature of the guides that we created. So even if the guides are really, really small, we can change the length of the hair by modifying this artery right here. And finally, of course the width. So if we want like a really thick cylinders, really thick splines, or if we weren't really, really small and soft the hair like this. As you can see right now, we're exporting or we're projecting primitives as a spliced or just curves. They're not geometry. It might look like it's geometry, but it's not geometry, it's just splines. So far we're gonna keep it like this. But as you can see, we can actually change this to spheres guards or even like an archive spline. This perfectly, perfectly fine for what we need. Now, this is really cool. This is the Taper options right here. This is the width ramp which I'm gonna talk about shortly. The paper allows us to, as you can see on the tip of the points right now, there is no no thinness. Everything is exactly the same width. If I increase the taper, what's going to happen is that the hair there we go, the hair will still getting thinner and thinner as it goes into the endpoints. And this is usually what happens with Harry, gets degraded if you wish or a little bit destroyed and weaken software and software effects. Now see how up here the curves are getting a little bit or having a little bit of a hard time trying to follow that nice curvature. We can see this sort of like fragment. That's the modifiers CB couch. So every single spline that we're creating right now is made out of only five divisions. Five. Phi bird sees. If we wanted to have a really release mode here, we might need to crank this up to something like a ten, as you can see when we do this now the hair is a lot nicer in the mouth software. The one that I've talked about before, the ambient occlusion and the anti-aliasing. This is where they really shine because now by turning both of those on, we're gonna get this very nice shallow and the visitors very nice effect on the hair. By the way, this here that you could use to render here inside of Maya if you're doing any sort of like commercial render, and they worked really, really nice. Now, the width ramp right here tells us what the width is going to be. Without taking the taper into consideration. It's going to tell us how the width is going to be specific here along the length of it. So the R stands for root and the T stands for tip. So if we change, for instance, the width here on the root, you can see that we get this thing. Softer, smoother over here, and then we changed this on the tip. The same happens. We can add more points and we can create this sort of like teardrop shape that is very commonly seen in the hair follicles. So this is where we're gonna be doing later on when we did the cards to create a nice little soft effect here where it's going to be intersecting the geometry, the scalps of our characters. And then we're gonna have this one with you on top of this, you can even add a little bit of taper like, that's completely fine. Let's get here and just play around with the intensity of the taper. There we go. So now we have this very nice software all along the surface. Now, one of the problems though, one of the problems that we're going to say, well, let's first save this real quick, is if we tried to render this, if I go into Arnold and hit render, I would've you're gonna see happen is that we're probably not gonna see anything. Some of you guys already know why this is happening or why we're not seeing anything. But just for those of you that are new to rendering or a little bit unfamiliar with the process. The reason why we're not gonna be seeing anything is because there is no lights on the scene. Let's just give you a couple of seconds for this to load. There we go. So nothing. However, if I turn this little button here, you can see that the Alpha is there, so the objects are there. It's just that we're not seeing anything. So I'm gonna go here to Arnold and I'm gonna say lights and I'm going to add a sky dome light. This guy though, it's pretty much like a dome. It's like an image that we're going to project them. That's fear. It's gonna make it look like our hair is inside the fund environment. So I'm gonna select this guy right here, the, the sky dome light. I'm going to press Control a to go into the attribute editor. And here on the color section I'm going to insert a little note by clicking this icon right here and hitting File. We're going to of course load our photos to remember the one that we downloaded a couple of lessons ago, just going to hit Open. And now we have this HDR on the scene. Now if the FDR's too distracting for you, don't worry, you can actually select the sky dome light and keep control a again, to go into the attributes and you can change the scale back to 0. And even though the scale is 0, the information is still being applied. So if I go here to the render window and I hit render again. Now, as soon as this thing loads and loads the image, you can see that now we get the actual image being projected here. Now this here is way, way too noisy as you can see, the result we're getting is not as good as I would like. Let's turn this thing which is called the resolution gate. Let's zoom in a little bit closer. And let's take a look at how this thing looks. So doesn't look that bad, but as you can see, it's really thin. I think the Harris now really good thing to go back into Exchange. You can click again here on this object and we're gonna go back to our demo collection. So let's increase the thickness a little bit. Probably a little bit more. Let's try that. There we go. That looks a little bit more interesting as you can see, we get this very nice depth and stuff. Now, images are Render and this is something we're gonna be talking about later on when we talk about bakes. But when we render images, they're gonna be a little bit noisy. And there's two ways in which we can reduce this noisiness. The first of all are, the first one is to change the size right now, as you can see, if we click here, which is a Render Settings, we're going to have a preset of HDF5 40. This is usually quite low, so I'm going to bring this to two chi-square, which is quite, quite big to k squared is a little bit more than full HD. Now, if we were to render, Let's close this real quick. It's of course going to take a little bit longer. But since there's more pixels on the scene, the hairstyles are going to look a little bit cleaner as well. We're gonna be exporting everything at two K later on when we do our bakes. So this is the setup or the size that we're mostly going to be using. The yeah, as you can see, this looks I'll lay a little better. Now there's two ways to improve this even further. The first of them is to use something called a denoising. So I'm going to turn on this thing called display settings. And here on the imagers I'm going to add this denoise or optics down here or gap. Just wait for this to finish. And what the denoise or does is after the image renders, it will try to soften up all of the little details and give us a smoother, nicer looking image. Now, as you can see, he's having a little bit of a hard time solving this areas where it's very like clumpy and very noisy this year is that our cleaner, you can get super, super clean effects. The way that we change this or help this noise would be even better is by going into the render options. And if we go into the Arnold renderer, we can increase the samples here, for instance, on the camera samples, I'm going to go to five. We're just going to be quite the increase. I'm gonna change this to 33333, all of them to three. This is definitely going to increase the render time. Right now. It was taking about, I would say like ten seconds to render. Now, as you can see down here under progress is taking book considerably longer, but the image is gonna be cleaner. See how it's easier for the denoise or to solve this areas that were lot noisier before. And as you can see, we get this super, super clean render for the hair. So that's the second way to what's the way to improve the quality of the renders. And we're gonna need that once we hit the baking process. The other thing that you can do, and this is very important. If you have access to an NVIDIA GPU, you can actually use your GPU to render. It will be a little bit less accurate, but might be a little bit faster. So you can offset that by changing the samples if you're here to system and you change this to GPU. Now when I render, I'm going to save this one. I'm going to click this little icon here. You'll see this 1235 seconds. I'm gonna save this. And let's render again. Now it won't render with what's the word they won't render. We'd CPU it will render with GPU the first time you do this, it will take a little bit longer, very, very common while it low told the textures and all the information that it needs. But once it goes, it should be a little bit faster. Let's just give you a couple of seconds. Let's see if it response. I know it's rendering because we have this a stop sign two tilde to stop rendering. And again, as I mentioned the first time you do this, since it needs to convert a lot of things, it will. Sorry, It seems like the hair physical, physical shader is not supported on the GPU. That's my bath. I'm gonna stop this right here. Give me just 1 second. The physical shader doesn't work. That's why we're getting this wide effect. So what I'm gonna do is I'm gonna go here to the hair demo description, this one right here. I'm going to right-click and I'm going to assign a new material. I'm going to assign an Arnold AI standard here, which is a material that we're gonna be using quite a bit. The standard here material, I'm sorry, here in the hair demo, right-click. Stand there. Here, there we go. The standard here, as you're about to see, has a couple of presets that are really good. I'm going to press Control a go here and then the presets I can select for instances like blond hair and he'd replaced, and we're going to get this effect. This one should be compatible. Let's give it a shot. There we go. Now as you can see, the GPU is doing its job. It's rendering the, the blonde hair right now. You can see it looks white and it's gonna be a little bit faster. You can see that this is advancing a little bit faster. It's still going to have this splotch in this due to the de-noised. But we can get rid of the denominator or improve the samples. And that's also going to help us look at this very nice like platinum blonde effect that we get here. So again, it depends on your system. You can try with both CPU or GPU. It really doesn't matter because once we do the bakes, the textures that we get those we're gonna be using on the engines. But just keep in mind that you have those two options for yourself. In this case, I'm just going to stop this. Remove the imager for now because even though this looks a little bit green here, it does look a little bit nicer. I think given that load like nice texture to the hair, but it's not, it's not that bad. So as you can see, this is the, what's the word? This is the GPU working and it gives a very, very cool result. Now, another thing that's very cool here instead of Maya is that we can actually see a nice representation of the hair without doing the render by turning this light thing on view, use the light. You can see that it is getting some of the light information from the HDR. We can even turn on the shadows, but it's not gonna work on this one apparently. As you can see, the edema electrician of course is helping. So if you want to preview how the hair is going to be looking, this is a great way to get an idea. However, it's not something that I usually like to use because it's more resources for the computer and you want to keep things as light as possible. Now, one final thing before we finish this whole overview and then we start working on the actual hair strands. I'm gonna go here to the action again. And one of the most important things about action are gonna be the modifiers. Modifiers are things that we can ask to action to change the way that the hair is behaving. And these are gonna be super important because we're gonna be using them to add variation and more natural dotnet reality or more natural look to all of the things that we're gonna be doing. I'm going to click this guy right here, the modifier window. And let's add something simple. Let's start with a noise. We're just going to hit. Okay? So by adding a noise generators, you can see that the hair gets a little bit of noisy. It's not a straight anymore. He's getting some weird effect. And we can change this by modifying the mask, the frequency, and the magnitude. We also have this thing which is the truth. And to think like how much the noise is affecting the root and how much the noise is affecting the tip. As you can see right now, the tip is being affected the most and the root is not being affected as much. If we push this up, you can see that now the rule is again that getting affected a little bit more and we start getting this very cool effect where the starch like curbing and creating a very interesting, interesting look. Let's refresh this. So we get that little squared. We can choose the frequency if we increase this, you're just gonna see way, way more noise. And the magnitude, of course, we do this to a like a two, you're gonna see gets like a really, really crunchy. Now this ramps where you're gonna see this ramp so loud you can modify this Ranch. Maybe you want to have a lot of noise on the roots, but not as much on the tips. You can modify this, thanks as much as you want, and create very interesting effects. Now, see how the hairs are breaking here a little bit. We've talked about this before. That's because the CB count might not be enough. So let's push this all the way to 20. You can see now we have way more effects and that's also going to affect the noise. We might need to decrease the frequency. Maybe the Christian magnitude like a 1.2. And now the hair is going to look a lot. Software looked nicer. Again, if we were to grab this thing and just render, Let's bring the tip up as well. Let's just refresh. There we go. If we render this, we're going to have the same sort of stay there, the very nice like a platinum blonde shader that we have right here. But not all of the nice little noise and nice little volume changes that we have is going to be present. Now there's a lot of modifiers. We're not gonna be seeing all of them, but we're gonna be using some of them to create some variation on our hair starts Look at this. This starts to look like a, like an animal for something. I think it looks, it looks quite nice. And this is the secret. This is one of the big secrets about the car generation that we're gonna be working with by mastering this action process and utilizing it at best potential, we're gonna be able to extract some beautiful maps and some beautiful variations ingredients from this and beg those into cars that are going to make our characters look way, way nicer. I don't want to make a quick parenthesis right here. This is not the only way to generate fibers. You can do this with other systems. You can do this with other software. Zbrush has a way to generate fibers blend. There has a way to generate fibers. The general process or the general workflow eats the same. We need to generate the fibers, we need to generate the hairstyles, and we need to bake those hair strands into cards, into maps that we're gonna be using to build up the hair like system for our characters. I personally love using action. It's an amazing piece of software. It's very, very artistic friendly, I would say. And as you can see, we get some amazing results in a very, very fast way. Yep, that's it for this one, guys. Hang on tight and I'll see you back on the next one when we start working on our first little exercise, Bye bye. 4. Creating Hair Strands: Hey guys, welcome back to the next part of our series. Today we're gonna start with the creation of her hair strands. And it took me a long time to find something that we could use as a little example, I, at first I thought we could just do like just like the hair, like a basic care and just show the drug the process. But I thought it would be cool if we actually created a little asset with us before we jump into the characters. I found this things. I realized what I found out that there's some people that keep some hair from their horses. Especially because horses are like dogs. People who create very strong connections with their horses and when they die or would they pass? It's a way something's keeps some of this charms with their hair. So we're gonna do this, we're gonna do it. He's more like simple trumps that way we can not only learn about the process of creating all of this maps and all of the spikes. But we can also do something that could be used as a little acid inside of a beat, a game or something. So we're gonna start going into our front view. And the thing that we need to create or thing we need to understand is that this care strengths are made out of a couple of different elements. I would like to have a really dense hair strand, like a really dense cars, and then probably like one or two extra cars that have a little bit more variation to them. So that when we put all of them together, we can create this very nice looking like hair, hair chart. So here instead of Maya, the first thing I'm gonna do is I'm going to create this model plane. This plane. I want to bend it a little bit just to give it a little bit of roundness to the whole thing. So I'm gonna grab this plane, scale it a little bit over here. I'm gonna go into a mesh tools mesh. The form non-linear and we're going to bend this. Now the bend deformer is the formula we're gonna be using quite a bit later on when we place a here has this thing called a curvature. If you're going to the channel box and you're going to the inputs. You have this curvature option and you can middle mouse and then drag to create a little bit of curvature. Now what I wanted to do here is one that rotate this like locator so that this thing is facing forward. And then I'm going to have this thing go down like this to create this little loop. I'm going to go here. I'm just going to have like around even numbers. So I'm gonna say 900 and minus 90. And once I'm happy with the curvature we get, I'm just gonna hit the early history freeze transformation or is actually first, let's delay history and then we first transformation. Now with this, as you can see, we have this very nice curvature. I'm gonna rotate this down because we want the hair to be growing from the top to the bottom. This is just a personal preference. It really doesn't matter as much if you do it from the bottom to the top, but this is the way I like to do it. One thing that's gonna be really, really important is the size. We wanted to make sure that the hair has the proper size. If we take a look at this charge right here, I would say they're about probably like ten centimeters. The hair is going to be about ten centimeters. I'm going to create the cube right here. I'm going to change the scale on why to ten. That's roughly how long I want my hair to be. I'm gonna go blend with longer. Let's go 14 centromeres so we can have some room to change them around. I'm just going to move this thing to the side. Now I'm gonna grab this guy right here. And this is gonna be the plaintiff that I'm gonna be generating direction from. I'm going to call this extreme plane horse charm. Why? Because we might have a couple of others. We might have chores charm, beer, horn, horse at Charles C, And we're gonna have to have other plants. We're gonna start with this first one. Now on this first one, what I'm gonna do. So of course I'm gonna go to my extra window. I'm going to create a new description. I'm going to call this horse charm full because it's gonna be like a really dense amount of hair. And the collision is gonna be called horse chart. That way I know that any description that I grade, this is gonna be on this collection right here. These are gonna be splines. They're gonna be randomly across the surface. And I'm going to use placing a shaping guests. I'm going to hit Create. Cool. Now what I'm gonna do is I'm gonna go here and then they go into my guides and let's have at least three guys. You need to add at least three guides. I'm going to have four, so it's gonna say 1234. That's it. Now I can go to the front view and I can start playing around with the way that this things are gonna be wildlife. I'm gonna grab this points just like Sir moving them down until we get roughly the same distance. We can play a little bit here with the curvature. I know that under reference the hair is really straight, but nothing is going to look a little bit nicer if we add a little bit of life to it. We go to the control vertices and we just push them around a little bit like this. There we go. Finally, this one, we'll just move the points here. Now, some of my students have asked me whenever I teach them this, this content, if it's okay to go crazy on the depth here, to push things up and down. It's not wrong. I mean, you can do it all of the banks that we're gonna be doing, we'll be able to interpret this like changing in depth in a nice way. However, you will get some interesting results because some hairs will go forward, some hairs will go backward. And that's going to definitely, you've liked to make things a little bit more interesting if you wanted to keep it simple. My advice is try not to play around like try not to do this sort of things where it's like pushing into the into the face or anything, try to keep it. Really, really close to the same plane that you have with the guy the otherwise the Harris Michael, a little bit crazy. Now we get this and then we got a very nice distribution of our hair guide st right here. We definitely need to increase the density. So let's start playing around with the density. And as I mentioned, this is going to be a dense cluster like this first character that we want to do. It's definitely gonna be a little bit thicker. Now again, we're gonna go with a little bit of taper. We definitely wanted this here to taper down, probably not as much. I think something like that, that might be fine. And we can play around here with the tapered curve as well. To give you this sort of like interesting effect like, again, looks like a teardrop shape. If you add more points than you want, you can just click on this like little x down there and get rid of it. Like that. Let's refresh. There we go. That looks nice. Now, one of the things that I don't like about using guides are one of the things that it's not as intuitive. Is this something that you're not going to get the care exactly where you want it. It's just going to try its best to find the best spot. But sometimes you want the hair to be in specific places. Let's save this scene rope, but we haven't saved. So I'm gonna call this horse charm EGN. I'm gonna go here to the mask options because when that creates a mass that's going to tell the guides in the here where I wanted to grow. The way this works. It's a little bit tricky, but we're gonna be using something called PTX, which is a painter paint texture. And we're going to click this little button right here. I'm gonna say create a map. I'm going to call this mask course charm. Mask. Again, everything should be named and organized. I know it's a lot of files on those little names. But otherwise, especially when we get into the characters where we're going to have a lot of groups. This is gonna be really, really complex. Horse charm, a mask, and we're gonna start with black. I'm going to hit Create. What this will do is it will create an image. And we're gonna be able to go here to this tool and paint with a white-collar where we want the hair to be something that paint like a little circle right here which is closer to the guides. And that's mostly where I want my hair's to be. Once I'm done, do not forget to save right here, safe. That will tell the guides to update. And now as you can see, they're only growing from those points on the map. Very, very important. You can click this here to go back into paint mode. Like if you'd drop this, you can just go here, going to paint mode and we're gonna go back, double-click here, just select a color and go crazy. You can increase it. You can add like weird stuff over here, for instance. And if we save this, then we're going to start getting some effects over here. The more intensity we have, or the closer they are to the guides, the easier it's going to be to get the effect right there. But in this case, I don't want that. Let's I think it's going to it might crash because it's trying to go back into the file. Give me just 1 second. There we go. So unfortunately, the scene did crash with and tried to do the Control C, but we're back, we're back to what we have in. It's looking nice. I'm gonna go back here to action. I'm just going to save this real quick just to make sure that we're not breaking anything again. Let's go here and let's increase just a little bit on the density. And we start, let's start adding some modifiers. So let's add a modifier here. I'm going to add a noise modifier as we did before. Let's increase a little bit of the magnitude. So I'm gonna go 1.5, probably a little bit of the frequency as well. I really want to have some variations here. We can also increase the modifier CB. Countless, go to a ten. There we go. That's getting me a nicer effect. And again, what I'm looking for, what I'm trying to get here is just generally like variation. So that when we create the cars and we laid them on top of each other, they interlock between all of the different silhouettes that we're creating and we can get something, something interesting. There was a very cool modifier, Did I like? And I think it's gonna be really helpful for this one. It's called the ket modifier. And the cut is really nice because it will cut the hairs at different lengths. So you can see now when we have the Scott modifier, all of the little, the hairs are getting. There we go. They're getting a different difference, distance. Now, this one is actually controlled by an expression. This is a very basic expression that you're seeing right here, which is called a random expression. And what I can do here is I can change the expression and say, hey, go a little bit more intense. Let's try cutting between 05 centimeters and hit Enter. Now, when we update this, you're gonna see that sum here are gonna be called like really, really short five centimeter, five units. These are units inside of Maya. So my, I remember every unit is in centimeters. Let's add another modifier and let's see maybe a little bit of coil. Let's try some coil. It's a little bit too much. So let's say doing 0.5 or maybe 0.2. And play around with the radius maybe. Now that's way too much. The radius is way too big. Let's do 0.1 or 0.3. There we go. That looks a little bit better. So two on the account and 0.300 radius. And as you can see, we get this very nice wavy effect. What I'm expecting to eventually get from this element, from this like hair AS just like some big clumps that are gonna be easy to generally the main forms here. We're going to scale them and move them around because eventually we're going to have this sort of like little flair. But I want to have a nice dense effect problem when they have a little bit more length though. So I'm gonna push the length a little bit further out. There we go. Let's hit this little button right here. There we go. If it books out, don't worry. Remember at the end of the day what's most important in these renders. So even if the viewport looks a little bit weird, as long as the render looks good, then we're fine. Yeah, I like this. Again, very simple right now the severity simple groom, very simple effect. But I think it's looking quite, quite nice. You can go a little bit crazy. For instance, here with the guides, for instance, we can just start moving this guy to the other side. Now we're gonna get more flair here on the bottom. So just feel free to push things around and to move them until you get something that you like. This one, I think it looks quite, quite nice. So yeah, that's pretty much it. That's that's degeneration or four of our hair strands are for basically hair clump. Now let's do one more because as I mentioned before, it is gonna be a little bit useful for us if we have some variation like this is a very nice variation for a big one, but we definitely want something that's a little bit more loose in case we want to add some variation, some strength hairs and stuff. I'm going to grab this flange is gonna duplicate this and move it to the side. Let's make it a little bit smaller because it's gonna be like half the size. I'm actually going to make one more. We're gonna make three. This one we're going to call this hair charm B. And this is going to be C. There we go. We're going to select this one. Let's make sure to delete the history freeze transformations to make sure that all of them are clean. We'd go here, we go into action and we're gonna create a new action description. So the way to create a new description is right here. And description, I'm going to say Create description. I'm going to call this description horse charm. That the B Splines randomly placing and shaping guides and hit Create. And now here what I'm gonna do is I'm going to have 123. There we go. So now when we do this, as you can see, we have a different description. Let's go to the front view. Let's grab the controlled vertices here and just move them down. Again. Start playing a little bit. Let's make one of this a little bit longer. A little bit shorter. There we go. There we go. Something like that. Looks good. Let's, That's perfect. Now the cool thing is we can go here to horse charging full, check the values. We have a width of 0.1. Go back here, 0.1. And we can just try to get the same sort of like values and effects that we had before. So for instance, on the width here, density wise, I don't want to have as many. I want to have a lower density is something like this is fine. And on the modifiers I definitely want this to be a little bit noisier because it's supposed to be more like flyaway. Let's go five or maybe you've been like ten. There we go. That looks pretty, pretty cool. I'll probably going to increase the length on this one. So I'm gonna go back to primitives and let's increase the length a little bit. Cool. So as you can see, what we're going to have is this guy is gonna be sitting on top of this guy in certain areas. And we're gonna be creating this very nice, interesting clump of hairs that's going to break up the surface. And even though we're gonna be using cards, things are not gonna be as obvious. Like we're gonna be able to. What's the word? To hide a little bit and let's make sure to give this a little bit more CB counts. So ten to get more like, nicer curves. And that means that we're probably going to have to lower this intensity down five. Now see how there's holes in-between the hairs. That's exactly what we want because those holes are going to allow us to see through the layers of Garza we're gonna be adding. And that's gonna give us a lot more like depth on the final, the final effect. I probably want to decrease the density even more like, probably like a 1.2, I think. Yeah, that's a lot better. Cool. So now we have two elements. Let's save this real quick and let us go to the final one. I'm gonna go descriptions, create new description. This is gonna be horse, charm. See, same thing, splines randomly placing and shipping guides and heat created. As you can see, we didn't really need to create a mask for this one. I really like how this one looks, but if you want to, you can create the mask in the same way that we did. Just make sure to rename that mask to a named as EC2. Remember, now in this one, this one's gonna be a more simpler ones, just gonna be like flyaway. So I'm going to add the same. They'll want 23. Let's try that. Let's go to front view again. Grab the control points. There we go. As I mentioned, it's gonna be the flyaway. Fly away are gonna be like really, really like very simple here is just a small little hairs. Maybe like a 0.3. There we go. Let's bring it around with the curvature of this one a little bit more cool. And since her flowers, they're definitely, definitely going to be like super, super noisy. Someone gonna go again to the modifiers. Let's add noise. Let's have like a really big magnitude. There we go. I'm going to go to my primitives, changed the length. I guess you guys can imagine how we're gonna be using this. This guy is right here. They're gonna be just very few, very few hairs, even fewer like that. And we're just going to use them to mask a couple of areas and make sure that we have a very nice, noisy, noisy effect. Now one thing I'm trying to do here, this is important. I'm gonna grab this guy, Let's move it a little bit more. Is attributed, leave some space between the cars. For instance, I can see that this two strands right here, I can actually use them as a separate car later on if I cut right through there. So I definitely want to have enough space in-between the in-between all of the different systems makes sure that there's enough space that you can eventually cut squares out of. And that's it. That's pretty much it. We don't need this cube anymore. I'm going to save this in, and we're going to finish this be the right here with all of our guides are ready to be baked into all of the different maps that we need. Yep, that's it for this one guys. Hang on tight. Make sure to get to this point. Follow along again and go back if you need to, and I'll see you back on the next video. Bye-bye. 5. Arnold Map Bakes: Hey guys, welcome back to the next part of our series. This is gonna be one of the most important videos of the whole series, which is the bakes we're gonna be talking about how to generate all of this big. So this video might be a little bit more extensive than others. I'm going to try to cover this in the clearest and the more optimal way. But just keep in mind that it's a lot of maps and so off information. So it might take a little bit longer to get through it. As you can see, we have eight maps that we need to get through. These eight maps are going to be all of the building blocks that we need to create and generate all of the different elements that we need in our engines, in marmoset or in a real. Let's start with this. The first thing we need to do is we need to create the plane. So I'm going to go to perspective view. I'm going to create a plane. And this plane is going to serve as my background for everything to be baked into. Now, contrary to other workflows that you might have seen about here creation, we're actually not going to be baking. It's not the bake like a traditional bake where we have a low Pali and the high poly. This is more like a, like a render that's going to simulate a bake. At the end of the day, a bake, if we were to bake things into this object right here, would be projecting all of these details into a plane. Like there's gonna be race or shooting from displaying and capturing all of the information that we have here on the hairs. We're gonna do something similar. We're going to do that with the front view. If we go into the front view right now, and if I go into my Render Settings up here and we change the size to two k, which is the one that we're going to be using. We can turn off this little thing right here. A little bit difficult to see what this one right here, which is the resolution gate. And if we turn on the resolution gate, we're gonna be able to see what the render East scene. Now, one of the problems that you're going to see, and it's very common for small screens, especially if you're working on a laptop. You're not gonna see the whole like a square thing that we're gonna be capturing. I'm going to press Control. I'm going to click this little button right here to select the camera, the front camera. And I'm going to press Control a to go into the Camera options. Now on the camera options down here, there's a little option on display options called the over-scheduled, going to increase this over-the-counter, something like 1.5. Not enough. Let's go 1.7. There we go. Now we can see, we can actually see the what we're gonna be baking. I'm gonna be closing the camera in until we find a nice little selection like something like this. We're, we're capturing all of the hair strands. Now one thing I'm seeing though, is this a hairstyles right here. The last ones that we added don't have to taper that we need. No problem. It's just a matter of going into action. Let's go here, let's go to charm. See, there we go. And let's add a little bit of taper, maybe a little bit of paper here under root. So there we go. That's a lot nicer. Let's go back to out here to the camera. And now, again, as I was mentioning, it's just a matter of finding the best possible section for this capture, for this map that we're gonna be baking, the place that we originally have. I'm going to press H on my keyboard to hide them. We don't need them. You don't want to see them on the render either. This is what we're going to be capturing. This is the main selection of stuff. Now, here's where the fun begins. The first thing we need to do is we need to make sure that this camera that we're seeing right now will never move. Because if we move this and then we get several different bakes, what's gonna happen is they're not going to match. The textures are not gonna look good. I'm gonna go here and I'm going to press this little button right here, which is the bookmark option. In this bookmark will save one copy of this camera. So if I move this camera by any, for any reason, I can just go bu bookmarks and I'm going to find the bookmark for some reason it didn't save that one. Let's try again. So I'm going to select my camera and hit bookmark. Should save the bookmark. There we go. So now if I move this thing around and I lose my focus, I could just go bu, bookmark and go back to my original book, bookmark. And I know that all of the things that they big from this selection will be working as intended. This plane right here, I'm gonna call this my background. Background plane over here. They are for this first the bake, which is gonna be the color and the alpha, we're not gonna need the element. If I were just to again hit render right now, one of the problems that we would see is that yes, we do have the Alpha. We are going to have the Alpha, but we're not going to have the color. And you guys know why we saw that in the first video. We're not going to have color because we don't have any lights. Remember that the first render always takes a little bit longer because it's slowly all of the geometry. So let's just give this a couple of seconds. And it should be happening in any, anytime that there we go. Now also remember that right now we're rendering at two case. So this is definitely, definitely a little bit higher than usual. It's gonna take a little bit longer. So you can see took 24 seconds for this render. If I click here, you're going to see that, yes, we are seeing the elements for some reason that here's the other way around. That's really weird. Let's try this again. Let's call render again. Okay, I'm not sure why the descriptions are going the other way around that shouldn't be happening. So let's fix this real quick. I'm not sure if it's because we know shouldn't have happened like that. Let's go render. I'm gonna say update full scene. Interesting. Let's reset this things right here. Give you the nonetheless, go. There we go. It seems to be some sort of, some sort of book. I'm going to grab my planes right here again. Let's unhide them. Maybe when I did some sort of something like the movement or something, I'm gonna freeze the transformations. Let's go back here to exchange. And let's just reset that one. Horse Tennessee, recent horse charms be the full one, just like re-review them. Let's go back to our bookmark. Now the Render should be working. There we go. So the hair is, it shouldn't be coding here on the board that it's cutting just a little bit, that's fine. I mean, that little clips, it's not that's not the problem. Let's grab the planes again and let's hit H. I'm going to save the sooner real quick just to make sure that we're not losing anything in case of scratches. And again, if I were to render this, as you can see, we have a d alpha map ready, like this is our Alpha map. You can see it's anti-alias. Anti-alias. So we're gonna have a really, really smooth cut their hair, so it's looking really, really nice. But unfortunately, we don't have any color. I would like to have my colormap and my my Alpha map in the same map, save them, like Save the alpha channel on the image. So that way we save a little bit of space. So what I'm gonna do is I'm going to go into Arnold lights and we're going to create this sky dome light. Now, I'm not going to add this as an important debate. I'm not going to add any image. I'm going to keep it like this because as you can see, this is just a general white background everywhere around. And this is going to give me a very soft color on the hair, as you can see right here, it is a little bit noisy. We know how to solve that noisiness, which is by increasing the samples or by turning on the what's the word turning on the optics denoise, sir. So let's try that first. Let's start on that. The noise, sir. Let's see how this looks. I'm hoping that we don't do we don't get this weird splotches right there. Now, if you do get this weird splotches, don't worry too much about it because the mask that we have, this alpha, which way, the way we will have you just yet, but the alpha that we have, It's gonna cut that and you're not going to really see the link, the color like I've seen some texture colors like from, from Epic Games, like from their characters that they use for paragon. And it's just like splotches of color. It doesn't really matter that much on the color is just a general tone that we want to get. But I'm gonna show you a cool trick. So the problem that we have here is, as you can see, we don't have any Alpha channel. I'm going to select the plane or this guy right here, I'm going to press Control a. And one thing that you want to do is on the camera, you want to turn the visibility all the way down. That way when we render, there's not gonna be any background. We're not gonna see the background, we're just gonna see the stress of here and that will be turned on the alpha channel. As you can see, we do have the information. As I mentioned, I want to show you a cool little trickier. So I'm gonna select all of the descriptions here, right-click and I'm going to assign a new material and we're gonna sound that Arnold AI standard here material. I'm going to go to my presets and I'm gonna change this to something like outward and replace. Now if we render, we're still going to get this very nice red color. Or in this case, this is more like a brown color, but there's a couple of things that we can change on the shader that we didn't have access to on the other shader that are gonna be really, really cool for the variation that for here. So the first thing is over here, the melanin. Melanin is the pigment though we as humans have in ourselves, the more melanin that we have, the darker are parts of the body guard, hair, skin, everything and the Lord, the melanin that the software that gets the melanin redness, as you can see here, is going to change. Well, how read this is. If I were to lower this and render, you're going to see that we don't have as much saturation. It becomes a little bit like dollar. We can again decrease the melanin, for instance here and as you see, it's gonna get blunder. And if we were to increase the melanin, What's going to happen is the hair is gonna become darker. So let's stop this right here. There we go. So that's like a dark here, depending on the color of your character, you can change this a right here. One of the things that I love about the AI center here is this a melanin randomized? Because what it does is it like immediately detects each individual strand of hair as a separate entity, as a separate instance, any of the science a random value of melanin to it. So as you can see, even though we're going for this sort of like blonde here, we're getting some like blunder in some darker. Here's a force. If we do this like super extreme, you're gonna have like super, super saturated ones and super desaturated ones. And that's going to give you a very interesting result island thing we want as much. So I'm going to increase some of this. Just play around and there we go. I like this color, just like this sort of yellowish, brownish, Carla, I'm probably gonna go a little bit darker. There we go. Maybe a little bit more randomized here in the melanin. As you can see, we get this very, very nice, a variation on the color of our object in not only that, we also have, as you guys know, our alpha channel right here. So let's just wait for the render to finish. As you can see when the colors are different, it also helps the denoise her because he eat it, detects that colors are different and it's a little bit easier to just dynamically know where to where to stop. So this is our first image, this is our first week. I'm gonna go here into file and we're gonna save this image. And I'm gonna save this image right now on our projects are not set, so that's a problem. Let's set the project real quick. Project. Let's go to our projects. Here. Here, there we go. We set and we're going to say File save the image, and we're gonna save this image on the image folders. That's really weird. Should be, we should be going to the project. But anyway, let's just manually go here. We're just gonna go here into your organs to save this in the image folders. I'm going to call this horse charm on their score color. Because alpha or color alpha, if you wish, dot TGA, very important, this texture. We need to save this as a target because the target has a transparency channel and that's the channel that we want to say right here. So I'm going to hit Save. And that's all. We have our first two textures, alpha channel, ankle or channel. Now let's go for the ambient occlusion channel. The ambulance solution is, it used to be really difficult to get the immunization out of other textures and stuff. But nowadays it's super, super easy. I'm just going to bring back this plane just so that the ambient occlusion plays a little bit with the depth of the hares. And I'm going to select the three descriptions and the background plane right-click and I'm going to assign a new material, and this one's going to be an Arnold AIA ambient occlusion material. Just like that. That's all we need to do. Now, if I hear rhetoric, which you're gonna see is this is just an image which tells us where the ambient revolutionists. So you can see that this one that has thicker hair is gonna be more occluded and the other ones that are a little bit looser are gonna be less occluded. But this detail that we're getting, which by the way, it's super smooth and super clean because of the denoised is all we need to get this very nice deep effect on our elements. So you can see this one has very little ambient occlusion. This one has a lot of ambient occlusion and this one practically has no ambulatory. They've been that little hair there's almost fading on the background, which is perfect. This is perfect. And I'm gonna save this file, save image, this one, you can actually save as your, what's the word asked as JPEG if you want. So I'm gonna call this again horse charm. Underscore A0, going to hit Enter and it's going to be in a JPEG file, super-easy, and that's it. I'm just going to copy the I'm gonna go to the project and copy the the routes so that we can get there faster. There we go. That's the ambient occlusion, and that's it. Now we have three maps are ready. Let's take a look at our images. There we go. Now the depths channel. Now this one is a tricky one and the Dev Channel a is one of the tricky ones because this is one of the methods that I invented. The problem with the Dev Channel is weaned to find a way in order to get the information of which strengths are closer to the camera and which is strengths are farther away from the camera. And there's a very easy way to do that in post-production for films and commercial, which is called a seed depth pass. I'm gonna go to the Render Settings here. I'm gonna go to AOVs. I'm going to select this thing called C. And I'm just gonna move it all the way to this side over here. That's it. That's all we need to do. Now if we render, it seems like nothing is happening, but actually something is happening because we now have another pass right here, which is called the CPS. Let's just wait for this render to finish first. Just give you a couple of seconds. And the CPS again will tell us where each like element, like what thing is closer and what thing is is farther away from the camera. The problem with the seed pass it that it's that it is an XR 32-bit image. If we go here, we're not gonna see anything. And it might seem like it's not working. But if we go here to the pixel readout, you can see that if I point my cursor right over here, the value here, check the check to display here on the C value. You can see that the value here is 1004.68. And if I get closer to the hairs, I have 999 something. So there is a difference there, EC value change. But it's a way to crunch, way to expose, to really find a specifically the one that we need. We're gonna have to do a little bit of display things over here to get an image. And then in Photoshop, we're going to modify that image to get something even nicer. The first thing is I'm going to lower the exposure. Started lowering and lowering the exposure until we find the value that works. Sometimes I've had to go like a really, really low to a minus ten to start seeing something like a little bit nicer like there. I'm also going to change the BWT transform to rock. We can see the colors and they're should be able to find. We can even change the Gamma. It's pretty much like fishing for, for stuff, I believe what I did there we go. So minus ten and then the lower gamma. And it's here where we start getting the image. That's what we want for me right now, minus 10.02. It's working really, really nicely because now we can actually see what's going on here. And we can see the hairs have different values. This is the image that I want, this one right here with this minus ten on exposure and points to a two on gamma. However, if I were to save this image like here, let's just go to our rather than go. We save this as a horse charm depth, I'm going to call this depth test. We just save it as a JPEG. What's going to happen is we're gonna give you a white image because it's not really applying any of the changes that I'm adding. The way that you solve this is what took me a little while to figure out is you're gonna go here to Save Image Options. And I'm going to select this thing called US. Apply gamma exposure. Now with that little thing selected, if I say File, Save Image, back to the same route and I call this depth. I save. Now the JPEG that we're saving actually has the values that we're going for it and this is the image that we need. However, this image is not already. If you check out this one right here, there we go. No, not that one. I close the other one. But if you check the map that I showed you before, I need to make sure that the strands to their closer to me are white and the strengths that are farther away from me are black. And right now they're the other way around. So the way we solve this is by going into Photoshop. Photoshop. I'm going to grab my image here and drag it into Photoshop. And here we're going to do a little bit of a full levels corrections. The first thing I'm gonna do is I'm gonna double-click the image and hit OK to invert the image. Or two, sorry, two, free out the image so that we can edit. And I'm going to press Control I, that's gonna embed the image. Now, the blacks are whites and the whites are blacks. Now we could go to Control L, which is our levels. And we can start playing around with the levels to push the values that we have. As you can see, all of this pixels, those are values that we have. And I went to push them into a range where I can see that whites, the meat grace and the blacks see that. We're kind of like extracting the information from the pixels that we had, like this. Now you can play around with the intensity. Usually I tried to go for like meat tones, but you can crunch them like really, really heavily if you want to have a lot of contrast. It depends on how deep you want things to be. I'm going to go for something simple like this. Remember, we're not going to use all of this maps right now for the final render of this little horse charm, we're gonna be using only the maps that we normally use in marmoset. But it's important that you understand how to get all of them in case you ever need to do that. I'm just going to hit Okay. And as you can see, we got this now, they're a little bit crunched. As you can see here, the vowels are a little bit crunched are not as smooth as we had before, but that's fine because again, the alpha channel is gonna be like cutting this out. And we're gonna get a very nice effect. By the way, I've seen people don't do this depth maps with other software. So like ICS normal, I don't think they look as clean as this one. So I might be, I might be like sharing this technique in other places because I do think it's a really, really strong technique to get some really clean depth maps. Now the only thing I need to do is I need to save this image. So I'm going to press Control Alt S to save this. And we're gonna save this as a horse chomp, death, just hit Save. And that's a fine Maximum quality. And there we go. So that's just gonna give us the fourth image. So we have our color and alpha, our ambition, and our depth channel. Now the video is going a little bit longer than I intended. So what I'm gonna do guys, is I'm going to stop the video right here. And then the next one, I'm gonna show you the final four, which are the utility notes and they're quite easy to get. I don't think it's gonna take us as long. After that we're going to start working on the creation of the haircut. So yeah, hang on tight. Llc back on the next one. Bye bye. 6. Arnold Map Bakes Utility: Hey guys, welcome back to the next part of our series. We're going to continue with the remaining four banks that were missing. And I call this the utility bakes because we're using a very, very useful note called the utility node. As you can see right here, we're missing forward, direction, object ID, normal, and route, where we're gonna get this. It's actually very simple, but before we do that, I went to definitely bring to this back to 0 and the Gamma to one, which is like the basic Gamma. Let's go to beauty and it should look like just exactly like it was looking. Yeah, there we go. We want to just raise it, this thing. And right now I'm gonna bring this back to aces, which is what we had, right? This is what we export it and it looks quite, quite nice. Which by the way, the ambulance, if you want to modify this one in Photoshop, is what you can do that you can tweak it so that it's wider, darker, more contrast, the less controversy. You're free to change anything once the brakes are done. So let's start with the normal map, which is one of the most important Maps. And it seems like it's very difficult, but it's actually really easy. I'm just going to grab all the descriptions again. I'm going to grab my background plane. I'm going to right-click and I'm going to assign a new material. And now we're gonna assign something called the AI utility note, which is this one right here. This is an amazing, amazing, amazing piece of the render because this utility allows us to extract information that the camera sees and projected into a render. So it's just great. I'm gonna go here into the shade mode. And the first thing I'm gonna do is I'm gonna change this to flag because I don't want any light information to affect my scene. The first map, as I mentioned, is no map. I'm just going to change this color mode to normal. And that is it. Just gonna go here. We're gonna render and voila, we have our normal map. However, this normal map looks a little bit different to what you guys might be used to, especially if you've done bakes before in substance or environment or anywhere else because it looks kind of like wash that. Well, that's because the normal members should be set to wrong. That's one of the things that we always see how this is like the familiar purple color that we sometimes get old. This is what we wanted. This is the normal map that we're looking for because this is the actual information that we are going for. So this is the bake that we want. Now that we have this setup like the raw color, It's just a matter of going File Save Image again to our route here. And we're gonna call this horse charmed normal. Again, if we take a look over here, that's normal map, a beautiful, beautiful normal map. Look at that super, super amazing. Now. There's normal map, as you can see, it will modify depending on where the hair is going, if it's going forward or backwards. And again, this will help us get some nice like definition on the render itself. So that's the first one that's, that's normal map. Let us take a look at a reference real quick. So that's the whole map. Let's take a look at direction that they actually omeprazole. So it really, really easy, we're still going to be using this utility node. The only thing is we're gonna change this to the surface derivative right here. It's the surface derivative is the option. There we go. As you can see, we immediately get the result. This pretty much tells us the direction of the flow of the object. And it will be really, really good and it's gonna be a really great map to break up. The way the hair shines is going to shine through the hair. You're gonna see it once we get into the actual buildup of the asset. And the farmer said, it's an amazing, it's an amazing map as well. So this one is very important that we also said this to rock. We don't want any color correction. It looks really weird, so it's gonna be rock. These are the colors that we're going for. And we'll just say File Save Image Planes right here. And this is going to be cold or our direction. Now, the other one that we need is the object ID. Remember I mentioned that there's an option instead of Unreal the gifts, a little bit of a different variation to each strand of hair. Well, that one we're also going to get here with the utility note, but we're gonna change this to Object. Now we render or sorry, it's not an object. It's the primitive ID. It's the primitive ID. Now it's not the permanent already. My god, where's it? Object ID. There we go. The last one, object ID. So this, as you can see, it will give us a color. The problem with the object that did though, and this is something that I did a test earlier, but it's not giving me the result that they want this weird. For my. There we go. This is it the uniform ID? I exported this into textures. The other, another test that I did and that's why he's getting me a different result. But there we go. We don't need the plane right now. I'm just going to hide it again by using again what I just mentioned, the primitive ID. Now, each strand of hair is getting a different color, as you can see here, the different RGB color from the spectrum. The only problem is this a scholar and we don't want color, we want black and white. This is gonna be a black and white image, but that's no problem because we can just save this image. In the same route. We're gonna call this object ID. There we go. And we're gonna bring this into Photoshop as well. So we're just going to follow those sharp. There we go. Drag it here. The shortcut is Control Shift. You, if you do control plus shift plus X2, you're going to desaturate this object. And now every single strand is going to have a slightly different color of gray as you can see here. If I start moving this and see how the little sampler cars are changing over there. So every single strand of hair has a slightly different color. And that's the information that are realists looking forward to generate some variation later on. So we're just going to press Control Shift S again. And we're gonna save this as our object ID on top of the one that we already have, because this is the one where we want the width colors with no color information, sorry, with no color information. That's it. That's that's the object I didn't. Now we're just missing one last, which is the root element. Now this route one actually needs a little bit more construction. It's not gonna be as simple as the, as the other ones. There's no specific, just like there's no element that we need a gradient to create this thing right here. So that way this works is I'm going to bring back the background plane. I'm going to assign the Lambert material to the background plane because I just wanted to see a neutral gray color. I'm going to grab the three descriptions again. I'm going to right-click assign a new material. I'm going to sign an R-naught flat surface which has this AI flat. The flat as the name implies, a is just a flat surface, so it's just a flat color. It's just like a very basic color. While I need to do now is I need to introduce a gradient that goes from the top to the bottom. We're gonna do that using something called a ramp. So I'm going to go here to the color click on the little option box, and we're going to select this ramp. As you can see, the ramp goes from black to white. If I render this, you're gonna see that now that's exactly what we have on the top of the image. We're gonna have this dark color. And on the bottom of the image we're gonna have this white color. And that's it. That's the image. Hopefully guys, I know that this sounds like it's way, way too simple. Bulimia. It's been years since I've been learning this and every time a new software and new plugging, another option comes on, I tried to explore and see if it's easier or more difficult to do the begs, this method and the teacher union right now, it's the easiest one that they found because you don't have to go out of Maya. You get everything from simple materials. And as you can see, the render is super, super clean. Some things with the begs you get artifacts and stuff. This one thanks to the 2D denoising as well, is giving us a really, really, really clean renders. I'm just going to File save this image. And we're gonna save it exactly on the other place. And this is gonna be called the root. There we go. That's it guys. Those are all of the maps that we need. So I'm going to stop at the right here. And in the next video we're gonna be talking about how to build the haircuts that we're going to be assembling into the little horse charmed. Uh, we're gonna be rendering later on, MR. miss it. Yeah. Hang on tight. And I'll see you back on the next one. Bye bye. 7. Creating Hair Cards: Hey guys, welcome back to the next part of our series. Today we're going to continue with the creation of the hair cards. We've finished the creation of the meshes, we've finished the Bakes, and now it's time to actually create the haircuts that we're gonna be using for our eventual building up the acid. So this scene, by the way guys, I'm gonna leave it, it's gonna be called horseshoe charm. And you can access this Hypershade and all of the textures that we use are gonna be up here. Just make sure to go there. For instance, here's the root material that I created. Here's the ambulance solution. Here's the standard, here, the nice brown hair. This is the utility node, this one, remember you need to change it depending on which element you're getting and that's it. So in case you are having issues with finding the proper connections or the proper values, Here's where you can find them. Now I'm going to open a new scene. Let's save this one right here. The first thing I'm gonna do is I'm gonna create a plane. So I'm gonna say poly modeling plane. Gonna rotate this plane forward minus 90 degrees. And I am going to remove all of the divisions, so I'm going to go down to one. So it's just a very basic square plane. And this plane, I'm going to create a new mature material. We're gonna load only, I only need to load right now the color alpha channel, because I only need to know where to transparency is so that we can be built our hair cards. I'm going to select this guy right here, Right-click, assign a new material. I'm gonna assign the basic like a Lambert material, like a blade material doesn't really matter because again, we're only worrying about the transparency right now. Here on the color, I'm going to click here. I'm going to select the file. And if we go here, we should be going to the images. We're going to select the color alpha TGA, hit Open. Now if I press number six on my keyboard, we're going to get this. And as you can see, we are getting the transparency. We can see through the, through the object. Now, we are seeking the reflection which has not exactly what they want. So to make this a little bit easier, I'm gonna change this back to a Lambert. There we go. That way we only see like the element here. Let's rotate the plane, the UVs, It seemed to be rotated. So let's just rotate the display so that the hair is going down. This splint is what we're gonna be using to start creating our hair cards. I'm gonna go to my front view again. Like I rotated this wrongly. Let's rotate this 90 degrees as well. Hardened AD. There we go. Actually, it's the other way around. There we go. 2016. There we go. I'm gonna select this guy right here. Let's freeze the transformations real quick. I'm gonna go to this option which is my cut tool. I'm going to add the one chord right here and one card right here. And the amount one code right here, we're gonna have four cards. So we're going to have this like flyways right here, this to single flyways over here. And then there's bunches, the big bunch and the small batch. Now, one very important thing is we want to have the least amount of transparency in our cards as possible. I'm going to create a line right here that's really, really close to the roots. That's going to save us a lot of space because on rendering engines, any rendering engine, the transparency is calculated by pixel. If you have a plane that has a lot of empty space, but it's there, it's the material. It's going to have to calculate that, then it's just a performance hit. So we don't want that. I'm going to add one right here. Now. I'm going to add the same amount of divisions to everyone. So I'm gonna say like 123456, that's gonna be six. Now I'm going to go into edge mode, right-click, go into edge mode, select this edge, this edge and this edge, I'm going to say Edit Mesh detach. What that will do is now each individual face right here, you see the front island like this. I'm just gonna move them a little bit apart like this. And we're gonna create our cards. Now of course, as you might imagine, we're going to delete this top faces, and we're gonna delete that this lower faces right here. And we get this very, very nice effect. Now, as we've mentioned, the ideal thing here would be to, to change the shape of the card so that we have the least amount of what's the word, the least amount of texture showing. However, if I tried to move this one right here, as you can see, it's also moving detector and the other one that I would like to move this vertices without actually moving the texture. And there's one way to do it right here on the, on the options and the movement options, you can select this thing called preserved UBS. I'm going to click there. And if I move it, as you can see that UBS tried to hold on as nicely as possible. I'm going to start moving this points as close as possible to the hair. This is again going to save me some resources because we're not wasting any space. And at the same time, it's gonna make it a lot more organic like the haircuts are gonna look a lot more organic. So let's go there. There. There. That's a great car. We're going to push this one as well. Again, trying to capture the silhouette bed you guys didn't know District, it's a little bit, It's not super advanced, but a lot of my students get realistic price when I show them that because it's not very common, it's not something that you see every day. Let's go there. There. There there. There's one as well. More. And this one right there. Perfect. Now this one's gonna be really special because as you can see, there's very, very little space. So again, the ideal thing would be to save as much transparency as possible. Whereas the 0, of course, the curvature won't allow it. If I start pushing it, I'm going to eat into the into the hair. That's not something that we want. We need to be careful not to overdo it. But as you can see, we can really minimize the amount of pixels that we were utilizing. Same here. Try not to eat the hare. There we go. Now, I've seen some artists not use this technique like not simplified the amounts transparency. Again, it's all for Lego. Bursts format performance factors. So if you're not worrying too much about performance, if it's only like Juan character that has hear, you can, you can get away with this then, then finally it's going to work out perfectly fine. Yeah, there we go. That looks that looks good. All of my haircuts are looking good. I usually like to add one line in the middle of the hair cart as well as close to the middle. Less plausible that one's probably not. But let's just, for the sake of fifth. One thing I like to do this. I like to push this cart just a little bit forward. There we go. That will change there. It's going to make sure that it's not a card is more like a planar surface. And that's gonna give me a little bit more life rather than seeing like super boring effects gonna look a little bit more interesting. Now, I'm going to select all of these guys, so I'm gonna go mesh separate. One thing I'd like to do is I'd like to change the pivot points back to a point where they worked a little bit better now they're rotated the other way around. So I'm going to do another 180 degree turn. Freezing transformations again. I'm going to go to each one. I'm going to press B on my keyboard and then we'd my V key. I'm gonna move it to the corner there. That way, when I modify or move each of these elements, I'm going to be moving and moving them from their route is usually a little bit easier to manage. The V and just click right there. Now again, when I move it, it's going to be moving from that specific point. So everything first transformation, I'm sorry, history for information. And you can see the pivot point. Weird. Want to fix it? That's probably the thing here. I'm gonna say recent tool. There we go. Now it's reset to the basic shapes. Now again, if I move it from here or from here, or from here, we get this very nice effect. All of her carts are now ready. I'm gonna stop with either right here guys, in the next one that we're going to import in the low, like a horse, like a metal thing where all of this the guys who are gonna be going towards, and I'm going to start showing you how to build up the actual geometry for your prop. Yeah, that's it for this one, guys. Hang on tight and I'll see you back on the next one. Bye bye. 8. Creating Hair Chunks: Hey guys, welcome back to the next part of our series. Today we're going to continue with the creation of our hair chunks and we're gonna start assembling our little horseshoe charm. So, yeah, let's go. This is where we left off this award the cards. I realized that they're actually the other way around. So I am going to select this little edge right here and just push it through there. It should be the same. The colors should be the same. Actually, this is sort of the same. Let me show you on another thing that we can do. I'm going to go here into Arnold lights, sky them light. And we're going to add the little HDR that we have file. And we're going to add this folder open. There we go. Now we can turn on lights right here, and that we should be able to see a little bit of the hair. Now if it's a little bit too dark, we can go here to on tone map, SRGB, and that should reflect the illness a little bit better. I'm gonna select this guy. And as I've mentioned in the first video, we can actually bring this back to 0 and that weight, the lightest active we have this thing active. Let's turn on anti-aliasing as well. And they'd be locution the lightest active of what we're not seeing it here on the scene. We can work a little bit more freely. Now, if you go to File Import and you go into your assets folder, right here, you're gonna find this folder called horse charm. And in here there's the textures for a horseshoe and the horse charm itself. So I'm just going to hit Import and this is the element that we're gonna be assembling. I'm thinking. I always like to think about this story. Like I never liked to do projects where it's just the exercise. I always like to add some sort of story, something that this is some sort of like asking script Valhalla or maybe some like God of War. And this is a charm You'll find. Maybe it's not like a horror movie is like a unicorn charm or something. And then it's gonna be like an item that you find. So I'm gonna make this a little bit smaller so it fits this sexual bit better. What we need to do is we need to start creating the little fluffy effect, the problem or one of the problems that we have with a Kierkegaard's is sincere up flat. It's very difficult to give them volume. So really nice advice that a lot of people give is to create this like sort of like chunks of here's where they create this triangular shape. Just kind of like creating a small little block of here. I'm going to move this thing there. Then I'm going to duplicate it again and create another chunk right here. Overlap is not the end of the world like as you can see, they're like, Yes, we're getting a little bit of overlap, but against not gonna be, it's not gonna be super, super important right now, because this thing right here, we're going to combine and this is where we're gonna be using to build our little horse chart. I'm gonna bring this here to the loo like a bell thingy on the top here. And I don't want to scale it because if I scale it, yes, we're going to get the proper hi there, but everything else is becoming smaller. So here's where the formers are gonna start blinking. You're really, really, really important role and there's a couple of ways to do it. First of all, we can go into vertex mode, select all of the top vertices and press our beekeeping, the keyword that's gonna be soft selection. And if we scale this down, we can just modify the element, the geometry, and softly modify the way everything works. I'm going to do this for now. I'm just going to scale this down to get this in there. So you can see now it's a matter of going maybe into each individual vertex like here, I'm turning off self-selection and then just like moving them a little bit, just getting them in there. Again, a little bit of overlaps, not gonna be the end of the world. We're just trying to get this thing to look as nice as possible. We have disabled the options that they had before the preserve of us. We don't want to do that anymore because now we want to we don't want the UVs to the form when they move around. So see how when I move around, it, it looks like a solid object, even though it's just a triangular shape. That's what we're going for. That's the kind of effect that we went together. We don't want to see or we wanted to make it difficult for people to know this, that this is not a, what's the word that this is not a flat object. I'm going to duplicate this little chunk right here. I'm gonna rotate around. And let's push it to the back. That's real to the lobe here. Just give it a little bit of variation. Get it in there as well to hide the roots. So as you can imagine, this roots are gonna be like intersecting the geometry there. That's fine. Now, when we see this from afar, it's gonna be really difficult to tell that this is just a normal, like a solid object. Now, Maya has a weird thing here on the render view-port, this thing called an object sorting. I'm gonna change this to alpha ket. And as you can see, or sorry, not Africa that said depth feeling. There we go. That's going to make it look a lot nicer. Because when it's objects sorting, It's trying to decide which object goes in front and which one goes on the back. And as you can see, it's kind of like pumping, see how it pops from one plane to the other. So it's very important to change this to depth peeling. And that way it's going to be a lot difficult, two or more difficult to see that sort of thing. And look at that only two chunks, only like a couple of cards. And we're already getting a really nice effect. I'm going to duplicate this guy again. Now I'm going to create a different chunk. I'm going to use one of this hair, so we're here to give it a little bit more variation like a lighter tone. Let's move it like this. Go duplicated again. We're going to position this one like there. Again, like all of them, That's perfect. Combine them. Same deal. I'm just gonna go up all of the top pertussis, he'd self-selection and just make it a little bit smaller. Now, we can inject this, and the thing is we want to inject this on the areas where it seems a little bit flatter. So for instance, maybe this one we can scale a little bit down. Let's move it a little bit like this. Of course, let's move the pivot point to this point. So it's here, uh, to, to manage. And it's just a matter of getting it there on one of the, one of the areas where, where we have that sort of triangular look so that we can kind of blend in and hide the fact that we have this effect and look at that, we're creating a really, really cool and amazing piece right here. Let's duplicate this once more. Let's move it to the back. And all of those hairs are, all these things are creating this super, super amazing things. Do I have? I have discrete rotate turned on, so I'm going to turn it off. Make sure that the overlap is not as bad. So you can see there's a little bit of ugly overlap there. So just move it around. Moving around. And again, it's a matter of analyzing this thing from different angles and trying to make sure that this thing looks as nice as possible. For instance, here that area looks a little bit empty, so let's do one more over here. We're going to move this one there. That's it. That way we hide that little factoid. They're definitely going to push this in because we want to have this sort of like conical shape. Now, you don't need to use clumps all the time. Like if you have this very nice effect and they're like, Yeah, maybe I just wanted to add a little bit like they're like the break of their looks a little bit weird. Just grab one of these guys, scale this down and get it in there. Now, unfortunately, this is something that a lot of my students asked me about placing the haircuts. Unfortunately, there's no easy way to please a haircut. So there's been a couple of options and softwares that try to make this thing a little bit more manageable. But the best, best result that you're gonna get is doing something like what I'm doing here, like hand placing stuff. That's why I want to start with this little exercise. Of course you are, you are doing this exercise. You're not just watching the tutorial and thinking that you already know how to do things. You need to do the exercises to make sure that you understand all of the concepts. And as you can see, we're building this very nice little like horse tail chart. Now we can use this guys right here in this case are amazing because this is what we call flyways. The flyways are gonna be really cool to add a little bit of like extra, extra oomph to the whole like elements. So for instance, let's get this one right there. And as you can see, we're going to have some crazy hairs flying around this ones I love using a self-selection to just move around a little bit and make them seem like they're actually separating from the effect like that. And they are really, really important. The flyways are really important because they help break up everything. So if our chunks are helping us hide the fact that there's a lot of and breakups on our other element. This flyways are allowing us to distract the audience a little bit more and make sure that they don't focus as much on the, on the, the empty planes that we see, like see that plane right there, I can grab one of these chunks, these flyaway. And if I get this in there, Let's scale this a little bit closer there. I have those flyways there. When the eye meets that area, as you can see, it's going to meet at this flyways and the end is going to allow us to hide it and we see it from afar and look at that little chunk right there. It looks pretty cool. I'm just going to do another one here and let's have one on the other side. These are my friends is the secret to a good hair for games, as you can see, it's a relatively straightforward process. It is very technical as you saw throughout the whole interaction. But look at this result. It looks amazing right there. It looks pretty cool. And this is just only the Lambert. We're only having a Lambert color and we're already getting this super, super nice effect. Now at any point again, you can just grab a couple of this course and if you wanted to just give them a little bit more fluff here and they're described some of the vertices just a little bit of a soft selection and push them out and create something, something interesting. Now, this whole thing, plus the little guy right here, Let's export this. Let's prepare this for export. Because on the next video, I'm gonna be showing you how to properly render all of this hares. So they look the nicest possible way on your render engine. This guy right here, It's called horse charm. I need to grab every single plane ratio. This is very important. You want to grab every single plane and you're gonna combine them into a single object. And that's why you do this at the very end. Because if we were to do this at the beginning, it will be very difficult to manage, right? Center pivot through the history freeze transformation. And we're gonna call this horse charm. Here. There we go. So we're to grab both of these elements. I'm going to say File Export Selection. We're going to go to our assets folder, a horse jump, that's the FBX as the horse term for horse chomped. Here it's gonna be the final one and this is the one that we're gonna be using now, I did create the textures for the little guy here, for the low, low, Sharma the top, it's this base color, normal occlusion refers methodic. I'll explain how these work inside of marmoset in the next video. But for now, this is it guys. So make sure to place your cards, make sure to make your little horse, little lucky charm, look as nice as possible. And I'll see you back on the next one, guys. Bye, bye. 9. Horse Charm Render: Hey guys, welcome back to the next part of our series. It's finally, it's finally time to see all of our hard work. Like finally realized into a nice render. We've already exported this guys. We have all of her textures ready in our images folder, we have all of our assets ready. It's time to open marmoset. For those of you that are not aware, Myra said it's an excellent a rendering software. We have talked about this one before in the YouTube channel and everywhere. And it's pretty affordable. I would say the thing that he can do, chromosome chilled back in, It's quite, quite affordable, as I mentioned before, if you do not have access to Marmon Silko block forward, do not forget that we're also going to be taking a look at on real later on, but this one's a little bit faster and easier for me to show you. As you can see, the subscription is only $15 a month. The perpetual lenses, it's a little bit pricey. They do sales every now and then, especially like in Halloween, stuff like that. If you are trying to get one of this, make sure to be subscribed or something, and they do give you a nice little trailer counts. So if you've never used your trial account, this will be a perfect way or a perfect moment to utilize it because you're gonna see that it's a really simple software and we can create some amazing renders. I'm going to navigate to my horse charm Assets folder, and I'm gonna drag and drop Rs horse charms here, FBX here into the viewport. And as you can see, we get, of course, the little horse charm and all of our little plants right here, which look horrible. The planes look horrible. That's right because we have not properly setup any of the materials that we need to have. So let's start first with this little guy right here, which I believe is using the Lambert shoe, if I'm not mistaken now, you're seeing the lumbar three, I'm gonna change the name of the laboratory. I'm gonna call this M material horse charmed. This is gonna be here. There we go. The horse sharp, we're gonna connect the three textures that we have right here. It's very simple to just drag and drop the base color into the Albedo map. Drag and drop the horse jump normal map into the normal map. And then this one, the occlusion refers metallic. This is a setup that we're gonna be using quite a bit of inside the firm real for all of the other characters that I'm gonna be providing to you. And it needs to be, needs to go into three different places because this guy has three different maps baked into it. Each map is stored in the red channel, the green channel, and the blue channel respectively. So the first one is the ambient occlusion, which is down here. You're going to go into the occlusion section, open ambient occlusion. And we're going to drag and drop the map right there. That's the red channel, which is gonna give us some really, really nice shadows, as you can see right there. It's going to darken everything up quite nicely. You can tone that down if it's so much for your liking, That's fine. The next one is the metallic, which is going to go here in the roughness map, sorry, the roughness, which is gonna go on the roughness. And here we need to change the red to green because they're green channel is the one that's getting that information. Now very important. You're gonna click this icon and you're gonna make sure to turn off the sRGB color space. That's gonna give you the proper roughness for the element. Finally, we're going to drag and drop this into the metal, this map, and this is going to be the blue channel. And thus you can see it's gonna give us this very nice-looking metallic effect like an old of bronze medal with little bit of rust and stuff. So yeah, that's, that's the set up for a traditional, like a real engine for a texture map. Now for the hair, Here's where things are gonna get interesting. Because if you remember, we baked all of these maps right here. I mean the collusion Alpha depth, this we don't need the Depth Test at the direction, the normal map, the object ID, and the root. Now, from all of this, we only need the color alpha, the ambient occlusion, that direction, and the normal. We don't need. The other three. The other three are firm real. We're gonna be using them later on. I didn't include everything on the big section just to make sure that everything's covered in one place and you can reference it. We're gonna be using those later. Let's go here to the hair and let's start working on the setup. Well, let's start with the color. So I'm just gonna bring the color again into the Albedo map. And as you can see, we get this, but we're only seeing one side of the card. So as you can see, and that's not what we want. So it's very important to go here to the horse Sharma hair GEL note and churn off this thing called cold back faces. That's why I mentioned it's very important to combine all of your hairs because if you don't do this, you're gonna have to do this callback phases on every single cluster of hair that you're importing. And that's going to make it really, really difficult. Now for the magic, one of the magic channels that we're gonna be adding, the transparency, We're gonna go down here on the material and down here on transparency channel, I'm going to select a different, very important to select. The D3 cutout will only have black and white and it will look very jaggedy, very ugly. D3 is what we want because we're gonna get a soft, smooth transition. So I'm gonna say d3. And immediately as you can see, we're getting are very nice code there for the hairs. Now, still not looking quite nice. Let me, we have a lot of reflections and things are not looking at it as smooth as they looked in Maya and my, it looks like, it looks really realistic, if you remember, look quite nice even though it's only the Lambert channel or the diffuse channel here. Not so much. So let's start adding the stuff. The first one we're going to add, the light like to add is the normal map. Because as you can see, once we add the normal map, things are going. Punch a little bit more. Look at the difference there. It's very subtle, It's very subtle, but it adds a lot of depth look at this side over here, and it breaks the glossiness. It's going to break the glossiness and it's gonna make the hair look a lot nicer. So that one very important, the normal map. The second one that's really important is gonna be the roughness right here. Now, we don't have a roughness map. You can create your own roughness map if you want to, or you can control the roughness map right here. I usually, since here is really strategies and all stripes and stuff, I usually like to control it directly with a value. But if you want to do like a, like a great map, you can also change this. I'm going to bring the roughness down because I really want this hair to be Quite, quite rough. And here's where we're gonna see one of the things that we've mentioned, the direction map. Remember, the direction map as I've mentioned before, we'll allow us to make sure that the way that the hair shines is gonna be a lot nicer. Now, the one goes here in the transmission, sorry, the reflection. We're gonna change the reflection from GTEx to anisotropic reflection. Once we do that, there's gonna be a new node that gets activated here and here's where direction map is going to go. We just drag and drug to direction map. And as you can see, it doesn't seem that there's a lot of change, but I'm gonna show you how this really benefits the here. First I'm gonna go here to the sky and I'm going to lower the brightness so we don't see the HDR. I'm going to create a new light, light bulb here. The light press W to move it. And I'm going to change the type of spotlight to omni lights. It's more like a, like a light bulb. Now, you can see when I move this light from top to bottom, it's just making it's just shining on top of the hair like very normally. But if I activate the direction map, now the shine, as you can see, travels through the fibers. Here it goes again. This is without, without the direction map is just like a basic flat surface. And here's what the reaction map flowing through the hair. So it helps look at this, look at this very nice effect right there. It flows through the hairs like shining light traveling through the length of the hearing. It looks very nice. Now you can also see, and this is something that I forgot to mention inside of Maya that the lightening the way that you lied your scene is going to play a very important role on how your element looks. So here as you can see, the shadows are a little bit harsh. If I were to increase the softness of the shadows and make them a little bit softer. They're gonna give me a little bit of a different result for my little chart. Let's delete that light for now. Let's go back to the Skype and bring the sky back so that we can see how it looks. A suggestion like a general sky. And here's the one that I loved the most. And that's why I left this map at the very last, because it is probably one of the most amazing maps for marmoset. And four, I believe Unity works in a very similar fashion. And this is the occlusion map, but for the hair in the occlusal map, what we're gonna do is we're gonna go here to the occlusion and we're gonna have an occlusion as well. But we're not gonna plug the ambient occlusion into the occlusion map. We're going to apply this into the cavity map. When we do this, as you can see right there, we immediately get a lot of depth look at that. This is without the cavity map and this is width, the cavity, the mouth. And look how much depth, like how much deep the hair looks. Now, this is what really brings and creates this very nice effect for our hair. Now our little like hair Charmin here, it looks really, really nice and we can grab this guy. And if this was like a game, we could just move this around. Could be like a hip of a character or something and that's it. Like a hair charm is ready. Now, yes, there are a couple of areas, for instance, here where I can I can definitely tell and ClO bit of the, of the flat cards. Maybe another chunk right there will be better for me. But I'm gonna show you one more technique that you can use to try and soften this up a little bit right now. This is a little bit more expensive though, so just keep that in mind. But right now we don't have any subsurface scattering. And usually hair has a little bit of subsurface scattering where like light the bleeds through it. So I'm gonna go here to the true to the transmission option. I'm going to change this to subsurface scattering. By doing this, I can change here the scattered depth. You can even add a little bit of false and stuff. The scattered those probably what's going to help me the most. And you can see how the color changes there slightly, how light is going through the object a little bit. And that's sometimes helps soften the whole thing a little bit more. But yeah, that's pretty much it, guys. As you can see, we have a really, really nice like a proper right here. I think one of the things that we can do now is we can play around a little bit here instead of Momma said to try and get this to look at the best possible way. Now, one thing though, this is again, more advanced users, but we can actually activate ray tracing. And if we do that, we're gonna get an even more realistic look. It's a little bit more extent and expensive as you can see, but there is more depth to the whole thing right there. So yeah, these are all the tips and tricks that we can use here instead of farmers had to make this thing look even better. We can play around with the anisotropy right here. We can play around with the roughness as well like everyone, like a really clean like a nicely waxed hair or something that we go over. One like a really rough care, like almost math, we can go over here as well. And this is the fun part about like Look Development where you can change and modify things to make them look the best possible way. The final thing I'm going to show you, it's just a very basic three-point light setup here. Instead of Pharmacy, this method we're gonna be using quite a bit to showcase our work. So I'm going to go here to the sky and I'm going to bring the brightness down. I'm gonna create a new light like this. I'm going to use the brightness of this light to shadow a bit more light here on my object. Not that much, just something simple to make it look clean and nice. Yeah, we don't have ray tracing. And I'm going to increase the diameter, which is the shapes of the shadows are a little bit softer, just a little bit, something like that. Then I'm going to bring my skylight back so that we get we don't get as harsh shadows. But one thing I'd like to do is I'd like to change this to a color so that we can keep like a basic dark color on the background. And that way we can appreciate our little acid a little bit more like this. And finally, I'm going to go to this side of the hair. I'm going to add another light. And that one's going to be a little bit more intense. I'm gonna increase the brightness a little bit more. The surfaces definitely way too much, so I'm going to bring it down. Maybe a little bit more roughness. I'm also going to change the diameter a little bit so that the shadows are a little bit softer. And there we go. Look at that beautiful effect. Final little touch. This is just showing off, but I hope you guys don't mind. I'm gonna go here and cosine at an object. And we're going to add a little turntable. And we're going to bring this horse charm chair into the turntable, just drag and drop. And if we hit Play, look at that. This could be like, what do you know when you open the menu to analyze an item? This is what you would see, and that's a player. I think this looks pretty predetermined. Good. Congratulations guys. If you made it all the way to this point at the end of chapter one, you now know all of the steps that you need to create a realistic looking here for your game assets. But the journey is not done actually, this is just the beginning and the way I wanted to create this first chapter is to give you an introduction of how to do all of this sort of stuff. Because now we're going to put all of this into practice with actual characters and actual examples that would be on the game. So make sure to get to this point, make sure to renders your stuff so that it looks as nice as possible. And the yam, I'll see you back on the next one. Bye bye. 10. Setting up Our Scene: Hey guys, welcome back to the next part of our series today we're gonna start with chapter two and now we're actually going to go into a character and we're gonna be doing all of the necessary things to create an amazing hair at setup. For this chapter, we're also gonna be working with Momma said we're gonna do the, let's call it the universal approach. Though, I actually prepare a very cool character for you guys, which is, I call him Mark. He's an ogre. And the other is gonna be to FBX is under Assets folder on your project. So if your drug, both of those FBX is down into the scene, this is where we're going to get. It's the head, the tongue, and the ice. Now, what are the things or one of the problems about this character is that he's really, really, really small. And we've mentioned that skill is gonna be really important. So if I were to create a cube right here inside of Maya, that cube measures one by one by one in the scale options. That means that this acute is one centimeter across. I think this hits should be at least 50 centimeters. So I'm gonna say 50. This is roughly the volume that our character should be occupying. So let's say that 250 again. There we go. I'm gonna go everything here. I'm going to Control G to group it. I'm just going to scale this up. Let's center the pivot point. And let's scale this up so that the head has a nice art room right here. Perfect. So I have provided the textures for, for this character. However, the setup of the texture skewed instead of my, yeah, it's a slightly different than the setup that we normally use inside of other softwares. So let me show you real quick. What we're gonna do is we're gonna go into our Hypershade. We're going to go into our load AI standard surface. Right here. We're going to call this Merck. Over. There we go. And we're going to start dropping our files. So as you can see, we have a very similar thing as what we use for the horse. I think getting the last chapter we have three textures. One is gonna be to diffuse, the other one's going to be the normal map and the other one's gonna be the ambient occlusion, roughness and metallic the street extras right there. I'm going to show you how to connect everything inside of Maya. It's actually fairly easy. The base color, of course, goes into the base color tab right here. And let's move our ogre. I always call him an orc, but he's an ogre. It's a different kind of beast. Let's go here. There we go, so we can see it. We could actually change. We've mentioned this before, the unique neutral mob or untold map. So we see the colors a little bit closer to where they're supposed to be. For the ice, we're actually going to have a different material. So I'm going to assign a new material. It's gonna be an Arnold AI standard surface and it's probably going to be just like a black like glossy material. So I'm gonna change the metal mess up. And that's gonna be like a lack reflective material. Back here on the view. Let's get the material out of view. We have the normal N for the normal, I'm gonna say like an AI normal map. Note, we're going to input this out color into the input and this output value into the normal camera, very important to normal maps should be set up to a raw options on the utility. It's gonna be wrong because we don't want any color correction to be applying to our normal meant. One thing that you might know this though, is once we plug this in into the normal camera, is that the normal map might look inverted. I'm actually not seeing it right now. It just kinda weird. Let's add our light. So let's add the sky dome light, and let's add our studio light. There we go. That's weird. Just make sure that this thing is plugged in. Yeah, we got a normal map there. Yeah, that's right. The AI normal map note it does not work with, with the render right here. So until we render like we actually rendered, that's when we're going to see it. I always forget about that one. We could use a traditional and bump map technique and that will be built on the viewport. The only thing is I don't like it as much. So I'm going to use this one right here, even though we have to go into the Render. Let's just give me a couple of seconds for this to render. There we go. There you go. As you can see now the neural lab is there. However, the normal map is important. As you can see, this things which are supposed to be crevasses are actually like pushing up. And that's because at this normal map is set up for unreal, which has an engine and the maya uses OpenGL. Here on the AI normal map, I'm going to select Embed of y on the option, and that should give us the proper normal maps. And now as you can see, it's actually, I'm pushing down there. Again. If you want to see them normally up on the element, let me show you real quick how to earn on the screen. Instead of using this one, we need to use something called a bump map, bump to D. This one. What we're gonna do is we're gonna plug in the value here on the bump map. This out normal goes into the, into the emission color, into the normal camera. Now this should allow us to see it right here. This is gonna be as a tangent space normals, and there we go. So now we can actually see it here on the screen. So it depends on which one is it gonna look accepted this where it should look exactly the same on the render as you can see on the renderer is looking inverted, which is a Issue. And the one thing I don't like about this one is we need to go here and flip the G channel, flipped the green channel of the element. We go this on the bump to denote that's where we modify that so that when we render it looks fine. Whichever, whichever one you prefer to use, both of them worked fine. I usually like using the literal that, but just for simplicity sake, let's keep the other one. Now this one, the occlusion reference metallic also has to be D linearized. So I'm gonna go into a utility and select said this to Ra. And this one has the channels in a very similar fashion as how we saw it in enormous it. Each channel lifts in one of the channels so rough, ER, the red channel is the ambient occlusion, the green channel is the roughness. So let's get that into the specular roughness. And the B channel is the mentalis, which in this case we don't have any maleness, so it should be perfectly fine. This is what we're gonna see right here. Now, as you can see, we're not really seeing a lot of stuff in the character. And the reason is the lie that we have. It's not like super intense. And even though the viewport is quite nice here, instead of inside of Maya, the viewport to 0, it's not as great, so we can add a light, of course, just an area light. We increase the exposure here. Let's go to like a 12th, like a 15. Let's turn on lights right here, and there we go. So now the character is going to start looking a little bit closer and we're gonna see the actual roughness. Now that the element looks opposite, the bomber looks, looks weird. So this is one of those places where you might need to flip it if you want to see them in the viewport and flip it back if you want to see it on the what's the word on the render. So we turn this off. That's really weird. It turns this off. Tangent space. Let's go here to the bumped to D. That's really where it's not working right now. Let's try the camera real quick here. The other, the ai Arnold. And let's see how that one works. Not seeing that much of a difference. Now it doesn't work. That's unfortunate. That's fine. Let's just do bumped to D. There we go. So yeah, the other thing we could do is we could just go back into what's the word into substance and invert the channel. But for now, it's really not that financial leg. I only wanted to see the textures. That's the most important part because this is what we're gonna be using to plan out our scene. And yeah, that's pretty much it. We could use a multiply node here for the occlusion, but it's going to darken the whole thing even more. And now I want to keep a workable. I'm going to go over this whole thing right here. And if you don't want to have any Asia's are revealing one that deal with this and don't worry, this is a hair tutorials, so I'm just going to save this soon for you guys. This is gonna be called Merck setup. You can have this ready to work with. This is it, this is the scene is now set up. We're ready to start planning. We're gonna do a little bit of planning before we start doing our haircuts. So hang on tight and I'll see you back on the next one. Bye. 11. Planning and Reference: Hey guys, welcome back to the next part of our series. So this is one of the most important videos and we're gonna do this for all of the characters that we're gonna be working with throughout this series. Because one of the things that will help people miss is they tried to go straight into working and they don't plan enough, they don't gather enough reference. And reference is probably the most important thing. One of the secrets that we have in the 3D world that it's going to allow us to create amazing, amazing stuff. What I want to do with this character, I'm gonna grab my little blue pencil right here. What I'm gonna do with this character is when they created this very loose old hairstyle. I'm thinking This guy is like an old ogre and he has been like tobacco and stuff. He's probably going to have some flyaway going on the side. A couple of hair over here, maybe a little bit of like patchy beard. And I will definitely like to give him some sort of guilty or something. Just like imagine like a go-to. You've seen goats. That here. We're going to keep it really simple, we're getting keep it really loose. Were also want to add a little bit of hair here on the, on the eyebrows. It's probably gonna be one of the special ones. And that's it for this first character. We're going to keep it really simple. So now that I have an idea of how I want this character to look, one of the things that they need to make sure that we get right is to get some reference. Before that, I want to keep, I want to save a bookmark for you for the camera. So that's bookmark. Now I'm gonna go to this other side over here. And I want to do like again, some, some sort of like loose hair here on the bolt head, like that. That way we can just jump back and forth between both of them and see it. I don't want to erase or you can just go through eraser. I'm using the newest, one of the newest things, which is the blue pencil here instead of my 2023. It's pretty, pretty cool for, for annotations and stuff. What software that I forgot to mention that we're gonna be using quite a bit as this one's called pure breath. It's completely free. You can get it here. Let me just close all this stuff. This one, this is a software made specifically for artists and it's a software that allows us to collect and create like a collection of images that we can have like an a second monitor or something and that eclipse with really, really practical, it's completely free, as I mentioned, you can just download it right here and install it for any system, which is great. And now I'm gonna look for a Golgi. Let's go forward. Guilty. Let's look for guilty long. Let's see if there's some reference and we want to get close to what I want to get. So I'm going to copy this image and hearing pure ref, I'm just going to paste it. This is one nice, nice image. I'm gonna look for a goat's beard. Because I once the animal the actual animal beers. That looks pretty cool. Let's copy this one. The reason why the reference is so important is because we need to see a lot of things. We need to analyze the kind of color do we have on the hair? We need to analyze the kind of density that we have under the beard of this animals. This one's pretty cool as well. We need to see how, how groom, how the groom is working, and all of those elements is going to allow us to better capture the effect. Let's go back to just like a long beard. Let's see if we can get some interesting stuff. As you can see, this is really full beard. This is a little bit closer to what we're gonna be doing with the next character, with a male character. But I like this rough stuff like this looks pretty cool. Let's copy this image as well. As you can see, some of these images are really, really big. No need for them to be super big. We just need to general idea. Now let's look for some balding hair. Let's see balding hair long. And let's see if we can find something interesting. This is really funny. Sorry if I'm laughing, I'm probably going to be bolted when I'm older as well. As just find it interesting. There we go. Like this sort of stuff. That's the kind of like balding, think, Oh, this one's pretty cool. How thin the hair gets there. So that's, again, that's the kind of elements that we're looking for and you can never have too much reference. A lot of people are like that. They just look for a little bit of reference. That's it. That's all I need. You definitely need to go get us much, as much images as you can because they're free, like no one's charging you for this images. And the more reference we have, the more information we're gonna be able to get. So let's look for old man here. Because I wanted to see, yeah, this is a kind of stuff that we're going for this already 3D. These are actually haircare is, but I think we can get them. We can get hours to look a lot better. This is what we want. Dislike, fluffy, nice. Like thin here. That's exactly what I'm going for. This is pretty cool as well. We go, Let's keep looking. I know this is a baby, but this is kind of like the clumpy effect that I'm also thinking about. Let's copy the image. Babies and old people have this very interesting thing. Where were they share a lot of things like the wrinkling this and like this, like very soft pair. This is great as well. This one's LA, so pretty cool. There was a comedian a couple of years ago. I think you've already passed. His name is George Carlin. I'm not super familiar with his comedy, but he's pretty famous. And he had this sort of like soft here. No, not exactly what I'm looking for. Cool. Now, let's look forward like gobbling hair. Like if we look for a goblin care, it's not bad to look at reference from like art or affirm games. So this is of course a really, really close to what I'm looking at. This is actually a mask, I think. So this is giving me a really nice idea of how things are supposed to be looking at. Let's just space this right here. Let's test transparency. That's pretty cool. That's the same one. I don't see any other most of them are the same. Let's look for or care. See if we can find something interesting here. That's pretty cool. That's 3D ofcourse, but it's not wrong to grab a 3D stuff as a reference. This was risk-free, cool as well. I'm gonna copy it. I like the color of this one. Let's copy the image. There we go. That's it. We have several options here for reference. As I mentioned, you can go crazy with the reference. There is no limit on how much reference you can get that given this guy right here, just like the different styles. I think that's, that's a nice little idea. Now we're gonna jump into Photoshop and I need to plant out a little bit on how I'm going to be creating our eventual maps. So I'm going to create this like 20 or 24 by 1024. And I need to divide there. I need to think about how many, how many hair stress am I going to need, right? So let's start painting some of the strengths. You can either do this with a tablet. I'm just going to keep it really loose with my, with my mouse right now. From our initial planning row right here, we have the goatee. For the goatee, we're definitely going to have some sort of like really dense, Doty triangular looking shape. Then we're going to have usually a more, a little bit less dense effect. Just gonna be the go-to over here. And I would definitely want to have a couple of flyaway. So very similar to what we did with the horse steal. This section, this is gonna be my go-to C-section. Then this long section over here we can use for the big stretch on the hair. So we're going to have some nice big strengths that they again, we're not going to have a super dense one. I don't want to have a lot of dense hair on the back of the head. We're probably just going to have one description right there. And then a second description right here. Look like a looser description, long descriptions. And that's gonna be like my like my backhand, right? They're probably going to add like another like a fly away. I'm going to paint it red here just to remind myself, there's gonna be a flyaway here. There's also going to be like three descriptions here, like a couple of flyways, like long flyways, just going to be 321. This again, this is just a sketch. This is just for me to plan out what I need to do. Now for the eyebrows, that's also something that I forgot to get reference. Old man. Eyebrows. For the eyebrows, I wanted to create this sort of very, very big. This is very cool. Very big again, Lucy. Lucy eyebrows. So let's copy this image into a reference. There we go. I want them to be like really crazy looking like this one's look pretty, pretty cool. Now, eyebrows are a little bit different than here because even though it looks like they're long, it's actually like small patches of them. So some people like to try and create a groom like just a single card that capture said, I don't think that's the best idea. I think when we're seeing things like this, it's better to again, create a couple of variations where we have this very nice long eyebrow stuff that we can then change in late on top of each other. So if you look at some examples, Here's like eyebrows, hair cards. Again, when they've seen them, one of the best results is having this source stuff like CDMA of haircuts that we have. It's pretty much like one hair card pair eyebrow and the end you get a really, really amazing result. If you wanted to get this sort of effect, It's good to have several haircuts on this little space over here that we have. We're probably going to have a couple of eyebrows like options. So just a couple of, say one there and then the second one here. And again, like, like a Lucy more. Bury the one over here. As you can see, nine descriptions sounds about right, Like three descriptions for the goat, three descriptions for the, for the hair and true descriptions for the eyebrows. I might get like an extra description here for the goat, for the goatee. And that's gonna be like, again, a couple of loose hairs. And this is part of the deal, right? Like if you went to have a really, really cool looking beard, hair or whatever, you really need to invest the time in generating all of these descriptions. And that's what's usually very time-consuming apart from the front replacing of stuff. But that's it. There's one more important here description that I want to create. I'm gonna have this width blue over here, and it's like a breakup layer. So when the hair touches the scalp of a character, imagine this is the scalp of the character and we have a hair card that creates this sort of effect. When you have long hairs, which is what we're going to have. Sometimes the transition from geometry to the hair card makes it a little bit difficult to appreciate. If you have an intermediate haircut that does this sort of stuff that blends together, like the union of both of the elements that usually helps create a very nice transition for the hair. So we're gonna be adding one of those, especially for the long hairs on the back of the head. So yeah, that's pretty much it, guys. We have everything ready, we have our action plan. We have a reference image, which by the way, this one you can actually save. I'm gonna save this for you. You should do your own by the way, but I always like to give you guys as much information as possible so that you have everything that you need, which is this one on your assets folders on the mercury ogre, we're gonna have this hair Merck reference. That's it. I'll see you back on the next one where we start building all of the descriptions that we hang on tight and Seebeck in the next video, Bye bye. 12. Creating Hair Descriptions: Hey guys, welcome back to the next part of our series. Today we're gonna start with the creation of our description. So let's get to it. Now. What's the most important parts of both descriptions? And we've talked about this before when we were doing the horse a charm, ease the length. We need to make sure that we understand what the proper length is. I'm gonna show you another tool that you can use here instead of Maya. It's called the measure tool, is right here. Create measure tools, distance tool. I'm gonna go here and I want the goatee to go about there. So as you can see, it's gonna be about 16 centimeters length. Then if I do this again over here, I want the hair to be probably not as long. So I would say probably like 12 centimetres is gonna be my, my main measurement for this thing will keep those numbers in mind. 1612 of those are gonna be our main, our numbers. As you can see, this aura of the locators and stuff, the Chiquita, we don't need it anymore. We don't need a blue pencil either. We can actually either creating new scene where all the descriptions are going to live or had generally them in here and just hide this guy. I think it's gonna be a little bit easier if we have a different scene. I'm just going to create a new scene over here. Let's save this real quick. Here's where we're gonna sell building our stuff. So I'm going to go to the front view. I am going to create again the measure tool. So create measure tools, list install on, Let's do our distances. You can see that's four centimeters. I'm gonna go up this located right here and just move it down so we get our sixteenth-century meters, which is our initial beard distance. The beer is going to be a little bit bigger than everything else. We're going to create our little plane. Here's another way in which you can create that sort of like curved planes that we used before. You can start with this cylinder just gonna rotate this 90 degrees. And then I'm going to go into the vertex right here, Control F 11th, select the faces and then delete them. Delete half of the faces where you're gonna be left with this thing and just crunch it down like this. And that's gonna give us the sort of smooth effect which mimics the sort of Chin that we will have for a character. We don't really know that we're gonna need a couple of descriptions. It's not going to be just one of them worked, probably going to need like three or four. Now again, if we think about the square that we're eventually going to have, let's go over here. Change this perspective to, or sorry, the size. I'm gonna change this to two k. And remember we can go into the camera and we're gonna change the over scan down here on the display options, 1.51.7. There we go. Again, if I know that this is 15 centimeters, Let's move this up. And that means that that's where my goatee is gonna be. We can already please this over here. I mean, it really doesn't matter where we place. Thanks. Because at the end of the day we can just move them. I'm just going to duplicate this shape and I'm going to rename this. So this is going to be goatee thick. Go T-H thin. We're going to call this goatee. Breaks. There we go. Now if we go into our reference, we have the right here. I mentioned that maybe having an extra like a flyaway goatee will be quite cool. So I'm going to add another one. This one's not gonna be as big, so let's make it smaller right about there. This is when we might need to like this two guys which are gonna be like breakaways, we can also make them slightly smaller. So this is gonna be my go-to flyaway that we call grep. All of them make sure to delete the history of Freeze Transformations to make sure that they're as cleanest, bustle. And we can go into perspective. We can work all of these things into perspective. I'm gonna select this guy, the first one. We're going to go of course, to our extra window up and extend and create a new description, the collection, we're going to call it a Merck, which is our ogre. Ogre. It's gonna be the collection. It is going to be goatee, thick and splines randomly because of surface and we're gonna be used placing in shaping. Guess I'm gonna hit create. Now since this is the first one is gonna be a little bit thicker. I definitely want to add a couple of guides right here. No bound geometry. That's weird. Interesting. Just like I missed something. Let's do this again. Description, create Description. Go through T, thick Merck. Again. That's the splines randomly because they're placing a shipping guides. There we go, hit Apply. Not bound to any geometry. That's a very weird error. I'm not sure whether this, Let's delete this whole thing. I'm going to delete everything here. I'm not sure if it's because we're missing some divisions. I didn't think so. Divisions shouldn't matter that much, but let's add a couple of divisions with here and see if that fixes it. Let's again do the history for transformation everything. We're going to create a new description. Merck collection. You know what might be, it might be the we haven't saved the scene. Remember I mentioned that, let's call this Merck. Share descriptions. There we go. So creating new description is going to be goatee, thick, gonna be Merck, hair, splines, random glucose, the surface placing a shipping gets there we go. Let's create this one right here. And now we should be able to either Guys, I'm not sure if it was a geometry. I've worked with flood geometries before, but that's fine. There we go. Now we generate this against it, we get this sort of thing. The first thing I want to do is I want to create a density map because I only want this goatee to be happening right here in the center. So I'm gonna go here, not here, sorry, to the little arrow. We're going to create a map. It's got to be cold, goatee, thick map. We're gonna start with black and I'm gonna hit Create. Now, just go, of course going to paint the area where I wanted to go to B2B. And we're gonna save, very important to save. Otherwise we're not gonna get any effect. Let's go to the front view. Let's turn this off for now. Again, it doesn't really matter because we can always move things around. I'm going to go into the control points and we're gonna move them down. Now as we saw from the reference right here, we want a beer to be like really, really squiggly and really nice and light curves. We're going to push some of this points out. Give this a little bit more visual interest. We go definitely increase the density and it's going to be like a really dense beard right there. We're definitely going to have taper. So let's add some taper. And let's shift this so that we get this sort of like teardrop shape on the, on the actual hair itself. There we go. That's looking as looking quite nice. We can again turn lights if you want to, but we can visualize things pretty nicely here. Let's go back to perspective view so that we can play around with some of the modifiers. I'm going to go to a modifiers, the first one that I'm going to add, we've already talked about this one before, is the noise modifier I'm just gonna hit, okay. And what this noise mostly for DOS, it's just noise to the general beer. That's perfect. That's exactly what they want. It's looking pretty nice. Let's go here to the deed, both with change something and I just forgot what that was. Oh, yeah. The multiplier should be count. Let's add a little bit more modifiers. It becomes that way we don't have to go big right there. Perfect, the five is great. Now, one thing that happens with here, very, very commonly East, something called clumping here tends to clump together and create this very nice as transfer off of here. You can see it here, for instance, on the baby head, how we get this nice little clumps. And it's something that happens naturally. I don't have the exact explanation, but my guess is because of the oils of the hair, they kind of like stick together and you get this sort of like a triangular looking elements. I'm going to add a new modifier right here. And I'm gonna add one clump modifier, which is this one right here. It's true clumping, just keep okay? Now the problem is when we add the clump modifier and nothing's going to happen. And the reason it's not working is because we need to add something called clumping guides. And in a very similar fashion as to how our normal like guides work over here. The clumping guides will help the hair note where to clump worth to create like little clumps. There's a couple of options. I'm gonna sell the clumping here. I'm gonna go here to set up maps and we're gonna get this little option. First of all, if I were to generate right here, you would see that we get this point, the elements and all of those points, the elements, if I hit save, those are going to be the ones to clump, to think together. If we increase this clump, as you can see, it's going to try to really, really competent forces gonna have like really flare it out over here. And you can see how each one of those points is clumping up here. The way this works or the way I like to work with clumping, it's actually not with random guides. So let's go here to set up maps. It's actually by changing this to guide. If we change this to guide, now, each guide is going to work as the clumping origin for the thing that we're doing. That's why I started with five guides, because we're going to get five clumps. Now, if you want to have a random stuff, you can do that. You can lower the intensity and that's completely fine, just gonna hit Save. And as you can see now, each little guy that we have is trying to clump the hair on its, on its elements. As you can see, we get this very, very cool effect. The cool thing is if we were to go back to the guide generator, for instance, and move the clock points. We will of course get very, very interesting effect for the whole thing. So coping is really, really important. Even this holds that we get right here. I think those are really, really cool because they will give us some more transparency on the whole thing. And that also helps us get some more visual interest overall. Yeah, that's a very nice note that the clumping note, now, this clump right here, this value, this is what we are modifying. So if you want like a really some clump, you can reduce this to 0.5. And yes, we're gonna have clump. It's not gonna be as obvious. I think I'm gonna go for a 0.7 because I do want to have a little bit more clumping on the top side though, you can also see here where the clumping is happening the most, whether it's at the tip or not right now, as you can see, the tip is the one that's being most effective if I were to lower this thing where we get more clump under root as well. So again, you can modify any of these parameters and create some interesting effects. Right now, I don't want to have as much clump under root, something like this. Looks a little bit better to me. You can just eliminate some of those guys grades. Something interesting. There we go, Let's turn on our ambient occlusion and our anti-aliasing so that we can see the shapes a little bit better. And yeah, this, this looks quite, quite nice. Another thing that I want to add, and I can see this one on some of the reference as well. Let me show you here. So we've talked about this before, where the hair is not always the same length, especially on the beer's like here. We're gonna have some short beards and then some long beards as well. So we're going to add a cut modifier. We go here, we're going to add a cut modifier, heat, okay? The curve modifier, we're gonna change how much we want to cut this. So it's going to be between 0 and I would say five units and hit enter. Now what we're going to have some nice short hairs down here and some longer hairs as well. I might want to add a little bit more noise, so let's try adding a frequency of another frequency. Let's try maybe like a magnitude of seven. She's got a little bit more noise there and create this very, very nice effects. So, yeah, there we go. That's a nice dense effect right there. I think maybe making the root slightly thinner work as well. Maybe, maybe just maybe adding a little bit more density, just a little bit more. Like ten. I think ten is a good density right now. There we go. Let's save this real quick to make sure that we don't lose any of this progress and we can move onto the next one. What they can do here is you can actually go here onto the descriptions and duplicate the descriptions. So if I grab this description right here, description one, I can go description, duplicate the description, Save. And it's gonna be a goatee and we're going to call this, it was called thin. Just going to hit a duplicate. There we go. Now on this one right here, I'm going to add some guides. I think we do need the geometry thing. I think that's one of my issues. So let's go to the Cut tool. Let's have some more geometry. History first transformation. I am just going to add some guides. I'm going to say description, description. And we are going to do import, collection or description. We're going to import or sorry, sorry, sorry. We're gonna go here. Description, create description. This is going to be our go-to team. Listening shipping guys hit Create, and there we go. Now technically we should be able to just, That's really where they were getting the same error. No bound geometry phone give me just 1 second. That was really weird. I had to go here to the description and delete the ones that we haven't just create the new one. For some reason. This is kind of like freaking out, but that's fine. I'm just going to grab this guys right here. Now, a couple of extra points. Let's do six now. And I'm just going to hit Enter. So now when we do this, we can see we get our nice little description. I'm going to grab everything here, Guide control points. And again, just push them down until we get the distance that we were going for. We can start playing around with some of the curvature as well. This is going to really use this very nice effect is very nice hair. We're gonna be adding the clumping and everything as well. Let's go right there. Really small guy that were there. Really push it down. Give it some depth. I thickness, weight or density wise, we're gonna have this half the density of what we had before. So it's going to be five. We're gonna taper this, are going to tape it over here as well. Over here. Probably you've been less probably like three or something. I really want this to be a lot, lot thinner. I'm gonna increase the width a little bit here. Now we can go to the mother fires. We're going to add a noise modifier as well. We have ten really squiggly line. That's fine. I'm gonna go to my primitives and I'm also going to add the map. So create map, it's R with black, will just go t thing, map. Create. We paint with white color. There we go. That's where we are. 111, the hair. Just hit Save. Don't forget to hit Save. That's very important. And there we go. So now we have this very nice thin effect that's going to allow us to break up the surface, maybe just a little bit more density. I don't want us to be like super, super thin. I really liked the noise. I think I don't think we need clumping on this one since they're a little bit looser so they wouldn't clump together as much as the, as the other ones. So I'm just gonna go here to my modifiers and let's just add the cut modifier. Hit. Okay? Again, this one, I'm probably going to go a little bit more aggressive. So I'm going to say like seven that we're working to have some really long ones and some really short ones. And again, this is gonna be really useful to break up this thing over here, maybe on the noise, especially if we add more modifier CV counts. Now we go, that's gonna be a little bit closer to what we want, might be a little bit too noisy now. So let's go to seven, and that's it. You always want your hair collections to look similar to each other because that's going to make it a lot easier to blend them together if something's really, really noisy. And the other part is is not asked only see Dan. It might look a little bit of weird. Yeah, that's, that's it for now. Cool. So now we're going to continue with the last of description that we have or will we have two more, which is the little flyways, but that one's super easy. And then this one right here, as you can see, I already added the little geometry taps here and I'm gonna show you one very cool trick. I'm gonna go here into file and I'm gonna say export collections or descriptions. And I'm going to export this a goatee thin description. This one right here, as you can see right now, is being saved to another folder, is not being seen through the project, is being sued two documents, X1. That's really, really weird because I am saving everything with my, it should be saving everything with my action elements, but it doesn't really matter. What I'm gonna do now is I'm gonna select this geometry and save file. I'm going to import collection or description. I'm going to import a description. I'm going to go and navigate. Select this one right here, hit open, and as you can see it says Bind select the geometry. And I will not add this description to my existing collection which has might mark here. So I'm going to hit Import. And as you can see, of course we need our guides. So let's go to perspective view. Let's add a couple of guys, 12345, refresh, and there we go. Now, the great thing about importing descriptions is that you don't have to do all of the things. Again, as you can see, they already have the modifiers, they already have the CB count, they already have everything that you did before. It's already there. So especially when you're doing light or creating variations of a very similar here of importing and exporting descriptions. It's a really, really good and fast way to iterate or create all of these variations in a nice way. Now as you can see, when I do this and refresh, there we go. We have this very nice description. It doesn't have the same shader if you wanted to fix that, don't worry, just select the description right here, right-click and assign the existing material. And I believe it's the hair fiscal **** or one. That's the red channel that we want. This is gonna be a lot softer, as you guys remember, definitely need to create a mask. So I'm gonna go to my primitives, create a new map. It's going to be black. And we're gonna call this goatee thing map to just hit Create. Paint the area where we want this safe. That's it. Now we have this very nice effect. Now of course this one is going to be even less dense. Probably going to go for like a 1.5 or a two, depending on how dense we want this probably like a 1.5. That way we're gonna have a really thick ones, are really small ones and really softwares and all of them are going to allow me to create a very nice transition on my beard. Finally, for the fly ways we can do something very similar. I can just grab this guy right here. Going to again into File, import collection of description, description, select the description that we want the school to thin and just import it into a new collection. Of course, we're gonna get our guides, just got three guides. So 123, refresh. And as you can see, it's just a matter of changing the control points right here. So let's mix it really, really long and just play around with the effect. That's all we need. Just a couple of hairs, just a couple of strands, just something going once either the other, that should be more than enough. Let's add them. So variation there, perfect. So now when we go to the front view, as you can see, we have like two sections. We have this one right here and then another one right there. So we can even divide this into two different flyways are a couple of flyways and that's fine. We can increase the density on this one. Strength to go for this thing right here. So I'm going to right-click here and say, I mean, yeah, we can create them another map. Sure, I want to put in another lab though. That's fine. We'll leave it like this for now. Just move the elements a little bit and remember if you want to have the same elements, just select this guy right here, right-click and assign the same hair physical share. There we go. One thing I do recommend is changing the name. So this is going to be, let's call this light go light lecturing than they moved the descriptions. It's a good idea to keep things organized and let's call this go to fly away. Gonna be thick, thin, light and fly away. There we go. We have the first section. We eventually know that all of those guys are gonna be like up here and that's gonna be the first bake of our outlet. So I'm gonna start to do the right thing. You guys, I know this is getting a little bit long in certain areas because we need to explore everything ends. I'd like to show every single step, so that's it for now. And the next one we're going to work on the hair elements. So hang on tight and I'll see you back on the next video. 13. Creating Eyebrow Descriptions: Hey guys, welcome back to the next part two for serious, they were going to create a dihybrid prescriptions for our characters. So let's get to it. This is where we left off. Now, one thing, if you open your file after working on something and you find that the things are not displaying, make sure to go here into the descriptions and just scroll through them so they'd knows where to look for and you should be having everything back here. A little bit of further split issue that's used sometimes get especially when you're working on something and you closer than then open up back again. I'm also going to turn off playback cache. We don't need the reading that it really right now and I'm gonna agree the new polygon, grab this guy right here. Just a new plane in a very similar fashion to what we did with the other ones. I'm just going to Shift click, double-click here, heat a beam to make self-selection and just push this guy's up. That's a very fast way to create a little bit of a curvature for objects. I'm going to delete this guy right here. Just lift this thing right here, and delete the history center bu freeze transformation. And something that's very important to here. We're actually going to create the eyebrows up here. I'm going to create two descriptions for them. So I'm going to duplicate this twice. I'm going to call this eyebrows eyebrows B. And as you can see, the planes that I just created, they're not facing downward, facing up. This is a slight distinction. It's not really necessary. I mean, you can get away with having everything phase the same direction, but I kind of like making sure the hair is followed the normal way that they would normally go. Kind of helps. It helps a little bit with the glossiness and with the way they shine. So I think this is going to work. Let's go over here. Make sure to history first transformation everything to make sure everything is as clean and as normal as possible. And we're gonna go to action, create a new description. Description, created description. We're going to call this eyebrows, randomly placing and shipping guides and hit Create. Now we should be able to go into our little guy tool and create a couple of guides. We're going to create the eyebrows. There we go. So we do this. Let's create a density map real quick. So over here, create a map. Let's call this eyebrow. Bro, a map. Let's start with black. Hit Create. Let's paint in. Remember you can double-click here, change this color to white and paint it. Now in this one, I actually do want to paint like more of like a straight line right here. Oh my God, sorry about that. I'm just going to hit Save. There we go. Now the eyebrows, if you remember from our pure ref file, which by the way, you should have on your files as well in case you are using it. There we go. This guy got, I hope that's like a comedy sketch or something. If I ever go that ball, I'll probably just cut everything off. Yeah. As you can see here, the eyebrows kind of like fall to one side. I'm going to go to my front view. Let's zoom in here. And I'm going to start using my control points to kind of like guy, the, the, what's the word? Let's turn off soft selection. And we're gonna start guiding the points a little bit to the side. This is going to give me a more realistic look for the die rolls. You always want to have your guides became the closest you can to the type of hair that you're trying to create. So something like this. And like this. There we go. So now when we do this, as you can see, all of the hair is gonna be like moving to that direction. And that's going to make it a lot easier for us to eventually create the elements that we need. I'm definitely going to add some taper, but not that much, probably something like this I think. And let's play around with the route a little bit. The tip, as you can see eyebrow, I see them a little bit thicker than the hair up here. You can see that they're slightly thicker. So I'm gonna go for some thicker eyebrows. There we go. Let's give them a little bit more CB counts. And I think the only extra thing that they want to add, just a little bit of noise. So I'm going to go here to the mother fires and let's add some noise. Yeah, that looks pretty cool. Maybe make this thing a little bit more intense now that's way, way too much. There we go. Like how to maybe a length modifier might not be that bad. So let's do a cut here. Let's go to like a one. We're gonna have your random between 01 man that where we have, again a little bit of variation. I do want to push discuss a little bit more though. I'll have some longer ones. So some of these guys had really want to push them up. There we go. That's it. That's pretty much our eyebrow eyebrow description. Now we could just save this one and copy it to this one and give that a little bit more of a different look. But nothing we can do a new one real quick. So let's save the scene real fast. I'm going to go back here to the descriptions created description and they'll S1 is gonna be called eyebrows. There we go. Splines randomly placing a shipping guides Create, and now we just create our guides. What happened? I think we didn't create it. Let's try this again. I browse BY description. I think if they had the same name and remember, things cannot have the same name here instead of, instead of my, there we go. I'm just gonna hit Create. And now we go into our guides. Let's go into create an shaped guides. That's really weird. Do I have my geometry blocked in? No. Sometimes Maya freaks out any kind of box. I'm also using one of the newest versions, which is 2023, not geometry for her. That's really weird. We forget to know I did not forget there. Okay, let's delete the descriptions here. Because something weird is happening on this geometry. I'm just going to duplicate this geometry. Let's delete the old one and let's call this eyebrows. Be. Make sure to again, central people with history and delete transformation. And I am going to go back into action, go into descriptions and created a description. Let's call this eyebrows, be description. We're gonna have them to Merck hair. And placing a shipping is there we go. Let's create a new one. There we go. I'm not sure why it booked out at first, but now we got it. We go to the front view again. We grab our little control points. For this one, I'm going to try to have a really, really short like guy that first and then a really long one. That way we can combine them. We can have some like a really long eyebrows in certain areas and some small eyebrows in other areas. Another thing we could do is we could utilize some of these guys to create like a, like a section of eyebrows, like two arrows over here. And then use this other southern three eyebrows common, not like angling them as much. Now when we do this, if we reduce the density a little bit, or if we paint a map, we can have two sections. I think we could create a polygon that only covers like half of them. And that way we have two more variations. I think this one's are looking quite nice. Let's do a little bit of width over here. Definitely make them a little wider. Let us go to Utilities, not sorry, modifiers are going to have a noise modifier as well. Magnitude of two so that it matches the other one. There we go. I'm wondering if it would be a good idea to add a mask or not because we're really getting some nice effects over here. It might only be like we might only need to add the density. There we go. The density is looking quite nice. I'm gonna change the length a little bit. Cool. So yeah, even though we're getting some hair, so we're here, I think these are cool because again, as I mentioned, we could have a single card with a single hair and use that one to give a even more depth to the whole thing. So yeah, that's pretty much it. This is what I mentioned. If you don't see a description just like scroll through the descriptions and that should update them. Sometimes you're gonna get an error where it says trying to find the textures. But if you've been setting everything up, this should be working quite nice. I'm definitely going to move a couple of these guys around. So for instance, we can have this ones here and this one's here. Let's update the whole descriptions again. We need to go here and here. So the updates that we're, we're gonna be able to do a more intense zoom here on the textures and we're gonna get more resolution. Again if you want, add one more, just go forward another extra little channel right here, an extra little layer, and you're going to be good to go. So those are our eyebrows. And you can see that the thickness of the eyebrows is a little bit bigger than this. It's fine. This is just to occupy more space. Sometimes you can do this and it's completely fine. Just make sure that when we scale the planes, disciplines are gonna be a lot smaller. Yeah, that's pretty much it, guys. I'm gonna stop the deal right now and I'll see you back on the next one when we do d of hair, hair cards. So the actual here, right, all of these are cards but we're gonna do the actual here. So hang on tight and I'll see you back on the next one. Bye bye. 14. Creating Main Hair Descriptions: Hey guys, welcome back to the next part of our series. Today we're going to continue with the main hair description and yeah, let's get to it now if we take a quick look at the reference, one of the things that I'm noticing for the top here is that a lot thinner than the beard? It's not that as a course and it's of course a lot longer. It's not as noisy either. It's very, very soft. Yes, We have a couple of flyaway stuff, but it's a lot more control compared to the viewer that tends to be a little bit more scruffy. You can see here at the beers really, really scruffy. And on top here the hair is like a lot smoother. So that's another effect that we're going to go for. No, this is not their Maya. That's the other Maia. Here we go. We're going to create the new blame. Again. Let's go to Perspective View Display and so make it a little bit bigger. And you can do or curve this out in any way that you want. Now this one, of course, we're actually going to be using or going from top to bottom. Let me perform with nonlinear bend. Let's go into the curvature of the curvature. Remember you can press E click and then go into discrete rotate, which is going to make sure that this rotates in angles are in steps that way it's a lot easier to, to find exactly the angle that you're going for. We're gonna move the curvature down, something like that. The history of personal information center pivot when we know the drill. If we go to our front view, we're going to get this roughly about there. For this one, I do want to have three descriptions. And since the hair is gonna go from top to bottom, we're going to start right around there. It's going to be 123. And I'm probably gonna do a fourth with just a couple of flyways. You guys remembered to drill. This is very similar to how we did the horse charm. We're going to start with very dense, medium density, low density, and then fly away. It's like very similar to what we have right here. Now some of you could be like, Can we just reuse this ones that we have up here? And the answer is yes. Of course you can. However, if you do that, one of the things that's gonna happen is that the hair is gonna look very similar. And since we haven't baked the texture just yet, we can utilize all of this extra space that we have, which by the way, let's take a look at the skin here real quick. So remember display options, let's say 1.7. There we go. So eventually my haircut is gonna be right here. So as you can see, we still have a lot of free space down here that we can utilize for the men here. And that's just going to make us a better artist. I, one of the things that it's always complicated for me to explain To everyone went when teaching these courses is that there's a lot of time involved in this. I tried to make this thing as some, as fast and as efficient as possible. But normally this sort of thing will take quite a bit of time to make sure that it's as nice as possible. Let's call this main hair, a main here being main hair, see main here, d, You can call them fly away, medium density, high density, however you want. Make sure it's super important to Italy history for information center, the pivot point, and let's start creating our description. So we go here. Extra action window, description created description. We'll call this Main Here, description a pacing guides. There we go. We place our guides and what's gonna be 123. You can place them wherever you want. I usually do this or like five thingy effect, but you can go wherever you want. Let's grab all of them control points. Just push them down. That unless I've mentioned this one's gonna be a lot nicer, a lot cleaner. So I'm not gonna be moving them or are changing their values as much. We're going to keep them really, really close. There we go. Now let's grab this thing. Preview this. It looks nice. I definitely want to add a mask, so we're going to have for a mask here, Let's call this hair main a mask. Let's start with the black color create. And we paint the area where we want this to be saved. Don't forget to Save, and that's it. Now, density wise definitely need to increase the density a little bit, something like that. I mean, we don't want to have a lot of hair. It's supposed to be a wispy low what we have right here, but it's still gonna be some hair over there. We definitely want to increase the taper. And I'm going to modify my little rude right here to create a nice little effect like this. Now for this one, we're gonna go over the clumping thing again because I definitely want to see this sort of clumping that we have right here. I'm going to go to Modifiers, add a new option. We're gonna have a clump option. Hit Okay, and remember for the clumping to work, we need to preview guides. So we're gonna set up maps. And in this case I'm just going to do a random generation of the elements. I'm going to hit Save. And as you can see, it will automatically try to create the clumping. This one, to be honest, it looks quite, quite nice. This is kind of like, well what I'm going for, I'll probably add just a little bit of noise. Just, let's do like 1.5 magnitude probably be a little bit more than a two as x2 for frequency, just to generate something a little bit more interesting, maybe a little bit of three. There we go. The preview output. They're actually on the no, that's fine. I'll little bit like that. Caught we definitely want to cut tool. So again on the modifiers, let's add one nice cut effect right here. Since the Harris our way longer, we definitely want to increase the amount of the length right there. There we go. That's it. I do think they're a little bit thin, little bit too thin. So I'm gonna go to the width. I'm gonna say 0.15, just a little bit more dense because even though it's supposed to be a wispy, I still want to be able to see something maybe.3.13.13. There we go. Perfect. That's looking quite nice. I am going to play a little bit with the control points just to, to make sure that not everything else as uniform get a little bit more variation. And that's it. We have a really nice base layer for our hair. Now since I don't want to, what's the word? Like? Do all of this thing again, I want to try and keep it a little bit faster and we know most of the hairs is gonna be very similar just with different densities. Here's where copying and pasting descriptions is really good. So I'm going to go into File, I'm going to say expert collection or description. I'm going to export a description and I'm going to export the main hair description a. Now as you can see, it's going to a different place. I definitely don't want that. So I'm gonna go to My Projects projects to entry to hear carts. There we go to our project folder and down here we're gonna have the action folder. I can create a new one called descriptions. Here on descriptions, I can save this as main hair Merck. There we go. I just hit Export. Save, and there we go. Now, technically, if things work as they are supposed to be working, we should be able to import a new description right here. So first I'm going to say File, and I am going to go into description file import collection or description. Description. We're going to go for, we need to go for the other ones. So maya has this thing right here, which is really, really useful. I recommend just like dragging and dropping your main folders so that you can quickly access them and you don't have to be like navigating as much extra descriptions and that's the description that we want to import bind to select the geometry. And we're going to add the description to the existing collection, just hit import. Of course, we shouldn't have anything here, but if we start adding our points, there we go. So a couple of points there. Just hit simulate and perfect. Now the only thing we need to do, of course, his grab all of those guys, grab their control points and give them the length. Let's push us and all of the information that the Rab, like everything that we've done before, it should be here that clumping everything. Well, the clumping might not be working exactly as expected. I'll show you why. There we go. As you can see again, if the material is not the same, don't worry, just right-click and then go assign existing material. And usually it's a hair physical shader. What I'll show you how to clean that scene as well because we don't want us much information density away. So let's go half. So let's do two on the density side, as you can see, it's looking for a map that's not there. So we need to paint a new map right here. And save it. There we go. Now it's working. We need to go to the comping as well to the model first, the clumping move. Far as you can see that we're not getting any clumps because we need to set up the maps. We need to generate the clumps and hit Save. That way. We are going to get the clumps. Gonna play with the noise here a little bit more because since this are going to be a little bit looser, I wouldn't expect them to clump as much. Just like moving some of the scriptures here and there. It's gonna give us a nice little effect. Let's try that. There we go. That's a lot nicer. Because again, these are gonna be like the loose hair. So we're gonna have pretty much everywhere. Cool. So as you can see, the description gets an, a one. I don't like that. So let's just change this to be that way we can keep everything really, really clean over here. Let's save everything. Always, always saved. This is one of the kind of processes. Every time you are working with things that are a little bit more dynamic, Maya and most other softwares or have a hard time making sure that everything works fine so you get the frequent crashes, especially if your system has low memory. So that's why it's super, super important to always save. Grab this guy right here. And we're gonna do the same thing, File, import, collection or description. We're going to input a description. Let's navigate here real quick. As you can see, it's a lot easier to just go right there. You could also just like for instance, if we're gonna do next to stuff here, just drag it that one over there, and at any point you can just remove it. So description's open, a button, select the geometry and hit import it. There we go. We've got our guides, 1234 for this one. Go to front view. Go to our control points. And we're going to push all of these control points to the bottom part like this. Usually when I separate the points a little bit so that you get a more interesting result. That will be my suggestion, buried the length a little bit. Don't make them go super crazy. This one I think I'm gonna clump a little bit more. There we go. The mask is gonna be super important. So we again go to the primitive section. We go into the paint options and we paint a new mask right here, save. It's doing something weird here. So I'm gonna go to my colors. And let's go to black. Was doing this sort of great channel. So let's paint everything black first. And then we're going to paint the white right here. Save. There we go, so that she'll be working a little bit better. Density wise, definitely it's gonna be super low. That, that seems about right, probably a little bit more. Let's try.5. There we go. A little bit more, maybe just a tad bit more because I don't want to have a little bit more density here. 0.6.6 seems fine. One thing I did, it's a little bit worrying right here, is that I don't want to look at. There seems to be a little bit too much space over here. So I'm gonna go back to the mask. I'm going to try to paint out the board. They're a little bit more because I don't want him going everywhere. Let's save this. Really weird. Sometimes the border doesn't get painted like properly here. We shouldn't be getting any hair. But for some reason there might be like one or two pixels that are still holding some sort of like color information. Just be mindful. There we go. That works. Let's grab the description again, change the name so that it has a clean name. Perfect right-click. And we're going to assign existing material, the hair physical shudder one, which is the first one. Yeah, those are gonna be used some quite nice flyer ways. We might be able to get a couple of them. That tells me that we might not need to add a third one or like a final one over here. What we have right now, I think it should be more than enough. That's also going to give us a little bit more space, like more resolution. So that's good. So yeah, let's skip this final one. Let's just keep with those two. Definitely move this thing closer to the center. Same for this one. We need to, of course like re-assign everything here, like make sure areas description, this is active. There we go, Let's say real quick. And now finally, I'm gonna show you how to clean up the scene because as you can see, we have a lot of notes. So every time we eat importantly description, it's importing a hair physical shutter. It's pretty much just a copy. I'm just going to say edit and delete unused notes. And as you can see, most of them get eliminated. This means that some of the hairs is still hold the old hair system. So I'm gonna grab all of the descriptions, right-click assign existing material and we're gonna saying the physical **** or one. And now when I place or click this thing and then say edit, delete and use notes again. It should be working. Sorry for this. There we go. Now, as you can see here on the Hypershade, we only have one hair physical shader, which is the one that we're gonna be using. We have auto for descriptions, the nice hair here for that, for the head, the goatee, and the eyebrows, everything seems to be working fine. I'm just gonna save this real quick and we are ready to go. We're ready to start working on the bakes for all of these guys. So I am going to hide this guys with H. You give them control G to have them on the same group. I'm going to call this care origin group. That way again, things are organized. We no longer need the distance so we can delete it. This is it. All of her descriptions are ready. Final thing that I need to do, I'm going to save a bookmark here for the camera. Again, in case I moved the camera, I just go BYU bookmarks and go back to this one. And that way I can make sure that every single big that I do is going to be following the exact same proportions. This is it guys, this is the end of the description generation. I know, I know it's a little bit time-consuming and I know that it's not as what's the word fun. You need to do a lot of iterations or worked, but it's important. And again, you could just do one iteration and then tried to create all your cars with that. But this is the thing that divides a and a major artists from a pro art is the fact that you take the time to do all of this work just to make sure that things look as nice as possible. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 15. Baking the Ogre Maps: Hey guys, welcome back to the next part of our series. Today we're going to continue with the baking process of all of the hair cards. As you can see, we already have our plane right here and it's our background plant, just gonna call it BG plane. And the US, we've mentioned before this technique that we do where we don't actually bake, I call this bacon because we didn't read the texture since that was the old way to do it or one of the ways to do it. But it's just generating all of the textures. Now, if you remember, depending on which, on which was the word, the beginning, which is setup or engine we're gonna be using. It depends on the cards that we need for marmoset, which has this arc that we're going to be doing. We're going to need the normal map. We're going to need the colormap. We're going to need the Alpha map. We're gonna need the direction map. And we're going to need to be ambient occlusion map. Now there's one extra map that we're gonna need. We're not going to be creating it here inside of Maya. We're gonna do, we're going to use a little bit of ocher, which is the specular map or the roughness map. This is going to just break up the surface a little bit more and we're going to have the hair look a little bit nicer. So these are the six maps that we need. So let's just get to it. I'm going to grab all of the descriptions or right-click and I'm going to assign a new material. I'm gonna sign this Arnold AI standard here, which is the basic one that we're gonna be using. We're going to go to the presets and we're gonna go to the black preset right now. Now, why am I going to the black? Because we're actually going to reduce the metal in remembered the Melian is the pigment that we have. I'm going to go to Arnold lights, sky dome light. We're just going to leave it like this. We're not going to use an image. Let's save this real quick and let us go here to the options. And it might not be a bad idea to already decided where we want to do GPU or CPU. If you remember, both of them are like fast, I would say, sorry, it depends on which one you prefer. I think I'm gonna give you the shot with GPU. Let's see how that goes. I'm going to hit GPU and we're going to say Arnold and render. The first time we do this, it might be a little bit slower and we have the upper hand right here. I'm not seeing the lower here, which is a little bit concerning and we're getting some tremor. We've had this happen before where we need to cycle through the descriptions again just to make sure that they work. So I'm gonna go here to Arnold. Sorry to go action. This is some sort of visual bug or something. So let's go to each one of this and just hit refresh, refresh, refresh, refresh, refresh, refresh this one. This one. This one. This one. There we go. I'm gonna go to the Arnold Render View. I'm going to say bw or render. And there's one called update full scene. And there we go. So now our things are working the way we expect them to work. As you can see, we get this very nice effect. This is just like a black color. We remove the melanin so we're not seeing anything but just like a like a nice black color. Definitely it's quite noisy. So I think I'm gonna go back to CPU because it's becoming a little bit too noisy for my, for my taste. So I'm going to re-render this CPU is more exact, but it takes a little bit longer. Gpg is more like a brute force approach and you will get faster renders, but they won't be as nice as you can see here with CPU, we get under law a lot nicer effect. And we can of course add the denoise or on top of this and we'll get a nice effect. I really like this sort of Y, the fact it's looking quite nice. However, I do want to modify a couple of things here, so let's go to the standard here. I am going to add a little bit of melanin and definitely a lot of well not allowed, but quite a bit of melanin randomized. Remember this is one of the cool things about using this process that since we're using the action elements, we can get some random effects. So some hairs are gonna be, as you can see, a little bit lighter and some are gonna be a little bit darker. That's way too much melanin though. We could of course, just go into Photoshop and desaturate the whole thing. But let's try to be, Let's try to be as, Let's start to do the proper technique as nicely as possible. Another thing we could do is we could, we could create a roadmap might not be bad, or one of the, remember the object ID maps and then just combine them because as you can see, we're getting some sort of variation, but I would like to see some darker hairs here. I'm probably going to do something like that later on. So let's just wait for this to finish. Oh yeah, my bad. One of the big mistakes right here. We're not gonna be using the plane for this first map, which is the color and the office. So let's do one more render. Also forgot to select at the HDRI and make sure that on the visibility camera it's turned all the way off. That way we're gonna have transparency, perfect, this is what we're going for. So as you can see, we have Oliver Look at this. It's beautiful look of all the hairs. And I've been doing some research before creating this course. One of the advantages of using this technique, the render thing to ease us since we're not doing bakes, the anti-aliasing is nicer, like the way things are going to look here. It's going to be way, way, way, way nicer. This is the Alpha channel. This is the color, or sorry, that was the color channel, and this is the alpha channels. You can see there's not a lot of variation, but that's fine. We can create an extra map2 to create the various, I'm gonna say File Save image. Let's go now. I'm going to save this in the morgue ogre folder. So I'm going to call this. Merch, hair underscore diffuse. And we know that the diffusion, Let's call diffuse alpha so that we know that it's here. And this one is very important. It's gonna be TGA target file. So we have the nice, what's the word that nice effect right there. Now let's go for the next one. So I'm gonna select all of the elements right here, right-click, assign a new material. And we're gonna select our Arnold ambulate Google material for this one, I do recommend having the plane and I actually do recommend having the MB doctrine for the plaintiffs. Well, it just makes for a better effect. Just hit Render. And there we go. Again. You can modify this a map inside of Photoshop to make it look a little bit nicer, a little bit cleaner. It might not be a bad idea and I think it's quite nice. I mean, we can use other noise, but even like having a little bit of green every now and then, I find that it kind of helps because it breaks up the things and it makes it look less computery. Yeah, this one looks quite nice. The one thing that you could change is if you want the effect like this, a lot more contrast. Let's give it a shot. Let's just, just want, so I'm gonna save this image right here. Let us go back to assets. Mark the ogre, and it's going to give him work hair. This is going to be A0 ambient occlusion. Perfect. So let's change this back to our traditional color effect. And now we're gonna go to the, to the utility notes. That's the, that's the next step. So again, select all of the descriptions right here, right-click assign a new material. And we're gonna assign an Arnold AI utility, which is the one that we're gonna be using. Same for the plaintiff side of the same EIA utility to the flame. And let's go to the utility. Very important, change this to flat. We don't want any light information. And let's start with the normal map. Let's go here to our baker. The normal map is actually going to be in Roswell. So that way we're gonna get our traditional purple color, the one that you're used to seeing in all of your normal maps. For this to finish, there we go look at that beautiful normal map, beautiful detailed, beautiful tangents and stuff. So just File, Save Image, and we're gonna save this as again here on work the order. This is gonna be Merck normal. Perfect. Let's stop this. Let's go to the same utility. That's why I loved that utility and all because you can do a lot of maps just from this one. Let's change this from normal to d v serfs derivative. And that will give us our direction map. Look at that now here's where you're actually going to see the difference because as you can see, the ones that are going from top to bottom look purple and the worst ones that are going from bottom to top look yellow. So there is information there. It might be very difficult to see normally, but there is information there. And there we go. That's the direction maps of File. Save image. And we're gonna save this image on our mercury ogre folder. And this is gonna be called r direction, same for this. One of these has to be wrong so that the colors are working at the proper way because this is not supposed to be any sort of like shade the thing, its information so very important there. Other than that, I am going to go for the primitive not object. Was the object ID just going to give us a random color for one? Nope, that's giving us the random strength. I always forget which one is object ID. Nope. Primitive ID. Yeah, there we go. Permit, actually permitted by these not either uniform ID. There we go. The only form ID, but we do not want the plant. And this one we actually want to keep the plane out of the equation that we get this nice gold ocher and this one, the only reason I'm getting this one is because I want to use these colors to vary the tones of the hair a little bit. So it's gonna be darker gray. So some of them are gonna be like a cleaner gray. I'm going to stop this right here. Let's file save this image here, and this is gonna be our object ID. There we go. Let's check our list real quick. Make sure we're not missing anything. We've got normal, we've got the color, we've got the Alpha, we'd get the direction we get the medication and we're missing the roughness, which as I mentioned, we're gonna be adding it on the on Photoshop. So let's jump into Photoshop. Let's do some so foolish lump-sum image editing. So we have all of our stuff ready. There we go. This is my title card that weren't they use for all of the titles. So let's bring the diffuse Alpha. There we go. And as you can see that diffuse, it's there on the alpha channel right now. It's looking a little bit weird. That's actually weird. I'm not sure where we're getting that sort of fact right there. That's really weird. Anyway. I'm just going to drag and drop the object ID right here. Hit Enter. I'm not really worried about that, like sort of halo that we have because it's gonna be gone. The one we do, the Alpha, so Control Shift U. Let's rasterize this. So right-click and then rasterize layer Control Shift viewed too desaturated. And then we're going to use some sort of like probably like like multiply. I think multiply looks quite nice. So that way we get this very nice look at that very nice gray and white variation all over the Harris. And it wouldn't be possible without this one. I'm actually not sure. Maybe we've got some bad information there. But as you can see, this object ID, especially since we're doing white and black hair. This one looks quite, quite nice. So, yeah, that's it. I'm going to save this real quick. Actually, let's make sure that this together, I'm gonna hit Control E to collapse him. And I'm just going to Control Shift S and save this as our safety fish. Yes. Okay. Another thing we could do, by the way here on the color section, we could add another layer. And sometimes here it gets a little bit darker, a little bit of melanin on top. I'm going to use my brush here like a soft round brush. And what I can do is I can paint a little bit off the roads, especially for instance on the, I think the goat will be little t, will be nice to have a little bit of variation here. And we can change the suit against some sort of like overlay or something that works like leaving linear light looks quite nice. Of course, lower the opacity, just like a different tone. See that if you want to do it, feel free to do this. One of the cool things about the colormap that you can do. A lot of things here instead of Photoshop and just like create different variations. The wonder that we were missing was the specular map. And I'm going to show you a nice little way to create one specular map. So I'm going to hit Control N here instead of a Photoshop, I'm going to create a new 22 K-map. Just hit Create. Then I'm going to fill this with a black layer by pressing X on my keyboard. I think I forgot to activate this, sorry. So press X on the keyboard, which is going to give me the default elements and switch them around. And then by having the black on the background, you can press Control and delete. And that's going to feel your layer with black. Double-click on the layer hit. Okay. We're gonna go into Filter Noise and we're gonna add noise just like that. It's going to be monochromatic noise. And you want to add quite a bit, something like this, 44% since fine. And then this noise, I'm gonna say Filter blur. And we're gonna do a radial blur. Now it's not ready to rule, sorry, Filter blur, motion, blur. There we go. We're gonna move this motion so that's 90 degrees like this. Then we're going to really push this thing. And it's going to treat as this sort of like banding effect. That's what we want to have this or like a stretchy effect on the fibers. And with this element we're gonna be able to modify the roughness. So certain parts of the hair are gonna be a little bit rougher and certain parts of the hair are not gonna be asked her off. Could we create this in my ad? Definitely, there, there must be a way to do it. I haven't really experimented with it, but as you can see, this one's quite nice. So this is gonna be a roughness which is just going to bury the way that hair shines is slightly on each of the little roots that we have. There we go. And that's it, guys, as you can see right here, we have all of our max, we have the Amy depletion, diffuse Alpha direction, normal roughness, and everything is ready to be assembled. Now, we're not done yet, of course, we're at the second stage of the process. You guys know that we now have to create the hair cards inside of Maya and we need to please them. That's gonna be the next font parts. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 16. Creating the Hair Cards: Hey guys, welcome back to the next part of our series. Today we're going to continue with the creation of the hair cards. So let's get to it. This is the final answer. It's safe for you guys by the way, so you can engage. You want to reference any of the things that we did for this descriptions. Feel free to do so. I'm now going to open the original mark set of file. Let's just save this real quick, which is where the main character was remembered. This guy, there we go. Let's change this to untold map so we can actually see what's going on. And here's where we're going to be assembling the cards. Now, I'm gonna show you a different approach now to the creation of the cards, because as you might guess, the complexity of this map's a little bit more complex. Another thing besides the plane thing that we've done before. Another thing that we can actually do is I can just create a plane right here. This, Let's rotate this 90 degrees. There we go. Let's turn off our grid for now. I'm going to change all of the divisions back to one. I'm going to create the rough shape of a card like this is what I would imagine the car to be. I'm gonna say UV planar mapping. We're gonna planar map this thing on the c-axis. Hit Apply. And as you can see now the UBS of this object is going to be a dusting right here. So we can modify this a little bit like this. Sorry about that. The UV toolkit over here. Now what we're gonna do is of course we're going to import a texture into that whole plane right here. So I'm going to select the object, assigning new material we're just going to use, say, a basic Lambert because we just want to see the transparency pretty much. Let's delete history here on the color. We're gonna assign a file, and we're going to grab this file from our assets folder, mark the ogre, and we have our base color target. Actually that's not, that's still a scholar for the characteristic. There we go. That was, you can see what's happening here is we're not actually seeing the planes that we want. That's why the UV shell is right here, because we're going to move this UV shell and position it, scale it and position it where we want this to be, which would be right about there. So as you can see, we can scale this in and out and make sure that we're covering as much as possible on the original plane. So this is another way to generate the initial cards. Now it's just a matter of grabbing this guy. And we know we have 12345678. So I'm just gonna go here, duplicate all of the ones that we need. And it's just a matter of grabbing the UV shell, displacing it and modifying it, replacing where it's supposed to go. Grab. The next one won't goes right there. Grabbed the next one was written out. Be careful with scaling. I was doing a little bit of scale here, but if you scale, the proportions of the UVs might change as well. Another thing you can do is just grab all of these guys again and say UV planar mapping and keep image width, height ratio. There we go. That way, the size of the element is exactly the same. And now if we scale that, we're not actually modifying things. So we can get this right there. We can get this right here. I know I'm scaling this a little bit. I might need to scale this haircut as well because it's a little bit wider. So no big deal. Just scale down one. There we go, the other one. And the reason why I don't like doing the full plane for this one is because as you can see, this are the sizes and everything are a little bit different so the lines, it might not match as easily by following this process. Now we can ensure that everything matches a lot closer. We definitely do need to scale these things up and down a little bit just to match the general shape that we have here on the UBS. Well, you guys are masters of Maya, so it shouldn't be a problem. That's a secondary one. Same thing for this one. Let's just expand a little bit. And finally, this are the, the eyebrows. To make things a little bit easier, we can just rotate them around and capture the the eyebrows. Am I missing one thing? I'm missing one. I'm just going to go up this one, duplicate this. Does UV shell. Push it up a little bit. And there we go. Now this one would definitely need to make a little bit bigger. And let's grab both of them, rotate them 90 degrees. That's it. As you can see now, all of them have their proper UVs. This definitely looked at bigger. That's the hair. This one looks a little bit too big. I'm gonna make it smaller. We could have been crunch it a little bit more, of course this one. So eventually work, I have to properly probably scale them down. Now what's very important, and one of the things that is really important is to give some divisions to the ones that are gonna be together or at least close together. So for instance, this three guys right here, I think we could have been used like this two guys for some flyaway is down here. These are one of the, this will be one of those cases where we're having it like a couple of those guys just making them a little bit bigger so the scale is proper, can work and this is the beauty of Kierkegaard's. You can't recycle if this four guys are gonna be the beard, It's very important that we divide them and give them a couple of flights, movement to the whole thing. So I'm gonna go here to Modeling mesh tools, Insert Edge Loop right here, option box and select multiple at shops. And let's do five. If you do five, we're gonna have six divisions. So that's why I'm going for and that way, when Thanks match and we create a little clumps, things are gonna be better. This is gonna be two and we're gonna do well, sorry, one, because we wouldn't want division on the middle. There we go. Let's divide this one as well. There we go. There we go. Let's go back to 55. We're here, let's go to six mode. There we go. That's going to allow me to bend things because now we're actually going to be sculpting for the horse jump pretty much everything stayed like white. I would say quite flat. For this one, we're actually going to be moving things around here. I'm gonna divide the four on the site. And probably like two right here. There's still against something, something cool to be able to work with. That's it. We have our all of our cards setup one extra thing that we can do and we already did this under the horse charm. I'm going to combine everything just to make selection a little bit easier. I'm just going to select all of the middle sections right here. I'm just gonna push them forward a little bit. That's going to occur if the cards just a slightly, it doesn't have to be like superintendent. Some people even do like two divisions to get a softer edge. I think that's a little bit too much because the geometry definitely goes way, way higher. And for this one, I'm going to go to the center points. He'd v, which is my self-selection. And just push this out to kind of give this sort of like the dome effect. It's like a little dome on haircuts. There we go. That's pretty much it guys. That's the creation of our haircuts, which by the way, I'm also gonna save the scene. Last thing we can do is split them against. So let's hit separate though the history of racial formation center pivot point. I'm going to call this new group haircuts. There's no real neat. I mean, if you want to be super organized, you can just of course rename this. But since we're gonna be duplicating so many times, you really don't need to do that much. While the I'm gonna do though, is I'm gonna start creating some of the clumps. So I'm gonna duplicate this guy bringing it up. Let's move the point there. Let's start creating like a nice little clump. Control D. Oh, yeah, you know, you guys know what, I forgot. There's one thing I forgot to do were important, the UVC. Remember that we, if I, this guy's a little bit, now see how the UVs are moving. We've talked about this before on the UV mama option, make sure you preserve your BSW. We can search just like modifying this. I know it sounds or seems to be a little bit like not as important, like superficial. But believe me, it's, it's really, really, really important for performance issue and also for the clumps that we're gonna be creating, the tighter the hair cards are. Nicer to clumps are going to look all of these wasted space up here. It's gonna be a lot easier to create nice looking clumps if we start moving these things around. So don't, don't underestimate this, this part of the process. My students asked me how to deal with the fact that certain processes from the treaty world tend to be like really, really slow and really time-consuming. My best advice, get yourself your favorite drink. If you're over the age of drinking and jury in your house, like I said, as an indie artist, you can get a beer or something. But if knowledge is literally like a nice cool soft drink, ice tea, lemon juice, oranges, whatever, Get your favorite tunes on your Spotify play at least or in YouTube, and just go for it, man, I know it's time-consuming. I'm not gonna do this. It has a little bit tedious to do all of this things, but it's part of the process. That's why would they pay us that? Actually, that's one of the cool things that whenever I, whenever I'm working on this kind of projects and the claim is like, Oh man, just taking a little bit longer, longer than I thought it was like, well, it is a long process. You'll want this to look the best. Won't give me, give me the time. Don't don't don't pressure things because he definitely takes time. Triple AAA games, for instance, they usually take between two to four years to make. And this is one of the reasons why I mean, the art department definitely takes quite a bit of time to make sure everything looks as nice as possible. And of course, the programming things also, also require a lot of time to make sure things work as they are supposed to be working. If you guys are curious about like, how long does a character like a, like a complete character usually takes, like cradles from god of war. I've read an interview that they did to corsets, which is the main artists on that that character. And he mentioned that he takes about four months, like for few months to three to four months to finish the whole thing. Because it's so complex, it's such a complex character. There's one trick that I've seen some people use for their, her guards. I'm not gonna use it right here, but some people like to add an extra little edge here and create like a little hook that goes into the geometry a little bit better. I found that that creates some weird shadows sometimes. So that's why I don't love using it. But I've seen used it and get some interesting results. Maybe, maybe we'll do that for the male character later on. But for now, We're gonna keep it simple here. By the way, guys, if you want to skip ahead or just like move a little bit faster and feel free to do it. I always record every single step of the process because I want to make sure you guys are habit. This ones. We've already done them over here. So easiest ways to just duplicate them. And there we go. That's it. So now we can create the clumps. Let's go real quickly. I'm just going to create one quick Columbia right here, because this is the one that we're gonna start with. We're probably gonna need like a couple of this and maybe one of this. Let's move the point up. There you go. I'm going to snap it there. We're going to remove this grid rotates or the elements a little bit nicer. There we go. Remember the reason why we do this clumping effect or this clumping thing is to hide the fact that this our cards, we want to create like this or like triangular looking shapes or low like little clusters of elements. Remember also to go here to viewport and change from objects sorting to depth appealing. That's gonna give you a nicer and nicer effect. Because the other one, remember that we'd sometimes get this sort of like weird effect. Cool. So now let's just this one here. See how we get like an empty space right there. I definitely wanted to cover it up a little bit with the next Jaccard always overlap them. That's important. Can rotate them a little bit. We're gonna be sculpting a little bit of them. Very soon. There we go. This would be like one of my clumps, not everyone. Again, this is another thing that you're gonna see a lot in the industry. People use different techniques in different workflows. Not everyone, those clumps, some people like to just go ahead and use a haircuts directly on the character. It's fine as long as you can cover all of the little spaces that you have. So yeah, this is pretty much it, guys. I'll see you back on the next one where we started placing whole of this hair cards aren't our character. Hang on tight and I'll see you back on the next one. 17. Placing the Beard: Hey guys, welcome back to the next part of our series. Today we're going to continue with the placement of the beard. So let's get to it. Now. This is where we left off. We have all of our collection of cards over here hand this is reappeared. I do think they're a little bit too big. Most of them, so I'm just going to scale them down that level, but I'm gonna grab my clump here. We're going to of course, combining into a single object. And now it's time that we start playing around with the placement. So let's bring this clump right here. And surplus where we need to show that seems about right. We're going to inject it right here. So it's pretty much like the old, like makeup artists were movies and things where they would literally punch holes in the characters and create the sort of thing. So here we go. Duplicate this clump, give it another go, like around here. Then duplicate this one. And go over here. Here's where the fun begins, as I mentioned, because one of the things we're going to start doing is we're gonna start kinda like sculpting this beard so that it looks a little bit closer or nicer to what we want. I'm going to select everything. I'm going to go to F7, which is multi-component selection. I'm going to select any section here. I'm going to press a B, which is soft selection. Soft selection, as you can see, will allow me to very careful here, we've now we definitely want to turn off the preserved rubies. This will allow me to, as you can see, like move things around, clamp a couple of things together, create some interesting intersections. And just like generally give the hairline like a nicer, more interesting look. You can change the radius of the soft selection with V and middle mouse button. If we wanted just a small selection, we can also do it like this. For instance, all of those corner pieces definitely want to move them around. And always, always, always we need to see from different sides of the character and see how things are looking. Definitely going to need another clump. I'm gonna grab one of these clumps. Just duplicate it. Duplicate it and move it forward. I won't see it like this. There we go. Maybe this clump for instance, it might be a nice idea to kind of bring diverse. He's like forward and background color. Again like this or like round goat, goat effect, right? So don't, don't be afraid of modifying things and changing the way the courts are like playing with each other, like back here. This is one of the things we're back here. We're not going to see as much. Maybe it might just be a matter of grabbing one clump. You're rotating them, scaling it and giving it a little bit of a live there, but not as much like we don't need to to really worry too much about that area because it's gonna be really, really difficult for a player or a character to see like this angle. Like no one's gonna really see that angle. We're going for the angles that we see the most like this. I was right here. Let's take this clump, move it to the other side, rotated the other way around. Just make sure that the connections are looking nice as possible. We go. Now we can start grabbing some of the individual hairs like this one right here. Let's put a point there. We can start adding the fly away, some of the low light breakups. So I'm gonna start exploring the silhouette and where I see that we can benefit from having some extra kind of hairs like right there. All of those little areas are the ones that work in the be benefiting them, benefiting the most from. So see how there we have like a really sharp corner like those lines right there. That's where I would add this guys right here to break up. That sort of effect creates some interesting shadows and kind of like faith. The fact that we have those really intense carts play around with the scale, you're free to do. So. Again, it's pretty much like combing a character. Now this one, for instance, like this bird you see right here. That one looks a little bit weird. So I'm just going to move it around a little bit. Now here, I'm going to do something a little bit crazy, but I can actually grab this like the eyebrow, the iro element, Yarborough, our card. We can use this arrow carts to kind of break up the, the beginning of the beard, especially like on this here. See how we get this very weird like cuts on the planes. So we can use the hybrid cbind. This absolutely no problem doing so to create something like small little hairs on the vase or maybe the beard is slightly shorter on that area. And as you can see that that helps hide the fact that we have this transitioning to bury like hard carts on our character. This sort called a transition hair's not very common for me to see this like not everyone does it because it's a slog more expensive. And so as you can see, a little bit more geometry that we need to add, but it definitely adds a nice level of interest to the character. So if you can afford it, if you're working on a project that can afford having a little bit of extra geometry to other sort of transition hairs. They were quite, quite nice. I'm going to grab this other plane as well. Where is it? There we go. That one. Control D. Over here. Again, maybe we can even turn on like let's turn on anti-aliasing and the ambulance illusion. The milk carton is gonna really. Like shows what we're actually seeing as well. This is a process that you definitely want to be like playing around with a marmoset and the Maya at the same time. So it's very common for me when I'm doing this sort of process to have like a marvellous at seen already. And just play around with the, with the exports like export this thing. See how it looks, see how it's shade, see where we need to add like a little bit more, a little bit less. And that usually works quite nice. Now let's add some flyaway. Fly away. I'm going to modify the bursae is a little bit as well. Just to break up the silhouette. Let's move the pivot point there. And then let's just snap it to like a hair or something. I always are really, really cool because again, they destruct or distract the audience from looking at all of the hares that we have careful there to make sure that things intersect. Otherwise they might look a little bit weird. Let's create another fly wheel over here. As you can see the amount of polygons that we're getting now it's quiet, quiet, higher than what we had with the horse charm. And this is something that can't be avoided whenever you're using or working with haircuts, even like with traditional hair-like fibers. The performance that you're gonna have, the performance hit that you're gonna have is definitely going to be there. I'm gonna show you another deformer that works quite, quite nice, which is called the bend deformer reveals to do for, let's say we want to have this beer go up a little bit down here, right? So what they can do is I can grab all of the hair cards right here, combine them into a single object to make it easier. And then they can say bump above the form non-linear and bent. And we know that if we change the curvature here, this is going to bend the whole thing. If we rotate this around, you can see how the business is going forward down here. However, one thing we can do is we can change the lower bound or the high bound. And that way we're only affecting the lower parts of the element. So see that it's giving us a relatively smoother factors. It's making it look a lot more natural. Kind of makes it look like this thing is just like going a little bit up on the character. This is the kind of thing that really helps make sure to delete the history after you're done. And maybe I find a little bit too big right now, so I'm just going to make it slightly smaller. I don't know. A little bit big. I'm not sure. We're gonna have to see it in context with everything else as I've mentioned, like get this into marmoset to really see it. So yeah, as you can see, this is looking quite nice. I mean, the volume in general is reading is really nicely. Of course, with all of the maps and all the things that we're still missing. This thing is going to look even better here if you want. I mean, this is going to of course, doubled the amount of polygons, but we could duplicate this and add this to the back to kind of cover the back area. The more cars you add, the more natural things can look, it gives you right there, but also the more expensive things are gonna be. So I'm actually going to delete it. If you want to take a habit look at the amount of polygons that you have. Very important to go here to display, heads up, display, and activate this thing called poly count. Now as you can see here, when I select an object is gonna say, okay, you have a 912 triangles on the beard, only on the beard, which I would say a nice number wherever we're not far from, from like a game, a number. So so that's that's good. I'm gonna stop. It'd be the right here, guys. And then the next one we're actually going to go into. Momma said real quick because I wanted to, I do want to create like as nice as small setup to start seeing how this thing is looking before we keep on adding more more of our hair. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 18. Marmoset Setup: Hey guys, welcome back to the next part of our series. As I've mentioned in the last bead work in bringing this guy into Marla said real quick to have a quick setup so that we can actually start seeing how things are looking. Because usually when you're working on mine, especially how more complex character like this one, there might be certain areas that you miss because Mario isn't mine is not displaying things in the best possible way and it's better when we see it on the marmoset. So I'm going to open the pharmacy real quick. Here we go. Kind of seems to me like I move this guy. Yeah, there you go. Wrote to him slightly. This thing got moved as well. There we go. So if you go to your merch, the auger folder, you're going to have the ice and the ogre grab those two FBX and just drag and drop them into marmoset. There we go. For the eyes, which I believe Islam bird chew, if I'm going to expect you to know it's number one. So let's just rename this and call them ice. For the eyes. I'm actually going to have a black color. I am going to have a metallic color and they're often is gonna be all the way down. That way we're going to have this very reflected looking ice. You can even change the color here like it's too dark, just bring it a little bit into the gray, gray zone and it's gonna be like reflective dark eyes like from a snake or something. For the maps we have the same I'm the same absolute I showed you before we deal with the horse charm. So very easy to base color goes on this one right here, which is going to be D called the ogre. The base color. Gonna be on the Albedo map. The normal, it's gonna be on the normal map. Make sure to flip it to other works properly. And then we have the roughness of cultural metallic, which we know roughness he's gonna be on the blue channel. Need to make sure that this thing is turn off. There we go. We're often this is sorry, but often this is green channel. There we go. Mental illness is blue channel, which we don't have any Melissa, No problem. And we need to turn on the ambient occlusion to get the occlusion in there. It's going to give us a nice effect. And there you go. So as you can see him, I did this for another class. Actually, I'm recycling this asset. But yes, it's gonna be really, really helpful for us. Over here. Very important we need to select all of the beard right here. All of the beard, combine it into a single object or the history personal information center pivot. I will probably plays the pivot point here on the, on the connection of the beard. That's easy to follow. And I'm gonna call this older B Earth, like this one, File Export Selection. And we're going to export this on our assets folder. On the more debugger folder, when I call this a beard, there we go. Now, it's just a matter of again, drag and dropping the beard into the scene. Which should be where is it? Okay. So something happy. Oh yeah. Now I remember what happened to my bad. So what happened here is remember we scaled the head of the ogre. I'm actually going to have to re-export this. I'm just going to say File Export Selection. I'm just going to re-export this ogre heat. Yes, you got the eyes, his eyes. You're not gonna have to do this by the way, the phylogeny gonna have is gonna be already fixed. It's this one right here. So let's just re-add the materials. There we go. And now we should be able to add the beard back. And there we go. So now the beer that's on the proper place. This is also for the talk. There we go. Perfect. So now we need to start connecting the materials here for the, for the hair. So here lumbar Ford is gonna be our hair. All of the hair pieces are going to have the same material. That's fine. So let's start with our color, Diffuse alpha. That's the Albedo map. And we're gonna go all the way down to transparency. You guys remember, it's very important to look at that. Already looks quite nice. Already looks quite nice. Not bad. We don't have any big holes or anything. That's, that's cool. And we haven't even added any of the other maps. Let's start with the ambient occlusion. I always like to start with this one. Now that I've shown you the trick, you guys know that this cavity map is going to really bring this thing into, into the deck that we need to look at that now makes it really, really looked like a, like a deep element. We're of course going to add the normal map, which is going to break up some of the elements right there. It's going to add a little bit of extra volume. You especially see it up here. Like on the small elements. It's quite, quite nice. And we're gonna add the roughness. I remember the roughness map. This one's gonna go right here on the roughness map. This roughness map, as you can see, what allow me to control how rough and how the roughness happens if I really go in close there, you can see that the roughness has a little bit of variation and that's what I'm, what I'm going for it we can invert this where the way, if it's two to matter too shiny, I am going to definitely turn on sRGB space for this one. Bird this. Because the roughness might be a little bit too intense right now, but that's fine. Let's keep it for now. If it doesn't work, it doesn't work. And you just played around with this one. I think this one looks a little bit better. There we go. Now, I'm going to go here to the reflection. Remember we changed this to anisotropic reflection and we're gonna add the direction channel here on the direction channels so that the hair shines, as you can see right there on the reflection, each shines through the fibers. So we get this very nice effect, and that's it. So now I do want to add or I do want to create a little bit of fun light setup because right now we're only using this a sky. If you're using homonymous with four and you have your license, you're gonna be able to grab all of those different elements. I really like this abandoned house attic because it's like a dark color and we can focus syllabary, more contrasty. And here usually looks a lot better when there's like a really high contrast. So I'm going to do a three-point light setup Buddha with a little bit of a high contrast effect on this one. I'm going to lower the brightness here a little bit. And we're gonna go to about here. Let's turn on a nice little leaf over here. I imagine this is some sort of like probably not a light bulb, right? But like a, like a fire pit or something. So let's increase the intensity here a little bit. There we go. It looks interesting. And then over here maybe he is near like a magic fountain or something. And we're gonna have this road like a blue, blue light effect when doing hair like no, like material development. Some people like to keep it really standard where they can really flat background. I always like to try and think about how this guy is going to look in contexts. So maybe the cinematic where he's gonna appear is going to be at 19 his camp or something. That's why I'm going for this sort of thing. I definitely want the hair to be a little bit more matte. And that's it. Of course we can go here to render and turn on ray tracing, for instance, to get some more shadows. As you can see, this thing is going to look even deeper. Look at that amazing. It looks really cool. Look at the difference that the ray tracing makes. No ray tracing. Ray tracing. It's just amazing. Just amazing. It looks like it's it kind of looks like it's a real hair, like actual fibers and not just the cards. That's it. So right now, if I were to say if anything is missing, we might need a little bit more volume because as you can see, it looks kind of like flat over here. Maybe just like an extra layer of a clump. They are on the center. But other than that, he he looks pretty pretty cool. I think we're in a good position, so yeah, I'm gonna stop to be the right here guys. And then the next one we're going to start placing more of the hair. We're probably going to go with the eyebrows first. And then we'll jump onto onto the final part of the hair. And yeah, I hope you guys are enjoying it so far. I'll see you back on the next one. Bye bye. 19. Placing the Eyebrows: Hey guys, welcome back to the next part of our series. Today we're going to continue with the placement of the eyebrows. Let's get to it. As you guys already know, we have these two very nice hair cards for the eyebrows. And this are the ones that we're going to be using. So I'm going to duplicate them, bring them closer to the character. And the first thing I want to do is I want to scale them down. Very important to scale them down to a more, let's call it approachable size, right? So remember that the reason we created two of them is to be able to duplicate them and move them around. So the way I browse work, let me use my little blue pencil new tool right here. The way eyebrows usually work on characters is they have this sort of like here. They have this sort of effect. They start really, really small. They get bigger. And then they kind of like flight or go down and smaller to the side like this. That's usually how it goes and you can see it here under reference. If we go to our references down here, where are they there we go. Small, long and then smaller Ghana once we go to the end. So if you remember eraser responsible, if you remember the the two cars that we did, we have this one which is gonna be the big one. I'm just going to place it right there or I would expect it to be the boat there. I would say rotate it a little bit. Definitely important to bring the pivot point down and make sure that the roots are as close as possible to the surface. The closer the roots are, the closer we can get the rest of the surface that the ischium is gonna be. That's why we do the taper. By the way, some of you might be wondering, is it really important? Can we keep it like super, super? What's the word sharp? And then there's no we need, we need the taper on the under root as well. So we can create this sort of effect. Now, don't be shy with the amount of the amount of cards to drink gonna be adding here. Sorry, strength to go somewhere. Don't want it to go and play around with scale, since, for instance, that's gonna be my first car right there. You're going to rotate it a little bit more, get it in there. Control D, push it up, scale it up, move it around a little bit and make sure that it is intersecting the geometry that's important. So we don't have any like floating hairstyle and things. So I'm gonna use one another, one, another one of this one's just move it around. Here we go. If you need to go into vertex mode. And again with self-selection just like sculpt some of this down and silica, like a little bit of a different effect. That's also good. I've seen some people, when they do this sort of cards work, we'd like very few hairs, like three or four hairs per, per like eyebrow strand. And then you get like say a bad word. But you get a lot of, a lot of card repetition. It can work. You can definitely work. I would advice against it if your game is not gonna be like super, super realistic, we're going for more of a little bit of hostile iceberg or something. You might want to keep your polygon count down. And I'm going to bring this one over here. And here's where the inclination is gonna start changing, as you can see. Again, going to vertex mode. Just like wrote to them around. So we start getting this road like fade-out effect. Look at that. Bad, not that. One more. Scale it down so we get a little bit more like a thickness to it. I know we saw it already on mama said that the render is definitely going to help the ambient occlusion and the shadows and all of the maps that we've created are definitely going to push this eyebrows into, into another level. But again, when you see it from the side late, what you'll want to make sure that the silhouette that the Karski of is looking nice. So for instance, I can still see a couple of patches in there. I'm going to duplicate this again and try to get those guys in those patches. That way that we would get it a little bit of a different effect. That said that that looks good. Now as we've mentioned before, it's very important to test the South. So what I'm gonna do here, since I do want to see both sides of the eyebrows, is I'm going to Control G to group them into a new group, shift P, that group so that it's out of the parent. Let's call this, I. Browse like that. I'm going to shift mirror mouse, or shift mirror or shift right-click. And we're giving you this to the x and negative vaccines hit apply. And there we go. So now we should have both of them on the other side that they're so weird one over here. He tried to. Okay. Okay. So this is an important thing when you mirror, make sure you didn't have automatic setup and said this the costume dot 001. That way carts are not going to get pasted that they gather anything. There we go. That looks interesting. I still feel like they're little bit small to be honest. So instead of doing death, one thing I might want to give a triad. Let's just duplicate this whole thing. Bring it down. Just like get it in there. It's going to give me a way more dense weight dancer eyebrow. Today actually, I went to see a sculpture. He said an older gentlemen. And he has, his hybrids are really much like this. He has a really, really thick, interesting eyebrows. I was about to ask him, Hey, could I take a picture of your eyebrows for reference? But it was gonna be a little bit weird, right? So for instance here, if I see there's a couple of repetition, I'm gonna start thinning out some of them, but adding those extra eyebrows there, I think it really works for that character. Now, again, let's grab all of those points. We're going to mirror them again. We're going to combine them. Remember, always combine, center the pivot points that it's easy to follow and we're gonna grab all of them, File Export Selection. Let's export them as eyebrows. Eventually we're going to export everything as a single set. So eyebrows, What's the worth a beard and everything's gonna be the same thing, which is bringing the eyebrows even. There we go, we assign the material, the hair material to the eyebrows, and look at that. Not bad, not freaking bad. Of course, let's turn off call back faces so that we see them from both sides. And let's turn on our ray tracing. And there you go. So it's not looking bath. But I do still think they're a little bit small. I was hoping, especially since we have a really, really thick beards over here. It might be a little bit interesting or it could be interesting to push. This would look at that though those, those loosen look half bad. Let's say we wanted to make them a little bit bigger. Of course, a very important thing. We're going to go into face mode and delete all of those phases. I think I'm just going to scale them unconstrained to scale them. So let's center the pivot point. Let's start to scale them up a little bit more. Play around with the proper placement here, you can see again on the reference that the eyebrows, I mean, this one's definitely go a little bit lower than usual, but they're like up here, right there, up on the eye like section. So that's kind of where I want to have them. Let's give a Charlotte's, let's give it a shot by duplicating this thing to give it a lot more sickness. And let's see how this looks on the render. Before we modify anything further. This definitely is increasing the poly count of course, but it might give us a really nice effect. There we go. That looks a lot creepier, a lot nicer. Let's grab both of them. Just like the Moran a little bit to make sure that they're intersecting in the best possible way. See how here things are not intersecting. Again, you can play, you can press F7 to select a multi-component. It's still a little bit of soft selection just to get this things as close as possible. We want the roots to, to really be there. That's going to make them look a lot nicer. Yeah, yeah, I like that. Evil, evil looking eyebrows. Cool. If we have two of them. So again, combine them. Shift middle mouse or shift right-click mirror. And we mirror on the world and negative axis. As you can see, we have almost 2 thousand for the eyebrows. And it is expected because as I've mentioned, the eyebrows are gonna be like smaller and smaller. And therefore we need probably way more, where more points, way more points. So what am I doing here? Let's get those fees. Pencil. Go to my, there we go. So say real quick. So like this guy File Export Selection and we're going to export this as eyebrows again. Now the cool thing is, since we've already export of them, as you can see, they're gonna be right here. Just bring this in the air. Now that's where we're talking about. Look at that beautiful, beautiful adverts now those definitely looked like evil, evil guy, higher brows. As you can see, it's just a matter of trial and error. That's why it's very important to have either Unreal Engine, which we're gonna be seeing on the next chapter, or a mama said in this case, open so that we can visualize how all of these guys are gonna be looking. The bearded is looking great. The eyebrows are looking great as well. Now it's time to work on the actual hair. Down here. I do think the color is a little bit darker than I thought it was gonna be. Maybe we can tweak the color later on, but for now I think it looks quite, quite nice. So that's it for now, guys. I'll see you back on the next one. Bye bye. 20. Placing the Hair: Hey guys, welcome back. In the next part of our series today we're going to continue with the placement of the hair. We're almost done with this project, with this chapter. And that was just a matter of using the big haircuts that we have down here to start adding some of the hair back here on the character. As you guys remember, he will have our mommas had seen I did a small little tweaks yesterday before closing for today. And as you can see, it is looking quite, quite nice. I think I lowered the intensity here. And the lightning information is really important because a lot of people think that hair looks good on every single light situation. And there are certain lighting situations we're here won't look as good. Um, it should look pretty decent anyway, but there will be definitely be times where it looks really good and other times it doesn't look as nice right now, for instance, I don't have ray tracing turn on. When I turn it on, of course, there's gonna make it look even better. One thing I'd like to do here in Markman said, and I think we did that for the horse charm AS on the sky options. I like to change this back to color and that way we can have just a basic color. Sometimes I go for like a nice dark gray. And that way you can appreciate the hair a little bit more without having to be distracted by that, by the background. Yeah, let's, let's start off ray tracing for now to save a little bit of resources and let's jump into Maya. So before we start placing, we definitely have to have an idea of where to have our hair. So I'm going to use my little pencil right here. And I'm thinking about having some links strands going over here and then some here on the back. And that's pretty much it. I want to keep everything else like pretty, pretty clean. I just wanted him to look like an old, creepy, creepy ogre. The best advice I can give you guys a when placing big chunks of here because right now we focused on small things like the beard or small things like the arrows. Now we're gonna talk about big areas. The best thing I can tell you all, the best advice I can give you guys is try to do things in such a way that you start working from the big areas to the small areas. Because one of the most common mistakes with hair guards, people's pain in a way, way too much time trying to make certain areas work when it's not really necessary to spend as much time. So for instance, I'm gonna start with a really nice big chunk of hair right here. As you can see, I'm not using clusters right now or any sort of chunks. I'm just gonna go straight with that, with the haircuts and with soft selection, I'm just going to start pushing and pulling them to create a nice effect over here. Something like this. Would definitely want to bring the, the points as close as possible to the war they're there if we need to scale them down, just like modify them and just like generally most things around, feel free to do so. We want that transition of the hair into the element to be as clean as possible. Here we can of course, support ourselves with some of the other hair cards such as this one. For instance, I can just use this nice little like rough hair patch and add it here on the side. This one's gonna be sitting here on top of the previous one, probably following a very similar direction. We can blend this guys together. Self-selection is gonna be one of your best tools right here, because as you can see, we get some really, really cool deformations that allow us to blend things in a better way. There we go. One of the best that they can give you as well, guys, is you are going to be working with characters with both sides very, very commonly. Now, if you take a look at the character from the front view, all of this center area like this parcel right here, you usually want to keep them. We'd like go hand play scarves like no symmetry. But once you hit about here, I would say like above the ear distance, you can start like mirroring things and that's gonna save a lot of time and it's gonna make it a lot easier to work with. So let me use one more of this ones. I think I'm going to create a nice little chunk over here, snap it. The hair of course goes from long or from short to longer and longer and longer. So as you can see, we can use this, this hair guard here to mask out a little bit of data February there. Now see those empty spaces that we get there. That's the cost of that we want to definitely like try and cover. If we need to think, I'm going to, again, as I've mentioned, grid a little bit of a chunk here. Hide that, that effect. There we go. That looks a lot nicer careful with the points like this guy right here. Let's do a little bit of soft selection. Just like push it in. Because we don't want things to be just like flying around like that once you have that one's kind of like flying around. So let's push this in. We can keep it, keep it up. Of course. It sits on top of the elements, but we want to create this very nice effect. And again, you always want to be analyzing the silhouette seen where you have empty spots like they're filling them in. So for instance, we also have this other one, this one of the big chunks, right? So let me get a little bit smaller. Let's move the pivot point there. Unless use this one. The lobe of a different angle, as you can see right there. To kind of blend these things together. There we go. I'm going to use the vertex. And again, self-selection. Just give you a little bit of curvature. Some people like to sub-divide the planes a little bit more before the export. And the subdivision will definitely help fix all of this issues. Where things are looking a little bit to, where we see this sort of like holds and stuff. However, it will also increase your resolution dramatically. So be careful with that. It's not a bad technique, but it will definitely make things a lot denser. There we go. So again, when I see it from the front, like if this is the main view that we're gonna see that that looks pretty cool. We still have a couple of things there, which I can probably use. This section right here. Like one of those guys. Just block that area. There it goes. You have I just like literally placing this guy right here. Wait, we break that stuff and now it's not as obvious. Of course we need to grab some of this points to His them around and get them in there. But now when we see it from the front, it's a lot more difficult to notice the effect. And I know that we're gonna have the shadows and everything like there's a lot of things that we're still missing that are going to definitely help the hair. I really liked this one. I definitely want to continue it, but I don't want to do as much work. Remember we, as artists, we tend to be practical. And some people say it's laziness, but that's more about practicality. So I'm just going to grab all of those guys I'm gonna combining into a single object, move the pivot point up here. And let's just recycle this chunk, right? Because once we started like a rotating the chunk, as you can see right here, people aren't really going to know this, that this is, say, this is the same here. We get it right there, and there we go. That looks pretty, pretty cool. Again when you see it from the back. We're not worrying about all of these parts down here because we can just, just as hair and all of the layers that we've created so far, they should be good enough to create all of the transitions. Now of course, this part right here looks a little bit bald. So we need to it a little bit. That's where some of our other cards come into play. So I'm gonna grab this one. Again, control D multiple point. They're just snap it there and rotate it. Scale it down, of course. Just play around. Let's move to vertex a little bit. So it kind of falls off for this one. So I'm gonna go into vertex mode and just kind of like give a little bit of rotation to the hair. That way. It kind of seems like it's flowing down. It's very like animals, like horses and pigs and cows and the farm animals. They usually have a very coarse here. I'm kinda getting something like that from this character as well. This course here. Very important to try to intersect this with the geometry. Just going to give us a little bit more realism. Again, just looking for those sort of like a blind spots that I might have. I'm gonna grab the chunk again. I think we can get away with one more, one more leg duplication here on the chunk. Now, we again save a little bit of time on the overall process. Now of course, if you want to be super, super, super precise and super unique about the hair, you're gonna be doing this a lot more manually. But most of the times, especially for characters like this, if this is gonna be like a secondary character or something, this is more than enough, as you can see right here. Look at this like all of the back part here of his hair is looking pretty, pretty, pretty cool. I'm going to grab all of these chunks, like all of this section. I am going to combine it and I'm going to mirror it to the other side. So x positive in this case heat apply this. As you can see, it's quite a bit of triangles. 960, it's not a lot, a lot, a lot, but it says it's quite a bit. And that gives us a very nice here for the character back here. Now here's the important part of that. I've mentioned this section right here, since it's a section that we're gonna be seeing the symmetry a little bit more. This is a section that I strongly, strongly recommend that we keep us unique. You don't want to do a symmetry because then symmetries is really, really easy to visualize. This is a trick I learned so many years ago from a character artist was working at Riot. League of Legends. I always mentioned this character. There's this character called Edinger, probably stalking me and arcane. Back in the day they were doing a re rework. It was one of the first reworks that they did when they were like, well, recreating the characters for the game. And he showed those the original ZBrush sculpt of Heinrich Schenker, this one right here, I think. Yeah, there you go. You can actually see it was a user group meeting back in 2013. Oh my God, so long ago, nine years ago, he was explained that one of the approaches that they follow when they were doing this guy was the fact that the center of the hair, which is more symmetrical or it's more easy to see the symmetry was done asymmetrically, but all of the other side heads, you can see this one right here and this one right here. There are very similar all of the sites parts of the hair would be done symmetrically to save time. That's the exact same concept I'm trying to give you guys here. For instance, here I'm gonna bring this guy right there to the center of the head is gonna be like that. Like that, sort of like V-shaped that some people have. I'm going to push some of these guys back. Let's get them in there. You could use soft selection or you can also use the forums. You can go here into the form non-linear. Do a bend and push the curvature only on the, on the high bound right there. The lower bound. I'm going to push the load button. I'm gonna rotate this thing around as you can see there. That's gonna give me a nice looking distortion. Maybe a little bit of high bound as well. Now, actually low BUN was looking good. Let's lower bound and we need to make sure that this line is facing down. We delete history. Now, we can just rotate this around like this. Probably not as much. There we go. Of course we can use vertices and soft selection to give this guy a little bit of a more interesting look. Careful with a scale. For instance, I think this here is looking a little bit big here. So you need to be, I need to be mindful differences. They're having this here go back in, in space in a different direction. I think that kind of helps give us a nice little asymmetrical look over there. The yellows just start using some of this other pieces. Let me duplicate this one. There we go. Start using some of this other pieces to create the basis. So as you can see, I'm using the big chunks of here, the big ones to create the base down here. And then on top of it I'm reusing some of the beard wants to generate the breakup that we might need. That way we don't need to spend as much resources like a Cohn-Bendit, the top here, here we go. I might even grab one of these ones again and just bring it back here. Because I've had some students that worry too much about placing the hair. And they want the hair to be like all of the layers that you will normally have on a human head. For games that, that's really not necessary as long as the hair looks cool and injure covering most of the areas, you should be good. Let's do one more. Here. There we go. That looks cool. This one's, for instance, I am really tempted to do a smooth, just a single smooth. And the smoother wool make it look a little bit nicer. Now again, using this one right here, we need to start batching up some of the chunks. We don't see the holes as much. We go. One more over here. Now that we have the vase of the hair or most of the basic hair here. We can start working on the on this breakup because as you can see, the cards are getting as this horrible, horrible effect. Here's where this guy's coming into place like the big, the big chunks, which by the way, we can still scale and move around. Don't, don't think that just because we build the cards in a certain way that we were supposed to always keep them like that. You're always always free to modify things. There we go. That's going to really help break up the surface right there. Again, blend, blend the hair together into, into this nice chunks. The fact that we're doing this asymmetrical, even though it's very symmetrical, like I'm having almost the same amount of cards on one side or the other. But the fact that the rotations and everything are not exactly the same. That's the kind of stuff that really helps sell. The fact that this guy is going to be slightly more special. It takes time, it takes time and patience. So don't don't rush this. There will be my one of my advices for this thing. Don't, don't rush it because if you're Russia than Thanks, Good. Started looking a little bit ugly. Let's grab this one right here. We're going to start adding this interesting strands. Gonna be kind of like flyaway is not exactly Flyways was just like, again to break up the surface here on the borders of the hair. Especially on this like big car that we have there, which is the main cart of the head, would definitely want to, definitely want to add a little bit variation. So it's not just straight here, like everywhere, right? So see how those little hairs they're really break up the surface. Maybe a little bit bigger. We go I forgot to move the pivot point there. Even if even if those aren't flying a little bit more than the other ones, I think that's fine. Because again, they kind of help shield the fact that we have all of this thick hairs that break the surface quite, quite nicely. And as we've mentioned before, whenever we wouldn't get to know if this is working or not working, we take this into, into marmoset to take a look, right? So we still need to do a little bit of trial and error. Now remember the breakpoints that I mentioned, like how we can use this guys right here as a really, really small like here, right here in the border. This is a technique that I saw a couple of years ago and it's really, really good. It might not seem like much. But just like adding this like little hairs on the roots of the, of the hair really help blend together. It's kind of like a masking the fact that the big roots are there, See that? So this is just a small hairs that high the fact that that's where the cards are being born. And the little shadow, the little occlusion that this guy skip, it really adds up. It really adds up to the whole the whole process. There we go. I'm going to freeze transformation and I'm gonna say minus one on next so that we flip it to the other side and the direction is reversed. We're going to use it right over here. Over here. It seems like they're not doing anything or they are not contributing as much, but believe me, they really do make a change on the batter. Might not seem like much, but it's quite helpful. There we go. Our hair is looking quite, quite nice. Now, the test, the final tests before we jump onto, onto the final video for this chapter, I'm going to grab everything here if you want to keep it. This is another tip that I keep some of my students. If you want to keep it, you can group this whole thing and then duplicate this group, hide this one, call this hair placement. And that way if you need to modify things, you can just go there or you can just combine and recombine. It's just a jury. I have a lot of notes. And then this one, the one that we just duplicate it. Now this one is the one that we combine. Always make sure to delete the history when you combine in separate, because you get a lot of transform, transform notes that are really well, they, they contaminate the scene. There's a lot of information on the scene and it's sometimes makes it really difficult to work with. Over there we go. So we're going to file, export this thing out. We're going to export this into our assets folders. Of course. Let's call this hair. We already have the eyebrows, the beard, and everything else. So let's go here. File import model. We import the hair. There we go. We remember to turn off for the hair geometry, turn off callback phases so we can see the back part. And then we just assign the color and look at that. Not bad, not bad. As you can see, those are the small hairs and I know I mentioned that it doesn't seem like they're doing much, but that will just break up on the silhouette really helps the whole thing. I might add a couple of them over here, but yeah, just look at how amazing this thing looks. Completely different characters. This is one of the other things about, about what's the word about like hair and stuff. Let's create a folder here and there we go. So the thing about here is it really changes the character a lot to hear. It influences quite a bit in how we perceive characters. So this is just like a traditional org and now, but just I didn't hear, he looks like the shamans were one of the leaders or I don't know. It's just one of those things that makes characters pop out more. And here is really, really important for the characterization of the character. Now, if we take a look at the poly counts, Let's just quickly review that. As you can see, it's not that much. We're only at 5 thousand, almost 5 thousand triangles for the whole hair. So it's really, really well optimized. As you can see, we're getting a really, really cool result. Here. I can move the light around with shift and middle mouse. And as you can see, we've got a really nice effect and we don't even have ray tracing turn on. Once we turn it on, their hair is gonna look even better because there's more realistic shadows and more and more realistic effect. Yeah, this is it for this one guys, I'm gonna have one more video for just some final tweaks. And there's a couple of color things that I want to change and then we'll be back for the final one. So hang on tight and see you back on the next one. Bye bye. 21. Hair Color: Hey guys, welcome back to the next part of our chapter. This is the final chapter or its financial. To find out this video in this chapter, we're gonna be taking a look at the hair color. Now there's two things I want to talk about. So if we jump onto the render and we take a look at the character of the hair. Looks pretty cool. I do think it's a little bit like a grayer than I thought it was gonna be. I want it to be a little bit more like a white color. So the first thing we're gonna modify is the color itself. As you can see, we have the texture right here. Easiest way Control L, which is our levels. And then just push this out a little bit more like push the white color out like this. But they definitely do want to add a little bit of darker color on the roots to give it a little bit more shallow in more depth on a new layer, as we've mentioned before, one thing I can do is I can just grab a soft round paint like the roots of the hair. All of the hair. So all of the routes. We can also do this with the ramp as we did in Maya. But I'm going to show you here and then just play around with the opacity a little bit. One thing I do recommend is going into the eraser and then changing your brush to something that's a little bit more interesting. For instance, analyte this chunky charcoal thing, as you can see if we erase. Now, let's go into the eraser. Sorry. Let's grab that charcoal thing. We can. Why is it doing that? That's really weird. On the tree of the charcoal is only a paintbrush counts seems like it. One Kyler eraser, natural brush. There we go. What we can do is we can add just a little bit of noise on the edges of the hair that it's not always so uniform. I know that. Sorry it right now it looks really ugly. I'll show you a nice little trick in just a second and just erase some of this. And now I'm gonna go Filter Blur, Gaussian Blur and blurred the **** out of this, as you can see right there. So now we're gonna have a nice little dark random root. And if we save this again and just as a target file, Let's do a Control Shift as you're going to have this one. By the way, you didn't have to do this if you don't want to. But this will give us a little bit of a different effect. There we go. That's more like it because you can see we've got this nice dark route and then we have a nicer like a wider effect that down there. So it makes him look a little bit older, which is what I was going for with this character. Now, the other thing that I did not do on the original textures, and I want to show you how to do it right here, even if you don't have access to this file, I just want to show you how it can work. Is a wind that we are planning this or a thing where the hair is gonna be ensuring usually the follicles leave a little bit of pigment, a little bit of color. Right now as you can see, there's no color, there's no pigment. And having that sort of pigment onto texture right here can really help out blend the hair with the rest of the character. So I'm going to create a new layer right here. Very easy to layer, color layer. We don't need to play with wrongness or anything. I'm just going to select a dark color like this. I'm going to right-click add the black mask here instead of substance. Again, this is a file that is not included on your folder. I'm just gonna I'm just gonna, I'm just showing it so that you guys know World War, what we're doing. I'm going to turn on symmetry right here. I'm just going to start painting where I would expect the follicles to be, which is all of this area, this or like darker effect on the, on the hair. It's gonna be a really, really good to blend all of the hair that we have here. That way, if we see a little bit through the hair, through all of the strands that we have on our elements. We're not going to see just the orange skin and we're gonna see a darker, shadowy, shadowy area. And that's going to make it blend a lot, lot more. Let's keep pushing here. As you can see, I'm not doing a flat color, I'm doing this or like blend with, with little dots and stuff. Because this is going to give me a way, way better effect forward what I want. We could also do a little bit here on the, on the eyebrows, just a little bit on the beard as well. Down here, all of this buret, we can do a little bit of this blending. It's kind of like again, like painting the follicles of the character. You've probably seen this when the character loses its hair on the game or something you see like it's painted like a Catholic, a haircut. Very, very common to do this district. We go. Now one thing I'd like to do is I like to add a filter. And again, blur this things a little bit. It looks more like a shadowy effect rather than, than just the thoughts, I'm gonna set this to 0.3. And that's it. So let me save my follower quick. And when you are exporting from substance, I mean, this is something that we covered in other places, but we can just export the textures here. There we go. Just export. Let me open up the directory. This is the original output. I'm just going to Control C disguise. And again, you don't have to worry about this. I'm just showing you because I wanted to make sure that you guys have all of the information. I'm just gonna copy and paste this right here, replace them. This should replace an enormous hit. And as you can see now, we have this nice little dark color over there again, if I turn this off, you can see that the color is there. If you need to make it a little bit more intense, feel free to do so. But that can thing, that extra little punch really, really helps give the depth or the proper depth to the character. So there we go. One final thing that I want to show you guys really quick, it's a turntable to showcase all of this amazing thing that we've done so far. Let me get the brightness down a little bit. There we go, a little bit more cinematic. I'm going to go into this slide and just increase the brightness a little bit more, maybe the distance so the shadows are a little bit softer. There we go. And now what I'm gonna do is I'm going to go into seen at object and I'm going to add a turntable. Then down here on the turntable, I'm gonna place at the two lights, lighter one and light to their inside the turntable. Now, if I go to the Animation section, I can play this and the lights are going to move around. And as you can see, we're gonna get a really nice representation of how the hair looks throughout this whole thing. If I pause it, the what's the word? The the GI the GI, sorry, the ray tracing will take on it kick in because it doesn't work when this thing explaining. But if you render this out, you will get the final, the final element. Now, you could also bringing the, let's say we bring the lights out of the scene. Brings him out. There we go and we can bring the ogre at the eyes and the group, which is a hair Internet turntable. And now what's going to rotate? It's going to be those guys. The only problem is that there's, of course no back here. So it's gonna look really, really wonky. It depends on how you want to present your work. But as you can see, this looks pretty, pretty good if you've made it this far, guys, if you've finished this first project, the ogre project, then congratulations. Bulimia is not asked ECSC, the mice seem tricky. It takes time. I know I sometimes might make it look a little bit easier or just like very straightforward, but you need to practice it, you need to do it. You need to make sure that everything is as following in the way that you wanted to work. And just keep pushing, keep pushing. Follow the instructions that we've seen so far. And yeah, that's pretty much it. Now for the next videos, for the next chapter, we're actually going to be leaving mama said behind. And we're gonna take a look at the setup that we have four here inside of Unreal Engine. So make sure to download Unreal Engine five, which is the version that we're gonna be using. I'll be explaining a couple of more things about the files that you're going to need in the next couple of beavers? Yep. Thank you so far, guys. I'll see you back on the next one. Bye bye. 22. Unreal Overview: Hey guys, welcome back to the next part of our series. We're going to continue with chapter three and it's time that we started looking at our Unreal Engine. Unreal Engine is one of the biggest game engines out there. It's available for free for anyone to download. I'm going to explain how to do so in just a second. But before we jump there, this is a chapter I really want to focus on talking about the theory behind what's going on here. On real has been the pioneer in photo realism for games for last couple of years. They're not the only ones. Of course there's other students and other engines that tried to do the same thing. But the real has been creating some amazing, amazing stuffs. And a couple years ago they launched a game, some of you might remember called paragon. In paragon, they were trying to compete with League of Legends and the dough and stuff. And they created this mobile game for Unreal Engine five. Now our real an Epic, they have something really interesting that they'll not know what other people think about. They're not really a game company there, another game studio there, an energy company. Their main focus is to create games or create content that people are going to feel inspired bad by the, by the engine or juicy engine and they, they then can collect their royalties from that. So paragon was never meant to be like the League of Legends killer or anything like that. It was meant to be a showcase award was possible to create with the engine. They created this amazing looking characters for the game, this super realistic characters, this major and stuff. They're just amazing, great characters. Now, the game eventually collapse. No one played that anymore. And not only did they cancel the game, they give you the week for free. If you go into the marketplace on the Epic Games and you look for a paragon. Right here. You're gonna find all of the different characters that they created for paragon, the Orcs, the girls, the aliens, the robots, everyone. You can download the characters, import them into your project, use them for your own projects. You can create the game with this characters and it's within their terms of service, I believe. But the most important thing that the one that I find the most interesting for us as people who want to learn more about the pipeline is that we can actually study the characters. We can study what they did to create this amazing looking elements. If you start diving into this, you're gonna find the Baghdad real engine for. They use this thing called the photo-realistic character. And the photo-realistic character is made out of several shaders that they're specifically designed to get you the best possible result. We have a specific ski shader with the maps that you're supposed to get? We have a specific specific hair shader, again, sorry, with the maps that you're supposed to get. Here's the comparisons and stuff. All of this is on documentation, by the way, on 4.27, which was latest release for Unreal Engine four. This is the cap that we talked about before with the ogre. Of course it's a little bit more complete. All of the planes, the maps, we've already know how to bake all of these maps that diffuse the APA. Look at how many pieces they have. 1234567891011121313 pieces. So as you can see, it's not uncommon to have a lot of cards per each strand are pretty texture sets. This is where things get a little bit tricky. This is the hair shade or did they create her? However, it's not clear and I did a lot of research to try and explain this to you guys in the best possible way. But it's not clear how all of this maps get into this one right here. The reason, one of the reasons is they actually built a really, really, really complex hair shader to generally like a super nice effect. The hair shader we're gonna be seeing throughout this chapter is one that's really useful. It's gonna give you a Mason results that what you're seeing right here. But let me tell you, it's really expensive, extremely expensive in regards to performance. So if you're trying to do a like a mobile game or something, this is not something that you'll want on your game because it's just not gonna work, okay? It's, it's a really, really complex shader, but as you can see, you can get some amazing results, amazing, amazing result. This is the flow map. We already know how to do this one as well as the direction. Now, how do we access that shader? Because it's not something that you just click, right-click and create the shader. It's actually kind of like hidden. If you go here to the learn section, I'm sorry to the yet the learn section. And you scroll all the way down here, you're going to find this character right here. This digital human. This digital human is a scene where it has all of this information or all of the information that you will normally need to setup a realistic human. It's this demo like this character, you're a senior here, you can see how they build this guy right here. Now, if you go to your library, you're gonna, you're gonna go here to again to the learn. You're going to click this guy. You're gonna say by or download the whatever. It's going to give you the option to create a project. And even if you don't have the actual project itself, don't worry, or the diversion, you don't need to downgrade the version, as you can see right here, I actually just a, I open the project and the way to, when I tried to open the project, it asks me which kind of element I wanted to use. In this case, it's this one, the five points here. If I double-click this guy and we open the project, we're gonna be able to take a look at how they handle the whole hair creation. And again, as I mentioned before, it's really complex shader. I, I'm not well-prepared enough in a real to be able to explain to you all of the different things that they did. But I can show you the workflow to utilize the shader acid-base to create our characters. So we're gonna be using this project. Very important for you to download this digital human project. Because we're gonna be using it. As you can see, we're using it. We don't really engine five, which is gonna give us some other tools. But other than that, the shaders should be working pretty, pretty much the same way. So this is the scene, as you can see, this is I don't know if this guy has a name or what. We look at the hair. It just looks amazing. It looks really, really cool and we'd like the shininess, the scattered the shadows, everything looks really cool. These are all hair guards in might not look like them, but they're all hair carts there right now using a specific element. Now, if we go here, I like going to the characters and go to this shared. Shared. Where was it? Maps? There we go. This is that the digital human map, as you can see, there's little human. So I'm going to go to this simple bust. Real quick. There we go. This is the character from paragon. This is the character in a work seriously right now, the exposure is a little bit too intense, but that way we can really see how the Harris as behaving. And you can see it looks pretty, pretty nice now, this is one of the things that I've mentioned before, depending on the lighting scenario of your shot, of your game, of everything, though here is going to look slightly different. That's why it's very important to start tweaking and seeing how things are looking inside of your engines before just like exporting everything because you might need to change a couple of things. Here I'm gonna go to, there's an option for the, I think this one's a little bit too overexposed. There we go. I turn off here on perspective or sorry, LET, I changed this game settings and turn off or down D, the exposure. That way we can find a nice, a nice badly That's not overexposed and we can appreciate the hair a lot nicer look at that. Amazing. So if you click this character and you go down here, you're gonna see all of the materials that were assigned to this character. And you can see that we have the eyelashes, that's a specific material. We're gonna talk about eyelashes as well. We'll have the eyes appear, line everything. And then we have this Herat bus diffuse, diffuse instance. I'm going to click this little button right here. We're just going to browse to it and you're going to see that it's right here, instead the bust materials and instead the materials section. We have this here, bus diffuse instance. If I double-click this one, we're gonna get this. And this is the actual shader. You can see the hair cars they're doing their job. They might not look great on this like a sphere on this demo, but this are the haircuts. Look at the color. Remember how I mentioned that they do like some crazy stuff with a color. And as you can see, something's really, really interesting is that we're not going to be controlling the shader, like where we are, how we did it on mama said it's actually going to be with parameters, brightness robin is a scattered. All of these parameters that we're gonna be talking about later on. Here is where we're gonna be inputting detectors. As you can see, this material right here is expecting to receive amount of textures, in this case five, it's expecting to receive the Alpha, the depth, the hair, their roots in the hair ID. Remember the ID, the object that either we talked about. It's not expecting to receive the normal map. We're not going to be using a normal map. It's not expecting to receive a curvature map. We're not going to be using the curvature habits using different maps together. Pretty much the same result that we have in the environment. Now, this one right here is an instance you can see there under naming says MI, hair boss diffuse instance. Instance means that it's not the original material, rather like a copy of the material. The original one is this one, but even this one, this MI hair bus, it's also a material instance. What we need is we actually need to go to the original material. How do we access the original material to see how they built everything? Because right now we only seen parameters. We're only seeing all of the things that they used to create everything, but we're not actually seeing the material itself. Well, if you double-click on that material, you're gonna go here. Down to the very bottom. You're gonna find this parent, and this is the one that we're going for the hair sheet Underscore Master to. If we again browse to the asset, this is where we're gonna fight hair sheep mastered. This is not an instance. This is the original material and be prepared because this is gonna be quite mind-blowing. This is the material, all of the attributes that we see in all of the information. This is the construction of the material. It's insane, insane, as I'd mentioned, this is super, super, super complex. And it's just, it's just too much like again, I'm not qualified enough in a real engine for it to even begin to explain wall of this things do, I can kind of give you an idea, as you can see, here's the color notes. So it's doing some colors. It's grabbing some parameters, instead of using a texture is creating some parameters so that you can change the color of the hair without needing to go into Photoshop. Here is if we're using textures for color, the Sadler that we get there. So a lot of things variation, backlight occlusion, PDO, I didn't even know what PDL pixel depth off said, There we go. That's what it stands for. So the movement, a little bit of movement, an adult woman's, the depth. Here's where we're gonna be using the depth channel to blend them together, the tangents. So there's a direction map right here. So yeah, as you can see, it's really, really complex. But here's the cool thing. Sometimes we as artists, if we're not in the programming, settle things. The only thing we need to make sure is that our workflow will work about to be creating the hairstyle. Everything work nicely with this thing right here. So as long as we can utilize all of this information and feed it the maps that we were gonna be creating and make it look good, then we're perfectly fine. Yeah, this is pretty much it. So this is the material that we need, essentially what we're gonna do instead of the scene, we're gonna create a new and we're gonna be using this scene by the way, like with all of this lamps and stuff. These are just like normal spotlights, very similar to what we did in the pharmacy. As you can see, that's one spotlight here. Once wildlife here, once wildlife here, we have a little bit of the skylight to feeling all of the shadows and our cinematic camera over here. You're free by the way, if you want to try something else like this bust outdoors, let me open a real quick, as you can see, as long as soon as the shaders work a little bit better, you're going to see how everything looks nicer. If you want to play or do it in any of the other scenes, you're free to do so. But this is the project that we're gonna be using. We're gonna be building both of her characters, the male character and the female character inside of this, of this break, that's why it's very important to get this one. Now you might be confused because I was confused while preparing this class. Like, why can't we grab, for instance, the Meta human one right here. On the Learn channel. We had the metal humans, which if you have heard about them during the evolution of the project. That's why this one is now on the legacy samples because it's not that it's not working anymore as you can see that it is working. But now they're trying to push for even better technology. Maybe humans, we'll, we'll talk about this later. But the way they handle here, it's a lot different than haircuts and it's a lot more expensive as well. So it's not as easy to get into matter human into a game. I mean, it's easy to get into a game, but make it perform well, might be a little bit tricky. So I don't want to save any changes. There we go. So this is the outer edge or the exterior. Let's go here and turn on game settings again. So this will be the exposure to they're expecting us to see. And as you can see the lightning, we'll change the way your hair looks like This doesn't look bad, but it doesn't look as good as the cinematic. So it's very common for hair to look a little bit weird in a certain lightning scenarios. We also have this one, the Siena bust, which is a little bit more, should be a little bit more cinematic. Whereas there we go. Do they change anything here? That's weird. Anyway, I'm gonna be using the simple bust. I really liked this scene. It's really standard, very similar to what we have. We can later change the intensity or the colors of the lights and we're gonna be able to appreciate the hair. Really, really cool scenario. So, yeah, that's it guys. Now, I am gonna be doing one of them well before we jump onto our male character. And that is I'm going to show you how to bringing the maps that we did for the ORC and for the auger sorry. And the and get him ready hearing from real engine? Yeah. Hang on tight. And I'll see you back on the next one. Bye. 23. Unreal Setup: Hey guys, welcome back to the next part of our series. So before we jump onto the creation of all of the haircuts that we saw in the previous chapters. It is important that we set up our scene so that we can start comparing things in the best possible way. I'm going to show you how to manually set this up inside of this scene right here, which is a simple boss. First of all, I'm going to right-click this and I'm going to duplicate the scene and I'm gonna call this key fleeing or render. I have repair another character for you. This is another one that I worked in one of the classes that I teach. I named him Sam Ross. Sam rose is the name of this sandwich. Sarah most has the name of this stiffening. And in your asset folders you're gonna find a d t fleeing different eyes and then two sets of textures. One for this one is called to SG, and then this one is called three. S21 is for the horns and the other one is for the body itself. Down here, It's very important. I'm going to create a new folder called Sam Ross. His name is almost like Sam rose more. I'm gonna call him Sam Ross. Summer also the team fleeing. We're gonna have this folder right here. There's two ways in which you can import things into your real folder. First of all, drag and drop. Very, very obvious right now. As you can see right now, we don't want to do anything, just leave everything as is. And you're gonna have your two elements right here. We don't need nonlinear or anything. As you can see, it's also importing some materials are those we can use. But I'm gonna show you how to build a material from scratch. I'm going to delete this thing right here. Fours lead, horse lead. And we have the horns, we have a couple of other pieces. You can just grab all of them right here. I think kind of seems like we're having double the amount of elements. That's really weird. Because these two teams to be the same one. That's weird. The flame ice horns? Definitely. Okay, I'm going to use a thief link eyes. I think in the eyes we have everything. Just drag and drop and I'm going to 0 this out over here. It's right there on the origin. And as you can see, we have our character right there. Yeah, This one right here. We don't need to really, let's just duplicate without the ice. So let's just now, the first thing I need to do is you need to set this up properly. Why is this like so tiny and so out of the skill? Remember sometimes when you work on a DCC applications such as myo or blender and you bring it into an engine, scales and relationship might not match up perfectly. In this case, I export this as an OBJ. Obj is do not retain all of the same information. So it's going to rotate this 90 degrees to the front, as you can see right here. I'm going to scale this by ten. So if I change the scale to ten, you're gonna see them. Now we have a scale of ten for the character. And this should match pretty closely to what we had with the character. Remember, we were doing this on a different senior. We're not modifying the original scene. And as you can see, this looks pretty, pretty, pretty cool. Now, that's one way to import. Thanks, just drag and drop us a shout at the other ones. Just right-click and hit Import to games. And it's going to import exactly to this specific place. Let's go right here. Let's go to documents, sorry, our project assets, sam Rosetta feeling, and we have all of this textures right here. As you can see, there are six textures in total. And this is a really cool thing. I mean, we also have something very similar and we talked about this in marmoset, but in here, remember that this mass right here, the ambient occlusion refers metallic map is actually saving tree textures in one single map. These are for K-maps, by the way, they're really high. But that way we can get some really cool renders as well. I'm going to double-click this ones first. And the only thing you need to make sure that it's set up properly is this sRGB? You need to set this off and just hit save. Close this window. Opened this one up, said this off. Click Save, and close this one as well. That will make sure that the colors are not linear as I think that was a good moment to explain why that happens. If you've already heard this explanation in all of my other tutorials, then that's fine. But if not for those of you that are new to this, usually, computer screens will modify the values of black and white pixels or every single pixel. And they will tend to push those values into something like this, like a curve like this where blacks are a little bit darker than what they're supposed to be in white are also a little bit wider than they're supposed to be. What we want is we want to linearize this things. We want whites to be whites and blacks to be black so that we don't get any weird result. And it looks exactly the same as it did Substance Painter. What we do is we do this color correction where we eliminate this thing right here and we bring back the values to the original. So the sRGB curve, what the sRGB curve does is it switches the values from this red line to this sort of like BlueLine. I didn't remember exactly this. It has to deliver more with post-production if the curve is like this or like this. Well, the point is that the sRGB switch changes the way things. That's why things tend to look a little bit darker or a little bit more washed out. When we remove the little switch now the colors are going to behave properly. So to create the materials, so I'm going to go into material. I'm going to write the first one. Let's call this skin deeply. We're going to use a basic scheme we're not going to do, maybe we'll do some surface later on, but for now we're gonna keep it really simple, just using the material that we have here. So we'd drag this three maps over here, just select them and drag them. And now we need to connect them. Of course, this goes into the base color, this goes into the normal map. This goes into the ambient occlusion. This goes into the roughness, and this goes into the metallic which we don't have anything metallic, so we could even leave it, leave it at the outlet. We don't really need to connect it. And there we go. The only thing we need to do is drag and drop this onto our character. And there we go. So yeah, that's it. Look at that. To print a nice skin, I do think the glossiness little bit higher right here. A little bit interesting. So I'm gonna show you a quick little way to fix this here inside of unreal without having to go all the way back to substance and stuff. So we know that the roughness, how shiny or not the characteristic right now, is controlled by this green channel. We can drag and drop and multiply this by a value. So remember if we multiply a number by one, we get the exact same number, which is what we have right now. But if we multiply this value by a number lower than one, we're going to decrease the boundaries because we're multiplying into a lower number. So we did like 0.5, like this and we save. Now the amount of roughness is gonna be decreased because or in this case, it's going to be increasing. So we actually need to multiply it the other way around. So let's do two. Because remember are the darker, the color gets the rougher, it's going to, the darker the color gets, the Shinjuku is going to get the lighter it gets, the higher. If you multiply it by two, as you can see now we get a very matte skin, which is also something I don't want. So let's do like 1.2. This is a quick and easy way to play around with the materials and, and get a value that looks a little bit nicer to look at that. That looks amazing, cool. I like it. I like that color right there. That's the multiplier value. Now let's do the exact same thing for the horns. So I'm just gonna write M underscore inborn, little S there, and just double-click here, do the same thing, grab this treemaps, drag them into the sample scene. We're going to drag the color. Drag the normal is the ambient occlusion, green is roughness, and blue is the metallic. We don't have any metallic again, you don't really need to connect it, but it's, It's a good idea to do so. We just drag and drop and drop this into the horns. So again, I can see that the horns are a little bit, a little bit shinier than what I would like to see on this character. So we're definitely going to reduce this as well a little bit. So same exact technique. We can just go here, drag and drop for jump from the green channel, right? Multiply. And we're gonna multiply probably by 1.15, just a little bit less, less rough or more rough in this case, a little bit more rough. We quickly save the shader and there we go. That's looking a lot nicer, looking at that beautiful. One thing you can do, It's pretty cool. Again. You can grab like over the slides. And if you rotate them around, you can kind of see how this thing looks. It's not gonna rotate around the center point right now because they're not grouped. But at least we can see how the skin is looking. I do think, I think so. Surface will really, really push the character. I don't have a subsurface mask right now, but I'm going to create the one in the next couple of sessions and I'll show you how to connect it for now. The one thing that we can do is we can go here to this option right here. There is an option key on the shading mall to change this to sub-surface. If we hit Save, What's going to happen here is the whole character is going to glow now, as you can see. So now there's like subsurface going through the character. We're gonna be modifying this later on to, to manage where we want the subsurface surfaces. I would say relatively simple to build later on. For now, we're going to keep it just like this default skin. Now for the eyes, I don't have to extras for the ice. So in a very similar fashion to what we did with the org, I'm going to create a new material right here, just right-click, create a new material called it M ice. And it's just gonna be like black shiny eyes, but we don't have any textures. How can we modify the values here? Because there's no values like in marmots as well. Here we need to create variables. They are called parameters that we can tweak and modify as we, as we want. So what I'm gonna do, I'm gonna press number one and just click here on my, on my screen. It's going to create a float value, the number anywhere between infinity, negative infinity to positive that we can get anywhere we want. So for instance, on the base color, I want this to be black. And if there's a 0 that's black, I'm going to create a new one. And this is gonna be my roughness. And again, if it's your personal roughness, As you can see, it's gonna be really, really glossy. And if it's a 100% glossy glossiness or a rough, in this case, there will be one that will be completely met. So of course we want this to be shiny, probably like 0.05. I'm going to say 0.05 because I do want this to be shredding it, but not super, super shiny. We can define how much like metallic metal, metallic effect we want as well. Right now, we have serum metallics is just like a, like a really shiny plastic is not looking like metal. But if I were to change this value to one, what's going to happen now is this is going to start behaving like a metal. So we might see slightly different reflections. I don't think we really need this right now because since we don't have anything on the scene, there's nothing to reflect and that could be a problem. So I'm actually going to keep it just like this, a very shiny and get just like a very shiny. I was gonna hit Save like that. And that's pretty much it. Just drag and drop this into the ice. And there we go. It looks really creepy, I know, But tip links are supposed to be like this edema in spawns from health. So I think this makes it look quite, quite convincing, if I may say so myself. So, yeah, there we go. The set of here in the inside of onset of what's the word? Instead of on real is ready. Make sure to hit over here just to save icon so that everything gets saved. If you trace to close this, you're also going to get this saved content where you can save everything or you can hit this button right here, which they save all. And you're gonna save all of this section. Now this is very important when you create your project. All of this assets are now gonna be saved as Dui Yu assets. So you won't be able to easily get this out of the US said you can explore them, but they're gonna be a different format. So just make sure that you are aware of that because sometimes people get a little bit confused when they can't find the file seemed like their original PNG or OBJ format. When you save this here instead of from real, he gets save as Hugh assets, assets that Unreal Engine is going to specifically use for its own purposes. So, yeah, now we also need to do a quick setup here inside of Maya. So let's do it real quick. Let's go here into our, into our character. I'm going to drag teeth link eyes because I think everything is in here. Now here's the deal. You guys remember. And this is very important that hearing are real. We modify the character, we scale the ten times and we rotated 90 degrees. So we don't have to rotate this 90 degrees over here, but we might have to do that with the beard or the hair that we're gonna be doing later on. What I do recommend is scaling this ten units as well. So I'm gonna say ten units. He is like this. We don't need the grid anymore so we can work here. It doesn't really matter because eventually we're just going to export everything into Unreal. You could also just re-export this with the proper measurements in proper position here I have my own, but I think this one's working quite nicely as we can see here, the proof point, this surveying, it's like if the grid was up there, that's fine. And this is the one that we're gonna be using. We also need to create the materials here. So let's do this real quick. Should be fairly, fairly easy. So we're going to go Arnold, let's do an I in this case, I'm gonna show you the AI standard surface. I think we did use this one right before. Just making sure. So let's do the skin first. Again, just drag and drop this tree, tree textures. Another way in which you can get the normal map, for instance, is going all the way here to geometry and then creating a bump them up north with a file node. And as you can see, here's the connections. It's just a matter of believing this guy right here. The out alpha goes there. This goes into the tangent space normal, very important. This one super important. This has to be set to raw utilities. And that's it. Now one thing we're gonna change because we can change this in just a second, because this is supposed to be for Unreal Engine, so it's Direct X. Remember that this is gonna be green, That's the specular roughness. Blue is the metal and we don't have any illness and this will be the locution we don't have. We don't have to add the amino Cushing's here in my, I usually don't add it by the way because it's just makes things a lot darker. So I don't like it. And let's grab this guy, let's call this m skin. We go grab this guy, assigned the system material, and there we go, press number six. And as you can see, we see the skin tone map is going to allow us to see it a little bit better. Normal map is looking good. I mean, this is more than enough. As you guys remember, you guys, you can see already painted a little bit of the beard that we're gonna be working with. We're gonna be doing a beard for this guy. And the, yeah, let's do the horns real quick. So you can click this little button. Do not delete this material. Very common mistake. People delete the material here thinking that they were cleaning the like the work area. Do not delete that. You're gonna delete the material, go to this little sparkly thing is, and just click there. That's going to clean the area. Now I am going to press Arnold and I send their surface again. We're going to call this m underscore horns. There we go. Go to your followers. You can just drag and drop this one thing I like. Most, most 3D softwares nowadays allow you to just drag and drop textures. Back in the day, you had to always navigate into the path file. So base color goes into base color. Normal goes into the normal. If you need to create the node by default, just hit tab and then bump to the out. Alpha goes into bump, bump to the becomes the tangent space normal and then the abnormal ghost into the normal camera. There we go. Make sure that the alphas had two raw. And that should look good as you can see it right there. This one also needs to be set to row, by the way, I forgot about that one. So I'm gonna set this to Roswell. And the gangrene in green is the specular roughness and blue is a maleness. There we go. So if I want to go back to the other material, I can just select this askin, click this little two icons right here and it's going to bring them back. Select this guy again, change the utility back to that. This is properly working the way it should. So like the horns right-click sign the material, and there we go, That's the horn material. And that should allow us to work. If you want to see the cool, creepy eyes, Let's just add a new material. Let's just do an Arnold same thing, AI standard surface. Let's go into the color. It's going to be black color and a little rough. There we go. That was gonna be like that. Of course, if we add a light like the ambient light or wherever, we can see a little bit more glossiness. Remember you can just go here, Sky them light. We add the file. We can add the same studio that we've been using so far. You hit seven, which is the light. You're gonna see the roughness of the characters and normal maps and everything working quite nicely. I'm definitely gonna go to this guy. Let me see if I can reduce the exposure here because it's white way to expose. So like a minus two, minus two is way too little. So minus one is fine. Grab this guy. I don't like to see it. So it changed the scale back to 0. And that way, I mean, it's just a cool little thing. We can definitely turn on ambient occlusion, little bit more shadow, anti-aliasing software effects. And I guess we already modified the glossiness of the character if you want to modify it here, you can also add a multiply node. So for instance, here on the skin, specially, the roughness is way, way too high. So we're gonna add a multiply, multiply, divide. The green channel, is gonna be to open this inputs. The green channel. It's going to go into the input one x, and it's going to multiply by the input to x. So if I multiply it by 1.3 and then output the output x into the middle necessary into the specular roughness. There we go. That should make the skin slightly less shiny. Just basic math. I know it seems like a lot of notes and a lot of numbers. It's just basic math. We're multiplying one number, one set of values that are coming from this image by another set of values that are going through this unknown. And that's gonna be the new result that we have here on our material. And that's gonna, it's gonna give us this effect I get. I normally don't work with light. I know Morley work with flood stuff and some people like to see the whole thing from the get-go. Yeah, just just be mindful about that one. This is said guys had the setup is ready. Our scene, let's of course say this. It's going to be Sam Ross called the setup. The, our, myosin is ready, are unreal. Scene is ready. You can see non-real on my army, come on, come on. This is way, way, way better. This is why we could see in a game on the cinematic. And this is what we're gonna be working with. So yeah, hang on tight because on the next one we're gonna be taking a look at reference. We're going to create our reference word we're gonna apply now what we're gonna be doing with this character, and then we're gonna get ourselves started. So hang on tight and see you back on the next one. Bye. 24. Gathering Reference: Hey guys, welcome back to our next part of our series today we're going to continue with the chapter three with the thief link that we're working on and we're gonna be talking about reference. So here in Photoshop, I actually have a nice little scene and I'm gonna be doing just some quick sketches to kind of get an idea of what I want for this character. This is, as I mentioned with the older character, this is always super, super important because you don't want to just like go blindly into any project and hoping that you will find your answers while working on. That will be it really, really bad way to approach something by doing a little bit of planning here. Just look at quick drawing that could be more than enough. For this one I really wanted to go for like a big beer. We're gonna be doing long-haired and Brides for our character, of our female character, which is gonna be the, the last projects I really want to go for like a really cool sort of like biking beard. I will really did like his mode goatee, but this one's gonna be like a really, really fashionable were of course are gonna need and we're gonna have to do, yeah, I rows. So we're gonna have some eyebrows were definitely need to eyelashes as well. We didn't do eyelashes for the ogre with where there's one that we definitely want to have a little bit of eyelashes. So I'm just painting this color-coded. Thanks so that I know what kind of stuff I'm going to need to add eventually to my character. So that will be something like that. Now onto beard itself, we need to decide what kind of beer we want to have. We won't have a really like smooth and silky beard. Do we want to have like a super scruffy and damage beard? Are we going to have hair, for instance? And I think here would be cool. Now we've already done a little bit like flowy hair down here. It might be a nice idea to do some, some hair to the top. What do you guys think about the Mohawk? Mohawks are always kind of cool, but I'm not sure if it fits this character because we already have, from a visual standpoint, from visual the sign, we already have the horns which are really like visually impactful on the top side of the head. So we might not want to add anything else. I'm thinking about this and again, this is a little bit of research that I did before. People that have beards tend to be bald, not everyone, but the more intense the beard, the boulders sometimes people get because testosterone, those this kind of thing. So you're going to have characters that look a little bit like this. Of course, cradles from Gulf War. He said, a perfect example of the sort of effect in this case, since we weren't to go really crazy. I want to go for like a door been dear. So we're gonna take a look at some of some periods from Lord of the Rings and The Hobbit. And we're gonna be using that as a sort of inspiration. I did look into TIF links. So if you look for teeth link beards, most TIF links are this roof like SLI, roguish archetypes. So they don't have where they don't have as much here is you can see they have this very slick looking cuts in hairs, but we're gonna be doing something like that for our female character. So I wanted to do something a little bit crazier for this guy right here. But this guy, this security that they came up and he supposed to be a barbarian. Barbarian is hard this like super rough where we are like Look at that, That's amazing. That's pretty cool. So yeah, Something like this would be amazing, right? This is what we're gonna be trying to do. I do want a longer beard, though. That one looks cool, but I think we can go for something even more open, more intense. If we take a look at the doormen, be yours, we of course need to find some nice our reference. We're not going to do a lot of, a lot of breathing right now because again, we're gonna be talking about breathing on the next one. But for instance, Gimli game gleason, Excellent, excellent reference point. This guy is right here like both war and bombard. I don't remember the names of all of them, but this is a kind of stuff that I'm going for. So let's just take a quick look. Decimal, this is amazing reference. Kind of like a chopper guy. So I'm going to bring this here into my, into my pure file. And let's start building up our reference. This is really good as well. Yes, I've mentioned I wanted to go for this or like long barbarian looking beard. Let's take a look like this or a reference even though we might not use all of this stuff, just like getting D. The general idea. All of this stuff is really, really good. So as we've mentioned before, gatherers much references you want now real-life reference, real-life reference are also super important. So I'm going to look for biking beard and that you're gonna get a little bit more like actors and costs player guys and stuff. I really liked this one. It has two tiny braids. I think we can do, we can do to tiny brights. There'll be pretty cool. This is amazing as well. Copy the image. As you can see, they're quite ball like most of them are really, really short hair or dark. Kinda like balding a little bit. Now, it might be a good idea. I kind of like this, like this very interesting effect. Maybe, maybe something like that would be a nice ADS. Well, let's go into Photoshop and just draw this a little bit. Kind of get an idea of how this would look like. A small little like Herr Von, that kind of looks cool. I think we can make that work. Yeah, that one's a nice, a nice one. This looks fake. Very important not to go with fixed stuff. Because if you grab it like this as your reference, I mean, come on. It's gonna look a really, really bad. So you always, always, always want to grab us as much real-life references possible because that's the kind of stuff that we're gonna get. I'm still not decided on the color. We're probably going to go for a reddish color. I think that'll be quite cool. So something like this color, It's amazing. That's the kind of hair that might look quite cool on the character. That way we can also do a little bit of top here because those tend to be shorter looking carts. And it has the trig with those cars is a little bit more with a little bit more to do with the placement on the cards rather than the construction. The construction is pretty similar. This will spray cool as well. Yeah. So this is the general effect that we're going to go for now. Normally I would bring this into ZBrush. But to keep things a little bit lighter, we can actually do this here instead of Maya. And what we can do is we can just, just simple shapes to give ourselves an idea of where the volume of the hair is gonna be. For instance, as we were mentioning this upper like hair right here, like this sort of interesting. In fact, we can just add his fear here and play around with this sphere to give us an idea of how the general volume of the hair is gonna be occupying the character. Now, why am I worried about the volume Andy, Andy like the flow of this character because at the end of the day, see Louis like a really important thing for every single character having this sort of thing. Let's assign the new material. Let's just do a basic like Blowin written material. Gonna go for this dark, dark orange material. There we go. Maybe a little bit more eccentricity, less picker rolloff. I want to say a little bit more with color. There we go. Then I'm going to duplicate this guy. This is gonna be like the little pony tail that the character will get. And as I mentioned that it's really important that we see the silhouette of the character. We like this. You would have the character because if we see this yellow them, we don't like it. Well, of course, we need to do some fixes before moving forward. So for instance, there I'm thinking of a maybe a little bit more volume. I'm going to go up another sphere. I'm going to use this sphere to give myself an idea of how I would expect that the general beard to look. So I'm gonna grab this vertex right here. Just like start pushing kinda like it's very similar as if it were a sculpting and that's why I mentioned that you can do this in ZBrush if you are familiar with software. I don't want to add more stuff into the information because it might be a little bit too much. But we can just get the general shape of how we want the hair to look. For instances will be like the beer right here. Definitely wanted to open a little bit more like this. As we've mentioned with the ogre, here, really, really changes the way a character looks. That's where it's super, super important that we get something that looks cool. There we go. That would be like the beer I like it. Let's add the same like a balloon material just to get an idea of how this thing is gonna look. It looks nice. Let's go forward like the mustache, mustache, more stretch. Then we're gonna go for a small one that I really liked. This one right here, like a trimmed mustache, not not super intense. We can still see the little tattoo on the upper lip that he asked. Let's grab that sphere right there. Push it forward. Give it a sort of like must techy look. Place this right here. Again, we can describe this birthday was still have self-selection turned on. And we can just roughly shaped the element. This is more about getting an idea. That is why, again, gathering reference and planning is so, so important. Because if we have a cooling clean idea before moving forward with all of the things that we need, then that's gonna give us a better effect. Let's mirror this to the negative x axis. There we go. Definitely need to bring these two guys together. Just scale them down. Let's assign the same material to doubling one. There you go. As you can see now, that there's definitely looks like a cool character. I can see that the little like the hair and the little pointy till that we're doing that right here, it's gonna look good. It's not really breaking the silhouette or competing with the horns. So that gives me a good, good the general idea, I think this point till might need to go a little further back. Then. Push this guy's forward a little bit more. Just a little bit. There we go. Yeah, that looks a little bit better. That way when we see like a backfield like this, we can see a little bit of, I think they called this the man bonds nowadays. Then we saw something here that I really like some small beards, this ones, this is a more like what's the worst small brights right there. I'm gonna show you a real quick how can, how to do a quick little bright. This is not gonna be the final brighter. We're gonna do it a lot better. And I'm going to create these cylinder and give it a lot of resolution. And the subdivision height pole like 20, make it the thin embrace are usually made out of three elements. So I'm gonna grab this guy, Control D, move it to the side. And then Control D and move it to the site. Grab all of those three guys, combine them into a single object. I'm gonna say deform, Non-linear twist. And we have this start angle and this angle and we push this guy's to opposite sides. As you can see, we get this very nice breath. It's not exactly a break because I have to go in and out up. That's why I mentioned that we weren't gonna be doing this later on. But it looks quite nice. I'm just gonna say mesh smooth to give a little bit more resolution to make it look nicer. And let's do the history freeze transformations. So this is free. Again, we're just going to move this thing to the side. Let's make a little bit thicker. It's coming from the corner of the mouth as you can see here. So it's not the mustache itself, It's a little bit lower. The one from Gimli Dowell is coming from the upper limb, but this one I liked the fact that it's coming from the site of the face right around there. Let's give it a little bit of movement here. Self-selection again, to kind of go with the shape of the hair. Falls nicely with gravity and stuff. There we go. We can probably push this closer in there. Again, it's just a previous so it doesn't have to be perfect. I'm not sure if it's too long odds, it's nice. We just going to mirror this, but this one's gonna be on the positive axis. There we go. Apply. Perfect. As you can see, it's not like following perfectly and don't worry, it doesn't really matter that much. Let's assign the blink color. There we go. As you can see, it has a little bit like, it has a nice little like a metal, like a beat or something similar to the horse charm, and then it flares out. So eventually, I mean, what I can do here very easily just, let's get rid of self-selection or make it smaller. Just flare this out. It looks like it flares out. And eventually we're going to add a couple of cylinders. Like they're in there. This is the kind of stuff that you really want to show your art director before ju jump into creating something. In this tutorial, of course I have the one of the advantages are deliberate is to do what I feel is best for us. But if you were working on a project, you definitely want that. You want to show this sort of stuff to your art director before actually doing anything. This one's, I think they need to be a little bit thicker, but we can play around with those elements later on. Other than that, yeah, we're of course going to need the eyebrows, which we don't really need to add every now and then we're gonna talk about the eyelashes as well. This is a guys, this is our planning. This is what we're going to go for. As you can see, it really, really, really changes the way our character looks. It's in my sound like a stupid, but here really plays a very important role on the personality and on the look of your character. As you can see this one, I'm just going to look quite, quite nice. So that's it for this one guys. I'll see you back on the next one when we start planning all the descriptions. Hang on tight and I'll see you back on next week. Bye bye. 25. Painting Our Maps: Hey guys, welcome back to the next part of our series. So they, we're going to continue with the creation of our hair. The whole thing, the whole hair description. However, I want to show you a, another quite fun little trick that you can use to generate guides in a little bit of a faster way. As you remember from the, from the ogre, one of the things that's a little bit time-consuming ease having to create all the different descriptions. Wouldn't it be cool if we could create just a couple of descriptions and then modify those to get what we need. Well, thankfully, we actually can. Here we go, let me show you how it's done. It's actually quite simple. First of all, we're going to go here into Photoshop and I'm going to draw, this is a technique that I learned a couple of years ago. I'm going to draw the liquid look, an idea of where I want my map to be. So based on the references we've talked before, we need four main things. Which is the hair. We need a D beard, we need a beard, like a little break things. And we need the mustache like a little bit of a monster. She maybe some eyebrows. What we can do is we can actually draw like a general idea of how we want our beer to be. So this will be my main beard right here. I'm trying to get the length as well. Then we will have a softer, more like, again noisy beard with less, less intense, right? And then we'll have a really loose one. Not fly away. So it's just like small one for debris, the one I'm actually going to have a really, really, really dense packed like small fibers like this. And then of course we have our flyaway so we can draw for flyways right around. Here. We go. So as you can see, the top part of this is, by the way, this is a two k image. So I'm not only getting an idea of what they need to do, I'm also already planning the layout of my elements. So the flyways are gonna be like right about there. I think we can use this area for the eyebrows and a very similar way to how we did with the ogre. And you definitely want to create like a once more 148 rows right there. Because one thing that they found with the ogre, it was that we needed a little bit more breakup, right? So let's do 34 for the eyebrows. Now. After that, we're going to need the main house, the man band effect, right? So let's go for some reference real quick, because we didn't get enough reference about the men born. Yeah, there we go. So as you can see, the man bond is pretty much just like grap older here. Pull it into like a little pony tail. It's really like I want to go for something like this. I think this looks pretty, pretty cool. Let's go into pure enough to add this reference right there. So as you can see, it's gonna be a lot smoother than our original beard over there. So we're definitely going to have some noise in some effect. It's going to be a lot less smooth. We're also not gonna have as much breakup because as you can see here, most of the Harris already there, so there's not gonna be a lot of noise. So we want to keep it really, really clean. So that means that I'm probably not going to need like an intermediate one and we're going to jump straight into the loose ones. So a couple of loose hairs where there just to break up the surface and definitely a couple of flyways. Now the Fourier waste, I will definitely want them to be a little bit more, something like that. Then for demand bond itself, we're actually going to just recycle what we have over here. I'm gonna show you a nice little trick, because even though we could create specific care costs for everything, you also don't want to create like every single hair card for every single element because he'd becomes a little bit difficult to organize and then you don't have, you don't end up using all of them. So this is gonna be my hair. These are eyebrows. This is man born. Then we need the muss sich. So for the most statute, as we can see here on the under reference, It's not very long. They usually trim them most Sacha so they don't flow all the way into the face. There's no bread right now. So we're going to go for a shorter mustache. This one I really, really, really like. So again, based on what we did before, we're going to do something like this. It's going to be like one part of the muscle. When then we're gonna have a second variation over here. Now we still have some space. Again to save space with the technique I'm going to show you. I'm going to draw them mustache, like right here. So it's gonna be like two main won dance. One semi dense, Let's call this most stash. It's gonna be dense semitones and then maybe a couple of flyaway to break up the whole thing. We still have a little bit of a space right here. So this is where I would probably add just like weird hair that might help unspecific places. So just like maybe some against some fly away. I'm not really sure what else when you were Oh, yeah. This one's like the little like a little tails do we have at the end? We can capture the little like bright tails right around here. So let's create a little bright details as well to gather a nice map. There we go. This is pretty much it now for the eyelashes because I do want to talk about eyelashes. Before we jump onto the characters themselves. There is a way in which we can create a ls. You can see right here plane for the eyelashes. And it works fine. It looks okay. The one thing I don't like about this is that as you can see, it's happening on this guy says, like demo, looks good, but it looks a little bit of fake. In my experience, if you can afford to have actual geometry for the eyelashes, it's a little bit better to do so to have the actual eyelashes. But if not, then we can definitely add the eyelashes onto the maps. The problem is the eyelashes are gonna be really, really, really tiny. And then the pixel amount of the pixel quantity can be a little bit complex. So instead, what I'd like to do with eyelashes, instead of baking a map right here, I'm gonna be using actual geometry like little cylinders with very low poly that they're gonna be casting better shadows and giving us a better effect. They're gonna be a little bit different to shade because we're not going to have all the maps, but we don't need the maths because it's actual geometry. It's like if we actually had the eyelashes. So now that we have this, I'm going to save this real quick. So Control Shift S, JPEG. Go to our projects folders right here. You're gonna have this one, by the way, on your source images. I'm gonna call this Sam Ross. Here we go. We're going to jump into Maya. Let's pull that in mind. Let's just wait a couple of seconds for Maya to open. And while money is opening. Another thing that I'm considering here is the hair color. And we've talked about this before. We're probably gonna go for this like a reddish hair color, but they will be cooled to add this sort of effect when we have like a really light elements and then dark effects right here. Now this can be done with the same textures like we don't need to add more guides. The only thing we're probably going to have is to albedo colors. And then the hair cards that are right here are gonna be lighter, of course, in the hair cursor on the other side or on the outside are going to be darker with more melanin as we've talked about before. Look at that. Those breakaways, breakaways, that's the one that they miss. There we go. So I didn't miss some breakaways. So let's do some like a breakaway maps over here. So that's my new guy. Perfect. I'm going to save it as a JPEG. There we go. Again, you're gonna have this one, you can be withdrawn. I strongly recommend that you do. And the reason why I'm taking a little bit longer for this character is because this isn't a little bit more like an actual character for enemies when we're doing NPCs and enemies that are gonna be dying left and right on the game. You don't really want to spend as much resources because Walter Di, they're only going to be there for like a one scene and that's it. If this is the main character of your story, this is the main guy that you're gonna be controlling all the time. You definitely want to make sure that it looks as nice as possible because you're gonna be seeing him a lot. And the more you see it, the more you're gonna be able to know these things. I'm gonna go into my front view. And the first thing is we need to bring our, or actually we already had the setup. I'm going to open the scene. I'm going to open the SAM row setup. There we go. Which was the proper should be the proper size. Remember this is one that we did before. I'm going to go into the front view. I'm going to create a plane, going to rotate this point in 90 degrees so that it's facing us. Then I'm going to assign a new material to this plane. Just the Lambert is fine on the color. We're going to set up the map that I just created for you guys, this one. Now this is important because I want to scale this thing that the map that we have right here so that we match as closely as possible the size of the things that we're gonna happen. This one actually looks pretty **** close. As you can see that that's the size of the beard. So that looks very nice, especially for this long strengths. I think we're really, really, really close. So I'm going to do something a little bit crazy here, but I'm going to delete everything except for the plane. Then this file I'm gonna save as save scene as did not save on top of this one. And we're gonna call this Sam rose. Here. Guides. There we go. So now if we want, we can just go very quickly through the setup. Everything's there, everything is working exactly as it should. And if we open, of course, to the Hare guides and this is where we're gonna be creating your haircuts. So here's the trick. Here's the cool thing that we can do. I'm gonna select this guy. I'm going to click this option which is called a live surface option. Doesn't make sense the live surface. And now we can go into Create tools and we can use this epi curve to create curves that follow the flow of our elements just like that. Now, I do like having a little bit of transparency. So what I'm gonna do here, some gonna go into the material itself. I'm going to turn on or turn off the transparency so we can kind of see your curves. Not what this will do and this is very important is it will save us a lot of time with the Co-creation. You know how it's a little bit of a hassle to create a new polygon created descriptions, created the planes, create this, create that well, this could save us a lot of time potentially. So I'm going to go again with my EP Curve. And what I want to do, I just want to kind of follow the way that this here's our flow. It doesn't have to be perfect. It's just a general idea because we're, we're of course going to be using action. This is a good way to just add a little bit of variation. You at least need, as you know, at least three guides per section. But another trigonal I'm gonna be showing you guys is that we can actually make the curves work with a little bit less curves. And then the hair is going to do most of the job for us. Let's go there. I'm going to be fixing some of this, don't worry. The cool thing about using this technique is Here's tend to look a little bit more natural. Because it, since we're trying to follow this sort of reference that we created, we tend to create stuff that's a little bit more natural when we use the DIY guides that extent gives us things tend to look a little bit too straight, a little bit to like CG to perfect. That's why this distinction is really cool. However, as I've mentioned a couple of minutes ago, we don't always just here in the studio because it's really time-consuming as you're seeing. Now let's go for the flyways. There we go. Now, I'm not going to use this technique descriptively for everything. For instance, the eyebrows, I think it's a little bit easier to do them with the guides before the long hairs. I think it works really, really nice. Ones are a lot straighter. There we go. Now, the way that this is going to work, just this a little bit of a heads up little spoiler alert. What we're gonna do is we're going to convert all of these groups into guides that we're gonna be able to modify and make them look a little bit nicer. There we go. Now, the only problem with all of these guys is that fact that the roots are not starting at the same place and that could be a problem. You definitely want to grab all of them. You're going to press F7. Sorry. You're gonna grab at least the top points right here. And you're going to create art to scale and scale them so that they start at the same position. You're also going to grab all of these curves and you're gonna say Mesh tools or sorry, curves. We're going to rebuild them. So we're gonna reveal them. So they all have the same number of spans. We don't want some of them to be longer and shorter. Want to change this to something like ten and hit Apply. There we go. So now all the curves, if you check the points, they all share the same amount of points, it's sound points. And they all start at the same, at the same position. I'm gonna keep this one right here because actually, I mean, we can just describe everything and just keep applying to rebuild every single trip. So now every curve should be made out of only ten points. And that will get which prescribe all of the objects. F7 is the shortcut. And we grab all of these guys, the square ones at least just keep them up. For this ones are moved them up. These ones are moved them up. These ones are moved them up. And although this one's, Well, let's start with this 5's first. Then this one's there we go. Again, this shouldn't be working quite nice for the whole thing. As I mentioned, some of this like the mustache, maybe some flyaway is the little brief things. I'll probably do them with guides. But at least for domain like here, this is going to save us a lot, a lot of fun, since we still have a little bit of time. Let me show you how they are going to tell us the time. So I'm gonna turn this off, grab this guy, just press H. Let's call this care reference. Again. For instance, we know that for the main beard, like all of these guys, these guys and these guys, which by the way, might be a good idea to grab all of them. And we're going to center the pivot point. I'm just going to push and pull them a little bit in C. Not in the same depth, all of them. That's also going to help a little bit. So we know all of those descriptions of those five elements are gonna be part of the same beard. And we already know because we've done it before, that we're gonna be doing pretty much the same like noise and cotton stuff for all of them will be, or it could be a really good idea to just have one plane be the origin for all of those points. And that way instead of having to have three descriptions and three geometries and three everything, we just keep 11 simple playing this one, I'm gonna keep it like this. There we go. Make sure this is 180 degrees. There's like a little bit of a visual trick right there because I was saying COD, slant or something bad thing. It's the curves that are playing a trick on my ice. There we go. So we freeze transformation and we're gonna call this beard claim. There we go. We grab this guy. We're going to go up the action. We are going to create the description creatinine description is gonna be called Sam Ross. Edx sounds a little bit collision. Sam Ross collection. And this is gonna be beard or Sam bras beer because we're only on I had one beer. All of those guys are gonna be part of the same appeared so splines randomly because of surface placing and shipping guides and heat created. Nothing fancy so far, everything is working exactly as we've done that before. But now the tricky part here is we're going to select all of this points. We're gonna select this guy right here and we're going to go into Utilities and we're going to use this option which is called curves two guys, pretty self-explanatory. You click this thing, and then we just need to say Add Guides. And as you can see, what's going to happen is those curves are gonna be deleted and now they're guides. So if I were to hit this one right here, that we have all of our guides right there following disguise. And at any point I can just grab this control points and they work exactly, exactly like the guys that you would expect. Again, what's the advantage of doing this? One? We're going to get some really organic and good-looking guides to. It's gonna make a little bit faster because we don't have to do one description of the time. And three, we're gonna be able to affect them at the same time with the same modifier. So for instance, if I go here and I add a noise modifier, very, very commonly used by us. And we'd just sit ten. There we go. All of those strands, all of the elements are going to get this thing. Now the one thing that's gonna be a little bit different than you might see it here. We might need to change the root element right here to give them more. And we won't be able to change the density. That's one of the bath like the disadvantage of this, because if we change the density here, you can see that every single part of the elements gonna be the same. We're going to have to play a little bit of width the curves and play a little bit with the map right here to paint the density that we want for each specific government where we're gonna be talking about this one on the next video. Make sure to save, make sure to get all the way to this point. And I'll see you back on the next one. Bye bye. 26. Creating Hair Descriptions: Very well guys know, jump onto the time-consuming part. We know that this is a little bit tricky, but I'm gonna be showing you a couple of things that might speed up your process for anytime you need to do this. As you can see here on your description, we already have something looking very, very cool. But the problem is, and we've mentioned the boat or we talked about this one, the density. It's a little bit difficult to control the density because instead of having three descriptions, we have one description. So if we change the density, everything changes. The way we can handle this. It's a little bit of a hacky way, but it's a nice little technique. First I'm gonna set this to ten. Let's have the taper to get a better view of how this thing is gonna work. And of course, we need to create a map. So we're going to go here to our mask map. We're going to create a map. We're going to call this beard mask. We're gonna start with black. As we already know. What I'm gonna do is aware of the thing is going to be thicker, which is this beginning bar right here. We're gonna paint to white. Since the black and white map actually does respect color intensity, we can go like a halftone gray and use this one over here. Smaller circle. Then we can go almost black. That just like small, small dot right there, barely visible. When we save. This is also gonna respect the amount of hairs that we get. So as you can see, we get are really dense one or semi dense one. And a little bit of flyaway effect. Cool, right? I mean, we just save ourselves like 15 minutes of work by knowing this is specific workflow and this specific tool. As you can see, it's looking quite nice. The beard is looking just fine. We have everything that we normally get. Maybe we need to add a little bit of the root thing here. Don't worry, I know that the hair, the spirit, I'll show you why. Sometimes you need to see the actual geometry and that's what we get. Now, I'm a little bit more inclined to increase the density here because the density of mask definitely took away a lot of the information. And this looks a lot nicer because remember, you usually want your first map, your first card to be really, really dense because you're the one that see anything on the other side. Here where we can we can do maybe a little bit of clumping. I don't know that even the Cut tool, since we did this really crazy guides character, the Cut tool doesn't even work as much because the guides are actually already doing the work for us. But what I'm gonna do here is, for instance, this guy, I'm going to bring it a little bit closer. All of this points just closer together so that the hair is a little bit denser. There we go. And that way we get the effect that we want it. Because remember all the things that we want to see. I'm pressing number seven on my keyboard right now to see no light information just like the flat effect. This is when we want to see like really, really dense, very few little holes there on our element. And that's going to help us with the overall feel of the effect. There we go. Make sure this is important. Make sure that your hair strands are not touching each other. Because in little bit difficult later on when we create our cards to cut through them. If one of these hairs is going on the other direction, this is like crazy here, here. I think that's perfect. That actually helps with the blending later on. So yeah, that's it, That's our beards are ready to go. So as you can see, this, this process, the curb usage and using just one plane for the whole thing. Really, really handy when you have a really close idea of what you want. Let's do this is the bright effects. So let's talk about the brakes. Is a type of hair like organization where pretty much create three strands of here. I'm not sure. I have a little sister. When she was little, I used to help her with her brain. My brain is never looked good, but at least strike. You normally grabbed a bunch of here like this. And then you divide this into three strengths. So 123, then you grab this first strength. You get it in-between the other two stress. Now, as you can imagine, we're gonna have, I should've color-coded them before, but now this middle strand, it's going to be here. This site strength is now going to be on top of the middle one. Then this side strands is also going to be over here. Nigel grab the other side, which is this one right here, and you get an in-between the two. And now they're gonna start creating a disorder like crisscross pattern. And once you do this enough times, you should get something like this. Now, if you have a very thick piece of hair, you can get this really nice thick breaths if you have really small hairs or if you go for the really, really small like clumps up here, then you can get that little small. This is one of the ways that they do dread locks. The pattern may change like I've seen some patterns where, where depending on how you actually like bread the hairs, you can get different textures and stuff. We're gonna do the classical one because I'm not too familiar with the other ones since we can see here, look at that. Just crazy, we're gonna do the basic one, which is this one. As you can see, if we take a look at the way breeds look, they are pretty, pretty uniform like the hair does not go crazy anywhere, so it's very, very straight here. So for this one, we're actually going to be using a normal place. So we're gonna create a new plane. So Paul them only plane. We already have our guides right here, so we're just going to be using dose of force. Let's position this right about their history for transformation. Let's call this brave, brave plane. Grab this guy. Sorry, yeah, grab this guy. Going to description. Description is going to be called bright description for this Ambras collection, randomly placing shipping guide script that then we are gonna select this guy and go into Utilities and at guides. And that's it. We've converted those crypts and to guide. So now if we check this out or if we do that, There we go, we're gonna have our nice little hairs. I think I do want to correct this one's a little bit more because there's like this one right here that's going across. I don't think we want to do that. Well, we can add a little bit of flow to the whole thing. We definitely want to do something like this density wise. I definitely want more density. So I'm gonna go here to the primitives. And we wanted to look really, really nice, thick, bright, there we go. So again, think about how many hairs you expect there to be on the bright, and that's usually what you're going to try to capture right here. We're going to push the paper up. Actually, no, we're not going to push the paper up in this one. The reason we're not gonna do that is because eventually, oh, my is crushing. Eventually we're going to have the loan like metal, like bread details, gridlocks, and those are the ones that are gonna be controlling everything. So taper 0, taper, just recalculate. So it's just gonna be straight here. Pretty much straight here. With, I do want to change the width a little bit. So as you can see, this are a little bit thick, so I'm gonna probably reduced the width, make sure that you're seeing the whole thing. That's a little bit of a, a visual buck here from Maya. There we go. And what might need to increase the density even more because I really had an impressive number seven, I really don't want to see you as many things here because these are gonna be like a really, really solid effects we will have later on, like this ones right here, a little bit of fly away so we can add to the brights, humbled for the base. We wanted to keep them like really, really, really nice there. Let's push the width a little bit in, just a little bit, just very seeing through them. I think that's going to that's going to work just fine up here. I'm a little bit concerned by the fact that the hairs are like clumping together in this big area, but other ones that paint a mask. Because if we paint the mask, what could happen is we're going to get a weird effect where Where were the brain becomes live, where it starts very small and then becomes thicker. And from what they can see here in the reference, it actually starts thick. It should start like a little bit thick. Maybe up here I will change the what's the word? I will change the width of the road a little bit, just a little bit, just a very, very tiny there. So we can see the root of the hair and then it goes into the brain. And this is the object that we're gonna be breathing throughout. That's pretty much it now this or flyaway, we're gonna do the same thing, Nicole, let's say real quick. Always, always save, remember, do not forget to save. The worst things that can happen to us through the artist is that we are working on, then we forget to save him. Computer crashes like those out. Maya crashes, so many things. This is going to be called the fly wastes. We go again, ugly history freeze transformation. Let us go to description, create description. Let's call this fly away. Description. Lay some guides creaked, got this guys, go to our utilities and add guys. There we go. Then of course the density. Well, first let's play with paper. Get something interesting. There we go. And then yet we need to bring the opacity down to 0.5. There we go. Let's give it a nice effect. And I definitely want to add noise. It's looking way too flat, so let's add a lot of noise. Heat, okay, That's a lot better. So now we take a look at the front view. As you can see, this are fighting quite, quite nicely. I'm trying to follow the curve. Tried to use soft selection, I recommend using self-selection. There's also this word he says, there's a groom spline thing that we can use, but I tend to prefer juicing soft selection. There. Again, because what we need is we want to have like a really easy, easy to follow line. Cut the card. Doesn't worry, they're not too happy about because they know that's going to be a little bit difficult to capture it in the card. I'd rather give the curvature in the card itself and then keep it here. So we can do is we can just decrease the length a little bit so that we don't see it as much. And there we go. Now this points. Let's move them to the side again. We definitely want to have we definitely want to have here's be split a little bit more, a little bit difficult. There, there we go. That works. Works. Maybe straighten this guy up a little bit, little bit more. There we go. That's a lot better. Yes, I've mentioned are rather like change the curvature of the hairs when we hit the decoration of the cards that have a very like curb, the February here, like that one. Not particularly super fun of it. We can also erase it would've been like one of those guys later on in the texture which I just erased that here. But this flyways look, look great and this one looks amazing. So that one is ready. So let's again Control S. Now we jump onto the, onto the hair itself. Now, for this hair, again, if you want, you can give it a go and try using the thing that we saw here. If you lose this, don't worry, remember to just like check this out and reassemble it. I don't know why that happens. I'm sure if it's a bug or if I'm missing a point here. But sometimes to save a little bit of memory, Maya will erase certain parts of the character or the groom's until you're actually visualizing them. So just be mindful of that. So yes, so this one's going to be really straight, like really smooth, and this is gonna be our breakup. So it's gonna be a little bit noisier. So since the noise is going to be slightly different, this is one of those cases where I will probably use two different planes. I know we're not going to save as much time as we did with the beard, but it's not, it shouldn't be that difficult. Hopefully by the time you are working on this part, guys, really like quite familiar with the process. And as I've mentioned many times before in the videos, in YouTube and further tutorials, practice makes perfect. So the more you do this, the more you've practiced any sort of workflow process, the better you're gonna get it. I've done here so many times now that it's, it's just, it's relatively easy to just follow this sort of thing along. Let's sent to the POC point here. Push them in space a little bit to just get a little bit more variation on the depth. Very similar to what we do with the traditional guys. Very important that we have mentioned this before, at least three guides. Do you at least need three curves for the hares to show? You've been, if we're doing this technique, you at least need three. This is going to be our hair main. Let's call this main plane. Actually this flyaway slip plane is gonna be our hair breakup. By the wave. We need to use some of the beer to break up the hair. We can also do that more often than not, when someone has hair, their beard and their head hair is gonna be really similar. So you can interchange them as you want, similar to what we did with the auger. So let's grab this guy and this guy, the history. And let's start with this one. Description, create description. There's gonna be cold. Main hair description, placing, grab this guy's utilities and advocates. We check this out. There we go. That's perfect. Actually, that's way, way, way, way too perfect. So let's just add more density. Again, we want to make a really nice dense effect right there. Let's go to the front view to see the holes. That looks nice. Maybe a little bit less. There we go, no clumping, no nothing. We just want to keep this really, really nice and small are nice. Little bit of taper here, a little bit of paper under roots because we do want to see how this thing goes into the scalp. And then the tips are gonna be thinner. And that's it. That's our main our main shape for the hair. Nothing else to be honest. That's working perfectly fine because the hair supposed to be stretched at the back for like a man born. Now for this one description, great description. This is gonna be, Let's call this care breakup. It's going to be really similar to the other ones. So the one that we just did, the only difference is it's going to have a little bit of noise. So again, utilities, we add the guides. Check this out. That looks good. As you can see. It's thick. We don't need to do any master anything. That's perfectly fine. We can work with it well, maybe for this one, since it's not gonna be as close, maybe we will need a mask. A little bit more densities. So something like this. Let's add the taper. Of course. Let's set the taper on the roots as well. There we go. Let's delete that one. Little bit more dense, just a little bit more just to, again, here's where the noise is going to come into play. So let's do noise. Okay. Let's see what cuff five magnitude. Probably like a four should not not as much. Just a little bit of a breakup there. So some of the hairs that are not like they are going back because they're held by other hairs but they're not going all the way back to the ponytail. So yeah, this works. I do want to mask do I think there's a little bit too much on the width of the elements. I'm going to go here very quickly, create a mask. Let's do main hair. Breakup mask. Gonna be a black mask, create. Let's go to the brush options and of course, paint white. Safe, and that's a lot better. Now I need a little bit more density. Again, press seven to, to kinda like, gosh, how much, how much coverage this thing is going to have. The visibility on the transparency. It's a very quick and easy way to get an idea of how this is looking. A little bit to dance, maybe it just a little bit less. There we go, something like that because we don't want this to be like the dense ones. Later on again, if when you fly away, there we go, we have those ones and then we even have the beer to have weird crazy hair is going back, but I kinda want the top part to be a little bit cleaner. So yeah, that's it. That's the that's the next part. I'm going to stop the video right here, guys, because we're already past the 15 minute mark and the word, we're only missing very few elements. If you check the reference, we're missing the, the mustache, some flyways here for this element right here. The little tails, the breakaways, And the eyebrows, which we know are relatively easy to do. For instance, the eyebrows. We can do the eyebrows with three planes at the same time and then just group them all together with different lengths and stuff and it's gonna work perfectly fine. Yeah, hang on tight and I'll see you back on the next one. Bye bye. 27. Special Hair Descriptions: Very well guys, let's continue with the remaining descriptions or we're still missing. And we're going to use a very OVS to wonder they used to record. There we go. We're gonna be using a similar process to what we did with the previous elements. So for instance, eyebrows. We know that the eyebrows, especially we take a look at the reference, are also going to be, in this case a little bit smoother. Like we don't want to have a super, super big eyebrows love with the old people, show a little bit nicer, probably something like this, but there's still a little bit squiggly, like there's still a little bit of personality to the agora is that we want that. So as you can see, we again have thicker eyebrows, slimmer eyebrows, and then soft diagnose, but they all share the same similar sort of noise effect. So we can actually do a very similar trick to what we did with the beer right here, with the eyebrows over here. But the way we're gonna do this is we're gonna do this width at three points. I'm going to have this one right here. Remember this eyebrows, we actually want to make them go the other way around. So flat against the, towards the top. This is my guide. This is what I'm using as my guide. Like the image is actually my guide to know where the eyebrows can and cannot be. I'm going to select these three planes right here. And we're going to combine them into a single object. That way we can modify them at the same time. Here again, we can use our curved surfaces are here and create contributors epi curve. I'm just going to create a couple of folks, a couple of guides to guide my eyebrows. So it's gonna be one, you can press G on your keyboard to repeat the last section 23, Let's do 44. And then for this one that's gonna be like the middle section. Again, 123. That's too much. Three. There we go. Four last section, it's gonna be three as well. So 123. Now, this ones right here are all of these plants that we have right now. I want to rebuild them. Remember how we did the rebuilt option? So we're gonna say rebuilt, but in this case we're gonna change the options to five. We only want five a CPS. Something really, really important here is I'm actually going to use the length of this guy is. Let's turn off our hair reference for now. I'm going to use the length of this guy is to shorten them out that way. That way, for instance, this one, it's gonna be the last one. It's going to have shorter effect because I know I can control the density, but to control the length of the elements, it gets a little tricky when you're doing this sort of trig, when you're trying to have the same description in the same place. This is going to shoot allow me to, to control a little bit better. So there we go. Now let's see if this works. We're gonna select this guy right here, say description created description. There's gonna be eyebrows. Placing our shipping guys kids create. There we go, grab all of this points. And we're going to say utilities and add guides. There we go. That's looking quite nice. So as you can see, this little option worked. We're just going to go into the taper, would definitely want to tape there this guy out. We're definitely want to increase the density a little bit more because there's gonna be like the thick, medium and small ones. And here's where we go into the map now here for the math actually, I think we're gonna have a little bit of an issue. So before we go into the map, I'm gonna say Control L to lay the UVs out because we definitely have to have independent UVs for all of these guys. I'm going to create a new map here. Let's call this eyebrows mask. We start with a black channel. He'd create this one, as we've mentioned before. Let's go here to the radius. It's a little bit too big. The stylus, whereas it radius here, Let's do 0.5. This is gonna be white. Then we're going to go meet gray, gonna be gray. And then we're gonna go almost black. I'm just going to be black though here. It's a little bit difficult to see, but it's there. We save. There we go. Have moreover, one side, little bit too many right here. I'm not particularly worried about the eyebrows because I was one of those things that the that even though there are small, that they can get quite dense, I haven't gonna change the control whereas is huge just a little bit though. Skilled him down, kill them and move them down a little bit. Let's play around with a length a little bit. Let's just shorten them up. I'm going to go for a low length for this ones right here, lower the density as well. Then over here, I'm going to use the the length of the guides again to push the eyebrows up a little bit more, doing a little bit more density. Noise wise. I'm not sure when to add a lot of noise. So Blade 2.5 just a little bit. Let's suggest a little bit of noise. There we go. That's so that's good. Maybe 0.7 or something, just a little bit of something. I do think they're a little bit thick. I'll rather have multiple planes and lay them together. So I'm gonna go here under, under ruthless war and just thin them out a little bit. There we go, That's a lot better. So those I think those are going to work just fine. At any point. I can just cut some of this guy's often and have a couple of different pieces seem to be working fine. You can of course tweak them more or less as much as you want and, and get the best possible result. For this one. I'm going to leave it like this. I'm really worried about the beer. Just quick check here. It's in the description. Make sure it's still there because as you can see, it's sometimes just disappearance. It's a really weird at the fight, but just going through the descriptions kind of like updates the whole thing. There we go. As you can see, we already have this sort of square effect that we're going for. I'm gonna go here to my options, are ready, and let's change this to two K squared. There we go. So I know that eventually when we do the square like setup, I should be able to get all of my hair's into a nice single texture and utilize as much space as possible. Not yet though. Not yet. We still have a couple of descriptions to finish. Let's go through a reference again. Flyer ways. We needed a quick flyaway and then we needed to master dishes. Three most searches for the master chess. I'm seeing it in a very Mexican way, three master shifts and Dan, Dan two of this almost right here, which are gonna be little break tails and the indent this case right here. So let's start with the bright tails. I think we haven't done the retails and we can use our current trick really, really nicely here. This one's going to of course be pointing down. That's perfect. You can actually go like a really, really crazy with your construction here with a crypto epi curve can be like one and then gene to train. For. One of the cool things, again, about this technique is that you get a more natural effect for the whole thing. So for instance, to save a little time, I'm just going to duplicate this curves, move them to the side. And then what they can do is just tweak their positions a little bit. Let's turn this off for just a second. Let's censored at points and everything. So it's this year to manipulate. You can just grab some of those guys. Soft selection with V. Move this around. And then just like baristas to one side or the other, that way we get to small different options. Now, these are gonna be very similar, right? Like in a very similar fashion to what we've talked about, the beard and stuff. So why not just make a plane already that's gonna hold both of those descriptions. So let's push this to the side and this one to this side. So that way we're not contaminating the strands and it's a little bit easier to manage. Let's call this, let's call this a brave. Great tales. There we go. Let history first transformation. Grab this creating new description. Brave, tail. Description, placing, create, select all of the curves. The curves here go into Utilities and add guides. There we go. We do this and that we will get, we're definitely going to need to add more descriptions here. As you can see the issue that we're getting here, It's very common again, to get this as the plaintiff's trying to place more elements on the center of the thing. Definitely don't want that. So we definitely need the massless called this bright tails map create. Let's go. I accidentally selected the white color. No problem in this case. It's just a matter of painting out or just make everything black. Same deal. Just paint everything black and then go back to white. Paint like that guy. There we go Save. That's really weird that we're getting so many descriptions, right? There. Could be the size as well, sometimes some sense due to the size of the, what's the word of the effect, we'd get this sort of thing and it's really annoying to be honest. Really, really annoying. Let's see if that helps. No, not really. Yeah, theme we're gonna have heard this ones. We're gonna have to go traditional or, or, or we could just delete one of them. Let's go back a couple of steps. Before we were doing the math, I was trying to save a little bit of time by doing this in the same plane. But since they're really, really small, it could be a little bit tricky. Let's see if my other son crash. Give me just 1 second. Here we go. Let's just let's just start over here on the descriptions. Let's just delete this break till description. We might need to have a different one. That's fine. Another option, I mean, this is not something they would suggest doing because it's going to occupy more space. Well, we could do the breath feels like really, really big. I don't think it's really necessary. So let's try again with just one. Let's do modify, sorry, create epi curve. We're going to create this very nice little break, break tail. Most of the points should be coming from the same position because it's supposed to be at a breath. There we go. Let's rebuild the things as well. I think I missed that one. Let's reveal five points should be more than enough. Let's create a new plane. Let's multiply it down here. Rotate this around. We go. If we want to be even more specific. Remember, we can grab, like we can say, grab object mode F7, grab all of the control vertices appear snapping together. And let's keep them a little bit of more fluff here on the center, the pivot point for all of them. Because I am What's really sure that we did this properly? Let's just redo it a little bit. See if that helps. There we go. Grab this guy description. Let's create Description. Tails. Let's call this BQ. Please them create, grab. This guy is utilities and other guides. Let's take a look. Okay, That's better. Now technically, if we increase the density, there we go. Now we go, we're looking for, of course, we're going to add the taper that we don't really want to add taper on details here because again, these things are gonna be on the little metal thing and technically are coming from the big strands of hair. Remember how the big strands of hair right here, they don't have any thickness. So we want to kind of follow that same, that same effect increases a little bit more and maybe just a little bit of noise. So very quickly here we have noise. Let's do three. Just to add a little bit, a little bit of variety to that, to the tips of the bright tail. That's it. That's pretty much it for this one. We could do this in the same thing that we did before for the ogre, we could duplicate or saved as description. Remember, because we already know how it works. So we can just go File Export, collection or description, description. Export this to our descriptions right here. Let's call this bright tail description. He'd save, export. There we go. Save. Now I'm going to create a new plane right here, a little bit further apart. So we can tell we don't collapse with this guy right here. This one. We're going to do the history. We're gonna say description, create description. Let's call this tale description. Placing, shipping guys hit Create. There we go. Here we can say File, import, collection or description. We import from our project here. Action descriptions. Whereas it place it somewhere else. I think I'm either misplaced it. That's weird. I thought there was here with the merch description. Just like I did. I did not save it properly. Give me just 1 second guys to check this real quick. Because it is useful to be able to import an expert. Thanks. Weird. It seems like I didn't export. Okay. No problem. Let's just go again to the brief description of V2, which is this one right here, right? Yes. I'm going to say File Export, collection or descriptions inscription. Yeah, that's the one here. Let's call this description. This description hit save and export. Yes, Okay, Here, since File import collection or description description, add description by and select the geometry at it here. Okay, yeah, we should be able to find. That's really weird. I'm not sure why it's not saying you guys, to be honest. I'll look into it, but I'm not really sure where it's not saving it. Let's very quickly. What's the word? The next curves right here. I'm gonna go here with my again, my EP curves. Let's just create a nice little break till we go. So technically this thing should already have a description. So I'm just going to grab this guy or go into the ray till b description. Here we go. Go into Utilities. We've got this guys and say Add Guides. We go, We definitely need to add the density here, taper and the noise modifiers. Noise modifiers. There we go. Three. Perfect. That's it. Let me say real quick. I'm not sure why that description is not being saved. Maybe it's being saved somewhere else for some reason that they shouldn't be doing that. But that's it. We're pretty much have we done with the descriptions? We're just missing a couple of flyaway here for the domain here, the most attach and then the breakaway strength here, which are gonna be for that for the board or offer hears. So we're gonna finish that on the next section and then we're gonna have proceeded with the bake. So hang on tight and I'll see you back on the next one. Bye. 28. Final Hair Descriptions: Hey guys, welcome back to the next part of our series. We're going to continue with the final hertz descriptions. We're just missing the mustache, the what's the word? The stairways here for the domain here, and a couple of just breakups on the roots of the horse. Furthermore, such I think we can do the technique that we've done before, which is the big plane. And we can just paint this up. I think it's going to work just fine. Make sure that the plant is not aspect. I'm going to press R and click to change this to object mode. And that way we can scale and it's normal. Actually, I don't know why I didn't have a car and I turn on. But there we go. Now the only history for social aeration and there'll be what? You know, the drill. And now it's a matter of drawing the mustache lights, right. So I know here in the drawing I gave them different directions. It's better if all of them are in the same direction because as you guys know, we can just flip them and that's fine. It's exactly the same thing. I'm gonna go here to corpuscles, Epicurus. And since we're going to just wait, let's, let's try and keep the flow that way. So G, two more lines, G0, they're gonna have pretty much the same. What's the worth? The same length. It's just the density that we're going to change channels. You guys know, that's why, that's why this technique is so good. So again, gene, Let's do a couple more here. As they get, like a little bit looser. We might do is we might break up the way they worked a little bit more. For instance, those four are fine and it's just gonna be like the waste per se, but just like very, very Lucy, Lucy here. Something like that. There we go. Perfect. Let's grab this guy H to hide it. And again, just to be a little bit of depth here, I'm pressing Shift and middle mouse click. You don't have to see the gizmo to actually push things around. A little. Maybe navigation trickier in Maya, you can just select an object and then just press Shift and middle mouse click and it will know what direction you want to go. And spell work, quite nice. So let's just freeze transformation here. Let's call this mustache plane, or we go, we're gonna go to church and creating the description. Description. Oh my bad. I created the description with placing using controls within one, that's mustache. Description B2. There we go. Splines randomly. Sombreros, that's great. There we go. Now we've got all of the lines are all four elements right there. And we're gonna say utilities. Guys. There we go. That's our most such looking good. Now of course, when you took out the plane and we're going to paint a little mask. So create the map. Let's start with black and we'll call this mustache map. There we go, Create. And we're going to paint white. Let's make this a little bit bigger. Let's get one going to be white. Then half is going to go there. A little bit less than half. It's gonna go there, save and update. And there we go. We can play around with the density a little bit and it's got a little bit denser. I do want the edge to be a little bit nicer. Let's go with four. Sometimes I will prefer to go a little bit higher because I know that the taper here, for instance, is definitely going to change the way that the hair looks. So President or seven displaying, we don't need anymore than its height. It I think I do want to have a little bit more length. So I'm going to push the length a little bit here. And that's it, that, that looks pretty cool. Nice thick mustache right here, semi thick and then quite thin on this site. Now as you can see the hairs here, I mean, that's not super ideal because they're at different points, but I don't think it's gonna hurt as much, especially for this one which is more like flyaway. I think it's gonna look quite fine. And we're gonna go to modifiers, of course, and we're going to add a very nice noise modifier. Probably like a 3D or maybe like a file just a little bit, a little bit more crazy looking length. Now I'm going to keep the length look the same. I think, I think we're good there. And that's it. That's the mustache. So that looks, that looks good. Let's save this real quick. Which by the way, remember you guys have access to the scene. So all of the things that I'm doing right here should be working for you as well. Let's take all of the geometries and turn it off. We don't have to worry about that. And we can see, look at that beautiful hair system. I know it's thinking it was probably like an hour, but an hour is fine, like working on the hair for a character for an hour, it's perfectly reasonable. We are inside the normal time. Now artists will take to do this kind of stuff. So I know that it might seem a little bit tedious and that's always one of the things that I struggled with when recording this order tutorials that I need to make sure that they're as entertaining as possible. It at the same time, I need to show you the reality of things and things take time to look nice. So don't, don't worry if you're taking a long time to get this thing done. We need one more straight away over here, just like flyways for domain hair. And then we need the breakup here to we're gonna have over here. Let's start with the breakup. I think that's the trickiest one because if flyaway we've already done and actually we can use this flyways. I'm pretty sure we can just recycle like half of this for this area here. And that's probably what I'm gonna do just again to save a little bit of time. So I'm just going to do another plane right here. For this one, this is interesting because as you guys know, we have a certain hair that goes down the beard and then we have certain inherited goes up like this here, right here, and the eyebrows and stuff. So it might be a good idea to have two systems here. One breakup going up and one break up going down. Just for the direction of you guys. Remember the direction that we can do with the maps that we normally bake? I think this is gonna be good for us. I'm gonna pick up this one right here. This is gonna be breakup up. This is gonna be breakup. Down. There we go. So both of them makes sure that there's no history, no nothing, just clean. Start with this one. Description, create description. This is gonna be again, placing a shipping guys just hit Create. In this case we didn't create any curves. So I'm just going to create two or three little guys right here, because this is more of a random sort of hair that we want to create. So it's just a little bit of break up like this. Let's add the paper. Paper on the route. Maybe a little bit longer, just a tad bit longer. And we're definitely going to use some noise. There we go. That's perfect. Yeah, when we see it from the front, that sort of effect, that's perfectly fine and even having this thing right here. So we can generally like to move planes and play around with where to position them. I think those also pretty cool. I don't want a little more noise though, not that much, that's way too much. So let's do too well. Let's do two. There we go. That's a little bit better and we still have a line right there that goes through the middle. Maybe they're a little bit too long. I'm gonna keep it on a little bit shorter. I cannot see them a little bit too thick, so I'm going to thin them out just a tad bit. There we go. Same thing over here. We're gonna description, created a description. This is going to be hair. I didn't create the description for the L1 like properly, I called description three. So let's call this breakup down description. Create at our splines. So 123, we go more density, taper, root, tip. The mother fires. We're going to add a little bit of nice. We go and we use, I believe it was two on the magnitude. Hey Thor, my doctors walked in. There we go lengthwise, just a little bit longer and a little bit thinner as we had on this one. This is the beards, so I actually want this to be a little, as you can see, they're more clumps. I didn't need a little bit more density. I think I'm going to add a little bit more density on the beard because of your syllabus. Obvious like this, sort of like breakup when you shave and stuff, you sometimes leaving a little bit of like a couple of Harris not nicely caught behind. This is the kind of thing that we want to have some towns with less length. There we go. Again, turn to fire. I mean, there is a little bit of a split of space that we can do there. If we wanted to be a little bit more exact here, let's call this beard breakup mask. Let's start with white. And then on my brush, I'm going to use black to paint out there in the center. Save. And that should give us the easier way to cut this thing in half, as you can see there. So that way we can have two little carts and that's gonna give us a better effect. So there we go. We have a lot of variation now for the whole thing. And that's it. Again, if you like, any of this, like things disappear, just go through, follow the elements right here and they should appear again. Where it said, mustache, there we go. There we go. So now as you can see, all of our elements are present and we're ready to jump into the actual creation of the maps that we have already done this a couple of times before. So it shouldn't be that much of a deal. I actually, let's start with just a very basic celebrate. Now, I'm gonna go back to our channel box. And let's go to our front view. And let's just start with the basic camera set up here. Remember, if you turn on your little display here, that's already a 2k. We already set it up, up here on the render settings. Remember, Presets choose k square. We can do for kids by the way, I think I'm going to do for K. I know this is gonna take a little bit longer because the debates are gonna be way more lengthy. But since I do remember texturing the character off for K, it is good to have the hair at the maximum amount of elements possible. And sometimes it's better to do. I call this bakes. I know I called him baked or not based on the renders, the maps. But it's better to have it like them, like this. Because what we can then do is we can work with we can downscale if we need to later on. I'm gonna go to object display on the camera. Select the camera right here. Let's go to display options. And let's say 1.8 on the overstepped. There we go. Now we can really assuming here and try to get us much detail as possible. Perfect, something like that should work just fine every single Harris inside of the element. And look at this beautiful hair guard. I mean, compare this to the one we did for Merck and March. It was cool, but this one's even cooler. Look at how much extra information we have here on the character, the beard, like this short mustache and beard, they look similar. That's very important. And then this one's right here. Everything's playing nicely. I think, I think we're going to have a great, great group. This is one of the things I want to mention before I stop this video, guys. Your characters groom your character's hair is going to be as good as each individual step throughout the process. So if your first step, which is displacement or actually the first year, will be the reference. If you circumstance which is the placement of the guides and the creation of the FDA hair. You do, do Russia or you do it very, very poorly, then it doesn't matter how cool or how nicely you place your haircuts, the hair is going to look awful. That happened to me when I was learning back in the day. I was really impatient about this whole process and I tried to rush it and I tried to go all the way into placing the cars because I wanted to see the hair on the on the engine. And I realized later on in life, of course, I realized that the better you do each individual step of the three-step process, the better the result is going to look at the very end. So I'm gonna save this real quick and we're ready to go look at this. All of our collections are ready to go, as you can see with it, like 36911 collections, very normal for a character like Sam Ross, the one that we're doing. So hang on tight because on the next one we're gonna take a look at the big. So we're gonna do the QuickBooks and then move on to the cart. So I'll see you back on the next week. 29. Creating The Textures: Hey guys, welcome back to the next part of our series. Today we're going to continue with the creation of our textures and our descriptions here are looking amazing. They're very cool. I think we're gonna have a great bake. But now, if you guys remember, this is a little bit of a different bake in the merge with the ogre, we did a specific big which was using the I would call it universal hair approach like normal map and be the occlusion itself. And we can still big those maps, however, as we saw at the beginning of this chapter with the Unreal Engine five set-up, we actually don't need all of those because the, the shader itself, there's a lot of magic behind the, behind the curtains, and we only need the following maps. We need a color map. We need a alpha map. Preferably, preferably, Preferably we want this maps to be separate maps instead of having the same target file. So I'm actually going to save them as JPEGs, separate JPEGs, colormap Alpha map, we need our depth map. It's very important that we need our object ID map. We need, or we would benefit from having a roadmap. So all of this are the maps that we are going to need. I'm going to save the scene. I usually went around working, especially when I'm getting into the render part. I like to I like to save us different files just in case it gets corrupted. I always have the backup already. I'm going to go up all of the descriptions right here, and let's start with a color map. So I'm going to assign a new material. It's gonna be an Arnold AI center, not sorry, it's gonna be a new material. Gonna be an AI standard hair. There we go. We're going to of course add our light because we need at least a very basic like just lightened no HDR, just like this, just a light. And if we were to hit render right now, we'll get, of course a result. There was just a black shirt. Now remember it's just gonna be heavy because we're working at 4k resolution and you guys know the fork is not double the size of two. K is actually four times the size. That's a very common misconception when I'm talking about maps. Have you think about like a one K-map that's 1024 by 10242. K-map is 2048. By 2048, sorry for the hand grading, but as you can see, it's four times a four K-map is four times the two K-maps. So It's gonna be a little bit longer as you can see, but look at the fidelity of the pixels we're gonna have. So as such, an amazing fidelity array. Now, we're getting something somewhere. I remember this little book that we'd sometimes get. That's fine. Let's save the scene. Let's go to our tool here. And we're gonna go into each individual thing right here. Just to kind of update it. For some reason they just freaks out. Let's go here. Let's hit our render or BYU and I'm gonna say Windows, sorry, I'm gonna say update full scene. We should get a. There we go. So now the descriptions are properly working. I'm not sure why that happens. Smart must be a bug or something, but just keep in mind that we might have to do this every now and then. Yeah, there we go. As you can see, this is the four K-map. Still rendering of course, but it's super clean. I don't think we even need to download like downright the samples or anything because, I mean, the amount of pixels that we have is just so, so much. Of course it's going to look amazing. You might not be able to do for K maps every single time for your characters. I always recommend my students that they do like if you have the option to decide the size of your maps, always go for the higher possible once, because it's going to look amazing and your portfolio is going to really stand out. But in production you're not going to be working with that sort of resolution. Now, this right here, as you can see, the alpha channel is not there. And why is that? Because we forgot to select the HDR and on its options, remove the visibility on the camera. So before we do another render, because I want to save the same image twice, we're actually going to be doing this in Photoshop as well. I want to do the color. I'm going to grab any description, goes into the standard here. Let's call this Sam Ross. Here. Mtl just to material. And we're going to use a preset. We're going to go for rent. We're going to go for a sort of a red color. And as you can see, we get this. It's not exactly red, as you can see. It's giving us some nice variation on the totals. You can see a little bit of a darker red ray theory, but it's not really giving us the red that I want. I'm gonna go back here and in the melanin, a randomized, let's add a little bit of melon randomized and also make it darker like a dark red color. There we go. That should give us that. That's a little bit closer to what I'm looking for. This sort of like nice. This one looks a little bit brownish. Now here's again for the color. Don't worry too much about the color coding is one of those things that's very, very easily fixable instead of Photoshop. So no need to worry about not getting the exact color. What you should be getting or what should be worrying is, for instance, this melanin randomized, that's the kind of stuff that you really want to go for. So that way we get some nice color variation on the hair. I know it's looking a little bit yellowish, but again, don't worry about this. We can fix this in Photoshop very, very easily and we're gonna get an amazing, amazing effects. So let's just wait for this render to finish and we'll save it as a target file. And then in Photoshop, we're going to split it into two different channels because you guys know that this one already has the alpha channel for us and it has the nice transparency they will want. So we're going to be extracting this inside of Photoshop. Let's just wait a couple of seconds for this to finish. We're ready to go. As you can see, even though it's fork, I mean, my computer, it's a rice and 505800th. So relatively powerful processor. Look at this, this must have just gonna look at Mason as well. Like all of the variation this. I'm getting excited just seeing the textures because I know that this is going to look a really, really good ones to character has it? Yeah, I'm just gonna say File Save image. And we're gonna save this on our assets folder. I'm gonna say this on the assemblers, Assembler us, a thief link for you guys. So this is here. Let's suppose Sam Ross, Sam Ross here, color. That way. That's one of the easy ones, like the color out. Now let's go forward with some of the more complicated than once. I'm going to go up again all of the descriptions. Right-click, assign new material. And now we're gonna assign one of the AI utility materials. In this AI utility material, what I'm gonna do is I'm going to select this. I always forget which one of this, but I'm pretty sure it's the uniform ID. Now when we render well, we should get is a different color for each specific strength. It might seem like we're getting the same color. And yes, I mean, the odds of getting the same color since we have so many fibers are quite high. So you might get this encoder for one Fiverr or the other. This is going to allow us to create an individual of information for each of the strands of hair here. So there's a second, as you can see, quite, quite nice. And again, one of the things I do think I mentioned this in one of the other Beatles, but one of the great things about this process that I'm showing you guys is that since we're not baking, we're not gonna be getting the anti-aliasing that we, something's good, or the aliasing that we'd sometimes get away with bakes. This gives us a really, really clean image. So that's, that's one of my little secret. So now it's your secret as well. This is going to be the object ID. It will be, we need to make this black and white though. Very easy way to remember this, of course, in post-production. So let's stop that. So that's three maps out of the five that we needed. We check our little list again, just to remind ourselves which ones we need. We already have the color, we already have the Alpha, we already have the OBJ object ID. Now we need the root color. Now for the root color, I'm actually going to grab again all of those guys right here. I'm going to assign a new material. We're gonna assign an Arnold AI flat material because we don't want any light information, we just want black and white. And that way we know where the root is and where the tip of the element is. Here on the color, we're going to insert a ramp file. And as you can see, that's exactly what we're gonna get. So technically, if we were to render this for this, I do recommend having a plain. I'm going to bring a plane but just to see what's going on, because sometimes it's a little bit difficult to see. Let's go to perspective view. You know what I forgot to do? I forgot to bookmark. There we go. I forgot to bookmark. If I had moved the camera, will have to do the begs again. Now this one, I'm also going to have to add a new material, just a flat material. And it's gonna be like a middle gray so that we can see the white and dark. Now, if we were to render this to this amazing map does giving us already the sort of stuff that we want. Now the beautiful thing about this map, and this is, again the, if this thing is some things that I've learned throughout my career, but some of them are actually like my own invention. And what I discovered is that the strands to curves that we're rendering from action, they actually have information on where they're starting and finishing. Back in the day I used to do this manually. You would have to assign a different ramps, two different strands of hair so that you would get the specific effect that you want. Here. Everything's automatic because as you can see, it knows where things are being born and where things are going are flowing towards. It makes our jobs. So, so, so much easier by using this method was gonna stop this right here File. Save this image, and we're gonna save this image again in our Samra. Thankfully, this is going to be Sam rose here. Root, root. Finally, this is a tricky one. The depth, the depth is one of those tricky ones because again, when we used to bake these things down, instead of using this method, you wouldn't have to select things in a very weird way. And there was, it was quite complicated. So this is the method that I came up with and it's you don't even need like any other material. We can use this material assets. The only thing I need is to have the plane. I usually like having it close to the hair, so it's a little bit easier to find the furthest point based on the value. So I'm going to have something like that. And we're gonna go to the Options here, to the AOVs. We're gonna select the CAO V and we're going to get it into our information. Now we render it or look exactly the same that the route information is going to read exactly, exactly the same. But what's going to change is now there's some channel. We've pretty much uncovered a channel that already was there, but it was not available to us, which is called the CDF channel. This channel right here. That's gonna be our there we go. Our challenge, of course, wait for the render to finish almost there. There we go. The problem with the C channel is that it's usually a 32-bit displacement channel. So if I were to go to the pixels, you can see that if I select any place over here, we get this on the seat challenge. We're going to see the value is 1003.79. If I start moving my mouse, you're going to see again how this trends of here, like come into position. So they're 999.419010.12. So the variation is very small. And if you were to use this on a compositing software such as nuke. It will work just fine, but here it's not gonna work. So the numbers that they have found that word really nice. It's minus ten on exposure. And then lowering the Gamma. What you want to see or sorry, I think you need to wear the Gamma. I just want to kind of see the strands of here. Now, thanks, might be a little bit different. Because we are now at a different scale. There's a minus 12. What do you want to do is you want to try and find, oh yeah, rot, very important. So minus ten. And now we should be able, There we go, That's the image. So 0.03, this is like the magic numbers that have helped me because that way you get some nice variation. So again, 0.04.03.02, that's the kind of value that you want, that you want to save this sort of like great home because as you can see, the plaintiff is Breyer, very subtle The greater than the rest of the elements, but this is where we need to go File very important Save Image Options. Make sure to save with this, apply gamma exposure. And we're gonna save this image. Depth Map, Sam Ross, depth. There we go. Now we jump into Photoshop and there's a couple of things that we need to tweak over here. Let me open our textures. Here. Sam Rosen, let's start with the depth because that's the most important one, are one of the most important ones for the deaf channel where we need to do is we need to do a levels Control L. And as you can see, this is very important. Remember that the levels show us where most of the values for our pixels are. As you can see, most of our vowels are living in this area. What I wanna do is we want to crunch those values. I wanted to make sure that all of those values are being pretty much like move through all of the elements that we have, something like this. So that way we are going to have lighter hairs and darker here. So I'm gonna hit, okay, I'm going to press Control I to invert this because we definitely want to have, here's be white. I'm going to hit Control elegant. Now you can see that our levels have been like they changed a little bit more. So I'm gonna, I'm going to bring some of the darks down because I really want to have this sort of very nice contrast effect. Like I wouldn't be able to tell which hairs are on the top and which are on the bottom. So as you can see with this, we're gonna have some really, really nice hairs here on the top and some really, really nice here as though down there on the bottom. So very, very important to save this. Look at this beautiful. It might look like an ambient occlusion, but it's not ambient occlusion because with ambient occlusion, you get the shadows and this is not what we want here. Control Shift S to save this. I'm going to save this as depth remapped. Just know that this is the re-map channel. I usually like to keep this one just in case I need to tweak it. Because after you save this as an eight-bit image such as a JPEG, then it's gone like the information has gone and you're not gonna be able to recover it. So always keep a backup. So I'm gonna say Save and 12 pixels. Now I'm going to open the ID map. That's the other one that we need to fix for this one, easy fixed Control Shift view. That's it. Just Control Shift U. And that's going to change the values from color to black and white. And that's what you want. This one, you can actually say one thought because we really don't need the color for anything. So just save on top and that's fine. Finally, we want to open our hair color, this one right here, and we went to tweak it a little bit because it's not as red as I would like. So that's the first thing I'm gonna do. And I also want to save the alpha channel as a different channel. Where is my alpha channel? You know what? I did not say this is an alpha channel now, is that the problem? Is that going to create a lot of problems? Yes and no one thing we can do is I can just hide this plan. Go back here because it really doesn't matter where did you get the alpha channel from? Let's go back to I mean, whatever. Because when they do this, when I do the alpha channel, it really doesn't matter. The exposure doesn't matter, the gamma doesn't matter. It, nothing matters because the, the alpha channel is just transparency where the hair is and where the hair is not. So let's just wait for this to render. Just a couple of more seconds because it's flat image, its root would just stop this. I'm going to say File, Save image. As it sounds gross. And let's save this as alpha dot TGA. Very important thought TGA. That way. When we go to Photoshop and we opened that one, It's gonna be here on the alpha channel. That's what we want. I'm going to go through the alpha channel and what I'm gonna do is I'm actually going to select it. Say Control C. And then I'm gonna go to any one like the Alpha and say Control B. So now what I've done here is I pasted the alpha channel as color instead of alpha. I'm gonna save this as the alpha channels. So here we're going to say here, alphas to black and white image that has the information of where the hair is and where the hair is not. It turned out off and now we can focus on the color here. What I'd like to do is of course you should always keep a copy of your layers. I'm going to duplicate it. I double-click to freed little, like little lock, and then I Alt click and drag to duplicate it. Or you can also click, right-click and duplicate. And this one, I'm going to hide them, going to lock it again. So in case I ever need to go back to the original color there it is. For color, easiest way to change color control you control use gonna open the little Hue and Saturation window. Either flow want to saturate this a little bit more, and then we can change the hue slightly. And that's guys. I mean, just look at that beautiful color. Super flat, no light information like amazing variation on the hair. It just looks edges looks great. So I'm gonna hit, okay, now one thing I'm gonna do here, and this is going a little bit over and Albert the top, are going the extra mile. I'm actually going to say Control Shift U again with control you again. I'm going to desaturate this because I want to have probably make it a little bit lighter as well. I don't care about the black black background either because I do want to have some hair like this that's gonna be like desaturated. So I'm gonna save this asked Sam Ross hair color. So if I wanted to do some Massachusets are some lines that are a little bit like lighter. We can mix and match the cars and create something. Let's see how this looks. We might not have it on the final look, but it's always good to have the options. This of course will mean that I'm gonna need a, actually think of it. It's not going to work because we will need to care to care systems. So yeah, unfortunately that will be quite expensive. So now we'll keep it simple. Keep it just like with color. Let's save on top of this and there we go. That's a really nice, really nice orange color. If you need to lighten up or darken it or whatever, we can do it here as well. We've talked about this one before. If you want the roots to be a little bit darker, we can just drag like a nice dark color with a soft round brush. I don't think I want to do that for the hair. Maybe just a little bit, maybe just a little bit. Let's play around with blending modes. There's probably gonna be like an overlay. I'm going to make this a little bit bigger. There we go. The beard definitely, I definitely want the beer to be a little bit darker on the root. Now this is also something that we're gonna do with a root, the root channel, the width it, but it's always good to have the extra little effect here on not on the tips that tips would be, will not be effective. Just a little bit there, in just a little bit on the eyebrows, maybe the outbursts, not that much. And of course like lower the intensity and prob, we're gonna say 40% and probably go into Filter Blur, Gaussian Blur, and just blur the **** out of it so that we get some nice transition and it's not as intense. So yes, you can see that's a little bit of an extra depth and that's sort of like shadow we think always helps with the depth of the hair because it makes it look more more interesting. So, yeah, that's it, guys. 20 minutes took us 20 minutes to do this bakes slightly different than the ones that they're good for Merck for the ogre. But as you can see, our sheet is completely, completely ready. Another thing you can do, I'm not gonna do it because it's gonna take a little bit longer. But I'm just gonna show you this trick. If you need more variation, after you've done this, you can go to each individual hair strand, make sure you select the exact same region. And you could duplicate certain areas of the element, like let's say this and then play around. We'd like scales and the movements in stuff like that. You can do stuff like this. And that way you're gonna get other variations of the elements so you can mix and match. Like the fact that we only got this descriptions from Maya doesn't mean that we can't create more variations here instead of Photoshop, for instance, I wouldn't recommend trying to paint them by yourselves. Some people have shown me, so I'm going to take these were they paint the hair cards? That's not as good because you can't paint object ID or you can paint the depth. That's why the 3D is so much better and you get some better results. The Yes, sir. Just just keep that in mind. Okay. So that's pretty much it, guys. In the next one we're going to build a card. So we're going to build the cards first and then weren't kindly have probably another video where we build the chunks. And after that, it's time to start placing things. We're halfway through with this chapter. I know that it's a lot of steps and I just want to show you the whole thing. Make sure that we're not missing any step, that you can replicate it exactly as I'm doing, so yeah, that's it for now, guys, hang on tight and I'll see you back on the next one. Bye bye. 30. Creating Hair Cards: Hey guys, welcome back to the next part of our series. Today we're going to continue with the creation of the hair cards. So we have the textures, we've finished with the descriptions. It's now time to go into the haircuts. I'm actually going to be opening the setup that we have right here, which is the one with the character. There we go. I'm gonna keep this geometry for an app. I'm just going to add a new layer and change this to a template layer so that we know that that's where the geometry supposed to be when we need to reference it, of course. And we're gonna go to the front view. I am going to bring plane, screw the new plane right here, scale it up, move it to the side. I'm going to make sure that this is rotated 90 degrees and we're gonna change the dimensions back to one, Let's say complete solid, plain, assign new material. We're going to go with a Maya Lambert because we don't want to have any sort of anything. We're just gonna go here to the color, went the one in the glossary and stuff because we know that the real thing is going to be in a real we go to the Assets, Sam Ross and we're going to plug in the the color tests. So this is the color alpha. Hit Open. There we go. Now, here's a small problem in this one, we're actually using a JPEG file. And so photography, Maya doesn't know that this is supposed to be transparent. We need to go to the transparency and that the transparent channel, which is gonna be the other little image that we have right here. The only reason why I'm exploring this as two separate objects is to make it a little bit easier instead of far into the front wheel. But you can actually have them in a single file as well. So you want to save this as a single target file. You're welcome to do so. There we go. Just scale this up a little bit more so that we can see the general scale of the element. Looked at the quality of this hair. Amazing, amazing, amazing. Now let's start cutting. I'm gonna show you a different one. We've been doing a couple of cuts already. We did our first with just the cut to lay believer, we just split it into different sections. And then for the next one we did just create new polygons. And this one I am going to be using the G2. And you can just let go right here, for instance, as you can see, we can actually find one line that goes right in between the lines. There we go. Just make sure that that's perfect. And then I'm going to hit this guy and say Edit Mesh. I'm actually going to add the detached button to my shelf. To add the button to the shelf, you're going to press Control Shift and click. And that way it's a little bit easier to just go here. Now when I add my a cartilage, you can see it's only going to cut the actual elements. So same here. Let's just detach those. Let's cut those. Detach. Well, let's cut those. Those like the edges. Detach it again, right here and right here. Select them both and detach over here. Same deal. This one's a little bit easier because they're just a straight. So we cannot really just like cut at the very border that we working on, say a little bit of time when we're doing the actual creation of the haircuts. For this ones. Let's just do fetch this one. Go. Let's add a couple of lines right here. Perfect. So another option, just grab every single edge and just detach. And that way. Now every single empty island we can just select and delete. If you have two choices a weekend and go with the traditional way, which is just push the polygon score. In this case, I think it's going to be a little bit easier if we just start calling. Now here's something I didn't like contemplates. But it might have been a little bit of a mistake to do this because as you can see, the hair card is gonna be slightly oriented in a different way. It shouldn't be that much of a deal because as you guys know, the most important thing about haircuts is the transparency. So the shape of the polygon, It's not, shouldn't impact as much. But just keeping in mind sometimes some productions might tell you, Hey, we want to keep the hair cards as a square as possible. And of course you need to adapt to that. So here as you can see, I'm just adding a couple of extra polygons and the pieces or I know that we're gonna be eventually calling. And that's gonna say me quite a bit of time with the actual creation of the cars. I'm gonna show you a nice little trick here too. Because as you can see, there's a lot of divisions on this one. So it might be a little bit easier to select the opposite one. So I'm gonna select the middle ones and then shift select everything else. And that way we just are left with those specific areas. And for this one, I'll just select those and then shift select everything else and delete. Now for this ones, right now, I'm just going to go with it and do this slanted, sort of a slanted haircuts. This are for the mustache. Again, not completely worried about this. A lot of people prefer to keep their cards, again like straight because we can just bend them. That might have been other thing that we could have done because it's really not a big deal. The other thing we could do is we could just rotate this thing around, like if we detach them, of course, attach. And now we can just rotate this around and create like another haircut should be exactly the same like this shouldn't be creating any issues whatsoever. But what if we get any issues, we will fix them. Of course. There we go. Now, as we've mentioned before, one of the important things is to give some divisions to the whole thing and make them look a little bit better. So I'm gonna go here to mesh tool, Insert Edge Loop, and we're gonna double-click here. I like usually five divisions, so we get six sides on each card. On this guy's, especially the hair. For the small ones, we don't need as many. Probably going to go with two, like this guys right here, here. This ones, we can actually cut a little bit more. I'll talk about those ones later. For this one, it's like the small ones. I'll talk about later. The most touch I'm definitely going to add 22. As you can see, we're creating this sort of grid shape. It's definitely modify some of those elements because we're looking little bit weird. And I'm actually going to add two divisions to every single hairstyle over here. You might be wondering why. The reason is the here that we're gonna be doing now has a little bit more volume. If we were to keep the hair cards exactly as they are. The problem is, let's say Mesh Separate. The problem is that even if we do the little triangles, it's not gonna be as nice. So I need to actually create this little hexagon shape or it's not a hexagon, but it's like, like, like I have a two. So this half to affect he's going to really allow me to give it a little bit more volume, make sure that it looks nice and clean. This of course, will increase the poly count, which is something that we need to keep in mind. But it shouldn't be that bad. For this one, for instance, probably just like one. Let's add the two. They don't need to be symmetrical either soon as you can just play around with them. And that's fine. Again, this is going to give me this very nice, sort of sort of pushed out the effect. There we go. Yeah, that's pretty much it guys. Are ready. Let's fix this one's already because I think that's going to be important. These are for the beard. If you remember, this is the breakup for the beard. Let's first of all cut or we don't need, and we're going to divide this into two. The touch, there's gonna be one and that's going to be the other one. And these are gonna be for the hair. This one, we don't have a middle section or it's not gonna be as easy, I guess we can call it right there. Remember the reason why it's cool to have a couple of like halfs of this guys is so that we can add more variation because otherwise we work. We keep the original shapes and it's a little bit more complex. But yeah, there we go. So now all of our haircuts are ready. We of course need to add a couple of divisions. This is gonna be the eyebrow. The eyebrows are also recommend creating this sort of like circular shape right here. There we go. Because we're also going to grab this guys, push them out a little bit, push them out, push them out, and then I'm gonna go with the centers as well. I'm going to give this sort of hole, looks like a little hole. As you can see that that definitely helps with the whole thing. Make sure you said you're a renderer here, the viewport to point O, which is the one that we're using to depth peeling so that we get the proper Alpha when we started like creating the chunks. And yeah, that's it for now. I'm just going to have control S disguise right here. One thing you can do if you want to again, keep this thing a little cleaner, you can go up here. There's a little hidden option right here called the Rename option. And you can change this into code, just call it like Sam Ross. Underscore cars and we're gonna get a haircut, 123456. I don't really find it useful to rename them. It's pretty obvious what they are, right? And since we're gonna have so many copies, really not, not cool. Well, that's cool. It's just like I feel it's a little bit of a waste of time. One very important thing though, the proof points, I suggest you move the pivot point to the center of the top area of each card. So just press the result. You're going to move more than V to snap it to 1 and then move it to the side Q again. And then again, W, D moves up through the center, because it's usually a little bit easier too. To do that. Let's go here or jump to modify or to just work with the car from there, we're gonna be doing some changes. This one, it's gonna be really interesting. You guys are gonna see why in just a second. But yeah, so again, d, here, there we go. Q, D moves to the center, right there. There we go. This is the must attach again V to snap it to the point, and then q, d, v, d need to go into edit mode. You can also press insert on your keyboard. If you have a full keyboard, if you press Insert, you're gonna be able to move. The proof point is one thing that I wish blender has an easier access to. Because I find that modifying the points in Blender is a little bit more tricky than I would like. Go there. Right there, perfect D being the center of the element. There we go. This one's can't wait because we're gonna be modifying them later on. So yeah, that's pretty much it guys. I am going to save this real quick. We're ready to go into the chunks. We're going to create some chunks. Want to show you a whole degree two breaks as well. We're gonna get this. Yeah, hang on tight and I'll see you back on the next one. Bye bye. 31. Creating Hair Chunks: Hey guys, welcome back to the next part of our series. Today we're gonna be creating the hair trunks. So let's get to it. This is where we left off. The cars are ready to be manipulated and converted into some nice chunks. Let's start with a very basic chunk here with the beard. I'm gonna start with this, bring this up and this up. Way where we had some flyer ways, where are they? I felt we had some flyways over here. That's weird. That's fine. I'll see if we bake those later, but I really thought we had to fly away. Anyway. So let's grab this guy right here. This is which one's bigger? This one, Let's grab this small one. Bring it to the front. Let's give it a little bit of rotation there. Move it over there. And again, this sort of shape that we have right here is exactly meant to be like this, like what we're using it to break up the holes, right? So let's duplicate this one right here. Let's create another one right there. And again, the most important part when creating chunks is to look around like more round your character. Your chunk in this case, and try to hide the transition from one car to the other. As nice as Basel see that big transition there. That's a no, no. That's, that's what we want to, That's why we're doing this. We want to solve that sort of effect. It's impossible to get everything right, but it's at least a beginning. I'm going to duplicate this one, for instance, I'm going to use it to, to cover a little bit of this hole right there. There you go. So now we kinda hide that effect. Let's move this one to the side. There we go with it so we can add another, another nice chunk of therefore, w can scale this down a little bit more. I always like to leave a little bit of semi transparency here on the edges of the, of the chunks. Because that helps blend it with the rest of the chunks that we're gonna be adding a later on. Some people like to keep the borders really clean. I always started, it looks nicer to have the sort of effect careful here to make sure that everything is coming from the same, roughly the same place. Because as you can see here, the insertion points are gonna be slightly different. One thing we can do here is we can go with this vertices. We'd self-selection just like a little bit higher self-selection, just like move them back a little bit. Because we roughly want all of the, all of the lake insertion points to becoming from the same place. This is of course going to be more obvious ones we get into the actual character. It's a really nice way to build them. So I'm gonna grab this guy right here, combine this, and let's just get it here onto the beer than C. The distance. Let's move the point up. There we go. So taking a look at the reference, we're not going to go with a super, super long beard like this guy probably going to go with something like this. So as you can see, it's roughly the size of the heads are probably going to have to scale this up a little bit more that we get the big chunk if there's gonna be covering this. Now, a very common mistake, and I used to make this mistake of law when I was learning this thing is, I thought that since beard growth from everywhere, from even the deepest parts here of the character, that we should add this here. But the thing is, with all of the depth that we are creating, you really don't need to do that. You don't need to have all of the latest with just like two layers like this. That should be more than enough to make sure everything looks as nice as possible. And I'm going to grab one of these guys. We're just going to use this big blocks right here to start creating the base of the beard. This is going to be like the, like the back part here of the beard, the long beer store, the longest beard. There we go. I'm gonna go into self-selection and just select some of this vertices. Just rotate them and push them around. Here's where the grooming section actually starts, right? When we started getting this guy s2 into position. So now we go. That looks good. Here we might utilize because we have two sections, right? So in order to make this thing a little bit nicer and not as dense, we can play around with some of the sections. Maybe the half and half see that something like that. Because again, most of the things on the inside of the character are gonna be covered by shadows and by all of the depth of the fall of this beard. So there's no big needs to, to worry that much about this sort of effect. Here. Let's go to vertex mode. Started like a grooming this thing. I really like using self-selection. That gives me quite a bit of liberty. There we go. Now what we can do is we can go to a lower elements right here, really small element or a self-selection. And then just start like a twisting them and turning them around. It's going to break up the shape of the hair a little bit more. That's also going to make it look a lot moderates on all of those holes and stuff. That's that's the kind of thing that we're going to be worrying off. We're worrying about later on. Let's grab another big chunk. I know the title of this video is the chunks right now, but it's taken it yet started laying these things out. Just to get a general idea of how this thing is gonna look like. Yeah, this chunk is a little bit too big now, so we're gonna have to do like a smaller chunk. I'm going to go back to my chunks and let's start creating a nicer smaller chunk right here. Duplicate this guy. Get it in there. That looks quite nice. Let's inject a little bit of this. We don't have fire waste. It's really weird. I really thought we did bake them. I was pretty sure, wait, we didn't have them. Maybe I forgot to activate them under the final bake. But if you didn't make sure to add them a little bit late for me to go back. I mean, the BD is gonna go even longer than I've already recorded everything. Don't want to bore you guys with more details. Yeah, there we go. Nice little small chunk. Now, the beard, as you can see, it doesn't look like it, but it is made out of layers. So you're gonna have some really, really thick layers on the front. Like I think this one is a great example. You're going to have the big layers down here. And then you have this more layers, like layering on top of the other ones. So those big chunks that they added at first, those are gonna be like my main, main beard. And now I can start adding a little bit closer to the board there. The next layer of here, so something like that. Now I'm going to use my soft selection tool to rotate and push the roots of the hairs right there so that it looks as nice as possible. As you can see on the textures. I did add a little bit of like beer defect. And there we go. Push this forward so that we start creating a lot of those holes. Don't worry, we're gonna be like a fixing them later on. Might want to make this a little bit thicker. They're longer. Just so delirium happens a little bit more naturally. Now this chunk right here, we're gonna start duplicating the size. Again, the secret to a good groom into good hair cards is to try and not to over layer things. Because what we've done so far, like all of the, all of the hard work that we did with the banks and stuff. It's supposed to be exactly to avoid that. We don't want to have a million layers of here. We just want to have some big chunks of hair level we're seeing right here. And those big chunks that we have with all of the depth information and all of the shader effects that we're gonna be adding. Those are going to give us the effect that we're looking for. I'm going to add another beard right here. Same stuff. Seven to see the light. Light is really helping on this one. To be honest. You might want to consider adding union for you and see how the little roots are barely touching. That's the kind of effect do you want to get? Because if we do this, it looks very obvious, but if we keep the tips about to touch the texture of the face, the blend looks a lot more natural. I'm a low, we'd be worried about those ones. You can also turn off soft selection. And just like more of a couple of chunks around. If you need to see how this transition is looking a little bit weird, I actually made the worst. Because we go with this sort of like stair-step effect. That's where grabbing like an extra, one of these chunks really, really handy. Because we can use the tips of those chunks to blend that effect. There we go, See that we want to use, so we want to use some of those hairs. I'm not super worried about this ones because we are going to be still need to have the final layer. Let's go like that. Again, make sure that this thing is intersecting as nice as possible. And that's going to help blend the sort of like stair-step effect. Again, not too worried about this one because we're still missing the, the main shapes. I'm definitely going to grab this. How many we have this ones right here, and I'm going to mirror them to the other side. Remember, when we talked about with the ogre, when things are far apart, it's a good idea to mirror them. Positive x. There we go, because people won't notice, like you normally see the character like in a three-quarter abuse. It's very, very difficult to notice that there's some if acknowledge, you can see this is getting quite heavy now we're at almost two k triangles. So about 20 k triangles should be our goal for this character. We don't want really want to go higher than that. Now let me very quickly show you because everything else is just chunks are describing individual hair strands like we've done before. But the hours of where the braids, those are gonna be fun. So this is the texture that we want for the brace, right? Like really, really thick, thin, long. My texture going to break. We're going to create the braids in a very similar way in how we created the ones that I showed you before. So I'm gonna start with the cylinder right here. I'm going to modify the subdivision access to eight, so we didn't have as many, but I am going to increase the subdivisions of heights quite a bit to like 30 or something. Because what we're gonna do is we're going to twist a couple of this guy. So let's start with a thick one. Duplicate this one right here. We're not really going to lay this, as I mentioned, going back and forth, we could, we could do some curves and extrude along, then it's gonna be a lot of work. And I don't think it's really worth it, especially for such a small detail. I'm going to delete the caps right there. Very important to delete the caps, and I'm going to delete this sketch as well. Now, the only thing I need to do is go select all of them, combine them, and say the Form Non-linear twist. If we modify the angle right here at the end angle in there step I start angle, we're going to be breathing it. It's not, again, it's not the brights, it's just like a knot. Now very important, you're gonna select all of them. You're gonna say mesh displayed soft and etch to make sure that they're as soft as possible. If you want them to look super, super small and super nice, you're going to have to give them one more cell division. But as you can see, it's already almost two k triangles right here. And that's way, way too much. It's almost the same amount that we have here for the beard. That's why this sort of the fields you need to be very mindful about. Now the last thing we need to do is we're not, as you can see, they're not made out of hair cards. We're gonna go into the UBI sub this object. And we're going to assign the same material that the haircuts hot, which has this Lambert one or two, sorry. We're going to map out this section. This hair right here. It's a little bit difficult to notice because it's very dark, but let me see if I can match this. There we go. Perfect. So now when we take a look at the breath, this is what we're going to get. All of the hares just like going around and creating these very nice sort of like not effect. As you can see, we even have some empty space in-between the brights. It's also giving us a lot of very cool volume and that's it. That's all you need to do to create your breath. Now it's only a matter, of course, scaling this position in the world is gonna be originating from just gonna be right about there. Here's where we need to do a little bit of tweaking. When I got all of the vertices on the top. All of this guy's self-selection turned on. That's a good idea. Small self-selection. We're going to hit Control and click on the green square right there. And that's going to flare out the hair. Now it's going to look more like, like we grabbed a couple of elements from here. And that's what we use to create the brace is gonna be coming from the side of the most saturated here. Of course the most, that's just gonna be covering some of it so that we don't see that transition as much. Now for the proper flow of this thing. Another thing we could do, and I'm actually going to show you guys because I think this is quite fun. So I'm going to rig this. We're going to create a very fast rate for this guy because it's going to allow us to like modify a little bit better. If you've never read before, don't worry, it's gonna be quite easy. I'm going to start up here, click once with this create bone tool and then Shift. And then I'm going to start going down. I'm going to do like six bones are seven boats like this. There we go. So as you can see, we have that. I'm going to try this thing which is called X-ray Joints. I'm gonna go down here to all of the joints, select all the joints, select the hair. I'm gonna go into the reading section and hit skin, bind skin. And it really doesn't matter what settings you have, anything works. And now we can position this where we want it. And then we rotate this. As you can see, it's going to rotate everything. Actually the binding was, Oh, my bad. Let's go back. Let's make sure to move this toward the actual Harris. There we go. Now, we select all of the joints, we select the hair and we just say skin, bind skin. Now if you'll move with the first bone, you're going to get this. But that's not the fun part. If you grab all of the other bones one-by-one, you wrote to them at the same time. You're gonna get this sort of effects. It's gonna be a lot easier to post the, the, the beard right here. As you can see, it's this thing is gonna sit here. And that way we can do is we can start there and then grab all of these guys. Then push them forward. That we were gonna have a nice curve. And then we can grab this one's, for instance, and push them backwards. And it's going to make it look way, way, way more natural than if we try to move it manually with a self-selection. There we go. Now here's the, here's the kicker. Here's a nice little pro trick. You're gonna grab the geometry and you're going to hit Control D, and that's going to duplicate the geometry. Now you're going to unlock this geometry. So unlock selective. And this is new year, new geometry, your new brake. You can grab the joint again, just move it to the other side. And let's give it a different rotation. So they're not exactly symmetrical. It's also going to have with the help with the symmetry, break up. Gonna be on the other corner of the mouth. Right about there. We need the mustache, of course. And that's it. You can just hit Control D. And now we have the two freed up. Topologists. We're pretty much just duplicating the skin so that it's free and now the joint is not affected. Now I would personally grab these two guys, Control G to group them and call this break rake. In case we need more brights later on, we can just grab that one. But as you can see, those two breves look quite, quite nice on the character. We're probably going to be moving them like slightly forward. So I'm going to rotate them a little bit forward because we're still missing the final layer of the character. But yeah, that works. Finally for this guys, which are going to be the little tails, which by the way, I know I'm mixing a lot of topics here, but I just want to move forward a little bit more quickly because I know that this course can be a little bit slow due to all of the information. I'm gonna go into import and we're going to go for the, remember the horse charm that we did at first. We're gonna grab the geometry, the horse charm geometry. We're gonna be using that geometry as our little like a bright thing. So that's the horse charm. That way we don't have to do more work. I'm actually going to delete the sphere. Let's delete this fear and the tourists. And let's just stay with you. I mean, it's a simple shape. You can, of course, if you want to model something more complex, you're free to do so. I just want to keep it simple. I'm going to rotate this around because I want this part to be aware to break goes. Then we duplicate this and of course we've places on this other side. This would need to be a break probably if we're gonna be animating this character later, we'll probably rig this little guys. Probably needs to be a little bit bigger. There we go. Now we need to create a little chunk for this guy's very easy. Control D. I'm going to show you another technique. Actually, since this is going a little bit over the last almost 20 minutes into this, I'm going to stop right here. I'm gonna show you a nice little trick for this chunks in the next one. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 32. Braid Chunks: Hey guys, welcome back to the next part of our series. As we mentioned in the last one, we're going to continue with debris chunks. And this are the ones. I'm going to show you something really, really cool. What I'm gonna do is I'm going to move the pivot point to the center one of the boat there. In this case, we can actually simplify the amount of points I don't think we really need. I'm just going to cross them. I'm just going to literally create a little cross-section right here like this. Then we already have the copy there. Grab these two guys, Control D, and just rotate them around and play around with their rotations again. As you can see, we're creating this sort of very interesting little bundle. There we go. Now the only problem with this bundle, as you can see, is the fact that all of these things are supposed to go to the single, to a single point where they're coming from. They want to duplicate this one a little bit more, one more time. There we go. Again, just trying to highlight all of the holes so that whenever you see it, you'll see like a nice little card. There we go. I'm going to group all of them. I'm going to combine them here in poly modeling combined. And we're going to use a generator or the former that we haven't used before, which is called the lattice. Okay, so I'm gonna move the pivot point up here just for simplicity sake. And the lattice is right here on the form. It's called a lattice and increase this, it creates this box and it's kind of like a soft rig that we can do. Because now I can just grab all of the lattice points which are one component of this lattice thing. And we can crunch this guys and as you can see, it gives us a very nice, I have self-selection turn on of course, but it gives us a very nice sort of bell-shaped for the whole thing. This is a really, really powerful once you're done with lattice, just delete it, delete history, and we're ready to move. So this one would of course go right there. Wanted to go there probably like scale a little bit so that all of the roots are in there. And look at that pretty nice breath again, where it was still missing a little bit of volume from the beard. But as you can see, this is looking quite, quite nice. To Control D against Snap to Point with v is not there to the center of the cylinder. Just a matter of getting those to look as nice as possible. I would probably wrote to this a little bit, so they're not exactly the same. That's critical. The character is looking quite, quite nice. Now, the mustache is definitely like making a little bit difficult to visualize everything. So let's start adding the mustache right here. We can just straighten this guys by the way, I think they might be or they could cause an issue later on, since we don't have the WBS turned on, it should be fairly easy to just as you can see, string. And then, and then we will create this sort of volume, the actual, the actual character. Let's push this up. Always, always duplicate copies. You always want to have copies of your hair stuff. There's three guys and push them up. There we go. Good at smaller bundled form must attach. We want to make sure that the angle that we're seeing it from or trying to cover all of the angles. Use all of the cards that we have. Even like the one from the backlit, they're like the big one. You can give a little bit more thickness. Depends. Depends how they will want this or not. I think we'll keep it like this. Just grab all of these guys, combine. Move the pivot point too easy to remember, police like that one. And let's duplicate this guy number seven. And go there with probably going to have to scale this. It's just a matter of getting close to the character. This plane is definitely way too far out. I like it because it's too far out. So let's push the closer. Given. Those were just a little bit of soft selection. There we go. In the last lecture of course, it's also going to have some volume. We're probably going to have a couple of layers here for the masters. This I would consider to be like the main blocking of the message. Like that. I'm just going to focus on making sure it looks good from one side first. Because remember the sideview mirror. And then we can add some more. Go That looks pretty, pretty close. You can see we're also using a little bit of the mustache, sort of like thin, small effect to blend. Some of these areas, I'm even tempted to just duplicate this guy. And that this sort of shape right here. Just because it gives us a really nice brakes kind of like the breakaways we're gonna be using later on. It's just another way to layer them. Looks nice. Let's do a quick mirror. Remember shift, right-click and mirror. I like that. Cool. So now we're gonna go to the same chunk and we're gonna start adding the layer on the front. This one's not going to be symmetrical. This is when we can break the symmetry. Make sure the length is matching. Definitely we had two layers. So let's look at one more to this one that I'm tempted to mirror to the other side. Fibers going one side and the other. Be careful not to make it look too messy though. That one started to lay a look messy. Yeah, It looks interesting. We're in a good position. I'm going to grab one of these guys. I just wanted to get an idea of where the beard is going to end up on the front here. Gonna be right around there probably. That's where we're gonna be building or changing some of the chunks. As you can see, that one's gonna be a lot smaller and we're going to create this are like stair-stepping from the big chunks of those small chunks. I'm actually just going to start blocking this in. Don't be afraid to jump from one thing to the other. Because this is like art is one of those things. So when you see an inspiration in certain areas, it's a good idea to just make use of it and use it. Like if I see that I can fill those gaps very quickly here. And just get a better idea of how the character is looking. It's gonna be really, really useful for the overall project. So let's go for it. Let's try to make sure that this layered up, touching the skin as close as possible. There we go. That's starting to look like something I really liked that one. We haven't really worked on the hair up here. So it might not be a bad idea to start just generally levering down some of those guys right here. Let's start with that. One of the main chunks right here. Gonna go up this edge soft selection. Just push it there. There we go. Let's move this down. I know that the texture right there is a stretching. That's fine. Because once we start moving, this thing should recover a little bit more. You could also move a couple of them at the same time. Go there we go. There we go. Not a lot of volume just yet. This is just the layer. Let's duplicate this. Now let's add a little bit of volume. Let's duplicate this again, a little bit to the side. And as you can see this here, it's going back. I guess she wanted to I just want to get any yet and I think from my reference, yeah. The entrance points was a little bit further forward. Let's describe this guy's bring them forward a little bit. It's really common to get overlap on the hair. It's impossible to take everything into academy. We can scale this down. Sorry, we can scale this down a little bit to make sure that it doesn't touch the horse and stuff, but it's really complicated. It's so don't, don't sweat too much if you can't get everything to work perfectly fine. Let's look at quite, quite nice now, of course, of course, we're not going to really see how this hair looks onto. We see it in the engine. The engine is gonna be the, I call it the nosey one because that's when we're going to really see whether or not things are looking the way we want them to look. So I'm going to stop right here, guys, in the next one, we're going to take this pre-construction of the hair to Unreal Engine and see how it looks. So hang on tight and I'll see you back on the next one. Bye. 33. Setting Hair in UE5: Hey guys, welcome back to the next part of our series. So as we've mentioned in the ogre section, It's very important that we start seeing how things look here instead of, instead of our character. So I'm just going to press F to frame him. There we go. The woman said The Farmville mentioned this before. It's just like in my Alt and click or you can use press WASD, like in the video game, and you can also navigate like that depending on which one you prefer. So I'm gonna go into Maya and I'm going to select everything here now, very important, make sure to delete history every now and then, because every time we duplicate combined, separated into all that sort of stuff, we got a lot of information stored and that's something that you might not want. So I'm gonna come over here and the first thing that we need to see is if our character matches with the scale and position that we have in instead of, instead of from real. So let's select all of her hair. I'm going to combine it. Well before that I'm going to Control G to group it. And then I'm going to Control D, that group. Let's hide this group for just a second. And then this new group, I'm going to combine it because I don't want to delete the previous recruit that we have. This one we've now the only history. And it should be just this gland right here. And let's call this Sam Ross. Ross. Here. Here. Test. There we go. We're going to say File Export Selection. We're going to of course, export FBX and we're going to export it on our assets folder, some rows. And it's gonna be cool hair. This will export the little horsey things later on. For now, this is just fine. And we're gonna jump into unreal. There we go. The sombreros folder. You'll want to keep everything nicely organized as possible. You're going to say import two and we're going to import the hair tests. Hit Open. Here. We actually don't want to create the material, but it's fine if it creates it. It's actually going to import some of the textures that you can see here. It already knows that he wants or we want this textures. That's fine. I'm just going to delete the material because again, we don't really need it. This is a Haritsa, so I'm just going to drag and drop it. And what I'm most interested in is to see if the place when everything is right. It's not exactly where it's supposed to be, but as you can see, if we just snap it three units up, it's gonna be word supposed to be. So not that much of a problem. Either way, it looks amazing now. It's just a place and it looks pretty, pretty cool. So I'm really confident that the hair is going to look really, really cool. We're going to navigate to the character section. Remember this? The shared one that we have. And then we go to the hair materials and we go to the m here. This is the hair that we weren't like. This is a hair that has all of the crazy stuff that we're gonna be using. And this is what we're gonna be using. So I'm just going to right-click this guy. I'm going to create the material instance. I'm going to call this Sam Ross. Here. I'm gonna drag and drop this one into some rows. We're going to move here. It's still gonna be the same thing. So you're gonna be linked to the original object. And if we double-click, you're gonna see that we don't have access to all of the complicated than the other word that we had before. This is what we have access to all of the parameters that someone was kind enough to set up so that we can create all of these elements. What we can do here is something really, really cool. We can go all the way down here and we're going to change the maps that we're gonna be using. So to do down here on the your DMM. Where is it? I can find that. Give me just 1 second. Sorry, my bad. It's not the hair from Mike. Mike is actually using a different kind of hair. We'll talk about that one later. We need to go here to the best option and under materials, Here's the hair She'd mastered. This is very similar. It seems to be very similar, but this is the one that's using the maps, so this is the one that we need. So again, double-click. We're going to create a material instance. We're gonna call this Sam Ross. Here carts. That way we know this is the one. Bring this into some rows. There we go. Move here again, since it's an incense as coping all of the attributes and all the things that we need. This is the one that we need. We can already get it in here and you can see, of course it's not gonna match, but it's already looking quite nice, like the depth and everything is using the maps that the character has. But we get the transparency that we're looking for. So double-click here, and here's where we're gonna start adding them up right here. So we need to activate Alpha when interrupt to get activate depth, we need to activate Ruth and we need to activate unique value, which is the ID, the roots of depth and the alpha. We already have the Alpha. We can get this in here. And as you can see, now, our hair is going to start looking quite, quite nice. Let's, let me move this right here. There we go. Going to make this smaller. As you can see, just with the alpha channel. Thanks, are looking quite, quite nice. But in order for this to really, really get all of the information that we need, we of course need the maps. Now, as you can see this here, this is one of the advantages of the Unreal Engine. Here, we have the option to select parameters to change the color right now, this whitish color, well, we can also go down or up here, sorry. There's a way to overwrite the diffuse space color here. I'm going to say use phase diffuse color. I'm going to turn this on. And it's gonna give me another map right here, which is going to be for my diffuse map. And I can just drag and drop it, get it in there. This on there we go. We get our nice red color. Oh my God. Look at this. We haven't even finished with the hair and this looks amazing, wouldn't you say Amazing? Oh my God. I'm always, I'm always like with technology nowadays because when they did this, like five or six years ago, technology was not here. And let me tell you, this is just always so exciting to see how things churn. There we go. Now let's bring the object ID. Let's pray the root color route and let's bring the depth. This one. We drag and drop all of them. And it's just a matter of getting where they're supposed to be. The hair ID is this one right here. It's gonna give more variation, as you can see, the hair root, this one's gonna go right there. Right now. I don't think we're using as much route, but we can change here on the tip color and stuff. We can change a couple of elements here, which are on route color, and we start playing around with this. You can see that the root actually changes the color. That's one of the flexibilities of this material. And finally, this is gonna be the magic one, the depth. Grab the depth. There we go. So all Micah, look at that. Now it really looks like this thing is like fading into, into the world. Like look at the softness of that depth. Like you really gives us this very nice, smooth and soft effect. Now, here's the thing. If we feel like this step is a little bit too much or a little bit too little. Here's where we need to go back to Photoshop and change it a little bit because otherwise we might not be getting the effect that we want. If we take, if we go back, write very fast to the, to the bus materials right here, we go into the hair depth, which is this one right here. You're gonna see that the intensity of the depth is a little bit different. So it's a little bit more intense than what we have, I think. And that's something that we might need to change later on in Photoshop. I just like adjusting the values. Now, the way the depth works is it's trying to play around with the effects in just to make sure it looks as nice as possible, depending on how we place it. Theft, that's the kind of stuff to work. I have a list. I mean, this looks really, really, really realistic. I do think my depths a little bit too much. But again, the cool thing about this material, Let's go to the material again here is that we have options that we can change around right now we're using all the basic stuff. But up here you can see that we have brightness at Match, etch mask, MIB bias, occlusion, roughly the scattered tip power, like all of these things we can change around. And depending on how we change it, thinks are gonna look a little bit more different. So for instance, if we go here to mass contrast and we modify this, you can see that the hair is going to look slightly different. So if we go to point learning negative 0.7, you're gonna see that we get softer and softer. I don't want as much etch mask, I think so we're going to lower this. I am going to go for the occlusion or root. Let's play around with this one and see if we get Nana really brightness, which is the brightness of the hair. There we go. I think they were definitely want a little bit more brightness on the color. Let's try it like three brightness. There we go. That's a nice deep breath color. I like it. Here. Pixel depth offers this is an important one. If we turn this off, we go 0. You're going to see that we don't have any sort of like blending. It looks exactly like my yeah. So this is the thing that's using the depth. So the more depth we give it, the more like blend we're going to get. I don't want so much blend. I think we're going to go for a 0.4. We are going to have a little bit of that sort of like blending effect. But it shouldn't be that much like we should be able to still see the hair from afar. This of course tells me that we definitely need to play around a little bit more inside of Maya. Roughness, roughness of the hair. We can change this over here as you can see, one like a really shiny hair or like a really math here. We can change this over here with, yeah, I mean, this is looking quite, quite, quite nice. I really like the effect so far. And again, we're just starting. This is just like the basic of the character. Another thing we can do, and again, this is important to always take into account. Let's save this thing real quick. Save selected. I'm going to open up one of the other maps. I'm going to open the bust outdoors, which is the one right here where there's more light exposed. We're definitely going to delete this guy. We don't need him. Let's call him Joe. Let's delete Joe. I'm gonna grab my eyes, everything here, just drag and drop, hit F. We said we were gonna multiply this by ten. We can also just like re-export this. Ten. What's the a 100th? Let me bring the hair tests. That's gonna tell me what's that? Ten. And we're going to position all of these guys at the zeros, zeros 0, which is the origin of the character. We need this cube. Let's grab again. They fling, rotate 90 degrees. I'm going to push him up 50 units. Then bring the hair 000 and push this up 50 units as well. This should give us a little bit of a better idea. So now again, we're just drag and drop the Sam Ross haircuts into the hair. And this is going to allow us to see how this thing looks in context. To the skin, the horns, the ice. Now we can grab everything. Hair. Here. Let's rotate this around. This is how our character would look in daylight. Again, you always want to check out how he's gonna look in different lighting scenarios. Because sometimes here we will look really cool in one scene and the one look at Mason and other scene. It's it's part of the deal, is part of the process. So it's very common if you take a look at the best games out there, here will always look different. You might want to change a couple of things like, for instance, one thing I can do is I can duplicate this material. Let's call this Sam rose hair light. What I can do is hey, maybe when we're in the light like right now, I want to increase or decrease the roughness. And I want the hair to be a little bit shinier, like 0.1. So we can be more specularity. Maybe we want to increase the brightness a little bit as well, so we can appreciate a little bit more. Maybe we want to reduce the pixel depth offset 0.2 so that we see it a little bit more like a thicker effect or increase it to like 0.8. And so you're like a really, really thin here. It will depend, it will all depend on the underlining scenario of your character. But this is how we eat, how we roll, this is what we normally do. I'm gonna go back, I'm gonna save this one. I'm gonna go back to this one. And here's where we're gonna be playing around with our hair to make sure it looks as nice as possible. As you can see, I'm not particularly fond of this side right here, and that's why it's so important to go into the, the actual elements to see how things are looking. But yeah, I'm happy looking quite nice. I'm gonna grab this guy right here. And I'm going to rotate this around a little bit, which is more towards the front. Maybe increase the intensity here you can change, like feel free to move things around. A lot of my students are really scared of modifying things. Was a 400 list of 500th. This rim light. Let's increase it a little bit. Let's go 500 as well. That we're, we're gonna be able to appreciate the hair a little bit better. Again, the lightning scenario or the lighting situation is always going to be modifying how we appreciate their hair. Here's one of those tricky things that looks really good in certain angles. And then my look really bad in other angles. So look at that. I really like how this one looks. Let's go back to the material thing. I want to make it a little bit rougher. Go. We can play with Scatter. Scatter will change how light like diffuses through the element. It will also brighten up the hair. As you can see, they're definitely a little bit more scatter. Let's brightness. We go. Tip power is for the, of course, the tips of the element. That's where that root comes into play. Not seeing that much occlusion at the root. You can push this quite a bit. Let's see if that helps. Not really. Let's see what else, what else? Oh, this one subtracted from root. What this will do is it will like, as the name implies, it will, it will take away the the depth on the tip that will make it so that it's a lot like harsher, as you can see here on the border of the elements using the roadmap. So take a look at that. So if you feel like it's getting a little bit too soft for your taste on the border of the hair, you can use this subtract two from here. Really, really. It's a really powerful shader, as I've mentioned, it's going to allow us to have a really, really nice control over the whole character. So, yeah, that's it. We're almost at the 15 minute mark, so I'm going to stop it right here, guys. In the next video, we're gonna continue working with the grooming instead of, instead of Maya. We're going to make sure he looks amazing. And then we'll come back here to unreal, to, to continue tweaking the materials and making sure we get the most amazing render possible. Yeah, hang on tight and I'll see you back on the next one. Bye bye. 34. Beard Grooming: Hey guys, welcome back to the next part of our series two that we're going to continue with the beard. We're going to finish up the beard and that we're gonna start working on all of the remaining parts. Now it's just a matter of making sure everything looks as nice as possible. And to do that, we need to start laying her up, layering up a couple more chunks right here. I'm going to start with the smaller chunk. So I'm going to grab these two guys right here, duplicate them. I'm going to assemble just a small little chunk here. We'd like a little bit of less beard because the more we go to the surface level of her peers, the less of it that I want to have. Kind of like blended out and makes sure for some reason every time you open Maya, it forgets about the Honor. I didn't forget my bad. They forgot about the depth appealing but not it seems to be working fine. I'm going to Control D disguise. And in the poly modeling section we can click this guy, which is the merch, just to have them in a single object. There we go. Now it's just a matter of getting in there. And I do think this face are a little bit to create. Again, it's sort of like triangular looking shapes that we don't see as many holes from the beard. We're going to push this right here, is gonna be the, the final layer of our beard. So the big chunks are gonna be right here. Close to the mouth. Again, we went and make the hairs go in there. We're gonna be using some of the breakups that we also have to help this whole thing. But it's important that we stir with this big, big pitch pictures first, or big carts go. Now, right now I know that this one is relatively straight and they were not really changing as much on the haircuts, but feel free to grab any of the points. Self-selection, of course. And just like give them a little bit more room for the whole thing. Not everything has to be completely straight line where we have here we can play around like given this one, I know this is the one that we are taking into unreal, just like twist and push it and move it a little bit so we get a more interesting effect. Now, this is the combined one, the heritage. I'm actually going to delete this one. And if you remember, this is the group that we have with exactly the same thing. Just to be able to modify single sections in case we want to do that. So let's grab this guy again, control D. This is gonna be the last little chunk that we're going to add here. We've already seen on in a real how all of these things planned then the pixel depth offset, it's just, it's just amazing for this sort of effect. So there we go. I am definitely going to grab some of them, this big ones and murder them. So positive x, there we go. We can have them on the other side like yeah, that's gonna sit just a little bit of time. For instance, I know that this are supposed to be like a braid sense of, or other parts. I think this word, the mustache rather this is what we're using those for the moustache. So that'll chunks that we created there. But we can also use some of this to break the surface of the bearded little bit more, especially here on the top board, is very, very common for beers to be a little bit crazy in certain areas. I think a couple of these guys, every couple of sections, it's actually could benefit quite a bit. Look here, see that? Again, try to blend the tips of the hair. We see them like barely touching or touching the skin. That way it's going to look more like it's actually coming from the skin. Go. I don't want to overdo it though, so careful here. There we go. That looks good. That looks good. Now if you remember, the most static definitely looked a little bit thin on the, on the engine and especially on the midsection. So I'm going to duplicate this one to give a little bit more thickness. It's just the same one as you can see, that's the empty hole. Would definitely need to use our main chunk right here. Fill a little bit more of this center section against Control D. To duplicate this, we need to grab a couple of these faces, for instance, and just tweak them and move them around. It looks a lot nicer, a little bit crazy, but it looks, it looks cool. Let's try this up a little bit more. Nice. Yeah, that's looking quite nice. Yes, we do have a couple of empty spaces right here. But again, just think about where you're gonna be seeing your character to most, for instance, maybe on this side right here, we might benefit from one of the chunks. Again. Let's duplicate this. Combine. We can kind of like. Cover a little bit of the beer right here. If anyone sees her character from the back, can kind of hide the fact that the weirdest right there. Very careful again with the that's a real I just updated that those updating on the background. My need to compile some of the shaders. There we go. The frame mirror this guy to the other side because that's the other holder we got there. That's it. Now to finally clean this up a little bit more. Because remember we have this like a breakups and this are the beard breakups. This one right here. I'm gonna say a mesh separate. Let me go. We definitely want to add a little bit of divisions. Similar tool with the all of the other hairs. Especially in this case, I actually just want to grab this guy right here. Just like push them forward. Again. That's going to help me give this sort of like nice interesting effect. Let's move the pivot point, center, the pivot point, and then on each one of them, move them up. Just move this up, and there we go. I'm gonna go with this two guys, control div. Let's bring them to this section over here. Just enough to point, to snap, to point to one of the cards right here. Make sure the scale looks as nice as possible. And this are really, really good, as you can see to break up the surface right here. Let's do one there. Let's do another one, like right there. And another one right here. And that's what we mentioned before. This is all about how high or how far you want to push her characters. Depending on the production, you might not need to push the characters like this far, right? Like you. Sometimes, characters are gonna be a lot more simplistic or the, the amount of detail that you're gonna be seeing in screen the characters. Maybe we are going to be like really far away. Imagine the game like HF empires, where most of the characters are at horseback or something and they're like really, really far away, small little soldiers. If that's the kind of game that you're working on, then yeah, I mean, you don't have to do this, but if this is gonna be looking at Gulf War, like a Horizon Zero Dawn. And the character is gonna be the main characters. You're gonna be seeing him quite, quite a bit then yeah, definitely, definitely want to push this as far as possible. Here we go. See that nice little break up there. So now it's a lot less, it's a lot more difficult to know this, this sort of effect, like the fact that these guys are coming just from the from the skin. So it's a really, really nice way I would say to, to break up the Soviets. I'm going to add just one more there. Perfect look at that small little detail there. Remember the shadows and everything. It's going to really add up. Want to have one more? There? We go. Cool. Now, again, to save a little bit of time, while they can do is I can try and graph all of this small planes and they just added here, might be a little bit difficult though. Let's try. Number five. Should be a little bit easier to deselect this more planes here. Seven, mirror, this mirror, that one as well. And that should give us a very nice break over three. Yeah, I mean, that's looking nice. I would definitely like to have a couple of fly always. We don't have a flyaway. So unfortunately, I've mentioned, I think I messed something up, but that doesn't mean we can't do a little bit of improvisation. So for instance, I could grab one of these guys right here. Again with just like a self-selection. Just play around a little bit with the beard, just give us sort of interesting effects. So there's gonna be a couple of hairs just like Rowdy, Roddy hairs here and there. Let's mirror those guys as well. It's going to break up the siloed of the beard as well. A little bit more. Yeah, I think that's looking quite nice. So I think now it's time that we export this beard as the beard and see if it looks good on the engine. Let's go right here very quickly and then we go into our render. Most of the things should be here by the time you're watching this tutorial because our real engine five was in the early access. And then like in the B their face when I was recording this thing. But by the time you do this or LNG and five will be officially released. It's gonna be like fully updated and fully supported. Of course, you might find some issues in the software itself. So just don't even worry too much about that. There we go. So I'm going to grab all of the hairs right here, all of that hair cards. There's one thing that we can do instead of grouping them all because it might be a little bit uncomfortable, uncomfortable to group everything. I'm just going to export this assets like all of those. Just make sure that we're not selecting anything that we don't want to. I'm just gonna say File Export Selection. And then we go to our assets some rows I'm gonna call this is gonna be of course FBX, very important to an expert as FBX, we're going to export this as a Sam Ross be earth. Now here a non-real. Let me pause real quick. Wait for this to update and I'll show you the compilations thinking a little bit longer than I expected. So I'm actually going to stop the video right here. I've been waiting for ten minutes and it doesn't seem to be moving that fast probably because it's the newest engine and it's trying to make sure everything works properly. Very common thing when there were those civic object. So I'm just going to stop the video right here. And in the next one, we will continue with the next part of the hair and then we'll jump back here into a real true finish up the setup. So hang on tight and I'll see you back on the next one. Bye bye. 35. Eyebrow Setup: Hey guys, welcome back to the next part of our series. We're going to continue with the grooming of the whole character and now we're gonna go with the eyebrows. The shaders finally finished compiling. As I mentioned, that it usually takes a little bit longer when there was an update. So the shutters need to like cash and your system and stuff. But yeah, this is what we got in there. As you can see, this is what we had before. This is the old beard. I'm just going to grab it, grab the hair tests and delete it. And we're gonna go into our folders. Let's go here very quickly to our chapter assets. And we're going to drag and drop the assemblers beers. There we go. Now, if you guys remember, I exported everything S like we didn't combine things. We can go here into the advanced option. We can select combined meshes. This couldn't be really important in other ways. We're gonna get thousands of hair guards and we don't want that. So just import. And there we go. So as you can see, it's trying to import the material again, actually I imported this on the wrong link place, whereas my This is Sam rose. So let's go here and I'm just going to grab my FBX, the blue little element, and we're going to drag and drop it right here. And all of those maps. This materials we don't need. So let's force delete. There we go. Let me go here. And we're going to drag and drop De Beers, multiply this by ten. You can also click this little icon so that everything stays at the same skill. Let's see how this out. And as you remember, we brought this guy up. Maybe I was wrong. There we go. So we brought this guy up like 30 units. There we go. From the ones that we had, it's the haircuts and we'll just drag and drop. And there we go. That looks a lot better compared to what we had before, which by the way, we still have right here so we could compare them. But this looks a lot nicer, very nice, fluffy hair, very dance. We're not releasing any in the holes on the under beards. So that's pretty cool. As you can see, the material already has the coal black faces selected. So we're getting the nice effect of mustache looks trade, **** cool. Look at the breakup there on the hair. Like those little things right there might not be visible or not, not be as obvious, but they're there in the softness there. It's really helping to break up the whole thing. So yeah, some rossa is looking at quite like a chief, right. So let's go now onto the next bar. He'd been the most stylish, looks quite, quite nice. It flows nicely out of the lake beneath the main muscles like this. What's the word this? Thanks. Now, before we jump into the other elements, Let's just bring this guy. So I think it's gonna make it look a little bit cooler. So I'm going to select this Export selection. Let's call this Sam Ross care beats. We're going to go here. Right-click import. Let's import the hair beats. There we go. Again, combined meshes, import. We get this material, that's fine. We're going to use this one. I'm gonna call this m here. Beats, drag and drop them 0, this thing out, and just push them up a couple of units. They're sitting right where they're supposed to be, just right there. Now, let's bring the textures. This are the same texture that we had. This one of the cool things about working in moderately. You can reuse so many things. I'm going to grab this three textures where he'd drag and drop them. Remember the only one that we need to change this, this one we need to make sure that the sRGB is turned off. They are important. We save this and now we can open the material, herpes material that's grabbed the horse char materials here, drag it and drop them here. As I've mentioned before, if you've played this game when you were a little kid, right now, at the time of this recording, my little baby girl, she's one-year-old. She's learning this sort of stuff. So there we go. This is going to be blue, That's metallic. Green is roughness, or red is the pollution. This one is the normal map, and this one is the color map. There we go. We hit Save. Since this material was already assigned to the hair bits. As you can see, their heritage are gonna be right there. Looking quite, quite nice. Great. I do think the pixel depth might be a little bit too high. I'm going to go here how much we have 0.4, Let's try 0.25. We see a little bit more solidly. On this side, we're starting to get some holes in there that you have. This looks pretty **** good. Look at that. Cool. So now let's jump onto the next, the next set of here, which is the eyebrows. For the eyebrows, you guys remember we have this very nice-looking elements right here. Actually, you know, that's the, that's the this one's right here. There we go. Let's center the pivot points. Let's duplicate them. I always like to work with a duplicate. This or one of those things that can be done as a symmetrical thing. Let's start with like the thick ones right around there. And as we've talked about before, the eyebrows will go out of the surface. Then they will start creating this little nice small sharp line. That's why we're gonna be using this one for the sharp line. The way I like to approach eyebrows when I'm doing this technique is to create the main silhouette first. And then start filling in the remaining elements. Now, this is not gonna be as fluffy or as intense as the ones that we have with the other character with the ogre. Just keep that in mind. Let's duplicate this one. It's a lot of hand placement unfortunately. So far I haven't found a technique that allows us to, to speed this process up. But this gives us the best results. It is time-consuming. I'm not going to lie. But it gives us a really nice result. Now that we have the basic shape. Now we can start breaking this up. By utilizing this guys. We can start adding more and more. Now I, or one of those things that if you don't think about them, you kind of have the or at least how you had the idea that they were not as filled with hair as you might think. I guess. Especially here in Mexico. Girdles usually pick their eyebrows quite heavily and they have really thin eyebrows. Sometimes. It's a matter of fashion, like sometimes fashion and like celebrities, they started getting this sort of trend where it's like very slim eyebrows. And then there were some Trying to where they're so very very thick eyebrows. So I guess it kind of depends. My point is this, that there's a lot more hair than you might expect here on the eyebrows. Depending on how you want your character to look. You might need to again, duplicate this thing a couple of times. I can't tell you an exact number like, oh yeah, you need to have 2 thousand eyebrows on your, let's say it's a little bit difficult to guesstimate. But again, the thing is we just wanted distinct to look, to look nice. And since they are, I'm seeing a little bit of a hole in there and he was one of the small ones to fill this hole right there. Some people like to paint the eyebrows. It looks okay. Especially on female characters. Because again, female characters usually have some sort of like a makeup. And the makeup tends to flatten the eyebrows quite a bit. But for male characters, I'd like to go this route and actually add the geometry. Floating a little bit. Let's push it closer. It's not like a huge problem if things are floating a little bit, but you don't want to have them as close as possible to the, to this key and so that we get the best possible effect. There we go. I think that's, that looks good. Let's mirror this. Mirror this to the other side. So I'm going to right-click shift mirror. We're going to mirror this on x negative, in this case, hidden mirror. That looks, that looks decent. But again, we're never gonna know until we actually bring this into unreal and see it in game. I'm going to grab all these guys File Export Selection. Let's call this Sam Russ, eyebrows. And we're gonna jump into unreal. Bring the content browser up, right-click import. And we're going to import the eyebrows. Now, if we don't want to import the materials, which actually I don't want to do because we already have them. We can go here to the advance and we can say are just turn that off here. Do not create material. So we do not want to in protectors, nothing Just like that. That way we're only going to be importing the FBX. So that's the eyebrows here, That's the hip. So let's bring this here. And just like it's 30 units up from the origin point. And we just drag and drop the same as hammers, haircuts. Now we could use, and this is something that we might need to do here because I can't even see them. Did I move them? I think that the material is way, way too thin for what we want. What we can do here is we can just right-click, create a material instance of this guy's call this hair cards, eyebrows. If we double-click, we're going to have the same stuff. But now it's speaking of the maps that we already have. I'm going to get this there on the eyebrows. Let's go into US refused base color, go into the pixel offset. Let's turn this off. It's really weird. I'm not sure if we have double-sided selected or not. The normal Schoenberg or something. Really weird. I'm gonna go to this obstructed from depth. Let's remove that one. There we go. So we can see this a little bit cleaner. I think they're a little bit like the position seems to be like inside of the head for some reason. I'm not sure if the heads move slightly to the front. If this happens, don't worry, we can just go up here to the grid option. They're just pushing this guy's forward. That was it. That that's definitely one of the things and the other one is definitely there. Let's give them There. That looks a little bit better. Let's go back here. Right now we're not using the diffuse, so let's turn on to diffuse Alpha depth like all of the maps. So it knows to use them. I mean, it is looking good. But there are way too light, right? Not bad. It's just a little bit difficult to see because they're not as thick. So here's where another thing we can do. If we already know that this is going to work like this. Options, you can just press Alt and drag. And that's going to create a duplicate. And it's going to give us a little bit more in thickness. And it's definitely a matter of playing around with the options here. Let's go with 0 pixel depth offset. There we go. So now we can actually see them, or at least some of them feel like we're missing. Did I forgot to select some of them? Yeah, I did. Okay. My bad. I forgot to select some of this guys, but I'm still going to duplicate them because there are definitely way, way too thin. So I'm going to push them out a little bit. Maybe even rotate them slightly, bring them down and just rotate them slightly. We can thicker, thicker eyebrows. There we go. Make sure we're selecting everything again. One of the cool things about this is the following. We can just export selection back into the eyebrows. Hit Export. Yes. And if we go back to your unreal, we can just select the Static Mesh. This one right-click and say re-import. And they will know that it needs to re-import the same file. And there we go. That looks a lot better. The shadow is good. The pixel depth thoughts or this is nicely, this is roughly the distance at which we're gonna be seeing it. I'm not seeing the back face though, which is a little bit concerning. So let's go into the hair care cards right here. And I'm going to select etch mask contrast. And I'm just going to delete this guy or not that we'd have this at 0. This is something that I read that they use for certain games where as you go towards the edges, you can see right there, it masks it out. I'm not sure that's what we want. We can play around with this. What else? Can we change the mid bias? We go. So I'm doing a little bit of negative edge match my H max mass contrast. Nope, now works, but the other way around, let's take 25. Interesting. I mean, I guess it works because we're masking out and we don't see it, but I'm not sure I really like it. My name to play around with some of the other presets right here. There we go. Let's turn this on. Let's see if that works. Doesn't change that much. It's supposed to be working a little bit more like eyebrows. Yeah. I mean, that's pretty much it for the arrows. We can give them a little bit more depth. I think we definitely need to add a little bit more hair on this side, like Irish usually started like a little bit closer to the center of the eye. Let's jump very quickly here. Let's grab some of this cards. I'm going to say Control D. Move this around. Don't worry about the other one. The one that we're seeing back there. Because when we mirror this again, that will be modified. There we go. Let's do one more nice comb to Effect. Go right-click, shift, right-click mirror, and it's going to fix the mirror on the other side. I think those should be more than enough. Let's shut File Export Selection. Let's explore them as eyebrows again. If we go here and we go to the eyebrows once more and we import, you should see aluminum. There we go. That's a lot better. Comb. Yes, I'm Ross is looking quite nice as you can see right here. Very, very cool. The iris are looking nice. We are getting that sort of effect where they fade out as we turn the camera around. But at least from this heroic BYU, He's looking quite, quite nice. So I'm going to stop the video right here, guys. The next one I'm actually going to be showing you the eyelashes. I'm gonna show you how to create some very nice eyelashes in a relatively fast way. Yeah, hang on tight and I'll see you back on the next one. Bye bye. 36. Eyelashes Setup: Hey guys, welcome back to the next part of our series today we're going to continue with the eyelashes. And the view thought that that was not going to show you a new tricks and that we're, we're just going to be repeating everything. You're wrong because we're gonna be learning a very cool trick now, eyelashes are a very cool part of the characters and they will add a little bit more depth to the eyes because it's going to add a little bit of shadowing. Of course, when usually a female characters use like mascara, mascara or fake eyelashes, they become like a really, really dense and really, really strong if you're gonna do something like this, I strongly recommend to use haircuts because it's gonna give you a very nice result during nice shadows, both for male characters. Usually, usually we're gonna have relatively low or relatively low amount of eyelashes, as you can see here. The way I match his work, It's very interesting. They originate on the islets of course. But they thought originally like in a very specific way, there's like very, very random. They do tend to go of course like outwards and with this very nice curvature. But as you can see, the clumped together, they go all around the surface right there. So it's, it's a fun little thing. What I'm gonna do is the following thing. As you can see, this character doesn't have the cleanest topology. But we're still going to be using some of the AI topology that we have right here. So I'm gonna select the eye. Let me get rid of this guy. Shift select to do this right here. So we selected just one section of the eye. And then I'm gonna start deleting all of the sections that we don't need them. But if we get a jaggedy edge down here, that's fine. Because I can I would just want to get like the like the board there were I would expect the eyelashes to be. So as you can see, all of those faces, those faces, those faces, those faces. Probably keep those two. Let's delete. Let's see if there's like a natural. There we go. That's a nice edge loop right there. I want to keep the upper edge right there. Let me go back a little bit more than I wanted to. Let me let me grow up the eyeball as well. There we go. That way I am going to be able to know exactly where things are gonna be. Okay, So yeah, we can delete this guys. This inner lines. When the cube like this whole like arch right there, we don't need this or this. We can delete. This guy says, well, there we go. Let's go to the backside. All of these guys, but by you want to keep this, you want to keep pretty much only deep to the places where the AI literature gonna be. I'm deleting all of this extra, extra edge towards the window and it should be, should be a fairly small section, shouldn't be that much of that big of a section. There we go. That's works perfectly fine. I'm going to rename this, I'm going to call this eyelashes. We're gonna be using a mesh to populate a randomly populate this area with eyelashes. But first we need to create the eyelashes. So I'm going to create a cone. The colon is gonna be eight sites long as it says on security person I'm going to scale this has really, really thin. I'm going to add on the subdivision height, four divisions. Like a really, really good number because with four divisions we can go over this three guys who doesn't like here, like this. And now we have a nice eyelash. That's it. That's the, that's the eyelash. And if you want to make this a little bit thinner on the root, for instance, we can also thin this out. Now we need to find the proper proportion for the eyelash, like roughly the proper proportion, which should be something like this. Now, eyelashes curve outwards. They're gonna be curving like this. And we're gonna be like populating this area right here, like all of these phases in there in a random way. And then we're gonna be, of course, adjusting things manually a little bit. The way we do this is very simple. We select this guy, we're going to mash and we activate the mash network. This is gonna duplicate the object ten times. It's gonna be a little bit difficult to see right now. But they're there to the eyelashes right there on the floor. Now I'm going to go into this bottom, which is going to be my mash editor, let's say Control a. And then the mash distribute. I'm gonna change this from linear to mesh. And then I'm going to middle mouse drag and drop the eyelash sewn into the input mesh. And as you're gonna see now, all of my eyelashes are Like appearing at different positions here on my element. The problem is that the original eyelash, this one right here, might not be oriented properly, so I might need to rotate this a little bit. We get the proper direction. Actually let me, I'm going to go into freeze transformation. And we're gonna have to redo this. So I'm gonna delete this repro mesh. Let's unhide this. There we go. Best thing I can suggest is actually to move this guy to the origin. I'm going to bring this to the origin. And I'm gonna make sure that the base is touching the origin. That was gonna be a little bit easier to make it point in the executor ratio. If meshes a little bit too complicated for you guys, don't worry. You can also just manually place. Thanks. Well, I think it's a nice little tool that we can utilize for, for our advantage. Align this, and then there we go. Now this thing is properly facing the c-axis of our element. Actually thing we need to make it face the x-axis. Now c-axis should be fine. Let's start to see axis and if it doesn't work, we'll try the other one is it depends on the direction of normals. So now again we go into mesh greater than mash network, going to mash distribute, change this to mesh and a drag-and-drop the eyelashes as shown on the input mesh. And there we go. Now if we increase the number of points, as you can see, there's gonna be more elements right here. Now as you can see, the method is a scatter. I'm going to say use a vector. The vector is going to try to point, thanks in a certain direction right now the bottom ones are working quite nice. I think we can change this to c negative c. So I'm going to say minus one. There we go. Look at that. Now as you can see, we're getting all of this points across the surface and there are randomly being generated in India elements. So the cool thing about this is we can just increase the scatter of the elements and we're gonna get a really, really nice like distribution of the elements. To add a little bit of variation. We can go here and add a little bit of this, a random note. Now of course we're not going to move the position, but we can modify the rotation slightly and that's going to rotate the points a little bit. We can also use uniform scale and vary the scale a little bit. There we go. Now the one thing that you need to do, don't forget to do this is to control D, this mesh so that we can modify it as a, as a separate mesh. These river Michigan delete it or you can just hide it. And now I'm going to graph again the I and the eyelashes sewn. Let's play around with this thing because as you can see, I mean, it looks okay. I mean, we're getting this sort of very random effect, but it doesn't look like the reference. As you can see, the closer the eyelashes are to the center, the thinner they're gonna get. I'm gonna say Mesh Separate. Then mesh center pivot, polymath, center pivot. Now, we're going to be moving a little pivot points where we're just going to modify this, make it smaller. Modify this, make it smaller. Move this one, make it smaller. It is a little bit tedious, so I'm not gonna lie, but it's gonna be a lot easier than what we had before. For instance, all of this once I can just move them down, just make them intersect a little bit. There. There we go. If you see someone that you don't like just to leave them, that's fine. There's a lot here. Let's delete all of those ones right here. Let's make them a little bit smaller. Get them in there. And of course, it depends on the type of character that you want groomed or not. Their eyelashes are. I let's just go out. As you can see that they kind of like curb out. It might be a good idea to just like curb this guy's house. As we've mentioned before, the best result is always gonna be the one that you spend the most time in. And you'd like really study the kind of effect that you want to get. One like super amazing eyelashes. You're going to spend some time making sure that all of the eyelashes are pointing in the right direction. For instance, I love those guys are pointing in, in a very weird way, so let's move them, make them smaller since we're on the border now. There we go. For this one. Sorry, like finding them out. I'm going to delete some of them. Just start moving these guys as well. Very important that they intersect the skin. It doesn't really matter where if you saw the reference, you saw that I really like random. They follow this direction but it's not really like super-important word are coming from as long as it's just coming from the eyelids. There we go. We have some nice isolate eyelashes. Now let's de-select everything. Let's recompile it. So let's delete history first, and then I'm going to recombine them so that's a little bit easier to manage. This are gonna be my eyelashes. Grab them. Like this one right here, it's a little bit low. You can also go into face mode, just like manually. Move some of them if needed. Very crazy looking, but because it's like biking, so kind of makes it a little bit of sense. You see some of them intersecting like this one. Might be worth it to give it a little bit of reorganization. There. There we go. I'm going to grab this guy, shift right-click mirror. This is gonna be x positive on the world. Going to give us our eyelashes right there. We're going to export them. So File Export Selection, eye lashes. Now the disadvantage of doing this, it says this case our geometries. So we're not going to have the smoother February gonna have like a traditional material. But again, it's simple objects so shouldn't really be that much of a difference. You can, of course, as I mentioned before, use haircuts creed here guards for this specific asset. But I wanted to show you another technique that you can also use, which is actually modeling to here. So let's just 0 this out and move this up. Let's turn off the grid again so that we can move exactly where they're supposed to be. And as you can see, they're gonna be very, very minimal, but they're gonna look quite, quite nice. Now to treat the basic material here, I'm just going to add a new material. I'm going to call this M eyelashes. The base color is going to be black like this one is actually working quite nice. I'm just going to press want and click to create a roughness element. And then we're gonna change this value to something like 0.7. I want them to be quite rough, mom, maybe not that rough, let's say 0.5, semi rough. I'm also going to create a base color right here to make a completely black. That should give us a nice effect. And then we'll just drag and drop this into the eyelashes. There we go. Some nice dark eyelashes that are going to add to our character. And that's it. That's it for this one guy. So I'm going to stop right here. And in the next one we're going to jump onto the hair. We need to do the top hair of the character right here, the little man bond that we're missing. And then we're almost done, almost done with this. Really cool, like a biking t fleeing super medieval fantasy character. Hopefully you guys have been liking the content so far. I'll see you back on the next one. Bye bye. 37. Hair Grooming: Hey guys, welcome back to the next part of the first three is still there. We're gonna continue with the hair Grameen, we're gonna be doing this top part of the character and stuff. I'm pretty much done with the mustache, with a beard, with the little braids, with the eyelashes, with the eyebrows. And now it's time to go here for that, for the men bond, right? So if we take a look at some of the reference that we have here for demand bond. We're gonna go forward like a certain, like a clean one that we're not going to go for, the super fancy one because we don't have all of the cards. So we're gonna go a little bit more of with something like this. So as you can see, we've got a lot of volume here, which I definitely want to get them on my character. And then we got this sort of effect here on the top. I think this is a fake one by the way. But yeah, so as you can see where it's starting to build up our volume right here, I'm going to click Control D. And another one of this big ones, clean ones, like up here. Push it up, and then they can grab this top vertices b to use self-selection and just push this down. So we go up and down and this creates this very nice volume on the hair itself. Now of course we can control D this, duplicate this, rotate it around. So we couldn't create the sort of effect right here. Cover some of the side view of the element. Probably going to rotate this a little bit as well. Control D. Let's move this to the other side. Again, just kind of like, it's kind of like if we were creating the chunks, but like up here, let's turn on seven so we can see this a little bit better. I'm just going to add, I'm gonna show you how to do the bond real quick. We're gonna use the tourists. Even though it might seem like a really crazy, we're gonna be using a couple of tourists here. And this is gonna be like the NAACP that we tie back here for the character. So let's go right above there, the trig board. This one is very similar to what we did with the braids. We're gonna assign the same material that we had before, which is I believe lumber two. There we go. And then if we go to the UV is you're gonna see that the tourist actually has a very square uv. So we can just modify this. I'm going to be using one of the bottom ones like this one right here. Let's move the UV so we can see how this is behaving. It's rotated as you can see. So I'm going to need to rotate the direction. We catch the flow of the hair the best possible way. And there we go. That's gonna give us a sort of like nice effect. Let's rotate this donut so we're seeing it right there. Then if we just duplicate this doughnut, scale it like a couple of times around. We're going to be able to create this effect where we created a nice little button. I use this trigger a couple of years ago for another character that I did. And it works rarely very nicely. You can't even scale this a little bit. And as you can see, this is gonna give us a very nice bond right there. If we need this to be a little bit bigger, which I think we, we do, just scale the whole thing up. We can play around with the proportions there. But the thing is that we just created this very nice bond that's going to be sitting on top of the hip. So something like this and all of the hair. So as you can, as you're seeing right here, are gonna be like collapsing to that specific point. And that's going to allow us to create the effect of the man born. Now of course, we're gonna be breaking this thing up a little bit. For instance, gonna be rubbed this chunks, I think let's just combine control. Dean. We're gonna be like adding a little bit of noise here to the side. Let us go into vertex mode. Play around with the curvature here. Keep that soft selection like not so big. We can get a nicer like break here. As you can see, it looks like we're pushing the hair instead of the character. Let's do one more of this. Looking really, really cool for the whole breakup thing. There we go, and it looks, it looks nice. Let's go with those two chunks that we just created. Let's mirror them. Here on the other side you can see that's looking a little bit empty on that area. That's where the big chunks are really, really useful. Push them back. Use the big chunks to guide the hair right there. Let's just like the bonus, a little bit off-center. Go there. Now I've seen some of this bonds, like on the back. They do grab a little bit of the back leg here. It's part of the thing, so we definitely need to do that as well. I'm going to grab this like another one of these trunks, control D. Let's scale this down, scale them up. And we're gonna bring this around the bond to start creating the connection right here. This Go Control D, lay them out. Control Dean. Let's go around that. Just keep moving. This guy's going to go with this three, mirror them. But this case it's gonna be x negative heat applied. Then just play around with this one. That way it looks like we're grabbing here from all over the place, all around the head. We go. Let's start bringing this up because as you can see, it looks very, very bad. So let's grab this one right here, Control D. We're going to start using this plane. To break this up a little bit. There we go. There we go. Just creating a little bit of volume. Since this thing is going to be on, It's not supposed to be a part. It's gonna be super accessible. We're not gonna be seeing this it as much because the horns are definitely taking a little bit more of the protagonist. That means that we can be a little bit looser on how we arrange those things. Another thing that I didn't do, I don't think it's gonna really make that much of a difference because the shader that we're using really good, the one from a real. But I didn't paint the head width here. I wasn't expecting to add hair to this guy to be honest. I thought, well, we're just going to be adding the beard, but I decided that it was gonna be a good idea. So there you go. Just a little bit of extra here right there. The one that I definitely, definitely, definitely want to add our little breakups. This one's right here. Those ones, the other ones, this one's, let's center the pivot points. Control D. And I definitely want to add some of this, like break-ups. The front. Again so that we give them a nice little transition. The surface. There we go. Let's separate them. I'm not sure why they're still together. Separate them. Control D, centered a bullet point. Just use this, especially, especially to break this like first-line of first-line of hairs. Really, really important that we fade this out, though it doesn't look like the cars you started. Again, this is not very common, like I haven't seen all the gains that actually do this because it's really expensive. And as you can see, it's also quite time-consuming. So it depends on all into production. I always told my students, Well, I think taking this a little bit more in the last couple of years. Sometimes when we're students and when we were learning, we put ourselves like really, really like an intense sort of like quality bar. We wanted to make sure that our characters look like, again, like cradles from one of war. But once you're working in production, like there's only a handful of games that have that sort of quality. So don't, don't worry too much about it, okay? I mean, of course you should always strive for the best possible quality. But the truth of the matter is, I would say like 95% of the time. So you're not gonna be doing characters with that amount of detail. Sorry about that. Now I'm going to just insert a couple of fun couple of hair cards here on the bond. To kind of have some crazy here. It's like poking out a little bit of fun to the bond. Again, break up the area. I wouldn't expect the button, especially one from a character like this guy to be like always perfect. So just like a couple of hairs here and there. I think that's going to be quite, quite nice. Let's take a look at houses looks instead of, instead of from real. So I'm going to grab everything here. I'm going to say File Export Selection. We're going to export this as a Sam Ross hair bun. Let's go into unreal. Bring guard acid, brush it up. Right-click import. Let's import the hair bulb. It's not going to import anything like materials and stuff. That's great. The scene right there, 000. And we move this three steps up. Now for the moment of truth, is this guy gonna look cool or not? Let's take a look. Yeah, of course is gonna look cool. Look at that. Amazing. Amazing. Yeah, that's it guys. We have arrived to the last portion of our characters presentation. As you can see, the hair looks pretty, pretty nice. The boundary, they're very clean. I think we can definite increase the roughness on that and the hair login more. So now it's just a matter of playing around with the properties here on the materials, for instance, I'm gonna increase the roughness a little bit more. What else can we do? If we can get flow maps like the direction? If I turn this thing on, you're going to see that we're gonna get an option for you flow map. We don't have a flow map. We could go back and bake it, but right now we're not using flow maps. So don't worry about that. We are using vertex color though. I'm going to turn this on. Should give us a little bit more depth. Because we're using the object ID variation on the sternum variation. Let's see what we get here. Niceness. And year. After this guy is my only advice is make sure to tweak your object and your element as much as you want here on the engine. For instance, a scatter, I think I'm going to bring this back to 0.55. It's a little bit darker and we're not scattering as much lights, a little bit more solid. We can play around with the tip power. We can definitely use occlusion at root. One's going to be quite important. Let's go like really, really heavy and see how this looks. I'm not seeing that much in for their finances should be using We gave us unless we need to cool it really, really high. We using the proper, ma'am. Yes, we are cool. So yeah, just play around guys play around with all of the variants there along with all of the parameters. Like for instance here the brightness. I'm going to bring this down, let's say 0.85. I think it's like a good number. And once you have this, you're gonna have a great, great character to work with. One thing you can do is you can grab all of this three lights. I'm going to create a new folder with them. This new folder should have It's fouth point at the center, pivot points back here. That's weird. Well, we could animate this folder right here and move it around. We can see the movement of the light. That's something that they do very, very commonly. One other thing that I do is there's a skylight and you can change the intensity of the skylight. So if you want to see a little bit more light on your character to be able to appreciate the hair a little bit better. We all this much contrast can definitely turn this off. It's not going to look the same. The hair will always look different depending on the lighting condition. For me, I found that to look really, really cool. Yeah. Now, don't forget that you can also bring all of the things that we just did. And as long as you have the maps, you can bring the same tomorrow who said and the farmers at something that's a little bit easier for you, then you should be able to create all of these things as well and generate some amazing renders. So, yeah, that's it for this one guys. We're, we're finished with Chapter three. We're now going to move on to chapter four where we're gonna be talking about a female group. So hang on tight and I'll see you back on the next one. Bye bye. 38. Unreal Engine Grooms: Hey guys, welcome back to the next part of our CRM, BSN, old boy, am I happy to be showing you this next area. We're now gonna be talking about the final type of here, which is grooms like actual groups. In the first few chapters we've covered the what they called universal hair rendering, which is good for marmoset and other engines such as Unity island alarm jar at any sort of like a game engine. We also covered the system for real with the T Flynn with a male character and not working to be doing the female character. But I want to show you what I consider him. It's not only that I can see really what's going to be the future for hair in the next couple of years. So if you're watching this in 2022, which is what I'm recording this, the technology is still a little bit expensive resource wise, so it's not going to be as easy to implement on projects or look on big projects. But as the years go by and as we keep moving forward with technology, you're gonna see that this technique becomes more and more useful and easy to use. What am I talking about? Well, you guys remember Mike? My great Here is the acid that the Unreal Engine showed. This was done to even a couple of years ago for a realistic humans. Now what these, we have Mehta humans which are even nicer and better. And what I want to show you right here is if we go to the options to the optional right here and we go into wire-frame, you're gonna see that Mike, opposite to what we had with the other character, with the one from paragon, Mike is not using hair cards. You can see that he's here or am I in this case is actually a strands of hair. See that there's no haircuts. Every single hair is geometry, as you can see there. It's being rendered as geometry and it's being shaded as here to give us this amazing look right here. This is called a groom. And the way this works, this, as I mentioned earlier, we're going to be creating a hair system using any DCC application. In our case Maya. We're gonna be using action to generate all of the fibers. But one of the most amazing things about this is that we're not going to have to break them down into carts. The way we get our action elements to be working, that's the world we're going to be exporting. You might be wondering Abraham, we just went through ten hours of content or few showing us how to do hair guards. And now you're telling us that we're not going to be using that anymore? No, don't don't jump into those sort of conclusions because one of the things that I've been mentioning is that not all of the projects that you're gonna be working on are gonna be the same. So for some projects you're gonna be using is called with hair. For some projects you're gonna be using basic haircuts like we did with the ogre for some projects you're gonna be using more advanced her guards like we did with the tip link. For like a really advanced projects, you might be using this ERP techniques where we're gonna have the full group like the actual hair working here inside the, inside the embryo. Now, as I mentioned, this is performance heavy, so you are going to have to work around with this a little bit. I'm going to show you real quick a couple of things that we need to make sure are turned on so that we can have access to all of these things. There's three things that you need to set up here inside the frame rail to make sure that you can import and utilize here. And then we're gonna be doing a very cool exercise before jumping into the actual, into the actual character. I'm actually going to start a new project. So I'm gonna go, let's just save this real quick. We're gonna go into epic. That way. Everything's done from scratch. I'm going to go through interlibrary. I'm going to launch Unreal Engine five. So if you've never, you probably use these digital human assets that we've been doing if you have been following along, but if not, you can just very quickly created the project right here. I'm going to go into games and we're going to create a third-person like a base game right here. This is going to be, you can create it wherever you want, but I'm going to create this one actually on the folder for our course, on their hair cards folder here. And create a new folder for you guys to engage. You want to access this project's going to be a little heavy. I'm going to have to debate. So actually you're gonna have to debate the bidding on how heavy this becomes to see if I export everything or just like the main assets. But I'm just going to have it right here, and I'm going to call this here. Here. There we go. This to assume maximum quality. There we go and we hit Create. Now, this is the newest Unreal Engine five version. I'm actually recording this right? As they released at the news editor, the character that you're going to see me having is probably going to be slightly different than the usual one that we've had in older or rails and older in Rails, we had this very cool like mannequin, like a male mannequin. I think they changed this one to a female mannequin. It's also really cool. It's pretty much the same thing. If I were to just hit play right here. You're gonna see that we have this very cool like cyborg mannequin. Really, really nice. I like it. But this character like opposite to the other one is that this one has more of a smooth skin was made out of blocks. This one has a little bit more like a traditional scheme that you would expect. So, yeah, we're gonna do a female warrior. You're gonna see how in just a second. But yeah, this is our character. The way to make sure that your project is set up to work with grooms is you're gonna go to Edit Project Settings. We're going to go into our rendering options down here. Rendering. There's a lot of little things right here, but the one thing that you want, there's something called strength. Sorry. It's called vertex. Vertex. Whereas it, a nice little option is going to allow a limbic thanks to work, which is the kind of format that we're gonna be using. So that's one of the things that we need. It should be, should be skin. So the name of the thing is called skin support, compute skin cash, this one right here. So just make sure this thing is turned on and then we're ready to go. It's going to ask you if you want to restart the engine and once you do this, don't do it yet because one more thing that we need to do, so we need to go into Edit plugins and we're gonna look for group. Just like this group on the grim options, the Alembic grooming port is gonna be turned off by default. Make sure to try this one on. And now that it's on, now you can actually, What's the word now? You can actually restart your engine and it should be working fine. Those are the things that you need for your for the creation of the assets right here. Now if one of the, one of the older videos in this series, I mentioned that there was this thing called the Nvidia hair works. This was an option that a sort of like songbird and the media created a couple of years ago to generate this strand base system where you're not using cards but actual geometry to render a hair. However, this is no longer officially supported by Unreal Engine. You can still implement it on the engines, but it stopped being supported in 4.16. And what we're trying to Walmart, we read, but what really strike to do now is it's trying to push this groom option as an alternative and a more easily accessible tool than the one that we have within the ear hair works. But again, this thing that we're gonna be doing is called a, it's called a strength based solution. So we're not going to be using cards, we're actually gonna be seeing the main effects. Now, there's a couple of things I want to make sure to get before we jump onto the actual setup of the hair, I'm gonna show you what the acid that we're gonna be using. Let me open this real quick. Give me just 1 second. So your your assets folder, you're gonna find this spartan helmets are options. The Spartan Hellman folder. In this one, you're going to have a Spartan helmet, FBX, and then the three colors. And we're going to add our character. We see this very cool character right there. The cyborg girl. We're going to add her or we're gonna give her a Spartan Hellman that we're gonna be adding actual hair to. The way this works is very easy. First I'm going to create a new folder right here. We go. Cold his hair system. Here I'm going to create a new, a new folder again. And I'm gonna call this Spartan helmet. Here in the sport and helmet I'm going to import from our project. So we want to import everything, the three textures and the FBX just hit Import. This is what we should have. So as you can see, Lashley made a little bit of a mistake here. Let me delete this guy's because it's separated. The FBX is, I'm just gonna input again this guy and make sure that on the Options here in advance, make sure to combine the meshes and hit Import. Now we have the material. Let's rebuild it real quick. First thing, yes, I'm gonna change the name. I'm going to call this M Spartan helmet. This one. We know that this is a metal texture, so we need to get rid of the SRGB. Hit Save. We drag and drop the textures right here. Delete this one. This is going to be, this is a three colors. So the R is ambient occlusion, the G is roughness, the B is metallic. This is the vase color. This is the normal map. Just hit Save. The material is already assigned to that material which is already assigned to a helmet. So as you can see, the helmet is looking quite, quite nice and look at that. Pretty cool. I actually did this a couple of months ago, but it's gonna be really, really cool for us. Now that we have the helmet, we need to place it on the character's head. Now this is a little bit, doesn't, it doesn't have to do a lot with the hair. It's gonna be really, really useful for when I create. So I'm going to go to my, a blueprint is right here. I'm going to double-click this. As you can see, third-person blueprints, I'm gonna click this ThirdPersonCharacter, very important ThirdPersonCharacter. And then here we're going to build the position for the helmet. Now as you can see, the character hasn't mentioned it's moving, it has an idle pose and everything. And we need to take that into account. We need to take that into consideration when we're placing the helmet. So the first thing I'm gonna do is I'm going to select the mesh right here. I'm going to double-click that this Skeletal Mesh because I want to create something called a socket. And a socket is a place where we can attach, thanks to. So we're gonna go to this option right here, which is the main interface for the character. I'm gonna go to the mannequin options right here. If we go all the way to the head, we looked for the head. Here. I can just right-click and say add sucked. The rigor. We're now going to have something called a head socket. It's pretty much like a, like a constraint, like a little like locator that we can reference and we can pair and things to that socket so that wherever the head goes, anything that's parented to that socket the wolf follow, would just save, close this, close this, and went back here. And I'm gonna go here to the head of the animation class. And I'm gonna say, I'm just gonna remember which one this is its queen. See, I'm going to say none for just a second. And he compiled. Then I'm gonna go at, I'm going to add a static mesh. It's called this helmet. Then over here on the static mesh, we're gonna look for the Spartan helmet. There we go. As you can see, this warning element does not match the direction. That's fine. We're going to rotate it and move it or surround this important because eventually when we bring the hair, we're gonna have to find the proper measurement swap. I'm just going to scale this down. As you can see, it's 0.75. Let's break the skills like snap so that we can snap a little bit more like freely. Something like that. Let's also break this thing. Push it forward. There we go. That looks cool. Maybe a little bit bigger. Just a tad bit. Bring it back. There we go. So we can see, like, I don't want to see any of the other hidden. Maybe we could even scale this. Probably look a tad bit more, just a little bit more. Sets. Let's see, Let's lock this thing and let's say 0.6. That should work. Perfect. Now we compile, what we're gonna do is we're going to go to this guy right here, and then the parents sockets. We're going to drag and drop this on the mesh character. And then we're gonna look for the sockets. So if I look for a head, he's gonna be head socket. There we go. Just hit forehead. Suck it. There we go. We already got to have to reset this things. Just wrote it this guy back. Just remember that we did the 0.6. What's the work 0.6 movement? Because we're going to have to scale their hair down. Either way. Once we bring it in, we compile, we can go back to the mesh, go back to the animations and look for the ABP. Was, what was the name? There we go. Abp menisci. And as you can see now, the helmet is like properly following the character. Let's just push it a little. Love it back. There we go. There's no overlap. Now there's a little bit of overlap there. Let's get rid of the animation just for a second. Compile. Maybe just a little bit more. We might need to scale it because I wasn't actually prepared this one for the male character. That's what's not matching perfectly. There we go. That's really close compile mesh. And we bring this animation class again to the AVP mini. There we go. So now the helmet is following nicely. We compound. And if we go back into the game and we play, as you can see, the helmet is following my character. This is the process that we would do for like armor pieces on the game. I know this a little bit off-topic from the hair system. It's very important that we add this because we're gonna be adding their hair system now in order to make sure that it follows a character at every point. And we get this very nice than dynamic things that I'm gonna be showing you. This is what we need to have. So this is pretty much it guys. As you can see, our character is looking good. The project is perfectly set up for receptor group. Now we're going to jump into Maya and we're going to prepare all of the things that we need for our hair. Hang on tight and I'll see you back on the next video. 39. Xgen Setup: Hey guys, welcome back to the next part of our series. Today we're going to continue with the action setup. So we're gonna jump into Maya and even though we have to use extra and before we just did for the haircuts on the past chapters, now we're gonna be exploring a couple of other tools that we have instead of the element together, a more interesting effect. So the way this is going to work as follows. I just imported the FBX here into Maya FBX file, which by the way, if you can't important FBX matrix to go Windows, Settings and Preferences Plug-in Manager lookup for FBX and make sure it both plugins are turned on. The most important one is this one, FBX Maya, so that we can import and export in the FBX format. There was this works is very, very easy. I'm gonna go to this helmet right here, and I'm going to select all of the faces that we have here where I would expect that the elements to go. You might be wondering why can't we just paint a mask like we did with the descriptions to define where we want this well. Depth worked very well for the haircuts. But now, since we're not going to be using haircuts, we want to have as much control over the descriptions as possible by selecting the polygons were pretty much telling extra that we only want fibers in this specific area. Very cool little trick. There is no secret bundle or anything that you need to create is just like this. I'm going to create new description. There's gonna be called Spartan care. The collection is gonna be called Spartan collection. It's going to be randomly placing and shaping gets some gonna hit Create. There we go. In the same fashion as with the other elements we need to add the gods. So I'm gonna go here to my other MOOC guides. I'm going to have one guy here at the center. One gate here, one here, one here, one here, and one final guide right there. Now, if we preview, as you can see, the fibers are only going to be on the phases that I previously selected. So it knows, knows that those are the only phase is where I want this to be happening. Again. This is not something that we had to do with the haircuts, which now that you know, you can't do it of course, but it's going to work way, way better for this. The other thing that we normally didn't do on the haircuts was the fact that all of the guides are actually here on the inside of the collection. And instead of the description and instead of the selection that we have this sort of like the phases that we selected. We have all of this description. So I'm going to grab all of the guides right here. And I'm gonna change the length of the guides, not the length of the hair, which is what we've been modifying before. We're gonna change the length of the gods and the length of the guides. It's gonna be changed down here. Let's just wait for my a two. There we go. So here on the guide tools, I'm going to set the length and we're going to define how long we want this here. I'm gonna say 15 centimeters. Remember that the units inside of Maya are centimeters. So I'm going to hit Okay? And there we go. So now if I like check this, you're gonna see that all of this here is going in that specific place, which is looking quite, quite nice. Now we can also just go with one of these guides and we can also scale them. If you want to have a little bit more like oomph on the front bars. We can also just play around with the skills. And as we've done before, he can of course going to the control points and just move them around and generate the exactly the shape that you want. So the length is just a very quick way to degenerate them, but that's not the only way to do so. Likewise, we're gonna keep this at one so that they match the guides and the width. I think I like the width. I'm just going to add a little bit of taper. We really don't want to add routes right now because we want the roots here to be really thick on the base of the helmet, but we definitely, definitely, definitely want to add more density. So let's go for like 15 density. So really, really like dance, maybe he had been loving more. Let's go 20. Keep in mind that of course, the more hairs that we're generating, the cooler this thing is gonna look, but also the more heavy this is gonna be once we bring up the inside of the form, real alt, always keep performance in mind because otherwise, yeah, thanks. Can be, it can get tricky. Got modified the CBD count to ten so that we have ten divisions for each spline that we're creating here. That way when we go into our modifiers, we're gonna be able to add more stuff. And we're gonna go to the modifiers and we're just gonna start adding modifiers. So I'm gonna start with a cut modifier, gonna say cut, and we're going to cut between 0. I'm gonna say five centimeters. So we get a very nice like scraggly look onto the top of the hair. So that way, again, this random function, this is a very basic function, is just cutting the elements from 0 to five centimeters on the tip. Let's have one more modifier. Let's have a think he clumping multi-factor is gonna be cool. So I'm going to add a clumping modifier. But you guys remembered that the clumping modifier needs some information to work properly. And this information we're gonna be able to get down here on the setup maps option. We can select a couple of options here we can use our guides to select the clumping effect, which I don't think we've done before. So let me show you real quick how it works. I'm gonna say Guide and then I'm gonna hit Save. And what's going to happen here is, as you can see, it's using the guides as the point toward the clumping is going to be happening. Of course, if we decrease this to 0.4 or something, the intensity of the company is gonna be less and less. This is not exactly what we want for this particular asset. The, we're gonna be using this later on for the female hair function. And that one we are going to be working a little bit better. I'm gonna say generate here, so we get a clump of map down there. I'm going to hit Save. And now as you can see, the clumping happens either more like a uniform way. So there's gonna be clumping everywhere throughout the little like Spartan, Spartan hair. I'm going to change the intensity 2.5 so that we do have a little bit of lumpiness, but not as much. And remember we can also check like how much confidence we want on the route, on the tip. In this case, I don't want to have as much clumping this on the route. I want to have more communists on the top parts of the element. There we go. Now, what I'm gonna do is I am going to add a noise modifier. So right here, let's add the noise and heat. Okay? You guys know that we can change the magnitude of noise. We would want like a really like a messy hair or we can keep it low depending on how intense we wanted to think. I'm going to go with a 55 intensity because I don't want to have a little bit more, more noise on the effect references. Always good, by the way. So if we look for Barton helmet old, We're gonna find this kind of thing. And if we take a look at the hair, for instance, can see it's really dense. It's like a cutout. So let's look for hair and see how it looks. Quite messy, right? Like it's not, it's not super clean, It's a little bit messy. And we can have like even some flyways and stuff. Which brings me to the next point. We can actually have multiple descriptions on the same element. And we can export those multiple descriptions as files that we're gonna be using to again, add a little bit more life to the whole thing. This will become more expensive, but they will make the whole thing look even better. I really liked this description right here, I think I think it's good, but I would like to have some crazy hairs, like going to a couple of different directions. I'm going to grab this guy again, let me isolate it. Let's go into face mode, which the face mode or the face election should still be there. And I'm going to go to description. I'm going to create a description and this is gonna be called Spartan. Let's call this messy Spartan collection, placing shipping guides and hit Create. There we go. We're going to add, now on this one I'm going to add a couple of more. Splines. Lack a little bit more for random way like this. And that's it. That's the description. Let's it out. And both descriptions are here. We have two descriptions and each description has skies and everything. So for the guides, we're also going to go to the set length and we're gonna set this to 15, which was the element that we have. Let's recheck this out. And as you can see, if we select this description and hide it, hide it, we can see this one. So let's work on this ones and then we will bring this other slap back. We're also going to taper them. Of course. We're also going to add like let's say ten milli far account. We don't want as many hairs. I think this is a good density of hairs. But on the modifiers we're definitely going to add this sort of noise modifier, hit. Okay? And this one definitely is going to go a lot more like crazy like this. Let's change the frequency to like two. There we go. So now if we turn this one on again, we should see some elements right there. Now of course what we can do that let me turn this off again a little bit. We're going to use this once right here, and we can move the control points out. The hairs are giving us a little bit more full of appraisal work. There we go. I'm showing you a couple of other tools later on that worked really well with action, which by the way, this is pretty much like learning action. All of these things that I'm showing you guys, I know that we're gonna be using them for gains because we're gonna be using the groom options inside the firm real. But that doesn't mean that you can't use this for commercial. So It's like a little bonus if you, if you learn how to do this groom for game characters, you're gonna be able to do grumbles for cinema or commercial characters as well because it's the same process. The only difference is that we don't export this because I love this. Things are now pasted towards orient in this geometry. If we animate the helmet right here, all of that thing is gonna, it's gonna work as heat H. And there we go. Look at that beautiful, beautiful, beautiful. Now as you can see, we have some crazy hair is going out of the hair right here. And that is making it look a lot more realistic because we have the very nice like main hairs but also like some, some crazy here is going to other directions. I'm gonna push this one to the front. For this one. There we go. I really like how this looks cool. We finished with the setup of our group. We'd like our group. I'm going to save the scene for you guys. Of course, you're gonna have this as foreign. Spartan groom if you want to check it out and just reference at this going to be there for you. But now we need to bring this guy's like convert these descriptions into a system that we're gonna be able to utilize inside of the Unreal Engine. It's really, really easy. It might seem like something complicated, but it's not. We're gonna be using something called alembic, which is a file type element that's used in simulation a lot, which stores all lot of data information inside of that specific acid. So the first thing is I'm gonna grab the description. Let's start with the Spartan, the hair description. And we're going to go into the modeling, tap, into the Generate menu, and we're going to select Convert to interactive group. If you remember, I mentioned this a couple of videos ago, but there's two types of action inside of Maya. The traditional action, which is the one that we're using, an interactive group, which is a little bit more friendly. That's what we want right now. We want this thing to be a little bit more artists friendly because it's also more day the friendly. I'm gonna convert this into an interactive group. No need to do anything here. Just hit Convert and we're gonna get this thing right here. Now, one recommendation that a real mix for this thanks is to rename them with no capital letters and just call them like whatever the case is, this is the Spartan here and I'm gonna call this description. Now. It might not seem like much, but this is the actual hear you that. It's the hair like the exact same thing. It's right here on this description. Now I'm going to grab actually, it seems like it's already converted. Yeah, you're already committed to crazy here as well. As you can see, even though we only have or we only select the one thing, you'd grab both of the elements that crazy hair to send the normal hair. So the two descriptions that we have are now here on this element rate, right here. Now we just go again into the Generate menu and we're going to go into the cache and we're going to export this cache. It's gonna be exploited as an Alembic Cache. Very, very important. I'm going to export this on your assets folder is just gonna be here on Spartan Hellman, let's call this Spartan groom. And the right now, which is this is not animated. I just wanted to like current afraid like nothing. We really don't need to change anything here. I'm just gonna say export. There we go. Now we're going to jump into a real again. Right here. Let's go into our sport and helmet. Right-click and we're going to import our hair system. This one, the ABC, which is the Alembic file, and hit Open. If you get this window, this little like small window that says Group import, you've done everything right. That means that all the plugins starts to them. All of the elements are set up and that's fine. If you do not get this window and you'll get the traditional like import a static measure something window. Then you did something wrong, you forgot to activate something. Go back to the first video on this chapter and you should be able to get everything working. And that would just import, and that's it. This is the group. Now if you double-click, you're gonna see that this is the one that we have in all of her information is right here. All of the hair's, all of the crazy hairs, everything. Now, this shader I don't particularly love. It's not, that's not a great shader, but it's skewing my son some interesting information we're going to be working with this very, very soon. Now, we can also bring this hint of the world. And as you can see there, this R here is now on the world. Now the fun thing about this one, this as you guys are, as I've mentioned, this thing right here is, there are actually real strands like this is not geometry, this is not its geometry. And the fact that each strand is being rendered as a single element, of course, are realizing a little bit of magic to make sure that the sperm forms in the best possible way. But yeah, this is the main thing. This is the way everything is supposed to be working. So if you can get all the way to this point, then congratulations, you have imported your first groom here into unreal. In the next video, I'm gonna show you how to attach this to the character and how to tweak this to make it look even better. Yeah, hang on tight. And I'll see you back on the next one. Bye bye. 40. Unreal Engine Setup: Hey guys, welcome back to the next part of our series. Today we're gonna continue with the setup de Fourier basic room here inside the farm real. This is what we have from the last set, from the last session. This is where we're going to continue and we're gonna be doing a couple of things because it's not only setting this guy on top of the helmet, which is of course going to be important. We also need to play around with the materials and we need to play around with the physics to make sure that this looks as nice as possible. Let's start with getting this into the character. So I'm gonna go here into my blueprints, go into the viewport. As you can see, this is the character right now to make this thing a little bit easier, again, I'm going to go into the mesh. Let's get rid of the animation for now. Compile. I'm gonna go here and to add, and we're going to add a group, a group component. Group component just references anything that we want in this case, we want to reference this, pardon, here. We're going to parent it to the helmet. So wherever the helmet ghosts and distorting the hair component will fall, we're going to select this burden here component and down here in the groom, it's looking for a restraint to look for a grim asset which we're going to select from our library. And since the only groom acid we have in the whole project is the Spartan group, we just click it and there this. Now the only thing that I hate about, or I didn't like as much is that the Alembic thing does not follow proper like orientations inside of the inside of the front wheel. You might need to tweak it here a little bit. Now when we import, we could change things around. But in my experience sometimes, especially if your assets are not like lineup in Maya, you might need to switch them around, but usually buy rather than rotating this 90 degrees on the x-axis and then wrote it in this 90 degrees on the y-axis. As you can see, this shift fit pretty, pretty nicely. Now as you can also see, we did not have to scale this thing down to the proper size because it's also inheriting the skill from this guy. If I were to grab the helmet and scale it up here. If I scale this up, the hair also gets scaled. So that's why we didn't have to match the scale because it's already like inheriting that information by just being a parent of the element. And there we go. Now onto the cool thing says, Let's go back to the character. Let's get the animation again. Now as you can see it more to hit play. The character has to here like this actual hair working properly, working on the game. Now, why is it red? We didn't painted right? I mean, it's great that it's red, but that's not what we like within control that well, the reason is it's actually using, if I double-click here on my groom assets here in the editor and they go to the material it's actually using or it inherits. I think I need to go to the ThirdPersonCharacter to show you when you get this thing right here or when it's born in, inherits a basic, just like traditionally hair shader, right now it doesn't have anything but usually very basic hair shaders, if I look for here, sometimes theories like something there. If not, it creates it on runtime, but unfortunately it's not the best here at shader. I'm going to show you guys a very basic care setup. Now some of you might be wondering, well Kent, we use one of the hair shaders that we have them like the human option. And the answer is yes, you can. However, if you want to do something basic, this one that I'm gonna be showing you just a little bit better if you want to use one of the other ones, you need to grab the one from Mike. I'm gonna I'm gonna show you that once we do the female groom, um, but we need to grab the one from Mike because the one that Mike is using on his hair system is the one that is not taking cards into countries iterations, not looking for maps and its values, its very complex values, but it's just values. Here I'm going to create, right-click on that material and we're going to create a new material. I'm gonna call this a Spartan. Here. Are real, makes it really easy for us to create like a very basic here. First you're gonna select the material and we need to change this from the fault lead to hair. This will make sure that this thing is behaving more like a hair. So as you can see, we get this sort of look at anisotropic effect where it gets different values depending on the word you're seeing it from. Very, very useful. And we're gonna be working from this now. One very important thing, and it's really, really annoying, but there's a special setup here. We're going to look for strength. You need to make sure that on the usage option you select this use with hair strands. Otherwise there's two things are gonna happen. It's not going to work on your group and you're not even going to be able to assign it to the ground because the groom needs to be working with strength would like this a strength based system. Very, very important that we look for this option usage with US with hair strands and turn it on. If you tried to look for it, It's kind of like hidden. It's all the way down here on the US or the usage. Yeah, just make sure that little option is turned on. Now I'm gonna show you how to build a very simple material. This is not my information by the way, this is from a real engine directly from them. I think it's a very simple Matilda. I'm going to walk you through. I'm going to take three parameters. And this two-parameter are going to be controlling the color of the hair. So I'm going to press number tree on my keyboard and then I'm going to click, and that's going to create a parameter. I'm going to right-click and I'm going to convert this to a parameter. I'm going to rename this, and I'm going to call this hair color low. I'm going to Control C Control. Or actually I'm going to press three again, create a new parameter and do this again, we're gonna have three parameters. This we're gonna right-click convert to another parameter. It's gonna be called hair color myth. And this is also gonna be converted to a parameter, and it's going to be called hair color height parameters or variables. So the cool thing about parameters is later on, imagine we had a lot of characters or a loaf spartan helmets and we wanted to have like different variations. May be the red ones are the captains and the blue ones are the soldiers and the green ones are like the leg, the Alamo, the leader of the army. It has a green one. Instead of creating three materials, we can create material instances that are better for performance and then just change the parameters. Okay, so it's a way to instance things across the edging. This hair color low, it's gonna be my one of the main colors. So I'm gonna go for this sort of like medium, like red color like this. Keith. Okay. This one is gonna be my dark red. I'm going to go for a dark, saturated red. There we go. Then this one's gonna be like in my highlights. So I'm going to go for like maybe like an orangey, like the saturated. Now let's go for the red with yellow, like a pinkish red like that. I think that one, that one looks cool. There we go. The way we're going to mix this thing is with a very special node called a multiply, float three, multiplied flow three. This first color goes in the first slot. At this second color goes into the second slot, and this third color goes on the third slot like this. And all of this information is going to get plugged into the base color it visually. But there's a couple of things that we want to add here before we do that. Now, in order to get information from the hair groom, we need another little node that's very important. Cool hair attributes. Attributes is gonna be obtaining information from the strands like the u du v, the length of the radius. Remember all of this things that we use for the, for the car creation when we use the API utility node and the flat, this is the things that we baked from the hair strands into cards that we can then reuse here inside of the engine. So as you can see, it's the same thing. It's just causing one of those middle steps. Instead of using cars, we're just going to directly extract that information from the actual geometries. What we want here is we want to get the seeth and we're going to plug this into the alpha. What this is doing or what this will do is it will give each strand of hair, each seat of hair, like each instance of the hair, a different color. And it's going to give us a very nice red variant effect. Now, we're going to add something called a alert, which is totally linear interpolate. There we go. And we're going to interpellate the base color, like our mid color, this one right here. We're going to mix it up with all of the colors that we have, a sort of like to base layer for the colors and then variations of this guy right here. And we're gonna be using a parameter that we're gonna add, which is gonna be a one. Press one and click. This is gonna be our Alpha. So we're going to set this to one. Now we can also convert this parameter and call this color noise amount. There we go. Now we're gonna multiply this colors. We're gonna do a multiply node. Eventually going to go now into the color section. Right there. We're gonna occur the new parameter. This parameter is gonna be the brightness of the multiplication that we want. Brightness. That's it. So if we multiply by 0, we get c. If we multiply by one week at once. So in this case I'm going to set this to, let's start with a 0.5. Halfway through. That way we can choose, remember, these are parameters, so all of the parameters we're gonna be able to change. Now we're not done. This is just half of the book. We can already see how this thing is gonna look. So if we go here to the character, again to the viewport, we go into the groom. Right here. We can drag and drop this onto the material and get a look of how this element looks. You can change the speed of the camera right here. So let's lower the speed so we can really focus on the effect and look at that. Beautiful, like really, really nice. It looks really, really cool. Especially if I select something else and we don't see the anti-aliasing. Look at that nice variation of dark red light rats and Sandra reds, giving us this very, very, very cool effect. Now what I'm gonna do is I'm actually going to create an instance. I'm going to right-click this guy creating material instance. Just gonna be like this instance. And this is the one that we're gonna get into the groom. Because now we can double-click this guy right here. Let's bring this out. Go back to the third person. We can change things around, for instance, the brightness. We can increase or decrease the brightness in real-time and get the effect of what kind of here we want getting. Imagine having to bake all of this down again instead of like Arnold. That's why this is super, super flexible. We can also go here to the color noise amount, for instance. And the more amount we get that, the more variation we're going to have, as you can see right there, or the more neutral tones we're gonna get. So in another little bearable that we can use there to multiply colors, we can change the colors. As I mentioned, maybe we don't want this hair to be. What's the word breath? Well, when this change to be like a blue, Let's go with this. Or like a blue color, 200 is the value. And we'll just go here. We change the value. Look blue. We're not changing the saturation or anything, we're just changing the value. And there we go. So in a very, very fast and efficient way, we can change how this here is going to change the colors of the effect. And again, this is just half of the equation. This is just the, the main domain like construction of, why am I saying that this is the main construction? Because now if we play while the things that you're going to see is that this thing is shining like super, super brights, like reflecting the whole, the whole element. And that's not, that's not what we want. So let's keep on building very, very simple sections that we're still missing. Very EC2 to change around. So right here, although attributes, we're gonna use an app note, we're going to add the u, which is the length or the direction of the hair. And we're going to add those plots, the seeth. We're going to run, run this through a noise note, which the noise is going to of course add some noise to the information and it's going to break up the colors. We're going to bring a, another linear interpolate. Interpolate. We're going to mix this if B with an Alpha there, what's going to be another parameter? This is going to be a parameter. This is going to be the roughness, roughness, noise amount. I'm going to start with a 0. We're gonna be able to change this. Then this, we're going to go through another linear interpolate from a leader interpret. These are just like making a mix between two values. Sorry. This is going to go into the Alpha. It's mixing between two values that go through an Alpha which is the mask of those values. This is going to go into the roughness. And therefore the values. We're gonna have two more parameters and we're gonna be exposing this first parameter. It's going to be the roughness at the actual roughness. So right-click convert parameter. Gonna be roughness. Then this one is gonna be roughness one. So it's gonna be like a, like a secondary roughness if you wish. Roughness one. By default, this is gonna be set. I'm going to set this to 0.28, and I'm going to set this to 0.38. So we're going to blend between 0.2018.38 with a little bit of noise coming from the strands of the hair. And that's gonna give us a very nice roughness overall. So let's just hit Render or just compiled for the shader to compile. Now, if we take a look, as you can see, it's not shining as much. Now. It looks a little bit semi-transparent, which I don't love. So I'm gonna show you how to fix that. When we bring this guy's into, into unreal and we're importing this groom effects. There's a lot of data that gets imported as well, and we can change that data a little bit. So for instance, I can go to this guy and then double-click this groom and this are the attributes of the groom. And if we go to the strands, you can see that right now we have a certain hair width which we can change. We can make these things look a little bit like denser. We can change the width of the root, we can change the width of the tip. And it's really, really handy. Technically, technically, you should be getting the width that we're getting should be the same width that we have in Maya. But sometimes things don't look as nice. So for instance here, shallow density, we can increase the shallow density to give a little bit more depth. And as you can see, this is gonna look a little bit more intense. Now the tip definitely needs a little bit more scale or to lower down the skills, I'm going to lower down the scale on the tip right here. And that's gonna make the hair a little bit thinner as well. And it's going to look a little bit more natural closer to what we have in the night in Maya. Because remember D Alembic file, this is one of the magic things about the Alembic file is not saving, like it's saving their curves themselves like the curves, the information of the curves. So we can modify that curb information at runtime as you're seeing here on Unreal Engine. Now when we hit play, as you can see, the hair looks a lot nicer, lot thicker, and a lot closer to what I would expect. We could keep on playing with the what's the word? We can keep on playing with the with the roughest and stuff. But I'm going to show you the last little thing here for the Spartan helmet. This last little thing is the dynamics. I'm going to double-click the Spartan thing right here, the Spartan groom. And when you're gonna go to physics. And if you want this thing to be affected by physics such as the movement of the character, gravity and stuff like that, you need to turn it on. So here on the solver settings, I'm going to click on. Now what's gonna happen? Group this thing false. Now it's actually simulating real, real, real-world physics on this object. And it looks amazing. You're gonna see in just 1 second look at this. Now the hair, as you can see, it's falling. And what we move the character. Look at that. Most around when I jumped, it just like bounce around. It's having this sort of like a spring effect. So as you can see right now, is really way bees God, like if it was made out of rubber. But imagine a game where you have a character is just fighting all the time. This is the kind of stuff that you want to have on your game. Let me let me do something here. I'm gonna go to the blueprints. I'm going to go to the viewport. I'm gonna grab the camera, just got a closer, higher compile. That way when we play, we can see a little bit closer. There we go. Look at that. So as you can see that the hair looks really, really good. It's reacting quite nicely to the physics, but it's way too wavy rightly, and we definitely want to make it a little bit stiffer. But maybe it has a little bit of glue or something. And one of them make this thing look a little bit, a little bit better. To change the stiffness of the effect. We're actually going to do that directly under groom on the character That's one right here. We select the groom. We can go all the way down to the physics assets to do. Where is it? Simulation physics? Let's open this simulation settings. And what we're gonna do is I'm gonna say overripe settings. Then I'm gonna say it simulation setup, Solver settings. We're going to enable the simulation again. So now the hair is falling. And if we go to the material constraints, these are the things that are changing how this thing behaves. In this case, for this particular hair, one of the things that we want is we want to increase the stiffness. If we do one on the stiffness is gonna be really, really stiff. Now when we move around, as you can see, it's not moving as much, but I think it's way too much. Let's try something like 0.7, because I do want this thing to fall a little bit more. Feel free to just like more round and play around with all of this guys because those are the setups are those sort of things. They're just gonna be modifying to get the best possible effect. Because you can see this looks a lot nicer. It's still a little bit like a balancing us and stretching this. But it reacts to the kinematic effects of the character really, really nicely. I didn't animate this. This is not animated. I'm following the animations of the character and the hair is moving in a very realistic way. I still think it's a little bit too shiny. So I'm gonna go to the material here, to the instance, and now we have more parameters. I'm going to turn this guy's on and let's increase the roughness. Let's go for like I'm going to say 0.50.6 under roughness here. Let's hit Save and play to get an idea of how this looks. Yeah, that's way better. Still a bit, it's still a little bit like shiny, not as much as we had before, but still shiny here tends to be shiny, so I'm not against it. We can definitely turn on the noise amount. Let's add a little bit of fluid. Let's say 0.5. Save this and let's see how this looks. Again. Strength to look at the light. There we go. So as you can see now, the actual hares are broken up a little bit more now than, than one thing that's a little bit like I'm not exactly sure what happened here is the hair looks good, but it seems like we lost the flyways that we have. If this happens, I thought we did have the flyways right here, but it seems like we didn't. No problem. I'm just going to grab the Spartan messy description right here. Do the same thing. I'm just going to say generate. We're going to convert this into interactive group. Convert. Let's just call this Spartan messy description. We're going to go into cash or generate cash export cash gonna be Spartan groom. Messy. Export. Let's go here into unreal. Import real quick. Spartan, messy, open. Everything's ballot. Perfect. Just hit import double-click. And yet I can see that there's a description, so perfect. Now I'm going to go back to the third-person character. Let's go back to the viewport. I'm going to add a new group component. This grim component, we're going to get it instead of helmets swap. Now we have two, so there's going to be the messy one. We go Same deal. 90 degrees rotation, degrees rotation like this. There we go. Compile on the materials. Of course, we're going to add the same blue material that we have right here. We don't have to do this twice or anything. Compile. If we want those to have dynamics as well. And then we have to go here and they will simulation, save. Then that's it. So now, since those are free, I'm going to keep those a little bit looser. So you can see those are moving a little bit more than they than the other ones. There we go. So we have two different systems. They're two different hair systems working on our character. Cool. Look at that. I mean, I remember like ten years ago when they started this 3D career, during this guy's meant like so much work. It was weeks of work just to get. And then he mentioned that look this good nowadays, look at this. It's only took us about an hour and we already have this amazing results. So now that we understand the whole process, now we're gonna go into real-world example and we're gonna be doing a character, we're gonna do in the full algorithm for that character. So yeah, that's it for this one guys. I'll see you back on the next one. Bye bye. 41. Character Setup: Hey guys, welcome back to the next part of our series. Today we're gonna start with the character said though this is our final project and we're gonna be using o of the things that we've learned with the Unreal Engine groom. And we're gonna be doing a very nice hairstyle here inside of Maya with action. So if you're navigate to your public folders, you're gonna find this one which is called Irina the vampire. For those of you that know a little bit about Dungeons and Dragons, Irina is a character from a cursive strap. And in my campaign, she actually became evil. It was, it was quite fun. I'm just going to drag her here. And this is something that could happen to your character like this one has a lot of transformation information. Let's just delete it. Lee history, I'm not sure why we're inheriting all of this stuff, so I'm just going to delete all of those groups. We don't need them. And let's rename this. Let's call this arena model. Head. There we go. As you can see, proper topology, good edge flow. We even have a mouth back. So this is a perfectly workable character that I did a couple of years ago. Yeah, this is the one that we're gonna be using. As you can see, that topology is not super, super dense. I wanted to keep it light because Harris already like quite heavy. So by doing this, it works a little bit better. We also have the colors, so I'm going to right-click this girl assign a new material and this is one cool thing. I don't think I've mentioned this before, but if you assign the material here instead of Maya and you call it properly, I looked called hurt Irina. Skin. When we export this as an FBX X4 are real. It will remember this information and it will create the material like automatically with the naming convention and even with some of the textures like assigned to it. So in this case, I don't want all the textures. I actually just want the color texture. Here on the files. We're going to go to our file setup. There we go. This is one of those cases. I tried to paint her a little bit like a like a golf girdle. This is one of those cases were elimination is actually really helpful because the elimination that we get here, since we're actually going to be working with the fibers, we're not gonna do any bakes or anything. It's gonna be transferred very nicely into what we see in Unreal Engine. So one thing that I do want to do, and this is very important that you can see the head is folding old way over here. And whenever you export an FBX into unreal, one of the things that happens is it will assign the pivot point at the vase where the origin of the scene. This is not really where we want it a character. I'm going to grab this girl right here and I'm gonna move her pivot point to the lowest point of her sections, so that'll be right about there. You can be quite exact. It doesn't need to be perfectly exact, but that one right there. Now I'm going to create the locators. So I'm gonna say create locator. This locator by default is greater than the zeros, zeros 0 points on the origin. I'm going to grab the locator, the head. And then if we go into Reagan, we can do a very quick constraint parent without maintain offices and hit Apply. And this will bring the proof point or D, the object down to the floor. Very, very handy tool to bring things or to place things where we want them to be. We can delete the locator, the constraint gets deleted this wall, and this is what we have. We're gonna go into Arnold lights and we're going to create our sky dome light. In this one we are going to be adding a file, the same one that we've been using, the one that we got from poly haven. So this one right here, this studio, London. Now if we press number seven or light, we're gonna be able to see the light information. I don't want to sit this guy, so I'm gonna change the scale down to 0. And there we go. We can of course turn on shadows. It's gonna be a little bit expensive. We could turn on ambient occlusion, for instance, turned off shadows, anti-aliasing, definitely something that we want and that's going to make her look quite, quite nice. Now, there's one more map that I'm gonna be showing you and actually let me, let me show you how to extract this one because it's actually really important. I'm gonna grab this girl right here at the early history of freeze transformation, I'm gonna say File Export Selection. And again, you're not going to have to reset this thing if you don't want to, I'm gonna go here and I'm going to export this FBX. That's Irina. I'm gonna call this Irina game. Right? There we go. So now if we jump into our real, I have the project set up that the project opened. This is where MC is. There we go. What I'm gonna do, the first thing I need to do is can we delete this thing? That's really weird and just save this. There we go. I'm gonna go to my maps and if you remember, we have the Sam Ross map. But I really liked the way through the digital inhuman one. So I'm just going to right-click this one. I'm gonna duplicate this one. I'm going to call this arena render, Enter, save selective. And it's the same one. It's pretty much the same exact elements as you can see. We have a couple of extra spotlights here and there. And it makes it look really, really cool for realistic here. I'm gonna grab Mike and thank you Mike, but we don't need you anymore. I'm still not sure why we have that one. There we go. Now we can delete it. I created a new folder here on the maps levels, and this is where we're gonna drop all of our elements. So I'm gonna go to my Irina game ready FBX. And as you can see when we import, we're actually going to get let me try that again. So I think I deleted this for the hair card, so I'm gonna go here. Again. You really are getting ready to drag and drop that down here on the materials. I'm gonna say create new materials and hit Import. Now we're gonna get a new material and as you can see, we already got the base color plugged in. It's working as expected. I'm gonna grab my normal map. My occlusion refers metallic. Drag this here. And this is what we're going to get. Now I'm going to double-click here, double-click here. This one needs to be on linearized or linearized. You'd save, go here. Drug, normal map, drug, the roughness, metallic. Let's plug things in. So this is gonna be my ambient occlusion. This is gonna be my roughness and this is gonna be my metallic, this is gonna be my normal. There we go. We just save. Since all of this things have been properly set up, should be fairly easy to just hearing that here into the place. Just hit one or 000 and she's gonna be in the origin. As you can see, she is like almost where it's supposed to be. I'm just going to move her up. And this is where most of the lightness probably about there. I think the heads a little bit small, so I'm going to change the scale to 1.5. Before I do that, I'm going to click this little like a lock so that all of the channels move at the same time. That's the 1.5. And there we go. Now of course, we can play around with some of the spotlights. You can see all of these spotlights are it's just like a blueprint that has a lot of spotlights together so we can increase the intensity a little bit it to shine more light into her. There we go. Let's good. I wouldn't say this is like my best model, but I wanted to share a model that looked cool for you guys. Hopefully you guys, I like her. Now one thing that we definitely need to add, the ice, I'm not going to be doing realistic eyes right now. That would be another two hours of tutorial. I don't think we're gonna be able to afford it that this time around. I'm just going to add a couple of white spheres. Let's keep her white ice this time around. We've done, although like black ice with the tip link and stuff. There we go. Now those goods, so I'm just going to say mesh. In modeling, I'm gonna say meshes so that we get a softer effect. We don't want to see any sort of like jagged the elements or anything. We could actually try and grab the eyes from Mike, but the shape of the eye might not be the same. This girl is actually a little bit more stylized than, than a traditional humans. So that's why she might be slightly different. Let's call this Irina ice File Export Selection. Again. We go back into a real here. We're going to import our ice. Import. We are going to get the material just a basic Lambert. We bring them in. There we go. Now, a very easy way is to just go here to the location. As you can see, this should be 0 and this is one hundred, seven hundred and fifty. Just have this thing be at a 1005000. The scale though, needs to change. So this one has 1.5 scale. For the ice, we also need to have 1.5 scale. And there we go, they should match perfectly fine. So as you can see that it looks quite nice. I want them to be a little bit glossier. So I'm gonna go here and without 1 here to this specularity and change this value to one. That way we're gonna have a shiny, shiny material. There we go. So now it should be refracted or reflected a little bit better. I'm also going to add a roughness value. And roughness is gonna be at 0 because I wanted them to be really glossy. There we go, kind of like glass, glass ice. Now the one method I want to add mike has the map and we can very easily add is the subsurface map. So this is a very interesting map that we can extract from detectors. Now, I'm not including the textures because it's not because I don't want to, It's just a lot love more like a heavy information, but all of them absolutely are gonna be there available for you. This is a very simple skin setup that I did here. One of the important ones is this one right here, which is like a fake ambient occlusion that we did need to export this mask. I'm going to select this mask and I'm going to say export mask to file. We're going to export this into our assets folder. We're going to call this SSS mask. Now if we bring this here, you're gonna see that we have a black and white mask that tells us where the subsurface is more intense. In this case, the ears, the nose a little bit on the eyes, the lips. Very important that we dealing or isis ones as well. Sexually already like a BNP. I think it's just like BNP gets BNP. So it's, it's a grayscale image that's great for us. And if we go to the material right here, we can change the way this material works in a very similar way to how we do the hair. There's one called the subsurface. We just like the printer graded skin. And if we go here to the opacity, this is going to control the translucency of the material. Right now if I just save this here, you're gonna see that the whole Irina character gets this sort of weird effect. That's fine. But now we're going to use this opacity mask. Oop. Sorry, not here. This are the ice. So over here we're going to use this opacity maps to mask out where we want this thing to be happening. On the opacity, we go there, we hit Save. And what we should be getting is now we're gonna get this sort of like why the effect only on the light bulb this properly. Then we need to grab the red channel. Let's try that. Weird. We're also going to need the red color. So here we're gonna change this to red, saturated red color. There we go. Hit Okay. Ben Barres, I supposed to like dead, right. So let's go. That's the subsurface color. Hit Save. I'm not sure if the mask is embedded though, and that's why we're getting the other effect shouldn't be though, because it's so we are using the proper one. Really weird. Let me try using it. There's a node called x minus, one minus, there we go. And this one in birds, the colors. I'm going to try this one. Maybe the mask is embedded. Let's save this. No, it's the shader here. Let's change this instead of the pre integrated this guy, I'm just going to use the subsurface surface profile. He'd saved. Want to working. Let's delete this, get this into the opacity. He'd save. There we go. That's giving us a little bit more detail. A little bit difficult to see, but it's there. You can barely see there on the ears. So there you go. Look at that. That's what I'm talking about. That's the mask is doing its job and that's the subsurface working a little bit better. It might not be as obvious because of the light scenario, but as you can see, it's there. It's actually giving us this very nice subsurface effect. So just small detail. Make sure to use this one. The not the reintegrated use the sub surface profile makes it easier for this because this is a very, very simple skin. We're not going upward like the human realistic scheme, like many humans and stuff. This a little bit more stylized. And yeah, that's pretty much it makes sure to save everything here in our real, everything is already set up here inside of Maya. And now we're gonna start with planning out at the blood degenerate hairstyle that we're gonna be working with this girl. And we're gonna do three things for her. We're gonna do here. We're going to do eyelashes, we're gonna do eyebrows, and we're gonna do the whole houses. So there's gonna be three grooms systems, several descriptions with three main groups of systems. And that's gonna be our final project. So let's start preparing our reference and then we'll get to it. Hang on tight and I'll see you back on the next one. 42. Gathering Reference: Hey guys, welcome back to the next part of our series. Today we're going to continue with the reference for our character, for our final group. I'm actually gonna be using very, very few references or burn fuel reference right now because our hairstyles, especially when you're grooming a hairstyle, you wanted to get dy is specific hairstyle. Write this as close as possible to what we haven't reference. So I found this one right here, which I think it's pretty, pretty cool. It's this very like a lazy breath, right? It's not like super, super tight. And they chose this one because it's gonna be relatively easy to get it as close as possible for our first project, especially if you've never done a grooming with extreme before, it should be fairly, again, fairly for the EC2 to properly, properly get there. So let me there we go. The flow. Just to make the brush a little bit nicer. There we go. So in this case it's not that much about like gathering reference, but rather understanding the reference that we have. Because one of the most important secrets about what we're about to do is at the placement of the guides. If we properly plays guides where we need them to be, then the whole process is going to become so much easier. It's again, it's a very complex software. There's a lot of things that you can do with it. But the best thing that they can or the best advice I can give you is take it step-by-step. The first step is making sure that we understand how the hair flows. I'm gonna be using this very intense color and we're going to start with the eyebrows. So if we were to look, understand how the eyebrows are flowing, you're going to see that they are flowing up in this direction. And then the bend and flowed down in this direction. Like they they started like curbing out. So midway through we have a little bit of nucleation and then more inclination, and then pretty much like a straight inclination down here. This five arrows suggest that I just drew. Those are pretty much the suppliers were that there are guides that we're gonna be adding inside of Maya to make sure that everything flows in the same way. Because you guys know that all of the hares that get created in-between the guides will interpolate and they will be like gathering or generating this sort of effect. That we can also see that we start right about here. So this is where the nose will be. My, my middle line like with the middle section that the x-axis, that's what we're gonna be starting. A little bit of space there. And then we start with very few hairs here, and then we go back into smoother and software hairs. You can see that there's a little bit of a mask here. This one has a makeup. That's why we see this dark shadow and this is a little bit more natural and we're gonna go for this sort of like natural look. Then for the eyelashes, you can see that again, we start with very small eyelashes here. They become a little bit longer here, longer here, and then they start twisting around like the guides there were pointing to different directions on the same thing here we have this guy right here, here, small here, really big over here. But again, they create this sort of like fannie section right here that we're going to have to emulate inside the far of our character in mind. Then comes the most complicated one. And this is going to again, the more you practice, the more you do this, the easier this is going to, this is going to be for forever one. The way this works. First of all, we need to go look at yellow color. I'm gonna kind of like finish the hair. I can see a line, like a parting line right there in the middle. What's gonna be happening here is we're gonna have guides going down and back into the space. So this guides will be like a really long guide going all the way to the back. And then these guys right here are gonna be really long as well. And this are the ones that we're going to start braiding to create the sort of effect. We can see that the main chunk of this break comes from there. And then there's another chunk that I would imagine comes to it from back there. Then there's another chunk that comes probably from the middle section and then more guides going down here. The way I like to study guides when I'm doing this sort of like a reference study is I like to start with the ones from the middle section and then draw a couple more inside of the mucus. Otherwise, if you would like, pull all of the hair up, there will be a lot of bald spots all over the place here on the on the sides of the head. Even though we yes, we are going to have all of those guides like really long chi, it's going all the way here. We're also going to have smaller guys following a very similar flow back into the breath. Most of feathers you can see it's gonna be like really long hairs. There's going to be noise, there's gonna be flyways, there's gonna be maybe a little bit of transition here. Up here. Like most of the things that we've done with Kierkegaard's, we're gonna have to find here inside of the reference. Now there's another thing I want to show you. You don't have to do this. I've provided this for you guys. But in the substance file or when I was doing a substance, I actually painted a mask. And this message, this is very important because you guys know that we normally paint the density mask instead of the actual generated, right? Well, you can actually paint that mask from your favorite like sculpting or modeling software. You can then just in blender, you can do this in Maya, you can do this in ZBrush. I personally prefer doing it in substance. We can see a little bit easier. I'm not again, providing this file for you because we're not expecting you guys to be masters of a substance. We're not really using it for any of the other things that we did throughout the course. But this is a very simple mask, is just a black mass right here and then a white layer on top. And as you can see, I'm painting where the eyebrows are gonna be, where the eyelashes are gonna be, an award that is gonna be as well. Why is this important? This will make sure that we don't have to paint any density mask inside of instead of action. And it's a little bit easier because when you paint a density mask, we're working with something called tags, which are like vertex colored. And this is a map I texture map. So sometimes this also is a little bit faster. Now, as you might imagine, we're gonna be mirroring stuff. We're not gonna be doing both sides, especially like the eyebrows and the eyelashes. We're not gonna be doing both sides at the same time. We're gonna do one side and then mirror it to the other side. So this mask is also really important because when we're working on one side, if we painted with PTX, we cannot turn the mirror on and we can't have it on the other side. It becomes a little bit complicated to control as well. So this, this right here is gonna be really, really useful. Now it might seem like there's more color than there is. But if I proceed here to go into the channels, you can see that the channels are just, they're soft effect right here. This is density, remember, so we're gonna have some soft density there. And then we're gonna be able to control some of the feathers well inside the, inside of Maya. So this is pretty much it. So let's show it here into Maya real quick. This SAR character, this is one of them we're gonna be working with. Now, I don't like the camera that we have here, the perspective camera. So let's select this one right here. I'm going to change the focal length of 55, something like 60, which is a little bit flatter and it's gonna be, it's gonna allow us to see how the characters like behaving in a, in a better way. We have the model head, we have the height and make sure that the model has rights, etc, here on the center. Like No, no symmetry, no nothing, no information on the elements here. And with that done, we're pretty much ready to start creating our groups. So hang on tight and I'll see you back on the next one when we start doing the eyebrows. 43. Character Eyebrows: Hey guys, welcome back to the next part of our series. Today we're going to continue with the eyebrows off our character. So let's get to it. Now. 45 rows and we're gonna be using, of course, the little map that we just drew instead of, instead of what's the word Substance Painter. Now, we can also add the normal map. I think, I think the normal map could benefit us to see where the main shapes of the eyebrows are because that's a detail that's baked in. So I'm going to go File here tangent space normal map. And we're going to select from our assets folder. The normal map. There we go. Changes to a utility rock. Yeah. Should be at the lights. Really weird. I'm not seeing properly seeing the connections should be working. If we need to swap the tangents. Or maybe it's like super soft and it's there. That's weird. Anyway, let's jump onto extra. So I'm gonna grab this guy, go into creating a description. This is gonna be called Irina or eyebrows arena. We're gonna call this Marina. Correct connection. Remember that all of this collections and things that gets saved in our folder, in our project setup. So that's why it's important to always have everything properly placed on splines randomly because of surfers and placing and shipping guy. So I'm gonna hit Create. Now. We're gonna be using later on something called the, what's the word? The mirror guides right here. So we're gonna do the guides on one side of the character and then we're gonna mirror it to the other side. However, I am going to warn you, I've done this a couple of times and for some reason, mirroring from right to left on the character doesn't work as well. So we're gonna be working on this slide so that when we mirrored it mirrors properly to decide it's, I think it's because this is supposed to be positive x and it's easier to like a mirror to the negative x. Technically, it should be working on the other side, but let's just make sure to work on this side. Now one thing I'm gonna do here to place my guides is I'm actually going to go into the material of the character and I'm going to change the base color that we have right here. Two Good, two assets. And we're going to use the hair map that I created for you guys. So this one, that way I'm gonna be able to see where the black and white points are and that's gonna be a little bit easier to position the description. Let's go here. Let's go to Add Guides. And we're going to have one guide right there, two guys right there, three guys right there. Forgets right there. Five minutes right there. And we check this out, and as you can see, we get this now. Why are we getting this while loop? Because of course we haven't painted any density map brain. I was just going on that general area and that's pretty much it. There's actually the one thing I forgot to do and this is going to be quite useful for us. So I'm gonna delete the description or the collection again. Start over. Very important if you do that sometimes on your folders right here, On direction information, the collection does good, safe, and then you get like other stuff. So make sure to live here as well. Now what I'm gonna do instead of four, they just did there is I'm actually going to select the faces where the eyebrows are gonna be. I'm gonna select all of these phases right here. All of these guys right here. Now we're going to create the description. This again is gonna be called eyebrows arena. There's going to be Irina, gonna be the collection, placing and hit Create. This will make it a little bit easier for the density to work. Because as you can see when we, when we please guides which are going to work at it to in just a second. It's only going to be on that specific phases, on those specific selections. Let's go back to our assets folder again and load the the map again so that we know where to place the guides. Let's go here onto our whoop, onto our guide options and against gonna be 12345. Now when we do this, as you can see this a lot closer, that we're still getting some crazy stuff over here because of the faces. But once we change this map or we use this map is a density map. This should be working a little bit better. Let's go back here and go back to the original color. So we can see that the character, There we go. Now I'm gonna show you a very cool little thing. I'm going to turn off the visibility for the hair. And there's a very cool little tool that we have that works only for guides. We didn't really use this when we were doing the hairs for the hair cards because most of them were really straight. And just to look a little bit of waviness for this one that's called these cult guide option right here. This sleep brush, as you can see, we can use calloc soft selection, but it creates more segments for our low eyebrows right here. And it allows us to really plays this thing and push it and an agreement cone. But I think it's the right word, combat in the proper direction like this. So if you remember here in pure rough on our, on our reference though, the I rows, starting eyeballs, they come and go, they start curving out. But it's not as intense thing I'm making this a little bit too intense right now. It's gonna be something like this. Then the next eyebrows go a little bit more intense like this. Then the next eyebrows little more intense like this. And then this one's almost perpendicular. Finally, this one's really, really like pointy evening, even going a little bit down, like this. Make sure that we push this things worked on the curb brushes inside of ZBrush. Really cool. We can just modify the sweetness. Just give them a very, very nice flow. And it's going to help with the overall shape of the eyebrows. Cool. Again, let's bring them closer to the surface of the hair. There we go. Now when we previewed the hair, as you can see, we're starting to get this sort of like nice effect. Of course we can increase the density and then we're going to start getting way, way more eyebrows. But one of the main issues that we have right now is the fact that these are not going where they're supposed to be going. Let's pull it out a little bit with the taper. Right here. I also want to play with the taper. Here. There we go. And we're starting to get this interesting effect. Now to fix the density, we're gonna do a little bit of a hacky thing. So make sure to follow along because it can't get it a little bit confusing. I mentioned in the last video when we're painting the texture that when we create a mask right here, we say create map and we call this like eyebrows mask, Irina. I'm going to do white mask and just getting just gonna hit Create. What happens is it creates a map that uses P texts to save the information. That's also why I think it takes a little bit longer to make sure that this works. Oh, no. It's a shame. It says that. It kind of like kind of like save that. So let's see if this works. That's one of the main issues with, with a match. Let's see, let's see how much we can save. So unfortunately, it's part of the deal. Now, this might happen a couple of times throughout the, throughout this video. So let's see. We have a recover. Okay, cool. So here's the material. Let's assign existing material, meaning skin. First thing you ever want to do when you recover this, save, save this thing. So I think we forgot to save it. That's why it crashed. Let's save the scene file, Save Scene S on our scenes. Let's call this arena setup. There we go. I actually had another one. There we go. Now we're going to look through to the map. We're going to create the map and let's try this again. Just create it's called Mask. Now, let's see if that works. Hopefully it will. Please don't crash Maya. You know, I love you. We love my is just a software, especially like complicated things like this, always have a little bit of an issue. We're going to save this map. We're not painting anything, we're just going to save this map and we're just going to go back here. If we go to the Hypershade, we go up here to the textures, you're gonna see that we have a new texture. Right around here. There's gonna be a new texture, which is gonna be the mask. Let's just look for it. There we go. So that's one of the masks, that's another one that we're using though. This seems to be the other mask. Let's map this out. Yeah. So as you can see, this is the model had shaped eyebrow hearing the mass GIF. That's the mess that we're going for, the one that we created. We're going to select this node right here. And what we're gonna do is since the referencing whatever file this thing is strength to reference, we're going to reference the mass that we created. So we're going to go here and we're gonna grab this here, mass right there. Now, we go over here and we save this. As you can see, it's now picking the information from that mask that we created. And it's placing our hair exactly where we had it. Instead of, instead of substances. You can see that looks pretty nice, cool. Now we can start playing around with, for instance, the density. I can definitely see that this way we'd denser. We can play around with the width right here. I'm gonna show you a cool little trick. This again, the syllabus more advanced. So I went, I want to make sure that you guys are following along. Right now we have this length right here. We can create a map for the length like make certain parts of the elements like a little bit thicker and certain parts of the Honest little bit thinner. And we can also, this is very cool. Create a random expression. So for instance, if we can change this, you can see things are just like changing in length. Well, we can do is for instance, I know that the first guides should be a little bit smaller, so I'm going to go to the guides, the guides one. And if I go here to those set length, I'm gonna say, you know what, this one's still have been, one's going to be like 0.7, gonna be shorter. So now when we do this, here's here are gonna be shorter and then they're going to ensure plate to longer and longer hears. Same for the final one. So Guide five, I'm also going to set the length and say, you know what, you're gonna be like, 0.5, you're gonna be really, really small. So now we get someone's nicest small effects or small like eyebrows closer to what we had over here. Now on the width, as you can see, we definitely want to make this thing a little bit thinner. This will of course means that we might need to increase a little bit more density here so we get more eyebrows, as you can see here on the element. And not all of the eyebrows are exactly the same in regards to width, we have some really, really, really live ones and some really, really strong ones right here. I'm gonna show you a very simple way in which we can play around with this and that is going into the expressions. So right here on the width, I'm going to click this little expression right here. We can create a little expression right now as you can see, it's the dollar sign attribute and that's creating some values, right? So it's 0 is 5.5. If we go over here, we can actually say low expression. And from the samples, we can do a geometry random, or where is it? Where's the random? Now let us go directly into the expression. So instead of having this thing right here, I'm gonna type in rant and then click. And then the random is going to be between 0.055 comma, and let's say 0.065. That's it. We save. Just hit Accept, apply. Syntax error. We don't need this one. Here we go. Just apply, and there we go. So now what's going to happen is some of the elements right here are going to have a more density than the others. And I'm gonna make this a little bit more extreme. So let's change this to points, your one and hit Apply. You're gonna see some of them are gonna be really, really thin and some of them are gonna be a lot like a bigger Actually, this one looks quite, quite nice if I may say so myself. So yeah, there we go. The IRA is looking quite, quite nice. Now. I am getting a couple of extra points right here that I don't particularly like. I mean, if I weren't like super, super picky, Oh Paulie, go into my mask and just paint this thing out. Because I think here in substance might have gone a little bit too low. We could of course go here and paint it. I just wanted, I don't want to make this super complicated for this first part, let's increase the density a little bit. There we go. Now we can play around with a little bit of modifiers. I think we're in a good density for the amount of like I Rosa we have. And maybe the modifiers will help blend this thing a little bit more. So we're gonna go to the modifiers, and let's add a couple of modifiers. Let's start with a clump comp is always good. Let's save that real quick. Just to make sure that we don't lose anything because the scratches. So we're gonna start with the clump. I would suggest make it a habit to always save. And I'm going to generate just like this, and I'm going to hit Save. So now as you can see, there's a couple of calm guides that I've got created, and this is creating a very nice effect. Another thing we can do in the set of maps, we can say G-I-F. And that way the clump maps, as you can see, are gonna follow the guides and then we hit Save. Now the clumping is going to occur towards the guides, which I think is going to fit better for what we want. Of course, this is way, way too much. So let's say if 0.15, probably a little bit more, 0.25. That's it. Now we're gonna get a little bit of clumping on specific parts of the eyebrows. And they're going to look a little bit more cones, which has what we're going for. Now Let's say probably like a cut, like a cut modifier, a very small, probably going to go for like, maybe like a 11 is way too much. You can see that starts looking a little bit. Balsa 0.5. I think it's a good idea so that we get some short, not even 0.5, things a little bit too aggressive, let's say 0.25. There we go. So it's going to add a little bit of elements there. Finally, noise, as you can see here on the reference as well, the eyebrows are not perfect. There's a little bit of noise and wiggling here and there. So again, we just add another nice modifier here. Let's go to the multiplayer CB count changes to ten, so we get a little bit more resolution on our curves. And on the noise, the magnitude is probably gonna be a lot lower. So like 0.5. There we go. It looks a lot more natural. That's it. That's the way we create some nice eyebrows. I do think the length here might be a little bit too much, so I'm gonna just make it a little bit shorter. There we go. And as you can see, that it looks quite, quite nice now for the moment of truth, because it's actually the second or third time that I'm recording this. And every time we get to this point, for some reason my other sides too, not play nice with the process and make it a little bit more complicated for myself. So we're gonna grab all of the guides here. And technically, technically, we should be able to just click this button right here and get the mass, but it's not working. Oh my God. I can't believe that. This is like the third time that I've been doing this and every time I do it off camera, it works properly. And then when I'm recording, it doesn't work. Yeah. As you can see what I'm trying to get here or where they should be able to get this. I'm trying to get this exact same guides on the other side of the character. Technically, it should work. I really don't know what I'm doing wrong. Because again, as I've mentioned, I've done this a couple of times now. And when they do this, when I just click again, you should technically just click this mirror option right here. The guys should go to the other side, but they're not going. So I figured that this might happen again when I started recording this one. So there's two solutions for this that I can think of. First of all, if you are diligent enough and you want to have a really, really amazing look for the eyebrows. My suggestion would be to grab this guy right here and do it again. So the same thing, the five copies that we did here, do it again, comb them and make sure that they look as nice as possible. The second option that I thought about was grabbing the guides or the description right here. And we're gonna go remember, to degenerate, and we're gonna convert this into interactive group, convert to interruptive group, which is eventually what we're gonna do for the export. This I'm sorry, it's this one. So generate interactive group. There we go. Now this is what we get. We can turn off this one for now. We're gonna get this interactive grim right here. Now, I'm not exactly sure if we can mirror this. I think we can. So I'm going to duplicate this. And let's see if we can scale it and we can't. But on the interactive gloom though, that's another window, which is this one right here. The interactive come editor. As you can see, it's duplicated that I did. This is the interactive groom. We all have the information. I do believe we can mirror this. Let's go to Okay. So you guys are not going to believe the reason why this isn't working and I feel I feel so bad because this is like a nuke mistake, but I decided not to cut this out. To show you, first of all, that everyone's in the learning process rights like every single time that they teach, AI will learn more stuff. It's okay. It's okay. As long as you can find the answer. I feel like it's more on this to show people how to actually get there. Some of you might already know this. Some of you might already intuitively deduced why we can do this. The answer is, when I selected the polygons, I only select that the left polygons like this area. Remember this section that we did right here? We only selected this section right here. So even though I am trying to mirror my guides, I can't mirror them any further than what we have right here. And that's horrible, horrible, horrible, horrible. So I'm gonna have to start this over again. I'm not going to bore you guys with the detail, but the only difference is that, yes, I am going to select the faces, I said at the beginning of the video by doing this, but I'm also gonna be selecting the faces on this side. When we mirror, they're easy information to place this things over here. Yeah, that's pretty much the process that I'm gonna gonna do to solve this issue both. Yeah, that's pretty much it. I mean, once you have this thing right here, we're all already in a very, very good position for our arrows. It was just a very silly mistake where I forgot to select all of this piece. But again, I wanted to make sure that this is recorded so that you guys have you guys get here and having a problem, you at least know how to solve it. This sit for this one guys, I'll see you back on the next one. 44. Problem Solving: Hey guys, welcome back to this, a special video. This is a little bit of a parenthesis beat, a little bit of a tangent. Because I want to talk about something that just happened. Like if you of course, are watching the tutorial, you saw that we made the very silly mistake and I forgot to select the phases on this other side. So when we were doing the mirror, the guys we're not going there because there was no it couldn't go there. There was no geometry that was bind or bound to the action generator that could get there. And here's where this is one of my secrets. As an instructor and as an artist. Every single time I face an issue like those. I always asked myself or I always saw myself, there should be a weight to fix this. Like it can't be possible that I'm the first person to encounter this. Like you start working and then you just select a couple of phases and new one to add more faces. Usually when you ask yourself the question, when you say yourself, this must have another solution. The best thing you can do to find that solution is ask questions. So my problem-solving method when they were in phase with any sort of issue is go like dissect the sections of the things that they want. So what do I know that I did wrong in this in this case, I know that I did not select enough phases. The phases we're not bound to the action generator. And I know that this happened at the description level. So again, by following a little bit of logic, I know that if there's a solution, it must be down here in the description. And the husband actually was doing some exploration on this one, buying patches. And if you take a look here, there we go, Add Selected phases replaced with selected phases, remote selected faces. There is a way to change the way this works. If I hit select bound phases, you can see that now I have both patches selected, but let's say I wanted to add like another patch like up here. You just go into face mode on your object. Select them, go into descriptions, buying patches, and that's selected phases. That's it. Now again, if we go into a description, nine patches and select bone phases, you're gonna see that that new square is selected. We can go there like this guy's descriptions by the patches, remove selected faces. Now again, if we go here to the descriptions and check the bank patches and select bound faces that's no longer selected. Since now we do have the proper face on this side. We can select this guys right here and mirror them without a single problem. I'm going to say real quick, Let's preview the eyebrows and look at those beautiful eyebrows. Both of the eyebrows are working quite, quite nicely. There were following the shape of the head. I would say quite nicely as well, that we don't have to do any more work. So This short video ij once shared with you because this is a very common process. I know a lot of times in tutorials, like everything, everything seems perfect and it seems like the instructor has all of the answers, believe me guys, everyone, every single, even the most pro artists out there is going to have issues. And I don't think it's honest to only show the perfect face. I think it's very, very useful when you guys also learn at the same time as we do how to troubleshoot and how to solve problems. So, yeah, that's it guys. In the next one we're going to continue now with the eyelashes. So hang on tight and I'll see you back on the next video. Bye bye. 45. Creating Eyelashes: Hey guys, welcome back to the next part of our series. So they were gonna continue with the eyelashes of our character. Let's get to it. Now. One thing I don't like about the hair is that it looks brown and it's not the bath shared or right. But it's not the shutter. And I want so I'm going to say Control a. And we can actually go all the way here to the initial shading group. And actually it's not using the one that I thought it was gonna be using. There we go here, physical shader. So what I can do right now is just change the color. So for instance, I'm just going to make a little bit darker on both the Recolor and tip color. And it should approximate a little bit closer to what I want. I want to go with a really nice dark here with 40 character. So now for the eyelashes, we're gonna do something very similar to what we did before. I'm going to select the edge loops where the eyelashes are gonna be. This is again where we're referenced is really important. As you can see, eyelashes. There we go. They originated on the board or the inner and outer border of the eyelid Daedalus like a shelf. So it has this very sharp corner on the various border. And as you can see that originated on all of that place. The upper eyelashes, as you can see, are a lot thicker and the lower eyelashes are little thinner. So I'm probably going to be doing this as two different descriptions just to have a little bit more control over the density because we do have the density map, but it's not the same as having the actual elements. I'm going to start with the upper ones, so I'm just going to go into face. You can see we have this one right here and this one right here. And then weed control, I'm just going to de-select the bottom one. We only have the top one selected. There we go. And to not commit the same mistake that I did last time, I'm actually going to be doing this thing right here. There we go. That's it. Now, top and bottom part of our eyelids were gonna go of course to our action. We're gonna say description and creating new description. This is gonna be called upper eyelashes. You in a group placing a shipping guys and hit Create. Now, of course we're only going to be doing one side first and then we'll do the other side. So I'm going to start with here with my guides. We're going to have 12345. What I'm gonna do again, as you can see here in the reference, the ones on the inner side a little bit shorter and the ones here on the outer side a little bit thicker. So as, as you can see here, they go from small to big until a little bit smaller. So this one right here, this intersection oriented at this, this guy right here. Which if we go here to the upper eyelashes, we should be able to know which one it is. This one. It's a guy 28. I'm gonna go to the distance to the set length. I'm gonna make this length twice as big. So I'm gonna say to think twice, It's a little bit too much. So let's say 1.5. We go. Then this one's gonna be one. That's fine. I might have been going a little bit lower. So instead of one, I'm gonna say like 0.9. There we go. Then this one, same deal. This is gonna be like 0.9. I shouldn't know. It must be a little bit higher. So unlike Guam point too, I think there we go, That's a little bit better. And then this one is gonna be point a Wanted That's gonna do, I'm gonna keep that one. I think that's a good number. And then the last one, it's gonna be a 0.9. Now we're gonna go into our scope, brush this one right here. We're going to start sculpting the eyelashes towards they're supposed to be calling. Again, if we take a look at the reference, especially this one, you're gonna see that they fan out right on the border here on the outer edge. You can see that it fans out, fans out, fans out and it keeps a really straight up point. I'm just going to start pushing this out. And up. Of course. Let's go to this one. Again. Push it up out and give it this nice sexy curve. Let's go to this one. Same deal. Push this up. There we go. This one. And finally, this one. Push this one up a little bit closer to the center like this. Here we go. Give it a nice curvature. That's it. And that's going to start building up our guides. And remember, we can modify this and tweak them as much as we want. Let's take a look at the description. Of course, we need way more density. So if you're in the density, let's increase its density. And there we go, That's looking a little bit better. And that doesn't look half bad. Not bad at all. Now of course we're going to be like changing the length, probably like a little bit less linked below, longer. And I think they're a little bit too long right there. With lots, of course, give a little bit of taper. Let's give it a little bit of taper here as well. And on the road and on the tip. Like this sort of like teardrop shape. There we go. That's it. Now you can see some of them are intersecting with the eye a little bit. Here's where the mask is gonna really help. Let's say real quick, always, always save. I'm actually going to do an increment and save it just to have a couple of versions. You're never never too safe about like that. So yeah. We're gonna do the same thing. We're going to go here to the mask. I'm going to create a new mask. This is going to be called upper eye lashes mask. Let's just hit Create. It's going to create the PTX file. And then we're gonna do the hacky thing where we go into our Hypershade and we replace whatever PTX texture it's assigning to this thing onto, replace it with the texture that we paint it. Again, that is going to save a lot of resources. Let's clean this up. Let's go to textures. Let's look for this one that usually the name of the file is going to tell us which one it is. So again, if I map this out, you're gonna see that the name right here, upper eyelashes, massive dot f. So that's the one that we want. So, yeah, just select this guy. This guy, go into assets. Here on the map which is opened, this one, it's going to be referencing this map instead of the word instead of the PTX map. This shoot, it should make it a little bit easier to work with. Again, should save often and save frequently. One thing you can do here, for instance, this file number, I can just rename it instead of saying it the file name, I'm gonna call this eyelashes mask. That way where they look for it over here, it's going to be like a nicer proper name. And there we go. Now, as you can see, the intersection is not as Beth, please. My add-on die. There we go. You can do it. Control S real quick just to make sure that that's safe. And then we go look at those eyelashes. Quite nice. I don't think this would look a little bit fat, so let's slim them down. And if we take a look at the reference, you can see that we have or we need a couple more, a couple more like quite a bit more. Let's update. I'm getting an error here. You're in the middle head. Ptx does not exist. That's weird. Let's save this. There we go. It's working now. Yeah, Let's go like double this. Let's say 200. You can go higher than the number. I know it stops at a 100 with this lighter, but you can see go a lot wider. And that's it. That looks, that looks pretty, pretty cool. Now let's just say a couple of modifiers and make sure this looks as nice as possible. So we're gonna go to our modifiers. We're going to add a start with the noise. Let's do point to, shouldn't be that noisy. Point to map. You'll live in more 0.3 clumping. That always helps, so clumping, okay, Now this one, I'm not going to be using the maps. I'm going to use a generator clumping thing. There we go. And now we go 0.1 or something. 0.3.3 is way too much point to maybe another think of with maybe guides is better because we're gonna get five of them. So 0.1.15, it's going to give us a little bit of a better clump right there. Length, the codon always, always cool to vary the size and the length of the elements. I think that's pretty cool. And then importantly, we can just go back into our combo. Guide elements are just like 20 things around. If we see that the eyelashes are not looking that way we want or we want to curl them a little bit more. Like I know my wife likes to have a really, really curly eyelashes when she thus her makeup for special occasions, like a wedding or something. We can pull them up a little bit more. Like push this one's out a little bit more as well. There we go. Now, I know because again of the reference that this one's become a way, way smaller. So I'm gonna select this guy right here going through the options and set the length to 0.4 or something. That way we're gonna get this sort of effect, maybe 0.4, it's a little bit too low, let's say 0.5. There we go. It looks a little bit, little bit more natural. I'm even tempted to go like 0.6, to be honest. There we go. Now remember the little width operation that we did here. That's delete this, right? The random, let's say random float minimum, maximum. It's gonna be 0.1 comma. Then let's do like, I mean, I think the minimum should be 0.05 and then the maximum 0.1. And let's apply. There we go. Now we're gonna get some variation on the thickness of the eyelashes as well. And that's gonna give us a very nice effect. Let's grab our sculpt brush right here. Just modify this a little bit more. Save real quick. Yeah, I really liked those. Those are looking quite nice. Maybe this one, like push it a little bit more like this update. I'm tempted to go, you get a little bit further. There we go. Nice view of the full sexy eyelashes. So now we're just going to select all of these guys. And since we did not make the mistake that we did last time with the, with this guy. It should be fairly easy to just mirror this update. And there we go. Now, this is a little bit weird. For some reason, this are not flowing the way they should be flowing. Really weird. Trying to think what changed here. You can see with the eyebrows, we didn't have that issue and the guys look good. I mean, those were working quite, quite nice. For some reason they're following something else. Really weird. Give me just 1 second to solve this out. Pretty obvious. I don't know whether this now, I just took a couple of seconds to think about the process. There's a technique. Programmers use this technique by the way, it's called rubber ducking. It sounds really stupid. But imagine you have a little rubber ducky your desk and you talk to it and you're like, Okay, I did this, I did this. This is the next step and then this happened. What's happening here? We're using the same modifiers. So the clump modifier, when we set up the maps, we did use the guides, but we'd use the guides from this other site. So that's why we were getting this would just save this. And there we go. It was just that it was trying to go to the guides on this side. So that's why you should always try to ask yourself those questions again, as we talked in the Problem Solving video, you're going to find things that you don't think you are. You think you're doing everything right and then something happens and it's wrong. And that's when your logical brain has to kick in because the software doesn't make a mistake. The software only follows our instructions. So if there's anything wrong, it's user related. Usually, like I would say 95% of the times it's usually related like we forgot to set something up. We forgot to click on something or just like modify something and that's what's changing everything. So just keep that in mind. Now let's quickly go to the next section, which is the lower eyelids. So again, I'm going to here one thing you can do if you don't do, if you don't want to select twice, go here to object X, going to Face Selection, and just click and then Shift double-click where we wanted this twin. Click, Shift double-click where one strand, as you can see, it's being selected on both sides. Now we're gonna go description, create a new description. This is gonna be called eye lashes, lower, Irina placing and create. Of course we're going to work on this side first. We're going to create some guides. As you can see here on the reference again, a lot thinner, a lot thinner but still very similar to like a fan. So we're gonna go 12345. There we go. Now this R lot shorter as well. You can again see that on the reference there are a lot shorter than the, then the ones on the top. I would say probably like half the length. So I'm gonna go to my guide number three, this one right here. And my length is going to be 0.6. I think it's good. It's a good number. Yeah. Then guide 4038. They're gonna be like point for probably like 0.44 or 45. Then the last two guys are gonna be like 0.25. There we go. It looks cool. Now you can actually select all of the guides, maybe want to scold them all at the same time and select all of them. And that way, we can just start moving them. Here we go. Fundamental little bit. There we go. As you can see, this is really small. We didn't have as much like a room. That's fine. I shouldn't be working quite nice. Let's save this real quick. Let's preview starting Christina density. Control C always kind of freaks out Maya when working with extra. I don't know why. Let me go. Let's say real quick again. Density wise grew. We need a lot more and we need the mask. Again, Let's say real quick. We're going to add a new maps are created. Map again, just any mask. Well, I call this mask, should have given you a proper name, but this should work just fine. Now, let me show you another little thing about the hacky way. One thing that's a little bit like a resource intensive as the eyelashes here and file seven, I know those are the new ones. This is a new start. The eyelashes, we're, we're, we're like this is the lower master ego. I allow us a mask. That's the one that we want, and this is a hairball. So we're using the same, we're using the same information. If we grab this two guys and we mapped them out, they're both a texture node. Sometimes we could be able to just copy and paste them. I don't think we're gonna be able to do that here, but because I felt there was this thing that we're going somewhere else. But they're not. So yeah, let's just keep it simple. We're just going to bring this here. I'm just gonna do some reconnection here so much to what we do with the nosing in unreal, but it's not gonna work. So let's just do this and be done with it. There we go. Looks like I painted a little bit of an eye. There could be problematic. Let's take a look. Let's update. Let's save. There we go. That's looking a lot better. Let's play around again with taper. A little bit of the width. They're gonna be way, way, way thinner. We're going to go with something like this. We can also write an expression. Let's call random. It's going to be between 0.06. And actually let's go with 0.03.06. Hit Apply. There we go. Now as you can see there, we have a very nice effect. Probably going to increase the intensity or the density a little bit more, to have more eyelashes, maybe the length, just a tad bit. That looks pretty nice, pretty, pretty, pretty, pretty, I would say. Now since I already know that we're gonna be mirroring this, it might be a good idea before applying the modifiers so that we avoid the clumping of issue that we had on the last one to do the mirror. So we're gonna go, all of those guys, mirror them to the other side. Let's preview them. And there we go. Very nice. Preview. Let's go to the modifiers. Let's add the clumping first. The maps guides Save. You can see her doing that very nice clumping effect. Let's go point to 0.23 is fine. Then let's have the noise. I think it's just going to add a noise and that's it. Just annoys. Let's do like a 0.5 so that we get a little bit of acute effect, but not like super intense. And that's it. That's pretty much what we would need to do here. Let's just update this and as you can see, we're gonna get the same effect on one side and on the other. Density wise, they do look, they look a little bit thin. I'm going to go to like a 150 to get them a little bit thicker. You can figure effect and look at that in a matter of less than an hour. I think we're now able to degree they very, very pretty looking. Groom for the face. Again, as I've mentioned at the beginning of this chapter, this method is gonna be the future for hair creation. Like, I don't think we're gonna be using haircuts for a long time. They're still going to be very useful, especially for mobile games when stuff before real-time AAA games, the place grooms technique is gonna be the next, the next thing. So I think it's gonna be really useful for you guys to master this and practice practices much as you want, as much as you can so that you get a really, really nice Hank of the whole process. Let's say this real quick. I'm actually going to save an increments and safe to have another option right here. Then the next one, we're going to start with a here. This is gonna be the big one, that the tricky one. We're gonna do this in steps because we can't just rush with that with a hair. There's a couple of things that we need to do as we start building it up. But yeah, this is gonna be the next part. So hang on tight and I'll see you back on the next one. Bye bye. 46. Hair Block In: Hey guys, welcome back to the next part of our series. Today we're going to start with a hair blocking and we're just going to focus on the main things. We're not going to do the bridge just yet. We're just going to create the main bundles of here. And from there we're gonna start populating the rest of the head. This is where we left off now in order to make sure that the performance is not like being impacted as much. One thing we can do is we can just hide with H all of the descriptions. That way we can focus on the character and later on, once we're ready to export everything into our real, we can bring them back. Now if you remember from the little like analysis that we did here, most of the hairline is gonna be coming from the top here. And we're going to be creating this long, very nice flowy affects flowy lines all the way to the bottom part. Now if I had to measure the length of this hair, It's quite long to be honest, but the height, if I had to measure the length, I would say is probably, probably like a meter. In units that will be about probably about ten units. So I'm gonna go here to the character. And we can of course select only the faces of the character like the top part might be a little bit tricky because we were not we didn't have it like a cap. Sometimes we went when you're working on this sort of characters, you create something called a CAP and capsule were really well. It's like separating the mesh. We don't have that right here. I'm going to have to manually select a little this faces, which is where I would expect hair to be. Now of course, I will definitely get rid of the years. Let's turn off object. And get rid of some of these guys. There we go. We go, Let's go back to selection and select like this to a couple of this. It's just again to try and keep the hair instead of an area that's more obvious, right? To work with trying to get this guy out. There we go. That looks that looks good. Press number four to see through and see that it looks like a good cap. So we're gonna go description, create a any description and there's going to be called a main hair Irina. The groom policing your shipping gets angry when you start creating the guides. This is probably the most time-consuming part. We're not gonna be doing symmetry, which is of course going to be a challenge as well. So let's start with, let's start with the left side or the right side here. I'm going to do 1234. Let's start with those four. I'm gonna go here, grab all of the guides, go into set length. If I say probably like 50. Yeah, that's I think that's about it To be honest. I'm gonna, I'm gonna change this at length back to something a little bit more manageable like 21st. And then we're going to go into our sculpt guides. We're going to start pushing and creating the little effect. Again, taking a look at the reference, I can see that this thing goes really, really close to the scalp. We're not creating a lot of volume here. There we go. Right here. Push this. Now one thing we can do is we can select this guys. And right now the amount of divisions that we have, we can change them instead of five, let's say ten. We have a little bit more, as you can see, more room here on the, on the amount of curves that we have gonna be really important. Even from this point, I think adding a little bit of life to the Kerberos is really, really important and we don't want it to look like super boring and flat. So I can see this thing going like actually it's actually going on the front or to the front. Start pushing this to the front here. You can change the size of the brush as well. Right now, I do recommend working. We'd like a, like a bigger brush. It's a little bit faster, right? So there we go. That looks nice. Then it goes to the back. So again, let's set the length on this ones and let's go, well, let's, let's first modify this one over here. It's up to you whatever you want to do one at a time. We're are several at a time. It depends on which part of the character I'm working on. For instance, now, since I don't want to move the one that I just did, a little bit easier to just push this around. As you can see, most of the hair here goes to the front of the ear and then go, they go back. They kinda like Meetup here right beneath the ear. Let's make this thing a little bit smaller. There we go. Now I don't want to be like super close to the scalp just yet because we are going to add a little bit more here later on, coming from other descriptions. Let's go with this one. Go. We can add some variation doesn't have to be the same for all of them. Looks good. Then this one, this one is already one of the back guides, so I'm going to make it filled to the back. We're gonna be building all logged more guides for the eyelashes and for other stuff like when we're doing the descriptions for the hair cards, we kept the eyelashes or the amount of guys like relatively simple for this one, I'm kind of expecting to have like 3040 guides and it's completely normal. So yeah, I don't recommend turning on the what's the word the description is right now because you're not going to get what we want, right? Like we're, we're not there yet. So you might get the striker than you might think that things are not looking the way you want, but it's actually, it's actually not your fault because we're still working on this. I'd say 50. And as you can see, they're going to kind of keep the same distance. And now we go back here. We should be able to again to just start pushing this guy. Now this one, the way I like to work in selected, grab the tip and place it where it's gonna be ending. This one's gonna go here to the brain eventually. Like all of this here is just like flowing towards the front. And now it's just a matter of making sure that we get the nice flow like coming out of the scalp into the world. Literally like, I mean, I didn't play with dolls when I was a small kid. Because I didn't like because I couldn't just I've always prefer other kinds of toys for myself. My sister used to have one of this Barbies that you would comb. And that it's really similar, really, really similar process to be honest. This one is going to be going back on top of the shoulder like this. Now, I like what's the word? I selected this specific hairstyle because I wanted to show you how we can create a very cool asymmetrical hairstyle. However, in games, most of the times you're going to have symmetrical hairstyles because you don't want to have to worry with like animation and stuff. And symmetrical usually tends to make it a little easier, like in this case, since the brain is gonna be on the left side. Like I, I feel sorry for anyone who's gonna be like animating these. Which in this case you don't really need to worry that much about, but I am a little bit worried about the physics like the overlaps and things that you can get with like armor and clothing and stuff. But right now we're just worried about creating a very cool looking hair groom. Again, push this to the side, make it go to the back of the head. This one is on the Maxwell number four. And just play around with the guides. So let's say that there's, there's really no secret. I know it's a little bit tedious, but I really can't make this easier even if I wanted to. Of course, if you want to have like a super simple like hairstyle, like a bowl cut or something. You can do it. It's just not gonna be as impressive as what we're doing right now. So as with everything, the more time and energy to spend on something, as long as Judah, of course, following the proper techniques and directions, the nicer things are gonna look. We go cool. Now we can actually preview this a little bit. As you can see, we are getting this very nice curvature going to the back of the character in them. That's the beginning of the things. You click this button again to closer. Let's save this real quick and let's start adding more guides. Let's do one more here. I thought, well, we're not adding them at appropriate points, but yes, we are. It's just that they're being at buried right there. Again, just add a new guide and start playing around with the, with the elements. Now as you guys know, we don't like to do like time lapses to show the whole process. Just see how we tackle this kind of challenges. But if you want to skip ahead, I don't think I'm gonna be saying things. I'm just going to try to keep you guys to entertain and show you the general approach to this thing. As you can see, I'm already kind of like breathing. I'm not breathing anything just yet but them, I'm like interlacing all of these things because on the element here, It's very loose here. And then we start getting this very nice, like this sort of, um. How, what's the word breathed? The fact, I'm going to show you how to create a nice little break. There's not gonna be. The final breath was just something that we can use this as a guide. Let's go to this one. Now as you saw me, please here, this gets it. I'm placing this are getting a little bit closer to the bottom section of the hair. I'm not placing them exactly on the hairline. I would consider this to be like a secondary strands that are going to be adding. So just keep that in mind. For instance, there I kind of like a kind of like wanted this one to go a little bit for different direction. Let's go with this one. What happened? That one, super small. You didn't want that guy just delete it. Let's go again to add guides. I'm going to add probably one more guide like here at the top. There we go. Now here's an interesting point and you just saw it happened right here. When you're placing guides, the new guides that you place, you're gonna interpellate a little bit between the guides that you have and the new guys. So that's why I recommend starting with few guys guides and then add a couple more to add the volume that you wanna do you want to create, because if you tried to add all of the 40 or 50 or however many guys who wants from the very beginning, they're all gonna be like pointing up or be like really straight. And it becomes a lot more difficult, more time-consuming too, to fix that stuff, right? So do like I'm doing right here, like add a couple of ones, like tweak them, get them into position, make them, make sure they look, they look nice. And once you have the, the elements, start adding more. That one, this one, as you can see this going a little bit instead of the character. Really want to push it out there we go to create the volume. I think this one no, this one going there inside. So we want to have there It's very similar to what we do with the cars. Went to have the root be outside of the of the main volume. Let me grab all of them. And we can just let go. Just move the whole thing. Let's say real quick. And let's take a look. There we go. That's looking good. I do think we need to fix this thing. Let's of course change the CB calculator. Ten. There we go. So you can see that's adding more volume here on the top. And here's where I will definitely need to have. Just like push this guides up a little bit more the Harris light coming from the top and the nicer way. Because right now I think we're having a little bit of furniture there. But you can imagine if we started increasing the density here, you can kind of see how this thing is as flowing and how we're creating this very, very nice crumb. Another thing is we can just like a couple of more guides on the top here and play around. But I think this case or fines just some of them are like really, really close to the surface. Let's let's give them a little bit more volume. The route. Sure, if it's the paper as well. Now see it's like really, really close to the surface there. I think I'm going to grab all of the guides and I'm going to give them a little bit more here on the rebuild subjection. Let's go to 12. It should tell me a little bit more. And that way we can we can play around with the mask as well. Talking about the mask, it might be a good idea to add the mass so that we don't have hair coming from that from the forehead. Right? So I'm gonna go here. Let's create a new map. Let's call this main here. Mask. Let me cancel this, let me save first. And now we're going to create the main hair mask. Go create with for Maya to do the loading and everything. Create the PTX folder, linked it, all that stuff. There we go right now, nothing should happen. And then we go to the Hypershade. This is the newest file, mainly hair mask, That's it. And what we're gonna do is instead of going into that one, we are going to grab our hair map, hit Open again with for Maya to do its magic and properly calibrated everything here. There we go. Let's save this. And that's working a little bit better. Yeah, it's just a matter of pushing this guy is a little bit more. And it started like modifying the way this are working now, if, if the guides, I think the guys might be like way too close to the middle section. We might want to move them a little bit further out. Let's see. There we go. Let's use a little bit of tilt here. Tilt can go or can help making the hair a little bit like fluffier. We can play with this and change the width of the guides are working. I think the main thing is gonna be on the guides. Again, Control-C, for some reason Control-C freaks out. Excellent. I think it needs to think about a lot of information. That's why freaks out. Let's go 0. Also, let's just start adding a couple of more of the other hair lines like that, like the ones on this side and see how that looks. So let's close this for a second. Let's go more definitions. So 123. Let's change the rebuild as give them 12 sections. And let's change the length to 15. Let's go to our current element and just start dragging them down a little bit closer to the actual length that we're going for. I think we go. As you can see, I'm not worrying too much about the the order of things like I can leave them be a little bit crazy and wavy and stuff because it's going to have more like natural ability to the whole hair. I have this sort of like messy here. The way we're probably going to be doing it, that's a different description. Because if we tried to keep everything in the same one, it becomes a little bit too complex. This is just gonna be like some free here that we're gonna have here. Let's take a look at the reference. There we go. Look at that very freely right there. They're pretty, I mean, if you feel like you want to start working on the taper and stuff, feel free to do so as well. I don't want us no one is stopping you. And it's also quite motivating to see the whole thing and see that things are looking a little bit better. So yeah, just keep pushing. That's looking pretty nice. I would say we go I'm gonna stop to be the right here guys. I think we're in a good position with the blocking of the hair. It's looking quite, quite nice. I was still need to keep tweaking it. So we're going to jump onto some more guides on the next video, we're going to keep adding more stuff to it, so yeah, hang on tight and I'll see you back on the next one. Bye bye. 47. Hair Secondary Shapes: Hey guys, welcome back to the next part of our series. Today we're going to continue with the secondary forms. This is where we left off and it's now time to add a couple more guides and shape this thing a little bit better. Now as you can see, there's a little bit of a collision going on here. And we definitely need to fix that. So I'm going to go into my scope brush right here with distinct turn on. I'm just gonna start pushing this. There we go and bring the guides out. Like we definitely want the guides to be out of the hip of hair. When we simulate this, we don't get this sort of a weird effect, so Let's keep pushing them out. Of course, once we start adding more like modifiers and stuff, this should make it what it should work a little bit better. I think some guides are working or making some weird stuff over here. Like this, super weird, like inflated effect. It's not really something that they want. I'm actually going to go into my modifiers. Well, no, actually, no, not yet. I was gonna go into my my modifier set and add a clump of modifier so we could start pushing this guy's towards the, the guides a little bit more. But one thing we really need to do that just yet. Here we go. Let's just pushing the guides out of the scalp. When we get this effect there we go. More natural. Still a little bit too much there. So here's where I will definitely start adding more guides. So I'm gonna go here to my guide options. I'm going to have one guy right there. We go. As you can see there, they're just, they're really post, Let's Control C. Just keep one for now. That guy and start adding more sculpting. I'm going to make my brush a little bigger. There we go. You can see there's a couple of options here to modify all of the descriptions in the collection or just one. Right now, I just want to use one. There we go. Now this one, for instance, I'm gonna, I'm gonna let it follow Lou more to the right to help me with the volume over here. Because I do know we have this LacI LacI bright on the, on the left, but there should be some hair over here as well. We go, Let's go back to adding more guides. For instance, what I can do here, if I'm seeing that the roots are coming From a little bit lower than I would expect or whether it would like I can like a couple of this ones over here. Like each are crossing with this one. See how they're like interpolating over here and then use my sculpt brush, my comb brush to really twist them and make them go to the other side. Let's bring this one up. Let's make it a go to the other side. Will also help me cover all of those like bald spots that we have. Now remember, I've been so so I think I've been it over. What's the word Uber intense about this? Every time we're working with any sort of project, the more time you dedicate to something nicer it will look. So don't expect this thing to look perfect with just a couple of a couple of minutes. You're definitely gonna spend a couple of hours making sure that this looks as nice as possible. Some recent data description doesn't seem to work, so I'm just going to delete it. Go back to adding description. Let's go with they're there. Again, let's go back to our sculpting tool. Supports this out. Change the curvature here. You get this very nice effect. Let's go with this one. Same deal, just like push it out. Probably going to be flowing, giving us a little bit more volume here and there. Like that. Let's take a look. Yeah, there we go. Spray good. Spread to particulate. Now I'm going to go to all descriptions or L descriptions and collections, or just select all of these guys. Just push discuss a little bit more. Towards the top. There we go. I'm going to go to the Options here because I am really a bit concerned about the way that this is following the guy that I think they're going way, way too deep on the character's head. You can see that here on the inside There's a lot of hair, like all the roots and stuff. That's not really what they want. They're following the roots quite a bit. So let's try it. A little bit of this tilt that we were using. We go so that's pushing a little bit more to the outside. Maybe not that much though. Just a little bit to help them help them push them outside of the scalp. We go, Let's give it a shot with a modifier Alyssa, just like a quick noise modifier. Play around with the frequency. Let's start at ten. Remember that this is a more like noisy here. Since it's a more noisy here, or a longer here, we need higher magnitude, higher frequencies. Let's start the Columbia real quick. I wanted you guys to see how this is going to really, really help the whole thing. I'm gonna have any clumping here. And we're of course going to set up the maps and we're gonna be using the guides, definitely using the guides and hit Save. Now as you can see, the hair is trying a little bit more to go towards the the clump. If I increase this, you can see how all of those children are looking. Let's do one. We can do is we can push the road a little bit more. See that? So now that the root, now the restraint to clump a little bit more and that we're trying to avoid some of those like interpolation effects where the hair is going into the character. Maybe the tip wouldn't want as much clump on the tip. When little bit more, more clump on the roots structure, anything of the sort of effects. Here's where we're also gonna be seeing some, some bald spots. Of course, we need to modify them. Let's go back here with our grunge brush. This one right here. Let's start pushing this. I'm really, I'm really concerned about the next thing going inside of the character. Let me go a little bit better. I think the columns a little bit too much. Let's look at 0.5. Here for instance, I know that there was a lot of hairs there on the inside of the head that they are going in. I'm gonna go with that guy and I'm going to add another guide like here, right about there. Let's hide some of this. Let me, let me hide the description actually, there we go. So I'm gonna go here to the options and let's add another guide right there. There we go. What that the guys should allow me to do. So again, let's change the length for that one, let's say 40. Go back into the sculpt option. This guide should allow me to bring most of the hairs that are intersecting with the character, bring them out back into the into the actual proper hairstyle. This one, I do want to push it back. Not that much. There we go. I wanted this one to be kind of like going to the right instead of to the left. That's it. Let's take a look at the crash. I haven't saved. Sorry. Let's wait for my a to respond. If it responds, hopefully they will. Here we go. Let's say real quick, and let's preview the thanks. Sometimes happens for instance, I'm pressing six, which is extra mode and it's not working. If that happens to you, that means that Maya is having a hard time processing all the things. Best advice, save and save the scene, like save the whole thing. And just just try to restart this really weird change to anything. I don't think I did. Let's hide this. Yeah. Okay. So it's Maya, maya freaking out. Very, very common display issue where Maya does not like update until you actually like most things around. Best option, just save N and open up. Sorry, close my end, open up again. I'm going to pause the video real quick and I'll show you what guys I've been pushing this thing around for a couple of minutes now. I didn't want to record every single-step. It's just pretty much the same thing. As you can see. I've been able to get some of this hair strands out of the scalp, which is one of the ore was one of the goals for this section rates. So the way I did it, this just again, just pushing the guide st and moving them and placing them as close as possible to the volume that we're going for. So the blocking is looking a little bit weird right now. It's a matter, of course are going in modifying it. I strongly recommend that you don't focus on the groom just yet. Then go here. And let's just select just one guide and just work one guided the time. That's the best, best advice I can give you guys. It is going to take a little bit longer than you might expect. It's part of the process, is part of what we do. And of course, one of the reasons why we get paid, right? So that's why this job is expensive and you can charge, whether it be the money for a very realistic character, very realistic room. So yeah, just make sure you get it to look and flow very, very nicely. And believing you're gonna be, you're gonna be in a really good shape. So for instance, this one guy right here, just push it a little bit further up. You don't want to have as much like it's okay to have guides like close together, but tried to modify and move them around so they cover different parts of the object of the character in this case, because that's gonna be, that's gonna be really, really useful for the final group. That once we get to the 12, the modifiers, as I've mentioned, I actually deleted the modifiers that we were using, the clumps and stuff because we're not there yet. It's important to block the same first. Then once we have the blocking, looking how we want, now we can start focusing on other things. So you'd like this like crazy one right here. I'm not sure if I have this thing right here. Let me delete this. There we go. It's flowing a lot closer to what we have on the guides. Let's turn this off. Let's go back to adding another guide. For instance, I can add one more guide right there. See how it flows very nicely. Let's have one more guy, like right there. Now. That one, as you can see, it is right where I wanted to, but it's like following other guys right there, which is not what we want. Just push it out and start playing around with the guide. Flows the way that you want it to flow. A little bit tedious. I'm not gonna lie. I tried to always be honest with my students when we're doing things that are not as fun as the honest, but I think it beats the, the hair card. I usually prefer to drink this like a grooming technique for characters then doing hair cards. Because I know that for haircuts, it's gonna be such a, such such, such a long time trying to get things to work right? Since we'll be like a weird guy somewhere. I'm going to add one more guys. Like, let's say right there. Again, let's grab our brush right here and bring it out. And into what will eventually become the breath. Go here, go back to the hair. Here's where we're getting this sort of like the little issue. It's a visual bug. I don't know why Maya does this and it happens in a lot of things. Not only we'd like extra, if it has also happened to me when modeling where when rendering, you'll press a button and then the UI just, just not update. It's a weird thing. Like you believe we grab all of these guys and hit Update here. Not really bleeding. Yeah. So the things you're going to have to do here is, I think it has to do with memory, like Maya gets too much memory being used and just it just freaks out. But don't worry, we can keep pushing the gas right here. So yeah, guys, I mean, I've mentioned a couple of more guides. This areas. There we go. So now updated than the guides her back into working, discovered this guys. Yes, you can see I'm just going to turn this off. I want to focus on the guides. Just start pushing them out. How fun? Listen to the best music or your favorite playlist. Get a little snack or something, and just go send them both into, into all of this process because it definitely, definitely takes quite a bit of time. Let's see which one. That one. The more guys you have, the easier it is going to be for action to follow the flow of your objects. As you can see here, the hair is looking a little bit better and better. If we add one more guide, for instance, here, we might be able to bring this thing out. I think the witness a little bit to thuggery now, I'm going to smooth out the hair loop anymore. Remember at any point if there's a guide that's not working, for instance, this one, we can just delete it, resample and see like, I'm not sure where this line of Harris is coming from. Let's close this up. This one, I think this guy right there. We're gonna have to find specifically that guy. There we go. That one. I'm going to delete. There we go. So as you can see that one, fix this a little bit more. It's trial and error. It's just trial and error guys. Again, as I mentioned, it's definitely going to take some time. Keep it cool. Like don't don't rush it. Don't don't try to do everything in just one go. Take a couple of breaks here and there. Make sure to check your reference and follow up as nicely as possible. Do all of that. And I assure you you're gonna have a really, really nice here. I know that we've mentioned and I've mentioned a lot throughout the video that I'm not gonna do a times keyboard time-lapse. I'm just going to do more guides, a couple of more guides and some more like a moment here in the hair. It's not gonna be any tertiary forms or anything. I'm just going to fix this and then we're gonna be back for the, for the brave. I'm gonna show you how to do that nice little break that we have on the concept and the reference before we jump onto the breakups and stuff. Remember all of this here that we have right here, we're eventually going to be adding some modifiers, such as the noise modifier. Let's say you like that to give a more freaky look, if you wish. We go. The clumping of the clumping is gonna be one of the main factors we've talked about before. There's no there's really no point in doing a clump right now. Because if we do the clump, but even if we generate the guides as which is what we're gonna be doing. It's just, it's just not gonna work as nicely because we were still missing so many guys like this is a good start. We have a really good approximation of the guides, but we're still missing so many guys I would say probably like double the amount of guys that we have right now. So don't worry too much about the modifiers just yet again, we're gonna, we're gonna have them later on. Just delete this and delete this. And delete this. There we go. I'm going to say file. We're just going to save increments and save to keep another copy just in kids the scratches. And I'll see you back in the next one that I mentioned. I'm gonna keep moving a little bit and then we'll continue. Hang on tight and see you back on the next one. Bye. 48. Hair Loose Braid: Hey guys, welcome back to the next part of our series. Today we're going to continue with the hair and we're gonna start working a little bit on the bright. We're still, I would say on the primary shapes, we're not doing any sort of like, like modifiers or anything just yet. And this is the result. I probably tweak this for about an hour or two with the guides. Let me show you. As you can see, I added some guides going back into space and I just started pushing the guides like up and down to make sure that we got the best possible result as something that they realize while working on this specific hairstyle. There were a couple of guides to that. We're creating some problems. So don't ever be afraid to just delete those guides and start over. If there's an area of the head that's not working, just delete the guides and do it again. It's a relatively easy process too to follow. Now for debris that we're actually going to be using a what's the word, a system that we've used before, which is the draw curves. We're going to convert curves into guides. As you can seem, if we take a look at the braid that there's gonna be some hairs coming from the top and then just creating this very nice loose upright right here. The way I'm gonna do this, I'm gonna go to the front view. Let me turn off the guys are here. I'm gonna say create crypt tools. We're gonna do an epi curve. And starting here, I'm just going to go down and create this sort of like S-shaped effect. Just like that. I'm actually going to hide the curves right now so we can focus on only this guy right here. As you can see, this is the front leg, the top one that goes from there. The second one, I'm going to go back to create Curve Tools. Ep curb comes from down here, does dissociate. It's pretty much the same s-shaped that you want to keep the ED length, the distance of the waves consistent, but they just happening at different intervals. And then finally there's another one coming from the back here is gonna be going on the front. So I'm gonna go here. Let's just hit Enter there, G to repeat last action. And the final byte is gonna be coming from the back. Against should be following the same sort of shape like this, like this lazy, sort of like SGA. Now I'm going to go into, Let's grab both of them. I'm gonna go eat your curves. We're going to rebuild the curves. Change them, Let's give them ten options. Hit Apply. We need to, of course, like position them a little bit better. So for instance, this one right here, I'm gonna grab the control vertices V for self-selection. And then just push this back, like the back of the head. Here we go. This one. Let's get this guy into reference mode. Again. This one gonna be right behind ear. Bow there, and that's it. Now, as I've mentioned before, if you've never done the breathing in the real-world, I would actually go with your sister or your mom or a friend or something and ask them if you can try it, if they can show you how to do it, because it's a relatively easy process and that's going to have to make it easier to understand what we're doing here. If we have this three sets of hairs were gonna go, one of the sets of hairs in this case like this one, this outer one. And we're going to breathe at in-between this to one. So imagine that we are grabbing again, these three guys right here. So this guy is going to go back into space. And he's gonna go in-between these two guys right here. This one will need to go outside for now. Then we have three new ones, and then this one, we're going to get it inside. The other two, like this. And then this one. We're going to break it again. The other ones like this. That way you can see there we're creating a very nice loose breath like this one. It's going to come from back there and it's going to break itself. The front. Then this one, the same thing on the tip. Coming from the back. See that? Then from the back here. In this final points, we're going to push them forward again like this. Now as you can see, the bright starting to get some shape. We're getting elements like going forward and backwards in space, which is what we want to get. Nice vault. Now we know from our experience that if we add just three guides, it's not gonna be enough. It's not gonna be enough for the whole thing that we need to do on the, on a character's head. So what I'm gonna do here is I'm actually going to grab this guy is right here. I'm going to duplicate them all. Let's start with like 33 copies. In this should push because the more guides we have this shoot push the strands of hair closer toward are supposed to be. We're going to rely very, very loose braid right here. If you want to tighten this up, you will need to, of course, like a work a little bit more with the, with the elements. I'm going to press F5, F7 to modify all of them at the same time. And I wanted supposed to sing like forward a little bit. There we go. That's it. Have a very nice A breath. So now let's bring the guides back again. I'm going to grab all of this curves, go into action and it would go to the utilities. We can select curves to guides and just add them. And as you can see that we have all of those guides. And if we were to do this, you're going to see them now. Some hairs are trying to go into that sort of like bread shape here on the side of the character. The reason why this is not looking as good as it could is because as you know, the hairs are just trying to go everywhere. But here's where the clumping is going to come into place because we're gonna go into the modifiers or we're gonna add our first main clot. Gonna say, okay, setup maps and we're gonna say, uh, guides. And he'd saved. Now as you can see, the hair is trying and achieving, in this case, the bright effect. We're getting this very nice effect. Let's go up here. There we go. And now their hairs is giving us a more intense breathing effect. At any point as you guys know, we can go here and start playing with our scope brush to push some of this guy's where we want them to be. There we go. Again. Now you can see that for instance, we have this hair's going across the eyes. We will need to understand or visualize where they're coming from. So I'm gonna say 20 or 20, I think it's too much. Let's see, 52. I'm going to push the route a little bit more. I know where these guys are coming from. It could be the mask. Now it's just like they're coming. Oh, you know, what's happening? That's really interesting. What's happening here is that since we're using the eye mask, see that it's pushing it out from the eyes. That's really interesting from the iris as well. Okay. That's a little bit unexpected, but it's an easy fix. Let me show you what we can do. We're gonna jump into Photoshop real quick. And we're gonna do is we're just going to create one more mask. If we go to our projects, Let's go to Assets. Let's go to Photoshop. We're going to grab the hair map. I know that all of those elements were like We don't need, so I'm going to create a new layer here with my a b brush, which has brush. I'm just going to create the brush and just paint out all of these areas. I know none of this is part of the UBI of the character. So all of that should be painted out. Let's paint this in. The nucleus. Color should be white. It looks a little bit like not as wide this I would like. So I'm going to say Control E and then Control L held the values of the white are not there. The values there. We actually get the white effect that we want. There we go. I'm gonna save this and there's gonna be Hair map. It's pulled this top. Now, we go into our Hypershade. If we go to the textures, this last extra should be the one that we're using and just read, download and use this one. Let's save on the primitives. Now as you can see, now it's a lot easier to see which guide is doing the copying. For instance, all over. These guys are creating this like weird clump over here. Then we're getting this like super, super weird Harris out to the front. And I think that's actually going to solve a lot of our problems. Let's bring the column back to one. Of course. That's a lot nicer. Oh, yeah, look at that. It looks really, really pretty now. Of course this is way too much, so I'm gonna say something like 0.5 or clumping. So we can have a nice loser here. There we go. Now this is not we're talking right now. It actually looks like a little bit closer to the reference. There we go. I should do like preview everything. And that's it. That's looking quite, quite nice. I was still getting some hairs right. There. Must be some sort of guide that's pushing the hairs like down. Not sure which one of this could be this one right here. Yeah. This one. Very carefully. I'm just going to just look for it over here. One of the first ones that we positioned, I think It's about being patient. I've mentioned this before. This, this process definitely, definitely requires patient wears it. That one could definitely help. There's an option here on the brush where the weight, which is this locked length. If you turn this off, you can actually lengthen the guides in a faster way without having to set up that. The effect. There we go. It's this one right here. So let's just push it out of the hip. That's it. Let's take a look at this. Still a little bit there. Let's do the clump thing again. So let's say two. It seems to be one of this guy that's doing that sort of intersection like one of this front guides. Again, easiest way where he says, like advice I can give you. Just look for it and delete it. That was the issue. Not that's not the issue. It's this front one. I'm going to Control C. This front one of the ones discussing some of those effects. So again, just look for it. Where are you? There you go. It's delete that one. There we go. It looks a lot better. There's still a little bit of overlap there. It's a lot better. Let's change the column to look at 0.5. Not that bad. A couple of those, Harrison, I'm not that worried about. Cool. There's a lot of really big curator, a bunch of here. Of course, that's because we're pushing the hair like out of the character and back into space. Again, it's just a matter of pushing this things a little bit out of the character right there. Giving them enough room, giving the hairstyle, and enough room to rotate around the character on normal like a human head, of course, we would have the shoulders to help us get the idea of where to here S and it's not gonna be. But this one looks, looks nice, it looks nice. Flowing, nice flowy here I think. Here we go. So yeah, that's, that's it. We have I think a really nice, a really nice preview. We're getting this sort of like interesting breathing effect over here. With the hair. Not as tight as well we would expect from a normal traditional. What's the word traditional breath? But it's not baths. And make sure to mention, spend enough time like tweaking and changing things. This looks as I suppose we'll see how there's a bald spot right there. You can try and push some of the guides into that ball spots so that we don't see this much. Or we can add a couple of more guides. Because I don't think it's the density. We don't really have any density problem. There we go. Let's add a little bit of noise. So I'm gonna go here to the options and let's add some noise. Probably like five of frequency. Definitely a cut, a cotton modifier. It's also, it'll be a little bit more intensive. So here on the amount I'm gonna say all the way to ten centimeters. So we have a nozzle like transition, like flared out transition right here. There we go. Just keep pushing I think tills look good. We can of course, bring back the eyelashes and the eyebrows. And that's all of those things are gonna help with the look of the character. So yeah. I think she's looking quite pretty quick, pretty not bad for the amount of standard width dedicated to this group. Let's go back to the to the main hair. Let's go to the permit is maybe a little bit more density. Another thing I would like to add here, you can see that it's kind of wavy. There's a modifier called the curl modifier or the coil modifier. This one I'm going to hit. Okay? And what that will do is if we increase the count here, we're gonna get this sort of wavy effect on the hair. We don't want as much. So I'm gonna say five. But I'm gonna go for like a big radius. Then like small masks like 0.1. As you can see, this is giving us a little bit of extra volume on the here we go. I think we're having a little bit too many or too many guides here going into the brush section. Or we need a stronger bright, like a couple of more guides to clump that better straight up clumping. Let's try a 0.8 copying and see if we can see our brain a little bit better. That's not bad. Let's grab all of the guides again. Called. I'm not sure about the coil. I'm going to delete it. The clumping. I don't want to clump the tips as much. Give them a little bit looser. I'm gonna go to my brush here and make it a little bit smaller. So when I add a little bit of variation to the hair, I think we're pushing this guy. It's a little bit too far out. It's trial and error efficient as before, which we could spend like 30 hours. For me to show you all of the time that you will need to spend to grade like a proper group, like the best possible group. It's all about time. In projects. It's all about time and money. So sometimes clients won't have as much money or we won't have as much time. They came to really wait for you to finish things like, I don't know, let's say we're doing a video game and we need to do like 40 characters in the next couple of like one month? Or do you need to do 40 characters in one month? Then it goes, you can expect what kind of quality those characteristic gonna be, right? It's not gonna be, it's not gonna be perfect. Looking a lot nicer now, we still need to see how all of this is going to look inside of. Instead of Unreal, we're gonna do a quick test for the next week that we're gonna do a quick test on the, on the effect on the hair and everything. And then we'll keep on adding a couple more steps before we wrap this up. Yeah, that's it for now, guys. I'll see you back on the next one. Bye bye. 49. Unreal Engine Test: Hey guys, welcome back to the next part of our series. Today we're gonna be taking the hair too unreal to see how it looks. Especially I really want to see the eyebrows and the eyelashes. I think those are going to look quite, quite nice. This is what we have. I'm hearing the description with the eyebrows and we're going to of course, go generate and create a interactive convert to interactive group. This is the thing that we need to do. We're going to hit Convert. And there we go. Those are the iras. Just going to leave it like that. I'm going to go now to the eyelashes, upper, upper eyelashes. Select them. Again, generate converting to Archigram's convert. There we go. Then we're gonna go to the lower eyelashes. So I brushed AS lower generate or select them. Generate, convert to interactive group, convert the rainbow. So all of these guys are here technically, and I want to show you technically, we should be able to export all of this as a single file. Like if we export this cash right here and we go into a project, it is in the documentation that you can actually export this. I usually export individually so that I have a little bit more control over grams. But since all of this orienting the ice, I think we can make this work. Let's go here to the assets. So let's go here and we're gonna say eyelashes, underscore eyebrows. Hit Export. There we go. Now inside the firm we'll, of course we're gonna go to our folder and we're going to hit Import. We're going to import the eyelashes, arrow ABC. That's cool. We got a little box, so that tells me that we're in a good position right now. We don't have any Blueprint. Like when we did the helmet, we did everything instead, the ThirdPersonCharacter Blueprint. Right now we don't have any blueprints or we can just literally drag and drop this Olympic file into the world. And as you can see, yeah, Everything, Everything is there. Of course, we're gonna need to have rooted and move these things around a little bit. So we're going to go 000. This thing was pumped up. We also scale this 1.5. So we need to scale these guys are 1.5 as well. There we go. Let's see what the south again, rotation wise, you can see that they are facing out. So we need to rotate this 90 degrees like this. Then probably 180 degrees like this. There we go. Now we'll just position them properly. We can again check this as 150. So if we go here to the eyebrows where he just played this at a 150, and they should be exactly where we had them instead of intelligently and look at that beautiful, beautiful, beautiful, beautiful. I definitely gonna, I'm gonna go to my characters. I'm gonna go to Mike, I'm gonna go to the shared options. And in the hair materials, you can see that we have the m here and the eyelashes. The M eyelashes are also just like eyelashes thing. It has been chilled a little bit of variation there. You can see that we're not using any sort of effect or anything. It's just going to right-click this. I'm going to create the material incidence from the eyelashes. And we can just drag and drop this into the eyelashes eyebrows, however, to make this a useful, one thing that we need to check, and I'm going to do this in the master control. Remember here we need to look for a strengths. Use with hair strands. There we go. So just save the master material shouldn't affect anything on Mike. It's just the workflow that we need for this specific group selection that we're doing. Let's just wait for the shader to compile. The confirmation process can be a little bit like time-intensive. As some computers, I used to have an older computer like a couple of months ago and it took like minutes but five minutes to do a calculation. This is a processor related. So again, depending on the one that you have, you might have this a little bit faster or slower. I'm just going to drag this and drop this right here. And as you can see, that's going to give it the eyelashes effect arena there a little bit too thin. So I'm gonna go here and we can change the color and the tip color. And we're going to go for a darker effect. So for the color here, there we go. That's it. That looks, that looks pretty, pretty good. I do think they're a little bit too thin. I like the shader, but the, the groom itself, It's a little bit too thin. So remember we can go here to the options. And if we go to the strands, we can change the hair width to make them a little bit like denser. There we go. That's a lot a lot closer to what I would expect. I think that's of course a little bit too much. What's the 0.01? Let's try 0.015. Let's do, let's lower the scale on the tip a little bit. Let's read points you a two. Or 0.2. Is that too much? The output is too much. So 0.025. There we go. Here, shallow density, we can make the shadow a little bit denser. Scale on the roots. I think it's fine. Maybe a little bit more. Let's try 1.5 on the roots. And that's it. Look at that. I think the child's a little bit too much. Go back to one. Look at those beautiful eyelashes and eyebrows. Realistic eyelashes and eyebrows are fibers. There are specific specialized hair system, so yeah, this is looking. It is looking quite, quite nice. Now, we don't have any animation or anything on this character, so we're not gonna be able to tweak anything here. I would definitely, definitely like paint the eyebrows a little bit more. I think that density is fine, but if you need to change it a little bit more in Maya, feel free to do so. Now let's bring the hair. Let's see how the hair looks. Again, this is not the final here. We're still going to be tweaking it a little bit more. But we definitely want to see a little bit of like what's the word, how it's looking rather, we definitely want to get an idea of how this thing is looking. I'm going to grab the main hair right here and we're gonna do the same thing. I'm going to, let me see real quick. I'm going to generate and convert this to instruct interactive group hit. Okay, there we go. That's the hair generate and we're going to cache this and export the cache Alembic. It's gonna be called Irina. Mean here. There we go. Now, show you something that could save us a little bit of time. As you know, when we imported this guys right here, the ones on this guy, we changed the rotations, so the rotation, it was minus 90 on x and minus 180 on C. If I were to say Import and import the hair. Now, here, I can say here under rotation minus 90 on x and a minus a 180 on the UNSC and hit import. And now when I drag and drop this here, as you can see, it should match our character a little bit closer. Let's make the single worst supposed to be 000. And then it was a 140, right? Scale with 1.5. There we go. I think it rotated the other way around. Yeah, I think it's killed it the other way around. So I'm going to scale this on minus one on x. So we can see it the way it's supposed to be. Minus. This gets it would need to be minus 1.5. There we go. Let's break this and let's say 1.51.5. There we go. Positions are 150, so let's bring this down to 150. That's it. Not bad, Not bad. Looks good. Falls back nicely down here. That's like for a first like a general cleanup, It's not looking bad. The clumping is looking good. Definitely need a little bit more noise. Definitely need to break this up a little bit more. Give a little bit more of a wild look. Let's go back to Mike. Let's go back to shared stuff. Here on the hair materials. I'm going to create a new instance for this hair and make sure that on the material itself, we also have the strengthening turn on. It's turned on. And now we go to this room. Let's bring the hair instance to the material of the groom. We go and we can double-click this guy, changed the edge color, the root color, the color. Let's go a little bit darker. Gothic, gonna be really, really dark. And then the tip, we can go a little bit like the saturated white. There we go. Yeah, a couple of hours of work and look how far we've come. So you can see this looks pretty, pretty, pretty nice. We're not seeing that much of the scalp, so that's good. I'm probably a little bit more density here on the top might be, might be good for the, for the character, but it's not looking bad. Now, you can actually turn on what's the simulation, but since we don't have a lot of stuff, it's just going to fall down. It's going to look really weird. So I'm just going to keep it like this and the setup is looking, it is looking good so far I liked the progress that we've got. At this point. We definitely need to break up the hair a little bit more. We definitely need to add the logo more density here on the main like scalp of the hair, I have a winner very good position. Like look how pretty this hair looks without the need to go through all of the hair cards like situation. So I'm gonna stop right here, guys. And then the next one we're going to keep polishing, keep pushing this hearing two into new new areas. So that's it. I'll see you back next week. 50. Hair Refinement: Hey guys, welcome back to the next part of our series. Today we're going to continue with the refinement of the hair. It this is how we left off in a real Not looking back, not looking back. I would say for the amount of time the width dedicated so far it's looking quite nice. But there's a couple of bald spots like back here on the hair and the it's too uniform. Uniforms. They definitely need to add a little bit more visual interests of the whole thing. It's doing exactly what we have here inside of Maya though. I mean, it's not like we're doing anything, anything fake or anything. It's just that we definitely need a couple more tweaks here and there. So the first thing I'm gonna do is I'm going to add a couple of new guides. So I'm gonna go here to my app guide sections. Let's add one right there. Yes, wearing the mask here. I'm also going to have one more here. And then I'm going to use my skull brush. Relatively high size again to start tweaking. You guys know the drill. I want to push this one. I want to use this new guy that I just created to help this or like front here that we have right here. We'd get a nice little effect that's like that here, right there, there we go. It should help me push the hair out of the head a little bit and make sure that we're not intersecting as much. Trying to see if there's like a guide or something that's causing the issue of this one seems to be it. See that line right there at the very weird line. Very important to move and come follow this case. We have this new one that's very small one. Here's where using the loc length option, like turn this, turning this off is really cool because we can just like literally pull this thing out a little bit more length. We're probably going to need to go here and say rebuilt. I say 20, I've been using 20 CB counts. So we get a little bit more resolution for the, for the hair. Let's actually, let me go back here. Let's lock the length again. We are not getting more here then we want. There we go. So as you can see this given, gonna give me a little bit more here. There. Let's turn the guides off for just a second. Here again, my ice having the issue with the guides. Clear all descriptions. Anyway, it's just push it out a little bit more. There. There we go. That should cover it a little bit more of the bald spot. Let's select all of the guides and just tweak them here a little bit. One thing that I did notice here instead of, instead of foreign real is that on the top part of the head, like right here, it's really flat. It's kind of like if she was pushing her hair back and I don't want that. I want us to look a little bit more natural. I'm going to give it a little bit more, more, more volume here on the front. The hair is not like all going back. There we go. Now one of the things that we definitely need to do is we need to break up the hair a little bit more. I'm still a bit of concern about this clumping thing right here. Let's go to the modifiers and push the clumping there just to see where those fibers are coming from. I'm not sure if there's a spot on the map. But this are really, really weird. Ones. That guy right there push it out. It's always one guide or something coming from this section right here. Push the hair out a little bit more. Suppose this guys back. Cool. Now, let's add a little bit of, I'm going to add a little bit of what's the word noise to the whole thing. This one definitely will increase a little bit more. Let's do like a five magnitude. There we go. It's gonna break over the hair a little bit nicer, especially on the tips of the hair as you can see right there. That's going to make it look a lot, a lot cooler. Let's go 3.5, I think. Make sure to visualize everything. There we go. 3.5. Just redo that. There we go, Perfect. Now, here's where the interesting thing started happening. We can start adding more and modifiers and play around with the variety of the modifiers to create even more interesting effects. So for instance, right now we are clumping everything but we're seeing are guides to clump the whole thing. And it will be cool if we could have like an extra clumping layer. So I'm going to add one more clump layer. This one, instead of using the guides, we're actually just going to generate the clumping guides. So it's gonna be like a blood better for different clumping. It's going to hit Save. And now what's going to happen here is we're going to have two separate clumping sections. If I were to increase this quite a bit. It can see that we get this interesting effect. Of course, this is way, way too much. Let's go back to one. But this clumping right here is clumping the hairs while we were still keeping the original clumping off the guides over here, let's try 1.2 on the original clumping. I think I want to increase the noise on the under root a little bit more as well. To give me more of like a freestyle look. There we go. Looking pretty, pretty cool. This year is a little bit short like this guy. So I'm going to select the guides. Let me see if I can find it. What else can we add? Let's see. Let's try adding. I'm gonna try adding another noise. I'm going to go with another noise. But I'm gonna make this nice effect the route more than the rest of the element. So I'm going to bring the tip down and the magnitude of the roots, as you can see, it's gonna be more like we're gonna have more freeze on the top of the hair. Of course, it's way too much. Unless freeze on the bottom over here. That's also gonna give me her very, very nice, interesting look up here. I think I'm gonna go with two frequency and two magnitude. I don't want them lot of noise, but that's definitely going to help blend the scalp of the character and make sure she looks a little bit pre here. Cool. Cuckoo, cuckoo. Let's just keep pushing the guides. I think we still need a couple more guides to be honest. For instance, I'm going to have one more guide like here. Like that one. And probably a couple more here where the where the main like breath is gonna be. There we go. Let's turn on anti-aliasing so we can see this a little bit better. I really liked the crazy the crystal we're getting. Now I'm gonna go with my scope guide again, but I'm gonna start going with a smaller size. This, I always find that really similar to how we work at when we're in ZBrush. Every time I'm teaching Sievers for instance, I tell my students that at first you guys need to focus on, on the big shapes. Like focus on the big shapes. Make sure the big shifts are good. And as you keep moving and you keep advancing on the process on the project, then things are gonna become like a little bit smaller and smaller and soar tools, like when you started working on ZBrush, you're gonna be using a small or big brushes, the brush and stuff. And then you're going to start working with smaller brushes like the trim dynamic or they mean standard stuff like that. So the same thing can happen here with the hair descriptions like when we started, we went to place the guide seen that really big and Broadway. But once we're ready and we, and we like where this is going, we can start playing around with like the big volumes and making sure that we get the result that we're going for. Very weird. Like that guy is really weird. I think it's, it seems like an error under the simulation site that we get those interlocking guides. Let's get rid of the second clump and I'm going to go to the first clump. Again, I'm going to there we go. That looks a little bit better even getting some of the clumping out there. Let's do something really crazy. I'm gonna push this over there and see where those hairs are. Oh, you know what? I'm so silly. I forgot to turn off the interactive groups, all of those guys. So we were seeing the other guys as well. Links are active groups. That's why I kind of like I was moving the guides and the hair was not moving but that's because we still were using the the original guides. There we go. So yeah, there's this line right here. Now it's going out of the face, which is a little bit better. It's still not really where I would like to to. I'm gonna have one more like description there and another one there. As you can see, they're all following the same like flow. And this should help me push the hair outlaw bit more. Let's go back to the sculpting. Like to nearly effect over here for the breath. Go. This one on the right side, it got way, way better with the extra lines that we added. And then we'll have this very cute curl over here. I'm going to go again. I'm just going to grab all of the guides. Small, small size. I would start creating this sort of like round cute little kernel here on the tip. There we go. That kind of stuff like adding a little bit of extra flair to the hair. Really cells d, the character a lot more. It's like we really don't need to do that much. It's just adding those little bumps. For instance, this here, right here. Let's move to the other side. I get this sort of like currently look again. Here's gonna try to follow that line. And let's bring the G-I-F closer to the head. Of course. For this one. Let's go. They're going to bring my hair a little bit bigger and just push this back a little bit more so the hair's not like on the character itself. Think of the clumping sway too aggressive right now. Let's go back to 0.8. There we go, so that we don't get any weird bald spots or anything. Just bring this down. Yeah, That's looking quite, quite nice. I think I'm going to stop it right here, guys, I think I think we're in a good position. Again, you can keep playing March as your one with the guides and the shapes of your character. As you can see, the more guides we add, the more control and the easier this for action to kind of follow around. I don't think there's a couple of guides that are interlocking with a character like on this area. Just to make sure to move them out of the geometry. If we have the full body, this would be a little bit easier because we will be, will be very easy to visualize where we're actually getting some. What's the word? Some of this like, oh, interpolation. I'm gonna, I'm gonna have one more guy like in there. Like down here on the, on the ear. There we go. That one's pretty, quite pretty. And we're going to use those guides. There we go. Look at that beautiful. As you can see, this guy is really helping me push the hair out of the face of the character. And that's gonna be super-helpful for the final look. Bring a level of volume. I want to push this sort of like cute window over here to the top. Bring it closer to the face. But again, as you can see that the extra little guides that we added, they're definitely helping. Give us this very nice, cute shape. Make sure to always check all the way around your character. Here's one of those things that needs to look good from all angles. There we go. That's looking quite nice. I'm going to stop right here, guys, we're gonna do one more, Bring me like a couple more videos on another description. I'm going to create the another description for the here. This is gonna help me with some little extra notes here and there. Yeah, hang on tight hills. You back on the next one. Bye bye. 51. Hair Breakup: Hey guys, welcome back to the next part of our series. Today we're going to continue with our character and we're gonna be adding a couple of extra hairs here on the main scene. So as you can see, we've been working on this character for about, if my calculations are right, about three hours, that wouldn't even be close to what we normally would take in production. We would need to spend at least 20 hours on this thing to make it like super, super cool. That's why nowadays in studios there's actually like a groomer position. Like people are working all day on creating the groom's for the characters because it's really time-consuming to, to get it to look up perfect. However, for three hours of work, I think we're in a really, really good position. And we're just going to add one extra expression to that character to make her look even better. I'm going to cover the head right here. The whole head doesn't really matter. I'm just gonna say description, create description. And we're gonna call this breakup break pair. There we go. You're in a room policing and shipping guys and create. Cool. We're gonna go here to the guides and I want to add a little bit look like a couple of descriptions here on the top. Let me let me hide the main hair right there. I want to add like one over here, maybe one over here. I'm probably one over here. So if we do this, of course we're gonna get here everywhere. That's not what we want. So we're going to create the mask. Of course. Let's do this breakup mask. For Maya to create the element. We go. We're going to jump into our Hypershade to of course, upload our new map, the pneuma. Do we create that don't want, that's only black and white. We're going to go again to textures. This guy right here. And there's gonna be no, not that one, but the map top hit Open With from my otolith. There we go. Perfect, close this and just save them at the new map. So it knows that that's the new map. There we go. And as you can see, we're only getting some hairs on the top part. Yeah. So the thing I'm gonna do here is I need to of course, grab the guides that we just created and play around with them. So I'm going to go into the length. So the length, Let's set this to like 20. I think 20th is good, maybe a little bit shorter. Let's rebuild them. I definitely want to have, Let's start with ten CP count. So we have a little bit of look like a wider effect. And we're gonna go to our sculpt. This one's on the front. I kind of want to have them fall on the front. You've probably seen this sort of effect with characters where they had like a little bit of a loose strands of hair at the front of the head. This one, it's going to be falling down as well and creating these are like curly effect. On the side. Like this. This case, as I mentioned, they're gonna be like flying here on the front of the character. And this one's gonna go into the brights. But again, it's kind of like on in opposite directions to where the other hairs are going. So we get some interesting, interesting looking flow. I've seen some people do amazing stuff's with action. But again, that's where everything time, time is of the essence. We go do that and look at that. Beautiful, beautiful, beautiful. Now it's just a matter of making sure that we're pushing this out. Now, as you can see, where we're bringing here from other places which has expected, but that's not exactly what we want. It's very important that we push the guides out. We are sure that the hairs are only going to push it that way. Now, one of the main lifers that we're gonna be using for this one, this of course, the clump modifier. So let's go to clumping, okay, set of maps, guides of course, and hit Save. Now as you can see, we're clumping all of this, like January the hairs towards the domain clumps chart, those ones. I do think we're getting a little bit too many of them. So let's go down here to length is fine. Let's do of course, a taper density and want to change the density. So right now we have a density of one. I don't want to have this many. Probably like me. Let's try 0.5. Density is just a couple of flyaway hairs that we want to add. That's the main the main goal with this breakup here. Something like this. Here we go. Let's have a couple of more guides. So let's say the one guy that were there, one got guided by back here, even one over here. Because remember all of these guys are going to help push the thing properly. We're of course going to have to go back to. The grooming options and generate them again with the guides. They follow a little bit better. There we go. As you can see, that's working a little bit nicer. I'm going to add one more guide like up here. You can see there's some here over there and one more guy up here. And very importantly, we're going to use or brushed, push them out. We really don't want the hair to be right there inside the character, so we really want to push all of this hair out. We do want to guide it towards the link, the clumpy thing that we get here on the front wanted to make sure that we can really get it out of the head. I'm going to turn on the other here is for a second. Let's see it. There we go. Because as you can see, this here is gonna be like interpolating with the other one. As you can see, that's gonna give us a very, very nice, cute little effect. I'm still not completely happy with the way this is looking. So let's go back to the breakup here. The guide, then another one more guide there. Even one more here and they won't want more here. A couple of them. Let's hide this here for just a second. Go back to all of these guys are called brush. Push them out of the hat. There we go. It's funny, we're still getting some information there. I'm not sure if it's the texture that's doing that shouldn't be though. Shouldn't be looking a little bit better. Could be, could be the faces. Remember how we did the description with the phases. So let's try and do that fixed real quick. Select this guy right here. I'm gonna go to the right view. Let's isolate it so it's only the head. And I'm going to go into description, or let's go into faces. And I'm gonna select all of the faces that I don't want to have. In this case, I'm going to select the faces where I do want to have here, all of this and that shift select everything else or actually shifts like this. And we're gonna go into descriptions, bind patches, remove, select the faces. That way. Technically, we should not have as much here. There we go. I think that was definitely affecting a little bit. This is looking a little bit better. We could benefit from adding a couple of guides over here. Again. So we push the hair out of the system. We go, Let's go to the clumping option. The maps we're going to generate again with guides save. We're going to use our sculpt get again to bring this thing out. Really weird. Still getting some cross-section here's from there. Let's see where they are originating. There are imagining it on the scalp. So maybe, maybe we need to cut a little bit of the link again of the phases. So if we go here, let us say, Hey, you know what, I don't want. This face is either gonna say description, buying patches, remote, select the faces. And that way we're only going to have this guy's coming from the top. There we go. It looks a lot better. A lot better. This is the one, the guy that we're gonna be using and that's of course going to clumping. We need to regenerate this thing. So hit Save. There we go. There we go. Now we're talking. As you can see, it's a very dynamic process. I do love using extra more than I do using things like fiber mesh or other hair systems and other softwares. I don't think even though it is tricky and it's like finicky as we've seen throughout the series. It's still, it's still really, really useful and we can get some really pretty results. There we go. I think something like that works fine. Let's reduce the company. We're gonna leave five and I'm just gonna have the noise most modifier, a little bit more magnitude. Definitely need to add a couple more CV's to that, to the hair. There we go. Now we can see or preview the other hair. As you can see, what's going to happen now is we're going to have a way more complex here because we're mixing together two different hair systems. So it might not seem like much, but it's very similar to what we did with the cards, where we added different types of cards. And by combining them, we create a very cool effect. You again can go crazy with this. You cannot fly away as you can have. What's the word? You can add? More break-offs, more transition the hair right here, peach false. I've seen people do peach phosphor to characters where you have a little bit of hair pretty much all around the face. But yeah, this is the general process. And as you can see in the matter of a couple of hours, we were able to create this very cool hair system. So the only thing I'm gonna do is I want to go to the main hair system. I want to sculpt just a little bit more. Here on the bright area. I want us to look a little bit more natural. Let's go main here. There we go. There we go. We have a couple of more like interesting locks. When we see there's a hole here. Just looks really, really cool. So yeah, that's it, guys. We're pretty much done with the hearing. Of course, as I mentioned before, job is never done until you really exhausted all of the time possible. And that's that's the mortgages he'd right now. I'm going to stop right here. And in the final video of this chapter, we're just gonna take a look at the final setup inside of our instead of from real, we're going to export the new hairs and we're going to get it into a real yup, hang on tight. And I'll see you back on the next one. Bye bye. 52. Final Unreal Setup: Hey guys, welcome back to the next part of our series. Today we're going to continue with the final on real setup. So let's get to it. So this is our final hair looking pretty good. I really liked the final result here, very organic. Although those cuts, this nice little like, uh, uh, a bundle of hair is going down. I'm always like, I'm a little bit of a perfectionist. I can always move a couple of things around. I like to play around until the very end. But I know, I know that time is of the essence and we're not gonna be able to spend any more time on this one. But now it's time to bring it into, into a real, we already know how to do that. We're gonna cover this one. Well, let's delete the one that we had before. So the main hair That's leader. I'm going to grab this description again. We're gonna go to Generate and we're going to convert this to interact group. There we go. That's it. We can hide this one so we only see the interactive group. That's the interactive group. And now I'm going to grab the breakup here and we're gonna do the same thing, generate, convert to interactive group. There we go. Let's hide this one as well. And as you can see, we're gonna have two nice and sexual with you. I'm gonna go both sections. I'm going to say cash or general, by the way, you can export from here, from alembic as well. But I like this cache export cash. We're going to export on top of the Irina main here. And the reason I'm gonna do that is because if we jump into unreal here real quick, and I just selected the groom that we have and just make a mental image of how it looks right now. I'm just going to print screen so you'll see the difference in just a second. And then I'm gonna go to the ER. Let me here right-click and just say re-import. Everything seems to be working fine. I'm just gonna hit Import and look at that. Way, way nicer, way, way, more natural. A lot of crazy hair is going up and down, and this looks away way more organic. I do think we need to change a couple of things here. So I'm gonna go to the Options and I'm definitely going to make the tip, the tip of the elemental a bit lower. Now you can see that the main room hears a loud with crazy like we might have needed a couple of more subdivisions. See inside of the description on the CB count just to make it look a little bit nicer. But yeah, this is said now we can grab like the eyes, the re the hair and all of those guys. And if we turn it around, we can see how the hair very nicely follows along. It's very fluffy on the back. Might be able to, or we can maybe push the hair a little bit closer to the to the head. But yeah, this is it guys. This is pretty much it. And as you can see, we are now working with a real-time hair basis, splines the rendering in a real engine file. That's it. My friends, we've arrived to the end of our course. There's one more B to that we're gonna have with this, just like the outro video. You're going to see my face again after the intro video. Yeah, This is it guys. I hope you've learned a lot throughout the whole course. One of the main things, and I'm gonna use this little final video to just go over the whole thing that we did. We did the marmoset render. I show you the universal hair descriptions, how you can use haircuts to create very optimized of scenes for any type of engine. It doesn't matter which engines you're gonna be using this technique either with normal map direction of the map, a color map and be locution makes for a really, really nice and easy way to generate this kind of hair. We then of course a grant onto see the hair for our teeth link, which is like a more advanced hair system for our character. It looks really, really cool as well. But the unfortunate drawback of the ones that I'm showing you right now, the market. And this one is that even though they look pretty cool, their carts, so they might look a little bit Steve, they might not look as organic. You might see where to intersect with the character or there's like wholesale stuff, but that doesn't mean that there's not useful. We can use this guy's in games and they're going to look quite nice. And finally, real-time here, how to do a proper groom and create real-time here that is going to react to physics, it's going to react to movement, is going to react to when everything is due to the inside of the engine. We're gonna be able to see it right here as well. So hopefully after this, I think it's about 12 hours of content. You guys are not really well-prepared to tackle any sort of hair project that comes your way. Remember you need to do the exercises. Don't just watch this the journal and be like, Okay, Cool, I finished listening to Abraham. Now I know how to do here, know until you do it and until you mess with it, fail with it, and then be like become successful with it. That's the point where you're gonna be able to say that you master or that you're good with the hair systems. So make sure to practice, make sure to do Allah for research when you're doing your reference. And the, go ahead, go out there and create amazing stuff. My friends, I will see you back in the last video. That's it for now. Thank you very much for being part of this community, and I'll see you back on the next one. Bye. 53. Final Words: Hey guys, welcome to this final part where we have arrived to the final chapter two, the final little session right here. These are just some final words. I mean, this has been an incredible journey for me. It's been quite a lot of fun to teach you guys all about this techniques. And hopefully with all of the things that we've learned now you guys are more than prepared to face and challenge her. Make sure to deliver any kind of thing that people asked from you in regards to grooming. I just want to make a quick recap of all of the things we saw in the first chapter. We saw of course, the general technique on how to create descriptions, cards, Bakes, and renders. Then we jumped into the three main lines. For the ogre would did this sort of universal hair system that I like to call, which is gonna be useful for pretty much every single rendering engine. And the reason why it's gonna be so useful is because we get all the normal maps that we, or all of the methods that we normally need such as the normal map, that direction map the ambient occlusion, the ID, all of the maps. Then we saw deaths one, which is one of my favorites, which is the Unreal Engine approach, which uses, as you know, a different kind of maps and the different kinds of shaders. It only works in saving from real of course, but you'd get such an amazing result. And not only is it an amazing result, it's also really, really performance friendly. So you're not going to have such a big impact on the performance of your games, which is, and the amazing advances. Finally, we saw the future of hair, the new processes that we're gonna be using in the next couple of years, which are like a real hair, real grooms, Alembic Cache coming from Maya, from blends or for any other software and working directly in a real, we saw the Spartan Hellman, How we can even make it move and simulate. And we saw that, of course it takes time, but you can get some really nice and amazing results as well. And this is it wafer right to the n part of our, of our course. Here are our three main characters. There's a couple of other exercises that we can get here, the little horse charm and this Spartan helmet. But hopefully you guys have liked everything so far. It's been a pleasure for me being your teacher throughout this course. Thank you very much for your support and the walk. That's it. I'll see you back on the next course. Bye bye.