All language subtitles for 13. Retopology of the Elbow Armor

Hey, guys, welcome back to the next part of our series that we're going to continue with the readability

of the elbow armor, so let's get to it.

I'm jumping into sieverts here just to show you what we have here.

We have this elbow armor's.

We're looking very nice, but unfortunately, it might be a little bit too complicated if we wanted

to have them as a separate piece.

Right.

Like if we want to apologize them.

The problem here is that they're already slightly rotated, so it's going to be a little bit hard to

do.

So I'm going to try and see if we can do this with C remeasure in a nicer way.

So what I want to do here is I'm going to clone these guys again because we don't want to to modify

the original ones.

We're going to clone these guys and we're going to go into C remeasure.

So geometry, we need to into the subdivision levels.

We're going to go to the low subdivisional level.

Actually, I'm going to go to the highest of the level because I want this to be really, really sharp.

I'm going to delete the lower subdivision levels and then I'm going to go into the geometry.

S. remeasure.

And I'm going to try and do a half size.

First, I'm going to try to detect the edges, to detect the hard edges, and I'm just going to go for

it.

I'm just going to see how it does it.

Usually, again, this year measure and any automatic tool that you find in software is there.

They're always going to give you a good result, but sometimes it's not going to be the best result.

And in situations where time constraints are a problem or in situations where you feel like you need

to move on a little bit faster, you might be tempted to just follow along and try to do it this way.

And that's fine.

However, we definitely need to understand that certain things are just easier in in other ways, like

just manually doing, even if it takes a little bit longer.

The result is going to be better.

So you always need to wait.

How much or which a specific element you want to you want to approach.

So I'm going to do another.

Umesh, I'm a little bit worried about this thing, trying to to captured the element like very precisely.

And that's always sort of an issue.

We can't do it this way, yes, see how we're getting like this, like weird pinches and stuff.

So it's not really going to work for these because there's one piece that I am pretty sure it's going

to work.

That's the fur coat.

We're going to be doing that next.

So let's go to the shoulder.

But I'm sure you know this one.

Let's go to the elbow pads and I'm going to show you how I would approach this.

First of all, I would delete one of them, of course, now something similar to what we did with the

knees.

Once we do the basics, we're actually not going to leave those guys here.

We're going to be like an action figure.

We're going to bring these guys out.

So I'm actually just going to move this thing out, center the pivot point, and I'm going to try and

see if I can match this, like to the proper orientation right here.

So I'm going to try to play.

I mean, we can leave it here at the side of you.

Like, this is the right view.

And I'm just trying to see if I can match, like, the perfect symmetry that way.

If we do one side and then the other, it should be a little bit easier.

So I'm going to stay I'm going to keep it like this.

And again, we're going to keep this out of the character.

I'm just going to spoiler alert, give you a little bit of why we're doing this eventually when we do.

Because if you have two objects that are really close together, this object could be projected onto

this other object or it could project shadows and and artifacts that we don't really need.

Not not for this particular character.

And the reason we don't want those shadows or artifacts is if we want to later on doing animation where

pieces of his armor fall apart, then we need to make sure that there's no texture projected.

That's a permanent texture that we need to fix other way.

So I'm going to move this thing out of the way like this and that, and we're going to do the border

from here.

I also just want to double check.

It looks like they're symmetrical, so we just need one of them.

Same with the knee pads.

We're just going to need one of them later on.

So this guy right here, we're just going to go live surface and we're going to be doing a very quick.

I'm just going to go to the front.

I know that we're going to have a big like face right here.

Very important.

I know that here we're going to have like that like the jump, another jump here.

Another jump here and all the way to the front.

Like this.

And then.

So a little bit of a leap here and then the jump like this, so that's like the halfway point right

now from here, from this halfway point.

I know that there's a corner here.

So we're going to have one, two, three, one, two, three at.

See how easier it is to do that this way now circles, remember circles, we've already done a circle

before.

We did before that for the little belt buckle over here.

Now this one's bigger.

So since it's bigger, we probably need a couple more faces.

And for this, I'm going to do the same exact tricks.

I'm going to start with a little box here.

But then I'm going to start adding a couple of more sites, because if I just do this right here, it's

not going to be enough.

So I'm going to do it like like the flaps of a box again, like this.

And now.

From those points is where we're going to create the.

The circle.

See what I mean, because now we can just go can actually make it a little bit easier.

Hopefully this works as intended.

If we could double click change this to border and we have out there we go see how we get the circle.

And when we relax, we're going to get that a nicer circle because there's a little bit denser and a

little bit bigger because of course, we have more geometry.

So we went from four, I think, to like 16.

So I'm just going to bring all the borders to the to the border of the actual element.

Let's bring this here.

Let's relax.

And again, the important thing here is we want to make sure that when we see this as a silhouette,

if we take a look at the element and we see it, it looks as round as possible.

So that's that's that's fair enough.

If we want this to be even round or we will need more geometry.

But that would mean that we're going to go even higher than what we already have on the character.

And that's, again, something that we usually like to avoid.

So that will click here.

Clearcuts.

And let's just keep moving here on the border.

This border is very important, so we're just going to capture it.

Go.

There we go.

There we go, there we go, there we go.

One, two, three, four, five, perfect, so now we have all the band there now here, we definitely

don't want as many of this lines going into the very flat surface of the of the shoulder.

Right.

So I'm going to ask, like, a couple of lines here.

Let's do three, four, five, six, and let's relax.

I think that's a good probably one less.

Let's relax and that's better.

And we need to find a way to to minimize the amount of lines that are going into this element.

So I know that pretty much we're going to have the sort of like distribution.

For instance, here, and we're going to start having a couple of triangles, remember, like the teaching

technique that we've seen.

So something like this, and I know that here, for instance.

OK, so since these are two different geometries, this is where things are going to get a little bit

tricky, but that's fine.

Like this is going to be a triangle because I know we can just bridge this is one, two, three.

And then this is going to be a triangle.

It's going to be four, five.

And then here.

We're probably going to have another triangle somewhere like around there.

Like that, because there's four or five, six and then seven.

Eight, nine.

Ten again, I know that we're going to have some sort of effect right about here.

And as I mentioned with this can be a square, as I mentioned, with the kneepads, since these pieces

are not going to be moving, they're not the formable pieces, then to only needs to be clean enough

to hold all the surface and all the details rather than having to worry about the formation.

That's a big, big plus.

I've been mentioning I've probably mentioned this in a couple or one of the past videos, but there's

the the news about the real engine coming later this year, a real Engine five.

And in the demo that they showed earlier on, twenty or twenty twenty, they showed something very cool,

which is the fact that now foreign environments and four worlds, we're going to be able to import valiance.

They promise millions or billions of polygons into the scene by utilizing some sort of like new technology.

However, they did not mention whether or not that was going to be useful or whether it's going to work

for like characters.

I personally don't think we're going to be able to do that for characters just yet, because that's

a very, very complicated thing to do.

But it's just.

And again, that's because of the fact that characters, the form they move, they are rigged and the

environments are not.

So that's why sometimes you can get away with very like super detailed, like scans of of environments

and the.

And now with characters, couple of triangles here and there, it's fine again, not that the formal

area, so it's going to work just fine.

And now I'm just going to go grab this guy.

Let's see how many lines we have, 15 here and we have 16, so it's one more we need one more triangle

somewhere.

Let's see where do win, where could we at it?

I think we can add it like on the outside here.

So I'm going to go from this corner or just.

Just count.

So.

So here, here, here, here, here.

Yeah, we need that right about here, so I'm just going to go from here.

They're.

Double, click, click, click, Weybridge, and there we go.

We got the nice little surface now, technically, technically, if this thing is as symmetrical as

I think I did it, which is fairly close, it's going to freeze transformation.

Let's change the thinking world, you just press on the EKI or the Archey and change the world.

And that way, we're going to be able to mirror and mirror on X and see negative bounding box.

We're going to get by that.

Let's object.

It was the first transformation of the history should be bounding box.

There we go.

Now we just need to make sure that this is as close as possible.

It's not as close as possible.

It's not exactly how I was expecting this to to be.

As you can see, this thing is what Dorward?

It's creating a different sort of effect, right?

It's not going it's not fitting here on the set, but that's fine, because I want to show you another

way in which we can do it.

This was a very finished piece.

Right.

But if we delete that guy and we just work with this guy right here, similar to what we did with an

iPad.

So I'm going to duplicate this guy and I move it forward just a second for it for me to show you.

And I'm going to start using my insert loop to bring back the effect that we had.

Of this very sharp looking elements of it, remember, we had like a line here and a line here.

And then, of course.

This border right here and here.

And then another border right here.

Look at this.

See how we clean this shoulder pads that we have here, this this didn't look bad, right?

But they look a little bit again, not so hard surface and a little bit more like clay.

And now this looks really, really good.

This looks a lot better than what we're expecting.

I can even grab this guy right here and this guy right here.

Let's give it a Bevell and a small fraction to segments.

And we do.

Number three, this looks way, way sharper than what we had before.

And it's going to look, I believe, a little bit better.

Now, one cool thing that we can do as well is we can actually bring this guy into Seabrook and give

the same detail that we had before to the other guy.

So you're always you will always have those two options.

You can just grab whatever you have here and see.

Right.

Apologizes and do it or just redo it, give it a little bit more surface detail and then work from there.

I think it looks this looks way, way better than what we had before.

So I'm actually going to keep this.

The only thing I would like to increase was this line that we had on the on the outside, which is this

one right here.

So I'm going to show you a nice little like modeling technique here.

Well, actually, now that they think of it, you know, yeah, that's fine, that's fine.

I'll show you why in just a second.

So I'm just going to grab, like, all of these faces.

I was getting a little bit worried because, of course, I think a lot of geometry, so you might be

wondering how are we going to project all of this into the into the low poly?

Right.

And I'm going to show you in just a second.

So there we go.

I'm just going to do the whole thing.

One very small extrusion and then extra again, one more little intrusion, and now when we do number

three, look at that border.

Quite nice, right?

Very sharp, very, very nice.

I think we can still add another line like right about here.

It's going to keep it even sharper.

There we go.

We do get a little bit of an error here, but we can even take this guy and this is going to be our

new high body.

And here's the cool thing.

We already have the lapel.

As long as we don't change the silhouette that much, this guy is going to perfectly bake into this

other guy.

So this little policy that we have right here is going to catch all the details from these hyperbole.

And it's going to look like a like a very nice projection.

So this is pretty much as if we were doing this.

And this one is going to, again, as I mentioned, worked really, really nice.

The only thing I need to worry about here is you can see that there's a line.

It's not so visible up here, but it is visible in the circle here, see how it is going through the

circle.

So I'm going to grab the the edge loop here that goes in the circle.

This guy right here.

All the way to that border.

I want and I'm just going to collapse, so at eMESH collapse, and that's going to get rid of that,

we're going to have a little bit of a pinch there.

I don't think that's big of a deal.

We can even have one more like Edgecliff here holding the water so we don't get that super obvious pinch

and then same deal here.

It's going to grab all of those guys.

And I'm going to go at it, Meche collapsed, it's a little bit more of like traditional box modeling

techniques, but hopefully you can follow along to to get this very, very cool detail.

So as you can see, this new shoulder pads is going to be really, really it's not a shoulder bretz.

The Rischard going to be very good.

I'm going to leave it just there.

I'm going to save this real quick.

And and yeah, that's you guys.

This is another piece done.

So next one, guys, we're going to move on to the I want to show you the the fur coat, this one right

here, because this one is going to be completely automatic.

We're going to do it.

And subversion is going to be a little bit faster than what we have or what we've done so far.

OK, so hang on tight and I'll see you back on the next one.