All language subtitles for 1. Retopology of the Neck Piece

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

of the court and we're going to start with the neckpiece.

So let's get to it.

This is where we left off.

Now, I am dividing this into module two because we finish one of the first parts of the culture, which

is the hit.

Now we're going to be focusing on other stuff.

And even though the tools are still the same, we're going to be using the same tricks and techniques.

The theory behind it or the way we approach things might be a little bit different, because now, instead

of focusing on the actual loops for each particular feature of the face, like the eyes and mouth and

the nose, where you're going to be thinking about how everything needs to flow and connect between

each specific area.

So for the for the chance here, first thing I need to explain is, as you can see, the chest or the

body, the character, it's pretty symmetrical.

The hands are symmetrical, the forearms are symmetrical, the arms are symmetrical, shoulders as well.

Hips, legs, lower legs and feet.

All of them are symmetrical.

They're not symmetrical in details like they might have some like like bumps and wrinkles that are not

present on the other side.

But in the industry side of things, they're pretty much symmetrical.

So we can read topologies, everything as a symmetrical piece and then make sure that every detail is

projected in the in the way we're expected.

Now, the chess here, on the other hand, this bar right here is asymmetrical.

So we're going to have to do some very interesting things here once we get into that area.

So let's start with this piece right here.

Now, I'm going to do a trick here.

Select the face.

I'm going to duplicate this.

I'm going to call this double click and just straight face.

And it's going to be.

Chests that we face remember to do for transformation on the history center people just to make sure

everything is clean sometimes, and it has happened to me when you close my if you forgot to do all

that stuff, it messes up the geometry and you lose a lot of progress.

So make sure you do this three little buttons every time you finish working on a piece so that everything

is maintained.

Now, on this copy right here, when I'm going to do this, I'm going to select this little break here

and delete it and then double click so all the remaining faces delete those as well.

So we get only this thing right here.

I'm going to select this guy again.

We're going to go into lipservice.

We're going to select the other one, the chest line, and we're going to start working from the chest

up.

So I'm just going to do the first.

Just to show you my idea here, my technique.

So it's going to do this, OK, careful here, we don't want those weird, non-magical edge geometries

if you need to just extrude with the with the tacky.

Especially on this area where the camera has a difficult time, like understanding how the geometry

flows, you're going to get this sort of like errors quite a bit.

So just keep that in mind.

Go, I think that's the middle section.

And we actually went over the middle section, that's fine.

Do the same thing here, the reason this or the thing is we want to make sure that the topology flows

in the same like.

Elements that we had to process here.

Having a little bit of an issue, trying to think about how to properly what it's trying to do, and

it's it's very common.

It's unfortunately quite annoying, but it's quite common.

It's trying to go to the front part of the of the of the geometry.

You can see it right there.

See how that little.

Burdick's, there is strength to go to the front, so you're going to have to manually select the Burdick's

and move it back so that it snaps to the back side of the of the shirt and now we should be able to

use that.

We go snap them together.

Now, on this area, we need to think about how we want to have this transition, we can go inside this

little crevice right here or jump to the border of the shirt right here.

I think for this particular character, I'm going to jump I'm going to cover this with, like, a little

bit of a jump there.

And that's how we were going to cover that air, because at the end of the day, we can just paint like

a little bit of a shadow there and that should be fine.

She's going to try this out.

And again, probably have to do this manually, position them where I need to have.

Now we're going to leave, of course, half of this and I'm actually going to delete the inner ring

because we only want the outer ring.

I already know that all of this border right here matches perfectly with the border of the head.

So eventually when we stitch both of them together, everything should be fine.

Now, this facies so.

So like the face go to match display Keat reverse.

There we go.

Make sure that the businesses that are not welded together are now welded together like that.

And now it should be a little bit easier to continue moving this thing out.

Now the problem is this guy is right here, so you need a lot of surface to cover and this guy is right

here already on the border of the shirt.

So for this sort of things, I actually like to do the border first.

So it's going to start like drawing my border line right here.

So you like.

Again, trying to keep this in the in the most like, uniform way possible.

There we go, see this like gaps that we get here, try to avoid those, so modify and move your points

so that you have as little of those gaps as possible, because those are the ones that later on can

generate some, like, very weird artifacts on the on the normal maps.

And we definitely don't want those.

For instance, here is this up.

Keep it really sharp, go, and then we just start moving this guys to the side similar to what we did

with the ear, like we want to have as many as we need to keep a nice, clean perimeter.

But we also don't want to have this be like super, super dense because all of the lines that we have

here will eventually flow into the rest of the character.

So we have like really, really big blocky areas.

Then what's going to happen is we're going to have a lot of geometry going into the shoulders, the

arms, the hands, and that's going to be that for us.

So as you can see, which is go right here.

Like this, perfect.

All the way to the middle of the of the character, again, remember a rule trying to keep everything

as uniform as possible.

We don't want to ask the more geometry that we need, all the scores should be fairly the same size

and that's it.

Now, all of this guys, of course, eventually are going to go inside of the or to the outside right

now here I might have a little bit more than I actually want, which is is fine.

That was just like the first batch.

Now we're going to start projecting this guys to the top like this.

So, for instance, one, two.

There we go.

We're here, for instance, this guy can just finish the development right there and go here.

And there we go, unified right about there, because, again, we don't want to add more geometry than

we actually need.

Now, here's where things are going to start getting interesting as well, because, as you can see

like that faces is more than enough.

But I might want to add one more line like what we have here just to have a little bit more curvature

on that area instead of just like a plane.

However, if I add the curvature, we're going to break this thing that already matches the one on the

neck.

So what can we do here?

We're going to delete one face at the bulge that we're looking for.

Finish the bridge in here like this.

And then over here, just a triangle.

As long as you don't move any of this inner edge, things are going to float nicely.

Now, over here, similar thing like we don't want to have as many or that many lines.

I'll just add one more here.

So we got this very nice effect.

And here we don't like this shapes this shapes are really could be or could potentially be dangerous

for us.

We have two options.

Again, we add more lines here.

We Bevell this thing.

So we have another row and we can connect everything or.

In this particular case, just give them a chance and that's fine.

The reason why we don't want as many faces is because, as you can see back here, the neck becomes

really thin.

There's not as much surface area as what we have here.

So we want to always keep in mind that if we don't need geometry, we want to be simple.

So, for instance, here things are becoming a little bit thinner.

So get rid of a couple of them.

We don't need as many lines going to the back.

We're going to have something similar over here.

For instance, here I can already see or sense that we're not going to need as many polygons.

See how we we can go from four to three.

So that's fine.

Just one more triangle there.

Can you hear?

We've got three three perfect over here, we're also going to go with a third one now if things get

tricky because they can get tricky in this area, that's completely normal, we can use other tools

as well.

For instance, we can select Etch a Sketch and bridge Etch a Sketch and bridge Etch a Sketch.

And we in this case, we definitely need another line here.

So I'm going to add this line.

One of the cool things is something you don't even need the what's the word?

All the or the active geometry, even just.

Sorry, let me rephrase that.

I'm having my tongue twist over here.

So even if the geometry is hidden, as long as it's on the lip option right here, you're going to see

that it's still it will still try to fill in those gaps, which is really, really good for us.

Now, for instance, here, I'm going to erase this face just for a little while.

I'm going to add one extra line here so that we can bridge this two guys here and here.

And then I'm going to bridge from here to here.

Actually, I'm going to go vertex, grab these two guys, merge to center, and then we can bridge this

two guys.

And that way we keep our original, like, inner border.

And now the whole inner part of the neck is is finished just following the the proper geometry of the

character.

So this thing will eventually be stitched with with the rest of the head.

And we're going to have a very good a very good topology right there.

Now for this site over here, for instance, on this area right here on this little corner, we're going

to do something very similar.

We need to start moving and incorporate all of this here.

Now, the big question, do we need to capture the volume of this thing right here?

And the answer is yes, since this volume right here changes the silhouette of the character, meaning

if you press number seven, you can see the border there, it will be more beneficial to us to have

this the border like this to to actually go through it and give it the volume.

It's going to give us more geometry.

Definitely.

It's going to make it a little bit heavier, but it's going to make it look way, way better.

So we're pretty much going to rebuild this thing.

If you saw the if you're coming from the other video, hopefully you did the whole Palladin exercise

in Seabridge.

Remember when we did this thing, we we actually looped this thing with with loops using, I believe,

similar, and we created this sort of event or this sort of detail.

So, again, it will take a little bit longer to.

To go all the way around this element that's going to make the way, way better, because then when

we see or when we see the character, instead of seeing just like a like an impression or the the a

fake detail, we're actually going to be seeing the geometry in these geometry is also going to be projecting

shadows.

So you're going to see a little bit of a dark shadow around the border of this thing.

Will it be a little bit longer?

Yes, it will.

And some people really hate that because they feel like they're losing or wasting a lot of time on the

radiology process.

But my friends, I am sorry to tell you that this is a very necessary step for characters at the time

of this recording.

I think I've mentioned this before, but the title of this recording are Real.

Engine five is on the works.

I'm recording this early twenty twenty one.

So they are promising that especially for environments and for like decorations, you know, like statues,

columns and stuff like that, we won't need to do biology anymore.

We're going to be able to bring the geometry straight from Sèvres into into into real how they're going

to achieve that, I'm not completely sure.

I am not completely sure if that means that all of this workflow is going to be gone for for props.

But I can definitely promise you and hopefully I don't eat my words later on, but I can promise you

that this process will still be pressing for characters because animation really topology is something

that you cannot simplify or other Matti's as easily as other parts of the pipeline, like, for instance,

if you want to have like a rock or a pillar being destroyed on the on the middle of your scene, you

can have, like, really, really dirty topology.

And as long as it looks good on the malling and the rendering, you're going to be fine because that

thing is never going to move.

However, if you have a character is going to be bending, jumping, punching, climbing, walking,

then you definitely need to to have some very, very clean topology to enable all of those.

OK, I always try to fill these gaps when I'm just, like, doing this repetitive stuff with cool information

for you guys because otherwise this would be like a very, very long process.

So I'm just going to finish this little board right here.

And then I'm just going to show you real quick the general thought process for the for the remaining

part of this neckpiece.

And then we're going to jump onto onto the shoulders.

And we go.

There we go, there we go.

And that's it now what's going to happen here?

Well, of course, we have this line right here that's giving us pretty much the the guideline of how

things need to flow.

So we need to simplify.

This is the most important part of this, but they don't want to leap out of the video.

This thing cannot continue onto the chest because otherwise it's going to be really, really heavy.

So we need to find a way to minimize this and finish this particular piece right here.

How are we going to do it?

Probably with a couple of squares or something or triangles, so for instance, something like this.

There we go.

I'm going to make this a triangle so that this becomes a square and then this is also going to become

a triangle, and that's where the detail finishes.

OK, because that's going to be merged with all of the other pieces from this area and should be fine.

We're going to double click here, clear dots.

And my next objective is to finish.

All of this development right now.

All of this elements need to go down.

So I can go with really broad strokes, similar to what we did with the inner side of the neck.

So really, really broad strokes going down into the into the border of the neck, because in this part

is where the word, the chest and the back are going to start.

So all of this here, and we don't want all of this lines going back, right?

We've already talked about this on the on the inner side.

So we're definitely going to want probably.

One on this year, that one is fine, as you can see there, but then we're probably going to need a

second one at some point.

So probably like a both here and here.

So let's do one, two, three triangle there.

That's fine.

Careful here.

I'll rather have a triangle there and have this as just a single face, then have like a lot of lines.

We're just going to simplify it like there.

We probably don't need any more lines and keep it a three right there.

And then here we're going to keep it a two like that, but can relax things a little bit.

So this thing flows a little bit better.

And that's my neck piece is right now.

If you want to check it out and make sure that everything's fine, just grab both of these pieces and

you're going to see that they match perfectly.

So later on when we stitch them together and everything is going to just follow as a single water tight

mesh.

Remember, we want to have a water tight mesh because it's going to be easier for riggers and schoenaerts

to just one piece of geometry than having to rig like a lot of pieces.

Now, I'm not joining or merging these two lines just yet because every single point that we have makes

it harder for the surface to actually, like, process the whole thing.

So if you can do it by parts and then stitch everything together at the end, you're going to see a

little bit of a better performance on your underminer.

So that's it for these be the guys.

Keep on working.

Make sure you get to this point.

As I've mentioned before, Rita, topology is a little bit tedious, so I strongly recommend you possibly

you do the work and then come back, because if you just watch every single video and then try to do

the rideable, you're going to keep up.

I promise it's going to be a process.

It's better if you do it by, like, small little chunks of time so that you can just move a little

bit faster.

OK, so next video, we're going to take a look at these shoulders.

Hang on tight and I'll see you back on the next bubp.