All language subtitles for 2. Retopology of the Shoulders

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

show.

We're going to keep moving on and we're going to go down the side of the character right here.

So I'm going to do it right now, which I'm just going to select the guy, make sure it's set to surface.

So they are very nice to you here.

And click on the built to watch.

Now, the shoulders are what's the most important parts of any character, because there are areas of

the character that are going to move quite a bit.

So it's very, very important.

The budget is as nice as possible.

The easiest way for me to explain to you how the technology on the arm works is to think about this

as the bad manscape.

So if you remember, bad usually carries like a cape and kind of like folds.

Let me draw here with the grease pencil.

Let's create a new one for.

So Batman usually has a sort of cape, right, going back into his into the back of the character,

the sort of shape is what we're going to go for in regards to the chest and shoulders.

Now, I'm going to start with the shoulders first, because, as you can see, they're symmetrical.

So if we do one side, we're going to be or we very easily are going to be able to do the others.

Now, the arms, of course, are cylindrical.

So a good and easy way to do this is the following.

I'm going to carry this cylinder.

I'm going to make this a 12 sided cylinder.

Very important.

Well, say that cylinder right here.

I am going to read the faces of the top parts of the cylinder.

I'm going to go into a basement, grab everything and delete the faces or the caps so that we have this

like they got rid of this so that we don't have any issues.

And I'm going to position this in such a way that we create this sort of like armor that I'm going to

just rotate this around.

And we're going to position this right about you, we can make it slimmer.

That's fine.

That's just to say that's a technique that we used for topology, especially for areas that are very

like a geometrical like this thing, which is pretty much just a cylinder.

So this is going to work really, really nice.

You're going to see how in just a second.

There we go.

That's fine.

So when I select this area again, make this light surface so like this guy and I'm going to go into

mesh and there's an option called for, we're actually going to be using this again later on.

But I'm just going to say conform, make sure this is a long normal's I'm going to have an offset of

zero point zero zero one so that it's pretty much on top of the geometry I'm going to apply.

So what's going to happen now?

As you can see, there is all of my polygons just conform to the surface.

So instead of me having to go there and draw each individual polygon, we're going to be able to get

this very, very quickly.

Now from Sishen, we're going to start moving upwards and this intersection right here where the what

the arms mean, it's going to be probably the most important part of the whole topology.

So I'm going to make sure that we have a natural there because that actually is going to be critical

to pretty much everything that we're going to do.

So let's just go around, make sure that we have that very nice line, because from this line, we're

going to get a very interesting effect.

We're going to have this sort of division kind of like imagine a box when you open like the top flaps

of the box.

Imagine opening that those top flaps and then placing the box facing down into the floor.

You're going to see one of the flaps is going to go to the front, one to the back, one to the side,

and then the other one to the other side.

So we're going to do kind of something like that.

So just follow me on this one from this top two lines.

We're just going to start creating the flap.

The upper flap is going to go and it's going to eventually meet with the lines.

So they're coming from the neck.

So that's like the top one on the bottom side.

We're also going to have our bottom flap, which is going to start going downwards through the side

of the character.

Very important as well, because we're going to be using this flaps as a waypoint or as a guideline

for our eventual use now here in the front row, which is very, very important.

This one right here that I just used to create the flap, because from this point, we're going to create

something called the chest one and we're going to be doing this, a very nice chest line going into

the inner side of the of the chest.

Now, I'm not going to worry too much about this area just yet because we're going to have to do a little

bit of extra topology there to to capture all of these details.

But just keep in mind that this guy is going to go all the way over here.

So as you can see, we don't get this very weird shape here on the side.

Now that we are shape, we will add one extra polygon and then we're going to have the one extra line

right here, because this one is going to start going down like this.

So this we're eventually going to have a little bit more geometry here and even here just to get a more

uniform looking side here.

But as you can see, some of those lines are going to go down and some of these lines are going to run

into the chest.

Now, in this area, you can see that we have a lot of volume and unfortunately, we don't have enough

geometry or enough sides to properly, like, get or capture all that volume.

So I'm going to show you a little trick here for the shoulder.

We're going to make this or finish the flaps here.

One, two.

One and two.

This guy goes there.

This guy, they're.

Let's go there, this guy there, and now we're going to lower the corners here a little bit and we're

we're going to do is we're going to create an extra.

Like flap in here now, see that thing going on there, that's again, the Bertozzi going into the inner

side of the character, just need to go into Burdick's mode and bring it out.

Otherwise, the points are not going to react how we expect.

So something like this go.

Now, what we want is we want to loop this shape here of the of the arm back into the into the arm to

see this right here.

That's what we're going for.

So we need this sort of configuration here, which, again, we can later on add a little bit more geometry.

But we need this sort of configuration to make sure that when we raise up the arc of the character,

we don't lose a lot of volume.

We're going to do the same thing on this side.

So one, two, three and four, see how everything loops together.

And we create this sort of like a shield.

This is, for me, very reminiscent of like like a shoulder pad.

You can see that the edge of the shoulder pad.

And so you have the loops go back into the arm.

That's very, very good for us because that's going to keep the number of polygons going into the back

and into the chest low and also going to make sure that everything deforms and moves very, very nice.

So now I'm going to add one extra step here, one extra loop here so that everything is very uniform

and we can continue modifying this area.

Now, remember, we talked about the Batman cape, right, going here from that from the front all the

way to the back.

So I'm just going to follow this for now.

Just going to add one more line here.

Because all of this lines have to flow through this site and here we're also going to have similar to

what we have here, which is like a little star, we're also going to have a star there.

So we have something like this.

So this lines are going to go into the back.

That's one thing to the back and then this lines are going to be going down into the or towards the

the bottom part of our car like this.

So as you can see, everything is flowing very, very nicely.

Some people like to look here or add like another extra edge.

You can see that this faces is having a little bit of an issue there, like bending properly.

I actually think that in this case, it might not be a bad idea to just, like, make that a triangle,

just that this thing bends a little bit better.

But it's always going to be dependent on the production.

And again, you're going to be communicating with your riggers and they're going to be like, hey,

yeah, usually on this area, I like having my topology like this just because it works better with

the tools that we're using for the project.

Right.

Because every production is slightly different for me.

Every time I work with a client as a freelance artist, I always ask them, hey, how are you going

to animate?

Are they going to be in a teapot?

Are they going to be on a V post?

And depending on how the characters are going to be, I might do a couple of changes here and there

on the barge.

Now, this is it for the shoulder.

However, the tricky part is we need to make sure that everything is now a single piece.

So I'm going to grab both of these guys, the history for transformation.

And we're going to go into mesh.

I'm going to say combine both pieces, combine.

I'm just going to grab them.

And you can see there's a big difference in regards to the density of the square, which is fine, because

right now the neck needs more geometry and the arms there are a little bit more like flat areas.

So we don't need to have such large or such small geometry.

Right.

However, we might have a little bit of an issue now here when we start thinning this thing out into

the into the chest.

You can see here one of the issues that we're going to have is that, of course, we have way too many

polygons going into the side of the character and not as many polygons.

Here on the shoulder, so, for instance, we can find like the two main ones that are coming this way

and we need to decide what we're going to do with this case.

Again, whenever you're in doubt, triangulate, try to get that triangle here.

However, make sure that the triangle is not an abandoned area that's going to bend this much.

So, for instance, I'd rather have the triangle back here on the border of the neck of the of the shirt.

Sorry, there we go.

Rather than having it here right on the shoulder where you might expect this thing to move.

So whenever you're not sure how things are going to flow and you want to reduce, make sure you get

yourself a little bit of a triangle there.

However, make sure that the triangle is on the place that's not going to move as much.

Now, here we, of course, know that we're going to have a very straight.

Polygon going all the way through the back like this, right?

I mean, a couple more so that we don't get anything inside the character like this.

Now, these guys are pretty simple.

These guys are eventually going to hit.

They're the same like distance here.

And these guys should be pretty simple as well.

Sometimes it's not as simple how those guys are going like way.

Way inside the character, so pretty much just by making sure that all of this things flow in a proper

way, you should be able to get the proper topology working.

You can see we have two lines here and two lines here, so they eventually they should match.

However, this area is very, very big.

We can't let this area be, like, extremely big.

So we might need to do a little bit of topology magic over here.

So what am I what do I mean by that?

For instance, we're going to create this square right here.

This is going to flow into the back of the character right about here and here.

So that's going to be OK again, see the problem there with the with the Burgesses, it's a very annoying

problem.

I'm not sure why Maya has such a hard time parsing the depth of the of the character in this in this

particular situations.

But it only happens when you have, like, different layers.

So, for instance, since we have the the thickness of the of the character, like the body of the character

beneath this cloth, that's why we're getting this error.

It's a little bit annoying, but it's just a matter of modifying it.

And that's fine so that we go there we go, see how this guy flows down very nicely.

And then we just need one extra line there.

You can just add it and that's fine.

Smooth everything out and look at this beautiful back topology.

The more you can get away with having this very straight grid like topology, the better it's going

to be.

If you go online and you start looking at the other Ringsend and the models that they're using now for

triple eight games, you're going to see that most of the games nowadays don't even have this looping

thing since they're so high poly like take a look, for instance, at Horizon's Geodon and how they

how dense the characters are or like the uncharted characters, since they're so, so dense by only

making sure that the topology is going like top and bottom and left and right, that's usually more

than enough for the readers to make sure that the information is working very, very nice.

If you need a little bit more or more topology, more more resolution.

Just make sure to have it exactly where you need it.

For instance, I think one extra issue here might be a good idea and then just relax everything that

we have a very, very nice distribution.

And that's it, as you can see, guys, the shoulder is now ready.

This thing that we have here, this cylindrical shape, the 12 sided cylinder.

This is pretty much going to be our our indication of how to continue the whole thing over here.

So we're going to be doing this very, very quickly once we hit the arm, because we only need to move

this and make sure that we hit the high points and low points of the of the armor.

And we're going to be we're going to be good to go in the next video.

However, I'm going to be talking about that, the chest.

We need to start thinking about how we're going to be solving this, because up until this point, we

pretty much have everything done here that symmetrical and then all of this area is going to be asymmetrical.

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