All language subtitles for 11. Fixing the Pants

Welcome back to the next part of our series that we're going to continue with the pants, so let's get

to it.

This is where we left off.

And as I've mentioned in the last video, I was going to finish the the remaining part of this like

off camera.

As you can see, the most important thing here is I'm trying to make sure that all the lines follow

upwards and they continue going to the side like cylinder's right.

There's a little bit of like weird looking triangles here.

And there are there are helping me to pretty much gather or catch the silhouette of the specific parts

of the armor.

But you can see that in the big picture during actually all going in the same direction.

So eventually this thing is going to bend, is going to move, and we're not going to have an issue

where you can actually test out whether or not your objects are going to like bent nicely is you can

going to face most select all the faces of the area that you want to bend, move the pivot point down

or upwards.

For instance, in this case, I'm actually going to grab all the faces on the on the lower side here,

turn on soft selection, which is your capital B or you'll be sorry.

Make sure that there's a little bit of follow so there's a little bit of bending and move the pivot

point, which letter D to where you're expecting things to to turn around.

Then if you move this thing around, of course, no life surface elected, you should see that the formation

working nicely.

So you can see there's going to be a little bit of stretch there on the armor that's completely normal.

We could avoid that by going a little bit lower.

For instance, something like this.

So if my point is right about there, then I would expect less deformation on the armor.

As you can see, this is going to really, really nicely.

So, again, just a quick way in which you can you can also throw in a quick Riggen and just give it

a go.

But to be honest, I don't think it's really necessary as long as you follow the rules that we've been

talking about, making sure that the grid like up and down, left and right, this was working nicely.

As long as the proportions of the of the squares are similar, we should be fine.

You can see that the leg is slightly, what's the word, denser than the rest of the character up here.

That's fine.

Later on, if we see that this is way too dense, we can minimize it, can show you a couple of ways

in which we can minimize it.

But I think we're in a good position now.

If we jump into Seebruck, I'm going to load the initial tool that we have here and we need to do a

little bit of work here with the pants because as you can see, the fans are not looking too good,

to be honest.

They look like big diaper's.

So I'm going to go into the pants and I'm going to resculpt here just a little bit.

So me, my white webcam ready clay buildup.

Let's go to the pants.

I'm going to go.

It's actually undynamic.

It's on a really low dynamic, it seems.

So I'm actually going to turn off everything.

Except for the for the armor.

Probably this guy might be a good idea to have on probably the chest might be a good idea as well.

And go for the legs or the legs.

There we go.

This guy's perfect, so now I know where things and so I'm just going to start scrapping this thing.

This should be like some sort of like cotton or wool pants.

So I'm just going to keep it simple.

I don't want that over, scope this thing and give them like a completely unique feel.

But they definitely do want to add a little bit more.

Life to them.

So one thing I mention what we're doing, the Palin Underpays video, he's a male character, so we

would expect him to have male organs, reproductive organs down here so we'd never sculpt those organs.

But we do add the volume.

We do want to have a little bit of the volume there just in case we're going to simulate anything.

We don't want things to look completely awful.

They're now back here.

I'm probably going to add a couple of wrinkles here on the on the pants.

So I'm just going to do this like quick lines here.

Kind of like bulging out a little bit on the on the lower side here, I don't want this to look like

diapers, like he he has issues with the diapers.

So we're just going to clean this up.

Here we go.

So something like that.

Canada, a little bit of detail, for instance, pants usually have like a band up here looking at the

band.

Kind of like the belt band.

We're not going to see this, of course, because it's going to be hidden, but we can add the little

line there just in case we ever have any sort of, like, little indication of that band will.

It's going to be it's going to be there.

It's going to give us something on the side as well.

For instance, we can add like a little line, like each line is actually a very nice brush here on

the lightbox, on the brushes.

If you go to the stitching brush, not seams.

I mean, I have this this packet of seam brushes, but this are a little bit too modern.

And I can't share them with you, so I'll use something that everyone has access to.

So here in the stitch brush and I really like this one stitch one, which I just like X symbol.

Silly me, isolate this for a second.

We're going to have.

We're definitely going to need I'm going to turn off dynamite and give you the wants of the mission

level and give it this.

Little detail here is going to be a detail that's going to be visible on the uncertain areas of the

of the of the beans, for instance, there we might even use this to to give this teaching to the.

The band up here, I think I think that looks good and it's just a little detail to make things look

a little bit nicer in case we ever see them, because this is going to be covered by the by the flaps

of the of the coat.

And it's going to be covered right by the belt buckle, the lion belt buckle that this guy has.

And then I'm probably going to add, like, just I'm going to break symmetry.

I'm just going to add.

I'm not sure about adding the line there, but.

Let's go back to the stitching here.

Turn on Sematary again, the smaller.

There we go.

Simple, simple, simple, simple.

There we go.

And then in here.

The one as well.

And the thing usually that works on the pants, we usually get some like lines going into the into the

pants, like some wrinkles like this, it's just like the tension lines that we get from the from the

character.

One thing that I want to do here and this actually going to be quite important for us is see this negative

space that we have here.

If we don't cover that negative space, then it's going to be really difficult for the for the whole

thing to, like, move properly.

So I'm going to push the defense a little bit out just so that we close that gap.

I'd rather have a watertight mesh right here with no holes than than having those, because otherwise

things are going to get messy.

So this already looks way, way better than what we had before.

I think I'm going to add the like the little, you know, in jeans have this like line going down here.

Which is where the Cyperus.

So let's just not the line here.

Again, not to worry too much about the details, because most of this is going to be covered, but

you're going to have it there just in case we ever see the back of the pants.

So, for instance, here, back here, we can also add like a couple of extra wrinkles here and they're

asymmetrical to get a little bit of variance, even though the low poly is going to be symmetrical to

those, those elements are going to look asymmetrical, make sure that we don't have to see this.

So a lot of empty space there.

Let's fill that in.

Let's turn to symmetry.

It's going to look a little bit more heavy on the on the backside, but that's fine.

Is this actually going to help us because otherwise that area is going to be problematic and there we

go.

So we got the pants right?

So this pants are a little bit high.

So I'm just going to clone them because I don't want to mess up the original tool.

I'm actually going to save this tool as the initial tool, guys.

So you're probably going to already have the proper pants if you're at this point, then and you'll

see that your final model file is the same one.

You're probably have the there's one.

But I just want to include this on the on the course in case you ever need to redo something that you

already worked on.

Right.

So that's the one right there.

I'm going to go to the clean one.

I'm going to say, see, plugging that you mentioned master and instead of doing the pre-process and

the decimation, I'm just going straight up, going to go to the 20 K and that's going to reduce this

to 20 K triangles, which, as you can see, works fine.

Get rid of the groups I have that circled there.

If you don't have the shortcut, go into export, turn off group and we're going to explore this and

I'm going to explore this right now.

I'm just going to put it on my on my desktop.

Expanse.

Now, here's the tricky part if I import this guy import.

They stop and we import the pants.

You're going to see that the pants are going to be really, really small or really, really big in this

case.

Where are they?

Oh, there we go.

They're really, really small thing, so that's a problem.

Now, remember the number and the scale that we have here.

This is the information that we need to copy into this guy.

So I'm going to change the scale to twenty nine.

You can see that now has the proper height and I'm going to change the translation in one to one hundred

and twenty two and it should perfectly match where I expect the pants to be.

So now I'm going to right click my hyperbole that the original hyperbole.

Right click going to face both and click the faces that are in the pants, because since they're still

just a single island, I can very easily delete that island and have this thing right here.

So as you can see, this is working very, very nice.

I think it's a little bit too high.

Six hundred.

Twenty two.

The group says it's 120 to.

Although this does seem a little bit too high, did I move this guy?

No, I don't remember moving this guy to hold this thing.

I think this thing should be.

I cried about their.

There we go.

I think that's.

It's closer to what we have, make sure here on the export that there's no option here, no information

that should be fine.

We're going to be importing the final version later on, and if we see a slight deviation there, that's

fine, but I believe this is the right one.

Let me just double check here.

As long as we're not that far off, there shouldn't be a problem, so we can see that right where the

border begins, there's like this little M shape.

We go to the front of you, you know, we have the little shape, then we can bring this.

There we go.

That should be good.

Now, with this selected, we select that the original high quality.

We can combine it again to create the the updated version of our character.

We could also just like re decimate the whole thing.

That's also another option.

However, it's a little bit more steps.

And that was just a matter of making this thing live again, grabbing this guy right here.

And with my clay build up, we're going to continue to the middle here.

Now, here's the interesting part on the center line here on the bottom part.

One of the things that you want is you want to make sure that this thing jumps into the pants and creates

this sort of like bridge.

We're also going to have a middle line.

Remember how we have a middle line on the on the upper side of the character and the torso?

Well, we also want to have this sort of like middle line going on the center of the pants, right.

About we're going to worry about the the combination of all of the elements soon enough.

But right now, this is where we're going now from here, from this line, like the line, we definitely

want this to be a sort of like belt shape going all the way to the back.

All the way to the back, if we're also going to have a middle line here on the back, there we go.

We just bring this down now and there we go, see how we grade this is sort of like a Superman underwear.

Well, that's exactly what we're going for.

And there's one very important look that we're going to have it right here on top of the of the armor.

See, this thing right here is the kind of thing that we want to avoid as much as possible.

So I'll probably on the final version, I'll probably just move the pants just a little bit closer to

this so that we don't have as much difference here.

And what we want to create is we want to create this sort of like.

Superman trouser, as I was mentioning, that's going to go around the whole hip of the character.

So as you can see, I'm kind of drawing the same amount of of the squares that we have here, and this

thing is going to go all the way around.

All the way around, it's going to go through the middle of the.

Of the of the growing here.

It's going to continue.

It's going to be like my.

And then we're going to get this see, so now we have this line, this very important loop that goes

all the way around the object, and this is very, very important because we're going to be using this

to bend the leg outward.

So this is going to allow us to to move and create the connection with the leg.

It's going to be easier to to bend our way outwards if you want to set this character, like on a horse

or to make him do a split or something.

This little right here is going to be very helpful to to maintain the volume of that specific action.

That was just a matter of of basing all of this guys.

Remember, triangles are not bad.

This is a very like what's the word movable area.

So remember our little rule of thumb, like it's better to have the triangle on an area that's not going

to move as much.

So I'm going to try to leave two loops of this very interesting effect right here.

And then, for instance, here, there's too much area because of the glutes, right?

So if this happens, that's fine.

Just do a little bit of a for the vision here.

For instance, we can have a triangle here.

Which is going to.

Roughly keep the same.

Actually, that's actually a square where you have two triangles together.

That's actually a square.

So which is kind of like create a little bit of a bubble inside of that area.

You need more faces here.

I'd rather have a little bit more than a little bit less.

There we go.

Most things around.

Here we go.

And that's it.

Now, here you can see that we're facing a problem, right?

We created this new line and now we're facing a place where we are not going to have that line.

Just make a triangle.

Right here, keep it square.

That's fine, and that was just a matter of filling in all the rest of the elements on this front side.

It's actually very simple.

Triangle there, no problem.

Triangle there, no problem either because they're already on parts that they're not going to move as

much like they're following or flowing in the same way that we need the leg to flow.

So it shouldn't be that much of a deal here.

I definitely want to have like a couple of more squares following.

Going to have like another line here, here, here.

If we need one more line here going into the torso, that's fine.

There we go, we create this very nice effect.

Again, we don't want as many lines if we take a look at how many lines are here in this look, we have

11 faces, so it's going to be twenty two on the other side.

If we do a quick check on the on this one right here, we have 41.

So it's more than I should, um.

We have 31, so we're going to be a little bit high on the top here, we're going to have to simplify,

but we have a very good project here, a very good process.

So now back here, same deal in a couple more faces here just to keep it the closer.

There we go.

And then same deal here if we need to to do a little bit of.

Well, very work here on this area, that's fine to search the glutes so the glutes are not going to

you're not going to form the glutes individually unless you're doing like this sort of like very bizarre.

I know kids show sometimes do this very wacky dances with their characters where everything jiggles

and moves around.

If that's the case and you might want to loop and have a little bit of a cleaner topology back here,

but usually, like, if you're doing like a God of your character or something like that, then that's

not something you're going to be facing.

Let's join that.

There we go, see how we keep the middle section, that's very important triangle there, then just

smooths things out.

Smooth, smooth, it's going to give us a clean topology there.

Good volume, which, again, is exactly what we're going for.

And there we go.

So now is just a matter of going to the front of you, grabbing all this, Bernice's turn off the live

surface.

SNAP this together.

And mirror this to the other side.

Look at this beautiful leks, guys.

Look.

Pretty cool, right?

Pretty cool.

This are going to work just fine, as you can see, they have this very nice silhouette, these very

nice volumes.

All of this we're going to go display soft edge.

We can, of course, leave everything for his transformation and do all the necessary steps.

As you can see, this is working really, really nice.

And now I'm just going to finish this with we're going a little bit longer than usual.

But I just want to finish this bit with how we combine both of these areas, because it's actually very,

very simple.

I'm not even going to worry about the like the details from the cloth, because all of that's going

to be baked.

I'd rather have just like a straight thing right here.

So I'm going to grab this guy right here.

I'm going to stretch this out so that it's very, very flat.

Probably rotate this around a little bit.

There we go.

Combine both objects.

And just start merging, so I don't think we have the exact same number now, so you can see here we

have twenty five and here we have twenty six is just one extra.

Which is weird, though, because.

Why do we have twenty six, like an extra Burdick's or something?

How many faces here?

Twenty six faces, I mean, due to the triangles, we're going to have a little bit of a difference,

but it should be.

Fifty six triangles, that's worth thirty one faces.

OK, no problem, so it's going to do it manually, so one, two, three, four, five, six, seven.

And those can be very easily joined like this.

I am just going to grab my my bridge to here and I'm going to start doing like one one triangle there.

No big deal.

Don't relax, though.

Don't relax.

Just just fill in the gaps.

Square.

Where square, for instance, this little triangle there, we definitely don't need going into the next.

The middle section is going to be important because that's the middle section.

That's like that right there goes a little bit off of center there, but that's fine.

And we're going to have something like this.

And probably something like.

This.

There we go, there we go.

I don't like having this, like, encounter triangles, like whenever you have a triangle, it looks

really weird to have this like two triangles.

So I'm going to show you how we're going to fix them.

There's a couple of ways to fix them.

I personally think that it might not be a bad idea to reduce the amount of lines that we have up here.

So I'm just going to start snapping them up here.

I'm going to leave it the triangle there.

I'm going to stop it here.

Here.

OK, because it's too many lines, it's too many triangles.

So same deal here, like, I would rather have the triangle a little bit higher on the on the torso

of the character than right there on the division that we might need these two triangles.

I don't care that much about.

Neither do I care about those.

I am going to grab this guy again, make it like jump back into Quadro with this guy and just do a little

bit of.

Relaxation here just a little bit, because, again, you can see that we have like the flap there,

but it's going to be covered by the belt.

So I'm not I'm not too worried about that.

I want to make sure that we capture as much of the form as possible.

Getraer's is slightly asymmetrical.

We knew that all the way from the from the chest right here, but that's just fine.

So now we take a look at the character.

Look at this.

Just like the whole guy must display soft netsch, delete everything to keep it clean and look at this

beautiful, handsome guy.

So this, my friends, is perfect.

They're going to work.

And again, one way you can quickly check this out is if we were to grab the guy, I was going to go

into the form.

I'm going to create a non-linear bent, which is going to create a line.

And if we upped the curvature of this line, we're going to be able to bend the character.

So let me bend it and then we can rotate the line.

And if we bend him forward, just like like a clay character, you should be able to see that all the

geometry holds together.

Like we don't see any weird triangles or anything like popping out of the geometry.

So I know that eventually when this guy deforms with bones and everything, he's going to be the forming

and moving just right.

This is, of course, a very like archaic way, very like old fashioned way to just test things out.

But it's just a matter of checking or making sure that the geometry is moving in a proper way.

So with this guy, we're pretty much finished with the main body.

Now we're going to start jumping onto the props and all the remaining parts of the character.

So you keep on going, make sure to get to this point.

Make sure you have a very nice clean topology and I'll see you back on the next by.