All language subtitles for 12. Retopology of the Knees

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

the night.

We're finally done with the main body of the character.

I'm going to do a little bit of cleanup here.

I'm just going to delete everything.

All this main body underscore lo.

Remember, naming convention is always good to have.

So make sure you have it very, very clean and we can hide it.

Of course, control h we can go with the with the main body here.

We can also hide that no longer need it.

I actually like to do the following.

I like to create a group and empty group.

I'm going to call this finished.

Finished pieces.

I'm going to get the main body low.

Let's call this finish bassist's low, duplicate the group and this is going to be called finish pieces

high.

So the main body is going to be in the main body low and this high quality guy is going to be in the

finished high later on.

Again, we're going to do a lot of organization before the Blitz, but for now, what they can do is

it can turn this groups off.

And that way I know that anything that's not in those groups still needs to be.

So, for instance, this now I sometimes do this where I create extra faces.

You don't need this.

You don't need this.

Transform groups.

You might lose the some of the colors or materials.

Let me see here.

We believe that the pants somewhere.

There we go.

So where are the pants?

OK, let's just grab everything and say the history, there we go, so now we should be able to delete

these two things and nothing should happen.

So these two guys control to hide them.

And I'm now going to go into the Nepenthe path here.

And let's go with knee pads.

Now, just one cool thing about the knee pads.

If you remember from the from the video where we did the actual geometry, it was a little bit complicated

to get like the perfect shape of the knee pads.

And this was something that I want to stress.

Sometimes some tools are not the best tools for each of the specific jobs that we need to do.

This is one of those cases like sea, even though it was a good option.

Now you can see that this doesn't look like a hard metal piece.

It looks kind of like just clay.

Right.

So what cool things about the redeposit process is that we're going to be able to modify this guys and

make them look even better.

So you can see that these are two pieces.

First things, I'm going to do something, delete half of it.

I'm going to grab this guy right here and I'm going to move it forward because as you can see, we have

like that like the top part of the object and then the bottom part of the object, I'm actually going

to move them.

It doesn't really matter that we're going to move them into different places because we're no longer

going to be using the main pieces from Seavers.

We're going to be rebuilding them pretty much from from scratch.

So I'm going to go here, go into our life surface and we start drawing.

So the good thing is we already have the shape.

This is something that we could have also done in Seebruck.

However the media can do, we are going to be that much longer.

So that's why we decided to go with this.

It's kind of like clean claymation style, right?

So what I'm doing here is I'm making sure that the loops of the objects are going exactly where I need

them to.

You can see here we have this sort of like flaring out of the element, actually, and they just push

this guys all the way to the top like this and then add one like this is the border.

This is where we're going to have the border.

So very important that we have a very nice and clean loop going all the way around the border of the

object.

For instance, here, we're going to need another face.

There we go.

So we have that very clean border going up.

If you need a couple more faces, that's perfectly fine.

I've seen a lot of people do this.

Several of the of the.

Of the information that I've gathered from my experience is that when you're doing very specific, like

hard surface stuff, it's fine if you starting sieverts and then jump into Miette to refine it.

Some people like to do mine.

Some people like to do the emacs, some which software you feel more comfortable with.

But the truth of the matter is that unless you're doing like super high poly elements in Seabridge,

the the nicest or cleanest topology will always come from software that can actually manage it in a

nice way.

And there are not as cultural aspects here.

And I do a triangle there.

And then this guy is going to float down.

Very important, again, that we need to keep this sort of like a border going.

This border is going to be really, really important for us, for the for the general shape of the of

the peace.

So let's just push this to the side.

And we're also doing just half of it, right, because we can do half of the element unless it's rotated.

Let me take a look at the top you.

Now it's pretty straight, so so we can do half of it and then duplicate it to the other side.

Which will also save some time.

We keep doing this border right here.

And we finish careful there.

That one went a little bit too crazy.

And we finish.

With this.

Phase right here.

There we go.

Now, what we're going to do is we need to finish all the inner part.

However, for the inner part, it's not really necessary that we go like super clean on the under the

body as long as we roughly follow the same amount.

Of course, here we have an issue there.

That's a problem like that.

That's the the black face masking, not actually working in commercial.

So, again, this is one of the cool things about doing this, like rebuilding process where we're pretty

much doing the piece again, which might seem like a little bit repetitive.

But to be honest, it doesn't really take that long.

It's probably like 10 minutes per piece that we're rebuilding this way and it's going to give us so

much better results.

This is the same thing that we would have to do in Cuba, what's the word by by hand?

Remember, I show you how to do a on on the last on the last course.

So this we can also do.

However, I personally am faster doing redeposit here in Miami.

So normally if I were doing this character for like a fine or something, I would definitely start several

pieces in Cuba and then other pieces would be done directly here in my.

Now, we're just going to isolate this piece, because that's the part that has the mistake and I'm

just going to use traditional like poly modelling techniques.

Let's bring this guy forward.

These two guys, forward or backwards, another let's get this guy as well and backwards, backwards

go now we just need to finish this area right here.

Think this guy can go down and back?

Like this one, too, and we.

Bridge, same deal here, one and two and a bridge.

Now, here, things are getting a little bit crazy, so let's just move this case here, here.

There we go.

That's a little nicer.

These two, for instance, we can just merge the center and then this guy's just picture perfect.

So now you can see that we've rebuilt the element and it's going to get this guy right here to bring

it back.

And that's it.

Go to the front view F to frame grab all the inner vertices, the ones on the on the border of the object

are to snap them, grab them again.

I think I've missed a couple.

There we go.

Just moving a little bit.

Not that much.

We don't have the snap line that we can use, but we can just go from here on in the mirror sections

when we're going to change this to bounding boxes so that it goes to the to the border and then duplicates

to the other side.

And as you can see, we get this very, very nice piece right here that's a lot cleaner than what we

had before.

And here's the important bit.

We're going to be doing a little bit of subdivision division because if whoopers number three, you're

going to see that we do get a nicer shape, but we're going to lose a little bit of detail because we

don't have supporting edges.

So I'm going to go into mesh tiles, insert loop, and we're going to insert a natural on the border

here, double click the to relative distance.

One on the back, one on the front.

One of the top.

Now, here, I'm probably going to do one this side.

And you remember that we did the exact same thing in.

This supporting lines, I'm going to go into Marshals' Offset.

We're just going to insert two lines and there we go.

So now when we put number three, look at how clean this shape is.

Right.

Way, way better.

I think this line, it's maybe it's going a little bit too much.

But look at this beautiful shape, right?

It seems like we had an issue there.

See that line for there?

So that's a problem.

Let's go back out because of the triangle, right?

OK, perfect.

So so let's just let this go right here.

And we're going to do.

And after that, Schlup.

Nationals also that ship in the middle.

And on the front.

That's going to give us this very nice, sharp look here for our character.

Now, unfortunately, we I mean, we can work with this.

We can definitely just take this into into substance.

I'll show you later how we're going to create a high quality definition of this image or of this model,

because I don't want to bring this guy like higher than what we have on the character.

So if we have this character right here and we take a look at this new this one, by the way, we don't

need any more.

We're just going to duplicate this guy and create a new one.

To get the second ship, there we go, and we're probably going to delete some of the areas.

Let me just bring this back, because it's the same, remember, it was very, very similar.

So actually it's a little bit different, so we'll have to do it.

So, yeah, we don't want this nepenthe.

To be more dense than the character, like if you grab both of them at the same time, this guy shouldn't

be that much denser.

However, we do want it to to hold the edge in the best possible way.

So what we're going to do is we're actually going to delete some of the vertices or the edges that I

just gave it.

Let's delete them.

Because later on, we're going to create a hyperbole and we're going to make the hyperbolic version

from this guy into the into the Hyperloop.

So this this is the one that we're actually going to have this one right here.

It's going to mesh display soft netsch.

That's going to be our our main element.

And the the normal map, the textures are we're going to be adding on top will help us make sure that

it looks like sharpened on the middle and on the edge.

You'll see how we do it.

That's a little bit more.

Has to do a little bit more with textures, but it's it's a very similar process.

So let's just bring this back here to where it's supposed to be.

Let's grab this guy.

Isolette.

Actually, I'm not actually just inside the main body go with this guy again and Quadron and very similar

to what this guy is going to be lipservice with Quadro.

And it's just a matter of.

Redrawing that the whole thing.

Right.

So this is kind of like the border, it's going to do the border first here real quick.

Thickness of the Arctic Sea, this black line, so that's that's an issue of, again, the decimation

or maybe even the modeling, I could have messed up on the on the modeling.

And that's why we're getting that sort of stuff.

And and it's very important that you pinpoint whenever you have those sort of issues, because all of

these issues are going to be baked into the normal map and you're going to get like some very, very

weird results, as I've mentioned, for that for the Sèvres cause.

The main idea was not to do a production ready character.

It was to do a final concert piece.

Right.

So usually artists who work on on the creation of games and movies and stuff, they will do dirty passes

like that character and then more advanced character artists will take from there.

That will take the models from there and they will clean up whatever they need.

There's a guy named Djata Chayefsky.

If you want to look him up, he he's a monster creature guy.

I had the fortune of having a class with him several years ago, and he's really, really good.

Unfortunately, he doesn't teach outside of certain schools, I think.

But he he works as a as a concept artist.

So he won't do or he usually doesn't do production ready models.

He'll do just very cool renders out of subversion, Photoshop and Quijote and that's it.

Right.

So so there are certain jobs out there in the industry that don't require you to do all of this process

right here.

So here, very easy just to save this.

I'm just going to bridge from top to bottom and then I'm just going to manually like I don't want to

do this anymore.

The life service.

I'm just going to do this and manually.

I'm just going to like that here, for instance, and then bridge from here to here.

Here we go.

And I'm going to have I'm going to just click control and shift to at the church on the on the shelf

that way, if we need more troops, I can just add them there, grab this guy and this guy.

Now, one very important note, and hopefully you've stayed all the way through this part of the video.

One very important note about props, guys, is that props don't need to follow as as as a budget process

as the body, because props usually don't benefit.

They don't deform.

So as long as the topologies clean, meaning only and triangles and that sort of stuff, you should

be fine.

Don't don't don't sweat too much about it because again, you're not going to bend.

So the reader knows how to rig them so that they they might be a little bit of overlap with the character.

But usually you're not going to see any sort of like bending of this elegance.

So when the knee of the character bends, this thing will just follow one of the joints probably.

And you'll see this thing like just moving.

So it's snap them, both of them master center of these two guys and master center and look at this.

Very nice.

So again, I know that this is not how the piece is going to look at the end, because we're going to

be adding we're going to smooth this out and we're going to add to baldish to make it look sharper.

But this is a very good low poly of the of the armor piece.

So just grab this guy.

SNAP.

Mayor, the thing.

Let's check in with the other one, this guy, as I mentioned, we don't need them anymore because we're

going to be doing something different with this guy and another type of cleanup.

And that was just a matter of of getting this where it was supposed to be.

So let's send the pivot.

There we go, I think it was something like this.

Now, there's a couple of vertices here that I don't super like.

This one right here and this one, this one, so I'm going to bring them up.

This one as well.

This corner is just picking them up.

So they create a little bit of a better ramp there.

So, again, just imagine that this guys later on, they're going to have their support.

They just display something.

We just clean them up.

And now both of this, we're just going to bring the body out.

We're going to position them where they're supposed to be, which is about there.

You can rotate them.

You can do whatever you need to make sure that they fit as nice as possible.

For instance, this, I think, goes right about there.

That's when I think we have we can have a little bit of overlap with that, with the other one.

Think it's fine.

There we go, grab both of them mirror and we're going to mirror them on the world X negative to have

them on the other side and there we go.

The kneepads are ready again.

The important thing here, silhouette, make sure that the silhouette is really nice.

All the detail, not the hard surface, the metal.

Look, we're going to have a later on.

So that's it for this the guys.

Hope you liked it.

I'll see you back on the next one.

When we continue with this, we're going to do the the shoulder darts or the elbow guards over here.

So hang on tight and I'll see you back on the next one.

Bye bye.