All language subtitles for 14. Retopology of the fur

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

of the.

So one of the big pieces here on our character and now we're going to do it.

So this one is actually quite simple because we're going to be using version.

There's absolutely no need for this specific piece to have ourselves a very bad time and trying to do

it everything by hand.

Right.

So this piece right here is is very, very good.

However, there is one the small little caveat we need to optimize this, because this piece is not

optimized in the sense that there's a lot of space that's going to be wasted and we don't want to waste

space.

Remember, that's one of the of the bad things that we want to avoid.

So I'm not going to erase any sort of geometry.

The only thing I want to do is I want to make sure that there's as little contact as possible with the

characters.

So let's get rid of the dynamic.

So there we go.

So you can see that there's a lot of cool things here inside of the character.

Again, we did this when we did the character because it was never going to be seen.

Right.

However, now we need to actually modify a lot of that empty space and and bring it all the way back.

It's just a matter of moving this.

We just need to move this things out.

Because, again, no one's ever going to see this like.

Pieces on the back, but it's important that we don't have as much overlap because eventually the character

is going to be animated, as we mentioned before.

Probably not by me because I'm not an animator, but listen, that's not my specialty.

And we don't want to have as much overlap, so see how we're hiding all of this.

We need to go back a couple of subdivisional levels and.

It's out, that's fine.

We can also I mean, we can also turn undynamic.

And and as long as we don't lose the data that we had before, I think it's fine we lose that much detail.

The texture, don't worry about the texture, we're going to recover the texture later on in textures

actual like hair textures.

So I'm just going to use my Clayfield up to.

To push this guy in.

So, again, see all of this volume there that still needs to go.

All that stuff needs to go.

Like using train dynamic for this sort of thing, just push everything out of the of the character's

body because we don't want any extra damage.

Let me turn off.

There's things that are not helping.

There we go.

So all of this just dynamic away and push it until it's out of the.

Again, the issue with having this volume is eventually when we do, we have.

Symmetry not right.

So remember, this was asymmetrical.

So here we go, see how we're pushing everything out.

Everything goes up, everything up.

Here, that's fine, like one where he touches the character is fine, just a little bit of.

Thank you, like all of this.

I'm going to go a little bit faster with the build buildup.

The mesh, which is meant to keep clinics.

This is one of the things that if I were working with this or with a client or something, I would definitely

ask them, hey, do you intend to use this guy as an animation piece?

Because if that's the case, I'm going to start saving myself and everyone else in the team a little

bit of time by making sure that this sort of thing is not asked on optimal as it is right now.

Right.

So you always want to be watching out for the for the for the rest of the team, for your for your fellow

co-workers, because the the less job you give them, the better you're going to be as an asset for

any any sort of team.

There we go, see so now.

They're suppressed pretty much a little bit of overlap here that that's fine, but like all of this,

like big chunk here.

That's.

That's a no no.

So clang, clang, clang, clang, clang, clang, clang, which, as you can see, I'm just pushing

this out because it's really going into the.

To the character.

There you go.

We'll get more here.

And actually, I was one that's fighting this fight, like those little lines on top here, those two.

I nimesh to make sure everything's clean, perfect, so so that's way, way better, I think there's

a little bit on the arm.

Yeah.

So let's clean the arm.

Overlap, especially for for video game characters and this sort of situations, it's pretty much unavoidable,

even like the most advanced of like, again, God of war and stuff, you're going to see that there

is overlap every now and then with skirts and scarves and stuff like technology is not there yet.

Eventually we'll get there where that's not even an issue.

But there we go.

Like this is the actual, like, shape or element that we want to have, like a very slim volume of

the object that sits on top of the character and that we're going to use.

So first, I need to explore this.

This is actually not that high, but I'm still going to decimate it a little bit.

So I'm just going to clone this goat here and I'm going to go to see plugging.

I'm going to decimate probably to send if I create, I think 75 Kavis is fine.

There we go, so we turn group off, we explore this, and this is going to be called this is going

to be into projects in case you're having issues matching this up perfectly.

So.

On the assets folder is going to be called for.

Oh, I think you just called it first and then I'm going to see Ramish, so I'm going to go back to

this part here, going a good geometry and I'm going to change the pollen count to something like a

one on one this to be really, really, really low.

And let's take a look at this for this sort of things.

Guys that are super, super organic, this like hair that we've created, there's no other way that

than to trust that s. remeasure is going to do its best possible job and give us the best resolution.

Unfortunately, we can't ask too much of it.

Right.

We either go with what see measure gives us or we're going to have to do this manually and it's going

to be a pain.

Like it will be really, really, really time consuming.

It will take me like about three hours.

And it's not that I don't want to record three hours, but I'm pretty sure you guys don't want to see

me apologize this thing for three hours.

Right.

Like, there's there's more interesting things to read to you.

So this is not that bad.

As you can see, there might be a couple of errors here and there, but this is actually not that bad

in total points where we're pretty much there.

I think the the the resolution is is close to what we're going for this guy.

So I'm just going to, like, soften a little bit.

Because, again, the normal map should take care of it, one of the bad things are the problems that

we're going to have with this sort of geometry is that the UVs like I think the upside of this thing

will definitely be a little bit of a challenge.

But again, we're capturing the whole truth, as you can see.

And it's it's pretty good.

There's a little bit of a hole there.

We can definitely patch that in Maya and shouldn't be that much of an issue.

So just give it a quick, quick check everywhere.

Make sure everything is good.

I'm going to try and give it one more, I'm going to try to go have some just going to eat half and

see if we can go half the amount of resolution for this thing.

This completed, but see how we lose a lot of detail.

Well, so we tried doing a half here.

I'm not going to adapt to the situation, let's do so.

Ramesh.

Like going have it just deletes so much of the silhouette, so since this is a very, like crazy looking

piece, I'm just going to stick with this.

And so I'm going to, again, go all the way down into the expert up, get rid of the group.

We're going to explore this.

As for.

And this is going to be a rematch and there's going to miah this guy, we no longer need file import

or to assets.

So this is the first.

File import taxes for Ramesh.

OK, so these two guys, we know that the scale is twenty nine.

Right from our group scale and everything gets twenty nine and the position of this guy should be a

hundred and twelve.

I do think that we're having an issue here, I think.

22 to.

So these two goes right there.

That's a little bit, but I think it's a little bit high, similar to what happened with the I think

it should be 120, 110.

Right.

It's like just one unit or something.

Well.

On 16.

Anyway, one of the cool things about the offer, by the way, is that we don't need to position it

just yet.

Eventually, we're just going to places where it's supposed to be.

I just want to make sure that the density right now is not that far off from the from the density that

we have.

So if we take a look at the character and we take a look at the fur, yeah, it's a little bit dense.

We know we need that density.

We can definitely simplify it like manually simplify a little bit of this density.

But the thing we're fine, like with the whole character would only at eighteen thousand polygons right

now.

Even with everything, we're twenty one.

So we're close to our our number.

Right.

Remember that we said the for the whole character, we don't want to go above 100.

Okay.

So, so we're in a good spot right now.

The only thing I need to do is I need to fix this sort of areas like look at this mess here.

So was going to go into.

Here.

OK, my acting a little bit weird.

Why do I have a button pressed or something?

Huh, that's very weird.

Seems like I pressed the wrong button, so I'm just going to I'm going to stop to be the right here,

guys.

I don't want to take that much of the time right now, so.

So what I'm going to do off camera is I'm just going to delete this area right here and manually patch

it with bridge and stuff just to make sure that that's working nicely.

And then we're going to move on to the next big area, which is the the actual shoulder pad, like this

very cool looking, lying shoulder patch.

So we're going to be doing the writable for this piece.

And next and and after that, we're going to move on to the remaining pieces of the armor.

And finally, at the very, very end, we're going to leave the hair because that's we're pretty much

going to rebuild the hair as well, because there's there's certain things that I want to fix from the

from the original care.

So I guess I'll see you back on the next one.

Bye bye.