Original subtitles

Hello and welcome to this introductory chapter, first of all I would like to say thank you

for checking out this course, I hope it will be useful and I hope it will be insightful.

So in this chapter I am just going to go through the different chapters throughout the course,

of course Game Ready Character in Blender and essentially this course is going to go

through the creation of this character over here from basically just having a concept

and then doing the sculpt, texturing, rigging and also some animation basically. And the

target for this character is kind of this like an isometric MOBA style character or

like an action RPG kind of character, so it's not like a really high fidelity realistic

character, more something a little bit more punchy and graphic, so that's the overall

idea. So chapter 1 here, that's going to be the next chapter, we're going to be starting

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off with the modelling the base, so we're going to do a model that's going to become

the sculpt essentially, so we're going to do some block art essentially and then we're

going to use that to then sculpt the actual anatomy and the body and stuff, then we're

going to take that sculpt, we topologise it, get a nice flowing mesh with good topology,

good flows, then after that we're going to be finalising the body so we're going to bring

everything together and kind of tie everything up after we get the retopology, we're going

to continue sculpting just a tiny bit with a multi-resolution workflow and at this stage

we'll essentially have the finished character body kind of. Then in chapter 5 we're going

to be modelling the items, so all the clothing, all the sword, the helmet and all this other

stuff, the sandals and stuff, we'll be modelling all those in that thing. It's a pretty long

chapter but we're just going through the modelling, nothing really extreme is happening there,

but there are a few tricks and tips here and there. Then in chapter 7 we're going to be

doing UV unwrapping, this is actually the only place where we might be using secondary

add-on, which is the UV unwrap, I think it's called Blender UV unwrap, literally, and it's

free, you can go to their website and just get the add-on and the executable and then

you can install it into Blender and then using that to do some of the layout for the UV unwrapping.

It should be pretty straightforward, but we'll be using that add-on for those things. Then

in chapter 7 here we are going to be doing the base texturing, so we're essentially going

to go into the sculpt mode's vertex paint, which we're going to use to lay down a foundation

for all the colours and then we're going to be doing a lot of the colouring for the

body using that tool essentially. Then in chapter 8 we're going to continue texture

painting but now getting into the actual texture painting workflow where we have maps to paint

on and we're going to use that to do the rest of the textures here and there, some of the

helmet, some stuff here and there. Not like crazy in detail but you could definitely take

it further than we do there, but I do show you all the techniques and the necessary information

there. In chapter 9 we're going to be finalising the model, that's going to be where we have

the model, the resupology, the texturing, all of that stuff is done and we are bringing

it together and making sure we kind of have it done and ready for rigging. So in chapter

10 we're going to be rigging the bodies, we're going to create a skeleton and start skinning

it to the actual body here and get that moving. And then in chapter 11 we're going to be rigging

all the items as well, they have a little bit of a different rigging setup, we've got

the scabbard, we've got the cloth, also some really interesting things there with how we

might solve the cloth. In the course we're going to be solving the cloth with doing some

bones, it could also be simulated but for this it just made sense to do it with bones

to have a little bit of control. Then in chapter 12 here, we essentially have a finished

rig here in chapter 11, we have a finished rig of everything, so in chapter 12 we're

going to take that rig and actually do a run cycle animation. I go through a little bit

about how to do a run cycle if you haven't done it before or just how you might animate

that in Blender. And then in chapter 13 we're going to be doing a sort of attack animation

and it's just two varying animations just to see that you can do a little bit of both

here. One is looping, the other one is not necessarily something that's supposed to loop

but that's also fine. And then the very last chapter in chapter 14 we're going to be exporting

everything from Blender and getting it out into something like Unreal Engine or Unity,

in this case it'll be Unreal Engine but the process is essentially the same. And then

I'm just going through a few steps inside of Unreal, just setting up the character just

so you can see that everything works but sometimes you have to tweak a few things to get it to

work the way you want it. And for Unity of course it would be a little bit different

but you can get it there with everything you learned here, you can get to a really usable

state in a game engine. So yeah, that's essentially the chapter breakdown, going to be excited

to get started. Also in this chapter I'll just go on to talk a little bit about the

reference that I had from the previous, from the concept phase. I also did a course on

the concept for this one and I'll just go through some of the reference I had from there

and then some additional reference I gathered specifically for the 3D part for this course.

So check that out right after here. So I have a reference board here that I also used when

creating the concept for the character we're going to be making in this course. And so

that's kind of the stuff that is over here. So some of that reference will be used again

for the actual 3D process that just sort of makes sense. And there's a real world reference

and some tattoo reference, some character references and a little bit of extra stuff.

And that's all well and good and we'll get into that a little bit later. But some additional

reference that I've gathered for the specific 3D process are over here. And that includes

a lot of kind of anatomical reference, just some muscle definitions and all these things.

I think that's really important even if we're doing a stylized character, just having references

for the actual thing, right? Like what does it actually look like? And it can be really

good because in essence we are creating an abstraction, a stylization of something real,

right? We're creating some kind of stylized character, but that all builds on real world

anatomy. So having these things can still be really, really, really good. And I got

these just from, I think from anatomy 360. There's some free references there you can

grab or you can find other stuff elsewhere, but super handy to have that as well. I also

got some pictures just here and there with some different lighting conditions and some

different skin tones, different body types, just all stuff to help me along. Also some

black and white photos here of Iggy Pop because he has a little bit more of a, let's say,

an older, stronger build, which might be relevant. And I'm thinking that the body type is actually

kind of similar to this, what's going on for Baldur here in this concept from God of War.

So that might be a good reference that we can pull from in terms of proportions, right?

I also have some stylized reference and that's just because we're doing something stylized

and maybe there's something that somebody solved in a specific way. Maybe the way of

doing the pictorial is like this, like almost a very square box. Maybe that's the right

way for us to go about it. And the way that this breaks here and the way the quads are

separated. I don't know yet, but it's still good to have something like that on hand.

But as I also stated in the character concept course, this here is my main kind of focus.

I'm trying to do something that would maybe fit into a roguelike or an action RPG or something

like a MOBA, like a League of Legends or a Dota in terms of fidelity. Not necessarily

in terms of style, but in terms of how detailed it is, but then also how simple and readable

something like this character is, the X character. And that's kind of what hopefully I'll be

able to pull from the concept, but then still making it somewhat like that.

I also used Hades as a reference and this is the actual model from the game. It looks

quite different from the concept, but I also exaggerated some of the features for that

specific isometric perspective that we see up here. So the character is exaggerated a

little bit for the camera. I won't be doing that. I'll probably be doing something more

akin to what they're doing here with X and Dota 2, or what they've been doing in something

like Diablo 3 or something like that. If we have a bit more naturalistic proportions.

In addition to that, I also have some topology reference. The topology reference could also

be really good just to see how detailed should I be going. I could be going a little bit

more detailed than this. That wouldn't be too bad, but I also don't need to go more

detailed than this. So that's kind of the trade off there, but I might. Here they go

a little bit more detailed than over here, but not too much. It's still within the same

range, but definitely the face seems to have a little bit more fidelity maybe around the

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eyes and stuff. And definitely the textures are a lot more detailed than they are on a

character like this. And this is probably more what I'm thinking in terms of simplicity

of materials and these things. So that's also a really good reference to have. And if you're

doing something slightly different, then having reference like that can be super useful. So

that's the reference I have for the modeling process itself. And then I also have some

reference when we get further into modeling some of the details or doing some texture

work, then these kinds of things are going to be really useful. Some real world reference

here and there, but also maybe I'll steal a few things from these other guys. And then

some pattern work here. And yeah, I think that's pretty much it for this chapter. And

then we'll move on to the next chapter.