All language subtitles for 13. Subdivision Conversion.ENGlish

Hi guys, welcome back to the next part of the series.

Today we're going to continue with the subdivision conversion and this is a very
very important

step that we need to do because now we're going to jump into polish.

And we've explained this before but I'm just going to go over it real quick.

When we're working with Dynamesh, as we can see right here, one of the problems
that we

normally have with Dynamesh is the fact that the way that our little squares are
organized

do not let themselves work nicely with subdivisions.

Another thing is later on posing could be potentially difficult if we don't have
things

again organized.

So I'm going to press CTRL and SHIFT to select this hand right here and the
first thing I'm

going to do is I'm going to say split and split hidden.

So now our body and the hands are separate meshes.

I'm going to Dynamesh of course and we get this very cool piece right here.

I'm going to use Trim Dynamic and I'm just going to trim this down.

Remember this is going to be hidden by the armor and everything else so no real
need

to worry and if we need to we can just extend it until it meets the hand and
we're going

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to be fine.

And now what we want to do is we want to convert all of these things that we
have right here

into a mesh that's going to be able to be subdivided. So I'm going to show you a
process

that we're going to be using on all of the pieces and it's very very handy. So
first

let's clean as much as we can. The cleaner the shapes the easier this whole
process is going to

be. Once we have things clean I'm going to go over here and I'm going to
duplicate this mesh

and on one of these meshes, you can pick whichever one you want, on one of these
meshes

I'm going to go to the option on their geometry that's called C Remesher. Now
I'm using version

23.2 of Cverse and it has a thing in C Remesher where you can retry the C
Remeshing thing.

I don't think we're really going to do it because we're not looking for
animation ready topology

we're just looking for cleaner topology. So I'm going to just C Remesh and as
you can see oh

remeshing aborted. Let's Dynamesh real quick and try again. There we go. So once
C Remesh does its

magic and analyzes the surface it's going to create loops and in a nicer more
traditional topology.

all around the character and what we see right here i think this is good enough
we can later on

like change it if we need to but this one right here looks very very nice
unfortunately we did

lose a lot of detail right we went from over here 137 000 points to only 10 000
points so what we

need to do now is i need to press ctrl d one time let's say two times so we get
as close as possible

it doesn't matter if you go over or if you're a little bit under and we're gonna
project all of

these details to this guy right here so let's get out of dynamic solo i'm going
to press shift and

click on this little eye icon and that way when we go to this guy we can see
only these two elements

we select the low poly version which is this only 008 in my case and i'm going
to go to project

and project all and i'm going to say uh it has poly paint yes let's project the
poly paint

and uh there we go so now once we do this we can turn off the original one and
this as you can see

has

pretty much all of the information that we had before but it's a lot more
optimized and

not only that as you can see when we move the camera around it goes down to the
lowest

of division and then it updates to the highest one and the reason why that's
important is

because it's going to be very easy for us to be able to switch between
subdivision levels

and keep things optimized when you're working with dynamesh everything is very
dense and

especially if you're working on a low-end computer with not a lot of ram that
could potentially

be a problem you can also see now that for instance the way that um that the
line here

underneath the pectoral muscle like flows is very very clean so as we start
polishing

all of this area we're going to have a really really clean division because
again the points

right there flow in the direction of the of the pectoral opposed to this ones
right here

that are just flowing like crazy everywhere okay so that's the subdivision
process right

there now for instance the face the face is another one where we're also going
to be doing

this process

but the face needs to have a specific loops that are going to be a little bit
easier for us to work

with again based on how we normally animate the character so when we're working
with something

like the face we're also going to duplicate here oh by the way this one right
here the old one we

don't need it anymore so i'm just going to delete and we're going to keep the
clean one so here on

the face the the one thing that's going to change a little bit is that we're
going to be using

something called c remeasure guides if you press b and the brushes all the way
down here we got

this c remeasure guides and the way this works is that they will draw we can use
them to draw

a curve remember the curve brushes that we talked about we can draw a curve
around things so for

for instance the mouth and the eyes and we're pretty much going to tell c
remeasure to try

to follow these curves as nicely as possible for instance we can draw one here
we can draw let's

say one here around the ear we can draw one around the horns so that we have a
nice clean edge loop

around the horns we can draw

let's say another one here around the eyes kind of like a mask

I like to call that the Batman mask, there we go

so by adding all of these curves now if we go to

Cremeshing here on Geometry and we go to Cremesh

we can push the curve strength up quite a bit and of course

did we duplicate this? we didn't so let's duplicate

let's go back to this one and in this one right here once we got

the curve strength high we can say Cremesh and what this will do thanks to the
fact

that curve strength is up it's going to try to catch that curvature with the

Cremeshing polygons let's take a look at this guy and look at that

beautiful loops here around the eyes we might have some spirals

like in certain elements so don't trust this topology

perfectly all the time but it should give us a very very clean

topology that's going to be a lot easier to sculpt

now we're going to have the same issue with this one we need to project all of
the amazing details

that we had before so 288 000 points let's go to this one the analogy i like to
use is like a bucket

of water so we have a really big bucket of water and we made it a lot tinier so
we need to expand

this so that we can fill all of the details in so i'm going to press ctrl d one
time two times that

should be more than enough as you can see we're pretty close only a couple of
thousand or one

hundred thousand that's fine because otherwise we're going to go really really
high we're going

to go to like 800 000 so this should be more than enough and we turn both of
them on and we go to

project and project all yes let's project the polyspace wall so it's spread and
there we go

so let's turn this off and that's it so we're back to our original effect but
now we got the

big advantage of having clean topology and for instance especially when we start
adding things

such as the wrinkles the wrinkles as you can see here actually let me smooth
this one more time you

can see the wrinkles here are going to flow a lot more smoothly along the
surface than on this guy

right here

where they look a little bit pixelated because again the flow of the polygons is
not perfect

and you could argue that hey what about increasing the dynamesh resolution well
we're already quite

high 784 so we will need to go really really high and that again becomes a
little bit more

complicated to work with so we just delete that one and there we go let's of
course get rid of

those wrinkles and that's it now for the hands we're going to do something a
little bit interesting

on the hands let's go to the dynamic solo let's dynamesh real quick and one of
the first things

that i'm going to notice is that we have this like a webbing effect we don't
want that webbing effect

that's going to make things a little bit difficult to work with also all of
these points that we have

right here all of this like non-manifold geometry that we get from the from the
closing of the holes

is also bad so i'm going to dynamesh there we go and those easiest way to solve
that is with

move brush just move them down really really close to the to the hand and then
we are going to

increase the resolution a little bit so when we dynamesh

we don't get as much of that effect

there we go we're gonna be like polishing and cleaning things up so if you guys
remember oh

my god what happened to the thumb let's repair this real quick there we go so
let's just bring

the volume back there for the for the thumb still looks a little bit wonky

so we're gonna do something very similar to what we did with the feet we want to
have like

proper topology on all of this guys so i'm gonna go again to b and my c
remeshing guides and you

can actually create some very nice guides so for instance i'm gonna create a
guide that goes this

way this again these are not animation guides but there are a good way to help
the whole thing like

find the proper topology so for instance that loop that loop let's do another
loop right there

and for the fingers if you start drawing a line and then press shift you're
gonna generate a ring

it takes a little bit longer sometimes especially when it's trying to find the
element if it doesn't

work don't worry i'll i'll come on cbrush don't crash now no please give me one
second

okay it did work but as you can see it tried to go across all the fingers that's
fine usually

shapes like this cylindrical shapes are easy for serial measure to figure out
but sometimes you

get spirals and spirals can be quite tricky to work with but let's give it a
shot so i'm gonna

go over here of course we're gonna duplicate this guys let's go back to the
previous ones

there we go and we're gonna go geometry and uh let's push the curve straight up
and see remesh

and let's see what we get

there you go so not bad not bad at all you can see a nice little uniform there
for the for the

fingers we might have uh like uh what's the word we want how this files how do
you check for spirals

if you go to c modeler and you try to insert an edge loop and it goes around
multiple elements

that means that there's a spiral

But in this case there doesn't seem to be one. So oh, there's one right there.
He's there

Yeah, so that one right there you can see that's a spiral again

It's not the end of the world having spirals like it's it's fine

We can we can deal with them just keep in mind that they can be annoying like
that's something that you don't want to have

on your

let's say on your

Animation meshes now another thing I see there is that little like horrible
thing right there

So I'm gonna smooth things out. Actually, let me go back

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And there seems to be some sort of like

Let's dynamesh real quick. There we go to clean that a little bit there and now
let's see remesh

Now we really don't have any detail on this hand, so there's really no no big
need to to clean things

It's fine so we can just keep this mesh

to be honest let's go over here this one's right here let's just delete again we
really don't have

any any big elements and let's isolate and there we go so we're going to have
our hands right here

and as we start adding more subdivisions ctrl d ctrl d we're going to be able to
start sculpting

and polishing all of the details you can like that area right there let's just
smooth it and

as you can see that gets a clean effect and look at how nicer it is to sculpt on
a clean mesh than

it was to sculpt on the dyna mesh so that's why this process of converting not
everything but

most of the things into subdivision is really really really important i'm going
to go all the

way down i'm going to turn off the um the belts let's turn off the pants the
handles there we go

because i want to see this connection right here i'm going to go to the arm and
i am going to use

just my move brush oh let's just use our move brush here to push this into the
arm socket so

that they're together again this is this is mainly for

for silhouette purposes to make sure that everything is nice and clean but from
uh from a production

standpoint we we do want to have things separate so that we can control the
resolution of the hands

separate from the body which is not going to need as much so yeah that's pretty
much it my friends

and as you can see we have a very very cool character right here let's turn off
all of

these things so we can see just the clay render and if we do a quickly very
quickly quick very

quick quick very quick best preview render or quick render we're gonna have this
right here

so yeah that's pretty much for it for this one my friends in the next one we're
gonna start

polishing and we're gonna pretty much follow the same process that we did before
so polish

of the chest polish of the arms polish of the back polish of the face and i'm
gonna be teaching you

like a lot more information about each specific muscle and each specific part so
we get a very

nice character so get to this point make sure to clean your subdivisions and
i'll see you back on

the next video