All language subtitles for 5. Retopology of the Arms

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

the hour.

So let's get to it.

This is where we left off and then we jump onto the arm.

So all of this like armor pieces that we have before we do the hats, which are going to be really,

really interesting.

Now, before I jump there, I want to show you a cool little trick for certain areas.

It might be a little bit difficult to do.

So, as you can see here, we finished a little like offset or a little edge loop on the sides of this

detail right here.

You can always use, like the bridge tool to fix or stitch these areas without having to do them manually

with them with the Quadro, because, you know, the quarter sometimes has a wonky way of doing this

sort of like crazy areas.

So feel free to just use the bridge tool in case you need it.

The only thing that you need to remember about that is that any time you use the bridge tool, you need

to have the exact same amount of edges on one side and on the other.

Otherwise the tool will just won't work anymore.

So the object is already on the surface mode and we're just going to start drawing.

Now, we already know that on the top side here we have if we double check here, 12 sites now to display

this thing, which is really handy.

You're going to go into Windows UI elements, no sorry, display, heads up display and you're going

to select the object polygon.

So now if I select this loop, I'm going to get 12 faces, which is the amount of faces that we have

going around.

And I'm going to do the same trick that we did with the head.

I'm going to duplicate this thing.

I'm going to change the name to arm.

And then on this one right here on the new one that we just duplicated, I am going to delete this line

so that we can delete every single piece on the on the topology here.

And we're going to start working from this guy on.

So the way we want to approach this kind of thing is we want to make sure that everything fits nicely.

OK, this is because we're doing a watertight mesh character.

If we were doing a character where every single piece was a separate mesh, then we would just like

split the different parts and that's it.

However, on this specific character, we're going to be doing a watertight.

So everything should be on the same on the same mesh from the start by creating a little bit of the

main loop that we're going to need here.

So we don't really know that we need 12 sites here.

I'm going to try and capture the 12 sites here on the border of the element.

I'll show you what we're going to do here in just a second.

For now, I'm just going to ignore.

You know, the fact that that there's like some space in there.

So we're going to push this coin right here.

Going here.

Here, don't worry too much about the little like Nixon next, that this thing has like the little holes

or damages, I know that they they are asymmetrical or slightly asymmetrical.

I think.

So it's it's really fine because all of those details are going to be cashed in or are going to be projected

onto the normal map.

So we should be fine now here.

We need to, of course, give some volume to this area so that it fits on this little like dip that

we have here in between the the elbow.

Now, if you remember, I actually added this little section here so that when we bend the arm, we

have a little bit of space before this thing actually crashes.

We overlap is very, very common, especially in video games.

But we want to make it seem the the least disruptive as possible.

So.

Right.

Both here.

Well, I'm going to do I'm just going to create a little bit of a loop here, similar to what we did

with the ice.

Just going to create a little loop here that goes inside this little pocket.

We're going to have a triangle here.

And we're going to have a triangle here as well.

And make this a triangle.

And make sure that it matches another one of the Bernice's here and then this guy should just float.

Now like this.

Goes where?

Actually, are we missing?

Yeah, this one's a little bit too stretched out, so let's just move it a little bit.

And this one right there, perfect so that my friends will make sure that everything is nice and clean.

I'm going to delete this guy right here because, of course, we're going to be stitching this guy to

the rest of the arm later.

And that was just a matter of doing all this elements right here.

Now, I'm actually going to go all the way to the front here to where this piece of armor is located.

And I'm going to start drawing my 12.

ETCHELLS So the reason I want to do this is because this specific part where it meets the hand, that's

going to be a very important sticking point with the with the next couple of beers, what we're going

to be looking into the topology of the hand.

So I want to make sure that this is as clean as possible.

You can see one, two, three, one, two, three, getting almost to the side of the character.

That's perfect.

And then on the middle section here, we're going to have one, two and three.

And on this side, one.

Two and three.

There we go.

Now, I know that the 12 lines here will eventually match with this guys in a hopefully in a very straightforward

way.

I'm just going to finish this a little like LECG that we have right here.

I need to do a little bit of like the.

Little patching there later on, that's fine.

There's going to be this union.

Now, this union is going to be actually really, really important because we're going to be using that

specific line to cut the UVs so that all the seams are hidden from our main characters.

And that was just a matter of projecting this whole thing.

I'm going to go with this line right here, which to me implies that this is kind of like the center

line of the of the arm.

And one way I like to do this to make a little bit faster is I like to go for the high points of my

element.

So, for instance, high point, high point, high point.

And just like match them like this and I'm going to do the same thing over here.

So I'm going to be like high point.

High point.

High point.

Much.

It's going to be a little bit trickier because Maya wants to do some of the things you can always do

this and then just.

The leader, one of the largest.

So we have the same amount of lines now you're going to see that we're going to have something similar

to what we had on the neck, like we're going to need a couple more divisions here than we need here.

We might simplify it or we just might have a couple of extra lines that where we're going to be adding.

So we go here.

So that's high point, high point, high point.

And then we have one division there.

So this one is going to go there.

I was just a matter of filling in the gaps and distributing the things, so they are.

As close or as uniform as possible, we don't want things to be extremely big on one side and then extremely

thin on the other side.

For instance, here, see how we have a little bit more.

Geometry here.

So we need to be careful that the geometry is flowing as nice as possible, so we go to a high point.

I'll explain why we're doing the high points in just a second.

There we go, we go, there we go.

So high point, high point, high point.

Now, here's where things are starting to twist a little bit, and this this is it's not super common,

but it happens sometimes.

It's just a matter of moving things around, making sure that the lines of the of the geometry that

you're projecting flow as nice as possible.

Again, we want things to be very uniform, even if we lose a little bit of that like central line that

we had before.

That's fine.

I'd rather have some clean geometry.

And nice loops then this very like extreme twisting on the on the geometry, because at the end of the

day, this part of the character that the forearm, it's actually not going to bend as much twisting

moves as a whole.

So the topology, even though we always need to be mindful of how we build it, it's not as critical

as what we have, for instance, on the on the shoulders or on the face.

So there's a little bit of breathing room that we have here with that, with the elements that we got.

So you can see that we have a little bit more like geometry on the on this like outer side.

So it's going to start moving the the adults a little bit and we're not going to move this points up

there because those are the ones are going to be stitched to the to the other part of the underwear

we have.

So all of these guys over here.

There we go.

And I have one more line there, because we're definitely going to need it right now.

We are going to be talking about the.

The Triangle's see how things are getting a little bit too compacted here, that's fine.

This also happens on the on the leg.

You're going to see that on the leg there.

Certain areas of the leg that are going to be a little bit more dense than the others.

And it's very, very common, especially because arms and legs cannot flare out like there are really,

really thick and they become very, very thin as they go into the ankle and into the wrist.

So it's kind of expected.

So don't don't don't sweat.

Or don't worry that much about their income.

So now this thing is complete and the reason why we did this big square is because now we can actually

go here and start adding a couple of extra steps to make sure that the form is following nicely.

Now, see this like this that we have there?

One of the cool things about this process is that now, as you can see, we can very easily just add

one and he will try and follow that specific silhouette as much as possible.

So let's add like a couple here.

So we get that very nice around the fact we're going to add probably just one here and probably two

here, I think to it's going to be a good idea.

Now, we can relax, of course, to make sure that this is a little more a little bit softer.

Of course, it's following the forms as nicely as possible.

But again, the cool or the the thing that you're going for, the thing that we're looking for in this

old redeposit process is that the silhouette looks clean and interesting.

Right.

Like this sort of thing.

That's exactly what we're going for.

Later on will decide whether or not we want to increase the polygons a little bit more to get it into

a well, a very well refined topology.

We can increase this quite a bit.

But for now, I think this is this is doing a very, very good job.

So, yeah, this is it.

I'm just going to grab this guy, say, mirror world X negativities.

Fine fly.

There we go.

And now we can grab both of these pieces, isolate them.

Let's build this thing, grab both of them mesh combine.

And if you go into Burdick's mode, grab all the vertices and go into edit mesh Mirch, just make sure

that your options are set to point zero zero one.

And that's going to make sure that only the vertices that are exactly on top of each other are going

to be merged.

Otherwise you could get like some crazy thing, like if this was set to like, let's say three, you're

going to see that a lot of vertices are going to be joining together.

That's not what we want.

That's why we want this to be point zero zero one.

That's like the magic number that's going to make sure that only bodies that are literally on top of

each other are going to be merged.

I'm going to apply.

It seems like nothing happened.

But if you press number three, which is going to be your smooth mode, you're going to see that now

everything's a single mesh, like there shouldn't be any weird, like pinches or holes on the on the

mesh.

Everything should be just like a one smooth transition.

If you see a couple of kinks here and there, for instance, there, see that guy right there.

That's not to be expected usually.

But if you see that, that's fine.

Just grab those two master center, grab these two master center, make sure there's no no weird element.

So we had that there is a very probable that they're here as well.

We can't just mirror the object.

We need to do this on both sides because if you remember, our chest is now asymmetrical.

So that means that we can just, like, cut this and then do it to the other side.

That's why I'm doing one part each time, because it makes it easier to to produce the whole thing.

So that's it, guys.

That's it.

For this specific part of the of the of the character, as you can see, we're pretty much halfway done.

We just need to finish the hands and then move on to the next, which are going to be slightly faster.

I'm going to show you a couple of tricks that we can use from Sèvres to actually read topologies.

This guy's a little bit faster and and yeah.

So hang on tight and I'll see you back in the next minute when we continue with the Hense.

So by.