All language subtitles for 4. Retopology of the Chest Details

Hey, guys, welcome back to the next part of our series that we're going to be talking about, the

apology of the chance, the details, we're going to go into the stitching of this elements that we

were working with on the last video.

So I just clicked here to make the live surface, make sure you're safe and I'm going to this guy.

And now we need to find a way in order to to get this guy like this little belt buckle into the topology

of the chest without modifying too much what we already have.

So the way I like to do this is I like to erase all the faces that the element is touching, even if

it's touching it just a little bit.

I'm going to erase all the faces, keep only the faces that are not being affected by the element.

Maybe this one's not that much right now.

What we're going to do is we're going to select both objects, both Poly's.

We're going to go into mesh, we're going to combine them.

And what we're going to do is we're going to stitch together the elements that we have here.

Some of the vertices are going to be really easy, right?

Like, for instance, this guy that's pretty straightforward, even this guy.

But for instance, this guy right here, it won't be as easy to know exactly how to stitch it.

My advice is make sure it makes the most logical sense.

So, for instance, here I could have come here and now the triangle, but why not just move this thing

around a little bit and make sure everything's squares right?

As long as everything is a squared and it falls in a very nice way, you shouldn't have that much of

an issue with the with the rigging process.

Now, going back to this site, for instance, that one's a very straightforward patching.

This one's very straight for the war as well.

That one stitches there very nicely as well.

Just we just need to find the exact point of view.

Can't just grab both birdies and go Mersch.

The center should be fine as well.

Let's go back here, for instance.

This guy can over here.

And here's where you might have a couple look like trying some stuff.

However, this is very important.

I strongly advise you against modifying the center line too much.

What do I mean by this?

We already have this central line going right here and I usually want to keep that one as close as possible.

So it will be better to just move this thing around and maybe have a triangle.

But on this side, that way we have a clean line going all the way through the side of the character.

And if we need to cut or do any sort of like, weird movements here, it will be easier than having

this triangle be here and then breaking the the actual, like, middle line.

OK, so just try to keep your center line as clean as possible.

It's not going to be a we're not going to be able to have like a a perfect center line, of course,

because this is no longer symmetrical.

However, we can definitely keep it clean.

Let's move this thing here.

I think they're perfect now here, for instance, why not just have a triangle in that way?

We get a very nice square there.

Here we need to follow the Batman cape.

OK, so we're just going to add another line here, another one here.

So that we can have this thing follow or flow in a very nice way.

Let's get that point away from us, this one right here.

Now, here, I mean, it's a weird area, but we can that's a square, definitely a square, so that's

fine over here.

I'm going to add one square.

We're actually.

And probably this triangle is a little bit better.

Yeah, because this guy's at least follow, roughly follow the same moment here, and then we're going

to use a little technique here.

We're going to double click this area, Mesh Filho, and then with my copter, it's going to make these

two tracks.

Now, I know that this topology doesn't look as nice as what we had before, but don't worry, this

is called stitching.

And it's relatively normal that we get this this sort of element.

It won't look perfect if you any more than you've been the character.

This thing is also going to bend.

And that's something that we can't avoid.

Video games do it all the time with armor and the like, all the extra pieces of like metals and stuff.

If you were doing this for like let's say for like a film or TV production where the body count is usually

super, super high, then all of this will be like just separate topology.

The koff would be simulated to get like the exact wrinkles and everything.

This is only for video game or low poly productions.

OK, now here at eMESH and we're going to.

Feel whole again.

There we go with my.

I'm also going to make this triangle so that it looks like a stitch and that's it.

As you can see now, the silhouette is looking really, really good.

Can see the little black circle element right there.

Remember, all of this is going to be eventually smoothed out with the mesh display.

Soft.

So this is what you would see in game or on engine, which is perfect, and now we just need to finish

all the other.

So remember why I said, hey, let's wait on this guys a little bit and then we'll we'll jump back into

them.

Well, one of the reasons is some of these things could be added as a separate piece, like a piece

on top of the unmount so that we don't interfere that much with the topology that we already have or

or since this guy's even though they do change the silhouette, they're not as important as this main

bell right here.

We could let these guys be just floaters.

A floater is any element that's going to be floating on top of the geometry and that's going to be projected

onto the map.

OK, now I'm going to jump onto the side here.

Remember I mentioned like, how could we add a little bit more detail without breaking the topology?

And if you remember, I mentioned on one of the sites that I think could benefit from having this sort

of element is this loop right here.

That's like a line that's going all the way through here.

So what I'm going to do is I'm going to start moving some of my vertices so they match that exact same

height that we're going for.

Usually, if you can accommodate the the vertices that you have to follow the shapes that you want,

that's going to be way easier than adding extra geometry.

But there's going to be places, for instance, here where we can no longer, like, follow the topology

properly.

So what do we do here to we're going to grab the cattle and we're going to say, hey, you're going

to flow in this direction.

And usually we're going to find some sort of bertice or some some sort of face that we can use as an

anchor point.

And that's where we're going to end our little like modification of the part of the torch.

For instance, here, we can definitely go here and hear a lot of people get really, really scared

about adding triangles to their to their work because they think triangles are like ible or something.

They're not evil.

You just need to know how and when to use them properly.

For instance, when they use my Cuttle again here, we're going to cut from here.

Here and then we're going to anchor ourselves right there, that way when we go into our control mode,

we can move this guy to the side a little bit.

Make sure that we don't lose as much volume there.

And that line right there is going to help me hold this point.

Up.

That line is going to help me hold this element right there, see how it is hung on the surface a little

bit better than what we had before.

Now, if we want to, this is where things get a little bit tricky and we want to add like an actual,

like, step on this area.

Again, with the CK2, we can start like here and then just got on this specific areas.

This.

Just follow all the way down.

They are there and there and then we have enter, you're going to see that now that the apology has

moved in such a way that we have a little bit of a shelf there.

So it might give us a little extra shadow.

It won't make it difficult for the to to rig this character.

We don't have any angles.

We don't have any, like, bad geometry or anything.

Things are flowing and working nicely and see this little thing right here.

See how this is a very small triangle and this is a very big triangle.

That's the kind of things that you want to look out for and just modify them, just move them up a little

bit.

That way we can we can capture the curvature of that little shelf a little bit better.

It could be a little bit of a problem area right there, but again, and this is one of the cool things

about working on a team.

When you have a Grieger, you're going to be like, hey, look, I did this for this specific part.

Do you think that's going to work?

And they could even throw in some bones, try some defamation and see whether they work or not.

And if it doesn't just modify them before jumping onto the next step, a lot of the of the lessons you're

going to be learning are going to be from trial and error.

You're going to try something out and then things are going to work and then other things are not going

to work.

So just just be mindful of that.

Don't don't worry too much and make sure that you you carry the whole thing all the way through the

process so that you learn all the things that you're going to be need.

So I'm going to go on this guy right now.

So the floaters, I think we're going to go with traditional geometry.

So let's erase the faces where they are.

So mentioned before, this is usually the way I like to work with this sort of things.

All of us are very.

Straight elements for triangles.

Just do this now, you might be wondering, do I need to go inside of those areas and character like

the inner elements?

Not really.

That can be very easily captured on the ngoma.

So you just need the cover.

Let's make sure Maya wants to help particular angle sort of tricky angles like the big areas, sometimes

I like to go with a small section and then just move this thing to the side like this.

There we go.

And this thing goes down.

Well.

That's not letting me let you step through this down there street straight down.

The stripped down we need to do the the manual merging of the points, that's fine.

It's again, this is Maya having issues, knowing where what depth the purchases are.

Let's just bring it out, come back here.

Get there.

There we go.

So now to stitch this again with the with the rest of the elements, we need to find a way in which

we don't create that like geometry that's going to be really difficult to work with.

Right.

So let's just put this down.

Go.

And there was one thing you're also going to be learning is the fact that sometimes.

You're going to need to go all the way to the texturing part into the into the base and see whether

or not certain areas of the character are working because it is a little bit impossible to to make sure

that everything is going to work from that from the get go.

You're going to have to to fix things.

So once we hit the texturing part in the next couple of modules, you're going to see that maybe you

will detect that.

There are a couple of things that are not working exactly as we expect.

And we're going to have to go back here to hopefully fix that specific area and then keep on working.

So that's looking good.

Now is just a matter of repeating the same thing with these two guys right here.

Now, as you can see, I did not believe this faces just yet.

Why?

Because I know I'm going to be needing them to create this faces over here.

So I can start building the little like so because, like a little loop that's going to capture.

The silhouette there.

Same here, here.

We're going to have some interesting triangles, there could be a little bit long.

For instance, I think I think it's fine, but I do think that it's way too long.

So I'd rather add one extra line here just so that the.

That the stitching is not as big and we don't get that much of a.

The problem, there we go, so now when we stitch this.

We should have smaller stitches because if you have, like, really, really big triangles going into

the abdomen, that could be problematic.

So something like this.

We go here.

We call here.

It's a triangle there.

We go there, the square here on the corner.

This one on the other corner.

There we go.

So that was just a matter of feeling empathy.

So now that we have that now we can erase this guy again.

We can just bring this thing up a little bit.

Just so that we are both having, as I mentioned, such a big space in between the.

In between the squares tried to get them as much as possible so that everything bounced nicely.

Now we can erase.

And we can start adding.

The.

The border here.

That's going to eventually.

Create.

The little segment where everything is going to.

Then the uniform that would go.

And it's just a matter of their birth.

So I'm going to finish this guys off camera is just doing the same thing I did here, triangle the square

square.

And now we're going to be jumping onto the next section of the character, which is The Bracers.

We're going to start moving down here.

We're going to do The Bracers.

Then we're going to jump on the heads, hips, legs, lower legs, foot armor are still a lot of the

apology to the guys.

However, as you can see, the process, it's not difficult.

I don't consider this process to be extremely difficult.

It definitely is a little bit tedious.

It will take a little bit of time, but it shouldn't be that bad.

Now, one thing that you're that I'm noticing here, though, is that the depth is a slightly different

see how these things are floating.

Just hit this with the relax button.

And now the character is going to be a little bit more asymmetrical because the height on this area

is not the same as the height of this area over here.

But this is going to it's going to break even better.

So just make sure to hit this with a little bit of a relax during the years that are a little bit.

Or they're not exactly where they're supposed to be.

And there we go.

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

Bye bye.