All language subtitles for 10. Retopology of the Upper Legs

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

of the upper legs, so let's get to it.

This is where we left off.

As you can see, architecture is almost complete.

Just this little extra bridge that we need to do.

We're very, very close.

So let's get to it now for this.

Like, I'm actually going to make it a little bit easier for us.

And and I'm going to show you again the same trick that we did before we deal with the arm.

I'm going to start with a cylinder.

I'm going to change the divisions of the cylinder to 16, which is the same amount that we have on the

on the lower leg.

And I'm going to use the cylinder as a base to save me a little bit of time, especially on the on the

initial block in here.

Now you can see that the direction of the lines will be a little bit skewed.

That's fine.

It's completely normal.

We're going to delete the top elements here.

Like this.

Like this, there we go.

And I'm just going to like this guy, make it live surface again, windows and mesh and conform.

Remember where you sit here.

There we go.

So that's going to give me a little bit of a head start.

You can see that the lines are not perfectly like uniformly split.

Sometimes you're going to get a little bit of extra movement or extra space in certain areas is just

a matter of moving moving them around.

Oh, my God.

I feel like my tongue is.

Tirtha.

So here we go.

Now, as you can see, the most interesting part about the armors are this things right here, right.

And it's the same thing that we just saw with the detail here on the lower leg.

Like we need to find a way to keep our up and down topology, like flowing from from top to bottom,

left to right, while at the same time, like getting these things into into the project.

Right.

So what I'm going to do is I'm actually going to start by creating the the outer border here.

We don't need to worry about this inner edge.

That's that will be overkill.

Like, if you want to do it, go for it.

But it's definitely take way more time than I think you would be willing to spend on this sort of thing.

So, for instance, see this part right here like this means that we're going to have to at another

point right there, which is completely OK, we're going to go here now.

Remember how I mentioned that we're going to be simplifying.

I think here's where we can start simplifying a little bit like we don't want to have as much geometry

if we don't need to.

So we need a lot of geometry down here because of the details.

But now we can go from maybe 14 to, let's say first sorry, from 16 to maybe like 14 or 12 feet.

So we just keep going here.

And here's where things are going to get interesting, right?

Because we want to keep going up, but we don't want to break.

This up and down policy that we have, so what's going to happen is we're going to start getting this

sort of effects where, for instance, here this phase is going to move up like this.

And in this part, we're probably going to have something like this and then something like this and

then maybe something like this.

And that's completely fine as long as everything gets fixed or or we go back to the to the traditional

like flow eventually.

So, for instance, here.

That one's right there.

And what's really going to end up there?

We have, of course.

This line going here again, crazy, Burgess's trying to go way too deep.

Now what we want to go.

So was going to go here, double click here and clear the dots.

There we go, smooth a little bit here and we're going to have this sort of, like, zigzag thing going

on.

Right, which is completely fine.

A triangle there.

No problem.

I rather have one triangle that starts increasing the amount of points I'm ever going to have, like

a triangle here, because, again, this part is going to move as a whole.

The whole leg is going to move.

We're not usually going to be bending this particular area.

And this all of this lines that I just created, maybe even a triangle here.

Now, I think the triangle thing here would be.

Like a triangle like there, I want a triple triangle.

Sometimes we use the shapes, I'm not so sure.

I don't love them, to be honest.

Let me try something different.

Let's try it straight double triangle.

The triangle is not that bad.

And it's better so those lines, all of those lines, what we're going to do is they're going to allow

me to create the little ledge that we're going to need on this armor right here.

Now, here's a secret we can go to see brush.

So I like the pieces and sometimes sometimes not all the things, for instance, in this case, it's

not really the case sometimes that the biology here is actually good enough to just bring it into into

a spoiler alert.

We're going to be doing that with the sword, because if you remember, the sword actually has a very

low, nice topology here.

So we can utilize this to bulgy.

You raise a couple of the edges that we're not using, modify or fix a couple of others.

And we don't need to do the sword from from the beginning.

We can utilize what we already have as long as the topology is nicely built here in.

So in this case, sense that the body is not perfect, it's not perfectly optimized, a little bit too

dense, then we do need to do this.

This whole process.

Some of you might be asking, well, can we just like go here, grab this guy and try like.

Like, what's the word?

So dynamic, so like another searing measure, like let's close this thing, the cyclone, we can go

to geometry and say, hey, why not see Ramesh and try to go half right, like half the amount of the

budget that has.

Well, you can try.

But the problem is, since this is it has a very specific topology, the more you see, Ramesh, the

more you're going to lose the details, see how this doesn't look like like solid, very nice armor,

just looks like clay.

And then it's not exactly what we're looking for.

And even though we're going half, it's still not good enough.

This one, on the other hand, it's going to look really, really nice and it's going to look like actual

like arm pieces, armor plates.

That's also another thing that I want to mention.

We're going to be doing that with the pants.

One of the advantages that I see about topology, especially for hard surface, if you've ever going

to do like like the helmet for, like Iron Man or like a halo armor or something, you're going to see

that even if you can work very, very nicely on on Seabridge, some things are easier and more manageable

here in my area due to the nature of the software.

It's more control.

You can modify each Burdick's with way more tools than what we have right now.

In Seabridge.

You can measure things.

You can follow image planes a little bit better.

So I personally like to use Maiya a little bit more for for the for the hard surface kind of thing than

than Sèvres.

Whenever I need to do like a very intricate robots and stuff.

I like to start Conceiver using the same techniques that I showed you before in the in the in the other

current course, in the series course.

And then they bring those objects into maiya, give them a proper topology, bring them back in to see

Rush and and continue working from there.

You're going to see that a lot of people in their hard surface workflow, they do something similar.

They start with the blocking and Seaver's sometimes they clean that same blocking consumers with a very

nice topology.

And other times they're going to bring those into other software like Max or Motorino, like there's

a lot of hard surface tools out there and they're going to bring the the objects there to to finish

them off.

So here we go.

Now you can see that I'm not worrying about this empty space that's going to be probably a shadow or

something later on.

We can paint this as a shadow, too, to hide a little bit of that.

A specific border is very, again, common for.

Four characters.

If you remember.

I think I've mentioned in the civil course, that's where we need to avoid having a lot of, like,

hanging pieces because then it gets tricky both for the base and for this apology that you're seeing

here.

It's not the end of the world.

Just keep it in mind, if you have if you have a lot of, like, very big holes in your geometry, it

could get tricky.

So there we go.

That's the that's the basic start here.

Now, I'm going to do this things off camera, guys, just to save a little bit of time from the bees.

I don't it's not that I don't want to show you the whole process, but, you know, we've already seen

how we do it here.

And it will just be more like ten more minutes of me going about like this whole geometry.

The only thing I'm going to do is I'm going to start moving this alliance up like all of these elements.

And once we hit this area again, we're going to do the same little shelf thing here.

And try to keep the same flow going on the on the shape of the of the.

I want to show you, though, how to connect this to this.

So I'm going to combine both objects, dillehay surface information center, pivot everything.

And now we're just going to connect this.

So I know that this guy is eventually going to jump here and then on the knee.

Remember, we talked about this on the fingers.

You usually want a little bit more geometry than you might think.

And the reason is we want to make sure that there's enough things to bend once we go into the into the

skinning process, this sort of thing.

It's very important.

That's why I want to show you how to how to do this.

So I'm just going to continue here, for instance.

And once you hit this place, what we're gonna do is we're going to create a little bit of a division

here.

So like this, it's like a little bit of a Rothe.

And then on this road.

We need to capture the volume, it's a very common mistakes that people don't capture the volume of

this specific areas.

It doesn't matter if you get a lot of triangles in this area.

It's very common for cloth to be very, like, triangulated.

It's completely normal because it needs a lot of resolution to properly capture these things.

For instance, there there we go.

See that?

So we go there, they're.

They're.

This is going to come up.

Like that.

Uh.

There we go.

Now, here, they're triangle there, that's fine, so long as we captured the details, it's going

to be fine.

So this guy, for instance, we can bring it in a little bit more.

So we captured that cavity here.

Like that, there we go.

For instance, this guy, see how there's a lot of space there, just jump, jump the gap.

All of this is going to be kept around the normal map.

And again, it's better to close the gap than to have a lot of extra geometry there.

If it's too much later on, we can we can fix it.

We can have a.

Like another thing, actually, I'm going to move this case here.

Like that, I prefer that I know that we're not capturing the silhouette if we want to, and we can

have one line there.

There we go.

That's better because I want to keep the the border here on the on the boat.

I think that's it's it's very important that we.

Try to capture this.

This border that we have here.

Oh.

Let's go.

There we go.

So we finished the lip here, the little border, the LECG.

Going all the way around and now we can focus on the on the actual court itself, another another technique,

you know, it's just to to breach everything.

So I'm just going to go here.

And even if we don't have the the thing this will remember that lip service still works so it can break.

One, two, three, one, one, two, three, bridge.

One, two, three, four.

One, two, three.

For bridge.

Now we can go back into our Quadro.

And we can start adding lines, for instance, we're definitely going to need like a line here or a

line here.

Howard capturing the again, the highs and lows.

What happened there?

I'm not sure what happened there.

It loose the material.

It seems like a lot of material that's assigned to the Lambert.

There we go.

Right click if you ever lose that just right click go to assign existing material, Lamberg one to go

back into our Lambert.

And I was just a matter of.

Filling all those things in.

This one, I usually don't like having those as long as you can modify, that's fine.

But if you if you need to just.

I'd rather have triangles.

And we can relax a couple of this areas a little bit, and we want to capture as much as possible the.

The look of the lake and that's it, I think the Daleks where symmetrical in that area.

So we should be fine there.

Yeah, look at that.

Very nice looking.

So, again, display stuff, mention the latest history, everything to have this thing very clean.

And there we go.

The upper leg is ready.

We're getting that very nice silhouette, as I've mentioned.

I'm going to finish this thing off camera.

This just remaining pieces.

And in the next minute, we're going to be talking about how to finish or redo.

We're going to redo the the panels a little bit.

We're going to just give them a little bit of a nicer look because we might have to see them on the

on the character when the when the cloth is flapping.

And I would rather have a nice pant than this sort of like diaper that he has right now.

So keep on working, guys.

Hang on tight and I'll see you back on the next one.

Bye bye.