All language subtitles for 6. Retopology of the Fingers

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

They were going to continue with the topology of the fingers we're going to start with.

So let's get to it.

This is where we left off.

We finished the arm, pretty much all of the torso and the head is completely ready.

So we have all of those guys ready.

As you can see, if we take a look at how much geometry we have, we only have five thousand triangles,

which is very low, to be honest.

So we can definitely go a little bit higher later on.

But this one was looking really, really cool, like the silhouette and everything is going to be reading

very, very nicely on our final render.

You've probably already seen the final render because it's on the cover of the videos, of course,

but you're going to see how we get there with it throughout the series.

Of course.

Now, I'm just going to like this guy right here, make it live again, and I'm going to start drawing

now for the fingers.

Guys, fingers are very, very tricky.

And the reason they're tricky is because we need to make sure that we're keeping a very specific sort

of topology order to make sure that they deform in the best possible ways.

Hands are one of the most important parts of any character.

So we definitely want to make sure that things deform in a nice way.

And how is this going to be?

Well, they're easy.

I'm going to start with the index finger.

And what I'm going to do is I'm going to draw a square right here.

The first, like the vision of the finger.

This is the first Falange.

We all usually have the it's three three like bonce here on the finger.

And this is the first one.

This is the second one.

And this is going to be the third one.

So the way I like to do fingers is I like to draw like this sort of like boxy looking element here.

And it's very important that we give this middle line very, very clean, because that's where the reagor

is going to be placing the bones.

They're going to eventually bend the fingers in the in the animation in the rig.

So if we were to just like writable Ojai's everything like sausages, just like a cylinder going across

the whole finger, it would be very difficult for a Reger to find exactly where to place the bone.

And then when they bend the fingers, the fingers might bend in a very weird looking way.

Remember that the first division is the longest.

So when you take a look at the divisions here, make sure that they are slightly larger than the rest

of them.

And then the second one is the second longest, of course, and then the last one is the shortest.

So there we go for the thumb, though, the thumb only has two divisions and we're just going to grab

or draw two squares right here.

There we go.

Now we're going to do the exact same thing, but on the inside of the of the finger.

So we're going to do one.

This is where the sculpture comes into place, because if you sculpted the wrinkles with the finger

like I did here, it's going to be a lot easier to find exactly where this elements are.

So one, two, three, four.

Same deal here.

One, two, three, four.

One, two, three, four.

Make sure again that the length of the elements makes sense.

I want to make sure that the first one is long enough.

I would go.

OK, go.

And then the last one right here.

Now I get my my whole philosophy for topology, and it's one that I share with a couple of other artists

and they kind of all agree that this is the best option is keep it simple.

And later on, if we need to add more divisions, it's easier to have more divisions at the end, like

after you've played the basic, like, build of your of your topology, rather than trying to do it

from the from the very beginning.

Now, what we're going to do is we're going to close the squares.

Now, this could get slightly tricky because as you can see, the camera doesn't really play well with

us.

So what I'm going to do is I'm actually going to go into the fingers and I'm going to use my Bridgton.

I'm going to do those three bridge.

These three bridge.

This three bridge I'm presenting the letter G on my keyboard, the letter G repeats the last action

that we did.

So in this case, the action.

This is the bridge to and therefore it's just repeating the bridge.

It's a very, very handy tool, especially when you're doing something that's very repetitive, such

as this specific part of the process.

So letter letter G.

Just got a couple of these guys, g finally here.

We're pretty much creating, like the little box, if you remember, I believe when we did the Palladin

on Seebruck, we did something similar.

I started with a very single or very simple finger.

And then we we duplicated the finger and created the whole Hanso.

So very, very common for us to do this sort of thing that we go and now comes the magic, because now

what we're going to do is I'm going to go into my Quadro again and I'm going to have one line on the

top.

One line on the top, one line on the top, one line on the top, one on top, and one of the sites

and see how the finger immediately gets this sort of like sausage look like it gets more like circular

there.

For instance, we got some weird mistake.

That's fine.

We can fix it.

I'm just going to move this thing back here.

To the Union of the Fingers, let's find where the other.

Pointis, remember, if the burtis verdicts becomes like crazy verdicts, just do it manually, go back

into your Quadro.

Here you go.

And one more here.

There you go.

So, again, Gracie protects this guy right here.

Just move it to the position and there we go.

So now now all the fingers have volume, which is exactly what we're going for.

Right.

This is going to help us get this very nice hand, the shape that we're that we're looking for.

Now, we need to combine all of the fingers into a single element.

And the way we're going to do this is we're going to go to the side of each finger and we're just to

connect them like this.

So it's very important.

It's a very, very common mistake that people make when they're doing biology for four fingers.

They they somehow forget that there's a little spacing between your fingers and they and they sometimes

merge this and that.

That's wrong.

You should not have a V shape here in between the fingers.

It should be like a U shape.

There should be a little bit of space.

The reason I believe some people forget about that is because they want to keep it simple.

They don't want to have as much geometry.

And of course, if we just like combine them into this sort of like B shape, the amount of damage is

going to be lower.

However, you're also going to get these very weird fingers that when you spread your hand out, you're

going to get some very weird information.

So I always, always, always do my characters like this.

And I'm going to show you in the next video, probably on this one, depending on how much or how we're

doing on time.

I'm going to show you how we're going to remove the amount of geometry that we have here, because,

of course, there's a whole lot of geometry here, too, to get them into a better position.

So now we're going to go onto the actual, like body of the fingers and we need to do a couple of tricks.

This is a very traditional way of doing a joint or doing this, bending parts of the fingers.

Usually one of the issues that we have with that formation is, is the following.

When you have a a block, let's say this sort of square.

So for a second.

That's the vision like this, usually when you have something like this and you're Riggert, I'm actually

going to rig it for you guys so you can see the whole process.

So let's say rigging the bone, it's going to be one, two, three.

There we go.

So I am going to grab this two joints.

I'm going to grab the box and I'm going to say rigging skin wineskin.

Putsy.

It's an object move, so want to object, smooth skin binds.

There we go.

So when you have this and you bend an object, one thing that usually happens, of course, the weight

is not properly done here.

But you can see here on the on the inside how the weight is actually losing.

You're getting this is sort of like lost the volume on the bending part of the of the element.

And that happens because Maya doesn't really know how to modify this kind of thing.

So one way that we usually offset that is by making sure that there's enough divisions.

Like Quadro.

If we have enough, we're actually looking at the Internet.

Look, let's go back to malling tools and search.

So if we have enough divisions on our element, even if we go crazy like that, what's going to happen

is Meyer will know or it should be a little bit easier for Maya to know how to properly the form of

this sort of things.

So now when we've been this, you're going to see that we don't lose as much volume.

Of course, the weight is still not properly done, but you can see that there's not a lot of volume

lost here on the on the bending area as what we had.

We just like a single division.

So that's why for a long time and still we do when we are doing our characters like this guy or when

we're doing fingers or like legs and elbows and everything, we try to have enough subdivisions or enough

divisions on the bend, the areas of the of the object, because that's the part that we're going to

need.

So usually you go one and two.

OK, so in every single division you're going to have like one supporting each on each side of the elements

or one, two, one and two, one and two.

Again, that's going to help the Reger make sure that the weight, the force properly when he's doing

the skinning and the Rick.

And we're not going to have that much of a candy effect nowadays.

There's also like muscle systems and bland shapes in the formations that help us alleviate that sort

of effect.

But for games, we still don't have those.

Or if we do, there are a little bit expensive.

So not all of the games use them.

Therefore, this technique is still very, very handy.

Now we're going to add one or a couple of divisions.

I think one is fine on the tip and then one here.

So we're going to do tip and then the middle of the finger tip.

The middle of the finger.

Tip middle of the finger.

Same here, that's going to help again, get back a little bit of the lost volume and then probably

just one in between each of the of the main lines right here.

So one one, one one.

And so we take a look at this.

Well.

We should have a very nice silhouette.

I think I'm going to add one on the base as well.

It's going to help give the fingers a little bit more shape.

We're missing one here, one here and there we go.

I'm definitely going to add one in here just to keep the size of the squares consistent.

And this is something that's going to be very, very common for you guys.

It's something that when people look at wire frames, any art director, a recruiter will take a look

at this.

You get to make sure that you have the more geometry or more squares where the details are needed the

most.

So, for instance, the face should look definitely denser than the shoulder.

If you have a very dense shoulder and very low poly face, that's a no no, because you're using square

words are not important and you're missing those squares in the parts that are actually important.

So it's very common that the head and the hands, sometimes even the feet are a little bit denser than

the rest of the character.

And that's completely fine because those are the parts that have the most specific movements.

Right.

Like very, very fine movements that we need to take care of.

And and yeah.

So this is it for the fingers, guys.

Again, make sure to the history of this transformation and do everything to make them clean.

I'm going to stop the beauty right here, because I know that this is probably going to take you a little

while to to figure out again, the the way to do it is very simple.

Start with squares, add the visions and make sure that they form in a very, very nice manner.

I have a lot of experience doing this.

That's why it took me very little time.

But if you feel like it's taking you 20, 30 minutes to do, it's completely normal.

The first time I was doing like with the body of four characters, they would take me like two days

to finish the whole thing.

Nowadays I can if I'm in the zone, I probably can do it in like two or three hours, the complete character.

So it all depends on the practice.

It all depends on how complex the character is.

Make sure to take your time and I'll see you back in the next meeting where I'll show you how we're

going to combine both of those things, which is going to be quite the quite different.

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

Bye bye.