All language subtitles for 9. Retopology of the Legs

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

of the ELEX, so let's get to it.

This is where we left off with the little writable.

Did you hear of the lower leg, the feet in the lower leg?

So now we're just going to keep moving on and we're going to be facing this specific part of this this

area right here of the of the leg.

That's very interesting, but also a little bit complicated.

And here's where I want to show you how we can utilize a little bit of seebruck to help us with those

details and save us a little bit of time.

So let me jump real quick to our our project here.

Good to do.

Well, not that's not it.

There we go, there we go.

Just one second for this to open.

There we go.

This is the one that you have that you have with with the project included.

So I'm going to go on to Alex.

I am going to dynamic's all of this thing so that we're only working on the on those specific legs.

And if you remember reviews, of course, the last course this guys were actually built using, what's

the word, using our similar.

So they actually do have cleanish topology.

It's not the most perfect, but it is a little bit heavy.

But it tells us how we should approach the specific area here of the leg.

So as you can see, what this element wants us to do is it wants us to follow this straight pattern

all the way up to the to the left.

And in between that pattern, insert this element, this curvature element of our leg.

So I'm going to go back to my I'm going to grab this guy again.

I'm going to Quadro.

And I know that eventually at this height, we need to find the exact same like this.

Right.

If you remember, we have what was it?

I think it was 16.

So we're going to have our border here.

And we want to have a 16 sided look, so that's one, two, three, four, five, six, seven, eight.

Probably need to push this case a little bit more so they're more uniform and then one, two, three,

four, five, six, seven, eight.

Again, the reflex is going to help us a little bit later on, so I know that this is how it needs to

end, right?

This is how the leg is going to finish right there.

And I also know and I can do this with my tab key.

If I double click here, I can go to extend Leupp and I can extend this loop, bring it up.

You can see it's going to try its best to to do the proper job.

Sometimes it will not work, especially since there might be.

Yeah.

You can see there's like an inner part of the wood there that's trying to stick to that area.

I'm just going to do it manually, to be honest.

We're going to do this here, here and keep on filling this area.

Remember, we do broad strokes first and then we use our lines to have more divisions if we need to.

Here we go now here's where the fun begins, because, as you can see, the actual detail here is actually

not that big.

We could technically ignore it and just like do a full body leg and just have that be projected on the

on the element.

But there is a little bit of a silhouette change.

So we will be it will be good for us to to try and respect that and actually like Molefe through.

So we're going to start here and I'm going to do so.

I'm going to go to the high point of the element and then to the low point on the outside.

And we're going to create that little like triangle shape right there.

We're going to do the same thing here.

We're going to go to the high point, push this to a low point and then this to a low point.

That should give us, as you can see, the ledge there that should catch the information.

Now, on the top part here, we might need to do a couple of, like, interesting tricks.

I think with the with the amount of resolution that we have, it shouldn't be that much of a deal.

Like we should be able to just utilize the same amount of elements.

But sometimes we're going to be we're going to need to triangulate and stitch similar to what we did

on the on the chest remer when we added a little belt to the chest where we had to triangulate a couple

of areas.

Well if that ever happens.

Just be confident that as long as it's on an area that's not being modified that much, we're going

to be fine.

So.

There we go, we go down here.

Big square here, again, the cool thing about this specific part of the armor is that you're not going

to be bending this thing like this whole leg is going to move us as a single unit.

So since it's not going to be bending, we don't need to do any, like, crazy stuff.

And I don't see how here we have a little bit more curvature that we're able to capture.

This is what I was talking about.

Like we might need to have a couple of extra points here, move them a little bit to capture that curvature

that we have.

And then we don't want to have as many triangles.

But one triangle there, that's perfectly fine because again, we're not going to be bending this.

The character is going to be bending at this height right here.

Right.

And I will just get this here.

Here's where things are going to get slightly complicated.

Why?

Because we have this curvature here and the leg here, it wants to follow the same pattern that it's

been following since we started.

Right like this.

Very straight loops going up.

And what's going to happen is we're going to have this sort of like stairstep effect.

So we're going to get something like this is probably the last square because because this is what we

need.

Right.

We need to to make sure that everything follows very, very nicely.

And we're going to have this sort of effect.

This is completely normal.

And the only difference that you're going to see is that on the borders where there's curvature right

here, here's where we're going to have a couple of triangles and we're going to have to do a little

bit of magic.

For instance, we're going to have like a triangle here and we're going to have to do a little bit of

magic to stitch this thing to the rest of the elements, which shouldn't be that much of a deal.

So we're just going to.

Continue.

Remember, try here, I'm feeling a little bit of extra work, I should have gone with, like broad

strokes instead of trying to do everything my hands are, the proper way would be to.

Well, what did I just say?

Sorry, I.

Push something through my desk.

There we go.

So we're just going to move all of those guys up.

And again, here's where things are going to get tricky.

So we're going to have this sort of like stairstep effect.

Right there.

Right there.

There we go.

So here is probably a square, here's a triangle.

And here we're going to see what happens, we're probably going to have like a square here as well.

Like this and then another triangle there, because the curvature on the inside of the leg is slightly

different.

So now using those little lines that we have there.

It's just a matter of building the high and low elements that we've been talking about, so this are

going to push the silhouette.

And they're going to keep me.

The actual border of the effect.

There we go.

Yep, and that's it, like the only the only other thing that we have to do is we just need to continue

filling in all of this elements in order to to complete the.

The loop here.

Here's where things get a little bit tricky.

Just doing them by hand usually helps.

This is the low point and now we might have a little bit like a couple of more extra loops going up

into the into the leg.

And you already know the answer.

What are we going to do?

We're probably going to use a little bit of technology, magic triangles and simplification to make

sure that we don't over extend all of this topology into the upper side of the of the armor.

So there we go.

So, for instance, here, like we have one, two, three, and that's one, so what can we do?

We do a little bit of tricks here.

And we need to do, for instance, here, this one actually could benefit from having like a triangle

there.

To capture this capture a little bit better.

So we're going to have one, too, that one goes there.

There's an extra verse.

There we go.

Let's get rid of this guy.

This we can just snap.

Up here.

Careful how that point's not actually connected.

Oh, there we go.

So we have like a like a weird face there.

Erica, we've got to be careful with those sort of like nano manifold geometries where where things

are sticking in areas that they shouldn't be.

There we go triangle.

And that's fine.

Like that triangle is not going to hurt anyone because, again, it's an area that's not going to be

bending.

So if there is no bending, triangles are not a problem.

Go.

Well.

There we go, there we go.

And we just keep filling in, remember, get the highs, get the lows and make sure you're capturing

the silhouette because that's the most important part of the whole process.

There we go.

There we go.

Sometimes it gets tricky there.

That's fine, your dad's not on my account.

It's like a couple of extra faces to be like, oh, that's what you're looking for.

Fine, fine.

Here.

This.

S..

Now we're able to capture this whole thing.

Nope, not there.

There we go.

Let's see if my camera base, something that I've learned with experience, if you go into a very specific,

like camera orientation, sometimes that hellfire.

And, of course, like finding those sort of elements.

So I'm going to go I'm probably near the triangle here because things are getting a little bit too stretched

out, so I'm going to have like a triangle there.

I think that's that's good for me.

There we go.

Go, go.

No one goes down here and here hears modified the GMG a little bit, just so it's not super stretched

out, not worried about it because again, it's not going to the form.

But again, it's just the aesthetics.

Right.

We want things to to look good as well.

We would go and it would go.

She's going to manually this extradition finish, this area right here and we're about to close this

up.

Start with a single one and then blup sometimes doing that's also a good idea and trying and there we

go, the whole like is now ready.

As you can see, it has a very nice silhouette.

So we're going to see the silhouette on the on the on the model itself, which is going to be really

good for extra shadow and extra depth there.

And yeah, that's you guys.

I'm going to stop you right here in the next one.

We're going to do the knee and the upper upper leg.

And then as I've mentioned, we're going to be we're going to leave the pants.

We're going to do a little bit of a resculpting for the pants.

We're going to bring them back in and then we're going to finish the whole character.

How many more things are we missing?

Let's let's do a quick count here.

So let's get rid of this.

Let's hide this.

Let's see, we got pretty much everything right, except for the character.

I don't believe it's that much.

Yeah, it's super easy.

Yeah.

So this belt is going to be really, really easy.

You're going to see how once we get there, the shoulder pads are really easy.

These guys are easy.

The hair is going to be a little bit tricky.

I'm not going to lie the sword.

I'm going to show you a very nice trick with Sievert and this one as well.

We're not going to do we're not going to hand topologies this thing.

It will be a nightmare.

Would be it would take just way too long.

So we're actually not that far from the from finishing the body.

So I know that this process can be a little bit daunting and it can be a little bit tiresome.

My suggestion, take it steps.

Take a break every now and then and then just come back and finish, of course, because we need to

get this to a very, very nice and real Drew.

You've seen the final product.

You see how cool the textures look and the render.

So we want to get there, right.

I want to show you how to get there.

But you need to put in the work, not do not slack off and make sure that you're doing the work because

otherwise the results are not going to show anyway.

That's it for this video.

Guys, I'll see you back on the next one.

Bye bye.