Original subtitles

Hello and welcome to this chapter, so in this chapter we are gonna start on the multi-resolution

modifier workflow and the multi-resolution modifier workflow is essentially Blender's

equivalent to the ZBrush subdivision workflow where you work with your sculpt in different

subdivisions and if you don't know what that is, essentially it's just that we can transfer

all of our detail from the sculpt to a retopologized mesh and then keep sculpting on that one in

different layers, you get a little bit of flexibility and it's actually super, super

useful for lots of things like creating displacement maps, normal maps, you can also have it on

a model with a rig and then you can use it for different levels of resolution depending

on when you're animating or rendering and it's quite handy and so that's how we're gonna

continue with this model here.

So essentially the multi-resolution modifier is a subdivision on steroids, we could call

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it a subdivision but a subdivision on steroids and that's what we need right now.

So I'm gonna take the subdivision here and take it down to the base level because our

base mesh right now, what we need, if I just turn off the sculpt here, our base mesh, we

need to figure out what we want here and I don't think this is what we necessarily

want, I think that's too low-res, it is kind of interesting to have this as well but I

think it's actually this one right here that we might want as the base mesh, just turning

on the optimal display, I think that's what I want as my lowest resolution.

It's still pretty low-res, it's only like 7400 faces or something, this one is only

like a thousand so it's quite low-res and I think a little bit too low-res for what

I want.

So I think this is where I'm gonna land and that actually means that I'm gonna be applying

all of this stuff here with this on it, so I'm gonna hit CTRL A and visual, sorry, let's

go, I selected, there we go, CTRL A, visual geometry to mesh, that applies everything

and we just get what we see and now the mesh is actually conformed to the sculpt a little

bit and we still have the sculpt underneath here as our detail.

Okay, cool, so now we want to get our detail back and I'm just gonna hide that, so on our

mesh here, we're gonna create a multi-resolution modifier, then we're gonna create a shrink

wrap modifier and the shrink wrap, we're gonna set that to project once again, so project

negative, positive and target our sculpt here and then we get some stuff going on in the

face but we're gonna select that group again and we're gonna invert it so it doesn't affect

those areas once again here, then we're gonna look at our fingers to see if everything looks

okay there, that looks good, that looks fine and now what we can do on the multi-res is

we can start introducing some more subdivision levels and that's what we want, so if I click

subdivide, we get another level of resolution, we can see we get more detail there and we

just want to keep our fingers in mind here, right, we just want to keep our fingers in

mind because this stuff might start intersecting with the self and we just want to see how

far it goes with everything, okay, let's go one more layer, subdivide and we're getting

more and more detail in, so that's great, we're looking at the fingers here, we can

see that we're starting to get some intersection and I just, I don't want anything that is

too bad, if we look through the model like this, if we see any spikes or anything like

that, then that's usually a good sign here, so let's do one more layer, subdivide and

let's turn off optimal display, then we see the spikes, right, and the spikes they are

the projection kind of going a little bit haywire here, okay, just looking around for

spikes anywhere, it seems like we're only getting it really on the fingers and that's

good, this is a really fast way of checking if you have anything going horribly wrong

and on the right hand it's not as bad as on the left hand, but the model is also not perfectly

symmetrical because of that remesh modifier, okay, so that's what we got right here, so

what I could try doing here is I could put a limiter, so I could put a limiter to something

like 0.25, just to make it a little bit less bad, see if we get anything else here, I could

turn on optimal display again and if we just try the limiter in different ranges here,

0.2, do we get any kind of deformities anywhere, the hands do look a little bit better with

the limits set, just gonna try with optimal display, we get a little bit of spike and

that's the stuff we could potentially smooth out, so that's pretty good, if I must say

so myself, very good, okay, that actually is working pretty well, now we just gotta

figure out if we wanna go one more layer, if I subdivide one more here, then we go up

to quite high in fidelity and it's not really adding that much fidelity, it's maybe just

giving us a tiny bit of extra resolution, but maybe it's not really needed, oh, we are

getting something here though, that's a little bit interesting, I could delete higher here,

try going back, so I'm gonna go one step down and just delete higher, I think this resolution

is enough essentially, it's like 500,000 for the high res, we could go more, we might need

more for the face and we definitely have the fingers here, let's go back up and then we

get to around 2,000,001.9 here, right, and then we essentially have our model and then

what we're gonna do is that right now the shrink wrap is making it look the way it does,

but because the multi-resolution modifier is there, it can take sculpt data and if you

apply the shrink wrap now, essentially the multi-res will take that shrink wrap deformities

as sculpting data, so we can go here and hit apply and then it's gonna actually be

applied to the mesh now, so now this is the actual mesh with all of our detailing on it,

just remember to save here and that is kind of what we wanted and now we can go down and

fix the hands and stuff and make sure that is the way we want it, right, so if I check

here through the thing, then I can see that we still got a few spikes here and there,

so that's just what I wanna correct a little bit, so I'm gonna go into sculpt mode here

and turn on X, turn off the wireframe and then I can just sculpt here and then that

should hopefully correct this a little bit, like so, go down one step here maybe, oh actually

in the sculpt mode, because there's different steps for each sculpt mode here, maybe I can

just see the wireframe through, so I kinda wanna get my hands on the stuff inside the

fingers there, because that's really the stuff that might cause the biggest issue,

let's see here, so these ones, these little, the ones that poke out there, yeah, that's what I

want, I wanna get that smoothed out as much as I can, if I go down one bit here, see how bad it is,

it's not too bad there, go up one step and then we get it a bit worse and then we step up again

and then probably we're gonna get some spikes again, yeah, we're gonna get some spikes and

that's kind of the nature of the multi-res, you sometimes get this stuff where it behaves

on different levels, but you can also turn on this feature called, where is it here,

sculpt base mesh, so essentially it makes sculpt mode tools to form the base mesh while previewing

the displacement of higher subdivision levels, so if you were to sculpt something on this higher

level here, right, then like for example doing something like that here, right, so I'm sculpting

that out, then it also affects the lower levels, right, so it's deformed there, where if you didn't

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have that on, it wouldn't and that's just something to consider, okay, so now we got that and let's

see, it should still be fairly performant here, the lack of performance could also be due to the

sculpt base mesh feature, let's just see, yeah, that's so, so it actually, it takes a hit on

performance because it's trying to sculpt on several layers at once, so that's just something to

consider that you might lose that, we have this here that looks a little bit strange, so let's

just, I guess that's a thing from the past here, cool, and now you can, you know, you can fix up

your model if you need to refine the details and that's essentially the point for us now, is that

now we're in this multi-resolution stage and then we can bring in what we didn't have from before,

so I'm gonna bring in some stuff here, the face is definitely the stuff that needs the most work

and then some stuff here on the arms and the hands, so let's get into that and what happens is that as

we move stuff around on the face, then the base mesh will suffer a little bit, it'll look a little

bit different, because the distance will no longer be exactly the same, but I think we can make it

work, okay, let's see here, so we could actually use a little bit of just some nostrils here, get in

some definition for the nose here, I don't want to go too crazy with this stuff, because the face

is not a huge part of the final character, let's see here, just kind of building out some lip area

here, and then we got this kind of nasal bridge thing happening, bring in there, coming in there, like that

and we just figure out what exactly we want with the face here, and we do have our reference of

course, that we can look at, and we can start smoothing some of these things out a little bit,

we're getting a lot of stuff, and if you don't like sculpting on this much detail right now,

then we could go down of course, we could go down to the previous level here on the sculpt, and then

you know we're sculpting a bit more like this, and we can bring in some larger forms before we get

into the smaller forms, and maybe that's a good way here to approach this right now, and then we need

these eyelids a bit more, and then we can move these a little bit like this, and we actually need some

proper eyeballs to sculpt these eyelids the way that they should be, that would definitely be a

must, so I think that's something we can implement as well, so yeah I'm just filling this stuff out,

readjusting it like that, and bring in the chin here, maybe a little bit of an

under section for the lower mouth, something like that, and then we also need some kind of lips

happening here, some kind of lip here, and then we can make that this way, and I'm keeping the

mouth open right now, because it's gonna make it a little bit easier for deformation, it's a little

bit of a underbite there before, but I'm gonna put that in, I'm not gonna keep the mouth all the way

open, because the mouth is mostly gonna be in a neutral position, so if I wanted to move the mouth

then this is the better position to kind of keep it in, okay we got that there, that seems pretty

good, then I'm gonna fill out the lips a little bit here, nothing really crazy, something along

those lines, and it might even be too high resolution actually still, if I went down one

level then I get this level here, and then I can really like just focus on the big strokes

of everything, and think about proportion and that kind of stuff a lot more, and I can still correct

things like this, as long as I don't stray off too much from the original proportions, then it's

absolutely fine, like that, I might actually want a little bit more nose there, just a little bit more

like that, and then this could definitely use a little bit of getting in there, coming around

underneath here, something like that, yeah, yeah, yeah, and connecting this nasal bridge here, getting in

something like that there, just making sure that it all works, and this nasal passage could also just use a little bit of love, and this one is usually a bit lower, on some people it's not, but it's a good rule of thumb at least,

you know, it depends on where you're from, and the kind of nose, and it varies a lot from amongst all races and all ethnicities, is that what it's called, like that, I think this bridge can come together like that, and then we can bring that out like so,

and that can come in and out, just pushing and pulling everything back and forth a little bit again here, until we get what we need, he is looking a little bit old, a little bit too old for who he is, but my general experience is that like when you make people look old in the sculpt like this,

they always look a little bit younger, when they have textures on, for some reason, I think it's, as long as you're not getting all those crevices and stuff, I think it's just because all the forms look overemphasized on this one, we could also change the matte cap here to something like this one, which I quite like this one, that's my favorite one for sure,

let's get some eyeballs in, that will really help, I think, so that's what it actually looks like, let's finish one here, so with the eyeballs, I'm gonna get a UV sphere, and rotate it, so that this kind of becomes the pupil, then I'm gonna make sure that this one is not in front, because that will cause some problems,

gonna set that to not in front, then I'm gonna scale it down, scale it down, and the eye is gonna roughly be that size, right there, and then bringing it forward here, bring it in like that, that's kind of what we need that eyeball to properly make this eye, there we go, I'm gonna mirror it across to the other side,

and then I might put on a shade smooth, I think like that, great, and then now I can actually sculpt around the eye a bit more, I'm still just on the second level, sculpting, and that's what's so neat about this one, is that you can really, you can do those kind of things, that's quite nice, like that, like that, like that, like that,

like so, and you don't need a perfect face sculpt at all, it's gonna be way too low resolution for us to even notice those kinds of details,

like so, and we got that going on there, with this one we could put in some crevice around the nose, I think that would actually do quite a lot, like that,

then if you go up to the higher ones, you can see how that looks there, and maybe some of these wrinkles are a little bit too much in there, and then you can just smooth them out, if you don't really think they're working for what you want, got that there,

I think that is pretty good, something along those lines there, then I got that, I got that, and then I got that going on here,

let's see, does that actually, no, I don't think I like that, and then even higher we can go, which might be just too much at all, yeah, I think that's just too much, basically, like the amount of detail,

and that's going up to 2.5 million, but somehow I don't need that level of detail for how low res of a character we're doing, so I'm gonna go down again, and then I'm gonna just delete higher, like that basically,

and keep it like that, so that's, you know, just also to keep everything neat and performant, but you can go higher, of course, if your system and everything allows for it, but this should be more than good, I think, for what we want,

cool, and we can do a little bit of an ear here, and just do some shaping like that, like that, and cutting in behind the ear also,

just to see what we get there, pretty nice, a little bit of smoothing out there, and then we get some kind of an ear there, we can move this out a little bit, move this one there,

not a perfect ear by any means, but it's gonna work for us, like that, like that, and then, it's quite fun doing ears, ears are interesting in shape, they're quite unique,

little shapes, like that, yeah, that seems pretty good,

not too bad, I'm not so concerned with the whole head and all the detail that's kind of over here and stuff, it would either be covered by hair or stuff like that, so it's not worth putting in too much effort on this,

and technically he's gonna be wearing a helmet, so that's also maybe not the effort you would put in, but we have it there, and I think if it's a main character for a game or something like that, then you would probably most likely be doing the head for some kind of scene, I would imagine, right,

most games have some kind of face reveal for a character like that, or at least a portion where we see the face to understand who the character is, ok, very, very good, then we got the hands here, and we also wanna give them a little bit of attention,

and we could move the knuckles here a little bit, so we get these strands, and so we got a knuckle here, a knuckle there, knuckle usually you can do like two balls next to each other, then you kinda get what you need, like that,

and then for this one, I wonder if we can just do like a, ok, maybe we can do something like this, and yeah, it's quite stylized, this index finger here, it's a lot bigger than the other one, so we can just move that in a little bit,

that might not reflect that well on the lower res one, but it's really, it's so little that you would see the hands in this level of detail, the thumb could definitely be a little bit bigger,

that might even need to conform on the lower one, if I sculpted the base mesh here, then if I brought this down here, just made this a little bit bigger here, then the base mesh kinda conforms a little bit,

nice, nice, nice, and might need to do something similar here, but this finger needs to come out a little bit, cause it is the most prominent, but it's not sticking out quite enough, like that, then here we can bring this stuff in a little bit,

and that's, I feel like that's quite proportionally different, so that's why I wanna maintain that for the base, so yeah, so I can bring in stuff like this kinda, just make it a bit more like a hand,

like that, and get little details here and there, again our character might have quite tortured hands, so that can look absolutely fine,

pretty good, we just gotta build up the hand as well here, so the hand kinda has this portion here that's a bit more raised, so kinda the center of the hand is a little bit more bulbous than the rest of the hand,

and then we got the ulna here sticking out as a bone, that's also there, peeking through, then we definitely got our brachioradialis there, like that,

then here we could have a little extra muscle coming out like this, that one is usually pretty fun to also implement, we could also do veins and things like that, that could definitely also work,

but right now I'm just trying to really define the big, big, big shapes, using the crease tool there just to get everything popping a little bit more,

let's see here, these ones they would probably wrap over here, like this, something like that coming to the other side, something like that, this one is not incredibly well done,

the overlap there could be a little bit better, but I think we'll manage, it is overall looking pretty decent, I think, and we could also just give a little bit of definition between the toes here,

even though they're not separated mesh-wise, still carving this kind of stuff out makes it feel quite different, so we got, let's see, we got one toe there, maybe one toe there, one toe there, and then the pinky,

so kind of like that, like that, like that, and like that, so let's just get a bit closer here, there we go, I'm just going to hit the dot on the numpad here to refocus,

there we go, and then we can pull the toe out here a little bit, and we can also just give this a little bit of an added kind of feel here and there,

and this is just to help whatever normal maps we might make, this will give it some definition and feel, this just has a little bit, we can do that for the nail there,

so I'm thinking very like abstract, right, so what is the forms, the really big form, right, and that's what I'm trying to maintain and replicate, the heel could definitely use a bit more love, but again, it's the feet, you will not see a lot of this stuff here at all,

the foot can even get a little bit of a chip in there just for the stylization, so I think we are kind of there, in terms of stylization, we kind of have what we have, but you could do stuff like this where you say, you know what, I want this edge here for example to be like a lot more sharp,

so you could go in and do things like this and say, you know what, I want that, right, I want that, and I want that, and I want that, and here I'm using this like pinch tool, and then I can do things like that very simply, right,

I'm not going to do anything really crazy, stylization wise, I already have some stuff going on, but it can be nice to make certain surfaces break where you want them to break, so I really want it to break here, so I could use this just to kind of go like that, and then I get a slight exaggeration of the angularness of that, and the same on the bicep there,

because I do it here on this, and you could do it on the fingers, and on the thighs, on the shin bone here, actually the shin bone could use some energy,

and then this one kind of curves outwards towards the middle here, then it kind of comes up like that,

then this one actually would have to be a little bit behind there, something a bit more like that, cool, you could also use a tool like the Flatten or the Scrape, but Flatten essentially does this,

if I just increase the strength a little bit, then you can get these kind of surfaces, so if you want to really stylize your thing, this is a great tool for that also, getting that kind of planar look, but I'm going to keep mine like this,

and I think I'm actually more or less done with the entire body sculpt, so yeah, that's pretty much it for this chapter, and then in the next chapter we're going to move on to doing some of the assets for the character, so that's it for now.