[flow_default] Transcription: 02-Retopologising The Head Part1.json

transcriptions/02-Retopologising The Head Part1.json

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+{
+  "audio_file": "02-Retopologising The Head Part1.wav",
+  "text": "Welcome to chapter 2. In this chapter we'll be starting the actual retopology. I think many of you will be somewhat familiar with Retopo since this isn't a complete beginner's course, but I will go over the basics and reasoning before moving on to more advanced workflows and tricks. The reason we retopo is so models run well in real time and deform properly. Another thing we should keep in mind which less experienced artists often forget is to keep unwrapping and baking in mind when making your topology. I will be giving advice and hints on that. This video will be sped up in places with repetitive tasks I've already shown once, so don't be alarmed by that. I don't actually move that fast. Without further ado, let's get started. Okay, to start with, I like to set up a material that shows the form of the mesh a little bit better than the default one. So you'll probably have something like this when you import. So what I'll do is get a new physical material. Make the color slightly darker and put the roughness up to something like 0.6 or 0.615. And now you can see we get some nice highlights that are a bit larger and there's a little bit more contrast with the base material. I think we're going these parts of the head. So you can see, since I didn't decimate the head, all the polygroups have ended up being separate objects. Let's see what we're missing. A bit around the eyes. Okay, that's everything. Now we can start. I'm going to make a new layer, which I'm going to keep all of the retopode meshes in. It's going to make a plane. That's just going to be an empty object to keep our metapolytized mesh in. We don't actually need this geometry. I'm going to add a symmetry as well. Set it to X and flip it and make sure the mirror is at zero on the x-axis and turn on Show Cage as well. Now this will probably be set to grid by default. You want to set to draw on surface and select the mesh you're gonna draw on. And I like to use 3ds Max to retopo. I use other software like Topogun that's retopo specific. But here, especially for demonstration, I mean once you understand the principles you can do it anywhere, Topogun is a really stripped down simple software that just lets, that only lets you retopo. And it's really good and efficient for that. But I also like to have a full modeling toolkit when I'm retopoying, especially when it comes to things like this. I find the extra tools in Max come in handy. And it's not that much slower, especially if you take into account, you know, jumping back and forth between software. I find Max can do everything I need it to do. So we're just going to start by building out a plane and sort of shifting it in the rough position. Now when it comes to retopoying faces, the way you do it is you build out loops around areas. So you'll build a main loop around the eyes and then a loop around the nose and the mouth I'm not forgetting anything so we're gonna start with the eye loop that's probably the most important one and basically making some goggles now I'm being really quick just to get the full loop in and later we'll need to do some maths, do some counting to make sure that we have the correct amount of the correct amount of polygons here, the correct amount of quads. So we're leaving some space around the eye because we'll be having another loop around the actual eyeball. And the way you want to do Retopo for objects like this is keep it at a essentially a lower subdivision level than your final result. Because it's pointless or not pointless, but it's gonna be a way more work to be retopologizing in a really high subdivision level basically when you could just do it at a lower poly and then subdivide it with for the same result So essentially what we're keeping in mind is probably go in the end result probably going to be subdividing everything So everything will be double what we see here. So in this case what we also want is to make sure that this is an even number so we don't end up with too many polygons later at the bottom and then you would have to add a triangle to link these up which would be really annoying but it's not super important because you can always add and remove when you get to that I've made that I can just take one of those and conform them But in this case I want to show you basically the basics of using the Retopo tools in Max, the way I go about thinking and a head is actually a really easy thing to show that off on. It might seem counter-intuitive, it might seem like a head is actually really complicated, but you only really for a head have to follow a basic set of rules and there's a pretty good convention that exists already on how to retop a faces that you need to follow. So there's a lot less thinking you have to do compared to something that's like an oddly shaped, you know, hard surface thing, you're trying to retop it. So now we're going to do the loop around the mouth. So same process. Around this area, we're going to keep it the same number of quads as the eye loop and we're gonna bring it down. What's happened here? How weird. I'm being super rough here and not really counting. Right now I'm just getting the loop in and then we'll just use the insert loop tool to get everything precise. So I'm going around and through the bottom of the chin. Okay, that's that loop. Obviously, we're gonna have to figure out the exact number of edges we need here later. Now we can do the one around the eyes. That's basically gonna be... We're basically just gonna inset this whole part. Now it's placed like this where maybe Top of Gun would not need me to move so many vets manually, but this only takes a second. Now we're moving up everything up up to the eyelid so this loop is basically the inner orbit or rather the orbits of the skull if you can imagine the skull this would be like the big hollow part you see around the mouth. Now I didn't really leave enough space for it here. Let's move this out a little bit. Again, I'm being super rough and just doing a random number and we'll even out the numbers of edges later on. And honestly, I'm a little bit rusty on doing face retoppers manually because like I said It's not something you'll be doing later on especially in studio Usually they'll already have a base mesh and you'll just be conforming it to a head. I might even show you how that's done But for now, you know, I'm just showing off the tools in 3ds Max and showing off the basic workflow on a nice smooth object that is the head keep everything low and remember you'll be adding more loops later and not worry about the everything you know exact number of loops being precise right now And it's getting a little bit hard to see so what I can do is turn this to transparent. Looks like I had a symmetry setup wrong. We want to flip that. Now this might let us see a bit more clearly. the Now I'm getting a bit confused here, but I think I can figure it out. you you Okay, that's starting to look correct. I think I've got it right. So here's our basic really rough loops Which we're now going to refine and make sure they Sort of add up so we can link them up without ending up with a bunch of You know extra loops that we're gonna have to add a triangle to connect to So here's where we need to start counting and make sure making sure That we can bridge everything correctly. So you can start by bridging this part. And moving everything a little bit closer to the eye, especially here. Now of course there's a lot of tweaking that goes in and you know once we subdivide we'll probably give everything a nice little pass and double check it. Thank let once I get all of the main loops in, just do a time lapse of me adjusting every single point just so this doesn't take up a huge amount of part. Now here we can see we need an extra loop And we probably want some more polygons here to sort of define that nostril. So Now this pond should probably start going like this because it's going to be descending into this nasolabial loop. And we're probably going to need some extra loops here so it can actually connect. Something like this maybe. Now this is starting to look like something. So let's keep going and just connecting everything up. you you Now the last area I have to fill in is here and the lips of course. We'll get to the lips a bit later as well as the eye sockets. So here... I'm gonna add a loop here and we're just gonna bridge these Add a couple loops here smoothing everything out. But the basic structure is here Because here we're gonna want to see the actual mesh more than our Retopper mesh. And we'll do the same again to get the inner eyelid. Now it's really important, this is probably one of the most important parts of the character. Oh not a character but of the head, it's getting this nice thick eyelid down that really helps sell the eyes. So we're definitely going to be coming back here and making sure this is alright and reads well. For now we're going to move on to the lips and that's just going to basically be the same thing. I'm gonna work a bit blind here because I will be adding another loop to the inside. This corner of the lifts can get messy. That's basically the hardest part of the work done The parts that that's most important is getting these basic loops in that Follow the structure work, but not only do they follow the curves of the face properly, but also they Nice and neat there aren't any poles or egg and guns mean, there's a few poles here and there, but they're not in important areas. And everything loops nicely. It'll be easy to rig, and it'll animate and deform well. So from here, we're just gonna be adjusting, building up the back of the head, which isn't that important because the skull doesn't deform, it's just the face that deforms. So this is the hardest part of retopling the face done already. I'm going to move into a time lapse here because I've shown off and explained the more complicated parts in real time. And from here on, it's just going to be a lot of adjusting and fiddling. And I won't be introducing any new tools or there won't be much to explain either. The next chapter is going to be pretty time-lapse heavy. There's going to be some commentary, but most of it is just going to be sped up footage. I'm also going to include the real-time footage without any commentary, which will be named Chapter 3 Real Time. Thanks for watching and see you in Chapter 3.",
+  "language": "en",
+  "confidence": null,
+  "duration": 1748.44
+}