[flow_default] Transcription: 02_blocking.json

transcriptions/02_blocking.json

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+{
+  "audio_file": "02_blocking.wav",
+  "text": "So in this first sculpting chapter, we will get started with blocking in the character and we will get to a point where we have all the main elements. We're going to sculpt this in a very methodical and proper fashion where you can follow along. Everything is real time, so that's not really going to be an issue with time lapses or anything like that. We are starting off in C rush. And if you're following in C rush,'ve simply loaded in the OBJ. This is a sphere which provides us a direction forward so we know that this is forward. I've just gulped it in some quick eyes and a quick mouth and it means that we're not going to be working like this where we're working from top and down and we just know it's in an OK scale. We also have another tool as well which is a skull. This is a skull I've decimated and this is based on a scan. So what we can do, we can take the skull copy and we can take this into this tool and we can paste. And now we have a skull, which is like this. We're not going to be projecting or anything like that. What we're doing is we are simply using this as reference. Like you can see here, if you use transparency, now you can see where it is. And this just gives you some better understandings of where stuff is going to be. Hit the alt and click on it to switch between the sub tools. And then we will get started. I'm going to hide the skull for now. So the first thing we're going to be doing is we are going to be refining the head. Now we are going to be keeping this very simple. We are we're really not going to get into any detail at this point. But before we get into the beard, we have to add we have to do the head. We have to get the head to look all right before that. What a lot do is they sculpt like Let's say the beard is going to be like in this region. They don't sculpt this region or all and they simply Leave that to be problem is now it's going to feel weird You're not going to tell why it feels weird. It's just going to feel weird So we have our little sphere and I'm going to duplicate it because we can use this for other things such as the beard and I'm also going to Use this to create other features such as the nose and the ears as well. So the first thing I'll do is I will hold on the control key using the transpose tools and just hold on control and drag it up. And we're just going to keep it up here for a little bit. It's not really going to be in a way. It's just going to be a little sphere which we keep so that we can very easily use this to create different areas. So if you control drag now, now we can clear the mask and then we're going to get started. For brushes, I'm sticking with move brush in the beginning. And what we'll do is we will start to get this into some all right proportions, some general human proportions. And this is where it can help to have the skull in place because it's very hard to get real the proportions right without having a skull. So we're not going to be matching it perfectly. And also keep in mind, we're doing a dwarf as well. So he's not really not going to be matching properly. I also want the character to look a little bit down. So I've already tilted a little bit. Normally it would have been, it would have been a little bit more forward, but you can see there's a little bit tilted to him. But we're just going to be using this as an approximate guide. I know I want him to be, I want to know I want his skull to be more Neanderthal. And that was actually one of the main references I've been using throughout this as well. So make sure you make sure you use the skull as a way to to help you and not constrain you. It's so easy to be limited by it. And also keep in mind that every skull is different. That's what people look different. Well, one of the many reasons why people look different. If all skulls look the same, everyone would look mostly the same. People have different sizes and shapes and everything is really, really different between people. And so really keep in mind that using a skull only as a basis. We really are not going to be using this all throughout this series. It's going to be mostly a thing to get proportions right. And the problem with using it too much as well is it looks fine now, disabled transparency. And you can tell it looks like crap. But one of the most important things when you're doing sculpting is that you have to get proportions right. If proportions aren't right, nothing of what you do will matter. You can have the best eyes and best noses and mouths and biceps and all that, but if the proportions of the sculpt aren't right, it's not going to matter. We can also see that it's getting crazy stretched now. So let's just enable Dynavish and then we can smooth it out. Generally don't use smooth brush a whole lot, but for this it's perfect. The reason I don't use a smooth brush is because it destroys the form and that's exactly what I want to do in these cases. So you can see how simple we're keeping it. We're only using the move brush for now and just using it to create a general shape. And if you have to pause the video, that's fine. Really take your time with this. It's not a race. This is about spending proper time to make something which looks good. And you can see I'm already deviating a bit from the skull. I know his face is going to be a lot thicker. So it's like when you're making a, if you were to make a fantasy universe, maybe this will be the dwarf where he's really square like this. And maybe like this will be like the high elf where you have like his his face is is way way more angular. So you can very quickly experiment with different designs at this stage. You know, I know it's a bit cartoon to have these like these little indications and it looks it looks weird. But it is really helpful. It's really, really useful to have something like that just to have some general indication. I'll switch to the clay buildup brushes. Well,'re not using Cbrush, you're going to have something similar in your main software. I'm holding on the Alt key and now I'm just carving in the different areas. I'm carving in the bony landmarks. This is going to be rough. We're not going to really do the best job in the world. We're going to be covering this up in these regions here. Essentially all of this is going to be beard. Maybe this as well a little bit. Hold on the Alt key and just carve it in a little. Now what I want to do, this is a bit different than what normal do is, but remember we have our little outer face guy up here. I want to use this to create a few features. The first one I want to use is I want to use this to create a nose. So I'm going to duplicate this guy down here and I'm going to make it into a nose. So control drag to mask it, control click to invert it. Then we're going to hold on alt and click on the rotation button. So it rotates like this. And then we're going to hold on a control key and we're just gonna move it down like so control key will simply Duplicate whatever is selected now we're gonna hold the alt key and we can move this guy up like so or we can alt click and Click on this little Google Maps icon and there we go So now we're gonna really get a shape right so now you can totally do this in different ways as well The advantage of this is it allows us to focus more on the specific shape, which is really handy. So you know, it's going to look weird for a little bit, but trust me, it's going to make it's going to make sense. Then we're going to do the same thing. We're going to control drag, invert the selection. And then we're going to control drag it down like so. Alt Google Maps and Alt rotation. Just make sure it's all good. And then we are going to move this out to the side like so. Disable symmetry. Scale it down a little bit and then we're going to angle it down a little bit. This is going to be the general brow area. Just move it down like so. And then we can shape it a little bit. The cool thing about this, now you can see that we can really control the shape of it. We can just move it out as well so we get rid of the face. We can really control the shape of it without interfering with the main shape. So it's really easy to really create something almost like more stylized. You know, we're still going for realism, but it's really handy when you want to control the design that you have some of these major landmarks as separate pieces. Now, the reason I'm also keeping this on the left side is because when we use mirror and weld, which is also one of the reasons I use this interface, is that now you can see it flips from this side. If this was flipped this side and we use mirror and weld, it doesn't work because it always mirrors from this side onto this side. So mirror and weld. You can also find mirror and weld under tool, geometry, modified topology, and we have mirror and weld right there, but we just use it in our interface. Then we are going to be moving these shapes around. Now you can see I'm using the move brush, which is nice because this moves the whole section, but we can also use the move topological, which is BMT. Now you can see we can move only one section. Now for instance, we want to move the nose out and we really want to design the nose. Then we can easily do that, like so. So now we have very, very fine control over the nose. So what's the most important when it comes to design at this stage is not the general, the specific shape of the nose. It's the general shape language and it's the general proportions. We're also just going to remove the face because that looks a little weird. Then we are going to take the nose as well or we're going to take sorry the ball up here and we are going to alt click on the icon of the rotation and alt click on Google Maps. We're going to disable symmetry. You also have a nice little symmetry button down here as well. And we're going to move it over like so. And this is for your ear. Just scale in a little bit. This is really handy for the ear. This is one of these weird things that for some reason my brain doesn't work with working on the left side. I have to work on the right side. So I'm going to just hit mirror and weld. So I have it on the right side or on the other side like so screen right. And then I'm going to enable symmetry. And then I'm going to shape it. I don't know why this is the case that I just don't understand how to use this, but that's just the case. I just don't understand how to sculpt this on the other side. And that's where we can flip it. And now you can see it looks a little like a map. But that's fine. So I'm just going to generally push some of the shapes in so we can shape is going to read. We also have to be aware that we have to work in perspective as well. Currently working in orthographic view. Very important that you work in perspective view because otherwise you're going to be in big trouble if you bring this into another software. If you're purely using a Sebers or concepting, it doesn't really matter a whole lot. Well, it does if you want to bring it in, but if you're only using it for paintovers and Photoshop or something like that, this is fine. But for any interoperability with other software, other people, you have to work with perspective. I'm also going to carve in some lips as well. This we have general sense of where the lips are going to be. Really, really nothing final. It's almost like a note to myself that this word lips are. And I kind of like this design because it looks really like a Muppet. Unfortunately, we are not going from Muppet. We're going for this angry world-warkraft kind of style work. But this is, you can see this is a great approach for stylize as well, because already there is a lot of character in them. But the principles of stylize really translates well to realistic as well, because it's so focused on getting good shapes, which is really a lot of what realism is about as well. So I'm going to use BMT once again, brush move topological, BMT. And then I'm going to tweak some of these shapes to look right. Of course we have to blend it in as well. You know, we can't just leave them like so. We have to make sure to blend it in a little. That's one of the key differences between realism and more stylized that shapes are just a lot softer and they are just a lot more blended in when it comes to realism. And then I will just sculpt in a little eyeball like so. And I can see the advantage of actually working with the skull because now you could see that we put in the cheekbones like so. And now we have the cavities. We know exactly where the eyes have to go. Well, they have to go in here somewhere. So now we can sculpt like so. This really is not going to be pretty. This is really just to get some quick proportions in there. And then I'm going to define the cheekbones just a little bit more like so. And then I'm going to make this shape a bit more rounded. You'll be surprised by how rounded the mouth area actually is. It's a huge beginner mistake where you leave it like so. What I'm doing now, this is a beginner mistake where see it's flat. But you have to think that this is where the teeth go. If we check out the skull again, let's go here. You see how rounded it is? Obviously it doesn't go, the lips, they don't go all the way back here, but they go something like this. So you really have to think how rounded it is. This is the curvature you have. It's almost like you have an orange in your mouth, like a tangerine almost. Okay. So now we know that we can push this in. I'm also using isolate mode right now to make sure that I'm only seeing the shape because this is one shape for now. I'm going to turn this off later on, but it's nice so I can go in and quickly preview what's going on. Like so. So I'm just going to quickly get something on the back a little bit of the more definition of the skull. It's really important to define the skull at least a little bit where you're very careful of defining what's bone and what's flesh and what's cartilage. That's really important because otherwise you just don't know how to describe it. You don't know how to render it. How does skin impact an area which is bone versus an area which is cartilage versus something which is pure rolled skin? Also, we don't want to spend too much time on the mouth area, just simply because this entire section is going to be covered up by the beard. So, you know, let's not go too in depth, but we still need something there. You can also see a cool little thing in Cbrush. Now, this is a complete hack and you should never do this apart if you're sculpting, like you're consulting up now. You see, these are actually two different pieces, but if we sculpt over the clay brushes, they're starting to blend in with each other. Obviously, we're not actually blending it. You can see it's just ay mirrors. But it still works. So it's a really cool trick when it comes to when to blend these things together. Don't be aware that you can have some artifacts like I'm having right now where it looks a little bit weird. So you just want to be a little careful. But there is a cool technique for actually blending stuff together. Also, the older your characters, the fat under your your your jaw you want to have, you know, if I'm putting a little loose skin, if this guy is like 90, you're going to be doing like this full on. If he's 20, you're going to be carving this in like fully. And if he's like maybe like our guy, he's like in his sixties, he's been doing a little plundering, then we are going to be doing something can see I'm doing a lot of strokes in general, but they're not just willy-nilly. There's a reason for the stroke to be there. Right now I'm defining the volume of the jaw. Right now I'm defining the volume of the skull and then we'll get a little bit into the ears. So everything, every single stroke matters. So be very deliberate about that. Okay, I also want to get some of the sternocleidomastoid, which goes from the sternum, the clavicle, and the masto process, hence the name stern Sterno, Clido, Mustoid. So get this in, get a little bit of Clavicles in as well. We don't necessarily want too much. We want to keep this, keep this pretty light. But we just want a little bit. We're just going to get a little bit more volume on the back as well. So we're doing, we're doing a lot of things we were talking about so far in this series I'm thinking a lot about the general appeal when it comes to this obviously this first iteration is simply get the volumes down and then we'll have to do more appeal as we go along You can see right now. There are a lot of issues when it comes to the appeal if we look at the pure pure silhouette right now We can do a lot of things to make this more appealing like we can make this a lot more flowy. We can break up this this area. There's a lot of things we can do, which it just doesn't work currently. So an example, if this is flat, it just goes from like, there's a slight curve, and then we're kind of have some wobbliness going on and a little bit of curve. It's not a deliberate shape. We want to be very deliberate with all our shapes. It can sometimes kind of work if you're just doing it where you're just kind of sculpting. But I always personally tend to go in and doing like an appeal pass. And which is once this is something I'm continuously doing as I'm sculpting. So I'm trying to go maybe thin to thick. I'm trying to think about the shape. So maybe there is like a curve to straight. This is a curve point. This is a straight point. I'm trying to have different thicknesses, different places. In general, you really have to think about the appeals from the appeal chapter. Create good solid shapes. Make sure all the individual notes produce beautiful music, not just individual notes. It is harder to have a lot of appeal when it comes to a head like this in terms of a copier body because we don't have gesture in the same way. Gesture in a body is easier. It's easier to understand because it's more visual. It goes from the head and it flows into the body and into the legs. Gesture in the face is more how are individual shapes flowing together? How is this shape flowing together into the mouth shape? One shape that we still have to add is a nasolabial fold. That's the shape which goes around the mouth like so. Really important to get right early on. And we could dynamize shoulders together now and that would look something like this. We can't really change the shape. And I think for the nose and the brows, this is fine, but I want to refine the ears a bit more. It becomes very tricky to change this later on, so I really want the ears to be good at this moment before we merge it. Then I also want to go in and just sculpt a little bit of nostrils. Go in and just do a little bit of that. Just so we have some volume. This is way too thin, but the point about this video is not to have everything perfect because we can't. It's so that we have general volumes. And then we will use our extra sphere, which we had in the beginning. And we are going to be enabling that to disable the skull. And we are going to be using this to create a little beard. And this is going to be rough. But it's going to look cool because we just have to do this in order to block it in. We just have to have this in order to be able to evaluate our design. Because if you don't have this, it's going to look completely different. You can make this go from a Santa Claus to a Muslim Imam to something completely different in three strokes with us. So it's really important that we get this blocked in early on. And I am going to just duplicate this as well, just real quick. Select the whole thing and just duplicate it up, just we have there and that's going to be used for one of the other ones as well, one of the ones going out from the nose as well. So with symmetry enabled, we're going to block this out. And we were specifically about the design later on. Now I'm mostly worried about do we have enough chunks of geometry at this moment? Is there enough polygons to really have distribution for everything? Okay, so this is pretty decent for now. We'll take this extra beard thing on top of this. We'll just mask it out. And then we will Ctrl-click to invert the mask. Then we'll disable symmetry and we'll move it down like so. And obviously you can start to see an advantage of using this initial sphere for general placement of the elements because now it's much, much easier to design him and block things out. Instead of modeling everything from one shape, we can very quickly get a cool result just from having this one shape. And then we will mirror weld. And now we have two of them. One label symmetry and then we'll put it up like so and try to blend this in so it goes a little bit almost from the center like so. And now you can see that we are stretching our polygons are crazy. So what you can do, you can dynamize it now, just dynamize it like this. But this leaves us with a problem. Because now you can see that these are now blended together and I don't want that. I want these to be separate. So what we'll do is if we go under geometry, Dynamesh, we will enable groups. And now we're just going to double check that we don't have groups in our model and we don't have groups. You can see that we don't have groups because we don't have any color. So let's go to Auto Groups, which we can find under tool polygroups and auto groups. And I can see we have nice colors. And then we can hit dynamite. And then we can enable groups and then we can hit dynamite. And now you can see that it's not going to merge these different groups. So we know we're trying to move it now using BMT. You can now see that these groups are indeed still separate. So this is a good trick. Instead of you separating all every single piece out to its own subtool, which you totally can do, you can keep everything as one tool and you can have different groups for them like so. We could also do this technically for this as well, but in this case, I still want them to be combined in the end, but I don't really want these to be combined because they are actually bit. I'm going to make it a little thinner. You still use multi-plogical for this. And then I'm going to make the back a lot thinner as well. You're going to see this on your own ear. If you try to feel your ear right now, you're going to be able to feel how incredibly thin it is. It's a big mistake people make when they're making ears. They're making them so thick. You know, even if you're making some crazy Wario orc Wario dwarf like this, you still really, really want them to be thin and proper. It's like if you feel your own ear, you're gonna feel that it's only like a few millimeters. Smooth down a little bit. and If you want the character to feel really old, I would make the ear a lot bigger. So that's what we're gonna do. If you want to make it cute, make them small. If you want to make it feel old and wise, you make the ears giant. Because somehow the ears keep on growing your entire life. Same with the nose as well. So if you want to make him feel really old, you want to give him like a big, big nose. Like, you know, like proper Gandalf style. So we're also gonna be doing that as well. We're gonna give him like a really thick him a really chunky nose. The only thing we have left to block in now, which we'll do later on, that would be the eyebrows. Currently, we still have to refine everything else a bit more before we can get to that. What we'll do now is we will save this as a tool. I really prefer to save as tool not a project. So we go to tool save and we hold chapter 01 end and there we go. So in the next chapter we will take a look at refining every single part of the main shapes of the head.",
+  "language": "en",
+  "confidence": null,
+  "duration": 1697.38
+}