[flow_default] Transcription: 01 - Direction of Loops.json

transcriptions/01 - Direction of Loops.json

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+{
+  "audio_file": "01 - Direction of Loops.wav",
+  "text": "Hello guys, let's talk about some basic but very important thing, the direction of the loops on a character. The best way to have good results on a mesh is having its topologists flowing always perpendicular and parallel to shapes and deformations. So the direction of the loops impacts directly on shape, volume, deformation, skinning, render, and polycount. So in this situation here, we can see that in this specific shape, we know that this shape is going in this direction. Right? As well in this direction here. So the best results you could have for deformation and for shape, and also for the other points I mentioned before, is having these loops going perpendicular and parallel on this shape. It means that you should totally avoid something like this, like diagonal. So let's check the difference between these two approaches regarding rendering and surface. If you take a render for example of this perpendicular world first, you can see that we are generating a very clean and smooth result on the render. And it happens just because these loops are flowing perpendicular and parallel to the shape of the mesh. But it's not going to happen if we use the diagonal approach. Let's take a look. As you can see, we have many bumps here in the render. So that's one of the reasons why we should have our loops flowing always parallel and perpendicular to the shape of our mesh and always avoiding the diagonal approach. So now let's check this example so we can talk a little bit about volume regarding the perpendicular approach and diagonal approach. So I have these two mesh on the left I have the parallel approach and on the right I have the diagonal approach. As you can see in the viewport this inner ring I mean this circular bump we have on this mesh looks pretty close. I'd say these meshes are matching more 100% except for the silhouettes and the topology. So let's make some deformations on these meshes in order to see how it would work regarding volume preservation. So if I take these two meshes and say these both inner circles. Put some soft selection and start deforming. As you can see here, the meshes are not matching anymore. Let's put a black color here. Let's apply some better view pot shading so you can see it better. The difference between these two approaches. We can see that the volume preservation depends also on the direction of the loops on the character. Another important point to consider when creating an anthropology for an animated character is the skinning process. Okay, let's suppose I went to paint the weights of this vertices here. If I have an orbital arrangement like this perpendicular and parallel to the form, to the shape, I can do this, I can go to the paint skin weights, I can keep growing my selection and painting it. If I want to have a smooth and uniform circular deformation, just like in eyelid loops for example in a character, this parallel loops allows me to work much faster and cleaner, just because I know which vertices are related to each loop. But in case I have something like this diagonal topology, if I'm going to paint these weights, my life gets I will also use the same method to following the shape of your character, the less polycons available I'm going to delete this back part here So I would say that even having much more polycons available when I project it I'm not going to achieve the shape I want to achieve. For example, it is higher, but it can't because the direction of the loops. If I increase the number of polygons and project again, it will start to conform much better. It means in a general rule that when I have my flow of topology, my loops will were organized like this and well directed, I'm able to have much less polygons. And in the most part of the time, that's what we want.",
+  "language": "en",
+  "confidence": null,
+  "duration": 374.1
+}