[flow_default] Transcription: 02_refinement01.json

transcriptions/02_refinement01.json

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+{
+  "audio_file": "02_refinement01.wav",
+  "text": "All right. So in this chapter, we are going to be refining the sculpt quite a lot. At this stage, it's looking okay, but it's still very rough. Like the design is mostly there. We'll do some smaller changes here and customer portions a bit later on. But the general design is there. Like you're not going to mistake this guy for like a princess or something like that. We got sorted who he is. Yeah, that would be a wrong. That would be the wrong princess. That would be great. Mario would be very disappointed. Very excited. I think it's always fun when you get to this stage because it's like, you know, you get the coloring book and now it's time to color in the lines and do all the final, I guess, topping and like icing on the cake kind of stuff. Yeah, this is a far more favorite search. Yeah. Now we're going over into smoothing stuff out a little bit as well. Like you can see we lose a lot of character right away because all the like the heavy skin and all that was, it's not being removed, but what was there was kind of, it was kind of wrong because the heavy skin wasn't really supposed to be there. That's just, it's a brush stroke which looks like it. So by smoothing it out, it allows me to go in and really simplify the shapes, really, really simplifying it before we now go in and add skin as a separate pass. I think it's interesting with this stage of the sculpt because this is the stage. So this is obviously the stage that I think most people enjoy. So most people rush ahead to get to this stage. But the previous stage in the previous chapter, for me, that is by far the most important stages, not necessarily always the most fun part because your sculpt can still look kind of bad at that stage. And used for a long time, you start to question your abilities as an artist. And this happens every time you do a sculpt, but it's like the more you do it, the better you get at like not letting it sort of like bring you down, I guess. But it's important to stay at that stage for a long time to make sure that everything actually works before you move on to the sort of more. Did like the gratification sculpting stages. That's also why this these chapters are sped up by around around 150%. And the other one would the first chapter is at 100% because just because it's so important to get that right. We always talk a little bit about imposter syndrome comes to sculpting because it's actually a real thing. It doesn't matter if you know all the fancy brushes or whatever, if you don't believe that you can actually continue with it. We had recently, there was a guy who messaged me saying that man, he wish he was such as good as a sculptor as Morton was in a video. It's just when he was sculpting, he just felt terrible and he was just doubting himself at any one time. But man, when Morton was sculpting the video, he was just so confident. And then I was speaking to Morton, I was like, yeah, I was internally screaming the entire time. Yeah, I think actually that was for it was it was probably one of the face sculpting one female face which is One of the sculpts that I've struggled the most with in my entire career Yeah, like the end product looks nice, but it's like specifically for me at least sculpting realistic women is So hard because they're so subtle. They're so soft and not a lot of variation can sort of like go into the skin or anything before it starts to look off. So that was a lot of self-doubt during that sculpting process, but it's just sort of, it's knowing when to not listen to that part of your brain. Like when is like, okay, you'll give it four hours and then it'll be great. There's also cases sometimes where you just, you just know from experience that, okay, there's a little light going in off in my brain telling me this is bad. And that's because it's actually bad. Yeah. You have to learn to sort of like distinguish those two, I guess those two voices in your head, the imposter syndrome one and the one that's actually trying to help you. Yeah, there is the you should try interesting food, but do you shouldn't be poisoned by the food? There is a there is some food you should just avoid. Like like all seafood. In Henning's case, all seafood like all seafood, which is a problem here in Japan. It's a little traumatic sometimes. I have this recently where I was doing a scoff that I just felt like shit. Just genuinely like I lost all my ability. Everything I was doing in the film industry, that was just blind luck and good base meshes and good support network. And I was looking at him being like, I was sculpted for six minutes. Shut up. Yeah, shut up, right? But it didn't matter because yeah, it looked like crap. Objectively, it looked like crap. But yeah, of course it does like it does. You've been doing it for six minutes. That's why I really respect the people that live stream. Like whenever I live stream, I always feel like, okay, now people are actually going to discover that I'm a fraud because then you're like, you're really on the spot. And then whatever you make, which looks like crap at a certain stage, people are actually going to see. So there's the people who live stream. I mean, that's like more props to them. So it's important to not compare your behind the scenes footage to our highlight reel. Like when you're seeing the cool product images from all this and you're seeing all the pores and being like, man, this is a cool sculpt. Well, maybe you don't think that. Let's assume you did. And just knowing that there is a lot of, you know, basically screaming into pillows throughout every sculpt. There is just no going about that. I feel there's less screaming into the void when it comes to doing creatures, because if you're trying to sculpt a cave troll, you can be very off point and it still looks like a cave troll. You can screw up the entire anatomy and it still kind of reads as a cave troll. But like in the case we discussed before, where it wasn't sculpting a female face, it was sculpting a beautiful, appealing female face, you can make it look sculpt me, you can make it look like a female face, but it might look like a hobbit hobbit female face. You can make it look sculpt me, you can make it look like a female face, but it might look like a hobbit hobbit feeling face. Yeah. In this case, you want to sculpt like an elf, right? So just because it, yeah, like, yeah, that reads as female doesn't mean it's it's like an appealing sculpt at all. I guess it's one of the issues with even if you go over to say you're doing stylized, it's, well, I the also spend years just trying to perfect that and trying to really get to a point where the appealing shapes actually look good. So hard. What we just did here is we currently been working on the DynoMesh version of the sculpt, but there isn't a whole lot of point to keep working with that because there are some artifacts and topology and it's just not that good to work with. So what I often do when I'm sculpting is I'm just zero meshing it once and this is just so that we have a nice topology to work with. It's not going to be final topology in any way, but it's just really nice and even and quadded. So it's just way easier sculpt. So you duplicate your model, you hit zero mesh, we have a whole chapter on that earlier, then you subdivide the model you just zero meshed up to maybe a few hundred thousand polys in this case. And then you re-project it. We also again have the re-projection chapter from that. And then you just keep sculpting on it. Then you just lead to old version. It's kind of like the it's kind of like a cast that you don't need the original cast. You just need the new model. So now we're just working on that. So it's just a lot easier to subdivide your model further up now. And by doing this, you also have a lower space as well. So instead of just having a 200,000 dynamesh version, you now might have like a 10,000 version, which is it's so much easier to do bigger changes now, because now you can go down to the lowest subdivision level and just just really refine it just really or just really refine the design. One of the other nice things about your meshing in that is like it tries to sort of optimize your mesh. So where a lot of details are closer together, it'll try to pull the quads in there and give you more detail. And then on larger, more flat areas, it'll try to decrease the poly count. Whereas if you're working with DynaMesh, everything is evenly quatted or triangulated. And it ends up being very, very heavy. Now, this is the time we're starting to get a bit frantic when it comes to scoffing. This is where we're going in and refining a lot more things. Whenever I'm working over a shape, I'm always trying to refine it. I'm not just so much thinking now, oh, let's add skin. I'm thinking let's add skin and refine the underlying structures. You can see that now the cheekbones a lot more fine, the nose is more fine, the brow is getting there, the nasolabial fold, which is the nice fold which goes from your nose around the mouth. Everything is just getting more a very over the model or across the model where we're just really adding like the skin feeling of it. The more appealing you want your character to be or like the more beautiful rather, the less you want to do this because now we're creating tons of like micro breakups on the skin, which just creates a lot of surface variation. This is really good if you want to make something like this or you want to make the skin feel really heavy. But if you're doing something really appealing or somebody very young, you'll want to be very careful with these tiny brush strokes. You probably want to stick to like bigger strokes and less texture in the brush as well. Or maybe even disable the Alpha altogether on the Clay Biller brush, because currently we have the Alpha 06, which is fantastic, but it does give you a lot of texture in it, which is amazing if you're doing this gnarly old troll. placed. But then you're just getting into the smaller things like what specific muscle is here and the tiny little plane changes of the different bony landmarks. Then you're getting more into like skin folds and the fat, where does that go? And then you'll get into like the pimples and the sculpting is that it's just an additive process. Like we talked about in the first chapter where you sort of work from the inside and out. You do the same thing with the details. You sort of layer them on top of each other more definitely two reasons. One could be that you're trying to replicate what we're sculpting here and we're sculpting at 50% higher speed than we actually are. And you're trying to replicate somebody who's been sculpting for years and you're very new to it. Instead of just slowly working up the forms or it could be that you just have to practice a lot more when it comes to the fundamentals. If you don't know human anatomy or figure sculpting, it doesn't matter how many tutorials you watch on sculpting ogres or fantasy creatures, you have to go back and just do your sea brush push-ups. You just have to go in and just do a lot of figure sculpting and just study the anatomy of how humans and animals are working. I like the gym analogy there. It's like you can't expect to go into the gym and be able to squat like whatever the max squat of the biggest guy in the gym is. Like if it's your first day in the gym, you have to slowly work your way up. I'm not saying that we're like the biggest dudes in the gym when it comes to sea rush, but just like we do have a lot of experience in this we've been sculpting for 13 years. Yeah, exactly. And it just takes a lot of time. It's just doing this thing over and over and over in production, doing it for films, doing it for commercials, doing it by yourself for hours for many days. It's like it's a really intense process and it takes a long time to get really, really good. So, you know, you don't, I don't want you to get discouraged if you can't get up to a certain level very quickly. It's all about just getting in that practice. But the good thing though is that it's not that you're learning like a software when you're sculpting like this, you're learning core fundamentals. If suddenly the sea brush has exploded tomorrow, like there's no more seabrush. You will be arrested if you own a copy of seabrush. Now we can only work with Spleyrush, like the new government approved seabrush. Like it doesn't matter. Like you, you can pick up any tool and you can still sculpt. Like we've been working on sculpting series in Blender and we're more than sculpting. And like once you get over, like once you get used to the interface and the tools, you're back to sculpting and like no time at all. Yeah, I think it took me to sculpts in blender to sort of like get familiar with the tools and then I jumped into just actual sculpting It's just you know because we've been doing it for so long. It's okay. Maybe the clay buildup brush is called Something else or the move brushes called the grab brush or whatever. It's like it's just those small differences You know what to look for. But once you have solid fundamentals, you can apply that to any field, not just sculpting. There's a lot of other things you can do with that as well. Once you learn how to do sculpting, right now we work from general to specific, you kind of get a feeling of, oh, okay, so sculpting works from general to specific. Let's see if other fields work from general to specific. What about lighting? Yeah. Yeah, you also work from general specific color theory. Yeah, sure. You block in your main colors first and then you go to the more tertiary things. Everything just kind of follows the same principle. So by becoming a good sculptor, you just you just find you're just finding a pattern for learning other things as well. And just refining the shapes. We blocked out the sternocleidomastroids very early on in chapter one, but we're still refining it. There's still going to be some more refinement after this as well. It's not that you put down a stroke and now you're done. No, there's always stuff that can be improved. And that's also one of the hard parts, especially when you're doing a tutorial. It's like, okay, when is enough enough? of the kind of brushes maybe that you use or the style of sculpting that you use you have to make it accessible for everyone to sort of follow along at least. And just realize I haven't done anything for the year. The year was severely underdeveloped. Sometimes you just get distracted. Yeah, you know, it's a you have fun with the sculpt. It's not it's not like all series work. Oh, you have to think about the sternocleidomastoid goes down here and attaches like this. It's just like you have fun adding the details and once you get to the wrinkly stage adding the fatty stuff under the chin and all the gnarly stuff for the troll that you know You start to have fun with it and then sometimes you just forget about the ears I'm really enjoying the stage here or sculpting And also if you if you hate the ear process don't worry. That's a pretty universal thing. about that. That's something you should probably do as well when you are sculpting a lot of, if you are sculpting a lot of creatures, make VDMs, whatever you need, so it's going to save you so much time. That's what we did when we made the creature kit. Now, we can sculpt a character like this in like a third of the time, because all eyes are kind of the same. Like there's not a special eye here. This is just a generic creature eye with her as well. I currently had a mirror on my desk doing this. I was just doing like, ah, facial expressions in the mirror. Like a pirate, like a pirate, like a troll pirate. You",
+  "language": "en",
+  "confidence": null,
+  "duration": 1092.43
+}