[flow_default] Transcription: 01_ToolsUsed.json

transcriptions/01_ToolsUsed.json

@@ -0,0 +1,7 @@
+{
+  "audio_file": "01_ToolsUsed.wav",
+  "text": "Hi and welcome to the first real chapter in this sculpting series. Now this series is fairly software agnostic, meaning that you can follow along in whatever software you are using, whether you prefer to use Mudbox, 3D code, Blender or Seabrush. Really what's important about this series here is not the tools we're going to be using. It is going to be the deep fundamentals and the concepts which we've developed over the last 15 years. That said, we are using Cbrush in this series and that is because it is by far the best sculpting tool out there. You have a lot of other good tools out there, but in terms of pure sculpting, nothing will beat Cbrush. So that's what we're using. We have a little bit of custom setup to do and I'll cover some of the brushes we use. Now you can see here, this is a very different interface than what you're used to, at least a little little bit different There are some new things here in the bottom and there are some things would change in general So this is an interface. We are providing you in this course. You can load it if you go to preferences config and load UI and then you can go to the materials folder and Under the materials you can just load this interface item It's the exact same thing if you go to preferences hotkeys and load and then you can load the hotkeys as well. Pretty standard stuff when it comes to loading them up. And then once you're done, then we go to hotkeys and store, and then we go to config and we hit store config as well. And that's gonna make sure that whenever you're opening up C-Wars again, then you will have this configuration. In terms of the actual sculpting setup, it's gonna be very simple. You can see here now we have the default madcap red wax and this will we will never ever use this. This is the worst material ever and the reason is real because it first it just doesn't look very good. But second off it makes everything seem like it's bigger than it is. If you were we were to just do a quick little sculpt here it would look like it's this is way stronger than it actually is so this looks like it's a there's a proper crease in here now. But if we were to take this into my render you could probably barely see it. So it's important to use a material which is far more neutral. So we go to mat caps or materials and then we use basic material. This is really nice. First is just a very pleasant material to look at. And second off, it works with lighting. So if you go here to the bottom of the interface you can either rotate or light around which is really nice. None of the mat caps will do that. Up here we have math caps which are captured from photos and here we have materials. So if we were to now use the green Roman math cap, you can see that this doesn't at all change based on the actual lighting. So we are sticking with basic material for this entire series. Another one which is nice to use as well if you've heard is using the math cap gray. This is also pretty nice. This is a bit more neutral than the basic material, but it doesn't respect your lighting, which is why I prefer to stick to this one. I used to really go crazy trying to find the best mat cap and all that kind of stuff, but over the last few years, I've been sticking this for literally all my sculpting. Just make sure that your sculpting is nice, not your presentation. So the brush we are going to be using, that by far the most, is going to be the clay buildup brush. You can hit the three key to get that if you're loading my custom hotkeys and you see it up here. The only thing we're going to be doing is we're going to change from this alpha to alpha 06 or you can also disable the alpha all together. Let's see what this looks like with and without. So you can see with the alpha, it gives you this really nice and specific result. If we undo that and we disable the alpha, you can see it's much softer result. So this depends a little bit what you want. When we're doing some stylized sculpting, maybe you want to have this be quite soft, or if you're doing some pretty specific and pre gnarly orcs sculpts, maybe you want to have this on. This is really how I sculpt for the vast majority of the time. This interface, basic material, and the clay billet brush and alpha 06. Next, we have the move brush. This is a brush we use to just move stuff around as well. Now we do assume that you have some knowledge of the actual sculpting tool you're using, because this series is not going to be a series where we cover the technicals that much. It's much more important to focus on the deep philosophy and the core concepts of sculpting instead of everything hotkey and nifty brush. But the move brush is fantastic. It just allows us to just quickly move the form around like this. The hotkey for that is four. We're not we're not choosing the brushes now based on the hotkey we're using them based on what's used the most. So this is number four which gives us the move brush. Then we have dam standard dam standard is phenomenal. If we just subdivide this a few times control D. Now you can see that we can use the dam standard brush. Hotkey is five for that and this gives us these really nice and awesome shapes like this. You can use it to is you can actually make with this brush from the Damp Standard Brush. You have a lot of control with how it actually works. Then we have the Standard Brush. I think the Standard Brush is the most underrated brush in all of Cbrush and every single software will have something similar. The Standard Brush does something very simple and it's this. It just pushes shapes out and pushes them in if you hold down the Alt key. Now this is useful if you want specificity. For instance, if we have an eyelid here and we want to really get in and make this specific, we're not just blocking it in or anything like that. We want real clean shapes. So I don't find it to be that good in general for sculpting, but I really like it when it comes to refining things. Like you have a nostril and you want to really get the shape just right. Then the standard brush is phenomenal. Then we have the trim dynamic brush. Trim dynamic is mapped to the you can use to blend between. So I've been in the past, I'm using this as an exercise where I was only allowed to sculpt with the trim dynamic brush because it really forces you to to only think about the big planes. You can't go in and do any fancy details too early. You literally can only add the planes. Now this might seem a bit extreme to you, but I promise you this has a lot of utility because you really want to get clean shapes when you're sculpting. And of course if you're doing something like rocks or something like that, you really just need these super clean lines. So trim dynamic is on the six key. Then of course we have the trusted smooth brush as well, which is on a shift key. So if you hold on shift, you can now just start to smooth. We're not going to be using this a whole lot. We have a whole chapter later on on actual sculpting technique. And in there we explain why we're not using it a whole lot, but that's really a personal preference. If you want to use the smooth brush, then just hold on the Shift key and then you can just start to sculpt like so. So the setup we use is really, really simple. Just to explain some quick stuff about the interface as well. Down here we have Dynamesh. I'm just going to have to kill the subdivision levels. So this allows me to very quickly just start getting some shapes in like so, Shift F to get the polyframe where we can click down here. And now we can just enable Dynamesh and control drag to actually remesh it. And now you can just see how quick it is to just start dynamishing stuff up. Start going out and then Dynamesh and you want to change the resolution. That's right here, if you want to reduce this down to half. Now we can do that as well. If you want to see or mesh it, this is something I do quite a lot as well and we'll talk about this later on how to do this. You can just see or mesh it by clicking the button and now you have this really nice and clean topology. You can activate symmetry. The reason we have this button is because you will accidentally click on the X key a lot. So this means that if you click on the X key suddenly you don't have symmetry. And if you're working in an area like this, there's no way to actually tell if you have symmetry or not. Or rather there is if you look at the actual cursor, you can see there's a double line and now there's a single line. But that's not good enough. Like I'm not going to be able to observe this. It's really tricky to actually see this. So practically there is no way to actually tell if symmetry is enabled not right. And if you've been scalping like this for like an hour, you are in deep trouble. So I put this button so I can clearly see where my, what the status of my symmetry is. Also, I have remapped symmetry to be shift X. So if you hover over symmetry, you can see here it actually says shift X. That will also be in your custom hotkeys. And that is for that exact reason that the X key and the alt key are almost in the same spot. So now if we were to, to, you know, sculpt in by holding on the old key, you might accidentally just hit the X key by just an accident, not not all the time, you're not going to do this once every 10 times, but you might do it every 200 times. And if you sculpt all day, that's going to be maybe once a day, every every second day or something, which just means that you're going to have to redo a lot of work. So Shift X will activate symmetry. And it is harder to reach, which is the point. Now, what does X do? Well, X blurs a mask now. I figured this was a good use for it. Something you do fair bit. And now you can just blur the mask by hitting the X key. Then we have delete hidden. This is really useful if you want to, for instance, you want to delete a part of the model, you can also mirror. This is really useful. So let's say the symmetry has been off and you've been working on one side like this. Now we can just mirror to get on the other side or we can mirror weld and that's going to actually mirror it from one side to the other. And now if you were to have subdivisions just hit Ctrl D. Now you can see we have the subdivision slider here as well. The reason for this slider and not just using the Shift D and D key is because if you have like 10 million polys, it's a lot quicker to just drag it from here to here instead of having to hit shift D a lot of the time. I don't mean in terms of the hotkeys, like in terms of hitting shift D a few times, that's trivial. But it actually takes a lot of time to compute because when you hit D and shift D, it actually has compute each level. But when you do it like this, it just goes straight from the highest to the lowest level. So now we can just delete hidden, Shift Control, Shift click on it to just isolate this guy, delete hidden. Oh, we have to delete the submission levels, which brings us to another button we have, which is delete lower. And this actually deletes the lower submission levels. So delete hidden now. And now we have deleted everything but this guy. And now we can also make a hole and again delete hidden and then close holes and I can see this fills in the holes. Now if you have any issues following along right now, this is not the tutorial for learning C brush. We have a really comprehensive introduction to C brush series. So if you are interested in that, you can check that out or you can check out the free video, a lot So let's say we have two polygroups. Select half, ctrl-w, ctrl-w, or mask half rather than ctrl-w. Ctrl-w will give you a polygroup for whatever is masked. So you can get really nice masks like this and polygroups with ctrl-w. What gonna do now, we can now use group split and now these will be turned into different sub tools. In a case like this where you might have a face or something, this is not relevant at all. This is not practical anyway. But let's say we have something like this and we have a bunch of different models and we want to split these into different sub tools. Well, that's very easy to do. We can do auto group and then do group split and hit OK. And now these will now have been successfully split into different sub tools. I don't really use a sub tool palette a lot. I use it, of course, when I have to organize my meshes, but for this series, this is not going to be production or anything. So the way I switch between them is just holding down the Alt key and just clicking on them. So that's really my interface and my workflow for sculpting. Just to sum it up, it's very simple. We are using only a select few brushes, which essentially has the hotkeys from 2, 3, 4, 5 and 6. We are using the basic material and we are just sticking to very simple settings for everything.",
+  "language": "en",
+  "confidence": null,
+  "duration": 816.6
+}