IntroductionWelcome| 00:00 |
Hi.
I'm Ellery Connell, author, designer and educator.
| | 00:07 |
I have nearly 20 years of experience
creating 3D for print, web,
| | 00:10 |
visualization, visual effects, and game
design.
| | 00:13 |
I've taught seminars, webinars, training
videos, and university-level courses in
| | 00:17 |
3D modeling, animation, and visual
effects.
| | 00:20 |
And I'm author of the book 3D for Graphic
Designers.
| | 00:23 |
Over the years I've found that many of my
best clients have been excellent
| | 00:26 |
designers who don't have the 3D skills
necessary to complete portions of their
| | 00:30 |
projects that require a 3D skill set.
This opens up a great market for both 3D
| | 00:35 |
artists looking for a marketable use for
their skills, as well as graphic artists
| | 00:38 |
and designers who are looking for a leg
up on their competition.
| | 00:42 |
This series will help you to hone your
modeling skills for creating clean and
| | 00:46 |
precise detail, and also use Modo as a
virtual lump of clay to flesh out ideas
| | 00:49 |
and prototypes quickly.
And then, get them ready for use and visualizations.
| | 00:56 |
We'll cover polygonal and sub-D modeling,
as well as sculpting, retopology and even
| | 01:00 |
modeling with recoil.
The dynamic physics simulator in Modo.
| | 01:05 |
After watching this course and practicing
the techniques demonstrated, you will be
| | 01:09 |
ready to create, clean and professional
models as well as complete scenes for
| | 01:12 |
showing off your models.
These will give you all of the pieces you
| | 01:17 |
need to start texturing and lighting your
visualizations in complete 3D scenes.
| | 01:22 |
I hope that you enjoy this training.
Let's get started.
| | 01:24 |
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1. Getting StartedIntro to 3D for product visualization| 00:02 |
In this video, we'll have a look at some
of the key elements to consider when
| | 00:04 |
doping Product Visualization Modeling.
Some of the things you need to take in to
| | 00:08 |
account is you're doing this kind of
modeling.
| | 00:11 |
That will help you make your workflow
cleaner, more efficient, and more productive.
| | 00:15 |
So, if we look at this example here of a
simple can model.
| | 00:18 |
You can see that it has a few things that
we can look at here.
| | 00:22 |
And first is that it has a nice clean
line, it's representative of a good shape
| | 00:25 |
for a can.
You can see that it has the detailed
| | 00:28 |
model here of the lip where you see the
nice shadowing.
| | 00:31 |
Or when we put in some kind of reflective
material that will show the nice
| | 00:34 |
reflection there between that lip that's
very obvious on a soda can, and then the
| | 00:37 |
area underneath it.
And then on the underside, as this tapers
| | 00:42 |
off on the bottom.
The underside of the model is actually
| | 00:45 |
completed here, so that the model will
properly lead around on the underside of
| | 00:48 |
the can.
And this is a relatively simple thing to
| | 00:51 |
do, because it's just a couple of
additional bevels, so this isn't the kind
| | 00:54 |
of thing that takes a long time.
And for this case, this can is not going
| | 00:58 |
to be shot from a high angle, so an angle
where the camera is up, above it.
| | 01:03 |
And so, because of that, the area up on
the top of the camera just has partial
| | 01:06 |
completions, so just the general geometry
is completed here.
| | 01:11 |
And there isn't a detailed area here on
the top, just a flat area.
| | 01:13 |
And since we're not going to be having a
camera angle up high, that won't matter.
| | 01:17 |
And this kind of an area to detail and
create the model for the tab, the pull
| | 01:19 |
tab and the inset areas.
And all the other detailing on the top
| | 01:23 |
would take quite a while to model,
probably longer than the rest of the can
| | 01:26 |
by itself.
So, that kind of thing is important to
| | 01:29 |
consider when you're doing a Model.
Think about the finished product and how
| | 01:33 |
you're going to be doing your finished
shots before you actually set up and do
| | 01:36 |
your modelling.
And that will save you a lot of time, you
| | 01:40 |
don't have to model a pull tab, and all
the top of the can if you're going to be
| | 01:42 |
having camera angles like these.
So, if you look at the camera angles
| | 01:47 |
you're considering here for the finished
shot, we've got that one, this one, over
| | 01:50 |
here on the side.
And then a bit Zoomed out, giving them a
| | 01:53 |
little bit of a different play on the
scale.
| | 01:56 |
And this is because these just have some
labels that are going to run across the
| | 01:59 |
three of them.
And we don't need to see the high angle,
| | 02:02 |
because it's not going to show off the
Label details that well.
| | 02:05 |
So, since those aren't needed, those were
left out.
| | 02:08 |
And so, that's going to be the first
thing, is going to be modeling it with
| | 02:10 |
kind of a targeted modeling workflow.
So you don't want to have to model things
| | 02:14 |
you don't need that's going to save you a
lot of time and effort.
| | 02:17 |
And then, it's also going to save you
polygons that you don't need in your
| | 02:19 |
finished render that will just kind of
add to the overall weight of your scene
| | 02:22 |
if they're not needed.
And then the last thing to consider is
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going to be cleanliness.
And if you look at this model here, if we
| | 02:31 |
look at the actual model itself, you can
see that this is a really simple
| | 02:34 |
Geometric flow.
And that's going to allow me to make
| | 02:38 |
changes and edits to this much more
quickly.
| | 02:41 |
In the case of a soda can, we all know
the shape of a soda can.
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So we're not looking for anything new and
groundbreaking on this.
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But when you're doing models where there
is some interpretation or some kind of a
| | 02:51 |
new shape that has been designed.
Either coming from your client or coming
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from your own designs.
Then it's important to have a model that
| | 02:59 |
you can edit and cleanly change, without
having to go in and do a lot of extra
| | 03:02 |
work just to make a simple change happen.
So this kind of clean Topology will help
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in creating your finished model so you
can have good adaptability.
| | 03:12 |
So, in this series, we'll also consider
the use of instances and replicas in
| | 03:16 |
order to build up a good scene.
And then beyond that, we'll also look at
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the use of creating scenes that
Particles, using Blobs.
| | 03:25 |
And all the other things that will help
make your modeling work flow clean,
| | 03:28 |
efficient and let you do a lot of
interesting things with it.
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So here you can see some there's some
blobs and some splashes and some other
| | 03:37 |
things that help kind of sell this scene.
Let this redraw here for a second in the
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Preview Render.
And the nice thing is that with these
| | 03:46 |
blobs, and the particles, it represents a
new way of looking at Sculpting.
| | 03:52 |
We'll cover Sculpting on base models, so
sculpting on the actual polygons in order
| | 03:56 |
to get a good overall form.
We'll also look at sculpting on subD's
| | 04:01 |
and on multi-resolution subD meshes in
order to get good, fine details.
| | 04:06 |
But then we'll look at sculpting
particles as well, and sculpting
| | 04:09 |
particles will allow you to do a lot of
fun things with those.
| | 04:13 |
And help make your designs really jump
off the page and add a lot of extra flash
| | 04:16 |
to the overall presentation.
So as we look at this, we'll see that it
| | 04:20 |
represents the few key things that we
really want to consider.
| | 04:24 |
And that is modeling with accuracy so you
have good, clean lines, good, evenly
| | 04:28 |
divided Topology.
Modeling with speed, not modeling the
| | 04:31 |
things that aren't needed, and really
focusing in on the work flow.
| | 04:36 |
And then modeling something that's
flexible, and that actually ties into the
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other 2 as well.
as you're creating good Topology and good
| | 04:41 |
clean lines.
And not modeling more than you need to,
| | 04:44 |
and you'll be able to create good,
finished renders, with nice clean
| | 04:47 |
Topology.
You can do whatever you want with it.
| | 04:50 |
Make edits that come from your own design
or when your client comes back and asks
| | 04:53 |
for edits you'll be able to make those
more quickly and more efficiently.
| | 04:58 |
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| Using the included files| 00:02 |
During the course of this series there
will often be times when a project is
| | 00:05 |
longer than the course of a single
lesson.
| | 00:08 |
In that case, incremental saves have been
included, so that you can pick up and
| | 00:11 |
start at any given point in the project.
You can start with varying levels of
| | 00:17 |
completion, so that you can work on the
areas that you need the most help with,
| | 00:22 |
and you can also see how objects would be
more completed in finished states.
| | 00:29 |
In some cases you also will receive
pre-set up scenes that have things like
| | 00:33 |
weight maps and other options already
laid out, so that you can see how they
| | 00:37 |
work, and better implement them in your
work flow.
| | 00:44 |
Also included are some reference images
that will be used for you to have a
| | 00:47 |
template to lay out your finished designs
throughout the course of the video.
| | 00:52 |
All in all, you should have everything
that you need to be able to go through
| | 00:55 |
this entire series, pick and choose the
parts that you would like to work on, and
| | 00:59 |
have finished objects to look at, dissect
and analyze.
| | 01:03 |
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2. Polygonal ModelingBenefits of polygonal modeling| 00:01 |
In this video we'll have a look at some
of the benefits of modeling in pure
| | 00:05 |
simple polygons.
Now a lot of the modeling that you'll be
| | 00:09 |
doing for product visualization is in
subdivision surfaces, because of the way
| | 00:13 |
that surfaces can be smoothed and
rendered very cleanly when the objects
| | 00:16 |
are completed.
However, there are some definite benefits
| | 00:21 |
to modeling with polygons, and those
extend beyond the basics of the simple
| | 00:26 |
construction that happens before moving
into sub-Ds.
| | 00:31 |
Let's look at a few of the things that
make polygons a good powerful modeling tool.
| | 00:35 |
So I'm going to start with a cylinder in
this case.
| | 00:38 |
So, I'm going to, just place this at the
origin, so put my position at zero zero zero.
| | 00:43 |
I'm going to set all my radii to 100
millimeters.
| | 00:48 |
And I'm going to start here with zero,
or one, segment, actually.
| | 00:52 |
So one segment vertically.
And we'll bump this number of sides up
| | 00:55 |
to 48.
So this is going to be relatively densely
| | 00:59 |
subdivided around the radius.
So I'm going to go ahead here, and click Apply.
| | 01:07 |
There you'll see we have our simple
cylinder.
| | 01:09 |
Now there's something very important
about this.
| | 01:11 |
Let's move over to a Quad view so we can
have a good look.
| | 01:16 |
And that is that, the radius of this is
going to be precisely the radius that we
| | 01:19 |
put in here.
Since subdivision surfaces actually will
| | 01:24 |
use the given vertices and edges and
polygons as kind of a guide for what's
| | 01:28 |
created, this will give you slightly more
precision.
| | 01:34 |
Now, that's not saying that you can't get
precision out of sub-Ds, but often times
| | 01:37 |
it's going to be very beneficial to have
an unsubdivided model with pure polygons
| | 01:41 |
that you can use as a guide in order to
achieve that.
| | 01:46 |
So if I go up here to View, and turn on
my Dimensions tool, we'll see that this
| | 01:49 |
is exactly 200 millimeters in diameter.
Okay, so, what I'm going to do here is,
| | 01:55 |
make a new mesh layer, by pressing the N
key.
| | 01:57 |
And I'm going to go again to my Cylinder
tool, and this time I'm just going to
| | 02:01 |
make it, we'll go for just a quarter of
that.
| | 02:04 |
So we'll go 12 sides and then I'm going
to go ahead and apply that.
| | 02:10 |
And I'm going to press Shift-Tab to turn
that into P-subs.
| | 02:15 |
Now we'll get into P-subs a little bit
later here, but just for the moment what
| | 02:19 |
I'm going to do is go ahead and sharpen
up these corners.
| | 02:23 |
So, Shift-W, and set this up to 20
percent, since my subdivision level is at two.
| | 02:29 |
And then I'll drop my tool.
And now you can see that this is giving
| | 02:33 |
us a nice, very cleanly subdivided model.
You see that it's very smooth around the
| | 02:37 |
edges, and we get a nice crisp pop.
Now, however, when I bring back my base
| | 02:42 |
mesh, you can see that, really this
subdivided mesh is not achieving the full radius.
| | 02:50 |
And while often times you will get a
good read with your measurement tools so
| | 02:53 |
that you can go ahead and do something
like scale this up, get it as close as I can.
| | 02:58 |
I could use Precision Snaps but I'm not
going to do that for the moment.
| | 03:03 |
Now, you can see here that this is
getting much closer, but that takes a
| | 03:05 |
little bit of adjustment.
And sometimes, due to the fact that
| | 03:09 |
points will be smoothed across, you won't
even get an accurate read here, so you'll
| | 03:13 |
have to use a background mesh in order to
get that.
| | 03:17 |
All right, now another place that regular
polygons shine is in areas where you
| | 03:22 |
don't need quite so much smoothness.
So for the example of something like a
| | 03:30 |
cube obviously we want the sides to be
very flat.
| | 03:34 |
So, in order to do this with sub-Ds, we'd
have to go ahead and sharpen edges and
| | 03:37 |
things like that.
But the big benefit of doing this with
| | 03:40 |
polygons is when you want to have flat
surfaces with subtle rounding.
| | 03:44 |
This actually is something that's easier
to do here, with simple bevels and a
| | 03:49 |
polygonal object.
So let's go ahead and select all of our
| | 03:53 |
edges, going all the way around.
Make sure I got all those there.
| | 03:57 |
And what I'm going to do is just go ahead
and press B for the Bevel key and then
| | 04:00 |
I'm going to turn my round level up
relatively high, say to four, and let's
| | 04:03 |
say I want an exactly 15 millimeter
bevel.
| | 04:07 |
I can dial in the value of 15 millimeters
and set my smoothing level wherever I
| | 04:12 |
want it, and then go ahead and do that,
and there we go.
| | 04:17 |
Let's go over to the model view, so I can
see this without my wire frames on.
| | 04:22 |
So there you go, you can see this rounds
very nicely.
| | 04:24 |
Now getting this exact 15 millimeter
rounding, is going to be relatively
| | 04:28 |
difficult with sub-Ds.
Now you may get some rounding issues,
| | 04:31 |
which we'll talk about later.
But those can also easily be fixed by
| | 04:35 |
simply grabbing all of the polygons on
the main faces, beveling them in,
| | 04:39 |
slightly, to help lead the rounding.
And there you go.
| | 04:43 |
And now we get a nice solid face there.
So anytime you have something that's
| | 04:48 |
going to need flat, even faces with a
little bit of rounding, you're also
| | 04:52 |
divest to work in straight polygons.
This works very well with backgrounds,
| | 04:57 |
this works well with props and things
that are used for lighting, or reflection
| | 05:01 |
that are going to show up in your scenes
and that way you can model them with nice
| | 05:04 |
smoothness using just things like simple
bevels, and you can also have nice flat edges.
| | 05:11 |
And a big benefit of this also is that
we're really reducing the overall polygon count.
| | 05:16 |
If I were to create something that was
nice and smoothly subdivided like this,
| | 05:19 |
remember that doing this with sub-Ds,
we're also subdividing all the faces
| | 05:22 |
evenly, so instead of having a single
face here, here, and here in this view,
| | 05:25 |
we would have really heavily subdivided
faces on all of those sides.
| | 05:32 |
And that will end up giving us longer
renders and make it more difficult to
| | 05:35 |
render large scenes quickly.
So polygons do have their benefits.
| | 05:40 |
Learning how to model with them and model
with them well is a good foundation for
| | 05:44 |
subdivision surface modeling, but also is
very useful when modeling a lot of things
| | 05:47 |
where you need either great precision or
you have simple flat surfaces that lead
| | 05:51 |
into simple rounded edges as in this
cube, background objects, and things like that.
| | 05:57 |
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| Creating selections| 00:02 |
In this video we'll have a look at how to
properly make selections to speed up your
| | 00:05 |
modelling work flow.
Oftentimes, making selections is a skill
| | 00:09 |
set that gets ignored and the ability to
make quick and accurate selections to get
| | 00:13 |
the things than you need.
And leave out the things that you don't
| | 00:17 |
need when making your selections is an
important skill for any modeler.
| | 00:21 |
It will help you make your models more
efficient.
| | 00:24 |
It will allow you to decrease frustration
and speed your work flow as you create
| | 00:27 |
your product visualization designs.
So let's look at some good ways of hiding polygons.
| | 00:34 |
Okay, so let's go ahead and start here by
creating a cylinder.
| | 00:37 |
And I'm just going to hold the Shift key
and click on the cylinder to create a
| | 00:40 |
unit primitive.
And this will give us a chance to look
| | 00:44 |
at some selction methods and also some
polygon reduction methods.
| | 00:49 |
Since the default cylinder comes with all
of these extra sides down here, which we
| | 00:53 |
don't need, we'll get rid of those in a
second.
| | 00:57 |
Now one thing to remember is that.
You can select entire loops simply by
| | 01:01 |
selecting 2 adjacent polygons that give
the direction of the loop and pressing
| | 01:04 |
the L key.
This is really important because a lot of
| | 01:08 |
poligonal modeling will contain edge and
polygon loops.
| | 01:11 |
So being able to select those quickly
this is something very important.
| | 01:14 |
So just select 2 adjanct or more 3
adjanct doesn't matter and press L to
| | 01:18 |
select the entire loop.
Left and Right arrow keys.
| | 01:22 |
We'll select the adjacent loops.
Either the next or the previous.
| | 01:27 |
And that actually has to do with the
selection order.
| | 01:29 |
So if I select two, you can see that I'm
going in this direction around here.
| | 01:34 |
So let's press L, and then let's zoom in.
And I'm going to rotate my view so that
| | 01:38 |
we're looking at this as if we're driving
on the road.
| | 01:41 |
This is the direction that we're going.
So, the right arrow key is going to go to
| | 01:44 |
the right, and the left arrow key is
going to the left.
| | 01:48 |
So that way you can know which way these
are going to go before hand without
| | 01:51 |
having to sit and worry about which way
you need to go.
| | 01:54 |
Okay.
Holding down the Shift key will add the
| | 01:56 |
next or the previous selection.
So adding one with the Left Arrow will go
| | 02:00 |
that way.
Now if I hold Shift and go to the right,
| | 02:03 |
it's actually going to move us back to
the original loop, so it's not going to
| | 02:05 |
add anything.
But if I keep holding Shift, and press
| | 02:08 |
the Right Arrow again, you can see that
it's going to add that next loop.
| | 02:13 |
Holding Shift and using the Up and Down
arrow keys will increase or decrease or
| | 02:17 |
expand and contract your selection.
So, you can see that this is moving and
| | 02:21 |
taking all of the adjacent polygons and
selecting them.
| | 02:24 |
When I press the up arrow and it's taking
the outer row of polygons each time and
| | 02:27 |
deselecting them if I press the down
arrow key.
| | 02:32 |
Now similarly, when you're working with
edges, you can also select loops, but
| | 02:35 |
since edges are bound to a single
direction, there are only two vertices.
| | 02:40 |
Double-clicking will select the entire
loop.
| | 02:43 |
And then, all of your selection movement
keys also work, so left and right arrow
| | 02:47 |
will, will also work here, as well as up
and down arrow key, and the Shift key
| | 02:51 |
will also select an increase or decrease,
your selection.
| | 02:57 |
So, a big part of modeling, is actually
your ability to make good selections.
| | 03:02 |
Make sure that as you begin modeling,
think before you make a selection.
| | 03:06 |
If you want to select an entire large
chunk of a model, then it's oftentimes a
| | 03:10 |
good idea to think, how can I do this in
a quick fashion?
| | 03:15 |
Now, at first, it might seem like it
takes a little bit longer to think what's
| | 03:18 |
the best way to do this, but as your
models get more complex your ability to
| | 03:21 |
select using these kind of selection
methods will be much, much more valuable.
| | 03:27 |
So spend a little time practicing that.
It will help you immensely in your
| | 03:31 |
modelling workflow.
So let's go ahead, and I'm going to
| | 03:34 |
select a couple of edges here and then
hold the up arrow key until we get all
| | 03:36 |
the way to the bottom.
Press L, and Delete.
| | 03:40 |
So I can delete those polygons that were
left with just simply polygonal faces
| | 03:45 |
here all the way around, just straight
single polygons.
| | 03:50 |
So if you take the time to really master
your selections using the options for
| | 03:54 |
growing and expanding selections,
changing your selections based off of
| | 03:58 |
inverting them or using Patterns to
Select.
| | 04:03 |
You can much more quickly get to what you
need, leave out what you don't and speed
| | 04:07 |
up your Modeling Process for Product
Visualization.
| | 04:12 |
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| Polygonal modeling techniques| 00:02 |
In this video, we'll have a look at
Polygon Modeling tools that also look at
| | 00:05 |
subdivision surfaces.
And oftentimes are tools that are missed
| | 00:09 |
or looked over, but can help you make
your modeling work flow quicker and more efficient.
| | 00:14 |
Especially when it comes to the models
that are typically be created with pure
| | 00:17 |
polygons when you're modeling for Product
Visualization.
| | 00:22 |
So let's select a Polygon, here on the
side of this cube, and then we'll look at
| | 00:25 |
some Modeling Operations that are often
left out of the typical modeling workflow.
| | 00:29 |
A lot of people will cover Bevel, Smooth
shift and thick.
| | 00:32 |
And that's a lot of the tools that are
used for typical polygonal modeling.
| | 00:36 |
So let's look at some of the other ones
that are not as commonly used.
| | 00:39 |
So, Sketch Extrude will be one, and then
Spikey, is another one we'll look at here.
| | 00:44 |
We'll use those tools in order to create
something that you might not think of
| | 00:47 |
immediately for creating your polygonal
models.
| | 00:50 |
So, with one polygon selected, I'm
going to enable Sketch Extrude, and then
| | 00:53 |
click in the View Port.
And that will turn on a handle that we
| | 00:56 |
can use to make an extrusion.
So, by default your mode is going to be
| | 01:00 |
set to Sweep, and, Uniform will be
disabled.
| | 01:04 |
That means that, as you drag this out,
every time that the, sketch draws a node,
| | 01:10 |
or a knot, you'll see that it's adding in
an edge on each of these places.
| | 01:18 |
So, if I turn this to uniform, you'll see
it'll actually even it out a bit.
| | 01:22 |
And then if I change this to Edit Path,
you can go back in and have control over
| | 01:26 |
the actual path that you've created for
your extrusion.
| | 01:30 |
I can also go in and Delete Nodes, so I
could delete not here.
| | 01:36 |
And that will remove, any node that I
click on will allow me to simplify my
| | 01:42 |
path, and make it easier to work with.
There, you can see that I've got
| | 01:49 |
something a lot easier to work with.
So now if I go back to Edit Path, I can
| | 01:52 |
move this around.
And since I have that Uniform button
| | 01:55 |
checked, it doesn't matter where I move
these.
| | 01:58 |
It's going to keep the same amount of
faces, and it's just going to spread them
| | 02:01 |
uniformly across the entire surface.
So, other options that you have with the
| | 02:06 |
Sketch Extrude that can be very useful
are this Scale.
| | 02:11 |
Which if I decrease this, is going to
scale it down to a certain percentage by
| | 02:15 |
the end.
So, if I decrease this down to zero,
| | 02:19 |
it'll go all the way down to a complete
point.
| | 02:23 |
I don't want to go that low cause I don't
want this to disappear completely.
| | 02:27 |
So lets go down to say 60% and if you
also want you can turn these so that
| | 02:31 |
every individual face will twist.
You can see it will twist the end point
| | 02:37 |
as much as you go here.
So I can use this to very quickly create
| | 02:42 |
a nicely twisted shape.
Okay, I'm actually going to turn that
| | 02:47 |
spin back off for this, and there we go.
So let's go ahead and drop the tool.
| | 02:54 |
Now this might be relatively useful for
creating something with subD's.
| | 02:57 |
Because if I go ahead and subdivide that,
you can see I've got something very nice
| | 03:00 |
and clean and smooth that's been created.
But this can also be very useful if you
| | 03:05 |
are creating anything mechanical, like an
armiture or anything that needs to have a frame.
| | 03:11 |
So just something to think about here.
Using polygons for what they do best, so
| | 03:15 |
they look like straight flat pieces.
You think about things that are straight
| | 03:19 |
and flat, I can utilize here.
So, I'm going to select by
| | 03:22 |
double-clicking this, all of the
polygons.
| | 03:25 |
And then we're going to go down here to
our friend Spikey, which will take every
| | 03:28 |
polygon, and it will divide it into four
even triangles.
| | 03:32 |
So, let's go ahead and click, and you can
see that I've got all these even
| | 03:34 |
triangles now.
And it basically creates a point in the
| | 03:38 |
center of each quad.
So, now I'm going to hop over to my Bevel
| | 03:41 |
tool, and I can just double this inwards.
If I turn off Group Polygons it will
| | 03:47 |
allow me to do this.
But another tool that you may want to use
| | 03:50 |
if you're not working with actual
extrusion along with your Bevel is the
| | 03:54 |
Inset tool.
We have Shift and Inset here which are
| | 03:58 |
actually parts of the Bevel tool, so just
something to think about.
| | 04:01 |
You can split apart your beveling work
flow actually into the two distinct parts.
| | 04:07 |
So if I do that and click, you can see
that I have control over the Inset on
| | 04:11 |
each of these, which is just part of the
Bevel tool.
| | 04:17 |
And this can allow you to have a little
bit more control than you would just over
| | 04:19 |
the Bevel.
Because you can simply Click and Drag and
| | 04:21 |
you don't have to worry about the handles
being there.
| | 04:23 |
So in this case, I'm just going to Bevel
inwards a little bit, and cut out those
| | 04:28 |
faces that are there.
And in this case, I think I'm just going
| | 04:33 |
to grab the whole top here and get rid of
it.
| | 04:36 |
So, just cut that out.
And now I'm going to double-click on this
| | 04:42 |
to select it.
I'm going to go back to my Thicken tool
| | 04:45 |
and I'm just going to pull everything
here outwards just a little bit.
| | 04:49 |
And now you can see, I've created a
really nice framework very quickly.
| | 04:53 |
Now this can be useful as you're creating
models for things like your background
| | 04:59 |
props, things that might appear in
reflections.
| | 05:04 |
So in order to show something like that
for creating a simple props, so for
| | 05:07 |
something for a background like a rig
that would be holding a light or a
| | 05:09 |
camera, something like that.
I'm going to go ahead and hold Shift and
| | 05:13 |
create a another cube here.
And then I'm going to go to Polygons,
| | 05:17 |
select the Top Polygon, use the Bevel
tool and just drag that up.
| | 05:22 |
And let's go up a little bit higher.
In this case, I'm just going to add in
| | 05:27 |
some segments, in order to make it
relatively even, 9 ought to about do it.
| | 05:32 |
And then I'm going to cut off the top
there, so we have a nice open face.
| | 05:37 |
And I'll do the same on the bottom, in
this case, just cut that out and
| | 05:39 |
double-click on those pieces there.
And let's go back down to the Polygon tab
| | 05:44 |
and choose Spikey and click, choose
Inset.
| | 05:47 |
Click and Drag to get the right amount of
inset here I think cut one what I've got
| | 05:52 |
left now in this case I have Double Sided
Polygons turned on.
| | 05:57 |
So, if I look at this in a non-wireframe
view, you can see that I get the depth of
| | 06:02 |
that rigging without having to thicken
it.
| | 06:06 |
So, if you're just using this for
something like a reflection, something
| | 06:09 |
like this can really help to add a lot of
umph and a lot of emphasis to your
| | 06:12 |
reflective objects.
So I could take a couple of these, let's
| | 06:16 |
go ahead and take this and Copy and Paste
it and move it over.
| | 06:21 |
And I could hang something like lights,
if I'm using Polygonal Lighting down in
| | 06:25 |
between these.
And then if I see this in a reflection,
| | 06:29 |
I'll see the effect of a real,
constructed lighting rig in my scene.
| | 06:35 |
Remember that when you're modeling with
polygons, one of the keys is to not show
| | 06:38 |
the polygons.
That might seem like something
| | 06:41 |
problematic but really as long as you're
keeping polygons flat, that's not a big deal.
| | 06:46 |
So let's go ahead here and look at some
things that, that might be problematic.
| | 06:51 |
A lot of these are going to be up in the
deform tab, and anything with soft by it,
| | 06:54 |
is probably going to be an issue.
Usually smoothing also an issue, because
| | 06:59 |
it's going to be taking those polygons,
and it's going to try to make them appear
| | 07:02 |
something other than flat.
And that's when you'll really run into
| | 07:06 |
problems with polygons, is when you don't
have flat polygons.
| | 07:10 |
So, I would also stay away from any of
the sculpting things like that, as again,
| | 07:13 |
those are going to ruin some of the
continuity that happens.
| | 07:16 |
You'll lose those hard flat edges, and,
that can be really a problem when you're
| | 07:20 |
creating these kind of things.
Now one thing that you will want to
| | 07:24 |
consider, and this is a side note because
it has to do with shading.
| | 07:28 |
But that is going to be using Rounding.
You see here I have a 20 millimeter
| | 07:32 |
rounded edge here.
Let's actually increase that a little for
| | 07:35 |
this, we'll go up to 50 millimeter.
And there you can see that I get that
| | 07:39 |
little bit of rounding happening and I
didn't have to model that.
| | 07:42 |
Again, for things like reflections or
props that are going to be in the
| | 07:45 |
background, not the star of your scenes.
Using things like that will really speed
| | 07:49 |
up your modeling process.
So consider those work on making your
| | 07:53 |
polygon seen without being visible
themselves.
| | 07:57 |
It's kind of like special effects in
movies.
| | 07:59 |
You know they're good when you didn't
know that they were there.
| | 08:02 |
With good Polygonal Modeling, you know
it's good when you don't see them specifically.
| | 08:08 |
So using those kinds of techniques you
can use Polygons really to their best advantage.
| | 08:13 |
They're quick, they render fast, and for
creating simple, solid body objects, they
| | 08:17 |
can be a very good choice to get your
modeling done quickly and effectively.
| | 08:22 |
| | Collapse this transcript |
| Selective subdivision| 00:02 |
In this video we'll have a look at how we
can use regular polygons without
| | 00:05 |
subdivision in order to create good,
clean, rounded surfaces Now this is a
| | 00:08 |
process that I like to call selective
subdivision, because you have actual
| | 00:12 |
selective control over where the
subdivision happens, up to creating
| | 00:15 |
things that are almost as completely
subdivided as a subD object.
| | 00:22 |
But often times when we're dealing with
polygons, we want to create things that
| | 00:25 |
are more simple, will leave big open
areas of flat polygons that are
| | 00:28 |
unsubdivided, that will save on render
time and will also ensure that we have
| | 00:32 |
nice completely flat surfaces.
So to look at that lets go here to our
| | 00:38 |
basic tab.
I'm just going to create a cube by Shift
| | 00:41 |
Clicking on the cube itself there.
And let's select these front places here
| | 00:46 |
and get rid of them.
And then I'm going to press the F key to
| | 00:49 |
flip these around inside-out.
And we're going to create kind of a
| | 00:51 |
simple stage here.
So, I'm going to take this and I'm going
| | 00:54 |
to move it up five hundred millimeters so
that it's sitting right on the ground plank.
| | 01:00 |
And now before we do any actual
subdivision here, let's go ahead and take
| | 01:03 |
this and right-click and duplicate it,
and that will give us a version that we
| | 01:06 |
can use with regular sub Ds and a version
that we can do selective subdivision on.
| | 01:13 |
So, if I want to make this a set for a
model, I would want to take these
| | 01:17 |
background edges here, these ones here,
and round these a bit.
| | 01:23 |
So, let's hide one of these.
And I'm going to select all of the edges
| | 01:28 |
in here.
And b for the bevel tool.
| | 01:32 |
And then I'm just going to drag this out.
And I'm going to use a relatively low
| | 01:35 |
round level.
Let's go one higher than that.
| | 01:37 |
Let's go up to two, and then, I'm going
to drag this out 250 millimeters.
| | 01:42 |
So, I get a nice, even, smooth, rounded
background and this, like I said, is
| | 01:46 |
something that we're going to subdivide.
So I'm going to go ahead and press Q and
| | 01:52 |
Shift Tab to subdivide it, so that we get
a nice and smooth and rounded, okay.
| | 01:57 |
So now let's do a similar kind of thing
with our polygons and selctive subdivision.
| | 02:02 |
So, in order to see this a little bit
better, I'm going to go up and I'm going
| | 02:05 |
to change my background and inactive
meshes to wire frame, so that I can see
| | 02:08 |
them but they're not going to be getting
in the way.
| | 02:14 |
So, let's go back in and once again, I'll
select all those three of those inside edges.
| | 02:18 |
Press B for the bevel tool.
And now I'm going to increase my round
| | 02:21 |
level to something like six.
And let's drag that out again to 250
| | 02:25 |
millimeters so that they're the same
size.
| | 02:29 |
Notice they'll be very slight difference
in the rounding here, and we'll get into
| | 02:32 |
that in just a moment, actually.
And for what we're working with, the
| | 02:36 |
polygonal version here is actually going
to be more precise.
| | 02:39 |
So, let's increase our round level even
higher, we'll go all the way up to eight,
| | 02:43 |
so that we're guaranteeing really nice
smooth subdivision along here and a good
| | 02:47 |
clean shape.
So, we're at 250 millimeters, let's go
| | 02:52 |
ahead and drop the tool and replace that.
All right, so in order to see how this
| | 02:58 |
looks, let's go ahead and hold Shift, and
I'm going to put a little sphere in the scene.
| | 03:04 |
So, let's go ahead and scale that down a
bit, maybe to about 30%, nah, even
| | 03:08 |
smaller, 25%.
And drag that up, just a little bit so
| | 03:13 |
that it's sitting on the ground plane.
All right, there we go.
| | 03:19 |
So now, right now, I actually have two
backgrounds and we'll look at how these
| | 03:23 |
both render.
We're going to change one of the settings
| | 03:30 |
on the background material.
So first, I'm going to apply a ball
| | 03:32 |
material here, so that we have a little
bit of color difference.
| | 03:36 |
Let's go ahead and make the ball red.
Let's click Okay.
| | 03:39 |
And now, I'm going to go to this
background, and let's go in and change
| | 03:43 |
our diffuse roughness to 100%, and our
specular to zero, and that's going to
| | 03:47 |
insure that we have a nice, clean, flat
even background.
| | 03:53 |
All righty, and last thing that I'll do
here so that we get some fill light is
| | 03:56 |
enable globe illumination, and turn off
ambient intensity.
| | 04:00 |
Okay.
So, here, we can see our ball sitting in
| | 04:04 |
our scene.
And this currently what we're looking at
| | 04:08 |
is the sub-divided one, the Sub D one, so
this one is actually done with regular
| | 04:12 |
Sub Ds.
Okay, so let's go ahead and render out a
| | 04:16 |
shot of that.
And let's zoom it up to 100% so we can
| | 04:21 |
see it.
And there we go.
| | 04:24 |
So, looks nice, good and clean, we don't
see seams or anything in the background,
| | 04:28 |
and that's fine.
So let's go ahead and hide that one, and
| | 04:31 |
turn on the regular polygon one, so the
one that's done with selected subdivision.
| | 04:36 |
You can go ahead and render that again.
Now we'll notice something here actually
| | 04:40 |
if we flip back and fourth between the
two, let's go up to 100% on both of
| | 04:44 |
these, you'll notice that the shadow on
the polygonal one lays a little bit flatter.
| | 04:50 |
So, you can see that the shadow moves up
here.
| | 04:53 |
Its not as high there.
So, the reason for that is, if we go into
| | 04:57 |
our model quad view here and we look at a
side view, let's go ahead and hide our
| | 05:02 |
sphere and bring in both of these.
Now we can see that with the subD'd one,
| | 05:10 |
it doesn't level out right here at that
250 millimeter mark, which is where that
| | 05:15 |
bevel is.
And that's because of the way that subD's
| | 05:19 |
will pull on the adjacent polygons.
You can see that it actually doesn't
| | 05:24 |
level out until it gets all the way down
here.
| | 05:28 |
Now we can go in and add in some extra
edge loops and some things like that, in
| | 05:30 |
order to flatten this out.
But that's also going to cause some
| | 05:34 |
creases to appear in our backdrop.
So, you can see here with this kind of
| | 05:37 |
thing, we're getting much more precision
and we're getting a nice flat surface to
| | 05:40 |
work on.
So, you would think that typically you
| | 05:43 |
would do something like this and subD it,
so that you get something nice and clean.
| | 05:47 |
But remember that those polygons are
going to be more precise when it comes to
| | 05:50 |
things like simple, rounded, bevel edges.
So really, this is just a large version
| | 05:57 |
of a small, beveled edge.
So this selective subdivision also works
| | 06:01 |
in more than just things like regular,
just basic polygonal shape here.
| | 06:06 |
Let's go ahead here and make a new scene
and I'm going to drop in a cube and you
| | 06:11 |
can do this by kind of hinting at the
shape that you want to get.
| | 06:16 |
So, I'm going to go ahead and bevel this
out.
| | 06:19 |
I'm going change my number of segments
just to one, or two, rather, so that I
| | 06:24 |
get one in the middle.
And what I'm going to do here is, let's
| | 06:30 |
take this entire thing, and move it up.
Half a meter, 500 millimeters so that
| | 06:35 |
it's sitting up there.
And now I'm going to do is take this
| | 06:39 |
front edge and pull it down.
And I'm going to take this edge here and
| | 06:44 |
pull it down, kind of a little bit, so
that it's leading that and giving us the
| | 06:48 |
idea of a curve.
Now, this is the kind of thing you would
| | 06:52 |
do if you're going to convert this to
subdivision surfaces.
| | 06:54 |
You want to kind of lead the polygons.
But this also works very, very well when
| | 06:58 |
you're dealing with selective
subdivision.
| | 07:00 |
So, I'm going to select the entire loop
there, press B for my bevel key, and I'm
| | 07:03 |
going to drag this out.
There we go and let's increase our round
| | 07:09 |
level, and we'll leave it there.
That's pretty good.
| | 07:14 |
Okay.
So now, you can see that I've created a
| | 07:16 |
nice, clean round.
Now looking at the profile of this,
| | 07:19 |
depending on how close you get to it, you
may start to see faceting in those polygons.
| | 07:24 |
But if you're seeing the entire object,
probably not going to happen.
| | 07:27 |
So, this again, will be very useful when
you're working with the form of something
| | 07:30 |
that's going to show up in a reflection,
something that's a prop, something that,
| | 07:34 |
you know, perhaps your main object is
sitting on top of.
| | 07:38 |
Doing this kind of rounding is going to
be very nice because it's going to give
| | 07:41 |
you good, clean, crisp rounding.
It's going to ensure that you still have
| | 07:45 |
a flat surface where you've designed flat
surfaces, and you can still go in and get
| | 07:49 |
extra rounding by going to your edges.
Selecting, edge loops, so I'll select
| | 07:55 |
them all the way 'round here.
And then, using your edge Bevel,
| | 07:59 |
obviously, I don't need quite as much on
the Edge Bevel there, I'm just going to
| | 08:03 |
go to a level of two, and I'm going to
drag that out, and there, you can see,
| | 08:06 |
I've got nicely rounded edges.
So, you can see, if we go to the Render
| | 08:14 |
view that we get that nice rounding
happening.
| | 08:20 |
We have a nice flat edge on the top here.
And if this is getting a little bit too
| | 08:23 |
abrupt in how that breaks off, you can
also go in here and do the same thing
| | 08:27 |
with an edge loop round the top, and just
in a little bit of extra rounding, to
| | 08:30 |
smooth that off.
You can see that either in the rendered
| | 08:35 |
view, or you can see it here in your
unshaded view.
| | 08:39 |
Now I didn't actually round that enough
here, but you can go in and a few extra
| | 08:42 |
edges to round that off.
So this kind of selective subdivision
| | 08:47 |
will allow you to have good, clean, flat
lines without having to use subdivision surfaces.
| | 08:53 |
So if you look at this, this is only
taking up 956 polygons in open gl, 956
| | 08:56 |
triangles is what that actually equates
to.
| | 09:00 |
The actual bit here is only 462 quads and
there are some N-gons on the front and
| | 09:04 |
the back, so something to remember.
Those N-gons aren't really too important
| | 09:09 |
in a case like this, but good to know
that they're there.
| | 09:12 |
So, use selective subdivision, it will
help you to make you polygonal models
| | 09:16 |
appear more smooth, and it can save you a
lot of headroom on your rendering in the
| | 09:20 |
end when you have many objects that would
be Sub D'd.
| | 09:25 |
If we go ahead and Sub D this, I won't
worry about fixing the ends.
| | 09:28 |
You can see this automatically jumps up
to 15,000.
| | 09:30 |
So if I only have one of these in a
scene, it's not going to affect my render
| | 09:33 |
time too much, but as you place more and
more objects that have some rounding on
| | 09:36 |
them, using selective subdivision is
going to save you thousands and even
| | 09:39 |
millions of polygons in your finished
render, and that's going to cut your
| | 09:42 |
render time down dramatically.
| | 09:46 |
| | Collapse this transcript |
| Smoothing polygons| 00:02 |
In this video we're going to look at the
Smoothing settings for your polygons and
| | 00:05 |
how they can be used to create nice
rounded edges, without even having to
| | 00:08 |
model those rounded edges, even at a
polygonal level.
| | 00:12 |
So let's take this object here and I'm
going to start.
| | 00:15 |
I've just got a simple cube so I'm not
going to worry about duplicating it.
| | 00:18 |
I'm going to select all of the edges
here.
| | 00:21 |
Let's actually go over to a quad view.
It'll make it quicker to do this.
| | 00:24 |
So let's select all of our edges and
press the B key to bevel, and let's go
| | 00:29 |
ahead and bevel this 25 millimeters.
There you go so 25 millimeter bevel.
| | 00:38 |
Okay now lets go back over to our model
view.
| | 00:41 |
We can see we got those nicely rounded
corners.
| | 00:43 |
Right, so now lets go ahead and create
another cube.
| | 00:46 |
And this one I'm going to convert to sub
these and go in and add some extra edge loops.
| | 00:52 |
So I'm going to add them going around it.
Like a belt, going around this way, and
| | 00:58 |
going around that way, and that's going
to create a cube there too.
| | 01:01 |
And then I'm going to hop over to my
items, and move this one over, so I can
| | 01:04 |
see them next to each other for
comparison.
| | 01:08 |
And then the last thing that I'm going to
do is create one more cube, which I'm not
| | 01:12 |
going to do anything to at first.
Let's move over there, so that we can get
| | 01:17 |
a good, solid comparison between the
three of them here in our views.
| | 01:22 |
So, one thing you'll notice is that this
one here appears to have much more
| | 01:27 |
rounded faces than the other ones.
So, I'm just going to select all of the polygons.
| | 01:33 |
That are around the face sides here.
Bevel those in, just slightly, and that
| | 01:39 |
will fix that issue, and you can see now
that we have nice, clean flat tops on there.
| | 01:45 |
This one appears more rounded, the
polygonal one appears more rounded that
| | 01:48 |
the sub d one.
We won't worry about that for the moment,
| | 01:51 |
but you can just visualize the way that
this is actually working, so we see
| | 01:54 |
rounded, rounded, and, for the moment,
very hard edges here.
| | 01:59 |
So let's go over to the Shader here and
the Base Material, and look down here at
| | 02:04 |
our Smoothing Angle.
So, right now our Smoothing Angle is at
| | 02:08 |
40 degrees, so that means that any Angle
that is less than 40 degrees is going to
| | 02:12 |
appear to be rounded.
So if I take this and dial it up,
| | 02:17 |
nothings going to happen til, if we're
looking at this left hand cube, nothing
| | 02:20 |
is going to happen until I hit 90.
At which point it's going to try and
| | 02:25 |
smooth all the way around that object.
Now you can see, it, it's trying to make
| | 02:30 |
something kind of spherical out of a
cube, which is obviously not going to be
| | 02:33 |
quite what we want.
You can see there's a big problem with
| | 02:37 |
the way the specular highlights go around
those corners, things like that.
| | 02:41 |
So not going to be what we want.
But we can use this effect in order to
| | 02:44 |
get Nicely rounded corners without doing
any actual subdivision, just by adding in
| | 02:48 |
a little bit of polygonal geometry to
help.
| | 02:52 |
Now, just like the cube in sub-d's needed
extra polygons in order to make this a
| | 02:55 |
cube, and not a sphere, same thing goes
with rounding.
| | 02:59 |
So I'm going to take my rounding here on
my smoothing, and I'm actually going to
| | 03:02 |
turn it all the way up to 180 degrees.
And now what I'm going to do is go into
| | 03:08 |
this object here, select it.
And in polygons, I'm going to go ahead
| | 03:13 |
and add in, let's go with about 2%, and
add in some additional geometry that way,
| | 03:18 |
that way, and that way.
And now you can see that we get rounded edges.
| | 03:25 |
Now, this will start to break down when
you look at corners because you can this
| | 03:29 |
is still just a hard edge.
But whenever you're not considering
| | 03:34 |
those corner points, this can be a very
nice way of getting good, smoothing
| | 03:39 |
happening on your very low polygon
objects.
| | 03:44 |
So this one you can see we're looking at
54 polygons, this one here is 198, and
| | 03:49 |
this one is going to show much lower, but
it's showing only 54 polygons.
| | 03:55 |
But really it's about 1700 in open GL,
because the subdivision surfaces are
| | 04:00 |
actually smoothing out and adding in
polygons even on these flat faces, where
| | 04:04 |
it's not needed.
So this is something to keep in mind as
| | 04:10 |
you work with your polygons: Remember
that your simple rounding can happen here
| | 04:15 |
inside of your Base material for each
object.
| | 04:20 |
And that is just found in your Material
Ref and down at the bottom with your
| | 04:24 |
Smoothing Angle.
Now another thing that you can look at
| | 04:27 |
here, and let's turn this back down, is
your actual rounded edge width, but this
| | 04:30 |
only takes place at render time.
So I can turn this up to, say 25
| | 04:34 |
millimeters, like I have on this other
one and it's not going to show anything here.
| | 04:40 |
But when we go over to our shaded
version, you'll see that we're actually
| | 04:44 |
getting that rounded appearance, and it's
appearing here and there.
| | 04:49 |
So, this is good to use, if you're going
to be needing it at render time, but, if
| | 04:53 |
you're not going to be needing at render
time, a lot of the applications for this
| | 04:57 |
can be real-time, not using that and
using a smoothing angle will affect how
| | 05:01 |
that works.
And you can see, you get actually a very
| | 05:06 |
similar effect.
So just remember, your smoothing angle is
| | 05:08 |
very important when you're working with
polygonal modeling.
| | 05:12 |
If you just leave it at default, you're
missing out on a lot of options that you
| | 05:15 |
have for creating good, believable
surfaces with straight polygons and not
| | 05:19 |
sub division surfaces.
| | 05:22 |
| | Collapse this transcript |
|
|
3. Modeling with SubDs and PSubsThe benefits of SubD modeling| 00:02 |
In this video, we'll look at some of the
benefits of modeling with Subdivision Surfaces.
| | 00:06 |
So, I'm going to start here by creating
two simple cubes.
| | 00:08 |
So I'm just going to hold Shift and click
twice on the Cube tool, and that will
| | 00:12 |
give me two unit cubes, so one meter
cubes.
| | 00:16 |
So I have one here that I'm going to use
subdivision surfaces on and another one
| | 00:19 |
that I am going to manually subdivide.
So let's start here with the second one,
| | 00:23 |
which we'll manually subdivide.
And I'm going to press Shift+D.
| | 00:27 |
Now, you can also press D to just
subdivide, but when you press Shift+D, it
| | 00:30 |
actually gives you the options here to
change the way that you subdivide.
| | 00:34 |
You can choose Faceted, which will keep
all of the polygon faces flat, and then
| | 00:38 |
just add division, so dividing to look
like a Grid, Smooth SDS and Catmul-Clark.
| | 00:44 |
These will all give slightly different
verges.
| | 00:46 |
Since I'm largely going to be working in
the PSubs, or the PSubs or the
| | 00:49 |
Catmul-Clark subdivision surfaces.
I'm going to choose Catmul-Clark so that
| | 00:52 |
I get a good approximation.
So you can see there I've got that
| | 00:55 |
subdivided and I'm just going to
subdivide it one more time.
| | 00:59 |
And that will me a kind of level two
subdivison for my subdivision surfaces.
| | 01:02 |
Now let's hop over to the regular cube
and press Shift+Tab to put it into PSubs.
| | 01:07 |
And you can see that by doing that with
the default I'm at level two and so I
| | 01:11 |
should be getting pretty much.
And exact approximation of what I've got
| | 01:17 |
by smoothing my polygonal mesh.
So you can see that when I select this
| | 01:21 |
phase, you can see all the other phases
are working together there.
| | 01:26 |
All right, now, as I'm working with sub
dees/g, the big strength is that I can
| | 01:29 |
get smooth surfaces.
And that I can control the amount of
| | 01:32 |
smoothness, kind of at will as I model.
And as I choose the Render, I can adjust
| | 01:37 |
that smoothness without effecting the
underlying model.
| | 01:41 |
Now if I were to go in and take this cube
that's underneath that's been smoothed, I
| | 01:44 |
can obviously add more subdivision.
Let's press shift D one more time, and
| | 01:48 |
increase that another level.
And you can see it's actually now
| | 01:51 |
exceeding, the smoothness of the
subdivided surface.
| | 01:55 |
But with the subdivided surface, I can
just turn that up on the fly and adjust.
| | 02:00 |
So over here in the Properties and under
Mesh, if I go down lower I can see that I
| | 02:03 |
have Mesh, and then I have Subdivision
Level, and Render Level and
| | 02:06 |
(INAUDIBLE)
| | 02:10 |
These will have to do with regular subD
surfaces, so just pressing the Tab key,
| | 02:13 |
which will put you into Subdivision
Surfaces.
| | 02:16 |
The Catmull-Clark subdivision will deal
with Shift+Tab, or the PSubs, style of subdivision.
| | 02:22 |
So if I click that just up to a level 3,
you'll see that this now completely
| | 02:25 |
aligns with the surface underneath.
Now, this subdivision level also will
| | 02:29 |
change, depending on my render.
So, if I rendered this right now, it's
| | 02:33 |
actually going to render more rough than
it is currently.
| | 02:36 |
It's going to render back here at a level
2.
| | 02:40 |
So one thing to make sure to look for as
you work, is that as you're previewing
| | 02:43 |
this, you know what you're previewing and
then what you're going to render.
| | 02:47 |
You can easily get your subdivision level
up high, go do all your modeling and then
| | 02:50 |
and go to Render.
And it's going to look like garbage
| | 02:52 |
because you don't have enough subdivision
level on your finished render, but it's
| | 02:55 |
an easy fix.
You can just go back in and change the
| | 02:58 |
Render level.
So we'll go up to three here for our
| | 03:01 |
Render level as well.
Now the real place that subD's begin to
| | 03:06 |
shine is when you need to make edits to
your model.
| | 03:10 |
Now if I wanted to simply flatten off the
top of this rounded cube, I could do it
| | 03:15 |
in one of a couple of ways.
I could either simply select a couple of polygons.
| | 03:21 |
Run the Loop Slice tool, and run a Loop
Slice up along the top, and then a Bevel
| | 03:26 |
up on the inside here.
And that will give me a nice relatively
| | 03:32 |
crisp edge.
Now the other way that I can do that,
| | 03:35 |
let's just back up here is to take this
selection on the top.
| | 03:39 |
Now you're going to select the entire
boundary.
| | 03:41 |
You can hold Ctrl and then click on Edge
and it will change your selection set to Boundary.
| | 03:46 |
And then press Shift+W to go into my
Vertex Weight Map tool, and this will
| | 03:49 |
allow me to weight the edge and give it a
certain amount of strength.
| | 03:54 |
So at zero, it's going to be completely
rounded or completely smooth by the
| | 03:57 |
Catmul-Clark Subdivisions.
And then as this increases it's going to
| | 04:01 |
sharpen all the way up.
And I'm going to go up to 30% which will
| | 04:06 |
put me at a completely crisp edge.
So either one of those ways will work in
| | 04:12 |
order to get a more creased edge.
And it just depends on the modeling work
| | 04:15 |
flow and the type of crease that you're
looking for, that will decide how that works.
| | 04:20 |
Now, if I wanted to make that same edit
on the polygonal model, obviously this is
| | 04:24 |
going to be significantly more difficult.
I could select the polygons on the top,
| | 04:30 |
increase my selection, change my Fall-off
to a Soft Selection fall-off, go to the
| | 04:36 |
Scale tool.
Oh, gosh, let's just flatten this down
| | 04:41 |
flat, make sure that my, I have negative
scale turned off.
| | 04:46 |
and then I can scale it out, cause this
is all things that would be handled by,
| | 04:50 |
working in suD's, so scale this out a
little bit.
| | 04:54 |
And gosh, I'm going to have to increase
my Radius, and I have to take the whole
| | 04:58 |
thing and move it up.
Okay, and still not quite perfect, so,
| | 05:02 |
you get the idea.
In order to get this kind of a sweeping
| | 05:06 |
change to a broad surface.
It's very difficult once you've
| | 05:11 |
subdivided a polygonal mesh.
So, this obviously is not going to be the
| | 05:14 |
way to go.
because I'm not going to get it perfect,
| | 05:17 |
and it's going to cause me a lot of
problems.
| | 05:20 |
Now, one thing that I can do with these
polygons is I can always take these and
| | 05:23 |
put them into subD's.
And oftentimes you will work with SubD's
| | 05:27 |
at a lower level, something like this.
And then when you go Add more detail,
| | 05:32 |
you'll increase the subD level of the
underlying mesh tape, so by adding more
| | 05:36 |
polygons underneath.
And then that will give you more control
| | 05:40 |
over the continuity of the subdivided,
smooth surface.
| | 05:45 |
So, in short, working with subD models
will give you the ability to create
| | 05:49 |
clean, smooth surfaces that are free of
the look of Faceted polygons.
| | 05:54 |
As they are on Smoothed polygon meshes
will also allow you to edit those meshes
| | 05:59 |
once you've completed them.
And then you can more freely adapt and
| | 06:03 |
change the shape of the model as you
work.
| | 06:07 |
| | Collapse this transcript |
| PSubs and SubDs| 00:02 |
In this video, we'll have a look at the
difference between regular SubDs, and
| | 00:05 |
PSubs, or the Catmull-Clark Subdivision
surfaces that are a part of Modo.
| | 00:09 |
I'm going to start creating two cubes, so
hold Shift and click on the Cube tool
| | 00:13 |
twice there, and on the first one, I'm
just going to select it and press tab.
| | 00:19 |
And on the second one, I'm going to press
Shift+tab.
| | 00:22 |
Okay, and you'll notice right away that
there's a little bit of a difference.
| | 00:25 |
In the actual polygonal structure, once
it's been subdivided.
| | 00:30 |
My regular SubD mesh is smaller and it's
pulling in tighter.
| | 00:35 |
My Catmull-Clark subdivision mesh has
rounder edges, so it's done a better job
| | 00:40 |
smoothing out and giving me a spherical
shape out of that cube.
| | 00:46 |
Now there are going to be more
differences here which we'll see when we
| | 00:49 |
move on to a different shape.
So I'm going to go ahead and create a cylinder.
| | 00:54 |
Let's hide our two cubes here.
And I'm just going to move over into
| | 00:59 |
Edges, select, select all the edges down
through the cylinder here, Loop, Delete.
| | 01:07 |
And now I'm going to duplicate this one,
so that I don't have to do all the
| | 01:12 |
deletions of my extra edges here.
And the first one here are cylinder
| | 01:18 |
number two to just keep continuous.
I'll press Shift+tab and put it into PSubs.
| | 01:24 |
And on this one I'll just press tab and
put it into regular SubDs.
| | 01:29 |
So, if we look here on the top, this is
obviously in both cases not the way that
| | 01:32 |
I would leave a model when moving it on
to a finished production phase.
| | 01:38 |
Neither one of these is really preferable
for a finished look, because of the way
| | 01:42 |
we are getting some distortion on the
subdivision.
| | 01:46 |
Look, however, at the tops.
And this has to do with how PSubs, or
| | 01:50 |
the Catmull-Clark subdivision services,
deal with nGons, versus how they're dealt
| | 01:54 |
with, with the regular sub views.
Now, you can see, that in this one, we
| | 01:59 |
have some starring going on, this is the
PSub one, and it looks a little bit like
| | 02:02 |
it's pulling around the surface, and
overall, relatively uneven.
| | 02:09 |
However, if we look at the other cylinder
here, you'll see that it is much more pronounced.
| | 02:15 |
I'm getting much sharper creases around
the vertical subdivisions.
| | 02:19 |
And the starring on the top is much, much
worse.
| | 02:22 |
So let's have a little further look at
this by adding in a couple of loop slices.
| | 02:29 |
Set that to two in symmetry, and I'm just
going to pull these all the way out to
| | 02:33 |
0.5 and then I'm going to do the same
thing with my second cylinder, and then
| | 02:37 |
we can, here let's just take a look at
these side by side.
| | 02:46 |
Just take one of these and move it over.
And now I'm going to hop over into my
| | 02:50 |
model view and then look at the two of
these side by side.
| | 02:54 |
So, if we look here, this is our standard
SubDs on the right.
| | 02:57 |
And our Catmull-Clark SubDs on the left.
You can see that even when we clean this
| | 03:08 |
up a bit, the starring is still more
prevalent on the SubD version as opposed
| | 03:12 |
to the PSub version.
So now what I'm going to do is, let's
| | 03:16 |
take both of these together, and I'm
going to bevel inwards a little bit to
| | 03:20 |
give myself a little bit of rounding.
And there you go, you can see that, even
| | 03:26 |
with proper treatment of the nGon, which
we'll cover in another video, you can see
| | 03:30 |
that this one, the PSub one, is doing a
better job of rounding on the corners.
| | 03:37 |
You can see that we're getting a more
continuous rounding on here, and here, it
| | 03:41 |
looks a little bit more broken and the
shading looks a little bit more uneven.
| | 03:46 |
Okay.
Now, there are some places, however,
| | 03:49 |
where you'll want to use regular SubDs.
And typically when you're dealing with,
| | 03:54 |
in the Shader Tree under Render and under
Settings.
| | 03:58 |
And here on the bottom under Geometry,
and when you're dealing with adaptive
| | 04:01 |
subdivision, and that's going to be
higher subdivision levels at render time,
| | 04:05 |
you'll want to use regular SubDs.
That's because they are more predictable
| | 04:11 |
and they behave better with that option
turned on.
| | 04:16 |
So Adapter Subdivision, if you don't know
the resolution that you're going to need
| | 04:20 |
to render at, and you are divided on
which on to use, I would say use the
| | 04:23 |
regular SubDs, because you're going to
get a more predictable result, when
| | 04:26 |
you're looking at your finished render.
So, let's go ahead and delete the two
| | 04:32 |
extra edges that I've placed at the
bottom of these cylinders.
| | 04:36 |
And we'll look at this one here, which
is in PSubs, versus this one is in SubDs,
| | 04:40 |
and what I'm going to do here is on the
PSub one or other let's start on the SubD
| | 04:45 |
one, so you can see the difference here.
I'm going to take this bottom edge, press
| | 04:53 |
Shift+W to turn on my Edge Weight tool,
and I'm going to weight this.
| | 04:58 |
And if I go anything less than 100%, so
90% you can see, starring get's really
| | 05:02 |
bad, it's having a really hard time
rounding off this surface.
| | 05:07 |
If I go up to 100%, I should typically be
okay.
| | 05:10 |
But it's going to run into some problems
otherwise.
| | 05:12 |
Now, on my Catmull-Clark, or PSub one, if
I press Shift+W, at 100%, you can see
| | 05:17 |
it's very nice and sharp.
And as I back this down, you'll see that
| | 05:21 |
it's going to retain its sharpness, all
the way down to 20%, and that's because
| | 05:25 |
Catmull-Clark subdivisions have an
adaptive weight that's based off of the
| | 05:29 |
subdivision level of the layer.
So if you have a different subdivision
| | 05:36 |
level in your on screen, that subdivision
level versus your render level, you
| | 05:40 |
should notice that it's going to be
different between the two.
| | 05:45 |
Now, the thing that I can do though here
is, adjust this and I can get a better edge.
| | 05:54 |
Now in this case, it's going to be
relatively rough just because I'm dealing
| | 05:58 |
with less polygons.
This is a very low polygon count, but I
| | 06:03 |
can go all the way say up to 19.5, and
it's not causing a lot of distortion up
| | 06:07 |
the mesh.
Which it was here on the other one.
| | 06:12 |
Now you will however always want to add
support edges when you're using creases
| | 06:17 |
like this, unless you're at full 100%.
With the SubD ones, the non Catmull-Clark
| | 06:23 |
ones, you will have a very hard time
going anything less than 100%.
| | 06:27 |
And then the final thing that I'd like to
look at here with PSub versus SubDs is
| | 06:31 |
that the PSub models have an option for
what's called multi-resolution subdivision.
| | 06:37 |
And this multi-resolution will allow you
to have multiple versions of the model on
| | 06:42 |
top of themselves.
So if I, for example, have my current
| | 06:46 |
level, that's the level that I'm seeing,
set at level two, but then my subdivision
| | 06:50 |
level set at level four.
Well, let's back my current level down to
| | 06:55 |
level two, you'll be able to see that I
have several different versions here.
| | 07:00 |
And I don't have to re-subdivide, I don't
have to change anything, those versions
| | 07:04 |
in those other levels are just existing
here underneath.
| | 07:09 |
And this will become a great asset when
it's time to sculpt the model, because we
| | 07:13 |
can sculpt at a low level, and then add
detail at finer levels.
| | 07:19 |
But only have to add those as we need
to, and then you can always back down
| | 07:22 |
your current level to a lower level so
that you can see your objects.
| | 07:27 |
More quickly and refresh more quickly
with your graphics card as you continue
| | 07:31 |
to work on other parts of your scene.
So, in short, PSubs versus SubDs, often
| | 07:36 |
times you'll want to use the newer PSubs,
the Catmull-Clark subdivisions that are
| | 07:41 |
achieved by pressing Shift and then tab.
Versus the regular SubDs.
| | 07:47 |
Regular SubDs are going to be a bit more
useful when it comes to doing renders
| | 07:51 |
that require you to use your adaptive
subdivision, but other than that, I would
| | 07:55 |
say you typically always want to go with
PSubs.
| | 08:00 |
When in doubt use PSubs.
If you need to be using adaptive
| | 08:04 |
subdivision think about doing regular
SubDs, you're going to get a little bit
| | 08:07 |
easier time with your finished render.
| | 08:09 |
| | Collapse this transcript |
| Creating creases with support edges| 00:00 |
In this entire video, I'm going to be
using P Subs, so not regular Sub Ds, but
| | 00:04 |
most of these things will also apply to
regular Sub D models.
| | 00:10 |
So, I'm going to grab this cube here,
press Shift + Tab to put it into P Subs,
| | 00:14 |
and now let's look at some of the ways we
can achieve some more sharp creases on this.
| | 00:20 |
Now, if I wanted to create something like
a cylinder, I would want to create two
| | 00:23 |
sets of extra edges.
And that is because, when you're dealing
| | 00:28 |
with subdivision surfaces, every edge
from your unsubdivided model.
| | 00:33 |
So we'll say this edge here.
If you want to achieve a sharp edge or a
| | 00:37 |
sharper edge, usually you're not going
for completely razor sharp edges.
| | 00:41 |
And because that little bit of rounding
will add subtle realty to your models.
| | 00:47 |
But when you're dealing with these edges
and you want to sharpen them you need to
| | 00:50 |
consider three different edges.
Their needs to be the existing edge or
| | 00:54 |
the edge that you're trying to achieve,
and incoming edge so the polygons coming
| | 00:59 |
into it and an outgoing edge the polygons
out of it.
| | 01:04 |
So, those two sets of edges are what will
give you sharped crease.
| | 01:07 |
So let's go back into P Subs here, and
I'm going to start just by adding a loop slice.
| | 01:13 |
Let's set my count back to one and my
mode to free, and I'm just going to drag
| | 01:16 |
this all the way up to the top.
And now, I'm going to grab this polygon
| | 01:20 |
on the top, press B for my bevel tool and
then just pull that in a little bit.
| | 01:25 |
So, maybe about ten millimeters.
Now what you can always do here is
| | 01:29 |
unsubdivide, and then you can kind of
eyeball and see.
| | 01:33 |
(audio playing) Oops, looks like I added in an
extra bevel there.
| | 01:38 |
Now, you can eyeball and see how close
these are to each-other.
| | 01:41 |
Now, if wanted to really line this up
well, we'd probably want to take this
| | 01:45 |
edge and just pull it down vertically a
little bit, so that the distance here
| | 01:49 |
through the side is similar very close to
the distance here on the top.
| | 01:55 |
Now, it feels exactly right or not it
going to be very, very small distance, so
| | 01:58 |
often not worth worrying about getting it
exact, but just so you know, the closer
| | 02:01 |
those are, the more even the curve is
going to be incoming and outgoing.
| | 02:07 |
Now, let's go ahead back in, push Shift +
Tab.
| | 02:09 |
And you can see that I've got a nice
round here.
| | 02:12 |
Now, my actual subdivision level is set
relatively low at this point, so I'm
| | 02:14 |
going to increase my subdivision level
under Campbell Clark Subdivision.
| | 02:18 |
Two, let's go to a level 4, and even with
this very low polygon page, a level 4
| | 02:22 |
subdivision is going to give you a nice,
clean edge.
| | 02:26 |
Okay, so here you can see, here is the
existing edge, the edge that we're trying
| | 02:30 |
to achieve.
And here is the incoming edge, and here
| | 02:34 |
is the outgoing edge.
And obviously, if you want to argue, you
| | 02:38 |
could always say that the polygons are
going this way and then this is the
| | 02:41 |
incoming edge.
And that's the outgoing edge.
| | 02:45 |
But you know, that depends on how you
want to look at it.
| | 02:47 |
Either way, you need both of those edges
in order to achieve a good crisp surface.
| | 02:52 |
So if, for example, I take out this edge,
you can see there's really no way I'm
| | 02:56 |
going to retain any kind of sharpness.
And likewise, if I take out this bottom
| | 03:01 |
edge, again no kind of real sharpness.
Because now, all I have is my existing
| | 03:06 |
edge with one secondary edge.
So, those supporting edges are going to
| | 03:10 |
be what adds rigidity to your models.
So, if I were to for example, let's go
| | 03:15 |
here and add in an edge over here.
You can see now this edge is nice and
| | 03:20 |
sharp, and that's the one that has
incoming and outgoing.
| | 03:25 |
But this one over here not so sharp, and
that's because I don't have anything to
| | 03:29 |
support it here.
If I were to add in another edge over
| | 03:32 |
here, now you can see that I've got a
corner because this entire corner is
| | 03:35 |
supported by incoming and outgoing edges.
And in order to get a corner like this,
| | 03:41 |
with three sides going into the corner,
actually needs supporting edges in three
| | 03:45 |
directions and it's both incoming and
outgoing on the X, Y, and Z.
| | 03:49 |
So, this can be a little bit confusing at
first, I know, but if you take the
| | 03:53 |
example of a cube, you can usually tell
how these subs are working.
| | 03:58 |
I'm going to complete the cube by adding
a few extra support edges so, I'll just
| | 04:01 |
put one over there.
And I'm going to put one over there.
| | 04:06 |
And one down there.
And that should just about do it.
| | 04:10 |
Now, the dead giveaway always if you're
missing one of these.
| | 04:21 |
So for example, if I take one of these
off, you can see that I'm going to get
| | 04:23 |
that weird rounding here, and it's not
going to look quite right.
| | 04:26 |
Now, sometimes you're going to want that
little bit of rounding, and you want that
| | 04:29 |
rounding on one area to be looser than
another area.
| | 04:32 |
So, it's important to remember that this
is sometimes what you want.
| | 04:36 |
Be careful though, make sure that you've
got it when you need it and now when you don't.
| | 04:39 |
The rule of thumb is if it looks kind of
funny and you see a pinched edge like
| | 04:43 |
this, where a vertex is shooting way off,
you're probably one loop Slice short.
| | 04:49 |
So, adding in that one loop slice will
typically clean up your entire model,
| | 04:53 |
will clean up all of those pinching
vertices.
| | 04:57 |
And give you a nice, clean surface to
work on.
| | 04:59 |
So, adding support edges to crease your
subdivision surface models, typically has
| | 05:03 |
to do with finding the edge that you want
to achieve, adding an incoming edge, and
| | 05:08 |
then adding an outgoing edge to get a
good crisp corner.
| | 05:14 |
And if you're looking for curve in one
direction, leave out either the incoming
| | 05:18 |
or outgoing edges and that will give you
something nice that's still contains an
| | 05:23 |
overall sharp form, something like this,
but will give you that little bit of
| | 05:28 |
smoothness on your sub D model.
| | 05:33 |
| | Collapse this transcript |
| Creating creases with edge weighting| 00:02 |
In this video, we'll look at adding edge
weights in order to get sharp creases in
| | 00:05 |
your subdivision surface models.
So, in order to get edge weights to work
| | 00:10 |
correctly, typically we'll want to work
in p-subs.
| | 00:15 |
However, there is something else to
consider when we're looking at p-subs,
| | 00:18 |
and that is the actual subdivision
weight.
| | 00:20 |
So if I look at this mesh, you can see
that it is a subdivision level of 2.
| | 00:25 |
I'm going to increase that to a
subdivision level of 4 so that I get a
| | 00:28 |
nice rounded surface.
And I'm going to select just a single
| | 00:31 |
edge, and press Shift+W, and that will
put me onto the Vertex Map Weight tool.
| | 00:36 |
Now, if you click and nothing happens in
your Viewport, you might not have your
| | 00:40 |
Vertex Map selected.
So go to List, Weight Maps and select Subdivision.
| | 00:47 |
Now, if you have other Weight Maps going
on, and this is where you could get off,
| | 00:49 |
and you might not be affecting your
subdivision weight by doing this.
| | 00:53 |
So you can see, as I pull on this, that I
get a sharp crease with anything above 40%.
| | 01:00 |
And that's because you can take the
actual subdivision level, in this case 4,
| | 01:04 |
multiply it by 10, and that's going to be
the percentage you need in order to get a
| | 01:08 |
completely crisp sharp edge.
So if I decrease that, now when you get
| | 01:13 |
to something very close to the
subdivision level, say like 38%, you'll
| | 01:16 |
start to notice some weird faceting
around the edge.
| | 01:21 |
And if I deselect this edge, you see, it
still looks creased, even though it's
| | 01:24 |
trying to be rounded.
Now, and that's because there's not
| | 01:29 |
enough supporting geometry to give us
that slightly beveled corner there.
| | 01:33 |
So if I take this, and let's go ahead to
my layer here and duplicate it.
| | 01:38 |
Let's hide the first one.
And if I were to take this and go up to
| | 01:43 |
Geometry and Freeze, you'll see that the
geometry is still evenly spread.
| | 01:49 |
So, even though I'm adding weight here in
order to sharpen this, it can't pull my
| | 01:53 |
geometry towards that edge in order to
give me more rounding.
| | 01:58 |
Now, if I were to take something a little
bit less extreme here, so let's go back,
| | 02:03 |
select that edge again, Shift+W.
And let's go down to something say about
| | 02:09 |
half of our subdivision weight, so maybe
20%.
| | 02:12 |
Now you'll notice that this is working
relatively well, and that's because my
| | 02:15 |
shading angle isn't having as much of a
hard time shading around that.
| | 02:20 |
However, if, let's duplicate this again,
if I were to take this and once again
| | 02:25 |
freeze it, you'll see that I still have
the same underlying polygonal construction.
| | 02:34 |
Here is my cube that has the 50%, or 20%,
but half of the full weight.
| | 02:40 |
And then here is my cube that has about a
95% weight.
| | 02:44 |
You can see that I really don't get much
benefit from that reduced weight.
| | 02:50 |
Now, if I wanted to get something that
was softer than a sharp edge, but more
| | 02:54 |
than, than this 50% weight, let's go back
here and hide these, I would need to add
| | 02:59 |
some supporting edges of some kind.
And in this case, I'm going to select the
| | 03:06 |
polygons and press D.
Now you'll notice that I lose my actual
| | 03:11 |
weight here.
And if I go to my Vertex Map tool, you
| | 03:14 |
can see that I actually lose that when I
use that SDS Subdivide.
| | 03:18 |
So let's undo that here.
You can see there's my weight.
| | 03:22 |
I'm going to press Shift+D, and make sure
that I have (UNKNOWN) selected and do
| | 03:25 |
that again.
You notice, whenever I make that change,
| | 03:28 |
I'm going to lose this weight.
So, you don't want to be doing a whole
| | 03:30 |
bunch of weighting before you get the
proper subdivision level, or else you'll
| | 03:33 |
have to go back and reweight it.
So, now I'm going to press Shift+W, and
| | 03:38 |
let's go in here, and now I'm going to go
with that same 20% that I was using.
| | 03:43 |
But now you'll see, I'm getting a much
better surface here.
| | 03:47 |
It's much sharper.
And that's because now it has some
| | 03:50 |
supporting geometry to help give me more
polygonal division here.
| | 03:55 |
Now, if I take this, and let's duplicate
again, and let's hide that one, and let's
| | 03:58 |
freeze this one again, you'll see the
reason why I get so much better
| | 04:02 |
subdivision is because I have a lot more
polygons.
| | 04:06 |
So here is my lower level one.
Let's unhide that.
| | 04:11 |
And you can see that I have a relatively
low polygon count.
| | 04:17 |
It looks like we're looking at about
3,000 polygons.
| | 04:19 |
But if I go back to this one, it's
looking much better, and it's giving me
| | 04:22 |
more crease around here, it's still
rounding it.
| | 04:25 |
But I'm looking now at over 12,000
polygons, so its quadruple the size.
| | 04:30 |
So, you need to be careful as you create
weights with your geometry like this.
| | 04:35 |
In order to achieve subtle rounding, it
takes a lot of geometry.
| | 04:38 |
So you have to be careful that you don't
subdivide so much that you end up with
| | 04:42 |
way too much detail in the end.
So the key to creating good, sharp
| | 04:47 |
cresaes with your Edge Weight tool and
p-subs is to make sure that you have
| | 04:50 |
enough supporting geometry, and then you
consider the amount of sharpening that
| | 04:54 |
you want to do.
If you want to create less than half of a
| | 04:59 |
completely sharp edge, so, again, let's
have a look at that here, let me go and
| | 05:03 |
remove some of these extra edges here.
We'll go back to the base where we had it.
| | 05:09 |
So if I wanted to create a completely
sharp edge, then you're fine with a low
| | 05:14 |
amount of geometry.
And if I need to have a subdivision less
| | 05:19 |
than half of the original, then you're
also okay.
| | 05:23 |
And then the other way is to increase you
subdivision level.
| | 05:26 |
You can do that either by adding
subdivisions, or by going up to the
| | 05:30 |
subdivision level and increasing it.
I can go up to a subdivision level of 6,
| | 05:34 |
and now you can see, I get a relatively
nice crease here at 40%.
| | 05:39 |
And I can probably increase a little bit,
even to 50% at this higher level, and
| | 05:43 |
still get a nice amount of curving.
But that's because, one more time, if we
| | 05:48 |
look at it, our frozen geometry is very,
very dense.
| | 05:52 |
| | Collapse this transcript |
| Modeling the soda can| 00:02 |
In this video, we're going to have a look
at how to set up the model for a simple
| | 00:05 |
soda can that we'll later complete and
add some details to.
| | 00:10 |
And the first thing we need to do is get
in a reference image, so we can have
| | 00:13 |
something to base our model off of.
And if you go into your scene files,
| | 00:18 |
you'll find reference images and there is
a can profile image.
| | 00:24 |
Now, this is actually a 3D rendered
image, and there's something important to
| | 00:27 |
notice about this.
And before I talk about it, I'm just
| | 00:30 |
going to take it and drag and drop it
right into my front view, in Moto, and I
| | 00:34 |
have my can in there.
And you can set up these images however
| | 00:38 |
you'd like.
I'm going to show you a few of the
| | 00:40 |
settings that I use that seem to make it
easier for me to be able to model these
| | 00:43 |
base software reference.
I'm going to turn on blend, which is
| | 00:47 |
going to slightly anti alias the image
makes a little bit cleaner and easier to
| | 00:49 |
read, and depending on the image
sometimes I will invert these.
| | 00:53 |
Sometimes it gets easier to read.
You can pick that based off of your own
| | 00:57 |
perspective here, see how you like it.
And one thing I'm also going to do is
| | 01:01 |
turn up the transparency to oh, about
60%.
| | 01:04 |
And that way I can see my wire frames
through it a lot easier.
| | 01:07 |
Now, as I was saying, there's something
important about the way that this image
| | 01:11 |
is set up.
And if you'll notice, this is not
| | 01:14 |
rendered as an orthographic view.
And by that I mean there is some
| | 01:18 |
perspective to it.
And that's important because if you're
| | 01:22 |
going to use a reference image of a real
can, no matter how far back you step and
| | 01:26 |
how far you zoom in, you're always going
to have some perspective on that.
| | 01:32 |
And this is something that if you go to,
go in search engine and look up soda can
| | 01:36 |
profile images, you're going to have this
kind of a perspective that's going to appear.
| | 01:43 |
Even in very good shots its going to have
this subtle perspective, and I want to
| | 01:46 |
show you how to get around that as you
model.
| | 01:49 |
So that you can compensate for that and
get a good, nice quality representation
| | 01:53 |
in your orthographic views.
That then will look correct when they are rendered.
| | 01:59 |
All right, so, with that said, I'm going to
take my background image here and you can
| | 02:03 |
either leave it or rename it.
I'm going to rename it, because I'm
| | 02:07 |
going to end up with more than one
reference image here at the end, so can
| | 02:10 |
profile, I'm going to call that image.
And then I'm going to go over to my mesh
| | 02:15 |
item, and select the cylinder, and in my
top view, I'm just going to center up, my tool.
| | 02:21 |
And I click and drag out, and see I
didn't quite get that centered, so I'm
| | 02:25 |
going to zero out my Z position.
And what I'm looking for is aligning this
| | 02:31 |
to the width of the can.
And I'm going to align it exactly to it.
| | 02:36 |
Now even though I know that eventually
when I sub D this it is going to slightly
| | 02:40 |
undershoot what I have with my polygons.
I'm still going to model it out there,
| | 02:45 |
and I can show you how to compensate for
that once you've converted to sub D's.
| | 02:48 |
And then I'm going to take my top view
here.
| | 02:52 |
And I'm going to even this out so I have
the same dimensions in both my X and my Z.
| | 03:00 |
In this case, 1.68 meters.
This is actually a very, very large soda
| | 03:06 |
can just because the way background image
imported.
| | 03:09 |
And personally, I never worry about this
kind of a thing until the model is
| | 03:13 |
completed, and then I'll go back and
properly scale my can to a good size.
| | 03:18 |
I think that's just something that is
better left worried about once you have
| | 03:22 |
the model completed.
So there are a number of ways you can set
| | 03:26 |
up this initial geometry.
Some people like to give you, give
| | 03:29 |
themselves the full height.
I personally like to go and model with my
| | 03:34 |
initial cylinder taking up the space of
just the whitest part of, you know,
| | 03:38 |
something like a can or a bottle whatever
the case may be.
| | 03:43 |
And then from there I'm going to bevel
off of the top and the bottom in order to
| | 03:48 |
continue this shape.
You can if you want, pull this up all the
| | 03:52 |
way and down all the way.
I find that that leaves you doing more
| | 03:56 |
operations and I would rather do things
more quickly, since you end up with the
| | 04:00 |
same geometry in the end anyway.
So, I'm going to take this here, and I'm
| | 04:05 |
going to leave just my default 24 sides
and I set my segments to one, because I
| | 04:09 |
don't want to have any additional
segments right now.
| | 04:14 |
I'm going to add those in later once I
have my base shape done.
| | 04:19 |
Okay, and a lot of this early on modeling
I'm going to be doing in raw polygons.
| | 04:23 |
So lets go ahead up here to the top, and
I'm going to bevel, and we're just going
| | 04:29 |
to pull up a little bit, and in.
And I'm going to use two intermediate
| | 04:35 |
bevels to create this shape, and at this
point I'm just going to very roughly
| | 04:40 |
eyeball them.
I'm not looking for an exact match as to
| | 04:45 |
what we've got here.
I just want this to be something close.
| | 04:50 |
Okay, so we'll go to there.
And now I'm going to be looking, when I
| | 04:53 |
get to this part, this is where that
prospective comes into play.
| | 04:56 |
And you can see that the lip here on my
background, my reference images arching
| | 05:00 |
way up.
Here, but I don't want to match that.
| | 05:04 |
I want to match my profile, because my
profile is where I can actually read the
| | 05:08 |
shape of the can.
So in that case I'm just going to go up
| | 05:11 |
to the top of the lip, like that, and
just to make this read a little bit
| | 05:15 |
easier, I'm also going to bevel inwards.
Just a little bit.
| | 05:21 |
That way when I do sub D this I'm not
going to get this big rounding off on the
| | 05:24 |
top here that you see on the bottom.
So I'm going to unsub D again, and let's
| | 05:29 |
go down to the bottom side and we're
going to do pretty much the same thing
| | 05:32 |
here so.
I need to bevel this, and I need to do
| | 05:35 |
the same thing with kind of two
intermediary bevels here.
| | 05:40 |
So I'm going to bevel in, and down, and
in farther.
| | 05:44 |
And there's a different type of curve on
the bottom of this, so I want to make
| | 05:49 |
sure that I'm following that.
And you can see that I am opening this
| | 05:55 |
slightly with the polygon.
That's because once I get into the sub D
| | 05:58 |
shape, I know that it's going to pull
inwards a little bit and I'm trying to
| | 06:01 |
kind of keep it even as it goes along the
can.
| | 06:04 |
I'm going to do the same thing here and
I'm just going to pull in just a little
| | 06:07 |
bit more, and there we go.
So now I can back this out, and press
| | 06:11 |
Shift tab to get into sub D's.
You can see that I'm getting a lot of
| | 06:16 |
rounding right here, so before I finish
up this basic shape, I'm going to put in
| | 06:20 |
a couple of loop slices.
I'll put the count to two.
| | 06:24 |
And I'm going to pull these up.
Something like that.
| | 06:29 |
We'll call that a deal, there.
Okay, and now, I need to make some
| | 06:34 |
adjustments, now that the sub D is turned
on, to my general profile here.
| | 06:40 |
So, let's start by pulling this part out,
I don't have a lip yet, so I just want to
| | 06:44 |
kind of aim for the inside of that.
And occasionally its good to hop in and
| | 06:49 |
out of sub D's because you want to see
what you have.
| | 06:53 |
Since I have this part straight, when I
sub D you see it looks like it pulls in,
| | 06:56 |
but I'm actually going to leave that
pulling in a bit for right now.
| | 07:01 |
Because when I go in to add more details
to that lip, it's going to flatten that
| | 07:04 |
out a bit.
So, that's looking about right.
| | 07:08 |
And let's see.
We can just make some general kind of
| | 07:11 |
scaling adjustments here.
And I'm looking at my front view here on
| | 07:16 |
the bottom left.
And I'm using my perspective view to
| | 07:19 |
adjust because I can zoom in and out as
much as I want in the perspective view.
| | 07:25 |
That's going to give me more control,
over the tool, but then at the same time,
| | 07:28 |
I can see it more closely over here.
So I'll just make that.
| | 07:32 |
And as you make these adjustments,
remember to use your left and right arrow keys.
| | 07:37 |
It will allow you to move between the
different edge loops without having to
| | 07:41 |
drop and reselect your scale tool, your
move tool, whatever you might be using at
| | 07:45 |
that time.
So, let's just go down to the bottom now.
| | 07:53 |
And let's got to that one.
Scale that one in just a bit.
| | 08:02 |
And now I'm going to unsubdivide just to
see.
| | 08:05 |
Okay, I've got a pretty flat angle here,
so I'm going to leave this last little
| | 08:09 |
bit because I know when I go to finish
off this shape, I'm going to be creating
| | 08:13 |
an indent on the inside and that's
going to add some extra rigidity to this
| | 08:18 |
inner edge down there.
So there you go.
| | 08:24 |
There's the rough shape of the soda can
completed.
| | 08:26 |
And using your reference image, you've
gotten a good profile.
| | 08:32 |
You're following the lines properly.
And you're compensating for that
| | 08:36 |
perspective, by looking at the edges and
ignoring the middle.
| | 08:39 |
And that's going to be a common thread
throughout doing this kind of modeling,
| | 08:42 |
is finding the best fit for your
references, because references are never
| | 08:45 |
going to be perfect.
You want to model to make it it perfect
| | 08:49 |
based off of imperfect references.
| | 08:51 |
| | Collapse this transcript |
| Finishing the soda can| 00:02 |
In this video, we're going to take the
basic can shape and add in the details of
| | 00:05 |
the lip on the top, the indents, also on
the top of the can, and the indent on the bottom.
| | 00:11 |
And we'll look at how adding these
details is going to affect and pull on
| | 00:14 |
the existing surface of your mesh.
And how to make sure you make good
| | 00:18 |
compensations that will keep your shape
true to the original form.
| | 00:22 |
So, if you'd like to follow along, you
can open up the basic can one LXO file,
| | 00:26 |
and you can follow along from here.
So, let's start up here at the top with
| | 00:31 |
the lip on the can.
So, I'm going to zoom in here on the
| | 00:35 |
side, and I'm going to select this entire
row of edges here.
| | 00:38 |
So select 2 polygons and press L, and I'm
going to bevel these outward slightly.
| | 00:44 |
This is going to be pretty slight and
then I'm going to bevel again and I'm
| | 00:47 |
going to scale these ones in relatively
far.
| | 00:51 |
And the adjustment that I'm making with
this secondary bevel is the overall
| | 00:55 |
rounded shape here.
And you can see, I've gotten a little bit
| | 00:58 |
off on my scale.
So, you need to look past to the
| | 01:01 |
reference, and see how that rounding is
looking.
| | 01:06 |
So, that's pretty close.
And the last thing I'm going to do here
| | 01:10 |
with the lip is to take this edge here
and move it upwards.
| | 01:14 |
Now, if I un-subdivide, you can see that
this edge here is actually all the way up
| | 01:19 |
and it's flush with that lip but if I
take this and move it up.
| | 01:26 |
Let's go ahead and go back to set these.
If I move this up I can create a nice,
| | 01:32 |
subtle bit of a, a little bit of a wrap
here.
| | 01:41 |
So that we get the feeling that this is
tucked underneath just a little bit and
| | 01:44 |
that will kind of help the overall
profile of this field a little bit more
| | 01:47 |
like it's been actually crafted out of a
real material.
| | 01:51 |
Now, once I've made that change, you'll
notice that my lip itself is not quite as even.
| | 01:56 |
So what I'm going to do is select this
loop.
| | 01:58 |
Again go to my move tool and just pull it
up very slightly.
| | 02:01 |
And that's going to even out the round on
the top and the bottom of the lip to keep
| | 02:05 |
it nice and even.
All right, so in order to just get a nice
| | 02:09 |
basic shape here what I'm going to do is
I'm going to unsubdivide and I'm going to
| | 02:14 |
select the polygon that's on the top,
this n-gon.
| | 02:19 |
And since I've added in this bevel now I
have an extra edge here and I may end up
| | 02:22 |
removing this edge when I add in more
detail but for now we'll just leave it.
| | 02:27 |
And I'm going to bevel straight down, and
I'm going to go about half the distance
| | 02:32 |
of the actual lip.
So I'm going to center it up right in the
| | 02:37 |
middle of the what's there and then I'm
going to go inwards just a little bit.
| | 02:44 |
And then up and in just a little bit.
And then in order to keep this nice and
| | 02:49 |
continuous and not have the starring
artifacts on the subDs I'm going to go in
| | 02:53 |
one more and pull that in to about there.
So now, when I subdivide this, I get that
| | 02:59 |
nice rounding here as we get that little
bit of a lip and I'm going to go over
| | 03:02 |
here to my model view, and I've got my
model view, my model single view that is
| | 03:06 |
setup in a very particular way that helps
with kind of eyeballing how your overall
| | 03:09 |
surface is looking.
For this view, I have it set to reflection.
| | 03:16 |
Now my shade options, I have my wireframe
set to none.
| | 03:21 |
And I also, if you go in here, in the
Visibility, I have all of my work plane,
| | 03:24 |
grid, backdrop, all of those things are
hidden so that I just get a good clean
| | 03:28 |
view of my object.
I can zoom in on small details and really
| | 03:32 |
get a good idea as to what's going on.
Now one thing I do see here though is I'm working.
| | 03:38 |
I'm actually going to go and increase my
subdivision level to 3.
| | 03:43 |
So that I get a little bit better read on
these surfaces, and that's going to give
| | 03:47 |
me a nice, clean look.
And since I'm doing that, I'm also going
| | 03:50 |
to increase my Render level, just so that
I don't forget, when I go to render out
| | 03:53 |
images of the can.
So, now let's look down here, at the
| | 03:56 |
bottom, and we'll do the same thing, or
the same kind of thing in order to get
| | 03:59 |
this bottom part finished.
So, let's go down to the bottom here, and
| | 04:04 |
since we don't have a good reference on
this, I'm just going to bevel in and I'm
| | 04:08 |
going to keep this even.
And let's go in, and I'm going to go for
| | 04:14 |
a diagonal, kind of an angle here, and
then I'm going to pull this in, and.
| | 04:21 |
This last bevel is going to set the
pitch, the how much this rounds on the
| | 04:25 |
inside here.
So the more I pull this the softer this
| | 04:30 |
inner angle becomes.
So depending on the kind of can some cans
| | 04:34 |
have a vary, kind of angled part right
here.
| | 04:37 |
Some cans really round off a bit.
I'm just going to do mine about like that.
| | 04:41 |
And again, let's go over to our Model
view.
| | 04:43 |
Now one thing to note is that in Modo
6.01, your perspective will be consistent
| | 04:47 |
between your Model Quad view and your
Model Single view.
| | 04:51 |
So you can very easily be working on a
part of a model, click over here and you
| | 04:55 |
can see what it's looking like.
In your non-wireframe reflective mode you
| | 05:00 |
can see the continuity of the surfaces,
then you can click right back to where
| | 05:03 |
you're working without losing your place.
So, now let's go in here and look again.
| | 05:09 |
And you can see that, this didn't pull
this edge out quite as much as I'd thought.
| | 05:13 |
So I'm going to select this middle inside
polygon, Shift, Up arrow till I get all
| | 05:17 |
the way to there.
And then I'm going to scale this outward
| | 05:21 |
using the planer handle.
I'm going to scale that to there.
| | 05:25 |
And then I'm going to shift down arrow
and I'm going to scale this part in just
| | 05:28 |
a little bit to help that rounding, and
I'm going to do the same thing on this
| | 05:32 |
very last one.
Right there, just to keep that nice and even.
| | 05:40 |
And then I'll make one quick last look
around at my overall can shape.
| | 05:48 |
Looks like I'm actually a little bit on
the wide side.
| | 05:51 |
I'm going to go to the skill tool from
the top view.
| | 05:53 |
I'm just going to pull this in very, very
slightly kind of about 99%, 98%.
| | 06:01 |
Now there you go, this is lining up
pretty well.
| | 06:03 |
I'll take it back.
Let's go to 99.
| | 06:10 |
There we go, and there we go.
That's lining up really nicely with the
| | 06:13 |
edge of the can and the profile here.
Looks good.
| | 06:17 |
And there we go.
So now we have a more detailed version of
| | 06:19 |
the can, and if you are just using this
for a product shot where you're just
| | 06:22 |
showing one side of the can, and you're
not going to be showing a high angle or
| | 06:26 |
anything like that, you can consider this
model completely done.
| | 06:31 |
Now, if you want to add any kind of
animation that would deform the shape of
| | 06:34 |
this model, I would seriously consider
adding in a couple of extra loop slices
| | 06:38 |
down the middle.
So just I'm going to set the count to
| | 06:42 |
two, click Uniform, and I'm just going to
drop in some extra loop slices.
| | 06:46 |
And that will make it so that if I'm
going to do something like bend this can,
| | 06:50 |
so let's go here and try to bend, and if
I wanted to do something like bend the
| | 06:55 |
can, I'd want to have a few extra loop
slices in there so that I can bend it
| | 06:59 |
without it really causing some crazy
deformations on here, making it look
| | 07:03 |
really bad.
So a couple of extra loop slices will
| | 07:10 |
help, depending on what you need.
So, again, if you are modelling this just
| | 07:14 |
for side views, you're all done.
And you are ready to take this off and
| | 07:19 |
move on with your model.
| | 07:22 |
| | Collapse this transcript |
| Dealing with difficult shapes| 00:02 |
In this video we'll look at some of the
more difficult and intricate shapes that
| | 00:04 |
you might encounter when you're creating
your models.
| | 00:07 |
Now many times the models that we'll see
for product visualization are going to be
| | 00:11 |
clean smooth models.
A lot of them are even going to be
| | 00:14 |
relatively simple, and going to be simply
things that carry graphics for
| | 00:17 |
illustrations for packaging and for
labeling and things like that.
| | 00:22 |
However, there are going to be times when
you have things that are going to be
| | 00:24 |
significantly complex to model.
kind of like the top of this can.
| | 00:28 |
So let's look at the top of this can and
the pull tab as an example of some of the
| | 00:31 |
more difficult things that you might see
when creating models like this.
| | 00:35 |
I'm going to step over to the Model tab
here.
| | 00:38 |
And (audio playing) in your folder, the Reference
images, along with the can profile, you
| | 00:42 |
also have a can lid.
And this is, again, based off of a
| | 00:46 |
photographic reference.
And this one is just traced so that you
| | 00:49 |
have a more simple view to look at.
And I'll let you focus in on the
| | 00:53 |
necessary details.
You can obviously use your own
| | 00:56 |
photographic reference.
You can take your own or you can find one
| | 00:59 |
online pretty easily for something like
this or for whatever the particular case
| | 01:02 |
might be that you're modelling for your
project.
| | 01:06 |
So I'm going to take that and drop that
into my top view.
| | 01:08 |
And you'll see it appear as the
background object.
| | 01:10 |
And I'm going to make some similar
changes to this one as I did to the first
| | 01:14 |
background object.
I'm going to turn on Blend.
| | 01:18 |
(audio playing)
I'm going to set my Transparency to about
| | 01:21 |
70% and going to check and see if
Inverting it helps on this one.
| | 01:28 |
I think I am going to Invert that and
then leave it like that.
| | 01:31 |
Now, I do want to Scale this so that it
properly matches the top of the can.
| | 01:35 |
So what I'm going to do is go over to the
top side here, Shift+Up Arrow until I've
| | 01:39 |
got the entire lip selected.
Shift+H to hide everything else.
| | 01:44 |
And now I'm going to align my background
image so that it fits with this model.
| | 01:49 |
So, put it there.
And I'm going to move it down just a
| | 01:55 |
little bit.
(audio playing)
| | 01:57 |
And that's looking relatively close.
Now you might notice that there is a
| | 02:00 |
little bit asymmetry here.
And we're going to do our best to model
| | 02:03 |
around that asymmetry as we go.
So let's go a head and unhide (audio playing) all
| | 02:08 |
the rest of the geometry.
(audio playing)
| | 02:11 |
Go over to that mesh layer, view the
unhide.
| | 02:14 |
And what I'm going to do is, create a
model.
| | 02:18 |
That is based half off of this simple
circle here that is on the top of the can
| | 02:22 |
and use that as the basis to create the
shape for the inset and then also the
| | 02:26 |
shape for the inner ring.
And then we'll make a secondary model
| | 02:32 |
that would be the tab itself.
And we're going to keep in mind that we
| | 02:36 |
might want to animate this or create a
model of this with the can open later.
| | 02:40 |
So we'll keep this done so that we can do
that.
| | 02:43 |
So let's go ahead and cut (audio playing) out the
top piece here.
| | 02:49 |
And then paste it back in.
And then I'm going to select the top part
| | 02:54 |
of the can.
As well as that top polygon, Shift+H to
| | 02:58 |
hide everything else, just so that I get
something a little bit easier to work
| | 03:01 |
with and I don't see all of my background
polygons in the way there.
| | 03:06 |
So now that I have this top polygon all
by itself, I'm going to go ahead and
| | 03:10 |
scale it down just a bit so that it meets
up with the bottom edge of the lip here
| | 03:15 |
where this is going to be inset.
And I'm going to get it close to the top,
| | 03:21 |
but I'm going to leave it centered, so
it's a little bit of, kind of a balance
| | 03:25 |
that will go right there.
So, it's slightly overlapping on the
| | 03:30 |
bottom and slightly under lapping there
on the top.
| | 03:32 |
So, now that, that's ready, I will need
to create the shape for the rest of this
| | 03:38 |
inset here.
Now, you might be able to do this with
| | 03:42 |
fall offs relatively easily, but with a
shape that's as complex as this, and I
| | 03:46 |
want a good, nice clean line, I'm just
going to do it with symmetry, and then my
| | 03:50 |
Scale tools.
So, I'm going to go ahead and select the
| | 03:56 |
vertices all the way around that need to
be moved in (audio playing) including the one's
| | 04:01 |
top and bottom.
And just use the Move tool.
| | 04:05 |
And since I have symmetry on, this is
going to keep everything nice and aligned.
| | 04:08 |
I'll deselect the next row.
(audio playing) And again.
| | 04:16 |
(audio playing)
So, each time I deselect a vertex I'm
| | 04:21 |
looking to align in the next vertex in
order.
| | 04:27 |
And sometimes the top and the bottom will
align at the same time, sometimes I'll
| | 04:30 |
have to do one at a time.
(audio playing) And after just a minute, and
| | 04:35 |
notice here's that asymmetry.
So what I'm doing is, no matter where my
| | 04:40 |
handles lie, I'm looking at the left-hand
side.
| | 04:43 |
(audio playing) And I'm aligning it with the
left-hand side.
| | 04:49 |
Now, remember, this is going to pull in
slightly when I convert it to sub-D's, so
| | 04:52 |
we want to make sure that we keep a
little bit of space for breathing room
| | 04:55 |
around there.
And actually, as a side note, this piece
| | 04:59 |
is a sub-Dd object right now.
But since it's not attached to anything
| | 05:03 |
else, we're not seeing the sub-D to show
up.
| | 05:05 |
So if I take this shape now.
Double-click on that edge.
| | 05:09 |
Double-click on the inner edge for the
lip of the can.
| | 05:14 |
And then we'll just go up here to bridge
(audio playing) and click on the View Port and
| | 05:17 |
there we go.
So at first, this isn't going to look any
| | 05:20 |
thing like the actual shape.
And not to worry.
| | 05:24 |
We will unsubdivide that.
And as soon as we start adding some
| | 05:27 |
additional bevels here, this will make
more sense.
| | 05:31 |
So let's bevel this in just a little bit,
and in like that.
| | 05:35 |
(audio playing)
And then I'm just going to bevel in a
| | 05:39 |
little, tiny bit so that I can separate
off this engon /g.
| | 05:45 |
(audio playing)
Now if I go ahead and sub-D that, you can
| | 05:47 |
see that we have this shape starting to
appear.
| | 05:50 |
Now, there are a couple of different ways
that these kind of shapes will appear on
| | 05:52 |
this kind of an object.
So sometimes it will have kind of sharp
| | 05:56 |
creases at the top and the bottom,
sometimes they'll have just one and not
| | 06:00 |
the other, so it might have a bit of a
soft edge there.
| | 06:04 |
so, either way, you can model that, you
can create that here.
| | 06:08 |
I'm going to keep a relatively solid
crease, here.
| | 06:11 |
I'm actually going to get rid of that
edge so it's not quite as dramatic.
| | 06:16 |
There we go.
So, now, the next thing to do would be to
| | 06:19 |
create the inset cylinder that is going
to be the inner part of the pull tab.
| | 06:25 |
(audio playing)
So let's go ahead and create another
| | 06:27 |
cylinder that will be that piece and then
we'll bridge the 2 together.
| | 06:31 |
So I'm going to start with my cylinder
tool here, and I'm just going to drag out
| | 06:36 |
the right size.
Let's move that up.
| | 06:40 |
And again I'm looking at my left hand
side of this just to keep my fact that
| | 06:44 |
I'm asymmetrical, I'm going to keep that
in check.
| | 06:48 |
Basically, the idea here is that you
kind of want to pick a lane and stay in it.
| | 06:51 |
So if I'm looking at the left-hand side
for one part of the model, I'm going to
| | 06:53 |
keep looking at the left-hand side as I
work on completing the model.
| | 06:57 |
If you're looking at the right-hand side,
then by all means, keep looking at the
| | 07:00 |
right-hand side.
So, now I'm going to select this, press
| | 07:03 |
Shift+Tab to put it into Psubs.
And now I need to align it with that top part.
| | 07:09 |
Now, I could use snapping but really the
quickest way to do this is to turn on
| | 07:13 |
your Scale tool, set your your action
sensor to element, click on the open
| | 07:17 |
polygon that's up on the top.
(audio playing)
| | 07:22 |
Make sure that, negative scale is off,
and then just grab that top handle.
| | 07:26 |
(audio playing)
Scale that flat, and you're good to go.
| | 07:28 |
So now I can take this top polygon,
(audio playing) get rid of that.
| | 07:32 |
And now we're in the same place that we
were with that inner piece.
| | 07:36 |
Now we can do the same thing to get this
lip in here.
| | 07:38 |
So double-click here, (audio playing)
double-click there.
| | 07:41 |
(audio playing)
Go to the Bridge tool (audio playing) and click
| | 07:43 |
in the View port, and there you go.
Now once again, this isn't going to look
| | 07:47 |
like the actual shape until we add some
bevels.
| | 07:50 |
And you can do this either in or out of
sub-D's.
| | 07:52 |
I personally like to get out of sub-D's
while I do this.
| | 07:56 |
So leave sub-D's, go in, and select this
polygon.
| | 08:01 |
And I'm going to bevel this inwards just
a bit here.
| | 08:07 |
Something like that.
(audio playing)
| | 08:09 |
And then I'm going to go in just a bit
more, and this is going to be what I use
| | 08:13 |
to get rid of starring artifacts when
this is subdivided.
| | 08:17 |
So, there we go.
Go ahead and subdivide that again, and
| | 08:20 |
we're ready, we're ready to go.
Now, there is one thing that I also want
| | 08:24 |
to add in here, and that is the rim that
would be where the tab is going to
| | 08:28 |
separate if this is open.
So what I need to do is actually add in
| | 08:34 |
one additional section here.
So I'm going to select this one, actually
| | 08:37 |
let's get out of sub-D's one more time
here.
| | 08:40 |
I'm going to take this entire, Bring here
(audio playing) and scale it out.
| | 08:46 |
So you turn my symmetry off and let me
just set my action center back to auto
| | 08:51 |
and scale this out just a little bit and
that should do it.
| | 08:59 |
So now let's go back and subdivide.
And I can select this entire loop and bevel.
| | 09:04 |
And you can see that's going to snap to
this shape, but this is going to leave me
| | 09:07 |
to have a little bit of a problem here.
So what I need here is an additional edge
| | 09:11 |
so that I don't get this pulling away
here.
| | 09:14 |
So I'm going to go to a loop slice.
Count of one.
| | 09:17 |
Set it to free.
And I'm just going to pull a loop in
| | 09:20 |
relatively close.
Maybe about there.
| | 09:25 |
Okay.
Now if I want, I could select this entire
| | 09:27 |
ring, and just bevel it down, bevel it
in, bevel it back up, and bevel it in.
| | 09:32 |
And that's going to give me that real
slight inset.
| | 09:35 |
But I want to do this so that I have an
open space over here that I can keep
| | 09:38 |
connected if I want to separate this out
and create the look of an actually open can.
| | 09:44 |
So let's go ahead and select most of the
way around here.
| | 09:49 |
And let's see, let's deselect that one.
I'm going to leave an off-centered couple
| | 09:55 |
of polygons here and those are going to
be what's going to hold the tab on there,
| | 09:58 |
if this is open.
So, I'm going to go ahead and bevel.
| | 10:02 |
You'll notice that things are going to
look a little bit funny here as we start,
| | 10:05 |
but that's all right.
And you initially want to make sure that
| | 10:07 |
you've beveled in a little bit here and
this is actually quite crucial.
| | 10:11 |
If you just bevel straight down, you're
going to be left with some strange
| | 10:14 |
artifacts when you try to sharpen this.
So let's bevel in just a little bit and
| | 10:18 |
then I'm going to go straight down.
Maybe, let's go down 2, and then I'll go
| | 10:24 |
down 4, and I'm going to come in just a
little bit.
| | 10:29 |
Maybe 2 millimeters.
And we go up.
| | 10:32 |
(audio playing)
Something like that, So I'm getting
| | 10:37 |
almost up to the original surface.
Now I could just bevel inwards to create
| | 10:44 |
a more flattened top, but what I'm going
to do instead of that is use loop slices,
| | 10:48 |
so they slice through all of this, and
will keep us from getting this rounded
| | 10:53 |
edge right here.
So let's set the count to 2, mode to symmetry.
| | 11:00 |
And we'll just drag those out for about
10%, and 90% /g.
| | 11:05 |
(audio playing)
And there we go.
| | 11:06 |
We click over to our model view.
We can see that this has come out really
| | 11:11 |
nice and clean.
Let's go over to our reflection view port
| | 11:15 |
and change our wire frame to none.
(audio playing)
| | 11:19 |
There we go.
So you can look and see that we're still
| | 11:21 |
getting a really nice solid top.
All this area through here is coming
| | 11:24 |
across really solid in spite of this
indent here.
| | 11:27 |
And this is going to read very, very
subtlety.
| | 11:30 |
You could also do this with a bump map.
So just a side note there.
| | 11:33 |
If you wanted to use a bump map you
could.
| | 11:36 |
However, that's going to not give you the
option to animate or open the can the way
| | 11:39 |
that you may want to, or have a morph so
that they can is open.
| | 11:43 |
So I would recommend, if you don't know
how you're going to do it, it's a good
| | 11:46 |
idea to go ahead and model it out.
It's going to give you more flexibility
| | 11:50 |
in the future.
(audio playing)
| | 11:52 |
So, last thing I need to do with this, is
I'm just going to bevel this part down
| | 11:55 |
and in just a little bit so that we get a
little bit more offset here, and a little
| | 11:59 |
bit more contour.
(audio playing)
| | 12:03 |
And the last part here, I'm just going to
scale in that last bevel, so I don't get
| | 12:07 |
my points here overlapping.
There you go.
| | 12:10 |
And that gives a little bit more depth to
that part that's going to be knocked down
| | 12:14 |
by the pole tab.
(audio playing) So there you go modeling a can lid.
| | 12:25 |
Getting the inset, getting the two pieces
to align, and making it so that you can
| | 12:29 |
have all that extra detail in case you
want to do a higher angle shot.
| | 12:34 |
And that will also help you when you're
doing other things where you have two
| | 12:37 |
different shapes that we have one
inscribed inside of the other.
| | 12:41 |
That kind of shape is really common in
getting a good clean polygonal flow in
| | 12:45 |
spite of this change in geometric shaping
is going to be very crucial to creating a
| | 12:49 |
good, clean product visualization image.
And it'll keep your finished renders
| | 12:55 |
looking nice and crisp.
| | 12:57 |
| | Collapse this transcript |
| Creating holes in SubD models| 00:02 |
In this video, we'll have a look at
creating the pull tab for the can, and
| | 00:04 |
the reason that we'll look at this
specifically on its own is because it
| | 00:07 |
covers some very interesting things about
creating holes in your geometry, and so
| | 00:11 |
that you have things that have continuous
flow, but have areas in them that are missing.
| | 00:17 |
So if you'd like to follow along, you can
open up basic can three, from the content
| | 00:21 |
folder, and, you'll be ready to go.
So, I'm going to start by pressing N, to
| | 00:25 |
get the new mesh layer, and I'm going to
go ahead and just hide the can for now.
| | 00:29 |
And then we're going to start with a
simple circle, or a cylinder actually.
| | 00:34 |
And one thing that you may notice is that
the pull tab is even more off centered
| | 00:39 |
than the rest of it.
Again this was going off a photographic
| | 00:43 |
reference, so the actual shape is
off-centered, as the tab was slightly off
| | 00:47 |
centered in that photograph.
So again, we're just going to kind of get
| | 00:52 |
this aligned as best we can, and once we
do that we'll just again pick a lane and
| | 00:56 |
go with that.
So, let's move this over so we get this
| | 01:02 |
kind of centered up on my cylinder.
And that's looking pretty close.
| | 01:12 |
All right, so I'm just going to scale
this in, scaling the geometry a little
| | 01:18 |
bit here.
All right so, now that we have this open
| | 01:22 |
part of the bottom done we'll take this
and we'll move it up into place in order
| | 01:26 |
to get the rest of the can here.
Now unlike how we did the actual.
| | 01:32 |
Inside of the can.
For this part of the geometry, we're just
| | 01:36 |
going to take the top section and move it
up.
| | 01:38 |
And that's going to leave us this big
open edge on either side.
| | 01:42 |
And that's going to be useful when we
create the various pieces that need to be
| | 01:46 |
missing and then reconstructed through
the middle of the geometry.
| | 01:50 |
So I'm going to pull that up to about the
middle of there, use my Scale tool, and
| | 01:53 |
I'm going to start with just the planar
handle.
| | 01:56 |
And we'll pull that out.
And then I'll extend that out this way a
| | 02:01 |
bit more, to the overall shape.
And maybe just, maybe a little bit bigger.
| | 02:09 |
And I'm going to be using the left-hand
side as my guide here.
| | 02:13 |
I think the right-hand side tends to pull
away a little bit too much.
| | 02:16 |
So I'm going to use the left hand side.
As it seems to be a better fit for the
| | 02:20 |
overall shape.
So let's pull down to there.
| | 02:23 |
And we'll go with something like that.
Now last thing that I'm going to do here
| | 02:29 |
is grab these two and pull those down
just a little bit more.
| | 02:33 |
And scale them out just a little bit.
And scale out also these just a little bit.
| | 02:43 |
Now, I could also do that with symmetry
on and the Move tool.
| | 02:46 |
But this is something that you'll see
pretty often is making a generalized
| | 02:50 |
scale or use a falloff in a Move tool in
order to get the majority of the pieces
| | 02:53 |
in place.
The majority of the vertices of the edges.
| | 02:57 |
Then go back and touch up the little ones
to finish that.
| | 03:00 |
So now that I'm going to select this, get
my Bevel tool, and I'm going to bevel in
| | 03:05 |
to get the top part of this inset cover.
So lets go in to about right there.
| | 03:12 |
And once more I'm going to take just
these two vertices here, and scale them
| | 03:17 |
in slightly, so that I get that shape a
little bit better.
| | 03:24 |
And now the last thing that I'll do here
before actually cutting out the first hole.
| | 03:27 |
Is take these bottom parts, make sure I
get all these vertices at the bottom, and
| | 03:32 |
I'm just going to move these straight up
so that they start kind of align with the
| | 03:36 |
bottom of the little horseshoe shape
that's down here.
| | 03:42 |
So we'll go for something about like oh,
maybe like that.
| | 03:47 |
Then I'm going to move a few vertices,
and scale that a little bit more flat.
| | 03:55 |
And move it up, now something like that.
All right, now with that done, I can go
| | 04:01 |
in and select this middle polygon, and
just cut it out, so Cmd+X, and.
| | 04:06 |
Let's see before I continue on here, I am
going to go to my x symmetry, I'm
| | 04:10 |
going to select this vertex here, and I'm
going to right-click, and choose Slide.
| | 04:16 |
And then I'm just going to slide it up,
and the reason that I'm doing this is so
| | 04:20 |
that I get less distortion on this big
empty polygon here.
| | 04:25 |
It's not going to really matter how this
part comes down through the bottom,
| | 04:28 |
because it's going to be rounded.
So I'm just going to make a couple of
| | 04:32 |
slight adjustments here that will let
this rounding happen.
| | 04:36 |
But then will give us a nice full even
polygon.
| | 04:39 |
And we don't have the big distortion that
polygon there.
| | 04:41 |
All right.
So now with that done, I can take these
| | 04:44 |
two edges and bridge them together.
So we'll just go over here.
| | 04:51 |
To the Bridge tool, and click.
Make sure you turn off symmetry, because
| | 04:55 |
if you have symmetry on, the bridge tool
will not work.
| | 04:58 |
And what I want to see is I want to be
able to close off this geometry.
| | 05:01 |
So, you can see here I have one, two,
three, four, five, six edges on each
| | 05:05 |
side, well I want to have.
The same six on the top side.
| | 05:11 |
So, that way I can bridge this to this,
this to this, this to this, and that to that.
| | 05:19 |
So, and the same will actually work up
top, except I don't need to close the
| | 05:21 |
hole on the top, I only need to close it
on the bottom.
| | 05:24 |
So with that done, I'll go ahead and drop
my tool.
| | 05:26 |
And then we'll go up here.
We use a falloff with these vertices.
| | 05:33 |
So, we'll go Falloff, set that to
Cylinder, the Move tool and pull this down.
| | 05:41 |
You can see that this is not quite giving
us enough, so what I might need to do is
| | 05:45 |
take the actual cylinder and extend it
out a little bit wider, to get something
| | 05:48 |
a little bit closer to start here.
And then I'll go ahead and grab this
| | 05:57 |
vertex on either side, move it back up,
and then I'll do kind of the same thing
| | 06:02 |
with the next vertex.
So once again, we're just kind of
| | 06:08 |
balancing out the vertices so that we get
a little bit nicer flow through the polygons.
| | 06:15 |
So there you can see if we go to the top
view, here, that we have this part open,
| | 06:18 |
so if I subdivide that, we get a nice
round opening.
| | 06:23 |
And at the bottom, we're initially going
to just close this off again, and then
| | 06:26 |
we'll delete some other polygons in order
to fill this out.
| | 06:30 |
So, lets go ahead, and I can double-click
to select the entire loop, deselect the
| | 06:35 |
edges on the sides, and then, then we'll
go to Bridge, click, and I want to drag
| | 06:40 |
that down to a nice, single roll of
polygons and now we'll double-click on
| | 06:45 |
the edges on the side, and press P.
And press P over there, so now we have
| | 06:53 |
some nice geometry.
Now, once again, I'm going to go back to
| | 06:57 |
my regular polygons, because it's
going to be easier to create this
| | 07:01 |
geometry as we go here.
So what I need is, I need to create a
| | 07:05 |
hole that will follow this contour right
here, and then we'll extend the edges up
| | 07:10 |
to get rid of the big empty space in the
middle here.
| | 07:15 |
So I'm going to start here with a loop
slice.
| | 07:20 |
And we just set our Count to one, and our
Mode to Free.
| | 07:25 |
And I just need to place a loop around
the top of this.
| | 07:31 |
Okay and now we select this edge.
And I'm going to turn on a falloff.
| | 07:41 |
Go with a Linear Falloff and turn on x
symmetry.
| | 07:45 |
Right-click and choose Slide and choose a
Linear Falloff, and drag the falloff out
| | 07:50 |
so that it gets zero influence in the
middle and a 100% influence on the edge.
| | 07:56 |
And then we'll just click and drag down,
and we don't want to go too far, because
| | 08:01 |
we don't want to have intersecting
vertices here, but that should be pretty
| | 08:05 |
close to start.
And now, we'll just grab these vertices,
| | 08:12 |
slide them back up.
And these ones.
| | 08:16 |
And in the middle here it's not going to
matter as much if these actual vertices
| | 08:22 |
slide or if they just move, because these
parts are not going to be contiguous with
| | 08:28 |
other openings, so they just need to be
moved into the right place.
| | 08:37 |
All right so, there we go.
Here is our opening, I'm going to go
| | 08:43 |
ahead and cut those polygons out.
Now you could have not filled in those
| | 08:48 |
polygons at the bottom, but it tends to
help to have some helper geometry in
| | 08:51 |
order to get good, clean edge slices.
Sometimes it will work fine without them,
| | 08:56 |
I usually make them just because I find
it is a much cleaner workflow to have
| | 08:59 |
some kind of helper edges to start with.
So, let's see.
| | 09:04 |
Now we're just going to take this part
here and move it up.
| | 09:06 |
As much as we can to fit.
And let's turn symmetry off, scale that
| | 09:12 |
down flat, scale it out so it lines up
with the bottom.
| | 09:17 |
And now we'll use the Edge Extend tool,
which is Z, to extend up.
| | 09:21 |
Shift click, extend up.
And note that I do have the Scale Handles
| | 09:25 |
turned on for the Edge Extend.
because that allows me to move my edges
| | 09:29 |
and scale them as I go.
I don't have to drop the tool and go on
| | 09:33 |
to a different tool just to scale up.
And we'll go to right there about, and
| | 09:41 |
that should do it.
So, I'm going to turn my Cylinder falloff
| | 09:48 |
on again, and just pull these back up.
There we go.
| | 09:52 |
So you can see if we turn on sub-d's,
we've got a pretty good approximation.
| | 09:59 |
You can spend a little bit of time going
in and kind of massaging these vertices
| | 10:02 |
into exactly the right position.
I'm not going to take the time to do that
| | 10:05 |
right now, but you get the general idea
of how to create this geometry, so now
| | 10:09 |
it's pretty simple.
We take this, we go up to our basic tab
| | 10:15 |
and thicken.
Turn the Falloff off, and we pull this
| | 10:20 |
up, proper amount for the thicken.
And on a pull tab you would usually have
| | 10:25 |
this part here is significantly more
flattened.
| | 10:28 |
So what I'm going to do is select all of
these polygons right through here.
| | 10:32 |
And I'm just going to move those down.
There's also going to be kind of a lip
| | 10:37 |
here as this part indents.
So, we'll keep that in.
| | 10:42 |
Let's pull that down to be nice and flat.
And then I'll write a few extra loop
| | 10:47 |
slices here just to add a little bit more
rigidity to this so that it's not too
| | 10:51 |
roundy feeling.
One there, one around here, and then up
| | 10:57 |
in here.
And there you have it.
| | 11:01 |
So, this way you can pretty quickly fill
in geometry like this.
| | 11:07 |
I'm going to bring my can back, and we'll
just move this up into place.
| | 11:15 |
want to move it so it's sitting right
above the base mesh, and there you go.
| | 11:21 |
So now we have our pull tab, and our main
piece of our can.
| | 11:26 |
All together and ready to go.
Now with a little bit of extra work you
| | 11:30 |
can easily go in, and massage the points
to get something a bit more complex out
| | 11:34 |
of this.
So if you look here at this one you can
| | 11:37 |
see that I've pinched this down a little
bit more, and I've added the little
| | 11:40 |
button part of the tab that is actually
holding it onto the can.
| | 11:44 |
And then here on the back side, I've even
taken the polygons and I've made them
| | 11:48 |
slide up just a little bit to give that
area where your finger would go
| | 11:51 |
underneath the tab to pull the tab.
So again, that is just simple movement of
| | 11:57 |
vertices at that point.
Once you have the general shape and the
| | 12:01 |
polygon flow down, then it's really
pretty easy to go from a simple cylinder
| | 12:04 |
or a circle and get nice, complex
geometry, just knowing where to bridge,
| | 12:07 |
where to attach your edges, where to use
Edge Extend and things like that.
| | 12:13 |
And remember, when you're doing something
that has a relatively flat shape but just
| | 12:17 |
is extruded into three dimensions, or in
this case is thickened into three
| | 12:20 |
dimensions, and it's a good idea to get
all of your topology done first then thicken.
| | 12:27 |
You'll save yourself a lotta time in
extra work, you won't end up duplicating them.
| | 12:30 |
So there you go, that's applicable to a
lot of different areas where you might
| | 12:33 |
see some kind of geometry that has a
continuous flow, but has kind of vacant
| | 12:36 |
areas in the middle.
So that's kind of applicable to any place
| | 12:41 |
that you would see somewhere where you
have geometry, that has a continuous
| | 12:44 |
flow, has a good, smooth flow of
polygons, but then also has open areas
| | 12:47 |
that add vacant sections within the
model.
| | 12:52 |
| | Collapse this transcript |
| Extra SubD techniques| 00:02 |
In this video we'll have a look at some
other options and other possibilities
| | 00:04 |
that you have for creating hard surface
models for product visualization and
| | 00:07 |
other types of visualization.
And we'll also look at a few pointers
| | 00:12 |
that can help you in your hard surface
modeling workflow.
| | 00:16 |
So, I'm going to hop over to the Layout
tab.
| | 00:18 |
Inside the Meshes folder in the Layout
tab, you'll find a folder called Modos.
| | 00:23 |
And this contains a set of bricks, like a
certain kind of relatively famous
| | 00:28 |
building toy, that were contributed to
the Modo stock library by yours truly,
| | 00:32 |
and these actually demonstrate a lot of
very good hard surface modeling techniques.
| | 00:41 |
So we're going to have a look at a few of
these.
| | 00:43 |
And then some other ideas that will help
as you continue to work on hard surface models.
| | 00:47 |
So, I double-click on this to add it into
the scene, and you might notice that it
| | 00:51 |
is really, really tiny, that's because
these are models to accurate physical
| | 00:55 |
scale, and with all the proper small
bevels and edges and everything else, so.
| | 01:02 |
Let's go ahead and have a look at a few
of these.
| | 01:04 |
And what I'm going to do as we add a few
of these extra ones here is I'm going to
| | 01:07 |
go to my Inactive Meshes, under my Shade
Options, and change it to Invisible.
| | 01:12 |
And that way, when we add on more things,
they won't just overlap on top of each
| | 01:15 |
other, and you'll be able to see
everything as we add things in.
| | 01:19 |
So this one is a relatively simple piece.
It's just extra edge loops all around
| | 01:24 |
that add the rigidity.
And if you unsubdivide and have a look,
| | 01:29 |
the actual rounded corners is just single
triangle on each side.
| | 01:34 |
So this is actually achieved by having a
loop that went through here, initially,
| | 01:39 |
that would've been something like this,
I'll just pull it out roughly.
| | 01:45 |
So if your subdivided that.
Let's see that one is completely sharp,
| | 01:50 |
while sharp with slightly rounded edges.
But just taking this extra loop here and
| | 01:55 |
deleting it, and then remember that's
going to be your main edge, that's not
| | 01:58 |
going to be the, any of the sporting
edges, the incoming or the outgoing that
| | 02:01 |
is your main edge.
Deleting that main edge on a side is
| | 02:06 |
going to give you a nicely rounded model,
so if I go and take my subdivision level
| | 02:10 |
up, go to level three.
Now you can see that, that gets nicely rounded.
| | 02:16 |
So you get a nice amount of rounding,
without having to go in and model a lot
| | 02:19 |
of extra work to get that rounded shape.
So moving on, a slight bit in complexity
| | 02:25 |
here, you can see the use of bridging a
couple of different model shapes to each
| | 02:30 |
other in order to get a more complex
shapes.
| | 02:35 |
So, this is a simple cube, essentially,
that's just been sharpened up and then
| | 02:39 |
has the rounded section on top.
But this cube has been extended off, and
| | 02:45 |
it's been attached to the side of a
cylinder that's facing lengthwise, so.
| | 02:51 |
Adding in that simple bit of a bridge.
If we go ahead and turn off our Wire
| | 02:56 |
Frames, you'll be able to see that those
two pieces intersect nicely, and then you
| | 03:01 |
get nice, real soft filleting and
rounding in between the edges.
| | 03:08 |
So nice easy thing to look at there, and
it's relatively simple when it comes to
| | 03:12 |
bridging individual pieces together.
Moving on, there is a piece down here
| | 03:19 |
that illustrates some nice falloff
between edges.
| | 03:25 |
So, if you look here you'll see that we
have this continuous flow of geometry
| | 03:28 |
down through here.
Same thing down through here, and this is
| | 03:32 |
really just strips of polygons.
And where this one actually comes into
| | 03:36 |
play in getting a little bit more
complex.
| | 03:39 |
We're going to you see the wire frame is
the way that the action centers and the
| | 03:42 |
falloffs were used in order to create the
difference in this bit of a lip, that's
| | 03:46 |
down here that is almost nonexistent.
And actually, flattens out completely.
| | 03:53 |
And up to here, where it looks relatively
pronounced, and peaked, and gives you
| | 03:57 |
that nice, clean edge.
We'll look at how to create something
| | 04:01 |
like this in just a moment.
So, I'm just looking at a few more pieces.
| | 04:04 |
Can see that taking various pieces of
geometry and bridging them together is
| | 04:08 |
going to be a very strong part of your
workflow for creating good hard-surfaced
| | 04:11 |
models for your visualization.
Let's go down to the reflection mode.
| | 04:15 |
You can see this here, the way that we
have this piece of geometry that is an
| | 04:19 |
individual model it's attached on to this
cylinder.
| | 04:23 |
And the way that they link together is by
being very smart about counting your
| | 04:27 |
edges, counting your polygons before you
create an object, and then creating it
| | 04:31 |
with a basic smooth polygon flow.
Then you can bridge those pieces together
| | 04:37 |
to create something more complex and get
a good clean model.
| | 04:41 |
So, looking at another one here, you can
see this is various cylinders of
| | 04:44 |
different sizes, matched together.
And the key to something like this, is
| | 04:49 |
going to be using your Background
Constraints, so making the circle that
| | 04:52 |
would go around, this way, match up with
the circle that's going this way, and
| | 04:56 |
just using a Background Constraint to
make this part attach to there.
| | 05:02 |
And deleting some intersecting geometry
and rebridging them back together.
| | 05:06 |
So, this stuff all is relatively simple
once you break it down into its
| | 05:09 |
individual constituent components.
But when you do that, you can get as
| | 05:14 |
complex as something like this.
On the topside, doesn't look like such a
| | 05:18 |
big deal, but in order to make this piece
actually accurate, there is a lot of
| | 05:22 |
intersecting geometry, and if you look at
this it's going to look like kind of a,
| | 05:27 |
mess of wires, but in order to get all
the edges properly sharpened up, this
| | 05:31 |
kind of a flow is actually important.
So, when you create something like this,
| | 05:39 |
if you need to get this complex, just
remember to break it down into the
| | 05:42 |
simplest pieces, count where you have
edges where you're going to need to attach.
| | 05:47 |
And then only create edges where you need
them.
| | 05:49 |
So if you can do with a circle that has
less edges, and then more easily attach
| | 05:53 |
it to your existing geometric flow, do
that.
| | 05:57 |
If you need to add more edges to a
particular piece in order to get it to
| | 06:00 |
attach cleanly, do that.
But only at the edges where you need them.
| | 06:05 |
And when you do that.
You end up with a really nice, clean
| | 06:08 |
model, even though the topology is
relatively complex.
| | 06:13 |
Adding in those extra loops when you need
them and where you need is really the key
| | 06:16 |
to making this work well.
And so the last thing that I'd like to
| | 06:20 |
look at in this video before we continue,
is the use of falloffs and action centers.
| | 06:26 |
And this is one of those tips that I
think really makes or breaks a modelling workflow.
| | 06:32 |
So I'm going to start here, let's go
ahead and just delete all of these extra models.
| | 06:39 |
Actually, let's just make an entirely new
scene.
| | 06:42 |
There we go.
So let's make a new scene here.
| | 06:45 |
And I'm going to start just with a square
that's subdivided a bit, so, let's see.
| | 06:51 |
We'll change this to 12, three segments
on the x, 12 segments on the z, 0 on the
| | 06:56 |
y, because you're not going to go with
any thickness; and let's just make this a
| | 07:00 |
little bit longer.
And then I'm just going to center it up.
| | 07:07 |
There we go.
So, now you can see that we've got
| | 07:14 |
something like this, and if I wanted to
create something like that rounded piece
| | 07:17 |
that has the angle in the middle, let's
have a quick look at how that top would work.
| | 07:22 |
So, I'm going to start just by going to
my falloffs, using a linear falloff, and
| | 07:25 |
the Move tool, and this falloff is set to
ease out which should actually be the
| | 07:29 |
right one.
Yeah, there you go.
| | 07:33 |
So I move this down.
See that we get that nice ease out, and
| | 07:36 |
you can control the pitch of this by
changing this further out.
| | 07:40 |
If you change it further in, it's just
going to make your curve flatten out.
| | 07:44 |
But if I pull this farther out, I can
soften the overall curve, and then I can
| | 07:48 |
just pull down more in order to get the
height of the curve correct.
| | 07:54 |
So, that kind of thing works there.
Now, the next thing that we'll look at,
| | 07:59 |
then, would be to use an action center
and a custom action center, actually, in
| | 08:03 |
order to get a better shape out of the
middle here.
| | 08:07 |
We're going to add in a couple of loop
slices, so select those two polygons, set
| | 08:12 |
my count to two in symmetry, and I'm just
going to pull this out a bit like that,
| | 08:17 |
and I'm going to do two things here.
First, I'll use a falloff in order to
| | 08:24 |
make this edge running up here taper
inwards.
| | 08:28 |
So that this edge gets thicker in the
back and tapers down to be thinner in the
| | 08:32 |
front, and then we'll use a custom action
center in order to give the actual inset
| | 08:35 |
as that goes.
So I'm going to set my symmetry to the x,
| | 08:40 |
turn my falloff off for now.
And then we'll go back to a Linear Falloff.
| | 08:47 |
Turn on my Move tool, and I want to make
sure that the falloff is actually leaning
| | 08:51 |
upward, so that I get more effect up
towards the top of it, so that's backwards.
| | 08:56 |
Simply go in and reverse it.
Pull this in.
| | 09:01 |
Bit like that.
Okay.
| | 09:03 |
Q and press Escape twice to clear out my
falloff and my selection.
| | 09:07 |
Then we'll select this part here.
Press L to get the entire loop of polygons.
| | 09:12 |
Run the Scale tool.
But then I'm going to go up to my Action
| | 09:15 |
Center, change it to Element.
We'll click on this bottom edge here.
| | 09:19 |
And then go back up and change my Axis to
Auto.
| | 09:24 |
That's going to mean that this action
center is spaced in the area of this
| | 09:27 |
bottom edge, but it's aligned with the
world, so up, down, left, right are still
| | 09:32 |
corresponding to y, x, and z,
respectively.
| | 09:36 |
So now, if I scale this down, you can see
that it's all scaling towards this bottom edge.
| | 09:44 |
I'm not having any impact on how this
works at the bottom.
| | 09:48 |
But at the top, I'm getting a thicker and
thicker peak here, so and scale that down
| | 09:52 |
as much as we want.
And then when we subdivide this, the
| | 09:57 |
addition of loop slices is just going to
really cement the look here.
| | 10:02 |
So let's go ahead and add loop slices
there and there, and then down the middle.
| | 10:08 |
And there you go.
So we hop over and we look at that
| | 10:10 |
without any wire frames.
There you go.
| | 10:13 |
You can see that you get a really clean
flow of the model, with a simple amount
| | 10:17 |
of polygons.
You can always go back in and take extra
| | 10:20 |
edges that aren't needed for your
sharpening and get rid of them.
| | 10:24 |
And there you go.
Very simply you can create complex curves
| | 10:28 |
by minding how you use your action
centers In your fall offs as you do your
| | 10:31 |
hard surface models for product
visualization
| | 10:36 |
| | Collapse this transcript |
|
|
4. Sculpting Concepts and RetopologySculpting base polygons| 00:02 |
In this video we'll have a look at how
the sculpting tools can be used to form a
| | 00:05 |
quick concept design.
I've started by loading the man body 01
| | 00:10 |
mesh from the human meshes in the layout
tab.
| | 00:15 |
And we're going to use the sculpting
tools in order to start the basic design
| | 00:19 |
of a bicycle helmet for this character.
So, in order to start, I'm going to go to
| | 00:25 |
a new mesh layer, and place a sphere.
Now, I'm going to make this a quad ball
| | 00:30 |
sphere, with a subdivision level of
seven, that's going to give me enough
| | 00:33 |
polygons to work with to get this basic
shape in place.
| | 00:38 |
And then we'll use the sculpting tools to
create the general form for the helmet.
| | 00:44 |
I want to make this large enough to fit
over his head and provide a little bit of protection.
| | 00:49 |
So, now that I've got that in place,
going to go up and select the polygons
| | 00:53 |
just below the middle, then double-click
on the bottom and delete those.
| | 00:58 |
And now we have just a basic shape here,
so, let's just kind of refine it a little
| | 01:03 |
bit and give it a little bit of rotation,
just kind of put it in place right over
| | 01:07 |
the top of his head.
Now, with this, we're ready to start sculpting.
| | 01:14 |
So I'm going to go over to the Paint tab,
go to the Sculpting tools, I'm going to
| | 01:17 |
use the Move tool.
So the Move tool basically acts just like
| | 01:21 |
the Move tool that you use to translate
vertices, polygons and edges in 3D space,
| | 01:26 |
except this one uses a brush shape with a
fall-off so that you can more easily
| | 01:30 |
create a naturalistic, a more organic
flow to the movement that you're creating.
| | 01:39 |
Now, as I do this initial shape, I
want to do it symmetrically on both sides
| | 01:42 |
and I want to kind of create a nice
contour along of the top of the head.
| | 01:47 |
So once I have that brush selected, I'm
going to move it over to the model quad
| | 01:50 |
tab again so that I can see this side
view, and I'm going to turn my symmetry
| | 01:54 |
on on the x.
And then here in the side view, which
| | 02:00 |
I'll maximize, I'm going to get my brush
size by right-clicking and dragging to
| | 02:04 |
change the size of the brush.
And I'm going to start by pulling it down
| | 02:10 |
a bit in the back, and then down a bit in
the front as well, and just kind of spend
| | 02:14 |
a moment getting this general contour of
the bottom part of the helmet in place.
| | 02:22 |
And the reason why I am doing this first
is because I want to actually get this
| | 02:26 |
part in the right place and then I can
lock down that border so that it won't
| | 02:30 |
move while I sculpt on the rest of the
helmet.
| | 02:35 |
So, let's see, let's get this coming in a
little closer to the back of the head and
| | 02:39 |
just kind of smooth that out like that.
All right, and I think that works pretty well.
| | 02:47 |
So now, we'll hop back over to the paint
tab and now with this done I'm going to
| | 02:50 |
go here to my options underneath my Move
tool down here at the bottom we see this
| | 02:54 |
option called Lock Borders.
Once I lock borders, that's going to lock
| | 03:01 |
down this bottom edge with a open edge,
which is the border edge of this selection.
| | 03:07 |
So now, I can continue to sculpt, and no
matter what I do, you can see it's not
| | 03:10 |
moving that bottom edge.
So let's start by pulling out the back
| | 03:15 |
end here, we're going to make this kind
of an aerodynamic racing helmet.
| | 03:20 |
And so I'm just going to click and drag
out this general shape.
| | 03:25 |
Now, the beauty of sculpting is that we
can go back and use topology tools in
| | 03:29 |
order to get a clean polygon flow, and so
I can just worry about the general form
| | 03:34 |
here and I don't have to worry about what
happens to the polygons that are lying underneath.
| | 03:44 |
As a matter of fact, if you want, you can
completely go up here, go to Shade
| | 03:48 |
Options, and turn the Polygon Cage off.
And that way you can feel more free to
| | 03:54 |
kind of sculpt without regards to what's
going on with the actual polygons.
| | 04:00 |
So I'm going to get a little bit of a
kind of a crest up here in the top, in
| | 04:03 |
the middle.
It's going to be kind of an air intake.
| | 04:07 |
So we'll let air flow in and then out the
back of it.
| | 04:12 |
And let's keep pulling that there.
If you hold the Shift key while sculpting
| | 04:18 |
that will turn the Sculpt tool, whatever
tool you have, Move tool, push carve,
| | 04:22 |
flatten it.
It will all turn it into the smooth brush.
| | 04:26 |
So that's always there as an option.
You can just hold down the Shift key and
| | 04:30 |
then smooth out your sculpt.
One thing to note is that I'm doing this
| | 04:34 |
with a mouse but this is also pressure
sensitive and there's going to be some
| | 04:38 |
ways that doing it with a mouse is going
to be a little bit easier.
| | 04:43 |
But when you're getting in a really good
fine touch and you want to get really
| | 04:47 |
soft details without having to spend time
going over and over adjusting your brush
| | 04:51 |
strength, then using a tablet can be
really helpful to speed up your work flow.
| | 04:57 |
But I want to show that this is very
possible to do with just a mouse, also.
| | 05:02 |
So, let's see, I just want to get the
general shape here.
| | 05:09 |
Kind of flatten it out in the front, just
a little bit, and pull it forward.
| | 05:15 |
Just to get a nice flow here.
Now, the nice thing about modelling this
| | 05:19 |
way, is that you can very quickly work
through ideas, decide whether or not
| | 05:23 |
they're, they're going to be a valid
solution.
| | 05:28 |
And if they don't work, you can just
smooth it back out and try again.
| | 05:33 |
So for example here on the side, I'm not
liking the way that this is working.
| | 05:37 |
So I'm just going to smooth this back out
and then I'm going to try again.
| | 05:41 |
I actually want to get another kind of an
air intake here.
| | 05:44 |
And I want it to come a bit little
farther forward, so I'll do that.
| | 05:48 |
And then as I pull this forward down the
line, it's coming out a little bit lumpy,
| | 05:51 |
so again, I can just get my smooth brush
and kind of smooth that all back out.
| | 05:56 |
All right.
And I kind of want to flatten this out on
| | 05:59 |
the top so we get just a little bit so we
get a little bit more angular look to it.
| | 06:07 |
Obviously you can sculpt this anyway that
you want, but this is kind of the vision
| | 06:12 |
that I have for it.
It's a little less pronounced in the back
| | 06:17 |
here, and there we go.
All right, so there you go.
| | 06:22 |
You can see how you can very quickly use
these tools to form a concept, and you
| | 06:26 |
can continue to refine this as much as
you want here with the general polygons.
| | 06:32 |
And then, once you have this ready, you
can go on to get more details into the sculpt.
| | 06:37 |
But this can be a much quicker way to add
a simple flow to your objects when you're
| | 06:42 |
working through the idea phase.
And the concept phase, than simply going
| | 06:47 |
in and taking strips of polygons and
moving them around, or taking a sphere
| | 06:51 |
and deforming it with fall offs, and
individual Move and Rotate and Scale tools.
| | 06:58 |
This will allow you to work through ideas
much more quickly, and make you more
| | 07:04 |
productive as you create your concept
designs.
| | 07:09 |
| | Collapse this transcript |
| Multiresolution sculpting| 00:02 |
In this video, we'll look at how to
further refine a concept design using
| | 00:05 |
multi-resolution sculpting on a 3D mesh.
Now, if you'd like to follow along with
| | 00:11 |
the work done from the previous video,
you could open up the Helmet 1 LXO file
| | 00:15 |
from this chapter.
Now, with this shape, we've gone as far
| | 00:21 |
as we can go in sculpting the basic
polygons.
| | 00:25 |
Now, in order to get the more precise
look that we're going for, we need to
| | 00:29 |
sculpt at a closer, more detailed level.
And in order to do that, we have to use
| | 00:35 |
multi resolution sculpting.
And what multi-resolution sculpting
| | 00:40 |
allows you to do, is not just sculpt the
existing polygons, vertices, and edges.
| | 00:46 |
But actually sculpt the implied polygons
that are created when a mesh is
| | 00:50 |
subdivided using Catmal, Clark, or P Sub
subdivision.
| | 00:55 |
So in order to sculpt on these, we need
to check the box multi-resolution.
| | 01:01 |
Can see that the current level is set to
2 and the maximum level is set to 2.
| | 01:05 |
When you don't have multi-resolution
checked, this current level will not be available.
| | 01:09 |
And this will allow you to step forward
and back on a subdivided mesh, so that
| | 01:13 |
even if you've sculpted a lot of detail,
you can simplify it while you're working
| | 01:17 |
with the model and keep it from taxing
your view port too much.
| | 01:22 |
So, there are a lot of tools that you can
use to continue to refine this mesh.
| | 01:30 |
You can grab the Flatten tool, turn off
Lock Borders, as this is going to cause
| | 01:34 |
some problems with these multi-resolution
sculpts, and start to sculpt in different areas.
| | 01:43 |
Let's say I want this to be flatter
through here.
| | 01:46 |
Oops.
Maybe not quite so flat.
| | 01:48 |
A flat through there.
Flat through there.
| | 01:51 |
maybe back that off a little bit.
Now if you do have a pressure sensitive
| | 01:55 |
tablet this can be very useful.
If not, or if you just want to get even
| | 01:59 |
distribution of your brushstrokes, then
you can just change this offset amount,
| | 02:04 |
increasing or decreasing it, in order to
get the desired pressure.
| | 02:11 |
Now, along with just the basic shapes,
there are also brush.
| | 02:18 |
Presets that can be used to help you
further refine your model.
| | 02:23 |
So as you can see, there is a lot here
from basic barks and brick, things like
| | 02:28 |
that that are a bit noisy, but if you
keep scrolling down, there is also a
| | 02:33 |
selection of more Refine sculpt, so you
can see here's a flatten, a flatten-smooth.
| | 02:44 |
So, let's have a look at the
flatten-smooth here.
| | 02:47 |
And we'll see the effect that that has.
This is a variation on the flatten tool.
| | 02:52 |
And I can use that to.
Helped sculpt my shape.
| | 02:59 |
Now you may want to turn on and off your
log borders.
| | 03:04 |
You'll notice if I turn log borders on
and I get up close to this vertex here
| | 03:07 |
where three vertices are meeting.
It's actually going to cause some problems.
| | 03:13 |
And you can see that's starting to pinch
there.
| | 03:18 |
But with lock borders on, I can also
sculpt freely or around the bottom edge
| | 03:22 |
without disturbing the polygonal flow
that I've already set up as kind of my
| | 03:26 |
basic shape here.
So it's something that you want to keep
| | 03:31 |
an eye on as you sculpt.
Now with multi resolution sculpting as
| | 03:36 |
you begin to get more detail you'll
notice that you can see faceting in your subdivision.
| | 03:43 |
And when that becomes to heavy you can
increase your maximum level to get more
| | 03:47 |
polygons for use in sculpting.
So there you can now see I've got a
| | 03:54 |
cleaner sculpt.
Now I'm going to flatten out what is
| | 03:59 |
going to become this air vent here, and
we do the same thing here on this side.
| | 04:06 |
Flatten this down a bit, and forward.
Okay, and now I'm going to use the Push
| | 04:14 |
tool to build up a little bit, going to
pull this out, and then Hold shift to
| | 04:21 |
smooth it.
Now one thing to note if your using these
| | 04:33 |
sculped presets you may start to get some
things backing up in your tool pipe and
| | 04:36 |
that might.
Apply to what you're working on.
| | 04:41 |
So you may need to reset your tool by
pressing q and then the escape key twice.
| | 04:48 |
And that will get everything out of your
tool pipe and allow you to go back to
| | 04:51 |
just your basic sculpting tools.
So I'm going to pull this part out a
| | 04:55 |
little bit more here.
Then I'm going to smooth that out a bit.
| | 05:02 |
Smooth this out, turn off locked borders
for a moment, and then I'm going to
| | 05:07 |
smooth out that little problem area
there.
| | 05:12 |
And then I'm going to turn locked borders
back on, because I'm going to be working
| | 05:15 |
close to that edge.
And I'm going to turn on my flat and
| | 05:18 |
smooth once again.
And I'll go in here and flatten out what
| | 05:22 |
will be this side air vent, and then I'm
also going to flatten a kind of a strip
| | 05:27 |
around the side here.
And continue to flatten this all the way
| | 05:38 |
along the back and create a nice contour
there.
| | 05:41 |
I'm going to do the same thing along the
bottom, here.
| | 05:43 |
Let's flatten this.
I'm going to wrap that flattening up
| | 05:48 |
around the whole bottom edge here.
And as increase my brush size, you'll
| | 05:55 |
notice that the flattening becomes a lot
more pronounced, and that's because.
| | 06:00 |
Your offset here is based off of the size
of the brush.
| | 06:05 |
So if I want to use a larger brush, I'm
going to have to decrease my offset or,
| | 06:08 |
again, use a tablet and use a lighter
touch when I'm doing that kind of a thing.
| | 06:13 |
So if I want to sculpt in, flatten in
large areas, remember that you'll want to
| | 06:19 |
decrease that offset amount in order to
offset the larger brush size.
| | 06:27 |
Once again, I'm going to turn on my
locked borders, and let's just flatten
| | 06:31 |
out through here, little too much.
Now, just like when you're detailing the
| | 06:38 |
initial concept, you can also.
Feel free to add in as many passes as you
| | 06:45 |
need to in order to really clean this up
and make it exactly how you want.
| | 06:58 |
Flatten up along the top You can spend as
much time as you want, obviously, working
| | 07:05 |
on this, but once you get the overall
shape where you want it Will be ready to
| | 07:11 |
continue and work in more detail on this
mesh.
| | 07:20 |
So spend some time getting your overall
concept exactly where you want it, and
| | 07:25 |
then you'll be ready to move on.
Now this again can be very useful as you
| | 07:32 |
start to get more details in your work.
You can also go into Further Get and add
| | 07:42 |
extra detail beyond the basic surface of
the mesh.
| | 07:47 |
And there you go.
So that helps to kind of add a little
| | 07:57 |
extra contour to this general mesh flow
that I couldn't get by just editing the polygons.
| | 08:03 |
You can see here a lot of this bulging on
the side wouldn't have been possible,
| | 08:07 |
because the actual polygons have..
Only so much detail that they're holding.
| | 08:16 |
So using these tools, using the presets
and using multiple passes in order to
| | 08:21 |
refine your idea.
You can use the sculpting tools to make a
| | 08:27 |
more in depth concept from your basic
sculpt that just involved polygons and
| | 08:31 |
subdivision surfaces.
| | 08:35 |
| | Collapse this transcript |
| Sculpting to add fine details| 00:02 |
In this video we'll look at how to use
the sculpting tools to add further
| | 00:05 |
details, and help visualize the overall
finished form of a concept design.
| | 00:13 |
In order to do this we'll increase the
depth of our subdivision surface model by
| | 00:17 |
adding more multi-resolution levels, and
then use Image Ink and some other tools
| | 00:22 |
to add in fine detail that would be very
difficult to sculpt otherwise.
| | 00:28 |
So to start, I'm going to create some
little vents in the side here.
| | 00:33 |
But if I get something like my Carve tool
and a nice, small brush, you can see that
| | 00:38 |
I'm really not getting enough detail yet.
So I need to increase my maximum level.
| | 00:45 |
Now, one note is you should be careful
and watch your GL count, this is the
| | 00:48 |
number of triangles being drawn on screen
as you do this.
| | 00:52 |
Right now we're at 300,000, so I have
quite a bit of headroom to increase this.
| | 00:56 |
Every time you increase your maximum
level, this number is going to quadruple.
| | 01:00 |
So, I'm going to set it up one more, to
number four, and actually, let's hide our
| | 01:04 |
background mesh so you can see that we're
really only dealing with 98,000.
| | 01:09 |
Here for the helmet, and that was
including the skin, so let's increase
| | 01:13 |
that again to level five, and now I've
got nearly 400,000 just for the helmet.
| | 01:19 |
So now I can go in, and I can start to
get little bit better vents here.
| | 01:24 |
So actually I'm going to go increase this
one more, and it may take a second as you
| | 01:28 |
increase some of these levels.
Now I'm at about a million and a half polygons.
| | 01:33 |
And this is going to allow me to get
relatively good detail here.
| | 01:37 |
So I'm just going to add in a little vent
there.
| | 01:40 |
And I'm going to go back here, and
increase my offset amount just a little
| | 01:46 |
bit so I get a nice deep cut here.
And I'm also going to change my contour.
| | 01:52 |
So you can see right here it has this
peaked contour.
| | 01:55 |
I'm going to click down here, you can see
that my shape preset is Linear.
| | 02:00 |
I'm going to change this to Sharp.
So you can see now that it creases in
| | 02:03 |
like that.
And this is going to help me get a little
| | 02:06 |
bit more of a tight form.
Remember, these aren't going to be exact
| | 02:10 |
shapes, these are going to be the things
that you'll use as you visualize your
| | 02:15 |
continued work for your finished model.
So I'm just going to rough in a few vents
| | 02:22 |
there on the side.
You can see I've got my symmetry on, so
| | 02:25 |
that continues to work there.
And then I'm also going to do something
| | 02:30 |
similar here on the back.
I'm going to create a few more of these.
| | 02:38 |
Once again, using a pressure sensitive
tablet might make this.
| | 02:45 |
Little bit cleaner, but for now these
will do.
| | 02:49 |
And I'm going to go back here, and just,
kind of, really lightly smooth these out,
| | 02:54 |
and maybe give them a second pass here.
Here we go.
| | 02:59 |
Now, with this here, it's looking a
little bit on the mushy side, so I'm
| | 03:03 |
going to go back and use the Tangent
Pinch tool, and that's actually the same
| | 03:07 |
thing that I used.
To kind of flatten out some of the
| | 03:12 |
creases here that were giving us the
hardened contours.
| | 03:16 |
So with, this tool, I'm going to go back
and change my preset to Smooth, so that I
| | 03:22 |
get a little bit more even falloff.
And I'm just going to pinch this all back in.
| | 03:31 |
And what the Tangent Pinch tool does, is
it takes everything inside the brush radius.
| | 03:36 |
And it pulls it in towards the center of
the brush.
| | 03:39 |
And I'm going to just, kind of, go
through here and really roughly tighten
| | 03:43 |
these up to give myself a little bit
better contour.
| | 03:47 |
That's a little bit more of what I'm
looking for.
| | 03:50 |
Now once again you don't have to get to
exact on these unless you really plan on
| | 03:54 |
just taking the sculpted mesh and making
that.
| | 03:58 |
Your target of your finished renders, but
we're going to go a step beyond that and
| | 04:02 |
add some topology tools to clean and up
and create a nice smooth polygonal mesh.
| | 04:10 |
For this area up in here, I want to get
something that's more dense than these
| | 04:14 |
slashes, so I don't want to just use a
single brush.
| | 04:18 |
What I want to do is use Image Ink in
order to imprint a more tight and
| | 04:23 |
detailed image with my sculpting into
that area.
| | 04:29 |
So, let's get Image Ink, let me get my
brush, and down here you can see Image
| | 04:32 |
Ink right here by default it's selected
my bricks texture.
| | 04:37 |
I'm going to use this great PNG that is
out of your nature ink folder here.
| | 04:44 |
So, let's go ahead and click to put that
image in, and I can move that off to the side.
| | 04:49 |
Now the right hand box will change the
scale of this.
| | 04:53 |
The middle circle will change the
position.
| | 04:56 |
Note this does tile evenly across the
screen by default.
| | 04:59 |
You can turn that off by turning off
Repeat.
| | 05:02 |
And then the top circle will rotate this
shape.
| | 05:05 |
But I don't need to do that right now.
So, I'm going to move in here closely and
| | 05:10 |
if I hold nothing and just go straight
across here, you can see that it's
| | 05:15 |
pulling that shape out.
It's actually the opposite of what I'm
| | 05:20 |
looking for, so I'm going to undo that,
and I'm going to hold Ctrl while I crick,
| | 05:24 |
click and that's going to inset that
shape.
| | 05:28 |
And overall that's working, but it's
pretty heavy.
| | 05:35 |
So I'm actually going to undo it, and go
one more time here.
| | 05:40 |
But I'm going to decrease my offset
amount down to about 5 or 6%.
| | 05:46 |
And again, hold Ctrl, and add this in
here.
| | 05:50 |
Now, I don't have a ton of resolution for
showing this off, but for the sake of
| | 05:53 |
visualizing it, I think this is working
relatively well.
| | 05:57 |
And what you can do always is increase
your subdivision surface level so that
| | 06:03 |
you can get a cleaner subdivision there.
So, let's go ahead and try that here.
| | 06:12 |
So I increase my max level now to seven,
and that's going to pull my polygon count
| | 06:16 |
all the way up to a little over 6
million.
| | 06:19 |
So this is going to take just a moment.
for it to work.
| | 06:23 |
There we go so now we're at 6.3 million,
and I'm going to drop my tools here by
| | 06:27 |
pressing Q and the Escape key twice.
And now I'm going to hold the Shift key.
| | 06:32 |
And smooth this out a little bit.
A little bit bigger brush, and smooth out
| | 06:39 |
some of those details just a little bit.
Make it a little bit more even.
| | 06:46 |
And there we go.
Using that same sculpting process, in
| | 06:49 |
kind of an iterative workflow going over
and over, adding details, checking,
| | 06:53 |
seeing if they work, going back, adding
other details on top, moving and pushing
| | 06:56 |
and pulling.
Here's another version of the helmet that
| | 07:01 |
I created.
This one pulls down around the ears to
| | 07:03 |
give a little bit more.
Protection and also has some extra areas
| | 07:07 |
for the housing here.
Now notice that even though this one
| | 07:10 |
carries a lot more detail than the
previous one, a little bit more time was
| | 07:12 |
spent on it.
But it is still relatively lumpy in the
| | 07:16 |
open areas, and that's because the end
goal here is not to create a perfectly
| | 07:20 |
finished model.
The end goal here is to flush out your
| | 07:24 |
ideas and your concepts.
And allow you to get the form down.
| | 07:28 |
Now, once the form is completed, as much
cleanup as you need to do can be done
| | 07:32 |
with the actual polygons that were built
on top using retopology.
| | 07:37 |
So, using your sculpting tools at various
levels, you can create good, solid concepts.
| | 07:43 |
In relatively small amounts of time, and
then create multiple concepts in order to
| | 07:49 |
flush out ideas more completely.
| | 07:53 |
| | Collapse this transcript |
| Retopology basics| 00:02 |
In this video, we'll look at some of the
basic retopology tools that you can use
| | 00:06 |
to turn a rough and very densely
subdivided mesh, like this one that's
| | 00:10 |
been sculpted, into a clean and smooth
and very editable and adaptable
| | 00:15 |
subdivision surface mesh.
And if you'd like to follow along, you
| | 00:21 |
can open up the retopostart.lxo file.
And with that, we're going to hop right
| | 00:26 |
over into the Topology tab.
Now you can see, inside the Topology tab,
| | 00:30 |
we get some interesting things happening
to the redraw of the geometry.
| | 00:34 |
And the blue colored wire frames that you
see are actually what you will be using
| | 00:38 |
to make your new topology.
So you want those polygons to be visible
| | 00:42 |
in your foreground layer, and right now
you can see that my foreground layer is
| | 00:46 |
actually the sculpted helmet.
And my background layer, which is what
| | 00:51 |
the typology will constrain to, or what
it will stick to, essentially, is right
| | 00:54 |
now the character.
And so, we don't want to see him at all,
| | 00:58 |
so let's go ahead and hide him.
And then I'm going to press N to make a
| | 01:02 |
new mesh layer.
And now you can see that our helmet
| | 01:04 |
becomes nice and solid again.
And in our empty layer now, we can
| | 01:09 |
create some good topology on top of this.
Now, as I mentioned previously, this
| | 01:16 |
helmet is very rough in a lot of the
open, smooth spaces.
| | 01:20 |
You get some lumpiness just because this
is intended to be a quick sculpt to get
| | 01:24 |
the idea of the form down.
Now, with that said, we can take our
| | 01:29 |
topology tools, starting with the
Topology Pen here.
| | 01:32 |
And we can create nice, smooth, even
polygons along the top, that will then be
| | 01:36 |
turned into a subdivision surface mesh,
so that we can get all of the smoothness
| | 01:40 |
of the high resolution without any of the
lumpiness of the quick and relatively
| | 01:44 |
inaccurate sculpt.
I've got my symmetry turned on, on the x.
| | 01:51 |
And if you're working on anything
symmetrical like this, it's usually a
| | 01:53 |
good idea.
You can also alternately just model on
| | 01:55 |
one side, or create the typology on one
side, and then mirror across.
| | 02:00 |
But I find that with that symmetry on,
you can get a little bit more control
| | 02:03 |
over what's happening around the middle
of the object.
| | 02:07 |
So I'm going to start just by getting my
Topology Pen tool, and I'm going to start
| | 02:10 |
with some of these kind of smooth even
curves.
| | 02:14 |
So here we see this one that's going to
come up and around behind the ear and
| | 02:17 |
behind this kind of vented section.
So what I'm going to do is go to my
| | 02:21 |
Topology Pen tool here, make sure that
Make Quads is turned on.
| | 02:26 |
And then I'm going to click out a couple
of points to set the back end of the
| | 02:30 |
quad, and then start to move out.
You can see here, as I pan around my
| | 02:35 |
camera view, that this is indeed sticking
to the surface of our model.
| | 02:40 |
And now as I click out further here, it
will just drop down successive points.
| | 02:47 |
And I can start by just relatively
roughly placing these.
| | 02:51 |
Going back and doing a little bit of
cleanup, just as I get going.
| | 02:55 |
But for the most part, I'm not going to
spend a lot of time on this yet.
| | 02:58 |
I'm just going to go in and add in the
pieces here, so that I have just geometry
| | 03:03 |
in place, where I need it.
Let's go along here, and just as I round
| | 03:09 |
this corner, I'm just going to be pulling
the outside edge a little further out,
| | 03:14 |
just to keep the flow nice and smooth.
So let's do that, and I'll come down
| | 03:21 |
here, and I'm actually going to taper
this out a bit here, as it should with
| | 03:26 |
this form.
And let's see.
| | 03:31 |
Checking this out, I think I'll just take
this polygon here, and pull it right down
| | 03:36 |
relatively flush.
Notice, I'm not worrying about the open edge.
| | 03:40 |
I'm just kind of laying this around, and
as I create more geometry, I'm going to
| | 03:44 |
create a nice even edge.
And the fact that it, this edge got
| | 03:48 |
sculpted away a little bit with my lock
borders turned off as I got some of the
| | 03:51 |
details in, won't really matter, because
we're just going to create something
| | 03:54 |
clean that goes on top of that.
The next thing that I'm going to do is go
| | 04:01 |
in and create some secondary pieces that
I can then attach and put together.
| | 04:05 |
So, let's look here at this section as a
nice place to start.
| | 04:08 |
So I'm going to hold Shift and click, to
start laying down some topology here.
| | 04:13 |
And then I'm going to just click and move
along here.
| | 04:17 |
And notice, I'm just kind of straddling
this little bit of a dashed line that I
| | 04:21 |
created, because that might be a part
that I want to leave open, and I can
| | 04:25 |
always just bridge this together.
Now actually, I should back up here for
| | 04:32 |
just a second.
And note that, as you create you topology
| | 04:35 |
here, it's a good idea to keep your
number of edges consistent between
| | 04:38 |
different sections of the model.
So here I've got an edge there and an
| | 04:43 |
edge there, an edge here and an edge
here, so I'm just going to kind of keep
| | 04:46 |
that real similar flow, as I move around
here.
| | 04:51 |
To there, to there, to there, and here I
have this kind of rounded piece that
| | 04:57 |
comes down here, so I'm going to pull
this down a little bit.
| | 05:04 |
And then I'm going to put this piece
right here.
| | 05:09 |
Again, leaving a little bit of a gap
there, so that I can attach those and
| | 05:13 |
stick those together later, or I can
leave that open in a nice place to put
| | 05:16 |
some other geometry.
There's that section there.
| | 05:22 |
Let's look here at something that we can
do on the middle of the helmet here.
| | 05:25 |
And hold the Shift key and click, to
start a new Pen tool.
| | 05:30 |
You don't want to go with too many
vertices, because we want to keep this
| | 05:36 |
relatively clean.
And I'm going to leave these not quite
| | 05:43 |
touching each other.
Because, once I have my initial points
| | 05:47 |
laid down, I can then go back with my
Topology Pen tool, and start cleaning up
| | 05:51 |
the geometry that I have.
So with the Topology pen tool, it will
| | 05:56 |
let you perform a lot of transformations
on your existing vertices and polygons
| | 06:00 |
and edges, without messing up any of the
constraining issues with these sticking
| | 06:05 |
to the background.
So for example, if I want to grab these
| | 06:10 |
two vertices, the one on each side of the
mirror, and stick them together, all I
| | 06:13 |
have to do is pull them towards each
other and they stick, and they're staying
| | 06:16 |
constrained to the background geometry.
So this is a very quick way to go in and
| | 06:22 |
clean up some of your edges.
Moving along in this manner, you can
| | 06:27 |
actually plan out the majority of your
topology, and this will allow you to
| | 06:30 |
create some good polygonal flow where you
have details that you want to keep.
| | 06:35 |
So for example, here I've got another
kind of flat area here, so I'm going to
| | 06:41 |
go through here.
And kind of quickly, just pull out a nice
| | 06:47 |
flat strip.
And we'll just kind of clean this up,
| | 06:57 |
through there.
And then I'll make one more.
| | 07:01 |
And I draw up like this, and then I'll
end up actually attaching those two
| | 07:07 |
pieces together, once I've got all my
topology done.
| | 07:14 |
Now, with the Pen tool active, you can
always go back and move around the
| | 07:16 |
individual vertices that you've created
without hurting that constraining.
| | 07:21 |
So these are always going to stick to the
background.
| | 07:23 |
So here, let's go ahead and drop that
tool now, move back over to the model
| | 07:27 |
quad view, and for now I'm going to hide
my actual background mesh.
| | 07:33 |
And then I'm going to press Shift+Tab to
subdivide this, and you can see I've got
| | 07:38 |
really nice, clean-flowing pieces of
geometry, that fill out a lot of the details.
| | 07:45 |
Now, if I continue to do this across the
entire surface, we'll end up with large
| | 07:50 |
chunks of area that will be good, smooth,
clean, and very accurate to my initial
| | 07:54 |
sculpt, but will retain a nice, really
easy to edit topology, because we're
| | 07:59 |
creating these with clean, simple
subdivision surface polygons.
| | 08:07 |
| | Collapse this transcript |
| Advanced retopology tools| 00:02 |
In this video, we'll look at some
additional topology tools that will allow
| | 00:06 |
you to take basic strips of geometry, as
the ones that have been created here, and
| | 00:10 |
create a complete, fully closed model of
your sculpted geometry or whatever
| | 00:14 |
high-resolution geometry you might be
using in your retopology efforts.
| | 00:21 |
So, back in the Topo tab, I'm going to
show my mesh again, that has my sculpted geometry.
| | 00:28 |
You can see that I've created these
strips that follow along most of the main
| | 00:31 |
sections of the, the helmet, that give
kind of the general idea of the contours
| | 00:35 |
and the flow of the design.
One thing that you may wish to do is
| | 00:41 |
actually create a model that has
individual chunks separated from the rest
| | 00:45 |
of the geometry.
And if that is something that you want to
| | 00:49 |
do, in case you might want more open area
for air flow, and things like that, I
| | 00:53 |
find usually a good idea after this step
has been created, to go ahead and
| | 00:56 |
duplicate that layer.
And then hide it, and that way you have
| | 01:02 |
the open geometry still left over in the
background, and you can go and close this
| | 01:06 |
up and still have something to work with
that is left in the individual islands here.
| | 01:13 |
So, it makes a good area to work from if
you need to get a slightly different take
| | 01:17 |
on your object.
So, with this done the majority of the
| | 01:21 |
rest of our work is going to be done with
the Topology Pen tool.
| | 01:25 |
The Topology Pen tool is a very powerful
tool that has a lot of options.
| | 01:28 |
It can be used to do a lot of things in
your retopology.
| | 01:33 |
So, by simply clicking and dragging on a
vertex, or an edge, or an entire polygon,
| | 01:37 |
you can move it around and keep it
constrained to the background geometry.
| | 01:44 |
Using the right mouse button, you can
click to drag an entire loop.
| | 01:48 |
So, you can see, I've got this entire
loop of edges, I can move it around.
| | 01:52 |
Or, same thing goes with attached
polygons, I can grab larger selections.
| | 01:58 |
And with vertices, since they don't move
in loops, you can only drag and select
| | 02:01 |
the individual ones, so the right mouse
button doesn't make much of a difference.
| | 02:07 |
Now holding down the Shift key and
left-clicking, you can drag out
| | 02:11 |
additional geometry.
So, you can see that from this initial
| | 02:15 |
piece here, this edge that was existing,
I've created another edge and extended
| | 02:19 |
polygon beyond that.
Now if you continue to drag, it will
| | 02:23 |
actually snap to the next adjacent
geometry.
| | 02:26 |
And you can do that either as you drag or
after the geometry has been created.
| | 02:35 |
Now one note is as you're working on
something like this you may notice some
| | 02:38 |
points when you lose symmetry.
Now you notice that these two polygons
| | 02:43 |
over here did not create symmetrically.
So, while you're in this workflow even,
| | 02:48 |
you can drop your tool and go up to
Geometry > Symmetry tool, click and drag,
| | 02:52 |
and that should clean up any errant
geometry from one side of the object to
| | 02:56 |
the other, and allow you to continue to
work cleanly on your model.
| | 03:03 |
So now with that done, let's go back to
the Topology Pen tool and look at how we
| | 03:06 |
can close up the rest of this geometry.
So, there are a number of ways that you
| | 03:10 |
can attach islands of polygons like this.
You can either extend geometry to create
| | 03:16 |
some additional polygons, or you can
simply drag and weld polygons together
| | 03:22 |
and vertices.
So, if I grab this vertex, and these
| | 03:26 |
outer edge vertex, I can snap these
together.
| | 03:29 |
Now I think this is going to leave too
large a gap in this section so what I'm
| | 03:35 |
going to do is back up, going to drag
this edge, with the right mouse button backwards.
| | 03:45 |
Pull these in a little bit, and then I'm
going to hold the Shift key and drag out
| | 03:49 |
that extra section of geometry.
And then I'm going to start to attach
| | 03:54 |
these other sections here as well.
So, I'm going to drag one here, and then
| | 03:58 |
a second piece of geometry, so I have two
extra polygons down the middle.
| | 04:04 |
And then I'm going to do the same thing
here, and attach it, notice I'm leaving a
| | 04:08 |
gap here and this is going to make it a
little bit quicker to attach pieces like that.
| | 04:14 |
So if you notice what I did is, since I
have two polygons on either side here, I
| | 04:17 |
left a hole in the middle, and then I can
hold Shift and right mouse button in
| | 04:20 |
order to snap closed an entire section of
geometry.
| | 04:25 |
And that way you can do that a little bit
more quickly.
| | 04:28 |
Let's go back up to the Pen tool and
continue working here.
| | 04:31 |
I am going to attach this piece here.
And this here, it's a good idea to check
| | 04:35 |
the number of sides that you have.
Here I have one, two, three, four, five,
| | 04:40 |
six sides.
So, this is going to be pretty tight
| | 04:43 |
trying to fit extra polygons inside here.
What I could do is drag that through
| | 04:48 |
there, but then it's going to leave me
with triangles on either side.
| | 04:52 |
If I drag this out a little bit, and then
attach it, I will have quads on either side.
| | 05:00 |
But it starts to become a little bit
messy in the polygonal flow here.
| | 05:03 |
And since the idea is to clean this up,
that's not quite what I'm looking for.
| | 05:07 |
So I'm going to back up a little bit
more.
| | 05:08 |
And what I'm going to do is actually take
this edge, and drag it until it snaps there.
| | 05:12 |
And then I'm going to close up the
geometry that way.
| | 05:15 |
Now I will need to take note that there
is a six sided point here.
| | 05:19 |
So a vertex that is attached to six edges
and that's called a high valence point,
| | 05:23 |
and it's a point where edges converge and
you can get some kind of puckering and
| | 05:27 |
starring on your geometry.
So I'll need to keep an eye on that as I
| | 05:32 |
continue to work, but for the most part
leaving that an area where there is a
| | 05:35 |
transition I should be fine.
So we'll just keep an eye on that as we
| | 05:40 |
continue to work and let's see now.
Let's continue down here so I'm going to
| | 05:45 |
drag this vertex out here a little bit.
There was kind of lining up the geometry
| | 05:52 |
that I have, and I'm going to attach that
to there.
| | 05:56 |
That to there, and that to there.
Now, take note as you drag larger
| | 06:02 |
sections with the Right Mouse Button,
sometimes it will select polygons that
| | 06:05 |
have to do with the selection that's been
created.
| | 06:08 |
So you may want to press Q to drop your
tool, deselect the polygons, and then go
| | 06:11 |
back to the Pen tool.
Otherwise, the view can get a little bit confusing.
| | 06:16 |
So let's kind of continue down here and,
well I'm going to relatively quickly
| | 06:20 |
block together this back section here, so
let's just drag all these together.
| | 06:26 |
I'm going to do these one at a time, just
so that it's a little bit quicker.
| | 06:29 |
I don't have to select and deselect
anything.
| | 06:32 |
So, now let's go here, and we've attached
those in the middle.
| | 06:37 |
Attach those in the middle, attach those
in the middle, and now you can see I'm
| | 06:42 |
left with a bunch of these kind of
two-sided sections.
| | 06:47 |
Now, you have to be a little bit careful
working in the Symmetry mode with some of
| | 06:50 |
these sections, so what I'm going to do
is turn off Symmetry for now.
| | 06:55 |
And now I can close these up more easily
without getting any overlapping geometry.
| | 07:02 |
And up here at the top, you'll notice
that I have kind of a four sided polygon.
| | 07:06 |
And I have a couple of options here.
I can either drag it closed like that, or
| | 07:09 |
if I want an extra polygon in there to
create a continuous loop that will go
| | 07:12 |
around, I can hold Shift and click and
drag on the vertex itself.
| | 07:17 |
And that's going to duplicate that vertex
and any attached edges, so I created a quad.
| | 07:22 |
So again, Shift and then click and drag
on the vertex and snap it to the
| | 07:26 |
surrounding geometry.
So there you can see I closed off the
| | 07:29 |
entire back section of this helmet.
And just as quickly, I can go along here
| | 07:36 |
and close up the front section here.
Now, it's important to take note of what
| | 07:41 |
you have geometrically and flow wise in
the background.
| | 07:46 |
In this case I can see that I have
something already existing here, kind of
| | 07:49 |
a ridge, that I need to fix, and let's,
let's back up and turn Symmetry back on.
| | 07:55 |
So, I'm going to go in here and kind of
clean this up a little bit, just to get a
| | 08:02 |
nice flow along that face there.
And then, I'm going to have a look at how
| | 08:11 |
many vertices I have around the edge
here.
| | 08:15 |
So you can see I have one, two, three,
four kind of on this front section, which
| | 08:19 |
will line up with one, two, three, four
back here.
| | 08:23 |
But then in this back section, I start to
have more polygons, and so I think this
| | 08:26 |
is actually going to work relatively
well.
| | 08:29 |
What I'm going to do is, Shift and click
drag out this part here.
| | 08:38 |
And then grab a second level there.
And I'm going to do the same thing that I
| | 08:43 |
had done previously where I'm going to
skip over one polygon, at least, as I
| | 08:48 |
work along here.
And I'm going to attach and leave these
| | 08:53 |
open holes.
Now I could leave those open for
| | 08:55 |
something like airflow.
I'm not going to do that in this case.
| | 08:58 |
I'm actually going to close it all up.
But I'm going to leave them open as I
| | 09:02 |
work here, so that I can more easily see
what's going on with the geometry.
| | 09:07 |
So now that I've worked my way around the
back, you can see that I have a four
| | 09:10 |
sided opening back here, so I can close
that up with a single quad.
| | 09:15 |
Then I have these holes here that will be
two quads, and all I need to do before I
| | 09:18 |
close these up here is, I'm just going to
clean up the actual vertices, just a
| | 09:21 |
little bit, to make the placement a
little bit more clean.
| | 09:26 |
Okay.
And then Shift and right-click on each of
| | 09:31 |
these openings and drag them closed, and
there we go.
| | 09:37 |
The entire front side of the helmet is
now completed and closed.
| | 09:42 |
So, this same procedure can be used to
block out the entire rest of the helmet.
| | 09:47 |
Then you'll end up with a nice, closed,
solid piece of geometry that has good topology.
| | 09:54 |
This geometry can then be used to create
a good, clean subdivision surface mesh
| | 09:58 |
that has all of the characteristics of
the original sculpt, but a much cleaner,
| | 10:03 |
more adaptable polygon flow, so that when
we look at it, we can see that it loses
| | 10:07 |
some of that lumpiness.
And actually it's retained a little bit
| | 10:14 |
of it around some of these areas, but
it's going to be much easier to clean up
| | 10:17 |
and make look just right when we get into
the finish stages of adjusting this model.
| | 10:23 |
So, using the retopology tools, and in
specific, the Topology Pen tool, you can
| | 10:28 |
create a lot of very clean and very
detailed geometry in just a small amount
| | 10:34 |
of time.
Make sure you're counting your edges, and
| | 10:39 |
keeping things even as you move across
your surface, and before you know it,
| | 10:42 |
you'll have a nice, clean model to work
from.
| | 10:46 |
| | Collapse this transcript |
| Cleaning up retopologized geometry| 00:02 |
In this video, we'll have a look at how
to take a completely retopologized object
| | 00:05 |
and clean up the geometry additionally.
And add details on top of what we've
| | 00:10 |
created with our Subdivision Surface
Model.
| | 00:13 |
So, let's have a quick look at some of
the minor polygonal flaws that there are
| | 00:18 |
in this retopo work.
The first thing that stands out to me is
| | 00:23 |
this four sided quad right here.
It's kind of flowing funny, and it
| | 00:27 |
doesn't really go with the overall flow.
So for example, if I select a loop here
| | 00:32 |
you can see that I've got a loop that
runs through here, and then another loop
| | 00:35 |
that runs around it this way.
Not exactly what I want, but often times
| | 00:40 |
things like this can be fixed by just
rotating an edge.
| | 00:44 |
So if we look here, at this section, you
can see that there are these two polygons
| | 00:49 |
here where this edge could go a different
direction.
| | 00:53 |
So, simply selecting that edge and
pressing the V key will rotate it.
| | 00:57 |
And it will continue to rotate around as
far as you need to, but usually one or
| | 01:00 |
two taps to the V key will clean up that
topology.
| | 01:05 |
So, let's get that one matched up on the
other side, and there you go.
| | 01:08 |
You can see that that is working
relatively well.
| | 01:10 |
Now the next thing, I'm going to hop over
to my Model View where I have my wire
| | 01:13 |
frames turned off.
And you can see that there's a bit of a
| | 01:16 |
crease running down the middle here.
And this isn't really at all what I want
| | 01:19 |
either, I want this to be relatively
smooth.
| | 01:22 |
So I'm going to select all the Geometry
right along the top here.
| | 01:26 |
Then go to my Deform tab, grab the Smooth
tool, and then just click and you can
| | 01:29 |
drag as much as you need to, in order to
kind of soften that geometry.
| | 01:35 |
So with just a little bit of smoothing
there, that one is working much better now.
| | 01:41 |
Now another method for cleaning up this
kind of geometry is to actually add some
| | 01:45 |
sharpness to the subdivision surfaces.
So a little bit of creasing.
| | 01:50 |
For example, if I take this edge here,
and add a crease to it, I can get some
| | 01:54 |
nice additional definition.
One thing that I want to do though before
| | 01:59 |
doing that is to increase my subdivision
levels, so under Catmull-Clark
| | 02:02 |
Subdivision here, I'm going to increase
this to a level four.
| | 02:06 |
And also the render level to level four.
So now, I have more headroom for adding
| | 02:10 |
in these details.
So, for this part, I'm going to set it up
| | 02:13 |
to 20%, which is going to be a
half-creased or a semi-creased edge.
| | 02:18 |
And now I can continue to move around the
object and find areas where I need more definition.
| | 02:24 |
And then just add those by using the
exact same vertex weight.
| | 02:28 |
So, I can press Shift+W to bring up the
vertex weight map, and it will
| | 02:31 |
auto-populate with my previous weight,
which was 20% in this case, and then a
| | 02:34 |
single click will add in that amount of
weight to the selected area.
| | 02:39 |
So I can do this to move around the
object, and end up with some nice
| | 02:43 |
semi-creased lines in the areas where I
want more contrast in the shape of the geometry.
| | 02:54 |
So, another method that you can use for
adding more detail in these areas is to
| | 02:59 |
select and disassemble some of the
sections of the model.
| | 03:05 |
So, for example, if I wanted to have this
ring here separated out and acting as
| | 03:09 |
kind of its own individual piece, I can
simply, cut it out, then paste it back
| | 03:13 |
in, and this will leave me with a little
bit of clean up work here to do, but it's
| | 03:17 |
nothing, very serious.
So, I'm going to double-click on this
| | 03:22 |
edge, and this edge.
So, I select both the existing edges that
| | 03:26 |
were adjacent and actually were the same
edge.
| | 03:30 |
And now, to use the Z key which is the
Edge Extend to kind of pull this down.
| | 03:35 |
Now, I can go in here, select this edge,
Shift+W to add in a crease.
| | 03:43 |
And I can do the same thing around here,
and select the entire loop.
| | 03:50 |
Convert that to boundary by holding Ctrl
and clicking on edges.
| | 03:55 |
Shift+W to add in the weight, and then
adding in some extra weight here will
| | 03:59 |
crease these edges and pull them back
towards the existing geometry.
| | 04:05 |
And then I also have this part that is
now a separate chunk.
| | 04:10 |
So, if I want, I can take this section,
pull the boundary down a little bit, use
| | 04:15 |
the Right arrow to select the next edge
up, Shift+W to add in a little bit of weight.
| | 04:22 |
And then I'm going to double-click on
that and hide it, and do the same thing
| | 04:27 |
here with the inner edge, so Z for Edge
Extend, pull this down, and I'll select
| | 04:32 |
this edge here.
I'm actually going to unhide my existing
| | 04:37 |
geometry to see, and actually, that works
pretty well.
| | 04:40 |
I'm not even going to crease that edge.
So it leave a little bit more of a lip there.
| | 04:45 |
Beyond removing individual chunks here,
you can also take and create bevels that
| | 04:49 |
will have a similar effect.
And allow you to get a little bit more
| | 04:53 |
depth onto some areas that need to be
separated out from the existing geometry.
| | 04:59 |
So, for example, if I select this section
here, I'm going to bevel, bevel it inward
| | 05:03 |
just slightly, and bevel it back, and
then back forward.
| | 05:08 |
Now while I have this selected, it's
probably a good idea, if I'm going to
| | 05:11 |
have an alternate material, it's probably
a good idea to add that now.
| | 05:16 |
So that I don't have to go back and
reselect all of this.
| | 05:19 |
So I'm going to press Q to drop my bevel
tool, Shift and the Up arrow to select
| | 05:22 |
the rim of polygons that runs around
there.
| | 05:25 |
Press M, and I'll apply a new material
and this is going to be one of the vents.
| | 05:29 |
So I'll call this one vent, and just so
that I know I set it, I'm going to darken
| | 05:32 |
it up a bit.
And there you go now I have the vent set.
| | 05:39 |
So using these simple techniques you can
go through and very quickly add in
| | 05:43 |
additional detail to your model.
Here in this version I've also gone in
| | 05:48 |
and created some extra bevels to give
some extra detail in areas where I've got
| | 05:52 |
a secondary material.
I could go in and create as many of these
| | 05:57 |
extra kind of details as I need to,
simply by going in and selecting
| | 06:01 |
polygons, either beveling them, which
I'll probably do in this case, a simple
| | 06:05 |
bevel down.
And back up.
| | 06:11 |
And in this case, I think I'm going to
bevel inward, just a little bit to kind
| | 06:14 |
of soften that edge.
Shift and the Up arrow once, and I'm
| | 06:18 |
going to press M, and apply also my vent
material there, so have a vent running
| | 06:21 |
there, I have another vent in the front,
I have some vents running down the back
| | 06:24 |
and you can see that's a separate piece.
And here this piece is actually just a
| | 06:29 |
bevel again just like on the other model.
And then pretty quickly I've got another
| | 06:34 |
version of my helmet done with more
detail added in and some additional style.
| | 06:39 |
So, you can go through and do this also
as many times as you want.
| | 06:42 |
I recommend saving a version of the file
before you start cleaning and detailing
| | 06:46 |
the retopo, and you can end up with just
as many options after your retopologized
| | 06:50 |
geometry is created.
You can go in and add creases, additional
| | 06:55 |
bevels, additional sections.
Extract sections and pace them back in.
| | 07:00 |
Or extract sections and remove them
entirely in order to have more openings
| | 07:05 |
in your geometry.
I could then if I wanted to go over and
| | 07:08 |
bridge some of these areas together.
And create an entirely different look.
| | 07:16 |
Let's like both of those, select here and
here, there on the bridge tool.
| | 07:24 |
Woops.
See I selected the wrong geometry on this side.
| | 07:30 |
Here we go.
Select that and that.
| | 07:32 |
And the bridge tool.
And there you can see I've started to
| | 07:35 |
create a version of the helmet with more
open spacing.
| | 07:39 |
So I can do that a couple of additional
times through here.
| | 07:41 |
And end up with completely alternate look
without having to do a whole lot of extra work.
| | 07:47 |
So again we're in the Bridge tool.
And there you go.
| | 07:52 |
You can do as much or as little of this
kind of work as you want, to create some
| | 07:57 |
really nice interesting flows of geometry
on top of what was already there.
| | 08:05 |
You could also go back to the
disassembled version, that was the
| | 08:10 |
original topology version.
And I also still have in the background,
| | 08:19 |
a version of my geometry where I had not
bridged everything together yet.
| | 08:25 |
So, I could take this and use this as
kind of some secondary geometry, I can
| | 08:29 |
also do things like, take all of this and
thicken it.
| | 08:37 |
(audio playing) And then start bridging the
individual chunks together to have a much
| | 08:40 |
more kind of hollow feeling on my model.
So, no matter how you divide this up,
| | 08:44 |
there are a lot of options that you have
for creating a good finished model based
| | 08:49 |
off of the original sculpt, and then some
topology work.
| | 08:55 |
And when you're all completed, you can
have several fully fledged out, finished
| | 08:58 |
prototypes ready to go.
And this will allow you to create good
| | 09:01 |
geometry that is also adaptable, and will
give you a lot of finished options for
| | 09:05 |
creating a concept and a fully
fleshed-out model, from that concept, in
| | 09:09 |
very little time.
This will allow you to turn around your
| | 09:14 |
projects much more quickly and give more
options to your clients, if it's their
| | 09:17 |
project that you're working on.
| | 09:21 |
| | Collapse this transcript |
|
|
5. Setting the SceneModeling scene geometry| 00:02 |
In this video, we'll have a look at how
to use our modeling functions efficiently
| | 00:06 |
in order to create props and environment
models.
| | 00:10 |
So, let's start by looking at some of the
things that are going to be commonly used
| | 00:14 |
items on a scene for your product shoots.
Now, the first and most simple thing that
| | 00:19 |
you might use would be a simple rolled
background.
| | 00:22 |
It's going to have a floor, and then a
gradual curve into a wall.
| | 00:25 |
This way you can light the scene so that
the environment itself pretty much
| | 00:30 |
disappears and gives you an empty space
for just showing off your model by itself.
| | 00:36 |
So, the key here is to just use modeling
options efficiently in order to create
| | 00:40 |
the desired set space.
So, in this case I'm going to create a
| | 00:45 |
simple square.
I'll make it, five meters, by zero meters
| | 00:48 |
in the y, cause I just want a flat
square.
| | 00:52 |
By five meters in the z.
Then I'll click Apply, and we get a nice
| | 00:55 |
square in the environment.
So, in order to create a backdrop for
| | 01:00 |
this, I can simply grab the back edge,
press Z for the Edge Extend tool.
| | 01:05 |
Pull that up, maybe about as high as this
is deep, so I'll go up five meters.
| | 01:10 |
Now I'll select this corner.
Press B for the Bevel tool, increase my
| | 01:16 |
round level to about five or six, and
drag out.
| | 01:19 |
Now, you may need to do more round level
or less, depending on how big you need to
| | 01:24 |
make this curve.
If you want your objects to sit rather
| | 01:28 |
large in this scene, you'll probably
want to make this a relatively pronounced curve.
| | 01:33 |
If the object is going to be relatively
small, then you can get away with making
| | 01:36 |
this smaller.
Just remember that the number of edges
| | 01:39 |
you use here is not going to be edited.
Using this kind of a model with
| | 01:43 |
subdivision surfaces is going to cause us
to have a not entirely flat ground plane.
| | 01:47 |
And that can cause some real problems
when setting a scene, positioning lights
| | 01:51 |
for your proper shadows, and things like
that.
| | 01:54 |
So, if in doubt, add a couple of extra
edges in this case.
| | 01:58 |
They're only going to add a couple of
extra polygons on the finished overall
| | 02:00 |
scene, so it's worth making it nice and
round.
| | 02:03 |
So, if I go up to 10, that's really only
going to increase my geometry level for
| | 02:07 |
the scene a little bit.
You can see that I'm only at 44 triangles
| | 02:11 |
for the entire scene.
So that would make a good, simple background.
| | 02:15 |
If I go over to the Render tab, and bring
my camera around, you can see that I have
| | 02:19 |
a lot of options here where I can set up
my camera and I won't see any of the
| | 02:23 |
background appearing.
We can move in close and come around far.
| | 02:30 |
I can do high angles.
And I'm still only going to see the
| | 02:35 |
environment, not the background.
Now if I do happen to get a little bit of
| | 02:40 |
the background showing up at the edges of
the environment, those things can always
| | 02:44 |
be cropped out in Photoshop after the
fact.
| | 02:48 |
But you can also very simply take this,
use your Scale tool, scale it out on the width.
| | 02:54 |
And that way you have an even broader
canvas to work with.
| | 02:59 |
Now, to get a good preview of this, I'm
going to select the background material,
| | 03:04 |
set my Diffuse Amount to 100%, set my
Diffuse Roughness to 100% and turn my
| | 03:08 |
Specular off.
Now if I move the camera around, you see
| | 03:13 |
I'm not getting as much sheen on the
background.
| | 03:17 |
It's just basically kind of disappearing.
We get a little bit of a gradient, but
| | 03:20 |
nothing is going to make it difficult for
us to see the object in the scene.
| | 03:25 |
Now, you could do the same kind of a
thing with two sides.
| | 03:28 |
Let's make a new mesh item, again with a
square, and I'm just going to apply that.
| | 03:34 |
Let's hide our background mesh.
I can do the same thing just by selecting
| | 03:39 |
two edges, like in using Edge Extend.
And then again, beveling this time all
| | 03:45 |
three corners, so the back corners and
the vertical corner.
| | 03:51 |
Bevel, pull that up, and there we go.
Now we have that as a more of a corner seam.
| | 03:58 |
So depending on how you want to position
the camera, you may need a little bit
| | 04:02 |
more angle of view than you would get
based off of a simple, straight background.
| | 04:07 |
So, this kind of a thing can be really
useful.
| | 04:09 |
And you could very easily add in a third
wall over on the right-hand side as well
| | 04:12 |
to make this more of a completely
enclosed area.
| | 04:16 |
Just be careful that, you are going to
have to place lights in here, so you want
| | 04:19 |
to make this area large enough that you
can easily accommodate lights and other
| | 04:22 |
environmental pieces.
In other cases, you might want to model
| | 04:28 |
things that are more like a physically
constructed set, instead of just a, kind
| | 04:33 |
of, transparent background that's just
going to disappear and not draw attention
| | 04:37 |
to itself.
So, in the case of that, I would say that
| | 04:42 |
you're always good to remember to model
from your details that you need outward.
| | 04:47 |
So if, for example, I wanted to create a
window for a background scene or a room,
| | 04:52 |
I could drag out a box to create the
scene.
| | 04:57 |
Now press F to flip the polygon so that
we have the interior of the box.
| | 05:03 |
And this is going to give us a very
simple bit of geometry to act as a framework.
| | 05:08 |
Now, if I wanted to add something like a
window, I could very easily drag out the
| | 05:12 |
proper size.
And let's move our camera around here,
| | 05:17 |
drag this up where I want it, add some
height to the window.
| | 05:24 |
And in this case, I want this to be a
window divided into four pieces, so I'm
| | 05:28 |
just going to drag up into the right in
order to get two extra subdivisions.
| | 05:35 |
And now I'm going to select all of these
polygons.
| | 05:39 |
Bevel.
And make sure that in this case I have
| | 05:44 |
group polygons off.
Inset.
| | 05:49 |
And you can get as complex as you want on
the actual windowsill here.
| | 05:52 |
I'm not going to go all that far.
I'm just going to make a very simple
| | 05:58 |
overall shape until I get my window
pieces close together, my window panes.
| | 06:05 |
And in this case, I'm going to just go
ahead and copy those pieces, and then I'm
| | 06:11 |
going to bridge them.
Now your Bridge tool may or may not work
| | 06:17 |
well when you're dealing with four pieces
like that.
| | 06:23 |
In this case it did not work well.
So you may have to do this manually on
| | 06:29 |
each one.
So, select those, bridge, click., Select
| | 06:34 |
those, bridge, click.
Select these, bridge and click, and then
| | 06:40 |
select those, bridge and click.
So now I am left with a simple window shape.
| | 06:47 |
And you'll notice I still have the wall
in the background.
| | 06:51 |
This is what I mean about modeling around
the geometry that you need to have.
| | 06:55 |
So I'm going to simply bevel this inwards
until I get it somewhere in the ball park.
| | 07:02 |
Now use my Scale tool to get it just
about the right height and the right width.
| | 07:08 |
Position it so that it's just lining up
with my actual window.
| | 07:15 |
Or rather with the frame.
And once that is done, I can just go
| | 07:19 |
ahead and delete that piece.
And now I can go ahead, paste in my
| | 07:23 |
window pieces, and I could simply if I
want to make these actual physical pieces
| | 07:28 |
of glass, I could select the two pieces,
Ctrl+click on edges to get the boundary,
| | 07:32 |
and then bridge those edges together.
And you want to make sure that Remove
| | 07:39 |
Polygons is turned off, and that way you
have now just a thickened piece.
| | 07:43 |
Alternately, you could take and delete
your polygons on one side, select the
| | 07:49 |
front polygons, and thicken to get the
same effect.
| | 07:55 |
So either way you want to do that is
fine.
| | 08:03 |
And then you would just select all of
these and assign a glass material.
| | 08:11 |
So, this demonstrates how quickly you can
lay out the basic geometry for a scene.
| | 08:16 |
You can very easily go in and add more
detail, like edge bevels and things.
| | 08:20 |
To get a more complex shape, you could
also add in things like molding and chair
| | 08:25 |
rails, if you're working on like a built
up set.
| | 08:29 |
An actual environment.
Just using some of your basic modeling tools.
| | 08:33 |
But the main idea here is to keep this
simple.
| | 08:36 |
It's just acting as a background.
And you just want to properly set the
| | 08:39 |
scene to show off the objects.
So spending a small amount of time on
| | 08:42 |
this kind of modeling will allow you to
spend more time with your hero models.
| | 08:47 |
The ones that are key to your scene, the
ones that you're showing off, and just to
| | 08:51 |
have them placed in a proper scene in
order to cast good shadows, reflections,
| | 08:55 |
and receive good lighting from them.
So, if you can make good and quick models
| | 09:01 |
for your environments, it will help you
to have a more effective finished scene
| | 09:04 |
to show off in your finished renders.
| | 09:08 |
| | Collapse this transcript |
| Modeling environments and props| 00:02 |
In this video, we'll have a look at how
to use some of the preset content, and
| | 00:06 |
also some of the presets on your tools,
in order to quickly make environment
| | 00:10 |
geometry for your product visualization
scenes.
| | 00:15 |
So let's start by creating something like
a simple podium, like a pillar, that we
| | 00:20 |
could be setting our object on.
So I'm going to start with just a simple
| | 00:24 |
cylinder here, and I'm going to make sure
it is centered up in the middle of the scene.
| | 00:29 |
And let's make it a nice even size, we'll
go for 500 millimeters.
| | 00:34 |
I'm going to pull this up to get a little
bit of height.
| | 00:38 |
And this is going to be the base of our
podium, but I don't want to have quite so
| | 00:42 |
many vertical segments.
So I'm going to turn this down.
| | 00:46 |
And I'm going to use my Loop Slice tool.
Let's set that back to 1, and Free, and I
| | 00:51 |
can set this slice right where I would
want to get some kind of a flourish here
| | 00:55 |
on top of the podium.
So, maybe right about there.
| | 01:00 |
Now, if you wanted, you could also make
this symmetrical, and put one on the top
| | 01:03 |
and the bottom.
As as a matter of fact, let's go ahead
| | 01:05 |
and do that, change it to Symmetry, and
2, and get it about the right size.
| | 01:10 |
Now, if I Loop Select the top and the
bottom, I can use the Bevel tool and then
| | 01:13 |
turn on a profile.
So, let's start here by actually beveling outwards.
| | 01:16 |
Make sure that you have Group Polygons
turned on, so that you're getting a nice
| | 01:17 |
solid bevel outwards.
And now if you go, you can turn on
| | 01:21 |
Profiles and get a real-time preview of
how the profile is working.
| | 01:34 |
Now, some of these are going to work
better than others, depending on the
| | 01:37 |
scale of your scene and the scale of your
beveled area.
| | 01:41 |
And some of these might require some
editing.
| | 01:43 |
I'll show you how to do that here in a
moment.
| | 01:47 |
You can also always go back and edit the
finished look of these.
| | 01:51 |
I think that one's getting close, it's
just a little too deep.
| | 01:54 |
So let's back it up, so that we get no
overlapping on the middle here.
| | 02:01 |
All right, so something like that's
going to work relatively well.
| | 02:04 |
But as I mentioned, the problem with
this is that it's symmetrical on the top
| | 02:07 |
and bottom of the bevel, and we don't
want that.
| | 02:10 |
So I'm going to simply Loop Select here,
or do a Loop Slice, set the count to 1,
| | 02:14 |
and make sure that you then turn off your
Profiles.
| | 02:19 |
You can click on the browser bar and just
click the Back arrow, and that will turn
| | 02:23 |
your Profiles off.
And then you don't have any Profiles on.
| | 02:26 |
If they get stuck on, which they often
do, you turn them on and they are sticky,
| | 02:30 |
so they'll remain on after the fact.
So now I can simply select this loop and
| | 02:35 |
cut it, select the upper section and cut
it, and now I can select this, press P to
| | 02:39 |
create a polygon.
And just so that I don't have problems
| | 02:44 |
with n-gons here, I'm going to create a
nice little bevel inwards to fix that.
| | 02:49 |
I can do the same thing on the bottom
here.
| | 02:53 |
So, let's just Loop Slice that, Loop
Select that, and cut it, select that and
| | 02:57 |
cut it, select this bottom edge, press P
and then bevel inwards.
| | 03:03 |
And now you can see, I've created a
relatively complex shape very, very quickly.
| | 03:09 |
Now if this is the wrong size overall, I
can very easily scale the entire thing
| | 03:13 |
vertically in order to get these the
right overall proportion, and I'm not
| | 03:16 |
even going to worry about the middle
section here.
| | 03:21 |
I'm just going to scale this out until I
get the right proportion within my more
| | 03:24 |
complex beveled section.
And then I'm going to move the entire
| | 03:29 |
thing up to where its sitting pretty much
on the ground.
| | 03:31 |
Go to my Vertices, select the top, and
now I can move this down to where it's
| | 03:35 |
the height that I want.
So you can see, making these quick edits
| | 03:40 |
is going to allow you to do a lot more
with this kind of geometry.
| | 03:44 |
So, I can also go in and add more detail
here on the actual column itself, just by
| | 03:48 |
turning on a profile.
And that one's not a real good one, it's
| | 03:53 |
going the wrong direction.
Maybe something like that or that.
| | 03:57 |
You can see, this is now giving me a
little bit more inner detail on this shape.
| | 04:05 |
And I don't want to overdo it.
As a matter of fact, I think I'm going to
| | 04:08 |
turn it off.
But you do have that option there, of
| | 04:11 |
going and adding more detail onto this.
So, let's back up there.
| | 04:15 |
All right, so now that I have my podium
finished, you might also check and see
| | 04:18 |
how this is going to work with
subdivision surfaces.
| | 04:22 |
If you have a lot of complex angles here,
this might be something that would work
| | 04:26 |
really well with subdivision surfaces,
and then the addition of a few sharpened edges.
| | 04:32 |
So if I select the loops, Shift+W.
And remember as you do this, this is just
| | 04:36 |
review, but remember that your Mesh
settings, you're going to want to check
| | 04:40 |
your Subdivision Level.
I'm going to to up to a level 3 on this.
| | 04:46 |
And then, I want these to be relatively
sharp.
| | 04:50 |
We'll go up to 20%, and you can see, I've
got a nice semi-creased edge, and I could
| | 04:54 |
do the same thing here on the bottom, as
well.
| | 04:57 |
So select those, Loop, Shift+W, and then
just click because I already have my
| | 05:01 |
scale set.
Now let's hop over to the Model view, and
| | 05:04 |
you can see, there we go.
I've very quickly created a simple
| | 05:07 |
profile that's given me a lot more depth
and complexity to this object.
| | 05:12 |
It makes it a much better prop for my
environment.
| | 05:14 |
You could use this same technique to
create chair rails, crown molding, any
| | 05:18 |
kind of molding materials that you would
want around door frames, and things like that.
| | 05:24 |
And you're not going to waste a lot of
time modeling these things that are
| | 05:26 |
likely going to be in the background, and
sometimes are even going to be blurred,
| | 05:29 |
because they're going to be out of focus.
So the big thing to remember, just like
| | 05:34 |
when you're setting up your overall
environment, model quickly and
| | 05:37 |
efficiently on these prop models, because
often times, the detail is going to be secondary.
| | 05:42 |
So just making them detailed enough yo
give you what you need, without spending
| | 05:46 |
a lot of time modeling, is the name of
the game here.
| | 05:49 |
It will save you time and allow you to
spend more time working on the crucial
| | 05:53 |
important details of your finished
product scene.
| | 05:57 |
| | Collapse this transcript |
| Modeling light sources| 00:02 |
In this video, we'll have a look at how
to use Modeling tools to create some
| | 00:05 |
Basic Light Models.
In other words, models that will be used
| | 00:09 |
to cast light onto the scene.
So, these will be used with Global
| | 00:14 |
Illumination, and with Luminous
Materials.
| | 00:16 |
When modeling with this kind of lighting,
it's important to remember the three
| | 00:19 |
basic kinds of lights that you'll be
using in your scenes.
| | 00:23 |
Direct lights, so lights where the
luminous source is pointed directly at
| | 00:26 |
your scene and illuminating it directly.
Diffuse source, or sources that are
| | 00:31 |
passing through other materials.
So, for example you were to have a light
| | 00:35 |
behind a piece of tissue paper or coming
through curtains or something like that,
| | 00:39 |
so the light is passing through
something.
| | 00:42 |
And then light that is bounced, so light
that is being reflected off of an object
| | 00:46 |
and then back into the scene.
So all of these will have a couple of
| | 00:50 |
commonalities and some things that you'll
want to look for.
| | 00:54 |
So the first thing to think about when
you're creating this kind of lighting is
| | 00:57 |
the actual nature of the light that you
want to create.
| | 00:59 |
Now lighting doesn't come from
infinitesimally small points in space.
| | 01:05 |
And that's going to be the issue with a
lot of the traditional CG lighting that
| | 01:08 |
we have, it is that it's going to be cast
from a point in space.
| | 01:12 |
And there are ways around that, and there
are ways to improve on that.
| | 01:15 |
But really the benefit of modeling your
lighting and creating objects that will
| | 01:19 |
give you your lighting.
Is that you can create light that comes
| | 01:23 |
from an area or a volume, beyond just the
simple idea of an area light which is
| | 01:27 |
coming from a space just larger than that
one point, but it's coming from something
| | 01:31 |
like a simple plane.
So, as you take that into account, it's
| | 01:36 |
important to think of a couple of things
that can help you to achieve good lighting.
| | 01:42 |
Now first is going to be the shape of
your lights, so if you want to start with
| | 01:45 |
something as simple as a sphere.
You can take that sphere, and I'm going
| | 01:51 |
to use this to just create really simple
light.
| | 01:54 |
And I'm going to start by unsubdividing
it, because that's sphere preset shape.
| | 01:57 |
When you click on it will give you a
subD'd object and we just want to have
| | 02:00 |
the polygons now.
I'm going to Loop select all of this.
| | 02:05 |
And then hold Shift and the close bracket
key to select everything that closes off
| | 02:10 |
that selection, in other words everything
inside of that ring.
| | 02:16 |
And now I'm going to use the Bevel tool,
and just bevel this in a bit.
| | 02:21 |
And I actually have a few segments turned
on here, those are not absolutely
| | 02:24 |
necessary here.
What they can allow you to do is get a
| | 02:27 |
little bit more detail inside here,
without having to go back and add it
| | 02:29 |
later, so I'm going to leave those on.
And then what I can do is simply go
| | 02:34 |
inside here, select this loop and move it
up.
| | 02:39 |
(audio playing)
We'll just pull it up vertically,
| | 02:41 |
something like that, this'll give you a
little bit more of a shape.
| | 02:47 |
Now, if I wanted to, I could already go
ahead and assign materials.
| | 02:52 |
I could select this Inner material here
and assign that a luminous material or
| | 02:57 |
light material.
And then select the Invert with the open
| | 03:01 |
bracket key and assign it something more
like a reflective color or a map color.
| | 03:07 |
Depending on the, the kind of housing
that you would have on your object.
| | 03:10 |
And that's going to be another benefit of
modeling your lighting, is that if you do
| | 03:14 |
happen to see these objects show up, in
your lit scene.
| | 03:18 |
Then you actually get something properly
reflected.
| | 03:21 |
So, lets call this Housing, and I don't
want it to be red, I think I'll make that
| | 03:25 |
kind of a cool, dark grey.
Then I'm going to, again, Invert that,
| | 03:30 |
and we'll call that Lighting, and we'll
click OK.
| | 03:35 |
I'm not going to bother putting any of
the settings changed there, because I'm
| | 03:38 |
going to change those in the shader tree
when I actually get to shading this.
| | 03:42 |
And I can get a quick idea just by going
to Material, Trans and setting my
| | 03:48 |
Luminous Intensity to 1, just to start
with.
| | 03:54 |
Now, if I take this object and move it up
away from the scene a little bit or away
| | 03:59 |
from my subject and it, rotate it.
Now I'm going to actually set my action
| | 04:05 |
center to the origin.
And then you can get an idea of how that
| | 04:10 |
lighting is going to work in you finished
scene.
| | 04:16 |
So just to get a, quick extra look at
this, I'm going to take it and move it.
| | 04:20 |
And I'm going to set my Action Center
back to Selection, and I'm just going to
| | 04:23 |
pull the light up out of the scene, so
it's not, visible directly there.
| | 04:28 |
And then I'm going to select my Can
material.
| | 04:31 |
And just go ahead and add in a little bit
of reflections, so we can get an idea of
| | 04:33 |
how that works as well.
So, let's go 25 and then 100 on the
| | 04:37 |
(UNKNOWN)
I'll turn on Match specular.
| | 04:41 |
And now if we go in here, we can see that
we have a reflection coming from that light.
| | 04:46 |
It's looking just like that light there,
and if we start to add some more light
| | 04:49 |
into the scene, a little bit more
ambiance, we'll also see that light housing.
| | 04:55 |
Or if we make a more complex shader for
that lining so that it perhaps falls off
| | 04:58 |
a little bit, we'll see that reflected
here.
| | 05:01 |
And it becomes much more powerful than
just a real simple specular reflection
| | 05:04 |
that we would see with a traditional CG
light.
| | 05:09 |
So looking at on diffused lighting, I'm
going to go ahead and take this and move
| | 05:13 |
it a little bit farther out.
The big thing to think of is just the
| | 05:18 |
overall shape of the material that is
being diffused.
| | 05:22 |
Now with a, both a diffused or a light
that's passing through some other object
| | 05:26 |
and a bounce light.
You can actually use a combination of
| | 05:31 |
Luminous polygons and traditional CG
lights, depending on the actual look that
| | 05:35 |
you're going for.
You might save some render time,
| | 05:39 |
actually, by using something like a
spotlight and shining it at a sheet that
| | 05:42 |
you created.
And that will allow you to very quickly
| | 05:46 |
get your lighting done without having to
spend a lot of extra time.
| | 05:51 |
Without having to wait for higher quality
rendering in order to get the light
| | 05:56 |
coming from the luminous polygons.
So one big thing to remember is just
| | 06:01 |
simple shape.
If you're going to set this up in, say, a
| | 06:04 |
photo studio.
You wouldn't spend a lot of time getting
| | 06:08 |
a very detailed shape on a piece of
tissue paper that you're going to hang in
| | 06:11 |
front of a light.
It's just going to be something
| | 06:14 |
relatively simple.
So a lot of times, I like to just use
| | 06:18 |
existing geometry to and gleam something
that I might use to create another object.
| | 06:26 |
So I'm going to go over here to my
background, I Copy this, make a new Mesh
| | 06:31 |
Layer, which I will call, Sheet.
Then I'm just going to Paste those
| | 06:38 |
polygons in and go ahead and center them.
So, under the Basic tab, Center selected,
| | 06:44 |
just center on the Z axis so it's right
there.
| | 06:47 |
And now all I have to do is take that
object, and I can move it around, I can
| | 06:55 |
rotate it, so if for example I move it
back this way, and then rotate it, down
| | 07:03 |
like this.
And then move it back up to where it's
| | 07:11 |
kind of meeting the ground.
So we're getting the idea of this kind of
| | 07:14 |
being something that was taped to the
ground.
| | 07:16 |
And now I'm going to rotate it again.
But I'm going to set my Action Center to
| | 07:19 |
the Origin.
I'll just pull this around here, back there.
| | 07:26 |
I just want to pull this away so its not
overlapping the Background Geometry much
| | 07:31 |
or at all and there we go.
So that's the basic idea, so I'll apply a
| | 07:35 |
simple call this Tissue Material and I'm
not going to worry about any of the
| | 07:39 |
Default settings.
Again we're just looking at a real quick
| | 07:42 |
preview here.
I'm just going to take Subsurface amount
| | 07:44 |
and turn it up to a 100%.
And then I'm going to go to my Global
| | 07:48 |
Illumination, set my Subsurface
Scattering to Both.
| | 07:52 |
And I'm going to set my Indirect Bounces,
if they're not already at two, I'm
| | 07:55 |
going to set them to two.
And that will allow the light to pass
| | 07:58 |
into this and then go through it.
So let's go over to the Render view.
| | 08:01 |
And you can see it's relatively dark, but
if I take my Lighting Material, and
| | 08:06 |
increase the intensity.
And you'll start to see more light coming
| | 08:12 |
through here, and you can see the
reflections are much more soft and subtle.
| | 08:19 |
Now, like I said, you can save some time
doing direct lighting here in this case.
| | 08:24 |
So this isn't a good time to set up and
really take into account all of the
| | 08:29 |
lighting attributes of this.
But just so that you have an idea, you
| | 08:34 |
don't need to particularly always have
something like a polygonal light behind
| | 08:38 |
something like this.
You can if you want to control the shape
| | 08:42 |
of it, but remember that this is going to
be slowly kind of diffused through here.
| | 08:46 |
It's going to get blurred out a bit by
the Subsurface Scattering.
| | 08:49 |
And you're just going to be left with a
more softened end result.
| | 08:54 |
So its a good idea to consider both
styles.
| | 08:57 |
Consider polygonal lighting and then also
try something like a simple spotlight in
| | 09:01 |
order to get the look that you're going
after.
| | 09:04 |
And the last thing to consider is going
to be bounce lighting.
| | 09:10 |
So, I'm going to go in here and hide, the
two lights that I've already created.
| | 09:14 |
So let's hide the Sphere and the Sheet.
And then I'm just going to create a
| | 09:18 |
really simple Plane.
So, let's go and make a new Mesh Layer,
| | 09:22 |
and Zoom out so that I can see my scene
here.
| | 09:25 |
And we're just going to create a nice
square, and place it up above the scene here.
| | 09:35 |
And now I'm going to go ahead and flip
that so it's facing down.
| | 09:39 |
And I could get pretty complex on this,
I'm just going to do something really
| | 09:42 |
simple here.
I had already had my plane subdivided, so
| | 09:46 |
I'm going to use that, and I'm just
going to Bevel these areas down a little bit.
| | 09:51 |
Let's turn my Segments back down to zero.
And then I'm going to Bevel again, and
| | 09:57 |
then I'm going to select the front faces
along here.
| | 10:04 |
And Bevel these in as well.
And that's going to give me a bit of an overhang.
| | 10:10 |
And this overhang can even move that up a
little bit.
| | 10:14 |
So I Action Center back to Automatic.
Could pull these up a little bit.
| | 10:18 |
This overhang will allow me to do a few
things.
| | 10:20 |
I can either take these polygons in here
and apply a luminous material to them or
| | 10:24 |
I could do something like place a
cylinder light on the inside of each of these.
| | 10:30 |
And all that we're looking for on this
kind of a light is for the area in here
| | 10:34 |
to be bright and luminous.
It's going to bounce onto the ceiling,
| | 10:39 |
And then that ceiling is what's going to
light our scene.
| | 10:43 |
So it's going to give a more broad,
diffused look to it, it's going to soften
| | 10:46 |
our reflection, it's going to soften the
lighting and the shadows in general.
| | 10:50 |
And it'll give you kind of a softbox
style of a lighting solution.
| | 10:54 |
Now you could also take just a large
polygon up here and apply a material to
| | 10:57 |
it that will give you a kind of a
softbox.
| | 11:01 |
But this bounce lighting is going to give
you just a little bit different feel.
| | 11:05 |
And depending on the finished look that
you're going for that could be something
| | 11:08 |
really of benefit.
So really the modeling techniques here
| | 11:11 |
are very simple.
You can use primitives with slight
| | 11:15 |
modifications, you can use existing
elements in your scene, and you can just
| | 11:19 |
use simple geometry.
Just remember that you're building models
| | 11:24 |
that are going to cast, reflect or pass
light through them.
| | 11:29 |
And that's really their purpose, they're
just kind of things to catch your light
| | 11:33 |
and to propel it into your scene.
To give you more subtle, advanced and
| | 11:39 |
nuanced lighting in your finished 3D
Renders.
| | 11:42 |
| | Collapse this transcript |
| Using replicators| 00:02 |
In this video we'll be having a look at
how we can use Replicators to add some
| | 00:05 |
extra interest and some extra kind of
detail to this scene that we're working on.
| | 00:10 |
We can use Replicators in a couple of
ways to get a nice result.
| | 00:15 |
Now the first way that we'll look at is
using Replicators in order to place a
| | 00:18 |
bunch of duplicates of our key model
here, of our product.
| | 00:23 |
That we'll be working on here around the
scene.
| | 00:25 |
And then, you can save out the scene, and
very easily bring in a new asset that's
| | 00:29 |
going to be your different product that
you're working on for another project
| | 00:33 |
later on, you can replace it.
And all of your replicas will update, and
| | 00:39 |
that way you can have a really nice way
of building up a small group of scenes
| | 00:43 |
that can work for multiple different
products.
| | 00:47 |
So, let's start here with our cylinder,
which let's go ahead and rename.
| | 00:52 |
If you'd like to follow along, this is
the replicator start file.
| | 00:55 |
We'll call this can, or I will call it
product, so that we know what it is.
| | 01:01 |
going to select the background here.
And we're going to zoom out a little bit,
| | 01:06 |
so we can see this.
And then under Duplicate, we'll go down
| | 01:09 |
to Mesh Paint and hold down and click.
And you'll see that there's Mesh Paint
| | 01:13 |
Instance and then Mesh Paint Replica.
And Replica's going to be the most
| | 01:16 |
productive way of doing this.
It's going to cost the least, as far as
| | 01:20 |
computer overhead.
Render the most quickly, and just overall
| | 01:24 |
work really well.
Okay, so let's look here at the options
| | 01:27 |
that we have.
By default, this is going to come in as
| | 01:30 |
the paint mode of Slide, and the scaling,
by default, is usually Adaptive.
| | 01:35 |
For doing this with an actual product, we
want to keep it all pretty much the same size.
| | 01:39 |
We'll set that to Uniform.
And now, if I click and drag you can see
| | 01:45 |
that I get this bounding box replica of
the individual model coming along.
| | 01:55 |
And at the default setting the source is
going to say All Background Measures,
| | 01:59 |
which right now the only Background
Measures we have are the Light and the
| | 02:02 |
can itself.
So, let's back up there, because we don't
| | 02:06 |
want the light to be replicated across
here, so we're going to go to Specific
| | 02:10 |
Item, and change that from Backdrop, to
Product.
| | 02:14 |
And now, it doesn't matter what I do, as
I click this in, these are always going
| | 02:17 |
to be the actual product itself.
Now sometimes, however, you'll want a
| | 02:22 |
little bit more randomness than you're
going to get out of simply painting
| | 02:26 |
individual replicas here under the scene.
And also you might want a lot more replicas.
| | 02:32 |
So let's go ahead and back up, get rid of
those.
| | 02:36 |
And we're going to set our Paint Mode to
Strokes.
| | 02:40 |
And I'm going to keep the brush density
relatively low, because I don't want too
| | 02:43 |
to many of these.
And I'm still going to leave this at Uniform.
| | 02:47 |
And everything else is pretty much going
to stay the same here.
| | 02:51 |
I'm going to maximize this top view, so I
can see it a little bit better.
| | 02:54 |
And now, if I click and draw, you can see
that it's placing vertices here at first,
| | 02:58 |
and these vertices are actually going to
be the replicas themselves.
| | 03:03 |
And you can see, that's a little bit on
the dim side, so let's undo that.
| | 03:07 |
Take our Brush Density down a little bit
more, and then we can drag this around,
| | 03:11 |
and that's going to be something a little
bit better, a little bit random still,
| | 03:14 |
but not quite so heavy.
All right, there we go, now we have a
| | 03:19 |
bunch of them.
And I probably want to be a little bit
| | 03:22 |
more careful, and not place any of them
up along the, the ramp, here, of the roll
| | 03:25 |
off, so that we don't have tilting funny,
but that's alright for now.
| | 03:29 |
So, now, if I click over here, and I go
to my Render view, let's kind of pull the
| | 03:33 |
camera around.
So that we can get our main object in
| | 03:38 |
view here.
And I have some depth of field turned on
| | 03:42 |
here, just to kind of highlight the, the
benefits of using all these replicas.
| | 03:47 |
You can use this to very nicely pull some
nice depth out of your scene.
| | 03:51 |
And get a nice render of your main object
while still having a bunch of other ones
| | 03:54 |
in the same.
All right, so then, let's look at some
| | 03:58 |
other things that we can do.
I'm going to scroll down here.
| | 04:01 |
I'm going to take the point clouds and
the replicators that are in here.
| | 04:04 |
These are just some existing ones from
what we've already worked on here, and
| | 04:07 |
I'm going to delete those.
So let's get rid of those.
| | 04:11 |
So now we just have our single can back.
And if you look here, there's also a
| | 04:16 |
dropped folder, and this just has the
water drops that come in the stock content.
| | 04:22 |
So if we look at one of these, let's see,
let's unhide all of those and zoom in,
| | 04:26 |
and for just a second, I'm going to hide
my product itself.
| | 04:31 |
There you can see, these are just
basically little water drops.
| | 04:35 |
Pretty simple, nothing super complex.
And then I'm also going to go in here and
| | 04:40 |
hide my light, so that I have nothing in
the scene except now for the drops and
| | 04:44 |
the background.
So if I go back to my Mesh Paint replica
| | 04:49 |
and I keep this on Strokes, I'm going to
actually set this time the size to, you
| | 04:52 |
can either use Adaptive or Random or
Random and Adaptive.
| | 04:58 |
I'm just going to do Random, so that it
gives it a little bit more variation.
| | 05:01 |
And I'm going to set my source instead of
Specific Item to All Background Meshes.
| | 05:06 |
And so now that's going to give me
replicas for all of those drops, and let
| | 05:10 |
me undo that, I'm going to increase my
brush density a bit now.
| | 05:15 |
So that I get a few more drops coming
through here.
| | 05:19 |
And these ones I may want to paint up on
the background a little bit.
| | 05:24 |
And you can see now I've got a bunch of
those drops in the scene.
| | 05:28 |
So I could use that to kind of add any
kind of other duplicated items that I
| | 05:32 |
would want.
Now I'm going to bring my product back.
| | 05:36 |
And let's go back over to the Render tab.
And it might help to turn our light back
| | 05:41 |
on, as well.
Let's go up here and turn the light back
| | 05:44 |
on, so we can see the scene.
And these are rendering relatively
| | 05:48 |
lightly, because they're transparent.
But you get the idea here, we have now
| | 05:53 |
these water drops all placed along there.
I probably ought to put a lot more of
| | 05:56 |
them, if it's the case with water drops.
But you can see that I can very easily
| | 05:59 |
add this kind of extra detail to my
scene, to flesh it out, make it more interesting.
| | 06:04 |
And I can use different colors.
I could use different objects if it's
| | 06:08 |
something a little more natural.
Maybe I'd use rocks or some outdoor
| | 06:12 |
things, and paint around replicas to
better frame the object that I am rendering.
| | 06:17 |
So using replicas, you can set up nice
scenes or you can very easily swap in and
| | 06:20 |
out new product models, without having to
rebuild a new scene every time you're
| | 06:24 |
going to create a render of a new object.
| | 06:28 |
| | Collapse this transcript |
| Modeling with recoil| 00:02 |
In this video, we're going to look at how
to use the cloth simulation tools in
| | 00:05 |
recoil, in order to create some nice,
soft flowing environmental pieces, like
| | 00:10 |
drop clothes.
This can also be used for curtains and
| | 00:14 |
anything else that you would use, where
some kind of soft fabric simulation or
| | 00:17 |
something could be really useful.
This can save you a lot of time where you
| | 00:22 |
don't have to sculpt or otherwise deform
your geometry, in order to get that nice
| | 00:26 |
organic feel that you would from cloth.
So, if you'd like to follow along you can
| | 00:32 |
open up the Cloth Start file, and what
you'll see here first is a square kind of
| | 00:36 |
pedestal that just has a base extended
off of the bottom.
| | 00:42 |
It's just a hollow object.
And then a subdivided square.
| | 00:47 |
And I'm going to actually press shift tab
to un-subdivided this, just so we have
| | 00:51 |
raw polygons to work with here initially.
And that will speed up the process of
| | 00:56 |
working on the cloth simulation.
So, if I want this to work as a cloth simulation.
| | 01:01 |
I need 2 things, I need something that is
cloth, and something for that cloth to
| | 01:05 |
collide with.
So I'm going to select this, square
| | 01:09 |
cloth, layer.
And I'm going to go over to my recoil.
| | 01:13 |
Options in my Animate tab.
This also exists in the Set-up tab.
| | 01:17 |
But I get more screen real estate with
the Animate tab, so I'm going to use that one.
| | 01:22 |
I'm going to go to Recoil and select Make
Soft Body.
| | 01:26 |
You can see once I do that, underneath
the square cloth, I get this soft body influence.
| | 01:31 |
And that's a new influence that's been
attached to it and it will allow this to
| | 01:35 |
act like a piece of cloth.
Now, by default I'm, I've got a bunch of
| | 01:38 |
settings here, and I'm not going to touch
those at the moment, we'll get back to
| | 01:41 |
those settings here after we run an
initial simulation.
| | 01:45 |
So, now I'm going to select the collision
object and I'm going to select > make
| | 01:50 |
passive-rigid body.
Now, a passive-rigid body is one that
| | 01:54 |
will collide with things But it's not
acted upon by physics.
| | 01:58 |
So, in other words, this is just
something that's going to sit there.
| | 02:01 |
I could actually move and keyframe it,
if I wanted to, but I'm just going to use
| | 02:04 |
it as a basic object.
Something that's there in a scene for my
| | 02:08 |
cloth to collide with.
So I'm going to go ahead and hit that,
| | 02:11 |
and now you'll see a dynamic.
Property appear underneath that square
| | 02:16 |
collision object.
So, if I go ahead and press play, you'll
| | 02:20 |
see that this is going to fall down.
But we'll notice that there's something
| | 02:25 |
happening here, and you can see that my
cloth doesn't want to collapse at the edges.
| | 02:31 |
And the reason for this, is that by
default, the simulation is just going to
| | 02:36 |
take the overall shape of this, object,
and it's going to create one big, kind
| | 02:42 |
of, over arching piece.
So, it's going to take the corners, here,
| | 02:48 |
and it's going to connect them, and we're
just getting, kind of, this big rough
| | 02:51 |
shape guide, if you want to visualize it.
It would be something like this, and see,
| | 02:57 |
because it's just connecting those
corners.
| | 03:00 |
It doesn't have any convexity involved in
it.
| | 03:03 |
So I'm going to drag this back, and
actually, as I continue going here, I'm
| | 03:05 |
going to reduce my number of frames just
so that my simulation doesn't have to run
| | 03:08 |
as far.
I'm going to cut that down to 45 frames
| | 03:11 |
over here on the bottom right, and that's
just going to stop my simulation without
| | 03:14 |
having to run it for so long.
Usually for these cloth simulations 45 to
| | 03:19 |
60 frames will be plenty.
So let's go back here, and I'm going to
| | 03:23 |
select my dynamic options.
And we can see here that our collision
| | 03:27 |
shape is whole.
And we have use cage turned on.
| | 03:31 |
I'm going to uncheck use cage, and I'm
going to change this from whole to mesh,
| | 03:35 |
which is just going to actually use the
existing polygons, vertices and edges in
| | 03:39 |
order to run my physics simulation.
Now, if you have a really complex mesh,
| | 03:45 |
you may want to re-think doing this,
because this now has a cache many, many
| | 03:49 |
more points in order to make the
simulation run.
| | 03:54 |
So, that said, for this kind of a
geometry, it's pretty necessary.
| | 03:58 |
How I could get around that, however,
would be to do something like Make this
| | 04:02 |
cube one piece.
Make the floor a separate piece.
| | 04:05 |
And then those could both use that really
basic collision because it's just a plane
| | 04:09 |
and a cube.
So, just something to think about.
| | 04:12 |
Now if I go ahead and hit Play now,
you'll notice that everything kind of
| | 04:15 |
collapses more evenly around, the cloth
hits the floor, and we have a few things happening.
| | 04:21 |
A 1 is that, we're not getting a very
flat top here, and 2, it's really
| | 04:26 |
rounding off at the corners.
Now, even if I subdivide this, you can
| | 04:32 |
see, that it's still pretty rough.
So, the initial thought, usually, is to
| | 04:37 |
go and increase my level of detail on
this, so really ramp up the The number of polygons.
| | 04:44 |
And that will help in many instances.
However, there's something that's
| | 04:48 |
going to help you even more in this case,
and that is to create a vertex map.
| | 04:52 |
And I already have one on here for us.
So if I select this cloth, and go to
| | 04:56 |
lists, and you can see I have this pen
square vertex map.
| | 05:00 |
And what that's going to do is allow this
object to have areas where it will not
| | 05:04 |
deform based off of physics.
Or you can do it partially.
| | 05:09 |
Right now I have.
The center area is set to one hundred
| | 05:11 |
percent on my pin map.
So, where it's pinned it's going to stay
| | 05:14 |
still - think of pinning it to the wall.
And where it's at 0%, which is all this
| | 05:18 |
kind of grey or green area.
That will actually obey physics.
| | 05:23 |
So, if I go back over to my Advanced Open
GL, so I can see this, and I go to my
| | 05:27 |
Properties, select my Soft Body
Influence, and I set my pin map to pin square.
| | 05:34 |
Now, that area in the middle, which is
actually exactly lined up with the
| | 05:38 |
underlying cube, will not be affected by
physics.
| | 05:41 |
So if I hit Play It's going to take more
time to calculate, the pin map does take
| | 05:45 |
it's toll on calculation speed.
However, if you look at the top of the
| | 05:50 |
cloth, you're going to get a much nicer
simulation.
| | 05:54 |
Now, you can see this is still really
kind of bouncy and springy, and really
| | 05:58 |
kind of isn't looking much like cloth.
It's looking a bit more like a rubber
| | 06:03 |
sheet at this point.
So let's go ahead and abort this.
| | 06:07 |
Now one note, if you press escape it will
abort, but, if you just tap it, it's not
| | 06:11 |
going to abort for you.
Even if you go crazy and hit the escape
| | 06:16 |
key a bunch of times, it's not going to
do it.
| | 06:18 |
What you need to do to actually get the
simulation to stop, is hold the escape key.
| | 06:23 |
Until it clicks over to the next frame.
So if you have a really
| | 06:26 |
processor-intensive simulation and it's
taking a long time for the simulation to
| | 06:29 |
bake out, hold down the Escape key until
it clicks over to the next frame, and
| | 06:32 |
then it will actually abort the
simulation, and it will let you go.
| | 06:37 |
Now, that said, it did cache everything
up to frame 26, so I can get a good idea.
| | 06:42 |
By scrubbing through this of how this is
looking.
| | 06:44 |
And you know, it is pretty bouncy.
So I'm going to go back here, and let's
| | 06:48 |
look at some of the options that are
making this as bouncy it is.
| | 06:52 |
Now, moving down in our options here, in
the properties for our soft body, you'll
| | 06:56 |
see that we have a set of springs.
We have structural springs, sheer springs
| | 07:01 |
and bend springs.
Now, each of these options is going to
| | 07:05 |
control one of the ways that the object
deforms.
| | 07:08 |
Now, the structure is going to have to do
with the actual compression of the
| | 07:11 |
individual polygons and how they deform
on a polygon by polygon basis.
| | 07:17 |
So, by turning this down, my polygons are
going to be allowed to kind of scrunch
| | 07:21 |
and move around a little bit more and not
keep that square shape, by decreasing that.
| | 07:27 |
Now if I take my sheer stiffness, that is
how much those polygons are allowed to stretch.
| | 07:34 |
So, beyond just the deformation of that
square shape, you know, how much they're
| | 07:38 |
going to be allowed to stretch.
And then the bend stiffness has to do
| | 07:42 |
more to do with a polygon to polygon
basis, how much they are allowed to bend.
| | 07:48 |
So just right off here, I'm going to take
my Bend Stiffness and set it down like 1%.
| | 07:53 |
I still want it to have a little bit of
stiffness, but not too much.
| | 07:56 |
So let's turn that down to 1 and go ahead
and play this back again.
| | 07:59 |
And really, we only need to let it play
through maybe 15 or 20 frames, in order
| | 08:03 |
to really see how this is going to work.
And as this is playing back, I should
| | 08:08 |
mention that it's usually best to start
your cloth simulations with less
| | 08:12 |
polygons, and then as you start to get
more what you want, increase the number
| | 08:15 |
of polygons because you are going to see
a big increase in the calculation time as well.
| | 08:22 |
Let me go ahead and abort this here.
(UNKNOWN) In 23.
| | 08:25 |
You can see we're already getting
something a lot nicer.
| | 08:28 |
It's still kind of bouncing a bit.
But I think that 1% is going to be much
| | 08:32 |
better for our bend stiffness.
So, the other thing is, how much the
| | 08:37 |
actual squares can deform.
So, I'm going to take my structure
| | 08:41 |
stiffness, and drop this way down, as
well, I'm going to go to, maybe about, 4%
| | 08:45 |
on that.
And again, I'm just going to go back, and
| | 08:49 |
hit Play, and let that go.
So, as this happens, remember, that
| | 08:53 |
structure stiffness is how much those
squares have to retain that square shape.
| | 08:58 |
Previously set to a hundred percent, all
of those individual polygons had to
| | 09:02 |
retain that square shape.
So, now they can actually kind of flex a
| | 09:06 |
little bit more, and you can see that
already again we're getting more of a
| | 09:10 |
bend across here, the drooping of the
cloth is happening a lot more, and
| | 09:13 |
overall it's working pretty well.
Now, what we do see still is this.
| | 09:20 |
These diagonal corners are definitely
still kind of retaining some of that kind
| | 09:25 |
of rigidity, and that's going to be our
last setting, which is the sheer.
| | 09:31 |
So let's go ahead and back up.
I'm going to select that and I'm going to
| | 09:35 |
go down to my sheer stiffness and I'm
going to decrease it not to much though
| | 09:38 |
because this is also going to do the
overall stretchiness.
| | 09:42 |
So I'm going to take this one down to
maybe 15%, and then I'm going to go ahead
| | 09:46 |
and hit play.
Now, since I am only dealing with about a
| | 09:51 |
20 by 20 grid here, this is calculating
relatively quickly.
| | 09:55 |
We'll see more how a dense mesh can give
you much more detail but it's going to
| | 09:58 |
take a lot longer to calculate.
Okay, now we'll go ahead and drop that.
| | 10:04 |
So now, once again, you can see that we
are getting more of an improvement here.
| | 10:07 |
So the lower that I drive all those
values- The more cloth like that is going
| | 10:10 |
to get however you should remember that
that sheer is going to also effect that
| | 10:14 |
stretchiness so if I get that too low
we're definitely going to be able to
| | 10:17 |
can't some problems like if I just drop
that sheer stiffness down to like 1%.
| | 10:23 |
It's going to get really stretchy and
it's going to look like some kind of
| | 10:27 |
very, either very heavy fabric that pulls
on its own fibers, or something that is
| | 10:30 |
really not cloth at all and just has a
lot of stretchiness to it.
| | 10:36 |
So that's a quick look at how to use
cloth simulations in order to more
| | 10:39 |
quickly model Your environment props and
get some easy more fluid geometry inside
| | 10:44 |
your scene without having to model or
sculpt all of that detail and its going
| | 10:48 |
to allow you to focus more entirely on
the objects you're presenting.
| | 10:55 |
And not the environment that you are
presenting them in, without sacrificing
| | 10:59 |
quality and retaining a good high quality
look for your product is seems.
| | 11:03 |
| | Collapse this transcript |
| Advanced recoil| 00:02 |
In this video, we're going to look at
some more advanced cloth options that
| | 00:05 |
will allow you to build more complex
cloth simulations that can fit your scene
| | 00:09 |
if you have something beyond just very
simple geometry to collide with.
| | 00:15 |
If you'd like you can open up the Cloth
Start Two scene file and follow along here.
| | 00:20 |
And what you'll see is a square cloth and
then underneath it is kind of a rounded pedestal.
| | 00:26 |
So, we're going to start right off by
jumping into the soft body influence for that.
| | 00:31 |
And it's going to have all the options
set up for some basic soft cloth, and
| | 00:35 |
it's going to have this pin map turned
on.
| | 00:38 |
And now the problem with using a pin map
here is that this pin map has a square shape.
| | 00:43 |
So if we go up here and look at my vertex
map it has a square shape, but my
| | 00:47 |
underlying geometry is a cylinder.
So, right away, I'm going to have to turn
| | 00:53 |
that off in order to make this conform to
the object, and if we check here, we can
| | 00:58 |
see that this object, which is the layer
called cylinder collision has a mesh collision.
| | 01:07 |
So it's going to collide with the actual
vertices and polygons that are in the scene.
| | 01:13 |
And other than that, it's just basic
settings.
| | 01:16 |
So, let's go back to our advanced Open
GL, and I'm going to zoom in here a bit,
| | 01:20 |
and go to my recoil tab, and hit play.
So right now, you can see that, yes, it's
| | 01:26 |
simulating pretty quickly, but it's
having a really hard time constraining to
| | 01:30 |
my geometry.
Now, we get this lumpiness in here that
| | 01:36 |
is not really what we want.
So we have a few options on how to fix this.
| | 01:41 |
One is to come in here to this cloth.
I'm going to press Shift+D to subdivide
| | 01:47 |
it and I'm just going to go one extra
level here for now.
| | 01:50 |
You could go several levels, but it will
take longer to simulate if I do that.
| | 01:56 |
So I'm just going to go up one extra
level.
| | 01:58 |
And you can see that this is getting
closer, but we're still getting kind of
| | 02:02 |
this weirdness going on, and as it gets
closer and closer here, you can see that
| | 02:06 |
because the shapes are so different, they
start to pass through one another.
| | 02:14 |
And the problem that we're seeing here is
that the recoil simulation is not able to
| | 02:18 |
calculate the distance in between because
the default setting for recoil is not
| | 02:22 |
super sensitive.
So, the way to turn that up is to go to
| | 02:27 |
our Recoil item.
And then the steps.
| | 02:31 |
Now, by default, actually, the steps are
set to 10, which I'd increased this
| | 02:35 |
amount for, for this file, and if I hit
Play, you'll actually see that it's
| | 02:38 |
going to tear through even quicker.
So you can see that the effect is just
| | 02:44 |
compounding here with that set higher.
Now, I can go and increase it even more,
| | 02:49 |
so let's set our steps up to 50, and this
is how many times in between each frame
| | 02:53 |
recoil can calculate the collision.
So if I let that go, you can see that at
| | 02:59 |
50 we might not have the issue, but as
this starts to bend more around the edges.
| | 03:06 |
That will be the real tell tale moment.
So let's let it go for a second here.
| | 03:09 |
We can see that it's started to collide
with the floor and work alright.
| | 03:17 |
But overall, it's still looking a little
bit roundy here at these edges.
| | 03:21 |
Now, if this works for you and this kind
of a look is okay.
| | 03:25 |
Then you're alright, obviously, to go
along with this.
| | 03:27 |
Since this is much more simple geometry,
it's just a square.
| | 03:31 |
It has nothing really to do with the
underlying geometry, if you can get this
| | 03:34 |
to work, if this kind of simulation is
going to work for your scene, then by all
| | 03:38 |
means use it.
If you want this to really look like it's
| | 03:42 |
draped cleanly over the surface there is
an extra step that you need to take in
| | 03:45 |
the modeling process.
So I'm going to back this up and I'm
| | 03:49 |
going to hide my square cloth and I'm
going to bring in another layer that is
| | 03:53 |
called cylinder cloth and I actually
already have the cloth simulation set up
| | 03:57 |
on this one.
And if I go ahead and hit Play, you'll
| | 04:03 |
see that we have some cloth going on
here.
| | 04:07 |
And I'm going to back this up, because
some settings need to be adjusted here.
| | 04:13 |
So let's go to our Soft Body influence.
We want to go down and make sure that we
| | 04:19 |
have Bend Stiffness set all the way down
to 1%, Sheer Stiffness to maybe about 10%.
| | 04:27 |
And now let's go ahead and play this
again.
| | 04:41 |
You can see that this is really having
some problems.
| | 04:43 |
It's kind of struggling with the
simulation but it does also have.
| | 04:48 |
We look here at our vertex maps, we go to
list, we've got pin to, and that's giving
| | 04:52 |
us a nice pin map that lines up directly
with the underlying geometry.
| | 04:58 |
And so, if you look at this, really what
we're doing is just taking a regular kind
| | 05:01 |
of square shape and then we're merging it
in to a cylinder.
| | 05:06 |
So that is easily done just by selecting
the top edge of the cylinder, creating a
| | 05:09 |
ring of polygons and then bridging that
into kind of a cut out hole inside the
| | 05:13 |
middle of a square.
It will allow you to work much more
| | 05:18 |
precisely with your geometry.
So I'm going to turn off self collisions
| | 05:22 |
for now.
Go to pin two and then hit play and
| | 05:25 |
you'll see that because of that pin map
the center is staying still and that's
| | 05:30 |
really helping this simulation work much
better.
| | 05:35 |
And you can see that this is still kind
of struggling just a bit because of the
| | 05:39 |
density of the mesh.
It's very, very low.
| | 05:42 |
But if you go and increase the mesh
density, you can get something that is
| | 05:46 |
much, much better.
So let's go ahead and have a look at, the
| | 05:50 |
scene here.
And this has the cloth set up to a much
| | 05:56 |
higher density level.
And essentially the same mesh.
| | 06:04 |
And then if I hit Play, you can see that
the cloth drops around very nicely and
| | 06:08 |
will conform to the surface really,
really well.
| | 06:12 |
Now, one problem that you might have with
this is that you create this and you want
| | 06:16 |
it to be set a particular way, but the
recoil solver is actually incapable of
| | 06:20 |
taking and baking out the point values
for everything on a cloth simulation.
| | 06:28 |
So, what you'll have to do in order to
actually get this to look exactly how you
| | 06:32 |
want it, is to freeze it so, and you can
open up the cloth frozen scene if you'd
| | 06:35 |
like to see how this would work frozen.
One important thing to note is that if
| | 06:41 |
you're going to freeze this, it's a good
idea to typically un-subdivide it.
| | 06:45 |
And then go up to geometry and freeze,
and freeze it and then resubdivide it
| | 06:49 |
after the fact, so that you don't get
just a massive amount of polygons here
| | 06:52 |
because it takes the sub division
surfaces and essentially is going to take
| | 06:56 |
all of these quads.
And it's going to subdivide those into four.
| | 07:01 |
And if you're at level two it's going to
subdivide each of those into four.
| | 07:04 |
So it's going to multiply your poly count
by 16.
| | 07:09 |
Which is more than you need.
And then if you need to subdivide it to
| | 07:11 |
smooth some things out, again, you're
going to be multiplying it by 16 once again.
| | 07:17 |
So that would be remember to unsubdivide
your geometry, freeze it, and that will
| | 07:21 |
freeze it on whatever frame you have,
see, so now if I scrub my timeline, this
| | 07:26 |
one does not move, and it makes a really
nice tablecloth draped over this, and it
| | 07:30 |
will allow me to place my products in a
nicely decorated scene.
| | 07:38 |
So, this can also be used for curtains.
It can be used for just about anything
| | 07:42 |
that you would use a cloth for, you could
use it as a draped background, behind
| | 07:45 |
something, on just anything that needs
that organic touch.
| | 07:49 |
So that you don't have to model it, and
you don't have to sculpt it, and it saves
| | 07:52 |
you alot of time, gets you working on the
project that you need to.
| | 07:56 |
Without sacrificing quality, it gives you
great looking results fast.
| | 08:03 |
| | Collapse this transcript |
|
|
6. ParticlesBuilding geometry for particle generation| 00:02 |
In this video, we'll look at how to set
up some basic geometry that can be used
| | 00:05 |
to hold on to particles, if we want to
add some particle effects to our scene,
| | 00:09 |
for something like splashing or anything
that you might use particles for.
| | 00:15 |
So let's start here.
If you'd like to follow along, you can
| | 00:18 |
open up the Particles Start scene for the
Projects folder, and you'll find that we
| | 00:23 |
have our three cans inside a simple scene
with a rolled backdrop with a corner.
| | 00:30 |
And a light overhead, and there's a
simple environment that goes with it that
| | 00:33 |
gives the whole thing a little bit of
something to see when you go to render.
| | 00:38 |
So, if you want to go in and have a look
at how this is going to be rendered,
| | 00:40 |
you've got something set up there.
So, let's go back to the Model Quad tab,
| | 00:44 |
and we'll start setting this up.
going to make a new layer, so we'll press
| | 00:49 |
the N key to make a new mesh layer.
And inside this new mesh layer we're
| | 00:53 |
going to put something that will hold on
to our geometry.
| | 00:56 |
And in this case, we're going to create
something, that would be kind of like a puddle.
| | 01:00 |
And then you could imagine these cans
being kind of slammed down onto the
| | 01:02 |
ground you would see this puddle splash
up around them.
| | 01:06 |
And so, we'll create some initial
geometry that will give us the overall,
| | 01:08 |
kind of, shape of the puddle.
We can use that as part of our splash.
| | 01:13 |
Or we can just use particles, or we could
just use the splash that we create here,
| | 01:17 |
by itself.
So, you have a number of options for
| | 01:21 |
things that you can do once this is
created.
| | 01:23 |
So, in this new mesh layer I'm going to
start here with a simple circle.
| | 01:30 |
Center that up, so I'm just going to make
my position zero zero.
| | 01:36 |
I'm actually going to start with this
being relatively small and in the middle
| | 01:41 |
of the scene, and actually in between the
cans, and then we'll go from here outwards.
| | 01:47 |
So I'm going to set my background
objects, my inactive meshes, to wire
| | 01:50 |
frame for now, so that I can see what I'm
working on a little bit more easily.
| | 01:55 |
And let's just move this back about
there.
| | 01:58 |
And I'm going to scale it down so this
initial circle is just inside all of
| | 02:02 |
these cans, so it's not overlapping them
at all.
| | 02:08 |
And I'll make it a nice even 23
millimeters all the way around.
| | 02:10 |
All right, so now that I have that done,
I'm just going to select borders.
| | 02:15 |
So I'll go to Edges and I'll select that.
Then I'm going to press the Z key, which
| | 02:20 |
will bring up Edge Extend.
And I want to make sure that for handles
| | 02:24 |
I have Move and Scale on.
And that's going to give you the ability
| | 02:28 |
to not just move your extended edges, but
also scale them out from the existing edge.
| | 02:35 |
Now, the downside of doing this this way
is that you don't have the ability to use
| | 02:39 |
something like a planar scale.
So, you'll have to kind of manually scale
| | 02:43 |
things out.
But that's typically okay for what we're
| | 02:46 |
working on here.
So I'm going to pull this out so that I
| | 02:48 |
have a fair amount of room to have my
splash.
| | 02:51 |
But you can see that this is just a
single edge extending outward.
| | 02:54 |
And to make this work a little bit
better, and get more of kind of a
| | 02:56 |
pond-ripple effect, I'm going to increase
the number of segments.
| | 02:59 |
So let's turn that up until we get a nice
amount of edges to work with.
| | 03:04 |
And let's pull this out just a little bit
more horizontally and vertically.
| | 03:08 |
Actually, I'm going to weight the whole
thing forward a little bit by using the
| | 03:12 |
move handle.
That's going to pull everything forward.
| | 03:15 |
It's going to retain where all of the
edges are.
| | 03:16 |
But it's just going to move the overall
geometry forward.
| | 03:19 |
And what I'm looking for in this case is
to get a little bit of these edges,
| | 03:22 |
kind of running right between these back
cans and this front can, so I think
| | 03:26 |
something like that will work pretty
well.
| | 03:30 |
And that's going to be our initial
geometry.
| | 03:31 |
Okay.
So, now we're going to use some basic
| | 03:34 |
sculpting tools, just on the top of the
mesh here, in order to get this working
| | 03:37 |
the way that we want it.
So I'm going to change this over to my
| | 03:41 |
Gooch tone shader.
It's going to be a little bit easier to
| | 03:44 |
work with.
And I'm also going to turn on my symmetry.
| | 03:49 |
So let's turn on x symmetry.
And then I'll just give a quick double
| | 03:53 |
check and make sure.
Yep.
| | 03:54 |
Sure enough.
We're, we're symmetrical in that axis.
| | 03:57 |
So I'm going to go ahead and just draw up
this part of the splash.
| | 04:05 |
And I'm just going to so this a little
bit here.
| | 04:08 |
And I can use other sculpting tools to
make this work better.
| | 04:12 |
So, let's just go ahead and kind of get
some initial space.
| | 04:15 |
Remember we want the edges to splash up
higher, because they're going to take the
| | 04:19 |
bulk of the splash here.
And I'm also going to sculpt up this
| | 04:23 |
middle section.
And with this turned on symmetry this is
| | 04:26 |
going to be relatively easy to control.
Okay, so, now I'm going to go back and
| | 04:32 |
grab my Move tool, and I'm just going to
start here at this front edge where I've
| | 04:36 |
got this one here.
I want to move this up.
| | 04:41 |
A bit like that.
And in the same kind of thing in the back
| | 04:44 |
I want to pull up the back end just to
kind of smooth out the splash, and then
| | 04:48 |
hold the Shift key and kind of go back
and smooth over the whole thing just a
| | 04:52 |
little bit here.
Now, this is not necessarily going to be
| | 04:57 |
something that we will see, so it's all
right if it gets a little bit lumpy
| | 05:00 |
looking, because we're not going to use
this directly, or likely not use this directly.
| | 05:07 |
You can use it if you, if you really want
to have geometric splashes.
| | 05:12 |
But you will likely just use this as
something to hold onto your particles.
| | 05:17 |
So, I'm also going to take these areas
where it has splashed up higher, and I'm
| | 05:21 |
going to pull these out, so I kind of
extend the splash through here.
| | 05:27 |
There we go, so something like that.
And you could also turn off your
| | 05:33 |
symmetry, at some point, here.
And make this more asymmetrical on,
| | 05:38 |
obviously that's going to be depending on
your own tastes.
| | 05:41 |
It's probably, at some point you'll end
up with some asymmetrical bit here, but
| | 05:45 |
as you place particles that's going to be
more asymmetrical anyway, so it's not
| | 05:49 |
100% necessary to mess with your
symmetry.
| | 05:53 |
Right now.
So that's giving us a nice initial
| | 05:56 |
splashing shape.
And you can take as much time as you
| | 06:00 |
want, going in and sculpting this, just
to get the right overall kind of shape.
| | 06:06 |
But in general, this is going to give us
a good starting point for what we will
| | 06:11 |
use for our particles.
One last thing I can do, once I'm done
| | 06:17 |
with my sculpting tools, is if you do
need to work on some specific areas that
| | 06:21 |
you want perhaps part of this to extend
more forward, you can also use your Edge
| | 06:25 |
Extend tool again.
So, let's go to Z for Edge Extend, this
| | 06:30 |
time I'm going to turn the segments back
down.
| | 06:33 |
And I'm just going to set my action
center to my selection, here we go, and
| | 06:38 |
I'm just going to pull this up and out.
Oops, I accidentally have an extra edge
| | 06:47 |
in there.
If you do happen to get extra edges in
| | 06:50 |
certain places, it's not going to be a
big deal.
| | 06:53 |
But it's a good idea to keep an eye on
them just so that you know where you're going.
| | 06:59 |
Let's pull this out a bit.
And now I'm going to go in here to this
| | 07:03 |
extra edge, it's the middle, and just
delete that.
| | 07:07 |
And I could here even go in and just take
these couple of edges there and just
| | 07:10 |
delete those.
That's going to give me kind of a little
| | 07:13 |
bit more of a lump forward on my.
On my sculpted piece here, so I can move
| | 07:18 |
this around.
And can move and adjust this as much as
| | 07:21 |
you want.
This will make a nice bit of geometry
| | 07:25 |
that will hold onto particles, and also
can be used to give us a little extra
| | 07:28 |
backbone for some water or any other kind
of liquid that you might use.
| | 07:34 |
For splashing when you're working with
your particles.
| | 07:36 |
| | Collapse this transcript |
| Particle generation tools| 00:02 |
In this video, we'll look at how to add
particles onto our existing geometry.
| | 00:06 |
Now, there are a number of ways of doing
this, and there are some that are going
| | 00:08 |
to give us more even, randomize particles
and then some other ones who will give us
| | 00:11 |
more control over the actual particle
placement.
| | 00:15 |
So let's start with a simple item.
Let's go up to the Items here We'll add
| | 00:19 |
item, go down to Particles, choose
Surface Particle Generator.
| | 00:24 |
So once I add a surface particle
generator in here, you can go into the
| | 00:28 |
properties, go to the source surface and
then choose the item you want to attach
| | 00:32 |
this to.
So let's choose splash and by default
| | 00:37 |
it's going to space them an average of
100 mm a part which in our scene is
| | 00:42 |
pretty far apart.
So what I'm going to do is drag this
| | 00:46 |
number down.
And as I drag this down, you'll start to
| | 00:52 |
see particles appear.
So let's pull this down even more and
| | 00:58 |
you'll see these particles start to
appear, and then they, they'll start to
| | 01:02 |
get a bit more dense as this number goes
down even farther.
| | 01:06 |
Now you can also take the Density
Multiplier and increase that, and it's
| | 01:09 |
going to multiply based off of the
distance that you have, but they're
| | 01:12 |
really just two ways of doing the same
thing.
| | 01:15 |
Now you can also, if you like the number
of particles but you're not real happy
| | 01:19 |
with the placement You can very easily go
in and change the seed, and it's going to
| | 01:22 |
keep a similar amount of particles,
similar randomized spacing, but then it's
| | 01:25 |
just going to kind of roll the dice once
again, and put the particles back out there.
| | 01:32 |
One thing you might notice as you really
decrease this average spacing, the
| | 01:36 |
particles start to get really close
together.
| | 01:40 |
But when you hit a certain point, you'll
start to get big holes in where the
| | 01:44 |
particles exist on your geometry, like
that.
| | 01:48 |
So you can see, I've got particles pretty
much everywhere.
| | 01:51 |
But they're really only sticking to some
parts.
| | 01:54 |
So let's decrease this a little, so it's
not quite so pronounced, there you go.
| | 01:57 |
Now you can see probably a little more
than half the area has particles on it.
| | 02:01 |
And and there's these large chunks of
space where there are no particles.
| | 02:05 |
Now, the reason for that is, by default,
there is a particle limit of 10,000
| | 02:09 |
particles within each individual particle
surface generator.
| | 02:14 |
And the nice thing is that is very simple
to adjust.
| | 02:17 |
Down at the bottom, Particle Ceiling, you
can see that here it's set to 10,000, and
| | 02:21 |
so in this case, even if I increase this
to 15,000 you'll see that those areas
| | 02:25 |
fill in.
And then we were left without the gaps.
| | 02:29 |
Since particles are going to show up on
screen no matter how far out you zoom,
| | 02:33 |
it's oftentimes a lot easier to zoom out
for a second to get an idea of your
| | 02:37 |
particle placement.
Especially if you're worried about
| | 02:41 |
setting the particle ceiling.
So if, for example, I take this down to
| | 02:45 |
something like 11,000.
See, I still have these holes.
| | 02:50 |
And I can more easily see those holes if
I zoom out.
| | 02:54 |
So this can allow you to do a better
approximation.
| | 02:58 |
Let's go to 12,000 and that actually
fills out everything.
| | 03:01 |
So in this case, all I need is 12,000
particles in this case.
| | 03:04 |
And that will cover the entire area.
Now, one issue that you might get with
| | 03:08 |
doing particles like this for something
like a splash, is that it's going to give
| | 03:11 |
kind of this even slightly randomized
blanketing of the particles all over the place.
| | 03:16 |
So really this might not be the best
thing for doing splashing water.
| | 03:21 |
Now, if you have a lot of them all
together, you might get some nice
| | 03:23 |
rippling in there and that could work
pretty well as far as using your water,
| | 03:27 |
but oftentimes this kind of particle
placement with the Surface Particle
| | 03:30 |
Generator Is more geared towards doing
things kind of like droplets on a can itself.
| | 03:36 |
So, if I go in here to my Surface
Particle Generator and I change my source
| | 03:40 |
surface to can, which is that lead can,
you see that it puts all these particles
| | 03:45 |
all over the can.
And now this could be something like,
| | 03:50 |
kind of the water droplets that you might
find on a can.
| | 03:54 |
And you could do a couple of different
ones of these as a side note.
| | 03:57 |
You might want to have one where the
average spacing is higher, and those will
| | 04:00 |
be your larger drops.
And then you could have a duplicate
| | 04:05 |
surface generator that's looking at the
same mesh but a much decreased average spacing.
| | 04:12 |
And this one will give you something
more of those kind of fine, misty
| | 04:16 |
droplets that you might find on the cam.
So, that will give you good randomized particles.
| | 04:22 |
So, let's look then at other ways that we
have of generating particles and the main
| | 04:26 |
way is going to be painting particles.
So, let's go over to the Paint Tab.
| | 04:30 |
And underneath all of the sculpting and
painting and hair, you'll notice that
| | 04:34 |
there is a Particle tab.
And this will give you some options for
| | 04:38 |
working with your particles, but at the
very bottom, you'll see Particle Paint.
| | 04:43 |
And that will allow you to actually go in
and paint particles all across the surface.
| | 04:49 |
So I'm going to turn on 3D brush and
create particle mesh, and click and drag.
| | 04:56 |
And now as I do that if I look underneath
splash here, you'll see that I have
| | 05:01 |
particle mesh.
And that's going to be where I actually
| | 05:06 |
see my individual particles.
Now, if those particles don't show up you
| | 05:09 |
might need to come in and make sure that
you have show vertices enabled.
| | 05:14 |
And then there you can see there are my
particles.
| | 05:16 |
You can see since I did a stroke of
particles in this empty layer here, they
| | 05:20 |
didn't have anything to stick to, so
let's just back up one level, select the
| | 05:23 |
actual splash layer here, and then if I
paint on this, it'll see that the
| | 05:27 |
particles are actually sticking to the
background mesh, except there I had some
| | 05:31 |
Still remaining from that previous paint
stroke.
| | 05:37 |
So, this is going to be a good way of
getting more spatially aware particles,
| | 05:41 |
because you are going to generate their
actual position.
| | 05:45 |
So, let's go back up here to the splash
and you can see as I paint on these
| | 05:48 |
particles, I can put them just in the
areas where I want them.
| | 05:54 |
So, sometimes it's a good idea to use
something like the surface particle
| | 05:56 |
generator to get some of your particles
in place.
| | 05:59 |
But then you can go back and get more of
them by adding in kind of these more
| | 06:03 |
specific ones in areas where you need
them.
| | 06:08 |
As you can see this is lifting up nicely
here off the surface and just giving me a
| | 06:11 |
general good placement.
Of particles, and I can even take this
| | 06:18 |
particle mesh outside of the parenting
here and just put it up in there.
| | 06:28 |
And move the splash up while we're at it.
And now I can hide this splash, and you
| | 06:32 |
can see that this particle mesh is still
there.
| | 06:35 |
So, I still have these randomly placed
particles that are random based off the
| | 06:39 |
brush area, but have allowed me to paint
them in and get them concentrated where I
| | 06:44 |
want them.
Now, in this case there are a bunch that
| | 06:47 |
are underneath the ground.
So, I'm actually going to do one thing
| | 06:50 |
here to clean this up a little bit,
because I may want some more of these
| | 06:53 |
particles to kind of land on the ground.
So, I'm going to go over to Vertices, and
| | 06:57 |
I'm just going to right-click and drag
underneath here just to get all the
| | 07:01 |
particles that are under the ground, and
I'm going to use my Scale tool, just the
| | 07:05 |
action center to the origin, and make
sure that Negative Scale is off.
| | 07:11 |
And I'm just going to pull these in, and
kind of flatten them out and actually I'm
| | 07:15 |
going to move them up just a little bit
too to make sure there kind of above the
| | 07:19 |
ground plane of my existing environment
and now that's going to give me my
| | 07:23 |
particles kind of puddling up on the
floor.
| | 07:29 |
So, here again lets go and make sure that
I have show vertices turned on for this
| | 07:32 |
layer and there you go.
So, now I have my particles If I looked
| | 07:35 |
at this from kind of a front view, you
can see that we're already getting the
| | 07:38 |
idea of these kind of splashing up to
either side, and then a little bit in the
| | 07:41 |
front where these cans have hit the
ground, and also you can see the
| | 07:43 |
particles in the background on the can
that we've used in the surface particle generator.
| | 07:50 |
So, using those couple of tools you can
pretty quickly add in particles to your
| | 07:53 |
scene to simulate splashes or blobs or
any kind of liquids or things that might
| | 07:57 |
be Flowing in more dynamic in your
product visualization shot.
| | 08:03 |
| | Collapse this transcript |
| Sculpting particles| 00:02 |
In this video, we're going to look at how
we can use sculpting tools on individual
| | 00:06 |
particles or individual vertices in space
in order to make a good flow of these
| | 00:10 |
particles for use in simulating fluids,
in still images, and anything else that
| | 00:14 |
you might use for kind of splashy kind of
objects.
| | 00:21 |
So lets have a look here.
We have the scene particle sculpt start
| | 00:23 |
if you'd like to open it up and follow
along.
| | 00:26 |
We're going to jump over to the paint tab
and in the paint tab down at the bottom
| | 00:30 |
in the same place we found particle paint
you'll find a bunch of sculpting tools
| | 00:33 |
that are designed to work specifically on
particles.
| | 00:38 |
So, let's go ahead and just make this
scene a little bit easier to see.
| | 00:43 |
So, I'm going to get rid of everything
but the particles, actually, let's bring
| | 00:47 |
those cans back.
And that ought to work like that.
| | 00:51 |
And I'm going to hide my extra particles
that were on the surface of the can,
| | 00:54 |
because I'm just looking at the particles
that are going to be splashing up between
| | 00:56 |
the cans here.
So, if you look over here you have a lot
| | 01:00 |
of options.
Smooth, smudge, move, move is a nice,
| | 01:03 |
useful one.
Just like you can move objects, you can
| | 01:07 |
move your particles with some soft
falloff, and this will allow you to kind
| | 01:11 |
of extend the splashiness of your
splashes.
| | 01:16 |
So, if I take these I can drag these out
here.
| | 01:19 |
You can see I'm now really, kind of
extending the way that this splash is working.
| | 01:24 |
So it's kind of arcing up and forward a
little bit more.
| | 01:27 |
I can also make that a much smaller
brush, and then I can go in and kind of
| | 01:31 |
work the fine details of the direction
that these splashes are going.
| | 01:37 |
And it's going to give me something much
more interesting, and give me much more
| | 01:40 |
control over where my particles are.
Now, two other ones to really, really
| | 01:44 |
look at are the pinch and tangent pinch.
Now, the pinch one is going to just bring
| | 01:49 |
everything in towards the center.
Okay, so this is very helpful if you need
| | 01:54 |
to have a stream of particles.
So in this case, this isn't going to be
| | 01:59 |
what I want here, because this is going
to look something like kind of an arc of
| | 02:02 |
a spout or something.
Now if you want something pouring out,
| | 02:07 |
that might be a better option there.
However, just like with the regular
| | 02:10 |
sculpting tools, if I hold the Control
key, it will blow them outward.
| | 02:14 |
So this is just another way that you can
kind of spread your particles out and
| | 02:18 |
then kind of recombine them in different
and interesting ways.
| | 02:23 |
So I can hold Control to kind of push
them out and then I can release Control
| | 02:27 |
and kind of pull things back together.
And you can see, if you're not too
| | 02:31 |
careful, you can get things really kind
of flattening in on a plane.
| | 02:36 |
So you see, this isn't what I want here.
So let's pull that back out and you want
| | 02:40 |
to make sure that you're doing this in
such a way that you don't have a lot of
| | 02:43 |
overlap as far as depth goes.
Because, if I paint across a whole bunch
| | 02:48 |
of vertices like this, it's going to pull
them all together and it's going to
| | 02:51 |
flatten them in towards the center, which
is not what we want.
| | 02:56 |
So if I go more over to the overhead
view, I can do this and you can see it's
| | 03:00 |
pulling things in, flattening them out.
And then I could go back with my Smooth
| | 03:05 |
tool or I could just use the Shift key
and I could soften those back out.
| | 03:11 |
And then it's going to give me a little
bit, a little bit more even flow on this.
| | 03:16 |
So between all these tools here you can
get a very nice flow.
| | 03:22 |
If I use the tangent pinch it's going to
flatten in but along, more along a single
| | 03:26 |
kind of a stroke axis.
So you can see here this is perpendicular
| | 03:31 |
to my view port in this case.
So it's not going to flatten things along
| | 03:36 |
a single line, but more just compared to
where I'm viewing things.
| | 03:41 |
Again, if you have a lot of particles,
this can be good to create sort of
| | 03:45 |
streams and some, all kind of splashes
that would look more like spouts.
| | 03:50 |
And let's move down here, and we can look
and see that the Spin tool is going to be
| | 03:54 |
very useful for taking and making kind of
more arcs in your splashes, so, there we go.
| | 04:02 |
And we can also, go ahead and flatten
these, and this is just going to kind of
| | 04:06 |
pull them all sort of down and kind of
flatten things out, see now I'm getting
| | 04:10 |
these individual arms.
Okay?
| | 04:15 |
So, using these tools, you can pretty
easily get some good control over how
| | 04:20 |
your particles are placed in space
especially using move and the smudge tools.
| | 04:26 |
You can really get some fine tuned
control over where these particles are
| | 04:30 |
going to create exactly the look that
you're going for when creating your own
| | 04:35 |
splashed particle designs.
So this can be very, very useful as often
| | 04:41 |
times you'll be placing your splashes and
your water and other liquids around
| | 04:45 |
particular objects.
This will give you the control to put
| | 04:49 |
them exactly where you want them and
sculpt them away from the areas where you
| | 04:52 |
don't need them.
| | 04:54 |
| | Collapse this transcript |
| Using blobs| 00:02 |
In this video, we'll have a look at how
blobs can be used from a geometric standpoint.
| | 00:06 |
Now, blobs really cover a lot of a wide
spectrum as far as creating geometry and
| | 00:10 |
then also have some very important
texture attributes.
| | 00:15 |
And for the sake of this video, we'll
just be looking at the geometric
| | 00:18 |
properties, and how they can be used to
help simulate liquid and other kind of materials.
| | 00:24 |
That would be key to rendering product
visualization shots when you want to add
| | 00:28 |
splashes or other kind of excitement to
frame your objects, and make your
| | 00:31 |
products look more appealing.
So, if you open the Blob Start file,
| | 00:36 |
you'll see that you have our three cans
in a scene with some particles splashing around.
| | 00:42 |
And there is also a Particle Generator, a
Surface Particle Generator down here,
| | 00:46 |
which is pointed to the Splash layer that
should have a bunch of particles on it.
| | 00:52 |
So, let's go ahead and start by hiding
the Splash layer, and we'll look at
| | 00:56 |
adding some blobs to this surface right
here.
| | 01:01 |
So, I'm going to go ahead, and under my
Add Items menu, go down to Volumes, and Blob.
| | 01:08 |
And at first you're just going to get one
large blob.
| | 01:10 |
And if we go down to the Render Preview,
sure enough, it's just one big large blob
| | 01:13 |
in the middle of the scene, really not
what we're looking for.
| | 01:17 |
So, if we go down to the blog here, and
we can see the geometry is set to
| | 01:20 |
Particle Source None, which means that
it's just going to create that blob, it's
| | 01:23 |
going to have a given size here that we
can control.
| | 01:27 |
But other than that its just going to sit
there like blob.
| | 01:32 |
So, I'm going to drive this down, because
I know I'm going to be using a bunch of
| | 01:35 |
these here.
And I can see in the view port that I've
| | 01:38 |
got a relative size there.
So, I can drive this down to maybe around
| | 01:42 |
10 millimeters.
And then for my Particle source I'm
| | 01:45 |
going to go down here and select this
Particle Mesh, which has all of those
| | 01:49 |
individual little vertices in it that
were painted and sculpted to create the
| | 01:53 |
splash shapes.
Now you can see that as this begins to
| | 01:58 |
resolve here, the particles get kind of
driven together as they get close to each
| | 02:02 |
other, and we can rotate this view around
to see this a little bit better.
| | 02:10 |
And there you can see that the particles
kind of stick together as they get closer together.
| | 02:14 |
Now another thing that you may notice is
the fact the particles get bigger here in
| | 02:17 |
the middle and smaller out to the sides.
And that's because these particles in the
| | 02:22 |
Sculpting menu were edited to have some
scale attributes.
| | 02:27 |
So, you can see here that this size
attribute is available here, so if I go
| | 02:31 |
down to my particle mesh, and I just want
to scale these up.
| | 02:37 |
You're not going to see this effect in
real time, but we will see it when we get
| | 02:41 |
into render.
So, let's go here, and I'm going to take
| | 02:44 |
these areas where I've got kind of thick
splashes and I'm going to scale those up
| | 02:47 |
a bit.
Now if I go back over to my Render tab,
| | 02:51 |
you'll see that these have been scaled up
just a little bit.
| | 02:55 |
Now I didn't have my settings up very
high, but these are definitely larger
| | 02:58 |
than they had been.
These remember were very small little
| | 03:01 |
specs, and if I want I can continue to
kind of paint on these here in my Preview
| | 03:05 |
Render, so that I can see the effects in
real time.
| | 03:10 |
So, I think we'll paint over them, and
you can see that they are increasing in size.
| | 03:15 |
Now, again if you're using a tablet for
something like this, this will work very well.
| | 03:19 |
Because you can really get some fine
tuned control over where you want to
| | 03:22 |
increase the size and then how much based
off of that pen pressure.
| | 03:27 |
So, for here, I'm just going to scale
these up a little bit more, so that they
| | 03:29 |
start to be a bit more cohesive.
I can also go down here in my Blob Item,
| | 03:34 |
and I can increase the random size, which
is just going to add another layer of
| | 03:38 |
randomness to the scale of these.
And then I can also increase my
| | 03:44 |
generalized radius, and everything is
going to behave as a multiplier based off
| | 03:48 |
of this radius.
So, if I drive this up really high, you
| | 03:52 |
can see that the particles are still
going to get significantly larger.
| | 03:56 |
But they're going to get larger based off
of the area of influence where I had
| | 04:00 |
sculpted the're scale previously in the
painting view, in the sculpting view.
| | 04:05 |
Now you can see with my scale driven up
to 34 millimeters, these are definitely
| | 04:09 |
getting thicker and more blobby, and you
get the general idea of these being much
| | 04:13 |
bigger blotches of splash.
So, I think that's a bit much, I can just
| | 04:18 |
drive this down, and remember this again
will act as a multiplier.
| | 04:22 |
So, that where I had sculpted these to be
bigger, I can make them larger, but then
| | 04:25 |
I'll still have the smaller particles
here mixed in throughout.
| | 04:30 |
Now, just like with other sculpting
tools, I can go back and hold the Ctrl
| | 04:33 |
key and have the Inverse Effect and
actually scale these particles down.
| | 04:38 |
So, that way I can add these blobs to
give geometric volume to the individual
| | 04:43 |
particles that I had created, and then
sculpted in my previous part of my workflow.
| | 04:51 |
So, another way that I can add these
blobs on is by attaching them to a much
| | 04:55 |
more dense mesh.
I'm going to go down here, I'm going to
| | 04:59 |
bring this splash back, and I'm going to
hide my Particle Mesh for right now.
| | 05:04 |
And with the splash, you'll notice here
if I turn this on, that, let's hide my
| | 05:08 |
blob for right now.
You'll see that, I don't see anything,
| | 05:12 |
that's because the actual material for
this just has, if you look in the shader
| | 05:16 |
here, transparent, it has a constant set
to stencil and the value is set to 100%.
| | 05:23 |
So, this is just, essentially a
completely transparent object.
| | 05:26 |
In that way I can render and get all of
my particles, and I can still see this in
| | 05:30 |
real time.
But I don't have to worry about having
| | 05:33 |
the actual polygons show up at render
time.
| | 05:36 |
So, let's close that back up, and I'm
going to to go back to my blob now, and
| | 05:39 |
I'm going to change this source from
Particle Mesh to the Surface Particle Generator.
| | 05:45 |
And now, we're going to get these
particles all over the top of this splash.
| | 05:53 |
There we go, and you can see that they
are much more dense and they're much larger.
| | 06:00 |
One thing to note is to be careful on
doing this kind of thing, because the
| | 06:03 |
number of polygons that are being derived
from this can really, really jump when
| | 06:08 |
you're using a really dense particle
source.
| | 06:12 |
You can see it gives you the nice wavy
kind of lumpy appearance of, of something
| | 06:17 |
splashy, of something liquid.
But this is going to really increase my
| | 06:21 |
render time, so I can take this and I can
drive down my radius a bit and drive up
| | 06:25 |
my random scale.
And these are still gong to maintain the
| | 06:30 |
kind of blobbiness where they will stick
together as they get closer to each other.
| | 06:34 |
And give you the effect of a liquid
material.
| | 06:38 |
Now, when you render that out, you'll get
something like this, where you can see
| | 06:41 |
all of the different particles kind of
splashing and sticking together.
| | 06:45 |
This can be really nice for a kind of a
basic bed for the particles, so that you
| | 06:49 |
have something like a kind of large,
continuous body of particles, you can
| | 06:53 |
make them a lot smaller also, so that
they're a little bit finer.
| | 06:59 |
And then also use a secondary set of
splashes with another blob applied to
| | 07:03 |
something like those sculpted particles,
so that you get more stylized arcs and
| | 07:07 |
splashes in your designs.
So, using these blobs in conjunction with
| | 07:12 |
particle sources that you create, you can
very quickly and effectively get the
| | 07:16 |
appearance of these liquid surfaces, and
actually get the geometric appearance of them.
| | 07:22 |
You can apply different shaders and
materials to these, just as you would any
| | 07:25 |
other geometry in the scene.
And that will allow you to splashes of
| | 07:29 |
water and any other kind of liquid that
you might want to.
| | 07:33 |
And it will help add extra detail to your
scene, help you accentuate your models,
| | 07:37 |
and add more interest to your product
visualization scenes.
| | 07:42 |
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