Oh
okay.
Hello everyone
immediately gonna post the comment and pin it
just in case anyone has a question
they can see
a message
and I'm going to turn on the music.
There we go.
Just
like that.
Perfect. Okay so this is now part
four. I think
the fourth stream for shading it's going a bit slow. But um
for the most part I have everything set up and I would
like to basically like everything that I did for the shirt.
uh the entire setup. I would basically copy that 1-1 for the
other objects like the pants
and
the shoes.
Um
Maybe making it a bit more straightforward now
that I did it once.
Uh last time I started just slapping a texture on top
of the pants and it doesn't really look that great.
Um I was actually looking into
maybe doing some procedural textures
but I'm not very versed in that.
So I'm gonna do I'm gonna use a couple of procedural or like um at least tiled tricks.
Um But mostly I am still going to use textures that I got from online from C. C.
Zero libraries.
Um
Which I mean this was a very similar
example why I just started using this jeans texture
but it actually apart from this like main pattern it has a lot of noise in it.
A lot of it looks kind of grungy
and
I did a bit of a trick
um While I was away
and I wanted to hold on
have created open over here
and I can show you something.
Yeah
so
this is essentially the denim texture
then I was using and it's
insane how much extra like crunchiness, there's on top of this
but there's a bit of a trick on extracting that main pattern that detail.
Like if I import this,
this is the kind of main pattern that I extracted from this
and you can do this in creator of Photoshop or whatever.
But I like to do this a lot for
So I had this texture and if anything,
I would like like this little bit of
grunge and texture variation and color variation.
I would like to add this myself
in the shade are uh by doing some layers textural essentially.
But this main pattern, this like fabric pattern, that's what I want to use.
So here's how I would do that. I would
copy the layer
and
I'm going to add a filter to it.
And this is really just a simple Gaussian blur.
And I'm going to blur this
so far until essentially all of that detail, like that fine detailed fabric pattern
is essentially gone.
And all you're left with is that originally like if I have it now blurt
that fine pattern is just removed and all we're left with is that color variation.
This variation in light and dark blues.
So now
I can out wait I need to actually look up where it is
um
right here in mix.
I should like add these to my favorites.
There's gain extract and gain merge.
So if I say gain extract,
that's what it's gonna do.
It's really just going to compare the blurred version
with the original below
and it's going to
remove anything that compares with it. That is exactly the same.
And all you're left with is the difference.
So now I have this
really fine nice
pattern.
So this is essentially how I got this texture.
I'm actually going to compare it now because I think
what I just did might actually look a bit better.
Mhm.
I think it looks pretty much exactly the same to be honest.
Yeah
but
just by zooming out you can really see how just like it disappears all the
detail and over here you can really still see the cloudiness.
And I did a very similar thing with another texture.
So if I go over here, I also downloaded
this map which is actually super high resolution and I would never use it like this.
Uh It has like wrinkles that has the fine detailed pattern and has a lot of stuff.
Um I'm actually going to down scale up to 4096.
I don't need an eight K. Texture.
I regret downloading it even in that size.
Um because even here you still get all the details you need but I want to have this,
it's a Tyler paul.
Texture and I wanted to have this little detail here.
This stitching pattern over here.
So for that
I did the same thing essentially
I extracted the detail
and then I moved uh this part even down so I have it
exactly here down all the way at the bottom of the texture.
And this one I'm going to use as well.
So this way of extracting uh detail is kind of nice.
So
with that set I'm actually just going to import
this but I just like removing the original texture I had
here and I'm just gonna drag and drop this mask in.
I just called it mask because it's essentially just
a black and white mask that I could use for anything really.
And there we go.
So by default I'm using the default UV unwrap
and that should be pretty much good to go. I can even like scale it up a bit more
like that.
And I think
uh it's actually angled. So
if I just rotate the texture along the z direction
I am able to rotate
The whole thing so I can rotate it by 90 out.
Where is my most because okay I can rotate by 90°45 actually and now it's
Angled 45°.
I think I'm just comparing it to my jeans actually.
Just to be sure. I mean it's
on some genes that might actually not be uniform but
this is basically how I would do it now.
There's actually some stretching over here with the U. V. S. It's not great
mm.
Mhm
mm. No this is not great.
Uh it's the front over here.
Mhm.
Yeah.
Mhm.
But the inner part right here.
Yeah.
Mhm
interesting. Okay I'm going to actually switch the overlay to
actually ankle
should be good. Yeah
this I can see what's happening here.
Okay, I'm going to change the UV map just a little bit.
Mm.
Okay.
Actually to be honest um this might again be, yes,
it's not because of the U. S. It's because of the U. V. Smoothing.
I actually,
I really don't know why the default is keep
boundaries because if I said it to keep corners
it's actually not going to smooth the corners of the service
which leads actually to some much nicer results.
There we go.
Got to move back to the shading workspace.
Mhm
mm
I see a question. Do you have you put the noise and turned on by default?
Yes, but I mean only for cycles right now this is the E. V.
But if I would go to cycles um which might be a mistake. No, it's actually
it's just immediately rendering uh I have
the view port ionizing enabled automatic but
I usually set it to start at the third sample so at first it's noisy
but then immediately afterwards it will start Denoix zing
but for the material work, most of it. I'm just gonna do it on tv.
So
now
I basically did this,
I didn't
mhm
I think this is
pretty much the right size
and it's a nice base.
Mhm.
No,
the whole thing just needs to be darker
and I'm actually going to bring back the reference.
Mhm.
Okay. The original sculpt that I did
uh and
the final model of rain.
Mhm.
So here I can see some of this bit more side by side.
So for rain,
I really just used a single texture and pretty much called
it a day and painted a bit of variation on top.
Yeah,
but here I want to do something a bit different.
Mhm.
Yeah.
Actually
let's bring up some reference.
So yeah, I want to have the stitching over here on the inside.
I want to actually also add some more fine stitches even though
I don't think we're going to see it that close like this.
Um
And some acid wash.
Which is very typical somewhere. And some acid wash just for detailing.
But that's basically it.
Okay.
Mhm.
I didn't even detail any of this up here at the top.
Mhm.
And to be honest, because I never detailed this. I don't need this geometry.
Mhm.
Like all of this.
I would never want to show this. So, I'm actually just gonna delete this.
Okay.
Yeah, it's never going to be visible. It should never be visible.
It's a bit of a late decision, but I think it makes sense.
Mhm.
In a production I would have to like first sign this off.
I shouldn't make any changes like this here. I have a bit more freedom.
Yeah.
Okay, so what's next?
I want to
at those
mhm
seems back like here. I think I just kind of painted them in.
Mhm
No, actually this is model then
Yeah, this is purely modeled in
over here.
It's a bit more soft
so I'm going to help it out with some normals.
Mhm
So
got the main UV map
seems one and seems to it's going to be too seems maps.
Mm
essentially and I'm going to get rid of all of the seams.
Move over to the
UV editing workspace
two
mhm
There we go.
Get rid of all of the pins.
Mm
mhm
Okay, let's see
Okay.
Mhm,
mhm
Yeah,
usually
mhm
mm
Yeah,
yeah,
mm
mhm
mm.
Some reason the chat is disconnected
on my end,
so
same thing over here.
Mhm
I need
okay
mhm
Yeah
mhm
Oh boy, what's going on?
Yeah,
mhm
Like this.
Thank you.
Religious selecting individual aspect individual
islands and then unwrapping them
and all of this,
all of these
just kind of scale them down
20
just so I can see
what is throw away.
I'm just going to go through this and
mhm
I'm actually going to switch to the other UV map like this
um
I guess that doesn't work.
Mhm
Yeah
Oh yeah, that doesn't work, but I have this color grid still over here
like that.
You can make the other UV map the actively shown one and now I can see which parts I've
actually unwrapped and this is just like the ones
where I want some extra seems to be visible.
Uh the vertical lines. Um
I'm going to later on make some more that are crossing these.
Okay. Like these
help.
Mm
Okay.
Mm hmm.
Mhm.
Oh yeah, it's actually kind of tricky.
Mm hmm.
Mm
Yeah,
I'm gonna unwrap all of this as well.
Oh.
Mhm.
Yeah.
This is why what does seem to go along?
Yes.
Mhm.
Yeah.
Mhm.
Mm.
Mhm.
People
okay, that kind of works.
And I have that one which is going right around the middle over there.
Mm hmm.
So I'm kind of happy with those
and I can just like
select all of these
control a to get them to the right to the same size control P.
Okay.
Kind of happy with that.
And now it's really just about aligning them
and for that.
Yeah,
I'm gonna go back to the shading workspace.
Mm hmm.
Right.
Mm.
Mhm.
Yeah.
Mm.
Mhm.
Yeah.
Okay. 1st I'm going to do it with that site.
Everything else can just
go away
for now
appear.
Mhm.
There we go. I can see where that seem would appear.
I also see a question after one month I'm watching this and the work is in a good way.
Thank you. It's actually going a bit slow but um
ah I'm
uh it's also a bit of a skewed perception
because I am actually only sitting on this character
two hours every week,
sometimes 1.5 hours. I'm kind of stretching it now
and that's why it's been taking so long. But ideally character should be done soon,
ideally.
Yeah,
can take
Mhm.
Oh
so actually one thing I forgot I unwrapped all of these individual parts
but just to not mess this up with life on rap.
I would like to like select all of these
and press uh unwrap and then seems from islands.
And now all of the islands are going to have the actual seems correctly placed.
So this is kind of like a reverse way of placing.
Seems you just select the islands you want to have unwrapped? You unwrap them
and I'm just going through them one by one,
all of the different little parts of the mesh that I want to have unwrapped
and then they're already unwrapped. And then I placed the scenes.
Um
But now that they they have, seems
once I pin them
and I actually
like I pinned them
and I'm using life on rap
and I like scale this.
The rest can just be uh can just properly align
itself and I don't have to worry about anything.
I can't like scale this up
like that.
Yeah
and I can place
the scene
at the right spot. Exactly there.
So it's following this edge all the way down.
Mhm.
Yeah,
has a nice size.
Although I'm going to bring back the rest of
the object so I can actually compare the size.
Yeah,
actually going to make it a bit bigger I think like that.
Yeah, that's the right density I'm going to save
and now
I go back to the shading.
Mhm.
Mhm
mm
I want to plug the normal in here,
hold on,
just like that.
Yeah.
And you could see
exactly where this line is.
There's now a little crease so that's also going to be thrown into the color.
Just like last time.
Actually one of the things that kind of like to do, I wish,
I hope this will get improved but um when shading,
sculpting or doing anything in the v actually like
to put the view port sampling to one.
So if I do changes,
it's actually immediately real time happening in the three D view port
And it's not swimming around.
Like if I put this to 12, like the default,
you can see how this is like a ghost swimming around and updating.
Um so if I set this to one
mm
any updates are going to be immediate
but that also means stuff like Ambien inclusion and screen
space reflections and all that stuff is going to be,
it's going to look a bit more quickly.
But yes I'm going to now place these themes on all of them
but
I would also like to get text tools back the add on over here
because then I can
select this face. For example
copy
um the textile density
and then select the other islands over here,
select all of them
and
apply the textile density.
There we go.
Just hit apply, I think it did it for all of them individually. Perfect.
And then I would like to like disable the I don't again,
because it's actually messing with my undo history,
it's a little bit broken right now, but
for these little moments it's actually incredibly useful
to use it
now. I can pin this
and I would actually like to angle some of this a bit more manually
like that
because
I want to have this pin line straight,
but the way to do that is with a line operator.
But what this does is essentially just scaling it down to zero, so
it's not what I want.
Uh If I scale it something down to zero, it might skew it a bit.
Okay, so I'm gonna pin this.
Yeah, I think I could actually
scale this down
um
Oh
yeah,
okay,
rotate this
that
yeah.
Yeah.
Okay.
Mhm
shift w auto align.
There we go.
Mhm,
move it down exactly on the same spot.
Yeah,
I just need to do exactly the same thing for all of these others.
Yeah.
Um
Okay.
Mhm
mm.
Yeah.
And
yeah,
this is a case where I would not want to use
auto align because it's just going to squish it over here
like it's the same as if I would just scale this
down to zero along one axis and it's kind of insane.
So I would like just select all of this rotate around the two D. Corsa
and align it a little bit manually
then select it again
or to align and now it's way better.
I see some questions um What cycles X eventually replace the
original cycles still don't understand why cycles X don't use tiles.
Uh Well cycles X will is essentially just a new version of cycles.
It will completely replace it.
Um
Mhm
But tiles
it's also still under discussion I mean they will probably still be a thing
they just won't be used by default
ah
If it's way faster and it can just render the entire image at once.
Um
It will just do it
which is actually super nice but
I could also imagine
that instead of using tiles that will
use some sort of progressive rendering actually into
get more into that.
Yeah
there we go.
Mhm
mm.
Mhm.
Uh There was also another question maybe stupid question. How did you learn?
How did you learn in blender?
Um
I mean how did I learn blender mostly through tutorials online at first but I mean
I still haven't completely learned blender it's a
long process that never ends just like with anything
but
yeah
um
I don't know it's like a it's a big question
to be honest.
Sorry.
Mhm.
Um
Actually one of the things I would like to do here
is I'm going to put these islands side by side.
It's tiled anyway.
And to be honest I don't want these to be always on top of each
other because it will just make it really hard to see what's going on.
Mhm.
I just need to compare it to that exact place in the y axis where they are placed.
That's it.
Okay
mm.
Mhm.
Mhm
mm hmm.
Like that.
Mhm.
Actually I should look at what I'm doing here.
Mhm.
Yeah.
Yeah exactly like I get that extra line over here where I'm going to also place a seam
I messed up with the U. V. Is over here actually a bit
I think
I would actually like to fix that.
Oh
and also
I'm going to get rid of this.
Seem
um let's have you ve sink actually enabled. I want to see what this is. What is this?
What is this?
What's this?
Perfect.
This is all looking good.
Going to pin all of these and scale them down to zero. I don't need them
like that.
No.
Um
Wait let's check out my reference.
Yeah.
To protect.
Mhm.
Right.
Mhm.
This one
should actually be
yeah.
Mhm.
More like this I guess. Hold on.
Yeah.
Okay I'm actually going to go back to the original movies.
Yeah.
Mhm.
Yeah.
Where are they over here?
Mhm.
So now I can just clear the scenes over here.
Of course.
I wish live on rap would be not just a per object feature but possibly also per UV map.
Yeah
that would make more sense to me.
Okay I'm going to clear all the seams I'm gonna say over here.
Um
Seems from UV islands. Yes
this seam is what I would like to get rid of.
Yeah
because I would like to stitch this
back to the pants over here.
So I could for example just press all all T. V.
Okay so I could
stitch it all the way over here. Which is
I think what I want now
I want to actually
stitch it to
the other side's over here.
Mm
So this seem still makes sense.
Yeah.
Yeah
this one doesn't.
Mhm.
Uh huh.
So walter V.
With I I can switch which island it actually snaps onto
and that is basically it I'm just going to confirm
like that
I'm going to safe and I'm going I'm going to try
turning on life on rap again
and now
let's see what happens.
It auto adjusts
like that.
So now this actually transitions very well over here.
Yes it's basically what I want and here I want a hard cut
later on
that an actual scene.
Okay I'm going to select all of these and I'm going to UNP in them.
Yes that looks much better.
Okay and safe.
Uh some more questions um
Mhm.
Why not get this channel verified. It's above 100 k.
and Brenda is pretty well known name.
That's actually a good question. I think there was something about um
blend or not monetizing their videos.
Yeah.
Just kind of out of principle and that makes
it harder to get verified or something like that.
Maybe there's some other reasons.
Um
Another question is pixel and texel density the same.
Um
Mhm.
What is the difference between pixel density and texel density?
Well um texel stands for texture element.
Um
So it's more like um a pixel is really just a single
like a single color in an image. Like a single point in an image.
Um And the texel density is more like the relation
between the pixel density and the density of the U.
V. Element.
So
if a UV island has an average textile density of
400. So like I think it's 400 pixels. Uh Per UV elements like per U. V. Face
then that's a constant. Like if you can observe that in your object. So if the
uh it's the same textile density really just means that the size of this texture
ah
is going to stay the same across the entire surface.
It has a consistent textile density.
If it would start to pinch and expand in certain areas then it would be
it would have an uneven Taxol density.
And then you can also compare that between objects.
So and one object could have a higher tax of density?
Mhm.
To either have more detail because it's going to
be seen more close so it needs more pixels.
Or it could have a lower protection density
because it's really just a background element.
So even though it could be the size of a building
It actually uses only like 500 pixels affect 500 pixels white texture or something.
Mhm.
Um
Yeah
but yes that is essentially
the theory of that
now.
Mhm.
I actually want to get rid of some more seems over here
I think
like that
mm
Going to turn off life on rap again
and I want to stitch this back to the rest
which is actually harder than I thought.
Of course.
Yeah.
Okay.
Mhm.
Yeah the pants don't quite 100% makes sense
in terms of their stitching pattern.
I hope that's not going to be too noticeable.
Mhm.
I mean like if I compare it over here the shirt
is going to cover quite a bit of the pants so
I don't think it's even
noticeable that much to be honest
to be honest. I'm going to do this.
All of these changes to the seams
and
I'm going to keep this as a separate thing
and I'll just live with it
like that
because the shirt was meant to cover a lot of it.
Um
There's another question how long does it take to make an animation quality.
Such as spring?
How long does it take to learn how to make this good animation?
Um I mean
we had a relatively small team for the most part for the longest time.
We were basically
six artists working on the movie.
But even then,
I mean it's it's a monument of monumental effort and just the planning
and the execution all of it. It took a long time, 1.5 years of full time work.
So
maybe that can give some perspective, I would say making like a fool
short film all by yourself.
It needs some
really clever cutting of corners.
You need to work extremely efficiently
otherwise you will just not make it.
Mhm.
And how long does it take to get really good at making that animation.
I mean if you're planning to do everything by
yourself that's going to take a long time,
a very long time.
Um But you don't need to be that highly
skilled and everything if you're working in a team.
Mhm.
So I mean that would just be my recommendation. Try to find like minded people,
people
that you want to work together with and then you can make something together
and culture.
Yeah.
Anyway. Um
Mhm.
Oh
and also another question uh why does tap network?
I have a strange computer if I have caps lock enabled?
Some of the shortcuts will just not work.
Uh
hold on,
just going to quickly check something.
Mhm.
Okay.
Uh there was another question how many sampled
cycles when you render the film agent?
If you just have no other films to be honest. I don't know.
Um I'm sure for the agent there was
there were a lot more samples because there was no D noise er yet.
So you just have to throw as many samples on the render as you can
um
mm hmm.
Mhm.
Oh come on.
Okay, I'm going to continue with
with some of these parts so I'm gonna make another one
going to call this one. Seems to
mhm.
Mhm.
Yes.
Yeah
mm
Here we go
clear. Seems old. P
Scared all of this down to zero.
Yeah.
Mhm
mm.
Yeah
I'm going to select all of this.
Mhm.
Yeah
it's going to quickly go to like just solid view over here.
Okay.
Yeah
I'm just going to select all of this,
all of this geometry. I just want to have this
uh some scenes going along this line over here so I'm
gonna hit you unwrap go that should be more than enough
to get that in.
Yes.
Oh
okay
what else uh
there needs to be
is down here
mm
So I'm just gonna select these ones. Just
select more
like it over here.
Yeah
and just you unwrap.
Are we Cool.
Yeah,
so I got this.
Mhm.
Then I also need
he's over here.
Unwrap.
Okay.
And same thing over here. Really? I already have.
Oh wow. They actually placed wrong
mm
and ever changing the wrong UV map. Dammit.
Okay.
So
keeps happening.
Did I start working on the wrong 1?
Mhm.
Okay. I want to work on this one.
Mm.
Mm hmm.
Thank you.
Why does it show?
No, I think it works.
I never actually checked with these if they are to walk correctly placed
and they are not,
I think.
Yeah.
Mhm.
Yeah.
Uh huh.
Mhm.
Yeah.
Yeah,
that's the one. Those are the ones I wanted to pin.
Mhm.
Thanks.
Yeah.
Mhm.
Oh my God.
Mhm.
Mm.
Okay,
let's see. Life on rap. I'll just try this.
Mhm.
Yeah.
Mhm.
I think I saw another question pop up.
Um
does this work until the rigging process?
Uh Well,
if you mean if I'm going to continue working on this until the rigging starts?
Yes.
Ah
the rigging
would be the next thing that happens after this.
Can we talk?
I will probably not work on it though.
I'm not a rigger.
Mhm.
Okay.
Yeah.
Mhm
mm.
Okay.
Yeah.
Mhm.
Yeah.
Right,
let's see how to get rid of this part of the map.
Okay.
Thank you.
Mhm.
Mhm,
mm hmm.
Mhm.
Yeah.
Mhm.
Yeah.
I think this actually works.
Yeah.
Liven represent disabled.
Mhm.
Yes.
Right. So
I want to have these over here.
Mhm.
Perfect.
Mm.
Well, that just kind of works. Okay.
Mhm.
Mhm
mm.
Girl.
Uh There's some more comments.
The sculpting which he did on the cloth portion
won't be a problem doing cloth simulation while animating
there will be no cloth simulation.
That was very very intentional decision when modeling
um
these pieces.
Mhm.
Uh If there would have been close simulation that I wouldn't have modeled so much
into the cloth.
Mhm.
There we go.
Mhm.
Okay.
Yeah.
Mhm.
Yeah.
Okay. That's some more of these taken care of.
Yes.
Time to get back into this.
Mhm.
Yeah.
Mhm.
Yeah.
Mhm.
Yeah.
Mhm.
Thank you.
Mhm.
Yeah
I don't
know.
Yeah.
Mhm.
Better. Okay.
Yeah
mm hmm.
Yeah
mm.
Boom.
Okay.
Yeah.
Mhm.
No.
You know this
mm hmm.
Yeah.
Mhm.
Mhm
mm.
Mhm.
Yeah
mm.
Mhm.
And
mhm.
Okay.
Mhm.
Both.
Mhm.
And
okay.
Mhm.
Okay.
Uh Any more questions? You have plenty? Um
Probably as a answered already answered but it's a good idea to scale U. V. S.
Outside the box. That limit the UV space
depends on what you want to do.
If it's just about
like if it's about texture painting then it's not a good idea
because it will you will map a texture
onto the U. V. S. And
your ups and your texture should be within the same space.
Um
If you're doing it to add a title texture to your mesh to your surface.
And you should also not do it because
a terrible texture will be perfect within that one by one UV space.
If you're planning to do some like procedural texture ring
uh Like I'm doing right now.
Um Well it's just about getting not a texture mapped onto the ups but just using the U.
V. S. As regular coordinates to do some shading then it's okay.
Like then it's usually exactly what you need.
But even
the problem is that once you start scaling
the
U. V. S. Beyond that you ve space you will get repeated patterns.
So unless that is exactly what you want to do
and you only can do it via the U. V. S.
Then do it.
If not then don't do it.
Um
Another question if you use a real
pent as a reference
then it will be very helpful for the U. V. In rap.
You mean the pants?
Yes.
I think I actually messed up a bit with a reference at the
top because I just relied on this not being visible in the end
and now I just need to work around it.
Which I think is fine. Um
Also another question right now I'm learning
topology and the written apology video.
Do you explain how loops work?
I need some help with that. Especially on turning and guns into quads.
Yeah and like if you're if you mean my uh the live
streams or like the tutorials I'm doing for the blender cloud.
Uh I actually do get into that so
you can watch it there.
Mhm.
Um
Okay let's see.
Yeah
right over here I want
that seems
along this side and then it like goes in here.
Mm.
Yeah.
Mhm.
I think I'm doing a bit of a mistake here.
Mhm.
Yeah.
Mhm.
Okay.
Yeah.
Okay.
I'm actually going to go back
into the first U. V.
Island of the first movies over here.
Going to get rid of all the seams.
Make this seems again
from this
again. Seems should be per UV map. They should be tied to that.
I think that just makes more sense to me.
And what I want to do is I would like to
mark this is a scene
and mark this as a seam. I would like to get this circular
mm.
Yeah.
Uh Let's see.
Yeah this one.
Mhm.
Yeah.
Mhm.
No
this one
I want to pin this.
Mhm
mm
And I should turn on life on rap again.
Yeah.
Mhm.
And now I'm going to do this where I just kind of rotate this around
to get it straight
and now I can press shift w auto line and I have it exactly straight
mm
So now I can place it exactly what I wanted to have.
Perfect another seam.
Mhm
Like that
over here. It's becoming a bit of a mess.
We'll need to stretch this a bit,
that's fine
and then
I can go back to the other UV map.
Thanks.
Mhm
Yeah,
start doing the same thing
so it seems from UV islands
and then I just need to turn on life on rap and start
okay
pinning
so exactly what those should be
for here
seems of right here.
Mhm.
Making
mhm
Uh huh.
Mhm
mm.
Mhm.
Mhm
Okay.
Mhm
Yeah.
Okay I need to repeat that process.
Mhm
Okay.
Mhm.
Mhm
mm
mm.
Yeah.
Yeah
mm
Yeah and then over here I need to do something. I want the
oh no yeah I didn't plan ahead for this.
Mhm.
Over here it kind of works now.
Mhm
I I will need to put it lower
over here,
that's fine.
Okay I'm gonna pin this here.
Commission
right?
And these are actually throw away,
you can get rid of them,
did you?
Yeah.
What about this 1?
What is this?
Uh huh.
Yeah these are also throw away.
Mhm
I don't need them
again. If I would go to the shading workspace and I would show,
come on why is it frozen now?
And if I would control shift, click on this one,
I would be able to see this
what I've been doing.
So these are nice coordinates
now if I
rotate this one, shift w auto line.
This one is
nice and straight.
Same thing with this.
Oh
select all of this,
rotate shift W. Auto line nice and straight.
Mhm.
But I don't want to see this shading, I want to see
um
that's over here.
Okay.
Mhm.
Okay.
Mhm.
Yeah.
Mhm.
There we go.
I wanted to be kind of over here
here. Same thing
the tire
like right over here.
Yeah.
Nice.
Mhm.
I actually saw a question
um
is the methods arctic gonna rig the character? Yes, eventually,
once there's time right now we are in the middle of a movie production.
So this is a bit of a side project
but once there's time it would be great to have this one rate.
Yeah.
Okay, so this is right now. Not right.
Mhm.
Okay, so I can just select all of these are to align.
Should be good to go.
Just place it right there.
Same thing with these.
Yeah
mm.
Thank you.
Mhm.
Okay.
Mhm.
Mhm
mm.
Mhm.
Okay.
Mhm.
Yeah.
Okay.
Mhm.
Thank you. Thank you,
let's see you.
Mhm
mm.
Mhm
mm.
Uh huh.
Mhm.
Yeah.
Good.
Mhm.
Yeah.
And
mm.
Yeah.
Mhm.
Okay.
Country.
Okay.
Yeah.
Mhm.
Hello?
I see some people saying hello in the chat uh sorry I'm ignoring the chat a little bit.
It's not good,
I shouldn't do that.
There we go.
Yeah.
Mhm.
Okay.
Uh huh.
Yeah.
Yeah
sorry I'm just trying to get through this as fast as possible.
I would love to get into the stitches. Um
like these are just like the these kind of valleys that
I'm inserting but I actually want to add some actual stitching
some
not just seems
that would be super good.
Yeah.
Mhm.
But.
Oh.
Mhm.
Okay but I got the two UV maps
I'll set up all nice.
I think one of the things that I would actually like to do is make
another adjustment to the seams over here and that is this part over here.
I would like to
mark this as a theme.
Mhm
mm.
Just kind of get rid of this
actually
I'll keep I'll keep this as a scene. I just want to
make this little addition.
Mhm.
Thank you.
And this is essentially
what I need to add.
Okay.
Mhm.
And I just need to stitch this to the rest
mm.
Okay.
Yeah
I think it's rotated the wrong way around.
Okay.
No no it actually fits.
Mhm
mm hmm.
Mhm.
Like that.
Mhm.
Thank you.
Yeah.
Perfect. Okay that looks better. That means I have all of the U. V.
Set up for the seams.
Perfect.
Oh
that means I can continue with the rest of the shading.
I also see a new question high.
Any advice for someone pushed and pulled advertises for
so long that sculpting just feels alien to them.
Oh man. Uh
Mhm.
Ah Man I don't know it's
that's tricky.
Mhm.
Yeah.
Mhm.
I mean one of the things I think is as
long as you are still really efficiently at working,
just in regular polling modeling, it's nothing wrong with that.
Um
The great thing with sculpting, it can be a supplemental workflow,
it doesn't need to be a complete replacement because I see people
who are still doing amazing stuff with just regular polly modeling.
Um I think like actually Pablo Navarro is like a really good example
like with his exile with his workflow where he does a lot of like
poli modeling and a lot of box modeling but then supplements that with sculpting
and I think that's actually going to be a really valid workflow within blender
so there's nothing wrong with that.
Mhm.
Yeah
she gonna make some little adjustments over here and and in Scotland
um
which is really just pushing some things around,
I want to have these edges a bit more straight
like that
yeah.
Uh huh,
mm.
Mhm
Perfect. Um
but yeah I'm actually a bit more on the opposite end,
I like to use sculpt mode for just general pushing
and pulling stuff because of the more dynamic fall off
it serve it easier to set up.
Yeah
yeah.
Mhm.
But it's kind of a matter of preference.
Mhm
Yeah
yeah
mm Okay,
I'm actually going to remove this.
Okay,
okay,
so this is just for the seams,
I would actually like to add these
over here,
let's actually look at this, just the diffuse map.
Uh huh.
Yeah.
Yeah, just multiplying this on top
mhm.
In addition to the bump map?
Mhm.
It might be actually a bit strong to be honest.
Mhm.
Yeah.
Mhm.
Yeah.
But I also still haven't added the
the pump.
Right?
Yeah.
Mhm.
So this is the height.
I'm just gonna plug this in and see how it looks like. So this is very strong.
This this is extremely strong. Why?
Yeah
mm
Because it's the height
and this is very extreme.
Yeah.
Mhm.
Okay.
Mhm.
Still very extreme.
Mm.
Yeah,
when I remove the diffuse texture then it's easier
to see the bump information what it actually does.
I'm going to leave the strength that one for now.
It
the distance is fine. It's really about actually
maybe not.
Thank you
now it's actually fine.
Yeah.
And then I can so this is the vector for the normal
for the little bump up.
This is the vector for these seams over here and I can mix them.
Can add them together
which is going to reduce both of them a bit.
I will I can normalize them which is make which is going to make them work in cycles
and then I can plug them into the normal and now I have both
here we go
both nicely mixed together the procedural
seems over here
and
the bump.
Okay.
Like that.
I will never see this so close to be honest.
Um But it's good.
Plus I can plug this back in.
Okay.
Yeah.
Mhm.
Just to be sure.
Mhm
Research color ramp. I'm gonna also finally use this for the roughness.
Mhm.
Wait, what's going on over here?
Yeah,
that's fine. Okay.
Mhm.
Um
Yeah.
Okay.
Now that I have that I can just quickly get
into the stitches because I still wanted to do that
before I will eventually add more detail.
So for that I actually stole some uh some notes from semen
thomas.
Um A few of these he has online available.
I'm gonna use them if they ever become useful but actually want to use this one,
it's uh it's good enough for the job.
Um It's something that we actually use for the current for current film production.
Right right,
so I'm just going to append
this note.
I have it right here. Notes textures,
no tree
and I'm going to look for us.
Wait, what
stitches?
Where is it
seems?
I mean
a pendant.
I'm gonna put it in here.
Mhm.
I see something.
Okay.
Mhm.
Okay.
Okay heights,
here we go.
Getting some seems in here
length thickness.
So this is really just using the same uh same UV maps
that I just made and that way like it's also just following
the same direction
and I can just add these on top.
But
just the UV map alone is not enough. I actually want to use a mapping note in between
because then I have some additional control and
we're just going to try to change the size
and it actually works.
So that way I can make the stitching pattern a bit smaller,
I actually want to use a look at my reference and I think I'm
actually just going to make the stitches like a light grey like that.
Okay.
Mhm
mhm.
That should be fine.
And then I can move them a bit to the side over here
so that they align
with where the stitches should be like that,
but I think
actually makes way more sense to have it a bit offset
like that.
Get
back.
Mhm
Okay, and then I can still make them smaller.
Maybe not.
Mm
then
Yeah,
mm.
Mhm
Yeah.
Mhm.
There we go.
I just want to see it in the shada
and also in this case with sampling.
Okay,
so I can get a better impression
the seams are not as
small as they should be.
Mhm.
But to be honest, I actually kind of like it how how visible they are.
Yeah.
Mm
Okay.
And then
yeah, I'm gonna make them a bit smaller.
Yeah,
I'm gonna want to keep the thickness a bit alive.
So I'm going to scale them down even more
because it's procedural. It's really just to say
mostly based on just math notes and
creating a pattern that way
and then just repeating it over and over again.
It actually works just fine,
performance wise.
Okay,
there we go.
Okay,
and then I can basically just do the same thing again
over here
but with the other UV map
it seems to,
so because I had set up to UV maps they can actually
cross each other and they can like be placed in two different spots
this case though.
Yeah.
Who?
Mhm.
Some of them don't actually work,
I will need to check on that
but that's the basic principle.
Uh huh.
Like that.
Yeah.
Okay
so now if I go into UV editing
can actually fix some of these.
But I also see there are some questions popping up.
How comes the brush is able to work
with such high dense geometry compared to blender,
will it ever be upgraded?
Well
I mean I don't have much of the
technical knowledge behind the housing brush works but
Z brush is designed in a way that it actually
doesn't show that much information in the view port.
Um So the performance can actually be pretty high
blender on the other hand
is showing a lot of information at one time at a single time
so
becomes kind of hard to uh to reach that same level of performance and blender.
But in my personal opinion, I don't think
for the majority of the work that you would
do in blender for example you actually don't need
that high of a performance.
Of course some people need a higher performance.
They need the top tier software to display
as much information as possible on the screen
at any time.
But for anyone else, blender is just working fine.
That can always be improvements
but sometimes it is more of a workflow problem sometimes also just because
blender doesn't enforce the best or recommend the best workflow working in it.
But yeah I'm rambling a bit.
I'm going to change the samples back to one.
Mhm.
Because everything starts swimming again.
Mhm.
Yeah.
Mhm.
Okay this looks nice
yeah.
Mhm.
Thank you.
Yeah.
Okay.
Uh some more questions let us uh let's have a peek inside the seams group.
You made the movie map.
Um So for the themes it's really just about straightening these little UV islands.
Hold on
just unwrapping some of these parts and straightening them
and then the it's essentially just acting as coordinates where these
seams should flow along.
But what I'm noticing is that some of these actually not the same the right size.
Yeah
take for example.
Mhm.
Hold on
Like for example this one
no
this one
okay
this one is not the right size at all
so I need to actually scale this way down.
Didn't really pay attention there.
Mhm.
Okay
and he's also
these are not the right size.
Need to scare them down.
Mhm.
They also get messed up a little bit.
Mhm.
It's not good
yeah
mm.
Right.
Mhm.
Yeah
yeah
something
yeah
it's kind of messed up um
Yeah.
Mhm.
Right.
Mhm.
Okay
and,
mhm.
Mhm.
Yeah
the second still tweak the U. V. S.
Yeah.
Well I mean it doesn't look that amazing
on those spots. It's a bit sad.
Yeah
mm
mm hmm.
Uh huh.
Mhm.
Yeah
that's another question. I found your guiding topology video at the cloud. Thanks
thank you. I'm glad you like it
spent quite a bit of time on just researching some of that stuff.
Mhm.
I know.
Mhm.
This is a little bit of a mess actually.
Uh
I did not
get the correct Excellence city all over the place
So now the seams have a slightly different size at some spots.
Oh well
still looks kind of correct
and if I get the rest back
and enable
sampling again.
Mhm.
Actually doesn't look that bad.
Okay
so the next thing would be
to get the other textures in.
I prepared another texture
and I want to actually have it right there. So I'm going to go to shading
um texture that I want to use is the one that I showed at the beginning of the stream.
This one
which is a bump map for this uh seen pattern which I'm going to use that some spots.
So I could just like click and drag on this
drag it into the material and it's right there.
Mhm.
Yeah.
Mhm.
Okay
now
yeah
I need to use the correct UV map.
Yeah.
Brown.
Yeah.
Right.
Mhm.
I'm going to quickly just plug it into a color
I'm just because I want to see it more easily
where it actually is,
wow
all over the place. Why?
Mm
Yeah.
Mm
Yeah.
Right.
Yeah.
Mhm.
Right.
Oh, because it's tiled and rotate it. There we go,
people
now that's better.
So what I'm gonna do is I'm just gonna control shift,
click and drag on this. I don't know why it throws it so far away, but I want to mix
these two textures together.
Um
it's actually just overlay it.
I'll try that
like that.
Right?
Yeah.
Mhm.
I just want to see if it's on the right spot.
Mhm.
Down,
yeah.
Yeah,
yeah.
Mm hmm.
Yeah.
Mhm.
Yeah,
thanks.
Yeah.
Mhm.
Yeah, I think multiplying makes actually just a lot more sense.
Mhm.
Okay,
I'll just make it really extreme just so I get to see
that's the main thing I want to do right now anyway,
so
you can just show it in the shader
and wherever it pops up,
that's
it's okay,
perfect.
Mhm.
Now,
where do I even want to see that? It's on the inside
of the pants,
it's
along the middle line
and along the pockets,
Those are the main areas.
Mm.
So I think this one is actually already the pretty correct one.
Yeah,
but I might just make a copy of the city map
just so I don't mess up anything else.
Mhm.
Mhm
or I'm just going to try,
yeah, I'm definitely going to make a copy, but I also want to try just moving this
away
1st? I'm gonna scale it down
up actually.
Mhm
I think
Mhm.
Yeah.
Mhm.
Try
yeah.
Mhm.
Okay
it's getting there.
Mhm.
Yeah.
Okay.
Um
yeah,
how long will you say one character takes to go through the whole studio pipeline
with that varies,
I mean if it's the main character, it needs a lot of attention to detail
and there have been characters
um
that we've been working on at the at the
in the current movie production for basically a year.
Mhm.
Yeah
on and off again
but still
there was a lot of style exploration, a lot of concept ng a lot of back and forth
until we kind of nailed it down and
if the character of the design depends on
the design of a whole lineup
that makes a difference.
Mhm.
We go,
yeah.
Mhm.
Yeah.
Mhm.
Okay.
Yeah.
Thank you.
Yeah.
Mhm.
Yeah.
Mhm.
Yeah
mm.
Yeah.
Thank you
mm.
Yeah.
Yeah,
thank you.
Yeah.
Mhm.
Mhm,
wow,
I thought clamping would actually work
well I guess I need to tweak the minimum values
the from values.
That's it.
Yes,
now it should work. Yes.
Yeah.
Yeah
exactly
yeah
keep
mhm
okay right now that's only in the diffuse but I'm going to also add it to the bump
and everywhere else.
Um
Do you think most 3D artists should learn read topology? Thanks. Fantastic stream.
Probably read apology is an important part if you're planning
on sculpting something very freely first and then making a proper
topology if you're really good at poly modeling or box modeling
then you can also just do both in one step but
that's I would say and just an even more
advanced version of the anthropology skills you need.
So
I think as a three D. artistry topology is pretty important.
Um
Well unless you're really just a sculptor
if you're not interested in any of the other pipeline or
like any of the other parts in creating a character or anything
read the apology is maybe not going to be that important.
Mhm.
Yeah.
Mhm.
Come on.
I need to disable textiles again know what is causing that error. Dammit.
Yeah.
Okay.
Yeah
mm.
Okay now I'm adding this to the bump map
which means I need to tweak some of these things a bit more.
Yes.
Mhm.
How does this look like without any color information?
Kind of weak.
It's better.
Okay.
Yes
you plug the color back in.
Nice.
Okay but I'm going to make it my own UV map for that and it's going to be
um
what is it called? I don't know how these aspects of clothing are actually called.
It's a double scene.
Mhm.
Yeah
I guess
so for this I'm going to use the double seam give the map
which means I have some extra control. Were these are actually placed because
I don't want them on the outer sides over here.
Yeah
be gone.
Yeah
I want them only on the inner side.
Yeah.
Also some parts over here.
Yeah.
They should have this laid out a bit differently.
Yeah.
Mhm.
Yeah
I think this is fine maybe.
Mhm.
This needs to be placed differently
and I should again disable sampling
just the report samples to one and then I can see the results much more real time.
Yes.
Mhm.
Right.
I guess that could be fine.
Yeah.
Um
Oh yeah this one is important.
Mhm.
Yeah.
Mhm.
Good morning.
Actually going to get rid of this theme.
Clear scene
Hold P.
And UV Unwrap.
Thank you.
I want this to be laid out a bit differently.
Bit more straits
in the middle.
Yeah.
Mhm.
Mhm
mm.
Mhm.
I cannot.
Yeah.
Mm.
Yeah.
Mhm.
Yeah.
Okay.
Actually should look at that up. I don't have references of
hold on Firefox.
Let's open up Firefox and look for genes back.
Also I see some more
comments.
Um The reason why I why I was asking about feeling
alien to sculpting is I wanted to follow your style.
I scores
I guess
um Starting right into humanoids is not helping now. It's not necessarily um
Well
there's definitely something to like sculpting human
characters is already like a huge challenge.
I can recommend to go for something more cartoony simple form,
simple shapes and learn that way because
it's just gonna be easier
at least to start with.
Let's see um
mm
Another question, what are you doing? Just shading some clothing?
Nothing, nothing except for that. Okay.
Mhm.
Okay.
I think this should be fine. Um I'm gonna get the other objects back.
Yes,
like that.
I think the pockets are a bit awkward
because they don't really follow any reference.
They are just kind of improvised.
It's not great.
Yeah, I wish I would have done better there.
Mhm.
Yeah.
Okay.
Yeah.
Mhm.
Okay.
Mhm.
Thanks.
Mhm.
Did you?
Mhm.
Yeah, some of this is now a bit improvised.
Um
Why? Another question, Why?
Only on the inside, Why uh they are very visible on the outer leg seam.
In your reference.
I see now that the other wrinkles are slightly different. Yes.
Um I might just paint in a bit of difference like that,
but this sort of repeating pattern over here on the inside.
I wanted to have that at the right spots
um
mm
Mhm
Oh,
Mhm.
Yeah.
Okay.
Uh huh.
Think that's fine for now
and quickly disconnect the
the diffuse just so I can see some of this
in effect.
Yeah, I think that's fine
now
um
there's two things missing.
I would like to add a height map.
Just like with the shirt.
It's just adding a bit more um
like a bit more of a bump effect for final wrinkles.
And I would like to plug that one into the
color as well to give it some acid wash feeling.
So the anything that is reaching a certain height is becoming brighter,
that's gonna have a similar effect as here, like where some of the
higher elements are just kind of washed out.
Um
And then the other thing is just a general where
on the entire pants so that there is a bit more color variation because right now
it is very uniform.
But apart from that, this is
almost it.
I wouldn't add too much variation because I want these textures to still be
um kind of simplified.
I don't want it to be too realistic. I don't want it to be too distracting.
It should be simple.
Um
I can quickly bring
Yeah,
yeah,
I don't have that much time left, that's the problem.
Yeah.
So
what can I do?
I could start with the uh with a color variation
and that is not too complicated. I already started with some of it here.
Um
Yeah.
Uh huh.
So how would I go about that? I would definitely add a an image texture.
Hold on.
Mhm.
Hey,
mm hmm.
This one and we're going to frame,
I'll call this
double seam.
Mhm.
Oh.
Mhm.
At some point I will need to clean this up.
Notes can get really out of hand if you don't keep them organized.
Mhm.
So I'm gonna add a an image texture
control t to get all of this and I'm gonna add a specific UV map
the main one because that one
is just the best for texture painting.
And I'm going to create a new map over here
without alpha. Um It's just gonna be
It's going to be actually 32 bit float
um
2K. resolution
and call this alcohol this text
snow
um
pants
height
And the default values is going to be .5.
I think that's sort of the naming scheme I went with
let me check tax so for texture.
Yeah. Um
Okay
yeah kinda
I called the other one Wrinkles but this one will just be called
height.
Um
Yeah.
Oh that was actually not what I wanted to do. Uh I wanted to add the color variation
So I'll just make a new texture over here. Not 32 bit float
and I'll just have it as
Yeah
um
mm.
Yeah
let's see.
Right
Yeah I'll just start also with .5
but this one I'll just have it at half the resolution. That should be fine. Text
snow
um pants.
Hello
var
Like that. 0/2 the resolution please
and like that.
Mhm.
Okay
then
hold on.
Have you noticed
I'll just make this like overlay
plug this in here
have this as linear.
So by default is it does nothing because the
default value is just .5 it's right in the middle
and if I paint anything on top, it will actually
overlay it or like like added or multiply it
somewhat like that.
Um So in africa the texture paint and I choose the color variation and I start
painting on top over here a bit brighter spots and tear a bit darker spots.
It's actually gonna add them like that. Okay, but that's not exactly what I want.
I wanted to have a bit of a of a wash effect so
I will add a mixture to be over here and I want this map
To be mixed with that one.
Let's see
just multiply.
Mhm
mm.
Mhm.
Um
Uh huh. Now it's actually getting a bit tricky. Uh How do I do this?
No
color ramp.
Yeah.
Why did it change the map?
But I was painting on.
Okay, so these are the bright parts
so I can just add that to make that ad
perfect
like that.
It works well and then I can make this one multiply.
Mhm.
Um
Yeah
flip
Yeah.
Mhm.
These are the darker spots.
So I have another mask
and this is where I can multiply a color
like that.
So now
for paint on this texture with white
actually starts
adding
a bit of wash to it.
I first started painting on it with black.
We'll start like
ah
adding a bit of darkness to it.
Set this to ease. That makes it a bit easier.
Yeah.
Okay. I think I actually need to
to this bit differently.
Mhm
At
mhm,
mhm.
Yeah.
Mhm
Yeah
and
mhm
mm.
You know.
Yeah.
Mhm
Yeah,
mm.
Yeah,
I can't say
the only problem is there's going to be no real overlap.
So whatever it's dark, it's going to kind of stay away from the light.
Yeah,
but it's going to work well enough. I think
he's also like the more extreme examples
with a white streaks.
Yeah.
Mhm.
Mhm
Like that.
Thank you.
Mhm
uh let's see.
Mhm
Uh huh.
Mhm
Yeah,
you can just paint over this and I will save this texture as well.
And this one I also still need to save
so I have them for next time.
Mhm.
Yeah.
But now I can basically just control shift,
click on the whole shader again and I can actually paint in
a bit of bright spots
like this
and they will start appearing
over here.
So this way I can like enhance some of these wrinkles a bit
for instance. But I would do this with a different texture with this one.
I just want to get some general
bright spots.
So just like these surfaces over here,
they get a little bit more wash.
Yeah.
Mm hmm.
Yes,
take that.
Mhm
interesting over here. Nothing is happening.
And now it does.
I just turned the strength way down
but you can see what's what's happening here.
Mhm.
Mhm
And I can still tweak some of these values because I think the
washes over all
too strong
so I can paint in a bit less.
That's
yeah
um
kind of ignoring the chat for bed, sorry?
Mhm.
Right,
okay. Are there some more questions?
Um
yeah
uh some books that I'd recommend for? Three D.
Uh I don't know like I need to read some of some books
um in that aspect, I am actually relying more on like online resources and
yeah,
various different tutorials I would actually recommend course is much more.
Um
Do you guys always use experimental builds in production?
It seems like the opposite of what is recommended.
Uh Yeah,
we're always using the very latest uh in development branch and that's
purely because we're crazy and we are testing blend are constantly,
it's kind of insane. I mean it is something that I would not recommend anyone
and we're only doing it because uh
it's
kind of what we do with the blender animation studio which we test blend are.
Mhm,
mm.
Oh damn it. I'm using this as the actual texture and not as a mask.
I'm stupid.
Yeah.
Mhm.
Yeah.
Mhm.
Yeah.
Thank you.
Mm hmm.
Yeah,
mm.
Okay,
I'm getting this
already in there better.
Um
Another question. How did you learn everything about the different notes?
What key do do you, what,
what
they do and how to use them in combination with each other. I hope that made sense.
Um
Well to be honest starting with uh the shader notes,
I'm actually just using the same notes over and over three, just
mostly you're just mixing color and puts
Um like even just like a beginner tutorial on notes can give
you like 95% of the notes that you will be using.
It's really just gonna be texture notes, the mapping notes,
the texture coordinate uh texture coordinate note as an input to that.
And then just color ramps and Rgb mixed notes
and then eventually you put it into a shader.
Um
But in terms of how they interact with each other,
the little colored dots are really helpful because
they actually let you know what kind of uh
of information they hold and what they want.
Like
uh like for example a texture wants a vector as an input.
That's basically like a coordinate.
Where do does the texture get projected onto? And how? So that's a purple thing.
Um Then it outputs a color and that's yellow. The colour is basically three values.
It's like red, green and blue.
Whereas gray over here, white. That's just a single value. In this case it's alpha.
It's the transparency and that's really just one value.
Um And that's basically most of them. And then eventually it lands into a shader
and a shader gets a shader output which eventually ends
in the material output over here and these are green
and that's basically all of it
um is of course much more to it if you want to dive in deeper but um
overall uh
you don't need to
I think it's really easy to
just use
the default notes, the color ramp, the mix Rgb and really just be happy with those.
Mhm.
Yeah.
Mhm.
Yeah.
Okay here is an interesting part. I actually want this down here to be much brighter.
Give this more of a wash
and over here as well
just a bit more.
Mhm.
I I like to combine these textures a lot with different notes
so it starts to add like a lot of
procedural detail and the textures religious used as a
mask because then you don't need to put a
lot of effort into making like really detailed textures,
painting them really with a lot of fine control.
I can just like kind of like
go over this really rough and it will end up looking kind of good.
Yeah.
Okay
that's also because texture painting and blender is actually not
the most robust
uh how the brush tip behaves. It's actually kinda clunky.
So
I try to get away with that bit more by just
mm.
Mhm.
Uh
Yeah
yeah just
not having to paint that detailed
mm
Yeah.
Okay
mm.
Mhm.
Yeah.
Mhm.
You might need to repaint this. I'm actually not
super happy with this,
I'm trying to rush it a bit
yeah
mm
I will need to leave it at this in a moment.
Mhm.
What?
Mm
Mhm.
Sure.
Yeah
okay.
Yeah I will need to return to this uh next week.
Yeah not really happy with the texture painting that I did right here.
Mhm.
But
yeah
oh but it kind of works, it's getting there.
Um Another comment thanks for sharing your beautiful skill uh which
comes forests addressing or animation of the characters in the scene.
Um
Mhm.
It's a little bit of both because um what um well actually
neither the first thing that needs to be done is layout.
Well that's at least how we call it here at the studio.
So it's like you you start with a story board
and just planning out what happens in the movie and then you need to create the sets
and the rough animation in it and you get
kind of your bearings and like a rough plan you
start making a layout animation that's really just you
take whatever characters you have that kind of match,
like usually it's like some blocks or like
anything that could be recognisable as the characters,
you animate them in a scene that is really just blocked out
and
that way
you kind of figure out where things need to be.
And once that is kind of signed off you can use that as a direct reference
two
work on the sets
and the character animation in more detail so
it's a bit more of an iterative approach.
Uh But yes uh this is essentially the result for today.
Thank you very much for watching. Next week.
I will get more into painting the height map,
polishing up this the textures over here so that the
pants look exactly how I want them to be.
And then adding the textures back for the shoes,
which essentially I already did for rain and it's just really the same principle.
Also I should hide the feet
and then once the clothing is done I can get more into detail with the skin. I can
add the textures back for the eyes and for the inner mouth.
And then lastly it's going to be the hair. I'm gonna leave that for last.
And then it's basically
the shading should be done.
I'm going to do some more turntables and rendering tests. But
um so there's still a few streams coming up but once that is done
I can share the files. This can all be a bit more public
and hopefully the character will be rigged soon and then I can
share the entire thing.
Uh But thank you a lot for watching
and I will see you next week. Bye.