Okay,
I am now live.
I hope everyone can hear me. Well,
I'm going to propose to comment now.
So pinning it so everyone can see if you have a question,
you could just tag blender studio
and then I can see it easier and
I'm going to turn on the music.
Nice. Okay.
I hope everyone can hear me.
Yeah,
so
another stream for
UV unwrapping a character. So I was actually a bit torn on
what I should stream about this week because there's like I
could have just as well done a stream for set dressing,
but I feel like it might have been a bit more difficult than this computer again.
Uh
I'm right now working on probably the most complicated set in the entire movie
of Sprite fright
because it's just so huge and interconnected with all
kinds of sequences and shots and it's just a huge
hassle.
But it is quite interesting.
Maybe I'm going to make a video or something about it afterwards.
But anyway, if you can't hear me, if there's any issues,
just let me know in the comments and I will just get to it.
So,
last dream.
I left off over here. I already did all the U. S. For the body.
So if I just go to the UV editing workspace,
we can see that I placed the, seems I arranged
All of the UV Islands on three different unions.
So
if I hold on in the overlays, if I display will be stretching,
you can see it a bit more better. How well these ups? Actually hold up
and I'm actually going to change something,
I'm actually going to change the
visibility of the wires from outline to black.
It just makes it a bit easier to read.
Um And I don't have any dark textures behind the U. V.
So it actually like I don't need an outline.
The outline is the default because it ensures that the U. V.
Wires are going to be visible in basically any scenario.
But black just takes up a bit less space so now I can see the U. V. Is a bit more clearly.
So
one of the things I really want to adjust is to make
sure that some of the stretching gets reduced a bit more.
Like there is quite a bit of difference between
uh the
I mean the proper term would be tax cell density.
Um But it's like the distribution of the ups on the UV space.
Blue means it's like taking up very little space and the more it goes to read,
the more it takes up too much space.
Somewhere between like yellow and green is actually the optimal amount.
So I'd like to I would like to tweak this a bit more.
Um
And basically uh because it's three different you ve uh you dems
the color is going to be different between them.
So I don't mind that this is this part over here is way more yellow and
this one is way more green because I want the hands to take up more space.
That's why I have them on a different um tile.
Um so this dream is going to be less of uh probably a bit less slow pace.
Uh I'm still happy to explain anything if you have any questions
but it's not going to be quite a tutorial for UV unwrapping.
Um
Okay
mm
if I now look at the, I'm actually going to change the report.
Okay, here we go.
Studio lighting,
I'm going to use this one which is usually used
for painting but it actually lights everything quite evenly.
Super nice.
Ah
Maybe I'm also going to enable cavity.
Yeah, just to get a bit more,
bit more depth in there. It's just a bit for visualization. But yeah, if I look at this
uh most of the hit or like the face is pretty evenly distributed.
I like that it's getting a bit stretched towards the nose
and the lips and I can't quite do anything about that.
That's just a natural thing that happens because you can't unfold the face
more evenly unless you place more seems and I
don't want to cut out the nose for example,
there has pretty much been only one character ever where
I cut out the nose and that's because the nose was
insanely protruding outwards and it just made it so hard.
Two
ah
to get away with stretching
without stretching.
Uh Anyway,
the lips as you can see over here it is a bit like stretching outwards
and I would like to tweak that,
so I'm going to select everything and disable overlays just
so I can see the model a bit more clearly
and everything that selected shows up in the UV editor,
so I'm going to zoom in over here.
Mhm.
By the way, I love the new um splitting and merging editors over here,
so if I like drag this over here, I can like
uh split and merge editors and now if I like
track this over here I can actually switch these,
I can just recommend to like play around with this
with like dragging across corners and see how it works,
but it's actually quite intuitive to just like have
these angles horizontally or vertically vertically this way.
Okay, I'm gonna switch to Ortho graphic in the view port just
so I can actually
see the
the distribution of the U. V. Is a bit more clearly.
Okay,
and then still have like a bunch of these little
pins over here and I would like to select them.
Yeah
and move them over.
Uh huh
Let's see,
actually going to
first off height,
the UV points over here in the center so that they
don't move and then I'm going to enable proportional editing with Oh
Mhm.
Does it actually show up
weird. Wait,
where is proportional editing?
Mhm.
I think it actually doesn't show up in the UV editor.
Seems like a strange buck.
Mhm.
Oh
wait what?
Mhm
mm
Okay I'm just trying to get the size down. There we go.
Okay
Oh boy it's it's really lagging behind. Okay
I'm actually going to disable the the subdivision surface modifier in
edit mode just so this all runs much more smoothly.
Okay and then with all uh if I press so I'm
enabling proportional editing and then I can move any of these points
but more easily
there we go.
Mhm
mm
I'm actually going to pin all of these,
this entire line at the corner of the of the mouth.
Mhm.
Uh huh.
Here we go,
he's actually not connected,
it's not good um I'm gonna merge these can I?
Mhm.
Yes I can.
Perfect.
At least it's using the same shortcut
as an edit mode
just m for merging
um
see
Mhm.
Yeah
mm.
Yeah.
Okay.
Mhm
mhm.
Yeah.
Mhm
mm
I think the issue lies more with the chin as well
so if I would yeah if I would move this further inwards
you can see
and it actually
also relieve some of the stretching.
Yes that's it
looking much better.
Mhm.
There we go.
Okay I'm much more happy with this right now and just because I changed one side,
the easiest way to keep the other side and sink is to just mirrored across.
I made sure that all of the U. Visa actually completely symmetrical,
All three
tiles are completely symmetrical
so
if I would now actually just select the whole center loop,
I could just hide it. Delete one side and mirrored across.
But I could also just add a mirror modifier
like this.
Okay and then I'm going to um first of all said bisect on X.
So it's not just mirroring over one side to the other,
it's also deleting the other side for me.
Um Then I will also mirror the ups along the U.
Axis which I can set over here and also enable flip you dems. So it actually also
I can like read the tool tip over here for more info.
It mirrors the texture coordinates around each tile center so along all three tiles
it would
actually just
mirror
the U. Visa as well so I can just apply this
and now I got all the changes actually applied
just like that.
Perfect.
I also see your first question uh why why is the
mirror modifier not working while a shape key is added?
Yeah that's a bit unfortunate. It's um shape keys are a bit tricky.
Um Once you have them a lot of modifiers
can like any modifier can't be applied anymore.
That's sadly how it works. Um
I wish it wouldn't be the case.
There's some technical reason behind it but you can
actually get get around that issue by um let's say
hold on I can actually
quickly. Uh
Yeah.
Uh Wait can't I.
Yeah I can run linda from from here so let's say I have an object over here.
I'm just gonna quickly answer that question just because uh it's an interesting
problem like you have a shape key.
Um
And in that shape key like you've done some stuff
and you have like uh subdivision surface modify I even.
And you want to apply it and it says no you can't. Sorry.
Um What you can do to keep that shape key around is you could duplicate the object
on one of the objects,
delete the shape key and on the other objects
delete the basis and then delete the shape key.
So now you've got these two different shapes
which are basically exactly your shaped piece.
You can apply the modify on both of these objects
and then select your shaky object, select the original object.
And then
over here you can say
join as shapes
and it will actually take all of your selected objects
and added as a shape key to your active object.
So you have essentially your uh your shape back.
So you can just apply any mortar fire.
And um
and that's how it works. I just wish it would do that automatically.
Like if you would ever want to apply and modify it would just do exactly that.
But it doesn't
anyway
getting back to the movies.
So overall there's still some like little areas
over here which I would like to tweak.
And I think because of that I'm actually going to keep the mirror modifier for now.
So
enabling bisect
we go
uh And also flip
U. V. S. So now if I would if I would actually change one side over here
it would
change
both. Like you can see that any changes to the U.
Visa actually mirrored across to the other side. Perfect.
Uh
Okay. Hold on.
Uh Maybe someone knows about this.
I'm very I'm kind of confused that there's
no proportional editing settings in the UV editor.
Maybe I'm missing something.
Mm Especially because I want to enable
connected proportional editing which is usually all oh
but in this case that would open an image the shortcut has already taken.
Maybe I'm not remembering something.
Um
Yeah.
Anyway I'm just going to continue. Um
mhm.
So one thing I could do I guess is to actually use the grab brush in stop mode.
Which does actually work with connected islands.
So I can just grab any of these points over here and
just move them around and it's actually automat automatically masking off.
Um
Mhm.
The
like the islands that are not connected like that.
So now there's this distributed just a bit better.
Um
This is the these are the inner nostrils so I'm just going to keep them like that.
I think that's fine over here. That's the
Oh boy, that's the temple.
No it's the what is that?
That is actually the back of the head.
So why if I move this,
does it actually freak out.
It's very strange.
Mm
Do I need to mirror it?
No
I remember this issue with
with life. Unwrap but usually it's when
when faces are
are inverted it's very strange.
Well one thing I could do with in this case is just to pin
everything over here and then I have four control over it or not.
Yeah
interesting.
I think I see what's happening. I'm gonna uh sink this election between the three D.
View port and uh
you're the editor and yes I unwrapped this wrong
um
I'm actually connecting the two UV islands over here on
on this side.
Yeah
hold on. Where is this?
Mm
mm
wow.
Yeah
this I'm connecting the two UV the two sides over
over here on this side which makes no sense.
I wanted to be connected over here
and that is
this edge
that's fascinating. I unwrapped this
in a pretty wrong way so I'm gonna unpinned this completely.
Hold on
mm.
Yeah I'm going to undo the pinning like the entire thing.
Yeah there we go.
And then I'm gonna a NSYNC the selection just to be sure I'm never
messing anything up so all pee on pinning everything over
here and then I'm just gonna unwrap this again.
This specific part
and then I can scale it down.
Mhm.
Hold on.
Yeah.
Oh
it also happened with
was he in the mouth
because there's no seam over here
Mark C.
Mhm.
Yeah
mm
Sorry if I'm not explaining this well right now but I just have to
figure out um
Mhm.
What exactly was messing up my movies?
I also see some new questions uh
how do you use the asset browser? Well I don't use them. I don't use it yet.
It's very experimental and still waiting a bit until I can actually
use it properly.
Um
uh Also question why is your wrap mesh colored in the UV editor?
The sexual you actually have overlays hold on. Um
And the UV editor and I it's called displaced stretch.
And then you can show your area stretching.
So how much space here you guys are taking
up an angle stretching how much they're getting skewed.
Um So these are actually really helpful and I would mainly focus on this one,
the area stretching.
So let's take uh
essentially tells you how much
density your ups are taking up on the T. V. Space. Um
Okay
so
now
I'm going to scale this down so it has roughly the same colour as everything else
like that
should be fine.
And then I'm going to pin some points over here.
I usually like to pin the corner points,
same thing over here
and then everything here in the center.
And now what I'm doing is I already have the three D. The two D. Cursor
over here in the center
but let's say I have it somewhere over here.
I can actually go in here and it's actually a bit hard to read. I think. Sorry,
I can actually set the to the cursor position and if I said it 2.5 and .5,
it's exactly in the center
of the first you'd um
So now I can actually scale this over here and scale it along.
I here's my pivot point settings,
scale it along the to the cursor
and then scale it down on the X access to zero.
And now I can be sure that it's exactly in the center.
Now if I like nudge these points
remember,
should be able to
I want to relief a little bit of stretching here in the center,
but that won't be very easy to do.
Yeah,
I mean,
yeah. Okay. Um
yeah,
not a huge fan of how the proportional
editing is actually affecting other UV islands.
There must be a way around this.
Yeah,
but this seems to be good for now.
I'm gonna just
yeah,
move some of this around a bit more.
I don't care about the right about the left side
over here because that one is just going to get
uh mirrored later on.
Yeah,
Okay, moving some more stuff around.
Mm hmm.
Mhm.
There we go. Okay. I think that's just fine.
The animals is fine.
I don't like how much stretching is happening over here on the shoulders,
but there's not much I can do about it
can like move some of this a bit more round, but
now it's still gonna remain blue
can stretch this a bit more
get it more towards green. Same thing over here
like that.
I'm going to just quickly look at what I got.
Mhm.
Yeah the back of the head I don't actually care too
much about it because it's going to get covered by the hair
and if I add exit to object mode I think this is all looking pretty nice.
This it's a bit wobbly over here but
hopefully that shouldn't be too bad
especially once it gets subdivided which is
the most important thing for me that it looks well when subdivided.
There we go.
Okay
I think I'm gonna leave it at that. I'm just gonna quickly look at the hands
also. Again I'm just gonna
quickly switch these.
Mhm.
So I have the UV editor at the top again.
Yeah.
Mhm.
Yeah
it's quite a bit of stretching over here on the hand. It's not nice but.
Right
hold on. So if I have
connected only over here in the three D.
View port, it's also using connected only in the
um and the UV editor.
Okay so these are exactly the same settings.
They're just not they had shared across the editors
but for some reason it's not displayed in the
it's not even displayed in the UV editor. That's a bit of a shame.
Um
I see some more questions. Uh will you be making a stream about Ricky?
No not me at least. Uh maybe maybe someone else.
Um why is the lower jaw or teeth up in the air? I think it's above the head. Please check
up in the air. Wait if I hide this now.
Oh
yeah, something went wrong. Thanks for the tip. Um so if Ryan hide everything,
what happened here?
The teeth are gone?
Mm hmm.
Mhm.
Where the teeth?
Yeah,
yeah,
they're up here.
It's so strange.
Yeah.
Okay, um
this is ideally something I would revert
like I would search for the last version where this wasn't broken,
but let's see
mm
I'm just gonna quickly try to fix it, my hand, which is not the best way to do it, but
wow, thanks for the tip.
Um
another question.
Uh if I recall correctly in the previous dream,
you hit some of the items on the header.
Perhaps that is where the missing proportional editing options are?
Well, I did try to look for them.
They're like there's like two aspects to the header
and that's the header itself and the tool settings,
but
there there are no extra settings
that I could like show. So if I have the tool settings, it's just showing the pivot
settings which is also a bit of an issue.
No, it's it's always there. Okay.
Mhm.
But yeah, the proportional editing settings are just not there.
Um
Another question why is UV unwrapping important? It's essential for texturizing.
So if you want to have a texture on your model,
you need to have your vis.
Otherwise it's not gonna work.
Okay I'm actually just going to delete the lower teeth and the lower. Um
wow.
Uh Yeah I'm gonna delete these two objects and I'm
just going to get them from a different file.
So I'm just gonna switch for blender.
Let's see.
And I'm going to go to the original sculpt that I had
because I know and there I still have the
teeth and they they are already read apologized.
I I stole them or like I stole them from one of my previous models from rain.
So
it's just saving me a bit of time. So yeah. Here we go.
Mhm.
Okay.
Um
I don't need this. What I need is
this one.
Oh boy.
Okay. The original sculpt of snow
and
there are no teeth.
So over here still no teeth expression tests their teeth perfect.
So I'm just going to go to frame one.
And
yeah, these are pretty much exactly the teeth that I meet so I can just take them.
But first I need to select both of these
um parent them from whatever their parents too.
Just so I don't drag that with me into the other
file and then kill any animation that these might have.
So I'm just going to right click on these and clear key frames.
Because that will also just cause issues. Once I copy them over.
So now I can just select them. Control C to copy them,
go over to the other file
and control V.
To paste them crashed.
Goddamn it.
That's what I wanted to avoid. The crashing. Okay why is it still crashing over here?
I think it's. Oh yeah
I know why
I have drivers on shape keys.
So if I get rid of these
I can copy it.
I should report this bug.
Actually I had this now multiple times so I know what's causing it.
Um
Hold on.
Okay
is this looking right?
Yeah it is. Okay. Now I got the teeth back where they're supposed to be
and just to make sure that they're not flying off again.
I'm going to uh
uh apply all that transforms so apply all transforms
and now they are completely in a zero location,
zero rotation and scale on one so they won't actually move or
if they move I can just reset their transforms and then they should
get back to the same spot. So if they ever move away again I can just press all G.
And they're snapping back.
Or like if they would rotate scale and move like before I can just press ALTs G. Old R.
And old S.
And it just resets their transforms.
Um
Another question how to make the inner mouth.
Uh Well I have time lapses on the blender cloud.
Um If you're interested so this character is
kind of tied to the stylized character Workflow.
Uh Of course I did on the blender cloud
so you can check it out over there. Um
There's like plenty of time.
That's where I'm actually sculpting and modeling teeth.
Um When sculpting I always somehow run out of
geometry even if I'm remembering I see someone ask um
well it's a bit of a like it's a bit a bit of
a skill to work with the least amount of resolution that you need.
So
try to not go to the tens of millions of faces.
Uh You can you can have like uh dozens of millions of uh faces of geometry in your scene
in your view pool view port but you should try
to keep it to an absolute minimum per object.
So
when I sculpt it um
mm.
Mhm.
Yeah here we go.
So when I sculpted this you can actually look
at the resolution and it's actually not that dense.
Um overall it's like 5.7 million faces now. 5.75.8 million triangles.
It's actually like
2.82.9 million faces.
So I didn't need much more resolution than this to get to
the amount of detail that I needed to capture all the shapes.
If you need to get to like a super high
amount to define every wrinkle every crease every poor.
Then you should do that. Either of your text hering
or via the multi resolution modifier.
Um But that is like that is a bit of a tricky task to do
uh shouldn't be underestimated. Uh Anyway back to the U. S. And some questions.
Um What is the shortcut for the navigation in view?
So hold on I actually have a different shortcut like
I think you mean this one the view by menu?
What is the shortcut for the navigation in view?
Uh It's
it changed in the current uh like right now there's a bit of
a discussion going on in the latest alpha version of three point.
Oh but in any other version it's on tilda,
it's the key above tap.
Um
I see. Falk ask is the bug copying an object with drivers to another file.
I can write up a report and test it on my end.
Yes if you could test it that would be amazing.
It is really if there's a driver
that is referring to an object that is not being copied over with the other one so
it's then it just doesn't understand, it's like it's your it's like
referring to an object that doesn't exist and it crashes.
Uh That's at least my uh suspicion. Um
Yeah
and another question but we have to pay for them. Yes sorry.
Um uh Yeah the time lapses are all um behind the subscription
so
that's a bit sad but I don't have time to actually show it in the livestream sadly.
Uh huh.
It's quickly drinking something.
Yeah.
Mhm.
Maybe if I do another sculpting livestream, I can show it.
Mhm
Okay,
okay,
okay, then I am
pretty happy with the U. S. For now. The hands could be better,
but hold on,
I'm actually going to try it so I'm going to pin some more points on the hands.
Mhm.
Here we go.
Like that.
Any pinpoint will not move
what will only move if I wanted to
and I can also pin these points over here.
Yeah,
yeah,
Yeah.
Go.
Yeah,
mm hmm.
Okay, I'm actually going to move to
the sculpting brushes and the UV editor just to get like a sense of
what I want to achieve here.
So if I smoothed over this
little bit only like very suddenly
you can actually see
what would be the ideal
distribution.
Okay,
now I'm just going to select all of these pinned um
so if I move one of them again,
okay, that looks much better.
I'm going to do the same thing over here. Just select all of these guys and pin them.
And now if I use the sculpting brushes,
I can distribute them a bit better.
Mhm.
We go,
I think this might be fine.
And then I can just move one point and it just adjusts everything that is not pinned.
Mhm
Same thing over here, I'm going to pin these.
Ah
I always pressed the wrong shortcut
Oh God
model.
Okay,
this is getting a bit more
like better distributed. There we go,
I just wanted to be roughly the same color.
Mhm.
Here we go
and then I'm also going to pin all of these
and I can like move this further in.
Mhm.
They share a bit more of the same color,
same thing over here.
I'm gonna pin all of these
and then smoothed over them
and then afterwards I need to check how much that actually
how much stretching that actually causes on the individual UV.
Uh
Uh huh
points
in the individual face, corners of the ups
but I think this should be fine. Let's see
fully. Okay
that's one of these points, see what happens.
Okay I'm actually going to switch the stretching from angle,
the overlay from area to angle and then I can see what I'm actually doing over here,
it's actually going into yellow, that's not good.
Um
Yeah
the stretching
of the angles over here should not go into yellow. If anything green is still okay
but if it gets too what's yellow?
That means the UV faces are getting so skewed so stretched
that that will be showing up in the U. V. S.
Mhm.
Oh man orange is even worse.
Mm
Oh man okay okay.
Mhm.
Yeah
yeah I feel like I'm I'm like
mm
getting close to something but it takes quite a bit
of effort to not ruin the ups over here.
I wish I could change the seems a bit so this gets a
bit more like a bit better distributed but I think it will be fine
like this.
Yeah
okay I'm going to switch the
yeah damn it.
Mhm
mm.
Yeah
I think I should just leave it on this
otherwise it's just gonna get worse.
Um But I should also check it out
In the three D. View Port, How does it look from below?
Um Well I guess that would be more obvious once
I actually open the palms but like open the fingers,
stretch them
but I think that should be fine.
It's not perfect but it's
also not necessary to have it. Exactly. Perfect. Okay
um
Some more questions please make a sculpting time. Let's which shows from scratch.
If you can if you can on Youtube
that would be nice.
Um I only did like a couple um sculpting time,
sculpting live streams on the blender studio channel before and it was for Michelle
the character from Cosmos laundromat.
Like the original correct main character.
Um
ah Some questions I'm new, can you please help me?
Sorry this is less of a tutorial but I can answer specific questions
um uh Falco uh says wasn't able to reproduce it,
copying an object with a driver to another obstacle,
paste both objects and new blend of file instance what?
Then I will try to reproduce the book. Uh
I'm going to do that later then.
Okay. Um
Perfect
okay so I'm going to leave the eu visit that um
for the body and I will repeat basically what I did for
the clothes. So that's the next part.
There's also still the hair and there's the inner mouth objects like the teeth,
gums, tongue,
the eyes all of that stuff. But I think the
the clothing would actually be really nice to next.
So that would be
the shoes,
the
pants and
the shirt over here.
Okay
so I'm going to just give them the same material so they can also show this
great texture that I have
them
and we can see the U. V. S. Are basically non existent or completely messed up
luckily because I copied over
this object from
from rain. Actually already has a UV map.
Um
Let's see I just need to split the object into
multiple ones.
Let's see.
So there's the sock that needs to be its own object.
Yeah
and
all of this is already UV unwrapped
and the laces are their own object as well
as well as all of these little
grommets.
Well like uh
I don't know what the actual term is. I just call them chrome. It's
ah
okay so all of the different
shoe objects and are separated
but
yeah this is really just kind of unwrap the same way as I
did the body if you're interested in that you can watch the previous livestream
um Or you can watch me now Unwrap
the
clothing pieces in the same way
there we go.
Okay.
Okay so I'm gonna go into edit mode over here and
I think I'm actually going to use this overlay for once
which can actually be helpful.
So fade inactive geometry so it's just fading all the other objects
so I can focus a bit more
on this one.
There we go.
So same story over here.
Uh Well first off I'm just gonna press you and then reset the U. V. S.
Um
Actually I'm just going to scale them down to zero.
There we go.
So that means all the movies are gone, like I can just completely start from scratch,
I'm going to keep the subdivision surface modifier
enabled so the geometry shows up nice and smooth
and
luckily during the sculpting and also the rich apologizing,
I made sure that there's a
loop directly, pretty much on the seam over here,
the actual seem of the object,
so I can just select that one
and mark it as a scene.
Here we go.
And it actually just unwrapped it because I have live unwrap enabled,
same thing in the three D.
View port.
So now
if I actually
again just like I said in the last live stream, if I select one seem,
I can actually press shift G.
And then select similar and I can select can choose
seem and then it select all the seams I have
and then with a shortcut
control shift m I think it was no
um
I can search for select
mirror
control shift. Em
Yeah
it actually fails because the object is not symmetrical. Okay
so
ha ha dammit.
That's actually something I need to deal with now.
Um It was pretty easy to make symmetrical you vis
for the body because the body has perfectly symmetrical topology.
But
now over here that's actually not the case. That's an interesting effect.
Let's see.
Yeah
the shirt and the pants are actually a symmetrical geometry
so keeping them symmetrical will be pretty difficult.
Um Let's see
also I'm going to place a scene right over here
and over here because there's also a
I see him here.
It's actually see
you can actually switch between E. V. And Workbench to see the geometry more easily.
Yes. Yeah. Are like seems in the geometry right here.
So if I mark this as a scene
that for
much more nicely, also split the
front
and the back
of the shirt into two,
basically like how a shirt would be sewn.
Yes so I have the front part and the back part.
Perfect.
Then I'm just going to put this into local view
so I can focus a bit more on this specifically.
Let's see
I actually want to separate the inner side
where the inner sides
of the shirt
over here.
So I'm going to
mark this as a scene.
Same thing over here.
Mark This one is a scene
also over here on the color.
It's not much but I would still like to
I mean
like to have this separated
and the same thing at the bottom over here. Probably yes
for here again I also want this separated.
Mhm.
Okay
now we got
there's also some new questions
what does pinning before,
what does pinning before smoothing?
Um Well I can show you so I I'm going to show what pinning does.
Um Especially in combination with live on rap words actually meant to be used with.
Um
So I actually enabled life unwrapping over here in the U. V. Editor and in the three D.
View port which means if I would at any point
add a seam or make any adjustments
to
uh anything in the UV editor it will just automatically unwrap the model again.
So I could like
uh like for example move this over here to the side,
scale it whatever but the moment I place or clear
another seem it will actually just unwrap it again.
It's really useful.
Uh So I don't have to constantly unwrap
everything again but it actually has another purpose.
So
just like how I did with the other objects, I can actually
just
uh pin individual points over here
so I can select individual little UV points and press P.
And then they're pinned their red.
So same thing over here,
I can just select all of these for example and now if I scale these, hold on.
Um.
Mhm.
Uh huh.
I actually have the
selection sink but I didn't want that. So now if I scale all of these along the X. Axis,
it actually like flattens
the side over here
and it it adjusts all the other
movies to it. Like everything that is pinned. I have complete control over
like this
and everything that is unpinned
will move in relation to the other pins.
Uh You ve points.
So that is super useful.
I'm gonna quickly undo all of that pinning though.
Yeah
and let's see
first of all I want to make sure that I have all of the, seems I need.
Yeah
I think I do.
Mhm.
Let's see
I mean it should be good.
Um
So the pinning I can really use to straighten the U. V. S. So let's actually go to
uh
E. V.
And I want to actually like if I rotate around and even the Hdr I that's
lighting the model is not moving with me so I can like I can toggle this button
and then
the lighting of the Hdr the Hdr I light will actually rotate
with the view port so that makes it a bit easier.
Um
and one is safe
so
what I really want to achieve over here is I want to make sure that the
U. Visa again
as symmetrical as possible
but I also want to straighten them so that once I would
add a uh a fabric pattern as a texture on top.
It would actually follow the U. V. S.
Um So that makes it really easy to like um
add any like fine detailed texture. If the U. Visa are laid out really nicely
it will just follow the direction of the fabric like a. T. Added to it.
E how the saying goes.
Uh
So I'm just going to rotate this around.
Mhm.
Move all of these away.
I'm just going to focus on the front and the back of the shirt for now.
Yeah.
Okay
okay so
for example over here this would look really ugly.
Imagine the grid pattern is your uh your fabric
direction.
You don't have a shirt that has fabric patterns that move in a curve along the sleeve.
It's just not how how it works.
So I would like to fix this and clean it up a bit.
I'm gonna pin these
over here again
like that.
I'm also going to pin,
he's down here
and also I would like to pin all of these in the middle.
I know that these specifically are perfectly
in the center.
Yeah
all the way until here
I think.
Mhm.
Yeah
so I can also UNp in this one
and I want to pin these
and have these perfectly in the center
of the UV map.
So let's just do that
mm
for that. I'm actually going to disable the display stretching. Uh
overlay just so I can align it better
like that.
Okay then I will select all of these and actually
scaled down them down to zero along the X axis.
Then I can select all of these points over here.
And let's enable the display stretching uh the overlay again based on area.
That's correct.
And then I'm going to scale these two sides along their individual origins,
so if I would normally just scale them along the X axis, like this would happen,
but I want to flatten them so I'm
going to scale them along individual origins like that
syria.
Yeah,
now
I'm also going to pin this point at this point.
Mhm.
Actually I'm gonna pin
all of this
and actually scale it down along
the y axis.
Mm
mhm
mm
Keeping the symmetrical will be quite the challenge.
I wish that would be an easy way is your way. Okay, here we go,
proportional editing. I can
scale this.
Mhm.
Uh Unpinned this. Okay,
I also see some more questions popping up in the chat.
Um Will there be any modeling streams? That would be nice if I could do that.
Um
uh Thanks a lot. Your videos are so helpful.
Can you briefly tell us the important main cuts for the
the important main cuts for the UV unwrap?
Like I mean for the shirt, I can show it, it's
in that case, I pretty much
really just try to place them where the actual seems of the cloth would be
so along the sleeves, the color,
wherever you would want to have actual scenes later on over here,
like over here, like you can actually see it in the shape,
this is where you would also want to place your UV seems.
Um
uh also another question important question. Could you tell the name of the film?
I really don't know and you're all videos are so helpful. Thank you for these videos.
Thank you. Um this is actually not tied to any movie.
Um this is just another character that will be
freely available once it's completely textured and rigged,
um
which I don't know when that's going to happen,
but there's already another completely free and open source character
available in the same series and she's called rate,
you can actually find more influence the description of the video
also where to download her. Um
another question uh I thought the main character
in Cosmos London laundromat name is frank,
it is,
but originally the main character of
Kostroma Cosmos laundromat was called Michelle.
So um
there was quite a bit of changes in the story apparently and the original,
like you can uh you can look up on Youtube
um a project gooseberry trailer
and in like that is going to show you
the original character designs and the original story essentially,
and how much that that has changed?
It's insane.
Okay,
I wonder if I can
Okay
mm
so this is kind of what I want to have,
but the fabric is getting stretched a bit over here, which is not great
mhm.
So I actually need to move it in
so if I now take all of this and move it in how much uh like
point minus
-103
and I can select all of this and move it in
.03 along the x axis and then it will still be kind of symmetrical.
Now what about the the area over here, that's getting quite a bit of stretching,
that's not great
actually want to see how I could solve that, like this, basically
not moving it just down but also to the side.
Mhm.
Yeah
yeah.
Okay, so I'm gonna move all of this
is actually a bit more to the side over here
yeah
mm Yeah now it's getting really tricky
mhm
I don't think I can keep the shirt symmetrical, it's just not something I can do
yeah.
Mhm
Yeah,
so I'm actually just going to move it around.
Oh
yeah,
here we go.
Yeah
yeah
yeah.
Okay
yeah,
oh it's actually overlapping you've is over here, I don't want that,
yeah.
Mhm
Yeah
yeah.
Mhm
Yeah
yeah
there we go,
yeah
yeah.
Okay,
okay.
Mhm.
Yeah
yeah
I don't know
yeah
okay,
okay, somewhat worked up, I moved everything because it's somewhat working,
I want to have this somewhat lineup,
are there more questions
um
when I put all the seams where the shirt would have them uh they
do I I do have the seems exactly where the shirt would have them.
So kind of, it's not
shirts are sometimes sewn a bit differently, but in this case I have
actually, if I would have wanted it to be
ah
with less stretching, I should have actually
mhm
mm.
Yeah, I should have probably read apologized this and
sculpted this in a way where the sewing is actually exactly going over here as well.
Right, for long here,
Almost
right now I have a scene right here,
but realistically you would not have the sleeves as
the same piece of cloth as the main part,
so that's a bit on, that's a bit of my fault.
Um
Mhm
I think I can still add uh seems over here and I will add seam.
Okay,
okay, I'm going to add the, seems right here.
In that case, I'm actually going to select all of this
yeah,
and get rid of the pin points.
There we go.
Yeah,
lost a bit of progress there, but it's fine.
Mhm.
Yeah, this will this will make it easier for the sleeves.
Um
another question used the top effort as the rotation pivot.
Mhm.
Um
it will cut vertically
as your shirt.
Sorry, I don't understand,
it's a bit of a yeah, it's I see this too late,
I I feel like this would have been relevant a couple minutes ago.
Okay,
mm.
Yeah,
okay, okay, okay, so
mhm,
think over all
this is already working kind of, well, I can pin this again and pin
these parts down here
and now I can scale this
down so this happens.
Yeah,
this gets a bit more straightened. It's perfect
then I'm gonna actually pin these.
I'm just gonna try this and scale them. Get along there.
Mhm.
Let's see.
Does that actually work?
Oh.
Mhm.
Move this outwards,
move this outwards.
Mhm.
Oh
and these pinned vortices were kind of left behind.
Oh.
Mhm.
Yeah,
more.
Mhm.
I need to enable proportional editing
otherwise I'm just going to run into issues.
Mm hmm.
This is already working pretty well.
Mm
mm.
Yeah,
here we go.
Mhm.
What?
Yeah, this is
like if the sewing pattern would if the texture pattern
would follow the SUVs it would actually be quite nice.
No obvious stretching
everything kind of even
so now I can just do the same thing for the back.
Mhm.
It's going to disable proportional editing again.
Mhm.
And the same thing over here. I want to
pin quite a few of these. So I'm just going to
sink the selection,
select all of these over here and pin them.
Now I want these
to be scaled down to zero along the X axis exactly where the two decreases.
Mhm.
So if the two d cursor is exactly in the center
of the you retire and I scale this down.
Don't sink the selection
anymore. Okay. And I've scaled this down to zero.
Yeah,
there we go.
Yeah.
Okay,
now I need to pin these over here as well
and scale them down along the X axis and now they will align perfectly
with the other side.
Yeah.
Yeah
like that.
Mm hmm.
Yeah.
Hope
now over here this I actually want to
scale down
as well
and the Y axis because
mhm.
Oh
then the
Uh huh.
If this is like if this uh hold on uh if this is cute
it might
look exactly like the model but it's not how the fabric
pattern would follow the model
realistically. It should
follow
the
like it should follow the shirt, there's like folds over here
and it shouldn't go like like straight over here.
So
if I
under this a bit
scale,
hold on a
scale this down
on the X. Access.
Come on. Why
why is this happening?
Oh I think I know why.
Or the moment something overlaps with the other pinned points.
That will actually freak out.
Damn it.
So if they pinpoint is overlapping with another one and this happens a lot.
It will not understand how the U. V. S actually relate to the three D. Model anymore.
That is insane.
Okay let's pin these as well.
Yeah.
And
move them, scale them also along their individual origins.
So I get this a bit more straight
which means
this is getting messed up.
Yeah.
Mm.
Yeah. I don't mind if this is getting
bit more skewed
but it should be more straight towards the bottom over here.
There we go.
Okay.
Mhm,
mhm.
I think this looks kind of nice. Okay, what's going on in the chat
Hola?
Yeah.
Okay, so
now there's still the sleeves,
I'm actually going to sink the selection just so I know where, what is
mhm.
What's going on with this?
Oh, that's the inner side,
yeah.
Why is it moving together though?
That's strange. Yeah.
Oh, it's proportional editing.
Mm.
Mm,
wow.
Yeah.
Okay, so this is the right side,
Hold on,
Yeah,
mm.
Mhm.
Yeah,
Yeah.
Mhm.
Yeah.
Mhm.
Yeah,
Yeah.
Yeah,
I think I'm actually going to get rid of this seem over here.
Oh,
thank you.
Which messes up quite a bit of the movies
actually. No, it doesn't.
Um
I can just clear the seam over here,
which just means that
he's got adjusted. I could just move these away. Yeah.
Didn't actually change anything,
only that these points also need to be pinned.
Mhm.
Yeah,
yeah.
Mm.
This one as well.
Mm
mm
mm.
Mhm,
mhm.
Yeah,
Looking for
mhm.
Okay.
Mhm.
Yeah,
yeah.
Mhm.
There we go,
mm,
mm hmm.
Now I want this to still be symmetrical.
That's the tricky part.
Yeah,
somewhat symmetrical.
Okay.
Yeah.
Mhm.
So this is the right side is the left side.
Mhm.
Actually need to scale this down a bit.
Mhm.
Yeah,
and now they're sort of the same size. There we go.
If everything is kind of blue, that means the island's overall have the same size
the more it's blue the better it is but
I wish the overlay would take you dems into account.
Yeah
that would be nice
yeah
mm
Uh huh.
Anyway I'm also going to get rid of this team over here
which means I first need to
mhm
If I pin two points
on a UV island
it means uh it won't move with life unwrapping because it has somewhat a sense of
position,
rotation and scale
because it has to uphold the position of these two points
part of the island.
Mhm
So now if you make any adjustments over here to the seems that will
change whatever it can
look over here
clear seem
oh right
actually shouldn't pin these points then
can clear the seam and now they get actually added down here
wow.
Yeah
okay I'm gonna pin this point these points over here instead
talk
and not these
mhm
Yeah
here we go.
Yeah
yeah
yeah.
Right
yeah
mhm
Okay
mhm
Okay it's getting this down again
God
just
aligning these SUVs in a way that makes sense.
I feel like there's a bit of overlapping movies but I don't know why
Yeah they overlap actually over here,
not exactly sure why
whatever is causing this I need to stop it from happening.
So I'm going to pin these points over here just so I can move them around
in a very specific way so they don't often happen.
Mhm
Yeah,
there we go.
Yeah.
Ah I see some more questions.
The blender Mish, The Michelle sculpt is starting from a base mash.
I want to know how to do it from a sphere.
Oh well, I mean with the Michelle model, I intentionally the
used a base mesh as a kind of a bit of a challenge
because it was not the best base measure to start from.
But I wanted to test some of the
towards for re sculpting models.
So I thought it would be a funny idea to actually start from
the final topology of uh frank and just make Michel out of that.
Mhm.
If you want to know how to start with a sphere or like
any other primitive objects there is
like I cannot count how many time lapses and how many tutorials they are on Youtube.
I wish I could like make a,
maybe I should at some point like make a playlist or something.
I would love to do that. Just of the best time lapses and tutorials that I found. But
if you just search for it.
There are plenty of answers actually.
Yeah.
Okay, hold on. So
yeah.
Mm.
Yeah.
Mm hmm
mm hmm.
Mhm.
Okay, this is the back, this is the
back over here. This is the front.
Mm hmm
Okay, rotating this France. Okay.
I just need to check if the orientation of all of these actions is actually correct.
This one is not
mm.
There we go. And this one is also not rotated correctly. I want to rotate this 180°
over.
This is why I love this grid pattern. I can actually see the orientation.
Mhm.
This is also wrong,
is it? Yes it is.
Mhm.
Okay.
Now
I'm going to try something if I have this
mirrored.
Yeah. The
UV unwrap the automatic. You'll be unwrapped. Just kind of breaks.
It's participate of a shame.
Yeah.
Mhm.
Okay. But I'm just gonna fix one side first.
Yeah.
Okay
so the same thing as before.
Pretty much I'm going to select everything over here and I want this
like the pattern of the grid the US to
actually follow how the sewing would actually work,
how the uh texture would later follow
the structure of the of the surface. So for now scaled as long the X.
Access to zero skated up.
Yeah.
With the pin points. You can actually ensure that this happens.
So now it's actually nice and straight.
Although
I would probably also want this to be a bit more straightened just and rotate it
like that's
just a tiny bit. Okay.
Now on the back I think I need to pretty much exactly the same thing.
Yeah scaling this along
the X. X. Zero scaling it up
like that.
And it's super fast and easy to actually
make the pattern
be straight.
If I enable subdivisions the subdivision surface modifier.
I can actually compare.
I'm also going to pin these.
Scale them down
because then I can actually compare this.
Mhm.
And make sure that both of these sides are
completely straight and leading into each other like that.
Mhm.
And the same thing down here so I can just like pin these points right here
and scale them down along the X. Access
to make sure they are perfectly straight
like that
now they lead perfectly into each other.
Mhm. Like exactly like that.
Mhm.
Yeah.
Yeah
mm.
Mhm.
Yeah.
Uh
I see someone say stitch will help. Maybe I try not to use stitch that much anymore
especially or at least once uh times while I'm still using life.
UV unwrap it's actually like I don't need stitch I can
just remove seems and it will just stitch them back together.
So stitching is kind of nice if you don't want
like if you already have everything unwrapped and
you want to do some very specific changes
that won't mess up like
your your V. Is completely but just kind of like move them around.
Mhm.
Yeah.
Um
Is it required to go very detailed with the U. S. For texture painting?
Uh Not necessarily I'm going quite detailed with the clothing because I want um
to not
paint that much.
I want to be able to just slap some textures on top and have it just work so
that um any texture that would be on here
would immediately follow the direction I wanted to.
And I don't have to adjust anything.
Uh It's a
I wanted to just work
um
I also see someone asked can you explain texel density?
It's a bit
it's a bit tricky.
I I still like I would like to look up some
adults that might make this a bit easier to measure.
But
it's like
yeah
hold on
I can actually quickly switch to the
uh
to the shade at data and just
Mhm.
Switch this to closest instead of linear. So it doesn't blur the texture.
There we go
perfect.
Now
um each of these little squares over here is a single pixel.
So the textile density would be for example like 400 pixels per
unit.
Like I'm not exactly sure how it is measured again.
I think that's basically how it's measured. So I could like add
a Cuban here
and scale it down to half the size.
So this basically one blender unit right now or like one unit.
Hold on I'm just gonna clear change this to bounce.
So
you're trying to get a certain density of pixels per
this real world scale or like digital world scale.
Um
And that is how we measure things. So if once you have like multiple objects,
if they all have to have the same texel density that
means the scale of these grits should be exactly the same.
Um That way you can ensure a consensus
a consistent detailed level in the texture resolution.
So whatever object you have, it's going and it's going to have a texture.
All of the textures will just have the same texture density.
They will appear with the same
resolution on the screen essentially.
None of them are going to have to much resolution.
None of them are going to end up blurt.
In this case I don't care about that too much. I want to mainly
uh use the texture space as efficiently as possible
while still having everything symmetrical.
And I want the
the heads in this case I don't mind that it has a higher textile density
because I want the head to have more resolution
because the shirt is never going to be seen as close
as for example the I
so
the eyes needs to have more resolution than the shirt.
The arm for example will not need that much resolution.
But the hands they do, they have much more the potential to be seen up close.
So I need them to have a higher tax cell density.
And that is really easy to see with this great texture.
Um
Mhm.
Okay.
I hope that explains it kind of uh it's
I think it's it's nice to visualize it with this grit
because uh then you can actually see the textile density.
So it's a bit easier to explain.
Um I also see a question. I don't know why you even why even I pin your vis and move
the ones.
What
more,
I don't know why when I pin ups and move other than the ones pinned moved to.
Uh huh,
Blender 2.93.
Mhm.
Um A bit confused by the question.
Sorry,
that's uh that's a bit awkward.
Yeah.
Okay, but essentially I'm already getting pretty much on track with the shirt,
I'm just thinking I might actually remove these
uh scenes over here for the inner side.
I'm going to clear the scenes
and now
uh let's see.
Yeah.
Yeah
and now this actually works if I get rid of
some of these pins which are making life hard.
Okay.
It actually yeah this is this is much better to be honest.
This way I can make sure that these are pinned along the border,
like the edge over here of the sleeve
and they are straight
and then the inner side just immediately transitions over to the other side.
Here we go
again, I'm going to select
these over here
and UNP in them.
Mhm.
That I'm gonna UNP in these as well
and pin these instead.
There we go.
Uh Now something I wish that would be possible.
And blender with a life on rap feature is to actually like
take this for example
mirrored over to the other side
and then for me to just be able to
uh to align this perfectly like the other island,
but I actually can't,
the moment I try to
adjust any of these pinpoints it's actually going to just freak out.
So what I'm going to do instead is I'm going
to basically try to replicate exactly what I did.
Mhm.
We're here
pain also this and scale it down along the X axis
like that.
Perfect
same thing up here, pinned ease
like that.
Okay so now this is pretty much close to what I have over
here so if I uh mirror this with control M and X.
I can kind of compare it to this side, get it as close as possible.
Okay
kind of
and then along the two D cursor mirrored back to the other side.
So now now I have it like roughly symmetrical,
I can basically do the same thing over here, just mirror this across
and just see how much it compares to the other side
and I think that's pretty close close enough.
Mhm.
Um In this case I would like to just scale this down along the X axis a bit more
like that
and now if I
uh mirror this along the X axis
uh with a three D. With a two D. V. Um to the cursor over here as the pivot point,
I can compare how symmetrical it is actually
yes,
so I can just
move some of this around a bit more.
Mhm
and mirrored across again. I think this is close enough.
Um I just need to get this part of the sleeve
correct again so I'm going to
UNp in all of this.
Mhm
pin the corners of this little UV island, move them around
so that they kind of
align with what I want.
Yeah.
Yeah
there we go.
Mhm.
I need to scale it up a bit more
and then same thing just pin all of these, scale them down along the Y axis.
Uh Actually I want to
first
yeah
do these ones
then these ones up here
oh
there we go.
And then the ones down here scale them along the y axis. 20
here we go.
And now I can again grab these as well move them over to the other side control M. X.
Mirror them across
scale them a bit and now just kind of compare how they look like
and mirrored over to the other side again
and I think I know
what I want to do to make them even more symmetrical and for that I need to
yeah.
Mhm.
One woman
use proportional editing over here.
Mhm.
To kind of move all of this a bit more to the side.
There we go.
Mhm.
So now it's a bit more symmetrical.
Not perfectly but close enough
I think this is fine.
Mhm.
Well
it's
at and at this point the symmetry of the U. V. S is purely for organization.
I don't really get the benefit of having symmetrical U. V.
S anymore because they're not
fully symmetrical if I would ever take the textures that I'm
painting on this and moving them over to a two D.
Painting application like rita or Photoshop
and
edit them, mirror them across the mirroring would not work. Like
the
symmetry that I have here is just not quite as useful.
Maybe in some cases it would actually be enough.
But here we go. So now I can actually check out my U. V. S.
And this is actually quite clean and
the grid is actually very much perfectly following the shape over here.
It is getting a bit stretched over here at the end store and I'm not exactly sure why
it's something that's definitely already happening in the
in the movies.
So if I change it to angle stretching I might be able to see what is happening.
Yeah over here
and move this around
mm
Like that
the same thing over here.
Mhm.
Mhm
yep.
Same thing over here.
I don't know it's getting a bit stretched but maybe this is fine.
Yeah
here not so much also it's like leading a bit in words but
should be fine. So that's the shirt also taken care of.
So now I can move into the pants and basically to exactly the same thing
so I can just
isolate this
and start hold on
I'm gonna
Select all of this and just scale it to zero.
Now
I'm gonna select exactly where I want to have the scenes which is right over here.
Yes.
Mhm.
Okay.
Exactly. And then the same thing on the inner side
which is actually nicely following through the entire mesh.
Perfect.
So now I can do the same thing down here. Seems over here
right over here.
Yeah.
Yeah
and over here.
Mhm.
And let's not forget this part.
I feel like I messed up a bit over here because um
yeah I mean I can just mark these s seems
to see what happens.
So now it's actually you'll be unwrapped but I
want this to actually be split in the middle.
Just makes it a lot easier. So I can just select all of this. Oh I still have the
like if I select the shortest path,
it's actually still going to market as seems instead of selecting,
you can actually find that setting if you ever
uh pick shortest path by holding control and selecting
by default by default. It's selecting
but you can actually change the behavior to Mark.
Seems instead it's like a lot of people know about this.
Okay,
this kind of works.
Yeah.
Nice. Okay.
I think this
is pretty much exactly what I want, I am not going to add.
Seems again to the borders of the like the clothing pieces because
supposed to follow through on the inside
ah didn't fully split it
over here.
So I still need to mark this as a scene.
Mhm.
And now I have it fully split. Okay.
Yeah,
I'm going to change it to area stretching.
There we go.
Mhm.
Come on
now, I'm gonna sink the selection just to be sure that I can arrange this correctly.
We go like that.
Oh
no.
Okay. Let's see how I can actually save as much space as possible.
Yeah.
Go,
Yeah,
Okay. I'm already pretty happy with where I place these.
So what I'm going to do is I will
okay,
actually pin some of these points,
Not these.
Okay.
Oh God,
yeah, I also actually want to add seems over here,
it just makes kind of sense.
Of course it tries to unwrap everything again, but it can't,
so it just unwraps anything that it can unwrap,
which in this case is everything that
uh that I don't have pins all of like this, I pinned already this I didn't,
so that's why it's now filling up the entire space.
Okay,
mm hmm.
Okay.
Mhm.
Yeah,
yeah.
Okay.
Mm.
Right now it's really just about arranging everything over here.
Mhm
hmm.
Like that,
wow,
saving.
Are there any more questions? Uh sorry, if I missed anything in the past 10 minutes?
Um Hey, when is eight and 3.7? Agent 3 to 7 going to be in production?
What's the progress on crowdfunding have to know the
approximately approximate timeline if it's possible.
Well, right now there's not really a timeline. Um
there was uh
I mean, uh, agents 3-3-7.
There's like still sometimes like experimentations with the style
going on and uh more concepts being thrown around.
But I think uh
even like questions about the funding are pretty far,
I think we I think tom has a pretty firm grasp on what he wants to do, but
I think the main thing that's holding
the project from actually going into even pre production is uh there's
still not a full agreement on the story on the script.
Well that stick,
it's there's always multiple things going on but uh it's uh
it's getting there but it needs a bit more time in the oven.
Okay,
let's see.
Actually need to put this here.
So there's like no timeline, sadly,
sorry if that's not very satisfying.
And
Mhm.
Okay, so in terms of the U. S. For the pants, that's already pretty good.
But I again need to do the same treatment
symmetry and making sure all of this is actually nicely following a pattern.
So if I would actually
later slap a a texture on it, it would just work.
So I'm going to a NSYNC the selection so I
can more reliably select and pin individual UV points.
Um like that scale this 20. Actually not these,
I want to select
These points right here pin and scale these 20, there we go.
And pretty much the same thing over here, but
again,
mm
not the lowest points.
Uh also not the ones I want to pin
instead
the lowest points that you can see pretty much on the pants
which are essentially
these over here.
I want this to be straight on the map.
So if I now scale this down,
oh it's the wrong side.
When I scale this down,
it actually starts to
align
the grids
perfectly. There we go,
that's exactly what I want.
Mhm.
Yeah
and
like that.
Okay,
and I think I want the outer
and just over here
to also be more straight.
Yeah,
like that
just a little bit
here we go
and then over here I think it might just be enough to pin
the corner and then move that one around
like that.
Yeah,
well actually I'm gonna pin all of these over here.
Mhm.
Yeah.
Mhm
Yeah
yeah
go
I think that's good,
same thing over here.
Yeah,
actually that's causing a bit of stretching,
not sure if I'm doing the right thing at least over here,
so
I'm gonna keep it pretty much as it is. Okay,
what else?
Pretty much the same thing over here on the other side,
I want to
select these over here,
pin them,
scale them down
without proportional editing.
Here we go,
oh I'm going to get rid of these pins right
over here and I should also do the same over here
safe.
Yeah, now these are actually
immediately getting better
uh TVs Yeah,
perfect,
okay, I also want to pin these,
Scale them along the x axis 20.
Mhm.
Maybe not.
This is actually perfect
because there is a bit of a corner over here which needs to be in the U. V. Map as well.
Perfect.
Mhm.
Now what I need to do is also a line
the U. V. Is over on this side a bit more
just a bit
mhm.
Yeah.
Okay
okay.
Mhm.
Okay I'm going to pin these points to.
Yeah.
Yeah
yeah.
Yeah.
Okay I think this looks kind of nice
yeah
yeah.
Mhm.
Yeah
yeah.
Mhm
mm.
Sorry if I'm a bit quiet like I
I'm really just trying to concentrate on getting this as close to done as possible
because it would be nice if I can have at the end of the stream
the
the clothing at least done.
Mhm
mm.
Yeah
mm.
Yeah.
Okay I still need to do a very similar thing over here.
What's going on at the bottom of these pants?
It's very strange.
Okay.
Uh huh.
Oh no this is expected
it's just the anthropology
that I
left a little bit messy down here.
Yes
this is the part that I want to straighten.
Mhm.
Oh again I don't want
this pendant anymore
that's and I want to pin this and unpinned this now I can
straighten this as well.
Same story over here. I want to pin these and along the individual origins.
Just straighten them a bit as well. Wait I'm going to do this one first
and
then the same thing over here? But first let's move this a bit more to the side.
Yeah,
there we go.
Yeah,
yeah,
Okay, the same thing over here again.
I think I need to move this further inwards.
Let me go.
Mhm.
Uh huh.
Mm hmm.
It
Oh,
okay. House, we'll see the question.
Can you explain the difference between height and displacement? Thanks.
Mhm.
It's actually a good question. I as far as I know, there is no
maybe there's a difference in like how game engines treat height maps,
but height map implies
difference in height and like either
uh like either inwards or outwards and that is
basically done the same way as a displacement map.
So
I think they're the same. If anything, a height map could
the
uh usually just regular eight bit textures and displacement webs are
typically 16 bits to have a bit more information in depth,
but
they aren't the same here, then I need to look that up. Uh
So what's actually the difference between a height map and a displacement map?
Mm
Maybe someone in the chat knows an answer.
Uh I'm also really like I would be interested in in knowing
what the difference is.
Can't look it up right now because I need to focus on this.
I don't think a height map is just a bump map, Like
they are definitely not the same. That can't be,
but if a height map is also not the same
as a displacement map then what is the difference?
Mhm.
Mhm
wow
mm.
Mhm.
Okay I'm now going to select all of this
and mirrored across to the other side.
Mhm.
Like that.
Oh wow that's quite a difference.
Mhm.
Okay.
Yeah
one side is pretty similar to the other. This one
has some severe differences.
Mhm.
Okay.
Mhm.
You can select all of us
and mirror it back to the other sides.
This is
one of the causes of the
the strong difference. So if I
unpinned this
I would be able to
sort this out a bit more it's a bit more straight
boy I think someone's answering the question.
Okay
why
not?
Hold on.
Yeah.
Okay now I will
select, hold on I'm just going to first finish this.
I'm going to select all of this and move it further in
the same thing over here
because then I can scale the movies up in general.
There we go.
So I don't think there's a lot of wasted texture space anymore over here
and all of the UV islands have pretty good spacing between each other.
So there we go U. V. S on the pants as well
and as if he's on the shoes.
Yeah
so with that all of the main objects that are visible should be UV unwrapped.
The other objects that are still missing are like the eyes, the inner mouth,
the eyebrows, the hair.
So I can just
actually
enable all of these objects that still need to be heavy. Unwrapped.
Yeah all of these
and all of these.
She going to get rid of these materials?
Why?
Okay
God.
Yeah all of these still need tear needs you vis
so I'm going to do that in the next snow stream.
Um It shouldn't be too much like what's going on over here.
That shouldn't happen. I'm going to fix that now.
Okay.
Should be no intersection here.
That's weird that that was the case.
Anyway um I'm going to quickly go through the chat. Um
One is only vertical displacement.
Want to mention the other uses three dimensional displacement. What?
Yeah
displacement map can mean but it doesn't always mean a vector displacement.
Well ah yes I mean just then a displacement map is like a broader term.
Wait I'm gonna I'm gonna finish reading um
vector displacement at each point on the surface.
Height map implies only a scalar displacement value.
Each point gets pushed along its normal. Okay that makes sense
Bump map is eight bit height looks like a bump but it has usually more data
But has the
only in one direction.
Um Isn't the difference just how they're
used, displacement translates every vertex but heights
are faked more detailed per pixel.
Like a normal map,
displacement map can be in one direction but can be
a vector and move the geometry in any direction.
Ha I mean uh what peter over there uh
said that like displacement is just moving geometry.
That's not necessarily the case. Uh You can use a displacement map to also add
bump information at the same time. So
it's not necessarily
like that. But it is an interesting point that a displacement texture can be
a vector as well.
Like can be it can have three different vector information for displacement,
not just one direction,
but that's not always the case. So what is the difference between a uh
a displacement map that is just using that is just uh moving geometry or like
adding bump information in one direction.
I mean then there would be no difference
between the height map and a displacement map.
Uh
I see also some more comments in there.
I would say that height and displacement maps are technically
the same except for the vertex displacement maps that can displace
uh any direction in the normal vector displacement. You mean? Uh
I mainly hear about height maps when it comes to terrain or landscape
while displacement contains smaller details but under the hood, they're the same.
And substance painter.
All height is just another term for displacement maps.
Yeah, I think that's
that sounds pretty much correct.
I wasn't even like thinking about victor displacement when comparing them but
um
Okay, interesting.
Mm hmm.
Uh huh.
Yeah.
Yeah. Okay. Okay.
It's good to know.
Well,
I would love to like mess around more
with display with vector displacement to be honest.
Especially with vector displacement maps. I hope they will
like it would I hope it would be at some point possible to bake them in a blender.
That would be insane.
But yes um
I think that's pretty good progress. Um
There is also more U. V. S. I want to add to
the to the clothes later on
so
um I think I'm just gonna keep calling these just UV map so because it's the main
UV map this this should be the default but when it comes to the clothes I want
to later on add more UV maps to this uh specifically to add uh seems and sewing
patterns like uh extra little details that could
be added procedurally instead of texture painting them.
And I really want to try that. That's usually something that
like Simon thomas for example did and I want
to get a bit more procedural texture ring but
I'm going to do that later on. Maybe even in the text string strings.
That would be nice.
But I'm going to leave it at this for now and I will be back
next time for the harry topology and
I'm just gonna quickly
read through the chat again.
Uh
Yeah.
Mm hmm.
Okay. Well.
Mhm.
I'm sorry to cut the conversation short but
it's after six
I had my two hours and I think this is the moment to stop the stream
so.
Oh wait, is it actually frozen?
No
lamps?
Mhm.
Okay. I hope it's not frozen.
Mhm.
Everything fine.
I don't know.
Mhm.
Yeah.
Mhm.
Yeah.
Anyway uh see you next week for another stream. I hope this was insightful and
Mhm.
I might just like ask at some point soon,
like just ask around like what do you want to see?
Maybe there's something part of the production that you're really interested even
though right now mainly focusing on the props and the set work,
but maybe there's gonna be some lighting tasks soon.
Who knows? But
I will keep you updated
and I will see you soon.