Welcome back, and before I leave you to do the rest of this on your own, I just want to cover one
more object and the three cut to a little bit just so you get a little more comfortable with it and
continue to think about how we're going to be moving, wrapping everything.
When I approach an object or a character like this, I mean, we can see that there's a lot of symmetry
here.
So we only really need to do one half of the body and then we can do the transfer attributes like we
learned in a previous lesson.
So let's take that into consideration.
When we're you know, it's easy to get overwhelmed looking at this, but in reality, we just do one
half of this thing and we're going to be set.
We just need to transfer the attributes.
So let's do one more object here just so we get comfortable with it.
And when I'm looking at this arm, I'm thinking we're going to put the seams on and put them on the
bottom, probably because we're going to see, you know, maybe his arm pit the least and we're going
to see the front and this side a lot more even maybe put it in the back and all depends.
But, you know, in general, I try to you try to hide stuff in the armpits and the back of the head
and things where people might not see as much.
The other thing I want to show you right before we start that is the optimised tool.
And just to think of it like the relaxed tool and the sculpting tool set when we learn that in the modeling.
But instead of for the geometry, the optimized tool is for relaxing the UVs.
So if we select all leaves, click drag and select the head UVs and click optimize, we can see how
everything starts to kind of relax a little bit.
And the idea is that it's going to hopefully reduce the distortion on the UVs.
So that's one other little tool.
And basically ever, only ever using, you know, cut, stitch together, optimize, unfold.
And then, of course, like we learned in the hard modeling, I'm going in and doing the kind of get
and set for the textile density.
So objects are kind of relatively similar because if we apply one fractal to everything, those kind
of fractal bumps or, you know, checkered bumps or whatever kind of texture, noise, texture you're
doing, they're going to look at different scales.
And if you want to, you know, create one texture, one shader and apply it to a lot of things, we
got to make sure that has the same textile density.
So those are basically the main things I use.
And with that said, let's follow through on one more piece and then I'll leave you to do the rest yourself.
So it's like this again, and we don't want to deal with these seams.
I'm going to go.
You've.
Camera based, now I can make my own seems and I'm going to use the 3D cutting so tool here and I'm
going to go to Component Edge and I'm going to make these on the bottom of the bone here.
And I'm just going to click.
That's in double click it and then I'm going to control click along here to dislike that.
And instead of doing the entire incap here, I want to go around the object, so I'm going to r the
end cap here.
So when I click Drag.
A little bit here.
And control, click that.
Piece and click and drag up here.
I mean, kind of see that the check box change when it takes into account the selection and the cut
in the same object, which is one of the benefits of this tool, instead of having to go back and forth
with the movie editor, it will make the selection, cut it at the same time.
The disadvantages, it can be a little finicky.
So depending on, you know, your level of patience with this tool and what you're more comfortable
with, you could use this tool or you can make the selections and then make the cuts yourself using
the tools and the the editor window like we did previously.
I'm just clicking and dragging actually want to want to go down one more level here so we get all of
that shift clicking and then I'm just going to control click the top here.
What's.
Cool.
So now that we have that done, one cool thing we can do is with this tool still selecta, we can see
we still have the three cuttone so tool we can right.
Click on this, go to component.
Instead of going to EDG like we have, we can go to you by Shell like this.
And then if we hit D with our mouse over here, it should unwrap it.
And so that's a really nice shortcut of this tool specifically.
It won't.
That shortcut won't work unless you have this tool selected.
So if you're not sure where to put the seams and stuff, it's kind of nice to stay in one tool hit D
and then maybe go back to component mode and go on edge.
Keep cutting.
Dig again is going to re unfold everything again.
So it's kind of a good tool to experiment with and see where the best unfolding is going to take place.
So you can kind of see the distortion that had been kind of referring to, especially when something
is smooth like this object is when we were modeling, we had three.
When you smooth something, it tends to distort DVS worse.
So this is very, very important part to understand because it's something that many people run into
and never really fix or understand.
We can actually fix this.
So instead of all these all this stretching here at the edge, we can fix this by going into for this
piece of geometry.
We can go into its attribute editor here by clicking up here and going down to the smooth mesh option.
So it's the shape node of this piece of geometry.
If we click smooth mesh and we go down to the open subedi controls, we can see that currently we have
vertex boundary, we have UV boundary.
And what typically happens is the any kind of, you know, smoothing that's done, if we hit three or
one, it's going to do the same thing on the UVs as it's doing on the vertices.
And we want to separate that.
We want the smoothing to happen on the vertices and not the UVs.
So to do that, we need to go to the movie Boundary Smoothing and we need to click on preserve edges
and corners and watch what happens.
BOEM fixes that stretching issue and it's kind of amazing and also bizarre at the same time that this
is not an issue.
So you may need to fix this later on when you're doing some rendering and lighting and you can see there
stretching on seams.
But you may just hold off on this until that time and not get too in the weeds on fixing that, because
this may never be an issue.
You may never see those seams anyways.
So I'm just going to leave that on for now.
But know that that does exist.
If you ever run that issue, that's what's happening.
Cool.
So now all you need to do is transfer the UVs over to the other side.
So I'm going to shift click it and you can see how terrible they are and how much time we're going to
save here.
And one second by going to the edit, going to the mesh transfer attributes, let's just click on this,
make sure we have the right options when I go reset settings and we can see that we need to go to the
component mode again and we need to do nothing else.
That's it.
And apply.
And it transfers the IVs and we are much happier.
And we just saved about five minutes.
And over this whole model, we could save easily an hour or much, much more if we don't have to, you
know, unwrap both sides.
So in this lesson, you have learned kind of the last a little bit of everything you need to know about
movie editing, I think.
And you can now unwrap this whole thing yourself or you can skip it, which I also do not recommend.
This is all about kind of going through the motions.
Otherwise you're not going to learn or remember this stuff.
And I hope you enjoyed this lesson and I will see in the next one.
All right.
Thanks a lot.
Bye.