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All right.

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Now let's get into the next thought for the last one is remission.

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So what does it mean if I go over here?

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I have walks or signs with a severe C and all these options and every mash button.

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So it means that's bonds.

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Or if in a world where friend blunder is going to make all.

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I mean he's going to Raemisch is going to make the whole geometry of the objects.

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It's going to Raemisch.

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It's based on the exercise that the sets over here.

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Okay.

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So if I go over here and sets a higher amount is I'm going to get less resolution with my objects.

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If I say it's a lower amount, I'm going to have more resolution.

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So lower amounts of exercise means more resolution.

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Higher amounts means less resolution.

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So but I don't know how much resolution.

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I should add that there are two ways to do that.

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The first one is going to remember and there's an eyedropper over here.

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So with this we can get a sample of how much this exercise is.

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If I put if I click on here now wonder is showing me like 0.13 is the what's the size of my mesh right

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now.

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Base measure of that.

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So if we're here and increase this number, I expect the geometry would be like with rest less resolution.

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If I now go here and can remember that it is going to calculate and rematch the object with this exercise

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that I have set.

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So if a click on here, as I can see now, we have a much bigger exercise with less resolution.

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If I did that, if I again click on here, click on here, and I have this amount of exercise and if

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I decrease to something like this, down to a rematch.

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Now, as you can see, I have more resolution in my objects.

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If I decrease it further to something like this, I'm going to get this.

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If I decrease it even more.

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Too high or too low.

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Something like this.

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If I click on Ramesh, it's going to give me a very high resolution objects like this.

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All right.

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If I disable the.

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My friend, if I tried to.

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As smart as you can see that this mesh has such a high resolution.

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All right.

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So that's the whole thing about remission.

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It allows us to set up exercise and remission based on that exercise.

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So what's the good of this method is that we can always start from a low resolution like this.

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If I go here and I press on B mesh, I'm good.

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I'm good in this, then I can move around my object like this and I can sculpt the lower details like

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the primary shapes.

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Like this.

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And then when I'm deciding I once wanted geometry, I can go here.

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Lord of exercise remission again.

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I have more geometry.

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I can go.

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No more details.

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And then if I decide I need more geology, I can go here again.

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Laura The Voice of Science.

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Ramesh.

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Laura.

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Ramesh.

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Laura.

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Ramesh or Laura?

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Ramesh.

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That the whole work for of remission is to start from the highest peak when you're discussing.

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All right, never start a start with the little amounts of exercise, sorry.

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The highest that you can.

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I, for example, if I go here as other.

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Add this and used eyedropper and then use the re machine.

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And then I get this amounts of geometry.

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Then I walk with this, I start my sculpting with this and then go to re mashing decrease it all.

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It's up its remaining walk with again, decrease it again, remix it now I can have much more detail

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then decrease it again remission and this all happens while doing the sculpts.

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So I the process of sculpting I do the remission.

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All right.

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So from the highest point or the lowest point while sculpting.

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So we also have some shortcut for the remission tests that are very useful.

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And one is shift or and the other one is R.

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So R is for Ramesh I shift r is for setting down months of exercise settings about this.

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So focus shift are now I get this square here, then I can visually see the works assigned.

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So if I set it to this source, the science and then I press, I'm sorry, the shortcut is control R

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and then if I press control or is going to do it remission.

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So to this option as you can see the shortcut if you hold your mouse, the shortcut is control r and

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for exercise the shortcut is shift r.

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So this way I can quickly even not use this Ramesh top which you can find also or here.

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I can quickly sets my Ramesh that so are doing sculpts sets my Ramesh.

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I mean, choosing the Office of Science Shift R and Control R to Ramesh two Tomorrow's Scopes Shifts

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are sets will lower resolution control are do more sculpting shifts are vessels less exercise control

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are.

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So Ramesh and I can do that and I can see the more a resolution you're going to get, I mean, the less

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exercise is going to give you more resolution.

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And that makes it hard for them to calculus.

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They don't go to love of exercise.

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So if I go like something like this, like this are at the lowest amount.

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Which Brenda isn't even letting me do it.

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All right, so this amount is very low, and I'm sure it's going to crash.

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We we want to respond because Blender can handle this on such geometry.

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This is all lot of the geometry.

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Like it is going to make millions of gallons straight, this whole exercise.

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So be careful how much exercise you're adding.

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I'll find that that using the shift are because you always see the scale of the of the squares is always

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better to do the setting the exercise because here if you do it this and then you go like this, your

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accent and this one's like this and if he's already messed up and there is going to crash.

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So you can always if you want to see how much faster you have, use this.

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And then it's going to show you that most of use shifts are for the same thing and the number is going

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to be shown at the center also.

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So this is my favorite workflow and it is starting to this starting to do Cyclops.

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And so if like I'm associating with a simple sphere, then if I got, you know, symmetry, I do something

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like this.

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Something like this.

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All right, I press.

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I did this concert longer than G to bring this down.

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Now I'm making, like, neck.

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Then also.

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Go here.

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And as you can see now, the mesh is a stretch.

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So if I go to wire frame, the mesh now is a stretch.

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So one of the things that's that's going scanner that's going to tell you when three mesh is when the

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mesh is a stretch.

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So you don't have to enable the wire frame to see it.

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So if we go here, we can clearly see that the mesh as a stress.

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If I use G two for grab and go grab it more, you can see that the mesh is stretching anymore.

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So this is telling me that I need to remain.

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So I go to Ramesh, I go to Sampler, click on that and then use free mesh or use control after images.

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So I'm going to press control.

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R A Now my mesh is Ramesh and as you can see now, I don't have to those.

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There's a search line.

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So if I go here and I want to make.

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A snake.

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Look right here and do this at some point because I have the same answer as like quartz, my mesh,

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it's going to get stretched, so I'm going to press control ah again.

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But now some points.

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Now I see that I am not having enough resolution.

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So this is the point that I go present, shift R and decrease the loss of size.

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So something like this to have more resolution control, artery mesh and now I have more resolution.

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Now I can make much worse things over here.

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Right?

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So that's it.

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That is the workflow.

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Whenever you are having problems and your mesh is getting stretched, just press control.

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R And if you're, if you see that you don't have like edges, you don't have enough resolution shift

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or decrease the resolution and control or have more resolution.

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And then with this result, as you can see, you can quickly make shapes like now it can quickly go

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and make a face right here.

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Like do is go here and make some make some quick face, low resolution.

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And that is the important that you need to start in low resolution because I can do a dense like this

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with high resolution, there's a there's a best thing of remission because the workflow is, is like

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you have to start with low resolution and then go your way up to higher resolutions over here with the

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notes.

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And I can change the job over here.

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Something like this.

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And it was clear strips.

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Phillips may be here right now.

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As you can see, I need geometry to add details and I can go here and decrease the voice, the size,

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control or.

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And then there is going to be so or something that is going to calculate and give me more judge.

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Now I can do things like this, right?

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So there's the whole thing about three missing.

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The other thing that you can use remission is when you try to

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merge objects.

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So one of the problems that you have with the principal is that if you want to measure things, for

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example, you are using data and this mesh weights relative with this pixel and you are doing this thing.

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All right.

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As a reminder that Apple is going to add geometry to when you're using your stroke.

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All right, then at some points you want to join and an object that is, for example, I want to join

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a monkey tomb or a sphere like this.

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All right.

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The one thing you do is you select your object and the control J.

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Now, these are one objects.

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All right.

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But the thing is, if you zoom in, as you can see, we have geometry inside our objects, and we don't

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want that.

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All right, so when you're using Dyn super, you can use the simple control J.

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All right, you have to use a modifier called fooling with bowling.

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You need to select your objects, select the like, the the goal object and then boolean.

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It's inside.

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And I'm not going to go into that area, but you can try out this as well in you're using the data pool

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and you want to match object.

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You have to use pulling my pool enhanced problems.

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It is not going to be perfect.

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It's going to make problems.

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Definitely.

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So keep that in mind.

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But the beauty of Ray Machine is that Blender is going to try to ramesh the whole object right around

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it.

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So if I go here and click on my monkey and click on this object over here and control j to join.

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Done.

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Now there are one object, as you can see if I go inside.

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Now it is also I have geometry inside, so I don't want to.

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You never wants.

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Geometry is not going to be seen.

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All right.

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All the geometry should be always outside.

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So inside is an no.

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So if I go to Scott mode and then I go to a rematch and and I click on this and click on this, now

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I'm going to talk to the want the whole object to be remeasured based on this one exercise.

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So if I click on a rematch now, watch what happens.

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This monkey also has been changed to have the same resolution, so the whole object have the same resolution.

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But the beauty is that if you go inside now, the inside has also been changed, like these two now

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being joined beautifully.

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Like very good.

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There have been joints together also and we can go with a smooth this.

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And as you can see, it looks like these two meshes has been joined together very easy and that is pretty

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good.

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So for example, maybe you want to work on a part of your body, of the body you're sculpting different

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in different objects.

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For example, here you have a want to make an ear right here.

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And you were sculpting.

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It's making changes to your ear and all that.

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All right.

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So something like this, maybe you're making things to your ear, like making changes or ear and doing

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maybe this.

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All right.

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Something simple.

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I'm not going to go too far with this, but you have an ear you works on and you've worked on it separately

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because you don't want to you won't want to mess your objects.

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So if if these two were a joint and you're working on this area, then it's going to affect this area

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as well.

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So you don't want to go into other workflows like masking and faces and all that.

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You want to work on objects separately and the body also.

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So you want to, as a body separately, work on your body separately.

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All right.

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And all that.

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So after you're done with sculpting the different body parts, which you're going to do, you're going

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to press on your objects, join them together.

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Now they are joint.

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And then to remove the machine side, you just have to go this couples and use ring machines with the

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same exercise.

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Click on Ramesh and now these two objects are joined perfectly.

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So as you can see, we have even a dance over here so we don't have the geometry.

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Then we can press shift to smooth.

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Now we have these two objects merged with each other beautifully, and that is why I like to work with

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Ramesh only I rarely used one syllable.

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Don't dancer is only like when I sit and wants to make a quick sketch.

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So one time he uses.

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For imaging.

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It gives you a lot of freedom to do quick changes to your mesh, like, I can do this and then control

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or every mesh.

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That is very quick, very good.

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I'm very effective and it can work on body parts, other body parts differently like this.

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Then when I'm happy, I can just join them.

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That's a once.

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And for some raemisch just raemisch them all and then go here in this moment they so is right.

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So that's the whole world for use for making characters with Raemisch.

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But the downside is that you can go too low with the success also as explained.

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This is too low.

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All right.

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I'm going.

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That is going to crash.

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And you can use this.

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You can use it for a sculpting, I'm telling you.

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You can use this on a sculpting.

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If you go to bone resolution, this is only the remission only for the first stage of of sculpt.

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So now that they have sprains, all the work force.

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So you have motor resolution.

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You have done so fine.

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You have remission.

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My preferred and many preferred workflow for making characters is combining remixing motorists.

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So you do that by first, like using a machine on an object.

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Then do your sculpt and all that.

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When you are sculpting, you is done like you made the main shapes.

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Then you go and and as you can see, if I enable the wireframe, we do not have a wireframe that is

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going to be perfect for animation or production.

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But this wireframe, as you can see here, here, these are not good for animation work.

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And even if you use decimate and use on subdue, it over here is going to make some problems, definitely,

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as you can see here.

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So we can't use this in for election.

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What we have to do.

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We have to apologize this.

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All right.

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And his apology.

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I'm going to reach apologies as my character in the next.

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When we made out of character.

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But this is the only reason that you needs to reach apologize.

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So the star is apologizing.

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Well, I was in a plane and then doing.

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Like making.

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Let me just this first.

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Like replicating the shape of an object in a much lower resolution.

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And then, for example, imagine now we have a much lower resolution, lower than this.

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For example, if I go to rematch and person rematch, I can get a lower resolution.

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Also, we have another option in Bonzo, which is called cool remission.

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So if I press control also or I get this option for quiet remission.

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So this clustering machine is an automatic.

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Really?

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Sure.

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Is going to calculate your object and give you a quarter based object as best as it can.

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You can set the number of faces.

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For example, if I said the number to 5000, I'm going to get around 5000, not the exact number, but

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around 5000 faces if I press.

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Okay.

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Now Belinda is going to calculate the object for personal 50 person.

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That's going to give me a much less resolution objects.

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All right.

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So what the problem is, is that this too in blender is going to it has been the same like for years

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now.

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It's not good.

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The bottom line is that it is not a good reminder that there are a lot of good images out there that

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you can use.

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But this isn't the culture we measure.

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And I don't suggest that you use this, that's all.

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The option is there, but don't use it.

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That's all.

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As you can see, the.

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The GM.

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Sure you're here.

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We have holes, and that is not good.

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That's all.

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So it's not good.

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In this area, it's good.

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But then it's in this area.

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It couldn't calculate how to make the shape that gives us something like this.

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Is not good.

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All right.

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So for a demonstration, I want to have a much less resolution.

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I want to show you how to combine this now with multi resolution.

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So you use three mesh to make these objects.

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And then I'm going to duplicate that this shifty to have this object.

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All right.

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And then I'm going to hide my original object.

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And this is my typical object, and I'm going to reach upwards, all right.

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To make a lower resolution or I'm going to use an automated image tool like this one and disable mesh

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symmetry because it is going to make a mess comparison.

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Okay.

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Now I'm going to wait for Blender to.

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There.

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There is a policy.

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So the whole process is to, again, the Scots with the remission and the rights of all use as a matter

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of policy tools to make it lower versions of your message.

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Now I get this message with the with the court by court remeasure control score.

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And that one should do is fire at and want a resolution and use subdue.

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It's going to subdivide my mess, right?

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So it's going to subdue to my moment into higher resolution objects.

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And I'm going to add another modifier called shrink wrap and change the rep method to projects near

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to negative.

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But then I'm going to set to my target to my original mesh.

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So what is the point of this shrink wrap, which is shrink wrap?

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I'm going to tell Glanzer to like look at it that this object that we made, that we duplicated a blemish

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that is going to steal, like still the details of the object that we were going to choose.

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But the object that we're going to choose must have the same scale and the same like it should be the

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same in the same silhouette, in the same form shape.

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All right.

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So now these two are in the same form.

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As you can see, this is our original mesh with we sculpted it in with the remeasure.

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This is with we we remixed it called remeasure but then used motorist and now we have shooting crap

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and if I choose my targets to my original object over here.

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Now something happens if I hide my original object or here is fear without the number.

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Now, as you can see, this is the object we have.

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So if you don't see it, it's mostly because we don't have a lot of details.

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But if I move it or actually if I apply this shrink wrap, so I'm going to apply this shrink wrap just

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for demonstration.

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Or actually, let's just to put it this.

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All right.

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So typically that is, you know, mesh.

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So this is the mesh with multi resolution and this is the mesh we have with the ring mesh with sculpted.

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So this is the sculpted with higher resolution and this is it for low resolution.

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As you can see, there is no difference between them.

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But little difference.

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We always get some problems like over here.

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But we can easily fix them, like with smoothing.

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But this is the whole work for the combination between the remission and water resolution.

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00:25:52,160 --> 00:25:58,370
So we first stage is to use Ramesh and sculpts.

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The second phase of her sculpting is to reserved for.

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Or.

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Also, Ramesh.

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And the goal is to get.

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To get a shape with less topology.

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00:26:32,170 --> 00:26:32,560
All right.

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So the goal of presupposing this second phase is to get a shape with less topology, like with it or

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00:26:38,620 --> 00:26:39,790
here with this one.

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And then the third phase is to add.

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Modifiers, the modifiers that were mortuaries and the shoe.

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So with shrink wrap, we were going to still we're going to still look we're going to get the details

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from the main ship, which is this one.

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And we're going to wrap it around our low geometry objects.

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And with the help of water resolution, we can store that resolution inside this resolution so far,

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enable this shrink wrap right now.

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Now, I have the all these details stored inside this one to resolution.

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So if I decrease this once to resolution to zero, you can see we get the was the detail we had with.

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Like court.

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Remember, this is the base called remeasure results.

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And if I increase it, we get the details that we got with the shrink.

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00:27:52,510 --> 00:27:54,210
There's the whole workflow we have.

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00:27:54,220 --> 00:27:56,430
So this is very important.

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00:27:56,470 --> 00:27:57,760
This is what I'm going to use.

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00:27:58,300 --> 00:28:07,960
What I use in all of my scopes and in this way, in the end result is going to give you a really beautiful

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00:28:07,960 --> 00:28:17,740
shape, high resolution like model, because with motorization you can always go higher subdivide and

382
00:28:17,740 --> 00:28:20,230
for example, we subdivide it once more.

383
00:28:20,740 --> 00:28:25,840
I can always have my level viewport to something like two or more render to four.

384
00:28:25,870 --> 00:28:34,150
So I'm going to have a higher resolution in my render and that is really, really helpful for modeling,

385
00:28:34,720 --> 00:28:38,890
rendering and even for our rigging animation.

386
00:28:40,150 --> 00:28:45,730
So that's it for this video and I hope you enjoy that.

387
00:28:46,780 --> 00:28:47,110
All right.

388
00:28:47,110 --> 00:28:48,340
Onto the next with your goodbye.