WEBVTT 00:01.600 --> 00:05.492 Hey! Welcome to making of Waking the 00:05.504 --> 00:10.040 Forest, which was a little image, a little 00:10.041 --> 00:12.626 side project that I was creating during 00:12.638 --> 00:15.040 the Agent 327 production here at the 00:15.041 --> 00:19.099 Blender Institute. The first thing 00:19.111 --> 00:23.180 that I wanted to do when I had the 00:23.181 --> 00:27.219 idea was just sculpt away. I had a 00:27.231 --> 00:31.860 really basic idea in my head and I then 00:31.861 --> 00:34.739 just went straight into Blender and I 00:34.751 --> 00:37.640 added a cube, deleted one half of it, 00:37.960 --> 00:41.238 added a mirror modifier and that way I 00:41.250 --> 00:44.540 made a really simple base mesh which I 00:44.541 --> 00:48.487 could use for sculpting. My very 00:48.499 --> 00:52.580 early idea was that I wanted to 00:52.581 --> 00:55.537 create some sort of massive forest 00:55.549 --> 00:58.940 creature, something that doesn't really 00:58.941 --> 01:02.845 necessarily have to be evil. It can 01:02.857 --> 01:07.100 be benign, it can be quite wondrous to 01:07.101 --> 01:10.659 behold. It just had to look really 01:10.671 --> 01:14.240 organic and lived in and it had to 01:14.241 --> 01:19.417 somehow belong to the environment that 01:19.429 --> 01:24.750 it was growing in. So the first part of 01:24.751 --> 01:27.988 the sculpting is going to be 01:28.000 --> 01:31.830 fully symmetrical and I started 01:31.831 --> 01:35.043 experimenting just with dynamic 01:35.055 --> 01:39.630 topology and that way I got a really dense 01:39.631 --> 01:42.896 mesh that I then just assigned a 01:42.908 --> 01:47.210 really basic rig to. Here you can see me 01:47.211 --> 01:50.286 adding a multirust modifier which I then just 01:50.298 --> 01:53.470 simply just applied to get 01:53.471 --> 01:56.314 some basic geometry there. 01:56.326 --> 01:59.730 And then I fired away dynamic 01:59.731 --> 02:04.083 topology and I just hacked away at the thing, 02:04.095 --> 02:08.570 trying to get some sort of image 02:08.571 --> 02:14.887 that I had in my head into Blender. 02:14.899 --> 02:21.930 So I knew that the surface was probably 02:21.931 --> 02:24.242 going to be more like a tree bark. 02:24.254 --> 02:27.490 In the final result it ended up 02:27.491 --> 02:31.460 looking a bit like rock but 02:31.472 --> 02:36.190 I don't really mind. The whole... 02:36.191 --> 02:38.039 The whole basic idea was just that this thing 02:38.051 --> 02:40.170 needed to look like it had. It was grown 02:40.171 --> 02:42.225 over thousands and thousands of years 02:42.237 --> 02:44.770 and then it lived there in the 02:44.771 --> 02:47.768 forest lying dormant. And then 02:47.780 --> 02:51.290 we just witnessed that one moment 02:51.291 --> 03:00.965 where the thing comes back to life. 03:00.977 --> 03:11.740 My main tool for sculpting here is just 03:11.741 --> 03:14.111 the snake hook and the crease brush. 03:14.123 --> 03:16.440 Crease because it's a really simple 03:16.441 --> 03:20.301 way of either subtracting or adding 03:20.313 --> 03:24.400 holes into the geometry. And the mesh 03:24.401 --> 03:27.600 is quite, it's not that dense 03:27.612 --> 03:32.040 right now so I don't really care about 03:32.041 --> 03:34.055 the brush footprint right now because 03:34.067 --> 03:36.200 the crease brush is fairly sharp at thetip. 03:36.201 --> 03:41.982 There I'm sort of trying to 03:41.994 --> 03:48.330 suggest an anatomy using the Clay 03:48.331 --> 03:50.364 strips brush. It's also just a 03:50.376 --> 03:53.170 quick way of subdividing the mesh using 03:53.171 --> 03:56.243 dynamic topology 03:56.255 --> 04:00.110 Really just the clearest part in my 04:00.111 --> 04:02.469 head was the face. I wanted it to 04:02.481 --> 04:05.270 have this sort of square jaw with this. 04:05.990 --> 04:08.903 mouth kind of all over the place. 04:08.915 --> 04:13.190 And the eyes were also really 04:13.191 --> 04:14.842 that important because they're just 04:14.854 --> 04:16.610 empty sockets but they didn't have to 04:16.611 --> 04:19.477 look creepy or anything. They just 04:19.489 --> 04:22.450 had to kind of evoke the sense that 04:22.451 --> 04:32.626 there is a living breathing creature here. 04:32.638 --> 04:43.650 Still just trying to suggest some 04:43.651 --> 04:47.757 sort of groaned anatomy using the 04:47.769 --> 04:52.130 crease brush. Now I'm unhooking the 04:52.131 --> 04:55.104 mirror ring to kind of make it more 04:55.116 --> 04:58.350 asymmetrical. I kind of wanted to keep 04:58.351 --> 05:00.394 it a bit symmetrical in the 05:00.406 --> 05:03.450 beginning that way I could more easily rig it. 05:03.351 --> 05:07.460 And then after the rig was 05:07.572 --> 05:11.810 done and it was in place I just did 05:11.811 --> 05:14.516 a little pose and on top of that 05:14.528 --> 05:17.670 I did some more dense sculpting but 05:17.671 --> 05:30.939 I'm trying to keep the mesh fairly 05:30.951 --> 05:44.230 light right now. One thing I found 05:44.231 --> 05:46.236 really interesting was that that 05:46.248 --> 05:48.770 sort of Ridge on the head that kind of 05:48.771 --> 05:51.363 made the whole thing look like a tree 05:51.375 --> 05:53.910 trunk being ripped out of the ground 05:53.911 --> 05:56.923 with these kind of pieces that were 05:56.935 --> 06:00.210 torn out of it and then roots grew in. 06:00.930 --> 06:11.848 its place and yeah that was kind of a 06:11.860 --> 06:22.790 really interesting image. Here we go. 06:23.150 --> 06:25.631 I'm just trying to define more 06:25.643 --> 06:29.050 features of the anatomy. Also it didn't 06:29.051 --> 06:31.788 really have hands in the beginning 06:31.800 --> 06:34.470 so I thought okay well this thing 06:34.471 --> 06:36.904 probably got rooted into the 06:36.916 --> 06:40.410 ground and these hands turned into big 06:40.411 --> 06:43.385 roots that were growing right in front 06:43.397 --> 06:46.230 of the camera and then I sort of had 06:46.231 --> 06:48.849 this idea okay why what if we would 06:48.861 --> 06:51.710 just sit there at the hands looking up 06:51.711 --> 06:54.577 and there's this gigantic thing 06:54.589 --> 06:58.210 that grows out of the frame into our. 06:59.610 --> 07:05.905 yeah. So here's the rig. I'm just 07:05.917 --> 07:12.780 adding really really basic bones for 07:12.781 --> 07:15.423 the arms the torso and the head 07:15.435 --> 07:18.860 trying to name them properly here so I 07:18.861 --> 07:23.425 could use some symmetry and just try 07:23.437 --> 07:28.260 to snap them using the volume snapping 07:28.261 --> 07:30.547 trying to snap them into place 07:30.559 --> 07:33.700 inside the arms. Something really quick 07:33.701 --> 07:36.370 because I only just care about to 07:36.382 --> 07:39.300 move the arms without distorting the 07:39.301 --> 07:41.789 So I just parent the mesh to the 07:41.801 --> 07:45.160 armature which takes a while because it's 07:45.161 --> 07:48.937 fairly dense and that just gave me a 07:48.949 --> 07:52.840 really really quick way of moving the arms. 07:52.841 --> 07:59.576 As soon as that was done 07:59.588 --> 08:07.600 I really wanted to get the this image. 08:08.660 --> 08:10.388 that was just in my head. I didn't 08:10.400 --> 08:12.240 really make any concept art for this 08:12.241 --> 08:14.207 so it was really just important 08:14.219 --> 08:16.580 for me to to get this down into the 08:16.581 --> 08:18.371 blend file as quick as possible. 08:18.383 --> 08:20.580 So that's why I'm already placing the 08:20.581 --> 08:25.484 camera here. I had this idea 08:25.496 --> 08:31.640 of this hunched over posture with 08:31.641 --> 08:36.546 this head slightly tilted. Something 08:36.558 --> 08:41.740 that would almost give it give it sort 08:41.741 --> 08:54.143 of a quality as if it was leaning 08:54.155 --> 09:08.760 over and looking at us using the camera 09:08.761 --> 09:12.009 prosper 2 to just show really what is 09:12.021 --> 09:15.280 what is in the final render view and. 09:16.180 --> 09:18.337 as I said I really wanted to evoke 09:18.349 --> 09:20.580 the sense of gigantic scale and the 09:20.581 --> 09:24.217 best thing to do to achieve that 09:24.229 --> 09:28.560 is to kind of let it grow out of the 09:28.561 --> 09:30.909 camera frame so you don't even see the 09:30.921 --> 09:33.280 top part of it and there might be much 09:33.281 --> 09:40.159 more stuff there that you don't see. 09:40.171 --> 09:47.620 I'm switching on the camera guides for. 09:48.400 --> 09:51.570 Golden Triangle and the rule of thirds 09:51.582 --> 09:54.600 just to give me a basic guideline. 09:54.601 --> 09:56.873 I don't really I don't really adhere 09:56.885 --> 09:59.300 to those rules that much but it kind 09:59.301 --> 10:00.947 of helps especially to have that 10:00.959 --> 10:02.980 little diagonal line here which helps 10:02.981 --> 10:06.128 me find the center of the face and 10:06.140 --> 10:09.480 the center of our attention and just 10:09.481 --> 10:11.932 enable me to to guide the viewer's 10:11.944 --> 10:14.900 eye to the the most essential part of the 10:14.901 --> 10:34.595 frame. All right now that I have the 10:34.607 --> 10:55.910 really just basic framing of my subject 10:55.911 --> 10:59.614 I just applied the camera, sorry 10:59.626 --> 11:03.450 I applied the the armature. I kept 11:03.451 --> 11:05.954 a copy on a separate layer but I just 11:05.966 --> 11:08.550 really wanted to work on on existing 11:08.551 --> 11:10.727 geometry that didn't have a lot 11:10.739 --> 11:13.350 of modifiers on it so I applied the 11:13.351 --> 11:16.210 armature modifier and from then on 11:16.222 --> 11:19.170 I can just still nudge the model around 11:19.171 --> 11:22.624 in sculpt mode but yeah once the 11:22.636 --> 11:26.750 the the basic pose was done for me 11:26.751 --> 11:29.836 I really just wanted to go in there 11:29.848 --> 11:33.400 and add some add some detail. Here I'm 11:33.401 --> 11:36.280 using the snake brush which which was 11:36.292 --> 11:39.260 really just vital in adding those tree 11:39.261 --> 11:41.839 trunks on the top and then I sort of 11:41.851 --> 11:44.440 had this idea that oh yeah what what 11:44.441 --> 11:47.059 if what if the back isn't just this 11:47.071 --> 11:49.920 sort of scaly pattern what if there's. 11:50.560 --> 11:53.060 over the years and hundreds of years 11:53.072 --> 11:55.720 there's there's been trees growing out 11:55.721 --> 12:07.884 of the back and it kind of emerged 12:07.896 --> 12:20.070 with the forest. At this point I'm 12:20.071 --> 12:22.978 also trying to to introduce more 12:22.990 --> 12:26.730 asymmetry and I I really wanted to make 12:26.731 --> 12:30.331 this look look more dynamic that's 12:30.343 --> 12:34.470 why I kind of made those trees grow all 12:34.471 --> 12:36.707 into the same direction because I 12:36.719 --> 12:39.430 mean that's a that's how forests grow so 12:39.431 --> 12:41.287 that there's a there's a strong 12:41.299 --> 12:43.710 wind and then for for maybe a year the 12:43.711 --> 12:45.717 trees just grow in that one 12:45.729 --> 12:48.570 direction and then another year also 12:48.571 --> 12:52.022 all the trees grow in another direction 12:52.034 --> 12:55.410 so yeah it was really really important 12:55.411 --> 13:13.567 that this kind of looked believable. 13:13.579 --> 13:33.220 Here I'm nudging more parts of the mesh 13:33.221 --> 13:44.789 around to get this sort of tree 13:44.801 --> 13:59.370 barky torn up look and once I had the 13:59.371 --> 14:02.019 trees and in place I wanted to make 14:02.031 --> 14:04.690 sure that I can I can actually sell 14:04.691 --> 14:06.923 this look of of trees growing out 14:06.935 --> 14:09.510 of the surface so here I just took the 14:09.511 --> 14:12.377 sculpt draw brush and I I quickly 14:12.389 --> 14:15.690 tried to suggest some roots growing on 14:15.691 --> 14:19.519 top of the surface and the the way 14:19.531 --> 14:23.590 to kind of sell this look is to have 14:23.591 --> 14:26.159 multiple layers of roots growing out 14:26.171 --> 14:28.890 of the surface but you'll see that you 14:28.891 --> 14:30.853 see that coming up later when I'm 14:30.865 --> 14:33.130 adding curves to to suggest more roots 14:33.131 --> 14:37.778 and more smaller details but yeah we 14:37.790 --> 14:42.700 we basically need this one part of the 14:42.701 --> 14:44.593 root that kind of connects with 14:44.605 --> 14:46.940 the surface and then we need we need 14:46.941 --> 14:48.532 surface detail on top and 14:48.544 --> 14:50.980 multiple layers to kind of sell this 14:50.981 --> 15:03.569 multi-layer effect and again just 15:03.581 --> 15:15.810 working with a snake hook brush. 15:16.470 --> 15:19.347 trying to to make the hands look 15:19.359 --> 15:22.790 like like a tree that's been growing 15:22.791 --> 15:51.643 out of the ground in front of us so 15:51.655 --> 16:21.320 here I switched from the sculpt draw 16:21.321 --> 16:24.032 brush to the blob brush because of 16:24.044 --> 16:27.000 it kind of looks a bit more blobby if 16:27.001 --> 16:30.469 that makes sense and that will 16:30.481 --> 16:35.120 just help me to to to make the roots a 16:35.121 --> 16:37.385 bit more disconnected from from the 16:37.397 --> 16:39.800 ground because I'm not really sure if 16:39.801 --> 16:42.553 the trees are growing on top of the on 16:42.565 --> 16:45.400 top of the character or if they're part 16:45.401 --> 16:48.169 of the character I'm only really 16:48.181 --> 16:50.960 I'm only really hinting at the 16:50.961 --> 16:55.033 possibility here that that this 16:55.045 --> 16:59.920 whole thing is one one existing one 16:59.921 --> 17:06.038 existing one consistent being but 17:06.050 --> 17:13.260 yeah anyway I'm mainly just focusing on 17:13.261 --> 17:15.759 the face here because that's that's 17:15.771 --> 17:18.420 that's the thing that we're as humans 17:18.421 --> 17:20.438 are mostly connected to and the trees 17:20.450 --> 17:22.640 in the background were really just there 17:22.641 --> 17:26.597 to fill up the atmosphere so they 17:26.609 --> 17:31.160 needed to be there they needed to look 17:31.161 --> 17:34.449 alive but it's mainly just about 17:34.461 --> 17:38.380 about the silhouette and the overall 17:38.381 --> 17:48.293 dynamic movement of of the lines 17:48.305 --> 18:00.400 in the in the picture at this point I 18:00.401 --> 18:02.718 wasn't really sure how this this 18:02.730 --> 18:05.860 image would look like in the end I just I 18:05.861 --> 18:08.690 just had some vague idea of light I 18:08.702 --> 18:11.700 knew that I wanted to evoke this sort 18:11.701 --> 18:13.925 of after afternoon atmosphere 18:13.937 --> 18:17.020 something that you just you could just 18:17.021 --> 18:19.671 encounter while you're on a walk 18:19.683 --> 18:22.760 in the in the forest or so and then 18:22.761 --> 18:25.412 later on that obviously changed and 18:25.424 --> 18:28.160 you'll also see that change here but 18:28.161 --> 18:31.531 yeah right now it was a fairly friendly 18:31.543 --> 18:34.840 afternoon atmosphere with a lot of Sun 18:34.841 --> 18:37.375 and we would see all the details and 18:37.387 --> 18:40.140 there would be some sort of mist in the 18:40.141 --> 19:13.372 atmosphere but yeah it was a fairly 19:13.384 --> 19:44.780 happy mood I had in mind first so 19:44.781 --> 19:46.815 most of the facial features are 19:46.827 --> 19:49.600 there now it's it's just about refining. 19:50.140 --> 19:53.856 the silhouette a bit and then adding 19:53.868 --> 19:58.000 some some sharper details here and there 19:58.001 --> 20:00.651 kind of nudging the jaws around a 20:00.663 --> 20:03.560 little bit and I also wanted to make 20:03.561 --> 20:05.775 the eyes a bit more asymmetrical 20:05.787 --> 20:08.640 because that kind of gave it this weird 20:08.641 --> 20:35.692 sort of look on his face adding 20:35.704 --> 21:09.750 more roots to the arms I'm not really 21:09.751 --> 21:12.461 happy how the arms turned out in the 21:12.473 --> 21:15.490 end I mean it's sort of okay I wish they 21:15.491 --> 21:20.462 could have connected to the ground 21:20.474 --> 21:25.600 a bit better but yeah here I'm just 21:25.601 --> 21:27.686 trying to to use the snake hook 21:27.698 --> 21:30.200 brush to get some connection points 21:30.201 --> 21:32.358 with the ground that I could later 21:32.370 --> 21:34.600 use to to grow some some curves and 21:34.601 --> 21:38.257 some roots on to make it a bit more 21:38.269 --> 21:42.140 more believable that this actually is 21:42.141 --> 22:05.440 connected with the ground itself 22:05.452 --> 22:35.320 here I'm using the snake hook brush to. 22:35.750 --> 22:38.964 kind of add some more sharpness to 22:38.976 --> 22:42.570 certain features on the surface that's 22:42.571 --> 22:45.292 also really important to have a very 22:45.304 --> 22:48.110 a very good balance of sharp and sort 22:48.111 --> 22:53.349 of soft features on the surface it's 22:53.361 --> 22:58.470 also really helpful to kind of make 22:58.471 --> 23:02.666 certain parts look like 23:02.678 --> 23:07.250 they've been eaten away 23:07.251 --> 23:08.673 either by little forest 23:08.685 --> 23:10.430 insects or or the weather. 23:54.100 --> 23:56.725 I'm also leaving some free and open 23:56.737 --> 23:59.520 spots there because I I knew I wanted 23:59.521 --> 24:02.245 to add lots of vegetation and little 24:02.257 --> 24:05.140 little details such as rocks on top of 24:05.141 --> 24:10.618 it so I needed to have some free space 24:10.630 --> 24:16.260 to add more things on top but also it's 24:16.261 --> 24:18.049 important to not only just add 24:18.061 --> 24:20.400 unnecessary detail all over the place 24:20.401 --> 24:22.577 because then your eye doesn't know 24:22.589 --> 24:24.840 where to look at certainly and then 24:24.841 --> 24:26.729 later on when you're lighting and 24:26.741 --> 24:28.640 when you're doing the shading you 24:28.641 --> 24:31.739 have you have some problems trying to 24:31.751 --> 24:34.860 trying to guide the viewers eye to to 24:34.861 --> 24:38.784 where you want them to look at so 24:38.796 --> 24:43.310 it's really important to not spend the 24:43.311 --> 25:07.593 detail everywhere otherwise the final 25:07.605 --> 25:30.620 result just gets too busy and again 25:30.621 --> 25:36.103 using the crease brush to to add 25:36.115 --> 25:42.810 more sharp edges I really like crease 25:42.811 --> 25:45.519 because you can you can add sharp 25:45.531 --> 25:48.570 edges just by inverting it by I think 25:48.571 --> 25:50.050 it's either control or shift by 25:50.062 --> 25:51.890 holding control or shift down while. 25:52.360 --> 25:56.573 you're drawing and you can also just 25:56.585 --> 26:00.810 add little creases in the surface at 26:00.811 --> 26:02.899 the same time so it's a it's a 26:02.911 --> 26:05.850 really versatile brush and especially by 26:05.851 --> 26:08.996 using a small amount of pinch you 26:09.008 --> 26:12.630 can really get away with a lot of less 26:12.631 --> 26:15.529 geometry than if you just sculpt 26:15.541 --> 26:19.270 everything and subdivide everything by. 26:38.420 --> 26:41.259 and now here's the point where I am 26:41.271 --> 26:44.360 I'm kind of I'm happy with the sort of 26:44.361 --> 26:46.897 detail and the overall look but I'm 26:46.909 --> 26:49.740 really I really just need a bit sort of 26:49.741 --> 26:51.692 an inspirational push if you can 26:51.704 --> 26:54.280 call it that way that's why that's why I 26:54.281 --> 26:59.342 just assigned a really basic material 26:59.354 --> 27:04.160 because it's it's really hard to to 27:04.161 --> 27:08.290 you're working on something on a forest 27:08.302 --> 27:12.340 or something something organic if it's 27:12.341 --> 27:15.030 just shaded gray and that's why I 27:15.042 --> 27:18.300 also I frequently tend to just go to the 27:18.301 --> 27:19.898 open GL lighting and tweak the 27:19.910 --> 27:21.840 lighting settings a bit to reflect 27:21.841 --> 27:24.465 more the the overall light direction 27:24.477 --> 27:26.900 I have in the end you can do that 27:26.901 --> 27:29.334 with mat caps you can do that with 27:29.346 --> 27:31.860 real lights if you're using blender 27:31.861 --> 27:35.040 internal for for displaying your 27:35.052 --> 27:39.240 viewport but yeah I just wanted a really 27:39.241 --> 27:42.098 quick way of evoking the sense of 27:42.110 --> 27:45.400 the the final sense of the image in my 27:45.401 --> 27:54.401 head to just keep me going while I 27:54.413 --> 28:03.940 was working on this here in the back 28:03.941 --> 28:05.526 I really don't don't care about the 28:05.538 --> 28:07.180 details so much it's just about the. 28:13.070 --> 28:17.758 and most of the details will just get 28:17.770 --> 28:22.470 added in post or by by adding some by 28:22.471 --> 28:25.378 adding some more elements to it like 28:25.390 --> 28:28.230 we do later on with some rocks from 28:28.231 --> 28:31.372 coming under us and some grass from 28:31.384 --> 28:34.450 project gooseberry but yeah I know 28:34.451 --> 28:36.685 I'm also relying on the fact that 28:36.697 --> 28:39.010 most of the most of the image just 28:39.011 --> 28:40.756 gets completed in the viewer's 28:40.768 --> 28:43.110 imagination I think those are the most 28:43.111 --> 28:45.030 powerful images the one where you 28:45.042 --> 28:47.370 can look at and you can sort of get your 28:47.371 --> 29:15.794 mind into it and the your your brain 29:15.806 --> 29:45.010 just kind of fills in the gaps adding 29:45.011 --> 29:47.719 some more roots to the hand now here's 29:47.731 --> 29:50.450 the point where I really need a ground 29:50.451 --> 29:53.029 mesh without that the whole 29:53.041 --> 29:56.110 composition would just not be. 29:57.810 --> 30:02.748 so I'm just adding a little plane and 30:02.760 --> 30:07.710 applying a sub serve modifier just to 30:07.711 --> 30:17.724 get the sense of the terrain that 30:17.736 --> 30:28.940 this thing is in trying to adjust the 30:28.941 --> 30:31.856 camera rotation slightly see if we 30:31.868 --> 30:35.380 can get a better composition out of this. 30:45.580 --> 30:48.061 here I'm doing a really dirty 30:48.073 --> 30:51.340 well it's not dirty but it's a cheap 30:51.341 --> 30:54.190 little trick I'm adding a plane and 30:54.202 --> 30:57.460 changing the transparency of it and then 30:57.461 --> 31:01.027 I'm using an array modifier to kind of 31:01.039 --> 31:04.800 instantiate the plane and that way I can 31:04.801 --> 31:07.213 get a really really cheap sort of 31:07.225 --> 31:09.720 volume effect in the viewport just 31:09.721 --> 31:12.462 to help my imagination a little bit 31:12.474 --> 31:15.380 obviously we're not gonna use that to 31:15.381 --> 31:19.401 anything but it just helps us to to 31:19.413 --> 31:24.340 kind of get more ideas while you're working 31:24.341 --> 31:27.848 with this also to find to find our 31:27.860 --> 31:31.580 focus point of the image here and to 31:31.581 --> 31:50.354 see how many things we still need 31:50.366 --> 32:11.360 to add in the background obviously at 32:11.361 --> 32:13.089 this point I'm starting to realize 32:13.101 --> 32:14.940 that I need to name things otherwise 32:14.941 --> 32:18.361 I'll be lost this is something that 32:18.373 --> 32:21.900 we really try to enforce here at the 32:21.901 --> 32:24.636 studio while people are obviously 32:24.648 --> 32:27.880 collaborating with each other they need 32:27.881 --> 32:29.789 to open their files so it's it's 32:29.801 --> 32:31.960 really good to to have some naming 32:31.961 --> 32:34.554 conventions and also to to keep 32:34.566 --> 32:37.760 yourself sane because if you have 20 32:37.761 --> 32:39.481 planes dot or something in the 32:39.493 --> 32:41.860 scene you don't really know what you're 32:41.861 --> 32:44.544 working with right now so we 32:44.556 --> 32:48.020 I'm just trying to kind of loosely 32:48.021 --> 32:49.986 adhere to the naming scheme that we 32:49.998 --> 32:52.140 use at the studio currently which is a 32:52.141 --> 32:55.169 prefix of geo in capitals with a dash 32:55.181 --> 32:58.300 and then the name of the geometry and. 32:59.120 --> 33:01.006 ENV for environment objects and 33:01.018 --> 33:03.160 things that don't get rendered or 33:03.161 --> 33:05.190 things that just contribute to the 33:05.202 --> 33:07.360 atmosphere of the final of the final 33:07.361 --> 33:11.591 result but yeah really any naming 33:11.603 --> 33:16.220 scheme works as long as you stick to 33:16.221 --> 33:18.238 it and it's clear to you after I 33:18.250 --> 33:20.660 don't know after five years when you 33:20.661 --> 33:28.473 open this file again so with all this 33:28.485 --> 33:36.720 so render prototyping I realized that I 33:36.721 --> 33:38.636 need more trees in the background to 33:38.648 --> 33:40.680 kind of fill the space and to get more 33:40.681 --> 33:44.641 sense of depth in there so here's 33:44.653 --> 33:49.210 that's why I'm just snake hooking some 33:49.211 --> 33:53.276 trees out of the out of the 33:53.288 --> 33:58.120 back really just rough shapes. 34:34.760 --> 34:36.779 but yeah I'm not really concerned 34:36.791 --> 34:39.240 about anything that's outside the frame. 34:42.270 --> 34:45.268 or in no way related to our final 34:45.280 --> 34:48.290 result I could have probably just 34:48.291 --> 34:57.216 deleted the back and save some memory 34:57.228 --> 35:06.400 here I'm increasing the detail size of 35:06.401 --> 35:08.470 the dynamic topology because now I... 35:08.482 --> 35:10.620 I want to go in there and add some more 35:10.621 --> 35:13.261 fine detail only in certain places 35:13.273 --> 35:16.000 where I think that I need to direct 35:16.001 --> 35:42.724 the viewers eye a little bit nudging 35:42.736 --> 36:09.470 all the details back a little bit to 36:09.471 --> 36:18.162 make the flow a little bit more 36:18.174 --> 36:28.280 dynamic and then we're focusing on 36:28.281 --> 36:30.939 the eye sockets because I knew that I 36:30.951 --> 36:33.620 wanted to put some lights in there to 36:33.621 --> 36:36.252 make it very glory and mysterious like 36:36.264 --> 36:38.840 this could be this could be either an 36:38.841 --> 36:42.871 eye or just a cave in the forest 36:42.883 --> 36:47.810 somewhere and since the the viewers I 36:47.811 --> 36:50.488 would be directed just immediately 36:50.500 --> 36:53.650 into those eyes I have to make sure that 36:53.651 --> 36:55.911 the geometry doesn't doesn't 36:55.923 --> 36:59.250 tessellate there or there's no no rough 36:59.251 --> 37:02.140 edges and or nothing that's really 37:02.152 --> 37:04.970 really disconnecting you from the 37:04.971 --> 37:30.403 subject I guess with this whole image 37:30.415 --> 37:55.190 I wanted to I don't know might sound 37:55.191 --> 37:57.777 really pretentious to say it after 37:57.789 --> 38:00.610 effect but yeah I really I drew a lot 38:00.611 --> 38:03.734 of childhood memories I grew up in 38:03.746 --> 38:07.150 a very not in a rural area but we had 38:07.151 --> 38:09.176 lots of forests around the house 38:09.188 --> 38:11.670 and I was strolling around the forest 38:11.671 --> 38:14.311 for hours and hours at any time of the 38:14.323 --> 38:17.110 day and really when you're a kid you're. 38:17.510 --> 38:23.635 kind of you can imagine you can imagine 38:23.647 --> 38:29.630 these things and yeah sort of parallel 38:29.631 --> 38:32.116 life that happens in the forest 38:32.128 --> 38:35.430 right of in front of our doorstep and I 38:35.431 --> 38:39.240 think that's what that's the the 38:39.252 --> 38:43.790 sense that I the the feeling that I. 38:44.690 --> 38:47.509 parallel a parallel universe that we 38:47.521 --> 38:50.810 can stumble upon that just happens to grow 38:50.811 --> 38:53.480 right in front of our eyes and I 38:53.492 --> 38:57.010 think that's that's also why I add those 38:57.011 --> 39:00.295 those kids in there later on because 39:00.307 --> 39:03.870 I want to evoke the sense of wonderment 39:03.871 --> 39:20.887 and discovery yeah I hope I managed 39:20.899 --> 39:39.820 to do that I'm mostly just barking from 39:39.821 --> 39:42.784 the camera point of view here just 39:42.796 --> 39:45.940 trying to be very efficient about it 39:45.941 --> 39:48.925 adding details where we really just 39:48.937 --> 39:52.100 absolutely need them and it was also. 39:53.900 --> 39:56.298 very adding a little tree trunk growing 39:56.310 --> 39:58.540 out of the ground here that was fun. 40:05.230 --> 40:07.666 yeah yeah I was saying that I think 40:07.678 --> 40:09.990 it's I think it's really vital to 40:09.991 --> 40:12.040 this character that the face doesn't 40:12.052 --> 40:13.890 look too it kind of has to look. 40:14.490 --> 40:17.378 ambiguous if you that's a word for that 40:17.390 --> 40:20.290 you're you shouldn't really be too sure 40:20.291 --> 40:24.615 is this and is this an evil forest 40:24.627 --> 40:29.210 giant or is he friendly I think that 40:29.211 --> 40:32.217 was the the biggest balance that I 40:32.229 --> 40:35.850 had to strike and yeah that's why you can 40:35.851 --> 40:37.497 see me zooming out so much because 40:37.509 --> 40:39.310 I really just had to look at the big. 40:39.910 --> 40:43.252 is this looking too too dark and too 40:43.264 --> 40:46.890 sinister now or does it still look sort 40:46.891 --> 40:51.133 of borderline friendly does it have a 40:51.145 --> 40:55.510 stern look on his face or I know is it 40:55.511 --> 40:59.452 happy that it's a that's woken up or 40:59.464 --> 41:03.630 is it going to destroy everything I'm. 41:51.370 --> 41:55.155 still adding more roots here and those 41:55.167 --> 41:58.770 are mainly just the roots that that. 41:59.210 --> 42:02.253 connects the roots that I will be 42:02.265 --> 42:05.410 growing later on using curves that 42:05.411 --> 42:07.256 connect those roots to the surface 42:07.268 --> 42:09.390 because if you just place curves on top 42:09.391 --> 42:11.579 of that they won't connect they don't 42:11.591 --> 42:13.790 they don't look like they they belong 42:13.791 --> 42:15.276 to the mesh even though if you just 42:15.288 --> 42:16.910 use the same material it's really hard 42:16.911 --> 42:19.909 to make it look like they're the same 42:19.921 --> 42:23.090 object so that's why you need some some 42:23.091 --> 42:25.277 sort of suggestion that that geometry 42:25.289 --> 42:27.430 that you're adding later on connects 42:27.431 --> 42:29.588 with the mesh underneath and that's 42:29.600 --> 42:31.830 why I'm indicating those roots there 42:31.831 --> 42:33.927 only to connect them with the bigger 42:33.939 --> 42:35.990 roots that are actually part of the 42:35.991 --> 42:51.064 mesh again doing a tiny little pass 42:51.076 --> 43:06.580 with a snake hook brush just because 43:06.581 --> 43:33.914 I like the that sort of pinched look 43:33.926 --> 44:02.010 that it creates all right I think for 44:02.011 --> 44:05.909 now I'm almost done with the sculpting 44:05.921 --> 44:09.530 just really tiny adjust tiny camera 44:09.531 --> 44:12.060 adjustments right now to make 44:12.072 --> 44:15.490 sure that we can we just got the best 44:15.491 --> 44:18.452 possible composition of course we 44:18.464 --> 44:22.050 can change it later on but yeah I'm just 44:22.051 --> 44:24.778 rotating the camera here slightly 44:24.790 --> 44:27.770 to to remove the the top part of the 44:27.771 --> 44:30.264 character from the frame that's 44:30.276 --> 44:33.590 again to to make it look bigger than it 44:33.591 --> 44:40.431 possibly then it then looks right 44:40.443 --> 44:47.900 now and I'm just trying to nudge the 44:47.901 --> 45:05.988 down a little bit because it's too 45:06.000 --> 45:25.650 dominant might right now and then I'm 45:25.651 --> 45:28.522 just smoothing out the last little bits 45:28.534 --> 45:31.490 just by pressing shift and stroking over 45:31.491 --> 45:45.834 the surface to make sure that there 45:45.846 --> 46:00.200 is no no polygon artifacts one more 46:00.201 --> 46:03.669 camera adjustments and then adding the 46:03.681 --> 46:07.160 rule of thirds to to the camera guides 46:07.161 --> 46:08.946 just to make sure that we can we 46:08.958 --> 46:11.260 have the best possible composition here 46:11.261 --> 46:13.808 and then then I'm not nudging the 46:13.820 --> 46:16.980 face to see if I can get it more into the 46:16.981 --> 46:22.636 the upper third doesn't really 46:22.648 --> 46:29.070 work but yeah that's it for now.