Welcome to the malty resolution modifier in this video you will learn how to use the malty resolution
modifier.
See the similarities to the subsurface division modifier and see that it is great from multiple resolutions
of a single model will learn how to control sharp edges using another technique for also works with
the subsurface division modifier and understand that it is best applied to a base mesh that is close
to the final lower poly version of the model you're working on.
So let's go hop straight on over in a blender.
Okay so we're back over in blender and the first thing we're going to have a look at is the sub surface
division modifier some just going to go ahead and apply it straight away to this cube.
So we've played with these before.
I'm going to take them up to a level of five.
So we end up with 12000 triangles and we end up with a relatively smooth ball shape especially if we
turn on smooth shading.
Now one of the things that we can do when we're in the subsurface division modifier is when we hop in
to edit mode we can actually see the effects of what's going on and that isn't the case with the multi
resolution modifier.
And the option to turn it on and off if he ever did want to do that is that on the modifiers tab over
here there is a cube with four vertices highlighted and that means display the modify in edit mode not
all modifiers can do that.
The subsurface division can.
So let's talk about creases how to make something sharp.
So there are a number of ways of doing that so one of the ways that we already know about is perhaps
to add a loop cut in and then pull the vertices closer together and we can even inset the face here
or even put them on top of one another.
And when you do put them on top of one another.
So let's just move them on top.
We end up with a very very sharp edge.
And this is one of the examples where perhaps you did want to put geometry on top of one another.
Unfortunately you don't generally get really sharp edges like that unless it's a knife.
In real life some asking to undo those steps there.
So we end up back without those that extra geometry.
The other thing we can do in order to make sure we don't have geometry is actually select edges so you
can use the vertex silhouette or face select to give us.
I'm going to select the four edges at the bottom here and if we go to the properties panel we can open
up that and go to edges data and go to mean creese and turn that up and we can see we get to a very
similar level we were before.
Very very powerful However because we don't have the extra geometry there.
Notice how you have some shading artefacts around this edge here because the shade doesn't quite know
what to do if we were in flat shading mode need to be an object mode to do that.
You will see that it looks sharp again.
So there are benefits to having a extra geometry there because it helps the shade and know really what's
happening underneath.
So that's one way of making sure there is a shortcut for that which is shift in E.
And then you can control that level with the mouse and obviously that's a much quicker to pull together
a certain shape and you can see here because we've got fundamentally were starting with a cube.
If we look at it it pinches in four separate corners here.
And that's where those shading artefacts have come from when that is set at 100 percent.
And when you put smooth shading on so smooth shading you can see it pinches here here in here.
And it's ultimately that's just adhering to the underlying geometry.
So now we've played with those particular tools.
Let's see how that works if we go ahead and add in a multi resolution modify nothing happens initially
because we need to go hit this subdivide button.
Now as always be very careful when you are working with anything that does subdivision you can very
quickly end up at a crazy level.
So whereas the subdivision's surface modifier caps out at what was it about six levels of subdivision
already on eight and at seven hundred and eighty six thousand polygons we can go to nine which is three
million polygons and I'm not going to click subdivide again because there's a good chance that I will
either lock up blender or cause it to crash so I'm not kind to do that during this demonstration.
Now we do have to be careful here.
When working in such high resolutions.
But this high resolution is very good for sculpting because it gives you a fine control over the geometry
of your mesh.
So what we can do here is actually turn down the preview amounts.
So let's say something like two.
Now that's going to be a bit too dense on the term flat shading back on.
So you can see the underlying mesh that is creating there.
So that's quite low polygon and you probably could get away with one lower.
Yeah do that.
But when we go into sculpt mode now we see that we've got a lovely smooth surface which we can start
working on so a little bit jerky at the moment but it's got far more control than the lower poly version.
When we hop out of that in to object mode we can see the effect that it's made on the lower poly version
so actually changes the low poly version too which is incredibly powerful.
Now there are some caveats.
If we go into edit mode we just see the cube again which isn't very helpful if you've got to modify
the geometry in this particular case.
This is what I mean by when I say when you're close to the fine or low poly version it doesnt have to
be the final low poly version but you need something that resembles the lowest pot level on this preview
that we've currently got set.
So a preview of three so what I'm going to do there is not do any more sculpting because that is going
to be a waste of time.
What we need to do is actually go ahead and apply a certain level of detail first.
Now you may have made this manually so I'm just going to close off the modifier completely.
I'm going to use a subsurface division modifier to generate a low poly and let's call it a bullet.
It kind of looks like one.
So here's my low poly bullet and I'm going to apply that so that's my low poly model when I go into
edit mode.
I can see physical geometry here which is great.
Now when I go back into the multi resolution modify and obviously crank that up.
It it's very tempting to click on the actual preview level to move up.
Don't you click on the subdivide and Im not going to go any higher than 5 on this count and will drop
the preview back down to zero because that is ultimately the preview and its light and fast in the viewport.
At this point as well and then when I go into sculpt mode it goes to the higher resolution version.
Now if I decide to add some detail on here let's just wade all about a bit and get that on there and
then put some let's say smaller spots on it doesn't really matter.
The amount of detail we're going for here.
But this is a detail that won't resolve when we have a look at it in edit mode.
Notice that it hasn't changed in object mode as the geometry.
We need a preview level of at least one to see that the underlying geometry changes.
But in edit mode it does not.
There is a button here called apply base which will sort that out for us so if we go to object mode
and say we're happy with that level of geometry and the shape that it's created we can go ahead and
apply base and once we've done that we can then go back into edit mode and see how it's really changed
the mesh and then alter it accordingly.
If we want to that is an optional step of course and gives you more control.
So when we're in object mode here and we can see the underlying geometry here what would be really cool
is being able to bake the detail of the higher poly version onto this lower poly model and you can do
that as well.
Now we're not going to do that in this particular section but you can already see how if you had a high
poly model whether it be a character or anything else you can actually get high detail and transfer
it to an exact low poly version of it very quickly using the multi resolution modifier because we've
got the low poly version here at only three thousand polygons if I'm looking up here at the top right.
And every hopping to sculpt mode we can see that we're really working with underneath.
Seven hundred and eighty six thousand four hundred thirty two polygons which is significantly more than
the low poly version but we can probably get all of this detail applied to that low poly version.
And through normal maps and bump maps etc. and it look pretty much the same in fact I'm going to use
this as a demonstration not in this lecture but in a future one so I'm going to go ahead and just save
that file after I've made the blob and call it a blob.
Why not.
I'm in the wrong area.
Make sure I'm in the right area and I do.
As always I do recommend especially when you're playing with modifiers or rendering that you make sure
you safe because there's a good chance blender might crashing you some and put this in my resources
folder and call this multi rez blob because that is all it is.
At the moment.
Go save that file.
Excellent.
All sorted now of course.
I've got a challenge for you.
I would like you to go ahead and use the multi rez modify your scene.
Now I will be making a basic pillar getting the size and shape right and then increasing it to a level
of details or b type of level I may even go above that.
Of course if you've already done Pillar's or you need to make something else you're not making a gothic
church for instance.
Perhaps fine ornaments or if you are doing a church practice an angel or something like that really
challenge yourself at this point to make the best use of a multi resolution modifier.
Now I would suggest applying a mortie Rose of around four subdivisions that is usually the right difference
between the low poly and the high poly detail then it gives you a lot of scope for modifying.
Of course choose whether or not you want to use a bit of sculpting in there to perhaps add a bit of
a symmetry a lot of things we build in any 3D modelling package tend to be very symmetrical and you
start prodding and poking vertices.
Of course the sculpting is a great way of doing that.
Set the origin to the centre of the base of whatever object you're doing and the reason for that is
it enables you to position it a lot lots easier.
Then if it's not because then on the object when you're in object mode you can actually just move it
to the floor for instance or move it to a certain height or position with great ease.
Some of the mini set in the origins of the centre of my base of my pillar.
Remember to use the mean edge crease to keep the desired shape.
Just to give you a heads up here before we plough back into blender we are going to start with a low
poly model something looking similar to this.
We are going um of May.
Im probably going to make mine in some sections we can see we've got a base there.
We've got three or sorry four sections there that look the same.
Very similar.
And then of course we've got this area here and the top one at the top.
Now when I say apply I mean edge press when you go on apply V.
Multi resolution modifier and something like this it ends up looking a bit like this which is.
Well it doesn't look quite right now of course we can construct this with detail using similar methods
to the chess set that we've done but just applying the mean edge on it will make it look much better
much more crisp in place as you can see the difference there and also the rendering artefacts tend to
disappear as well.
You make it a bit neater So that's brilliant.
So balls are video now and give that a go.
Okay guys.
Welcome back.
Let's go use the mortie resolution modifier.
Okay so we're back over in blender and I've got a few things that I need to work on.
First of all and that is how high does my pills have to be because I haven't a clue.
I've four completely forgotten to manage my measurements here so let's go to my mike off a church.
I'm going to go into walkaround mode.
Oh not with a camera.
Moving the camera if I do that so it's position that I'm just moved away.
So it's some points in here.
All those things have appeared there.
We're going to have pillows coming up to these points so I need to have a look at what height these
rats compared to the rest of our model.
And I think it's going to be eight points two because we've got a point to Undeground then we've got
a one wall section to wall sections.
So I think we're going to be at a level of eight point two so I'm going to go for that.
And we've got the width here also I'll probably do is import one of these vaults into a separate file
and use that as a reference and then just remove it when necessary.
And I seem to have everything turned on at the moment anyway.
I'm also going to sort out this belltower because belltower don't look like that I've actually had a
look at reference material and as cool as that is it doesn't help.
I thought it didn't look right and now I know why.
It's because they don't look like that normally.
Brilliant.
Okay so I'm going to go and get all that stuff ready and I'll see you guys back in a few moments.
Okay so I've set up now a basic column as you can see here at the appropriate high.
I'm not making four of them because these are buttoned up next to one another.
I would end up with them overlapping basically So I'm going to place them in the scene manually and
use arrays.
But there's my basic column using this Voltz as reference as you can see I've got some legacy stuff
left over from the vaults.
I'm going to clear that down I'm happy with the height afterwhile.
I will after I've compared it in the Gothic church scene so let's hop over there and see if this column
fits.
So I've imported appended it into the scene and we're going to save this particular one because it's
just for testing by can see here that the pillars are indeed the right height.
In my scene absolutely fine.
They are too big of a right height but they're too big.
So this is one of these great examples of doing things as lean as possible bringing them in.
Arguably I should have brought them in earlier if I was being lean because then I wouldn't have this
oddity around the roofline.
Perhaps I'll make that into the model since it's interior.
I might even just leave that.
No one can ever see it although we've got an exterior Plus in case you're looking out the window.
So let's go back into the church.
So I'm happy with the height.
I'm not happy with the width there.
They can be a lot thinner and obviously a bit more shapely as well to reflect the opulent nature of
the rest of this building.
So with that in mind I'm going to go in and model my pillars and I will see you guys back in a bit.
Okay so I've moved my final pillars in.
Well perhaps not my final but the ones on working with at the moment a vault of the top of the church
as you can see there.
And let's go and fly on inside and take a look at the pillars.
So I've added some detail to the pillars and made them a bit smaller.
And of course the final thing is just to do a quick render here and see how it pans out.
Now there's some alignment time.
Now it looks like I might need to do in between these that one spots on as does that one actually I
think this was just looking odd because of the corner.
So there are some extra bits geometry I can put in there are not an architect after all.
But that is looking pretty good.
So the final thing is to do is to render it out and see how it looks.
How are yours coming along.
I'd love to see them in the discussion so please share them so I can see how you're getting on.
And so the other students can as well.
And of course as always I will see you guys in the next lecture.