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hello.
In this lesson, we'll spend some time getting
familiar with volume modeling, and we'll
model some of the objects in the examples you
see.
First, let's explain the concept of volume
modeling.
The way we've been modeling so far, we've
been placing objects, making them editable,
and changing the polygon structure based on
that.
Volume modeling is a different kind of
modeling that overcomes some of the
limitations of this.
For example, I'm going to combine spherical
shapes here.
It's actually very difficult to create a
structure that combines like this, that
extends out this way, and then at the end of
it, attaches a sphere like this.
If we were to implement this, it would be
possible.
We'll use balls to attach them all at once.
If we use unions, the balls will be glued
together, but if we apply a subtractive
vision surface on top of that, we're going to
get a weird shape.
It's hard to represent what we naturally
connect, and it's hard to represent a shape
that's rounded on the edge, and it's hard to
represent a shape that's rounded on this side
as well.
Let me give you another example.
Let's place an oyster.
We've used the oysters to create a cloud, but
the cloud shape is clearly visible as a
cut-off shape.
In this case, it would be better if the
shapes were more naturally rounded and
connected.
This is where volume modeling comes in.
First, let's place our object as before, a
cube.
I'm going to place an oyster.
"These two are going to be attached like
this."
We need to apply both objects to volume
modeling at once, so let's start by looking
at the volume modeling location icon.
"This is labeled Volume Builder."
So if I just click on it, it will create a
volume builder.
And I'm going to put my objects inside the
volume builder like this.
There was a little bit of a hiccup there.
The Volume Builder will become active as the
objects are included.
Right now, both the cube and the sphere are
being recognized.
And we're getting these tiled pixels.
If you look closer, there are squares as you
move them around.
You'll notice that this square changes
depending on the angle of the screen.
"Same thing here."
It's like the squares are laid out like
confetti.
"These are the voxels."
A "pixel" is the smallest unit on the screen,
and it's what makes up a single square.
Together, these pixels form a picture.
A voxel is the three-dimensional perception
of these squares. These three-dimensional
perceived voxels are connected to form a
shape.
That's the concept of the volume builder.
It's the idea of organizing and connecting
voxels.
So, we're taking the shapes that we have and
turning them into voxels first.
So we've got a cube, a sphere, and a sphere
that's been decomposed.
They've been decomposed into voxels, and we
need to put them back together again.
Right now, they have no shape.
And when we render it, it's the same thing.
You can't see anything.
This is a shapeless state, like smoke.
This is where the work of materializing and
giving shape comes in.
That is the volume meshes.
The term "mesh" means to give shape to
polygons, which can be understood as giving
shape to a volume.
A mesh is a structure of polygons clustered
together.
So you can think of it in terms of clumping
volumes together to create a mesh.
So right now, we're connected like this.
If you zoom in closer, you can see that the
polygon structure is a little bit out of
whack, but it's still connected nicely for
now.
In a case like #9, if we don't have enough
polygons, it's going to look a little bit
angular, so I'm going to increase the polygon
count quite a bit.
This will make the connection look more
natural.
We can apply the volume builder and volume
mesher like this.
"Now, let's check out the structure."
"The volume mesher is at the very top."
The volume builder is underneath that.
Below that, you'll see the current objects.
Press Alt to step through the parent objects.
This completes the Volume Builder.
Now, let's take a look at the features of the
Volume Builder.
The 'Volume Type' is named 'signed distance
field', which means that the voxels are built
with this type of structure.
It's probably what makes them look like this
when you're running out of names, like we
were earlier.
And it's loading them in this shape. Fog.
"Fog has a structure that this shape is
perceived to have, like it's foggy, and it's
that structure that makes the connection."
The shapes that are connected are different,
so the principle is different, and that's why
the current shape has changed.
There's something called a "vector."
"Vectors will now be the concept of
connecting point to point."
So, let's go ahead and pin the "signed
distance field" option.
I have a voxel size.
It says 10 centimeters.
I can see this voxel size by pressing the N,
B keys to see the nominal number.
The voxel that we saw earlier, it's like a
square, and when you fill it up with all
these squares, you get a fog-like shape.
That's what we call a voxel.
If we increase the size of that voxel, let's
say 20 centimeters.
As you increase the size, the voxel size
increases.
The perceived sense of shape drops a lot.
The more you reduce it, the sharper the
shapes will appear.
So is it always a good idea to reduce it? Not
necessarily.
If you reduce it as much as you do now, the
angular shapes will look sharper when you
apply the volume mesh as is.
The idea of the Volume Builder is to
naturally round out the connections, so you
don't have to go that low.
Set it to a reasonable amount and it should
clean up naturally.
Anyway, this option determines the voxel
size, the number and size of faces.
The lower you go, the more faces you have,
and as you get closer to 1 centimeter, it
slows down exponentially.
So, you'll need to decide on the right
number.
Let's take a look at the options below.
You have options.
Spheres and cubes are included.
Each option is connected to a concept called
a 'mode'.
If we had a lot of options in here, we could
make another copy of the ball.
This structure has both of them as unions,
but if one of them is changed to a
subtraction, the missing shape will appear.
If we set them to intersect, we'll only have
the overlap.
We have the ability to make changes like this
inside of the Object field.
There is one additional option to complement
this shape.
It's labeled "stf smooth".
So let's go ahead and click on that.
"Smooth" is now applied here.
So here where the cube meets the sphere, we
have a smooth right on top.
And on top of that is the sphere that we just
created.
Now, as you can see, it doesn't look like
it's applied properly, right?
If we move it up and put it on top of the
top, the smooth will be applied and clean it
up.
"So this is where the order is important,
this is where the space is."
There's an option called stf smooth, which
has the ability to clean up angular things.
But it's going to lose detail.
If you have detailed modeling, this can make
things disappear.
There are several options for smooth.
If you look below, we have 'strength'.
When it's all the way down, all the smooth is
gone. Conversely, if you pull it up, you'll
see the smooth applied.
Operator, you can change the current applied
smooth structure to something else.
Gao Xian's principle can be expressed
differently as mean, medium, etc.
You can think of it as "the degree of each
smooth is slightly different".
The smoothing degree of mean is reduced.
When I applied "median", it was even less.
The 'mean curve' is smoothed out even more.
It's like "sharper and sharper as you go
down," which is what I was thinking.
By adjusting the option called "iterations",
I was able to get the same shape as the
narra. This was achieved through the options
here and below.
Same for medium.
Same for mediant.
We're going to utilize the copy distance to
improve the distance.
We can use things like iteration to change
the shape.
Smooth, I would say, is an option that you
should definitely apply when you need to.
Also, among the operators, Gaussian is what I
use when I want to round it a lot. Moreover,
we use it because we want the shape to be
clear.
The expression "hopefully" means the
difference in the mean curve.
So, these are the only two options you need
to remember.
That was the "stf smooth" feature.
Let's check out the other objects.
There's a bunch of different options.
We're not going to touch any of them, so
let's move on.
So I'm going to adjust it like this.
And I'm going to select this sphere, which is
exposed.
We're not going to use STF Smooth this time,
we're going to apply options like STF Delete
and Erode.
"Here's how it's applied."
If I adjust the offset in this state, you can
see that it's expanding outward a little bit
more.
And it can also dig inward.
It's reducing the volume.
It's also possible to make it smaller by
reducing the volume more and more.
This is what the "STF Delete and Erode"
function does.
So, you can adjust the intensity and bring it
back to its original state.
It looks like this.
You can enable or disable it by checking it.
Okay, so let's move over to the volume
mesher.
Message a volume.
And that's it for the Volume Builder.
If you're curious about the filter options, I
recommend that you give them a try. It will
give you a better understanding of what they
do.
Now you have the option to apply various
filters.
If you don't know what those are, you can
still work with them, so let's move on to the
next step.
We're going to use a feature called "Volume
Messenger".
There's something called "Volume Range Stress
Hold".
Volume Range Stress Hold is similar to the
Expand and Collapse feature we've seen
before.
Rather than organizing complexity as it goes
along, it just stretches and collapses
shapes.
This stf.dilate.erode function is a
relatively stable form.
It keeps its shape as it expands.
It keeps its shape even as it grows in size.
However, on the other hand, this compound tax
in a volume mesher often gets squashed out of
shape due to range stress holds.
It calculates the position of the compound
tax and then randomly grows in size from that
position.
So from here on out, it's going to be harder
to fix because it's the top option.
So we're going to leave it at that.
You may want to shrink it as you use it.
It's a little bit bulky.
If you use the "double tax" function,
so you can use it to shrink it.
The next important feature is actually this
one.
It's called "Adaptive."
If I click on "Adaptive," it changes the
value to 0.1%, and all of a sudden, the
number of faces goes down significantly.
Let me explain how this works: if you have a
flat face, for example, it will be set to
connect all of them as much as possible.
Turning up just one Adaptive will clean up a
lot.
So make sure to set that as well.
That's what Adaptive does, it calculates this
polygon structure and it gets cleaner and
cleaner as it goes up.
You can get this much cleaner.
If we set up our modeling with this
simplification, it's going to look like it's
stable.
So when you're looking at it from a distance,
it can be almost indistinguishable from the
details.
After copying over to this side and importing
the volume, we compared it to no Adaptive
applied at all. The result is that there is
not much difference.
So you might want to consider enabling
adaptive depending on your situation.
I'll also talk a little bit about the
features that you should be using with your
volumes.
Right now, the volume builder is not very
polygonal.
It's kind of wavy as you can see. This is
what's going on.
In this case, we need to clean it up, and
first of all, if we use the volume mesh as
is, it's going to be heavy to process, so we
need to right-click and use the Current State
Object feature.
When you use Current State Object, it creates
a separate object with the merged state.
The Current State Object is a custom UI
feature that I put up.
"Here it is."
I'm going to set it aside like this, and then
I want you to convert these volume features
to Current State Objects when you're working
with them.
Otherwise, the shapes will be calculated in
real time, and it can get really heavy.
So, keep the original, and then combine the
original volume with this Current State
Object, and you'll want to use this combined
shape for your work.
Fill the volume.
"I told you that the polygon structure is not
good."
So we need to clean it up. There's a feature
for that, and it's found in the Subdivision
Surface.
It's a feature called "Remesh.
"It's on the third line."
Let's apply it.
Remesh is literally a feature that
reorganizes the polygon structure of this
mesh.
Now, of course, this Remesh feature is
significantly less capable than it was in
version 26, which is the latest version.
Version 26 has the ability to clean up this
mesh more clearly.
This feature that we're currently using in 24
isn't too bad.
Let's compare the before and after.
The polygons are somewhat cleaned up.
And we have a flow.
The polygons are going straight into the
square.
Here we have some sort of continuity and
organization.
Compared to before, this is a huge
improvement.
Next, if you look down here, you can also
adjust the polygon type.
"Quad Dominant" means that we're trying to
maximize the number of squares.
There's also a triangle organizer, which is
triangles.
Triangles look more uniform.
Because Quad Dominant also contains triangles
like this.
So to prevent this triangular polygon
structure, we also have something called
"Only Quadrangle".
If you enable this, everything will be
organized in a square shape, which is not
necessary.
Let's take a look at some other features.
There's one called "Mesh Density."
Mesh Density indicates the current density of
this polygon.
If you increase the density of the polygons,
the result will be a higher number of
polygons.
As you lower the polygon density, it gets
organized and shrinks further.
You can think of it as a similar feeling to
using the Adoptive feature earlier.
It's because there are a lot of adoptive
features applied.
It's cleaned up a lot.
On the other hand, now we also have a polygon
count function.
So you're just going to pick a polygon count.
I'm going to say, "I'm going to fit it to the
window."
Let's go through a couple more functions.
"I'm going to keep the outline."
This means, "I'm going to keep the outline,"
but it doesn't seem to have much impact.
I've rarely noticed much change when I've
applied this.
"Keep crispness."
This means that we want to keep the angles
and such.
Same goes for the breaking feel here.
Again, there's a subtle difference between
checked and unchecked.
It can make a big difference in how things
work, so I recommend you give it a try.
So here's the "Keep Crisis" value.
You can play around with that.
You can also use the Smooth feature for this.
The higher the step, the Smooth Iteration
will be applied.
Anyway, having the polygon count completely
cleaned up is a very important improvement.
Notice the difference in the polygon count
before and after.
There's a difference in the polygon count
before and after the remesh, and it's going
to be very different after the cleanup
process.
So that's a pretty good overview of the
volume feature.
After finally learning how to use volumes, we
isolated polygons and applied adaptations to
them, and then remeshing them.
If there's one thing you may have missed,
it's that remeshing also requires you to pull
out the Current State Object separately.
Again, it's best to disable the remesh
feature because the computation is happening
in real time. We'll be utilizing this
structure in our final work.
Please use this structure.
The biggest problem with this shape is that
it's hard to apply the UV Mesh feature, the
UV Mapping feature.
"This is hard, especially UV Mapping."
So this isn't necessarily the way to do it,
but it's good for creating some sort of
polygonal shape.
And then I guess I could go as far as saying
that it's good to apply materials in one go.
I think that's probably the limit of what you
can do, not only in terms of applying the
material all at once, but also in terms of
applying the entire material in a uniform
way.
Of course, this isn't a huge problem.
Let's take a look at how you can take
advantage of volume modeling with the
following working example.
"We'll wrap up this lesson here."
Thank you, everyone.