Blender 2.81 Features | The New Remeshing Tools

[Music] hi ad boys here and you're watching the remeshing tutorial here from the 2.8 Update with a hard surface modeling course in blender as well as the poly build tool which is more of a manual reality approach we also have two automatic reach apology methods with the voxel remesh and the quadri mesh let's take a look at those and see what's on offer voxel remesh is not only available from the object data tab it's also available in sculpt mode I'm going to switch over to the sculpting workspace actually we should put us into sculpt mode automatically and then I've got our sidebar open here with the N key which is this on the side and we can see there's actually another really mesh section right here which is a duplication of this information so that's pretty good for working just in one large 3d View window so control space for me I have it set to that default giving us as much screen estate as possible or at least closing out the other windows anyway and in fact the fact that this remeasure is available within the sculpt mode probably helps explain the context the main purpose of these remesh tools that is to say that it's generally speaking the Ramesh's would be used within a sculpting workflow when evenly distributed geometry is needed that's what we're getting here in contrast to a manual reads apology workflow where we can choose to have different levels of detail throughout the mesh right now I barely have any geometry here it's just six phases to this cube as you can see in the status bar down there so if I was to try and just sculpt with the clay strips brush for example not a lot interesting is really going to happen here but if i re mich using our default size there and then try that again we can see we're actually starting to get a little bit of something happening and if we take this detail even lower we'll get even more geometry to work with almost like even more pixels to be able to get a clearer sharper image from sometimes during the sculpting process we might say grab something and pressing the F key to your scale or power brush there I'm going to drag this bit out over there like this and then if we just toggle on our wireframe view here we can see that the resolution of what we have on our sculpt object is no even so if we were to try and start to sculpt now we're not really going to get the same kind of consistency and results as we might do if we were to sculpt over here and that's not a very intuitive way to work but the beauty of having these remesh tools is that we can just hit remesh and now we have that even resolution back again for example in their scene I've just got a simple plane which is subdivided a whole bunch of times just to create the resolution of vertices for which to paint with in vertex paint mode and created this really basic picture I've actually just put this decimate modifier on there and as we reduce the ratio meaning the amount of vertices that are on here you can see our resolution is basically getting destroyed in some places where it maintains its clarity in others and it becomes pretty clear when we see the wireframe that an orderly and evenly distributed amount of geometry is going to be pretty crucial to get that consistent result this is why I'm sure you've graphed at this point that a remesh of any kind is pretty useful addition to the sculpting workflow I just want to draw attention to the fact that it's only the voxel romesha that is available here in scope mode on the sidebar but we can still get access to the quad reflow romesha from the object data tab so if I go control space to minimize the view here and we take a look at the remesh section we can switch from voxel over to quad initiate the quad reflow remesh here that brings us this floating panel and let's just use all the default settings you can see we've got around three and a half thousand faces using this voxel remesh that we did so I'm gonna just leave that at the default four thousand and then click OK allow it to two four run the analysis and the algorithms it needs to be able to read to pologize this and it's given us this kind of result so we're still in scope mode it's just we had to come out of full screen mode to be able to initiate that since it's not included on this sidebar and also a quick note it doesn't look like it's done quite as good a job as a voxel did on the default settings there so for this round anyway the voxel remeasure wins there are a few of the differences between the Ramesh's so let's take a closer look starting with the voxel options but simply the voxel option is a faster and more basic algorithm quad reflow takes longer and we'll try to respect the flow the curvature of the mesh a little more but let's put the vauxhall re measure a little more under the microscope I'm going to come out of the sculpting workspace pop back over to our default layout and then delete this cube and add in a new one we currently have a voxel size of 0.1 so if we go to Fox Lorri mesh now and take a look from top quarter graphic view these gridlines here that we have are 0.1 units large and so you can see that the re meshing grid that has been applied to our voxel algorithm here is 0.1 so we can easily understand this voxel size setting but what might not be immediately apparent is the kind of direction of the grid might be quite important so for example let's add in another cube let's push that off to the side and then if I wish to rotate so our Zed 45 degrees and then keep that 45 degrees rotation and not actually apply it if we just simply voxel remesh it's gonna ignore that rotation let's just duplicate that off and then what I'll do this time is ctrl a and apply that rotation now if I initiate the voxel remesh and we jump into the top orthographic view you'll notice the grid that has been applied is aligned to the world and in this case it hasn't made us clean a job on the edges there let's take this one again and shift D to duplicate it and bring it over on this side and let's control a and apply the rotation again so if we were to do the voxel remesh on this we're gonna see how the voxel remesh is being challenged there on those edges so I'm going to undo that we control set switch over to the Quadra flow go to quadra flow open up the tool and then if we just click okay let's see what we get and we can see that the general flow of the faces has been taken into consideration it's not quite perfect you see it's a little bit on the wonky side but generally speaking the grid that has been applied the resolution that we've been given for this mesh now is mostly there just to bring these details together let me just create another cube press G and X to constrain it to the axis bring it over tap into edit mode ah Z 45 to rotate it tap back into object mode this way we don't have to apply the rotation I'll switch over to the Quadra flow'ry masher click our settings and seeing how we use this as an example let's just quickly take a look at preserve sharp click okay and then we should find that once the algorithm has been finished and the remesh has been applied that it's a much cleaner and almost perfect remesh of this cube actually we take a look in wireframe will see that this only minor imprecisions happening there so something we've hinted out there with the object rotation would be similar to the object scale so I'm gonna switch off these cubes and just take a look at this git bash item from the hard surface modeling course and this is a very basic very simple object and we can see it's got a scale value of 1 at the moment and if we box'll remesh we can see it's not doing a very good job because it's actually quite small so again if we take a look from top orthographic view we can see our grid spacing so we really didn't have enough resolution for that so if I go control Z and undo it I've got two options at this stage I can scale this up let's tap into edit mode select everything s and then I say it's head then tap back into object mode and then hit voxel remesh again you can see now we're getting far more details we're getting nearly 20,000 faces turning the wireframe off we can see that it's not really done a good job for this particular object so we would probably want to take our resolution down even lower so I'm going to undo that with control Z let's go 0.01 on here so not only have we scaled this up by 10 times we've also reduced our voxel size down by magnitude of 10 so let's now hit the voxel remesh and now we've got a far better representation here's a useful note to make about the voxel romesha which we can do with this little spot the difference this one is just the original mesh and this one here is our remesh version and just to make it really easy let's turn on our cavity shading and shadow I'll just use the defaults for now now aside from being able to determine all the individual or at least the original wireframe we can also see that this box area this pot little box detail has gone so what I'll do is I'll take this object to up into edit mode 3 for face select and then ctrl L to select everything G and then Z to just lift it up and we'll see underneath that it actually doesn't have a enclosed face there so if I deselect with alt a that might make it more apparent there so let's undo that pull it back into its place said to switch into wireframe 2 to get the edge loop right here alt left click and then we're just gonna press F to create a face there numerous ways to do that I could have just gone ctrl L and then shift H to hide everything else and we can clearly see that we've got that extra face at the bottom now so alt H to bring everything back tap into object mode I'll create another version with shift D so you put on the left side of it and on this one now we'll run the same voxel remesh and we'll notice that this time the box has been taken into consideration all right so just to drill the point home and back in the land of the cubes and let's see if we just add another one here and then this is just going to be a very simple intersection just shift D to duplicate and just raise it and have it overlapping by about a quarter of its volume there nothing too crazy but if we just shift select them both ctrl J to join them and then press Z to take a look in wireframe mode you can see that nothing fancy has been going on this is just two intersecting cubes no interesting boolean operation has taken place or anything well if we take our voxel size and just make that slightly higher actually just to make the wireframe really easy to read and then hit voxel remesh might be able to see it has attempted to create a kind of boolean really I'm going to tap into edit mode just select with shift G all the faces on this side and then hit H to hide we can take a little look inside and we can see that no longer just simply two cubes overlapping yeah of course seems a little bit crude because we've set our resolution down so low but if I was just undo a few steps and check the resolution down a little bit instead and then re perform the voxel remesh because he actually we've got quite a tight join there and if we right click to shade it smooth might act even as a little welding scene between the two cubes so the overall lesson here is that non-water tight meshes are welcome here for the voxel remesh and overlapping geometry parts of it are going to get thrown away for a kind of continuous shell that can be seen it won't really have hidden parts to deviate from the land of cubes into the exotic land of the plane let's just take a look at this one and then I'm going to voxel remesh this now my look like everything worked there which might be surprising because a single plane isn't really a watertight mesh or anything but we can see that with our back face culling on that actually you can still see both sides and if I tap into edit mode again select a face do that same trick shift G coplanar and G and then zet and lift that up we can see the additional trouble that we might get into with geometry that isn't water tight like a cube as we saw in the kit bosch example where the box that we had here wasn't coming along for the ride since it had its bottom face missing despite it being overlapping with the rest of the mesh here I've got a pretty basic object I just removed the wireframe for a second you can see that it's all hard shading let's stick a bevel modifier on this set it to angle take another look at the wireframe actually and then increase that there if we were to come over to our rematch now just note that it isn't going to take this modify it into account so if we box'll remesh you can see it looks completely different afterwards let's do undo that with control set first we would need to apply our modifiers we do that a number of ways we just hit apply there or we could come to our object menu and convert to mesh with that done now when we come to our voxel remesh it's going to try and incorporate more of that beveled shape there since we're locked it in we baked it in again I'll undo that though a couple of times so that we can get our bevel modifier back and then I'm just going to remove it and then I just wanted to make a little bit more of a note on these edges that I've got toggle the wireframe off again and what I could do is hit shade smooth come over to here and with our normals hit Auto smooth and now it looks like there's a nice smooth curvature this is just a trick of the light the actual polygons are quite noticeable if we were to take a look from the front orthographic for example we can clearly see the stepping happening in there and when we're going to remesh that stepping is going to become more and more apparent it's kind of like if we were to 3d print this out again in the real world we wouldn't have this trick of the light it would look low poly in the real world so if I just set our resolution down a little bit lower and go to voxel remesh we can see that low polygonal structure much more noticeable and I guess if this was a real 3d object you'd probably just try and polish that out with some good old-fashioned elbow grease but for now we can kind of use some blender grease if the metaphor carries and just make sure to use way more polygons basically to try and get the job done hopefully now when we remesh it's not quite as apparent and I think we can just about get away with that one last thing concerning water tight meshes using the voxel remeasure to demonstrate i've got this other kit bash item I just colored it a little bit blue and then set our color here in the viewport to object so let's come over to the object data tab and get ready to give this a voxel remesh first of all though I've scaled it right up so I'm going to apply the scale and then let's see what happens if we just do it right now all right so we know this isn't working quite right and part of the reason will be because it's definitely not watertight but it's not just this obvious area here there's actually another less obvious area right here so I just wanted to discuss a quick way to find those areas that was potentially problematic areas I'm going to switch to edge select mode here and then select all bitrate non manifold edges and let's use that to take a look at our wireframe here that's a problem area we've got that area that we've already looked up and also we've got the bottom of these kind of bolts and knots that we've got so I'm going to need to do here is just press F and I should just close everything off all in one go just to make this a little bit neater here though I'm going to switch to three a face select mode and then just extrude that out with E and maybe I to inset that slightly maybe give that an extra loop just there actually and with that done let's see how the voxel rematch does all right so it's a little low resolution but we've definitely maintained the majority of its shape so I'm going to undo that with control zared let's take that down to 0.01 and try it out again and that looks way cleaner now the only issue that we'll get in as indicated in the previous example is just the low poly nature of the object starts to become a little bit more apparent here I've got that same object and ivory meshed it in two slightly different ways I've set the voxel size down to 0.05 and on this one we don't have the fixed poles options selected and on this one we do so let's just take a quick look at the results the major difference between the two is on this one we barely have any of these diamond junctions and if we look on here we've got tons over on this area and the several dotted through and across the top as well whereas on this mesh it's tried to be a little bit more reserved when it comes to placing poles everywhere hence the fixed poles take a look at the preserve volume option here I've got three separate objects each object contains a cylinder and a cube this is the input mesh this is the one with the preserved volume checkbox on and this one is the one without now give them slightly different colors so we're looking at material colors on here now the cubes have got a gray and the cylinders have got a darker color and you can see on this one which isn't preserving the volume the cylinder especially has kind of shrunk in a little bit especially on the edges and he's revealing more of the cube back there they're both pretty much the same size this one is four point eight four meters wide or deep if we're looking at it from this angle but these two are the same but generally speaking you can see the shapes are holding a little bit better when the preserve volume is checked that goes for the cube as well you can see that here the cube is being rounded out a little bit more as compared to this one which is preserving the volume this generally gets more and more extreme dependent on the voxel size but in general it helps to have a more accurate result so leaving this on is a good idea just to drill the point even further and actually make a new point as well let's duplicate this non preserved volume remesh and let's do that again just remesh again and we can see that it kind of contracted even more so I'm just going to undo that and this time preserve the volume and do that again we can see it did a much better job but instead I'm going to undo that and also show the smooth normals option at the same time and this is a really simple checkbox basically just going to smooth the normals for us so as we do that now and I take off the wireframe we can see while these remesh examples are still flat shaded this one is now smooth just know it isn't set to all smooth in our normals there this is just right-clicking and shading smooth essentially let's take another duplication of these simple primitives that we've got and then take a look at this other option here preserve paint masks now think this is probably going to get renamed at at some point since this is a little bit misleading as it's not talking about anything to do with our texture painting coming over to our tools tab and adding some simple UVs and adding in a base color just scrolling down a little bit you can see that within here we do actually have a mask or a stencil option within our painting but instead of that it's actually referring to the sculpt mode so when we come over to the sculpt mode i'm going to open out our tools so we can read them here and if we scroll down a little bit you'll see that we've got one called masks and as we take this and start to paint we're painting a mask meaning this area isn't going to be affected when we go to do some sculpting it might not be as well contrasty as it could be there so let's take this black material here and make it much lighter so that we can make out our mask even better and now if we come over to the remesh settings and enable the preserve paint mask which probably should say sculpt mask what I'll do is take this voxel size down a little bit so that we can see more of a change when we contour remesh then we'll hit the voxel remesh button and then we can see after it's finished rima Sheen we still have our sculpt mask preserved I want to switch off this kit Bosch collection and right back into cube town and let's go and add in a fresh cube and take a look at our remesh settings all I want to demonstrate on this is the adaptivity so the first thing to note on this is that as soon as we raise this up anything past zero it's essentially going to switch our fix poles off perhaps that should be grayed out actually when this value is above zero just to make that clear so what this add activity is trying to do is just preserve detail where it needs it so on the corners in this case and in the middle of the flat basis it's gonna try and reduce or decimate some of those polygons that aren't really contributing to the shape therefore giving us a lower poly count overall so let's just take this with 0 just to remind ourselves what we get and let's toggle a wireframe on so this is giving us around two and a half thousand basis and as soon as we try and add some adaptivity into this and try again we can see in the center of the faces we've barely got any additional polygons there and a poly count for this cube now is under a thousand so four times less I'm gonna drop this even lower so 0.01 and drop this higher 0.2 and see what we get and now we've got quite a lot of geometry right where the faces at turning corners let's try and take this even higher like 0.5 and we'll do another remesh basically the higher this value goes the lower the poly count should be and a quick note will locked out a value of about 1 meters lower details for example 0.01 in this case means that basically more detail is going to be kept and therefore a higher poly count with hard surface models I can't say I've had a lot of usable results with this but it's definitely worth knowing that it's there probably a little bit more suitable for applying that with more organic shapes let's take another look at this particular object again let's make it more readable by turning on our shadow and cavity options in the viewport and I'm gonna toggle the wireframe on this so let's just duplicate this out with shift d and take another look at this one do a simple fix poles preserve volume which should be its default and to preserve some of the more smaller details I'm gonna check the voxel size down to 0.01 and then we'll just hit the voxel remesh button keep an eye on the box we can see there's a little bit of an issue there let's come over to this one as we remember we actually capped the under floor of this box to make it work in box'll mode let's take a look at quad mode instead and go Quadra flow'ry mesh and use the default settings and click OK now it doesn't look too great at the moment but it has preserved the box something else to bear in mind we take a look around here we can see that this cylindrical part here seems to be attaching to the main base of the object which it isn't normally which it actually shouldn't be and if we take a look at this version you can see that the Quadra flow romesha it hasn't struggled with separating that geometry there plus an extra bonus is that it's thrown in the Box porous so the non manifold geometry and intersecting and overlapping paths I kind of preserved here so we take a look at this section and just lift it up have a look underneath and we see it still has a face missing at the bottom there so while a Quadra flow can be way way slower like 20 times slower to get the same amount of polygons it can actually yield better results as this is going to allow us to set a polygon target as we can see here and generally does a better job at following the geometry it's gonna accept planes and non watertight meshes let's just try that out with a match plane here if I tap into edit mode shift D to duplicate it let's rotate that on the z-axis just to give it a little challenge and then take this object and let's go over to the quad reflow and then let's just choose default settings and click OK and watch it work its magic take a look at the wireframe on this and that's done a good job of figuring out the orientation of the planes there plus it hasn't created any kind of additional geometry underneath like attempting to convert these planes into a kind of squashed down boxes or anything let's put the settings for the quad reflow remesh under the microscope a little bit so we've got this use paint symmetry again that isn't texture painting or vertex painting or anything like this we even have mesh symmetry that you can see up at the top there when we tap into edit mode but you'll notice that both Ari measures here are grayed out well in edit mode so we can't be in edit mode to initiate these the symmetry that is referring to is going to be found in scope mode which again is basically in the same kind of place there so at the moment here I'm set to the x-axis so it's going to copy what's on the left side here and throw it over onto the right so essentially what we're saying here is that this should be actually a symmetrical match and if we do happen to be working on a symmetrical mesh which is quite common while sculpting we're basically saying into the algorithm you only need to do half a job and then once you've done half of it just copy that to the other side so it's a way to speed up the process here so if we click OK and see what kind of result we get on this match we can see we are now left with a symmetrical mesh along the x-axis next setting is the preserved sharp option is a simple input mesh the super basic cube and over here we have the results of preserving sharp and then on this one I've turned that off and as you can see if we take the wireframe off we're having quite a bit of an issue around some of the sharper areas there so clearly with a more hard surface object not preserving the sharp is going to be the way to go they're taking a look at the preserved mesh boundary option here this is the input mesh simple cylinder with just a hole cut out at the side this is the result of preserving the mesh boundary this is the result without you can see the result of the geometry created around this mesh boundary is pretty poor on that version so actually when compared to this version it's not perfect but it's definitely way better than this version let's take a look at the next setting using this as an input example this is our first result now what's happened here is we've got preserved sharp set we're preserving the mesh boundary use mesh curvature was also enabled for this one and if we take a look around the handles area that this thing we can see that the flow of the polygons are turning a corner there which is looking pretty good and then also on this object this didn't have the use mesh curvature setting enabled and we can see that it's not really turned quite as nicely on the corners and especially here at the back has been particularly troublesome compared to this one which was following the mesh curvature more closely the other two settings this preserved paint mask is talking about the sculpting mask again as we've already discussed with the voxel rima sure and that would go for the smooth normals as well that's going to give us the same resources before the only other thing to discuss is that by default with sets of faces so we can set the amount of faces that we have a target that we want the Rema sure to reach we also have a ratio a ratio of one is going to use the same amount of faces that it already has and 0.5 would be half of the amount and 2 would be twice the amount and as a mode we also have the edge length option which is the option both of these objects used with a value set to 0.1 which is able to predict the amount of faces that it's going to use so the higher we make our edges the less faces are going to be able to be produced and obviously it's going to look way more low resolution and then finally we have our seed so if we feel a result is very very close but not quite there we can always try a different seed and see if it nails at that time so that's what version 2.81 has brought us in the remesh Department but it probably would be a disservice to the subject if we were not to mention that we've had a remeasure modifier for a while which is what we have here we can find that easily enough right here under remesh there's a few basic modes there's the block's mode which is more of an effect than anything but it's a very cool effect we have the smooth algorithm which is kind of rounding our corners and then we have the sharp option which is probably better for more hard surface things preserving those sharp corners and we have the op tree depth and the scale to basically determine the resolution and fine-tune it and we can decide whether to have it smooth shading on up I think it's also worth remembering that with the modifier it allows us to be non-destructive and it's actually very easy to animate finally to round things off let's take a look at some other rematches available probably one of the current best options out there which is actually available as a paid ad on within blender is exercise squadra masher they have loads of examples and further details on the site if a remaster is something you really need for your professional work and the blend the default options aren't cutting it then definitely worth a look into this over on the blender market there are some further options such as dinery mesh and auto flow from Alberto FX this has a lot of interesting useful and easily controlled features another on the blender market is Tessa later from flow tools interestingly the add-on uses a pascal system that can be guided by the grease pencil to inform the end results a few free options include igl m mg and meshlab it's possible to get a quick feel of those and how a couple of those compare on this demo page for the quadric flow'ry measure you can choose an input mesh and then specify the algorithms to see how the results differ so that should wrap us up for what 2.81 brought us in regards to remesh Inc this is ad Burroughs and you can watch in the two-point-eight update for the hard surface modeling course in blender

Channel: Aidy Burrows 3D

Views: 57,689

Keywords: Blender, blender (software), free, tutorial, video course, hardsurface, modeling, Blender 2.8, 2.81, b3d, course, how-to, gleb alexandrov, aidy burrows, creative shrimp, update, remesh, quadriflow, voxel

Id: iZM9JZBmCxI

Length: 28min 46sec (1726 seconds)

Published: Fri Jan 24 2020