Subtitles of the Movie

With this movie we'll finish off working with the UV Unfold, or Unwrap functions. What I want to do is open up some of the tightness around the mouth and the eyes and we're going to do that by adding some additional seams and then we're going to use a special relaxing feature between the polygons to make that work a little bit better for us. I switched over to my Vertex Edge Tool. I'll click once on the eye there, and actually I want to click once on the eye over here on the other side and choose Loop, and it worked. That's a good thing. Let's come back to our Unfold Menus here. I'll convert from Pin to Seams and add that selection to the seams. Likewise, for the mouth I'll go ahead and Loop select that and add to that. We'll go ahead and execute the Unfold function again. It does of course, obviously reset our objects a little bit. So, let me go ahead and come down and make life easy on us here by choosing the Paintbrush Tool and come back to our Universal Selector here, click once, hold the Shift key and click again, and just get all these. And since we've already detached these I'll move them to the upper corner of the UV Map, scale them down until they're small and out of the way, then I'm free to select the rest of these. Move it to about the center just so I've got room on all the sides. I'm lining up this midline with the center of the area so I can make things easier to see. Let's zoom in just a little bit. Use the keyboard shortcut to Scale. I actually scaled that up just like that so it's not exactly the way unwrapped, then we'll look at it right now. And we still have a little bit of a mess going on right here. Hmm. Let's see if we can fix that. We can see the eyes are kind of bunched up so we're going to draw around these, Shift-click to select that, and we'll come over to Operators. I'm going to move up to about 14 iterations on this, it's how many times it runs the process, and see if Relax UVs helps us out. And in that case it didn't do us any favors. I'll go ahead and select around the mouth and nose area and it's still not quite helping us. And this is what UV Unwrapping does. It's a little bit of a trial and error process, so let's come back to a Split View. I'm going to say, well, and if we open this up a little bit somewhere, let's see where that will work best. We may try under the nose or I might just try here and see if this helps us. One last seam, I come up to Unfold Seams, Add, Unfold, and that opened up the mouth, relaxed around the nose. I will go ahead and reselect these polygons here, make sure the Paintbrush Tool is enabled to accelerate that a little bit. I'll make this the Primary Window, the Unfold Window, so I can zoom in a little closer and get a better idea of what is going on and move this off to the side, then I'm free to once again select our primary facial features. Get that centered up and drag it out a little bit so that it's near the edges but not quite touching the edges. Let's zoom in on this a little bit, and now we have a much better representation here. It's allowed it to relax around the nose a little bit. If I want to go ahead and select those and run the Relax UVs again Ð there. It creates less acute angles in the geometry is essentially what it does. I grabbed an edge by accident. Let's do the same thing around the eyes, and I keep grabbing the vertex lines. Ears are a prime candidate to have UVs relaxed. Anywhere you get tight or near overlapping polygons because of the way the geometry's constructed, relaxing the UVs will help you get in and work with that a little more closely when you export them out. So, that's how you work with Unfolding UVs in Carrara. This map could then be exported and detailed up in an exterior program, or you could work with it more efficiently inside Carrara Pro using the 3D Paint Tool. In our next movie we'll go ahead and jump into working with the Metaball Modeler.