Blender 3D modeling an old school camera

1. Camera Modeling in Blender 3D intro: Alright, what's going on, guys? It's true if you're here and this video for this scale Skillshare course, we're gonna be looking at modeling a 3D camera in Blender 3D. Twisted up the words there. Anyways, not the point. So we're gonna be looking at decent topology on modeling a camera. And it's gonna be looking at materials like the lens or kinda constructing a decent base for the materials around the camera. You're looking at modeling smaller items that can really pull out the little bolts or whatnot, even the camera lens, we can look at different techniques to really create that. Now, it's a pretty straightforward camera modeling course when you just blocking out the shape, getting the materials in cranial like a strap towards the end that allows you to hold the camera. It's a pretty older camera that I've found off of Unsplash. But again, pretty simple, straightforward. Again, look at, at subdivisions and edge loops and all that kinda stuff. So yeah, that's really what to expect in this course is pretty lengthy. But with that said, let's go ahead and get started. 2. Starting off the camera: We're gonna get into modeling this object here. It's going to be a quick run-through. We're going to really just focus on building out the blocks and building out the shapes in order for us to get this type of object. And then we can easily transfer those techniques onto building our main object, which is the scooter, right? So we're just going to block out some of these shapes. Get in there, really fell out. How do you make these different areas, right? You want to look at how the shape is, what kind of shape is it, right? And there's built on top of it, right? Sometimes you don't even need to increase the polygon count. Meaning that whenever you increasing polygon count, that means we're adding more vertices, we're adding more edge loops. We're adding a lot more items to the mesh tool where you can get the detail. So we just had a simple box, but if you add more vertices, you're able to see progression and see like how much more you can add onto the object to get more detail, right? So let's just get at it. So first off, I'm gonna get rid of it. Really. What I like about this object, it's symmetrical. So that being said, I want to split right between the middle with Control E. To add an edge loop, I'm going to select this entire left side. To do that. It's Alt, right-click, and then click on the edge. Do the same thing on that side. You can just, you have to click on the edge in order to get the entire edge, the entire loop decide or whatnot. So I'm just gonna select that side. I'm going to hit face. Or a better way to do it is hit one side and hit X and then hit the vertices. The vertices, I'll do the same thing. So with that being said, now, here's, here's, here's how a modifier will come into play. We're going to add modifier mirror. So everything you do to the side effects, the other side. Alright, really cool. So you don't really have to worry about that little guy right there. So you just move that out the way just for now because we're editing in the UV editor. So let's just start blocking out some shapes are getting the shape in its form. So I'm gonna select the entire thing and I'm going to move it above the pivot. That pivot allows us to rotate around. It's just like rotating your Earth-like pivoting on your phone and play basketball. You're rotating around that pivot, that's the pivot point. So I'm going to select our object, probably scale it up a bit more. I'm going to study it a bit. So I see that there's some curves in here, right? Probably on both sides. I'm not really sure. I can't really see the other side, right? So I'm going to add a curves into our mesh. First off, I'm going to select this guy. Before I do add these curves, I'm going to select this guy and I'm going to extrude it and just leave it there. And I'm going to probably extrude again. And then I'm just going to increase it, scale it up a bit. And then I'm going to scale it on the y-axis as well, just so we can get that bit of depth that goes into there. So I'm going to select the edges. I'm going to select our first edge, that edge, maybe that edge to this edge. Let's see. All right, so I select all these edges. Now we're gonna add, we're gonna press W and we're gonna go to beveled edges. Bevel allows us to kind of weird. You got it. Here we go. You got to scale it out a bit. So pebble allows us to add more edges and I'm pushing the other ones apart or conference explained, but you can push it further out to create another shape, right? So notice how it's that simple, just creating this extra shape because I just wondered this curve, right? Notice how it looks like this. That's because when we extrude it out, we just created like this flat shape. So in order to get some order to get that metal part on the outside, just going to extrude it out. You don't have to move it. You can if you want to, but I'm not going to do that. I'm just gonna leave it leave it there. So I'm going to extrude, bring it over and tad bit. We've got our shape of the entire camera. And notice how the metal area has a curve as well. So you want to do that as well. Select you could also go into wireframe mode and select it. Slipped areas that you can see without rotating around, orbiting around the object. I'm just gonna go right back into solid. You can also do that from up here to here. So I am going to add another bubble, bubble these edges. Let me see if I could probably even going further. So I'll go. When that I'm going to so notice how like I wanted to go further yet, it went pass this guy. So these little edges on the side right there. So there's other ways of combating that. There's multiple ways of commenting that sorry. I'm going to select the Face Selection Sort on the other side. Yeah. Okay. So there's various ways of combating this little issue right here. I don't want to really worry too much about the bottling, care too much about it. So you can delete this or it's probably two or three. I'm going to extrude it a couple times. So let's erase the mesh. Someone go, go back and don't delete that. A better way to solve this would be Dhamma. Select all of this. Remember, in order to select the entire looped area, you hold Alt and in the edge, click on the edge. I'm just gonna select that and we're going to just expand it, a tab it beyond that. Right? Now, if you really wanted to go in there, just go into wire-frame, select it. Select that in order to not delete this. You can also just select those guys, those vertices, and then you can scale it back in or you can bring it down. Otherwise, messing with that. Because that's just an area that we really don't have to worry about too much. So I want to increase this a bit more. Then I'm going to add a bevel on along the edge. So I'm gonna select, select all solar edge select mode them all to select Alt, right-click on the edge, and then W add a bevel. You're going to bevel the entire thing. So we can get that edge. You said I'm saying select this, not the edge but the curved surface right here. How it's all around it and everything. But don't worry, because this is considered low poly. This is something like this would be high poly. You'll, you'll, you'll know those terms, you'll hear those terms in the modeling world. I'm going to do the same thing for this side two doesn't have to be accurate. Read this iterating, we're just design here. We're not showing this to a real client or nothing. Let me increase this auto tab and more, and that looks nice. Bring that back in. Okay, cool. So now we have that. Let's see. Okay, So I want to add this little area right here. Let's see. I'm going to add some edge loops by compressing Control R. I'm going to add an edge loops to round it out right here and we'll bring it all the way towards the edge to the end. Really add another edge loop, maybe to stretch 21, I'll do one. I'm going to click it and drag it somewhere right there. Okay, that looks about I'm going to just add another loop, more of a half a loop, but I'ma go to where the bottom of this metal plate starts. I'm probably shift this over a bit by right-clicking that. There we go. Okay. So we could just go as much as selecting this. However, what I would want to do is add another edge loop. Bring it down. There we go. I'm going to add another loop. That looks about, right? It looks boring. Cool. All right, so I'm going to add, maybe I should bring this over a bit. Let's bring that over tablet because I don't like the side. It looks too small and it talks about a lot better. So with that being said, I am going to make this a lot more easier. So I'm going to extrude this guy maybe inward. For now. Maybe inward, I'll explain it. Well. Okay, No. Because, you know, you look at this object, you see on the surface right here, the material and then it comes out above the curved areas. So that would give us a little bit more problems to work with. So I'm just going to extrude outward. I'm gonna select this guy. I'm going to select actually I'm going to select the edge at the bottom. Just like that edge, I'm hit W bevel the edge, which will give us our curve. Then I'm going to select the top of Our newly added pleat. And I'm going to extrude to where it comes slightly above. Alright, nonetheless, at another bubble on these edges right here, w bevel edges double. Alright, so there we go. Now we have our plate going on there. Like I said, don't worry about how it's all hard surface helix, like really blocky. Don't worry about them. Soon as you add a subdivision surface as a modifier, everything's going to change. So that'd being said, I'm gonna go to the top. Let's see, select all these guys. I'm going to say extruded or duplicate. So you can either duplicate it or even extrude. In this case, it really doesn't matter. So I'm going to extrude it a tad bit and then extruded further out until it looks like that part comes slightly above. Looks, looks, looks not too bad. That's not there. Alright, so now we got to look at how are we going to create this little area up here. Let's see. So I'm going to probably add some edge loops. A prayer suspicious there. Okay, cool. Then notice how that's all in the exact same edge. So all we gotta do is worry about extruding it forward. Right? Then of course, we can edit the let's do that number. Let's go ahead and select. There we go. So now we're only selecting just this edge. Alright, cool. And then I'm just going to drag it up about it. It's now we kinda have that and then we're going to finish it off with adding a beveled edge under here. Let's go into wire-frame. You want to see the user hits, hit W beveled edge. Let's go back to Solid View. Let's us do that one more time. But in solid view, you can really just do that. That's about it. There we go. So now we have the top part. Let's integrate here. Let's finish the, the other part. And we'll also get into the materials. We'll we'll finish the top and then we'll add some of these bolts, the lenses. And then we'll get into the materials. Now we're not going to go all the way until materials like the textures and all that part is going to add something similar to this. You see how shiny the metal is. We're going to add some little dimmer areas here, more colors that represent this kind of material. We're not really going into the texture, but the material itself. So like the shininess of the metal, the dim, the reflection of the top part, things like that, even the camera bit. So let's go with this, do that in the next video. 3. Continue to shape out the cam: Alright, so we're continuing the process of the camera soup. As we continue in this video, we're going to really just continue and finish off the top at some of these bolts, add the lenses, and then we're gonna get into the materials. So let's begin. So that being said, I'm gonna go to the top. I'm going to add this little beveled shape on top. There's little curvy shape on top. It's kinda hard to see, but It's not too bad. Let's see. Let's just try it out. See what we can come up with. In order to get the shape is various ways of doing that. We can add a new object on top or we can extrude and just go from there. Or yeah, just really just adding a new object on top. I prefer extruding just so that we can stay with the same object up top. And then you'd only have to worry about materials and all that just to make it easier. With that being said, I like to well, initially I could probably add a bevel. It's kinda bothering me. So I want to I want to add a bevel around this around the edges here. Just so that by the time we extrude or add a modifier, it will work on this one too. So select the edge, press W and Bevel the edge. So we have a little inconsistency into the measure of Dallas. That's all good. This is because of the the, the bubble. So we can actually move that down. Just make that aligned with that. Let's take this surface. I take the whole thing. Sometimes you got to think about what you wanna do, right? So in this case, I want to bubble the bottom as well. So I'm going to select just the outermost area right there. Let's go back to Solid View and select that. And I'm going to select Walker. So I didn't actually do the back. So I'm just going to bevel this area. W level. What so what did that just do? Okay, That's fine. Alright, so you could just do it like a tab, but that's not really looking for too much. Let's select the top again. Select the edge, and then we're going to bevel the entire top. It doesn't have to be that much. Then let's select the top portion. And let's extrude. And then we can just click there. Just click so that you don't mess around with extra, just stays there. We're going to scale it down a bit. And this is one of the ways that I mean by instead of adding a new object, we could actually just, let's see, I can actually select the vertices, go into wire-frame and de-select the back. We're going to go. So de-select the back. And then now we're only looking at that so we can just drag that back. So that all I want to do is affect this initial area and then select the rest of it. Okay? So I just wanted to bring in on the y axis. And I don't want to scale it on the same by pressing S and just scale because it's going to get rid of the, the back area. I just want that to be reflected on the other side, so I want to keep it like that. I'm only going to scale on the y-axis, I'm saying. So all we're looking at is just this and then we're just going to extrude. And I'll tell you guys in a minute about when you're doing this option, this operation, when you're marrying across, you also want to keep on Merge and clipping, really clipping, Clipping. You want to keep that on so that anything in the middle doesn't get made. That's just going to make a hollow, hollow inside. So anthrax shoot in that guy up a little bit too much, bring them back down. You need to relax. So we're going to bring that up a tad bit. It looks like the top part comes in bits. So I'm going to bring, you can also add like a edge loop there, but I don't really care about that. I mean, it wouldn't really don't need to. So I'm just going to bring that in just a tad bit. Then we can just finish that the entire top with a, another bill. Cool. Because now we, we kinda got what that looks like. It looks pretty cool. Alright. Okay, so now let's focus on these bolts. Simplest way possible greeting. You really don't have to model an entire An entire nail. You really don't. So in this case, we're really not going to matter. We're not going to go into too much detail about the inside of it, right? We're just going to really just, excuse me. So really this is just going to focus on the sphere itself, right? So if you look at this bolt nail, it's the same, like at least the part where you put the screwdriver in, the indenture part, that's basically a sphere, maybe a half sphere. So the fastest way of doing that, Let's, let's, let's hide this collection, right? Let's hide that. Let's go Edit Mesh. Let's add a UV sphere. Literally just go to the UV sphere. You can notice how if you select one side, it's not going to select the other. So we don't want that. Let's turn off or turn on toggle x-ray. Now, I can select whatever and it's going to select the other side. Because of your x-ray to the other side, you're seeing everything else. So I selected that. I'm going to, I want it to only, I want only everything above the axis, the green, the green y-axis. So in that case, I didn't select this portion for a reason because I'm in, I'm actually in edge mode. So I'm just going to hit X and it's like the vertices. So it's going to look at everything. We're going to have to worry about the inside because it's just going to be hollow as it is. Now, if you really want to go ahead and make these integer that is up to you. However, I just know that this is a sphere shape, so that's all I need. I'm going to push it into. So I'm going to select the vertices, will select the top. I'm going to Control S always same guys, always save. It is important that you save. Always do that. I'm going to select the top. I'm just going to go to Object. Anyway, so select everything and then goto face, and then go to shade smooth, just so we can see that as a smooth sphere. So I'm going to select the top vertices and vertex select mode. And the cool part, you can either press O on the keyboard, o as an octopus O, and you will activate the proportional editing tool. When you do that, you're able to edit whatever it was within the radius of your selection. That being said, you can increase or decrease the radius of the selection by pressing or by scrolling, your mouse will open down. So I'm going to move it on the z-axis. I'm going to bring it down a bit. We're going to probably get like a good portion of the sphere. That's about it. That's all I need. Now we've got our bolt. If you wanted to, you can also go in and rename it whatever you want. That's honestly up to you. See how these names sphere. You can go ahead and name it that whatever you wanted to, whenever you want to make it, I'm going to name it bolt. So I'm going to drag this out a bit. I'm going to bring back that collection. And then something new. Which is if you select somewhere, you can actually move objects there. So that's how this cursor, you're able to move it around wherever you want it to be. Right? So that means that you can select, it looks like the bolt is within the metal plate, but above this little area here, the cadet lens. So maybe I can put it right there. So I'm going to press Shift S. Or you could do Object Selection. Where is it set? You can say, I forgot where it is. Basically it's a move, the object, you just have to press Shift S, That's it. So Shift S, you can selection to the cursor and that's what I want. Press R on the x-axis and rotate. Scale it down a bit. It looks like there'll be a lot easier if we add materials. So then you can see it, but in this case, it really doesn't matter. I could probably add just like a basic quick of a material takeoff, use nodes. And then I'm just going to skip like something like that just so we can differentiate between the bolt. Cool. Took all these nodes. Cool. So you know what, it is really hard to see. So nutcase, Let's show you guys how to add a material within hat, add multiple materials within the same object. So all you have to do is go into the object. I'm going to select its entire face. I don't really have to worry about the edge because we were not we don't really have to do that. However, if you wanted to just go and select that, it's like that, like that. By Shift, Shift Alt and right-click on the edge itself to select the edge. And then we're going to go in the materials and then hit the plus, add a new material. Then when you're on material to hit Assign, right? So now you have two materials and one material is for the base, the other material is for the metal. Okay. We go. So now it's a lot easier to see what the heck. Alright, So he was just going to, we're just going to really just place this arena will add only two for now. Add to bring the other one down further. How much is it? Let's see. Bring that back. Here we go. Cool, cool, cool. Alright, so make sure to save, save your work because anything can happen. Computer could get struck by lightning bolt and just shut off and then you didn't save your work. But trust me, it's happened a lot of times. So in order for us to get this across without having to duplicate it, I'm going to do is notice how this object has that mirror modifier. So I'm gonna do the same thing for this, the bolt, right? However, the easiest way of doing that, and probably the longer way. But it's going to teach you guys something without having a duplicate. I'm going to set the origin of these guys to by pressing Shift C. I'm going to Shift C, the origin back to its origin or the, the, the cursor back to its origin. And I'm going to select these bolts. And I'm gonna go to Object, set origin to 3D cursor. That's the cursor. Now the origin, which in other words is the pivot. Now, I want a mirror modifier on these bolts in order for me not to go in because I'm lazy right now. I don't want to go in and, and look for the mirror modifier. And I can change some settings, right? Imagine if your mirror modifier had a bunch of these settings at it. I want the exact same settings. So that being said, all you have to do is click the bolt. Actually click, Okay, this is not forgotten already. So click the bolt, Shift-click the item, hit Control L. And then now you're going to make links. This is basically linking or that same modifier. Okay, cool. So yeah, it is, yes, like the bolt shift, select the camera, the main object, and then just Control L to link over that same modifier. I'm doing exact same thing for this guy. Or you can just honestly, you could just duplicate these two. There we go. They have the same modifier, so you're just duplicated, duplicating it over. That's it. Alright. So we're going to end here. In the next video, we're going to look at adding the lenses, and then we're gonna get into adding some more materials on everything. 4. Starting the bulbs : Our lens to the camera. So I'm going to do is add a mesh cylinder, bring it out. I'm going to scale it down a bit. I'm going to rotate it on the x-axis, but 90 degrees. And once you select the red square here, just bring it back up or bring it up. Scale it down a bit as I go from the front view by pressing one. Then I'm going to bring it up a bit. Actually, scale it down a bit, and there we go. Cool. And then I'm going to select it into face select mode and then bring it back. Alright. So I've kinda have like this lens effect here. I don't know if it pushes in or out, so I'm going to add a little. So I'm gonna go Shift S cursor to select it. I'm going to add a sphere, UV sphere. What I did last time, I'm going to select our sphere, cut it in half. Cut that sphere in half. I want to show the x-ray view. Cut it in half. Go back to object mode, was turned off the rotated on its side like that. Then let it fit. This guy. I'm just gonna go to select that face. Shade Smooth so we could see a little bit better. I like, I like it Now let's move on to watch you guys, but I like it smooth. Alright, and then we're going to activate proportional editing. Select the vertices that I want to edit. And then everything around its radius will be, We'll move with it. So I am going to select this and you also have different options will proportional editing you don't have, you don't have this, this smooth mountain when you have, like, all of these guys, can use sharp inverse-square constant roots here, whatever you want. I like to use the regular. It's really sell them when I use the others, but I don't me just use this. So I'm pushing everything back. Thanks. Bye. All right. There we go. Cool. Now we have our lens. Let's show our collection again how it looks pretty good. Let's add our bottom lens too. I'll select the sphere, duplicate it, drag it down. They look about the same size, so I'm not going to worry about that. Now here comes the fun part. We're going to actually add some a bunch of extrusions in and out, in and out. So I'm going to drag this out. Oops, turn off proportional editing repressing. Oh, drag it out a bit. Extrude and click, Scale it. If I'm seeing it correctly. Let's extrude again. Click and then scale it back in. Same thing. Spring that, well, spring back. Let's bring out a bit. Here we go. Push that in. And then there's another indenture is going to keep extruding till we can build out the shape of this camera. And so you can get fancy by dragging the sphere. Actually cursor to select it. Shift S Again, selection tool cursor, and then just scale it down. Like I said, completely option. You can be fancy as you want. If you want to add that lens in there. Cool. So we have our stuff, we have our lens. Let's add a bevel on both of these sides just to make it a little more smooth when we added the subdivision. So bevel, double bevel edges. You got to really watch out for the bill because it's gonna go crazy on you. There we go. Now we have our lens. Lenses. Alright, so to finish this off, I'm just going to really add some materials. And what we're gonna do is to make this look a little bit better and to really showcase how the material is going to reflect our rendering. And this time we were not going to render, but however, we're going to simulate how it will look. I'm gonna go to our material viewport. I'm going to start selecting stuff and then adding material on it. So we already have our base. And notice how when you have those separate materials within the same object, you can select each and every one of those, right? So if I select the metal, I just want to select the metal because I want to edit that. Alright, select, that's it. Then I can press Shift H to just hide everything else but the selected. And now I'm working on is the selected material or just the selected item. Now press Alt, Alt H to bring everything back. Now if I just wanted to select the base, that's it. Plain and simple. Let's go ahead and add the metal. You know what? I didn't see. I saved but I didn't refer to back. So I'm like I deleted them the mirror modifier. So I'm going to bring that mirror modifier box. I'm going to delete the half, half of that. Now, the mere technique is done differently in other programs and blender you just use, it's done as a modifier. But mirroring technique is very good to model another symmetrical side. It makes a lot easier. And then you can just turn on and we know what it means by clipping. Notice how you're able to pull it apart. If you turn a clipping for some objects, it works better for our object. Not really. I mean, maybe because now it's together. But if you turn off clipping, just going to come apart, you could turn on clipping so we can get pushed out for if you wanted to. Make sure to save your work. So let's see. I'm going to select and I mirrored is just to make it easier for everyone. So I'm going to select, Let's see, the edge loops here. So even if face-like mode just Alt, right-click the edge, like that side. And that's, we can also do this too. It looks good, cool. So all you have to do is add material new. You just say like okay, Oh no. He just felt like material. Material cool. So since we're in the, since we're in the rendering, we're not in the running. And actually, you can turn on metal, use, use nodes, using those. And I don't know why I named that material actually mean that metal side, maybe metal. Metal. Metal. And I think it took that as saying like, Hey, this is the same material. So I'm going to assign this guy. I'm going to change the color to maybe a little bit darker. Select the base, the base color. You can also copy the same color as an image. So I'm going to select this eyedropper, just bring it on top of that. So notice how it's because of the photo itself, it's going to give you that color, so that's completely fine. I'm just going to tone it down a bit. Just drop that color. And then notice how it was black so I can use the exact same color. Oh, you know what, the outside is bitewing anything about it. But the, um, the lens is black so I can just apply that on the lens as well. So all you have to do is select the lens. And then select Base, Base, cool. Select this given any material, name it, reflection. Select the outside. We can get really fancy and just like going in, it's extruded into you like towards like inside. You can do all that. Once inside, you can apply the base color and assign the base color. Simple. Alright, in order for, oh, I've got the, the, the bolts. Want to use nodes for the bolts. I'm going to give it some more color or more, a more lighter color. Alright, so now, now that we're messing with the material, we can actually take the specular and tone that down. You're going to turn up the metal. But for the speculum because that material on top here, it's actually a little bit specular. So I'm going to turn up the roughness. Notice how you take out the run this, it gives you a reflection. Turn up the roughness gives you a harder material. Up top is a lot more reflective. So that means we need to select everything up top. What's how I selected the metal plate upfront? Just press Shift. And L actually there it says they're attached. That would not work. I'm going to select I'm going to go to the material and select the metal and select de-select. Now only thing we're selecting is everything up top. When you press Shift L, That's selecting every object that's its own object within edit mode. So far, so real quick, if I select, if I press L, It's going to select everything, because everything is selected. However, if this was attached, our press L on the top part, it will only select that. Hope you have any questions, just reach back out. Ask me the question now. I'll reach back out as soon as I can. So I want to give this the same color as the base. Like base. There we go. So yeah, press new material. Now it has everything with the base, but this time it's shiny. So I hit that little new material button right there. So shiny. Already, not in material or not. So a sine wave, I think. That's good, That's good. Okay, So, okay, cool. So now all I want to do is give it reflection. So I'm going to turn to tone down the, the roughness. Now we have more flexion versus the bottom half, doesn't have much reflection. You can tone down a specularity and then increase the roughness. Cool. Okay. As for the side, the metal side, we can play around with that a bit. Give it some specularity. Specularity mean like reflection, reflect the material whose reflect the material. We can say Here's metallic. You'd also increase the metallic. I like cool, but not by that much. Maybe a little bit of the specularity increase the roughness, play around with the reference function. Maybe brought right around there. That looks good. So I'm just going to let you know what Just last but not least, we're going to add the reflection. So I'm going to give this a color. You can add like a dark color. And then you can increase the metallic little bit, add some specularity. You can, you can also play around with these other options too. They do really good stuff. You'd have to play around with that. I'm going to tone down the river front. Roughness can even say it. So then you can increase the specularity because we're given that feel of a, of a reflection. Alright, here we go. Do the exact same thing for this material. So look for reflection of that. We have, we have our camera. The base color. Let's see, you can play around with this guy. Let's see, we're worried about it. Cool. In the next video, I'm actually going to take this and we're going to add a subdivision surface. And we're also going to ask some edge loops so that we can actually bring in the smoothness of the camera. We're going to really define how we can smooth out some of these corners right through here. Note how the material just curves over. Notice how the metal curves. And then we're going to actually do a strap to actually be really cool too. So we're going to learn how to use the curves and splines to be able to create this type of shape. And then we'll just wrap around, like I said, we I mean, from earlier we can't really see the back of the camera, right? So we're just going to have to do something similar, but we're going to do it in our own. We're going to envision a strap that wraps around, right? And so really, these techniques are just really going to help you apply it to different other models that you want to create. And then eventually you can create different products. Or animations are just models in general or for fun, right? So let's turn it to the next video. 5. Editing the sides: In this video, we're gonna be talking about how to align the surface of some of these areas to make it look like our camera picture, right? So if you're getting into the modeling fields, sometimes you'll hear the term organic surface, hard surface. It just means that the type of surface modeling and you're gonna be doing or the type of character that you're working on, whatever it is can be for vehicles, hard surface, right? What this camera, it's more of a mixture because you have some curved areas and you have some hard surface areas. That being said, we're going to jump right into it and start with the metal side. Right. Now as we're doing this, we're gonna be adding a subdivision surface. Let's talk about that record. Subdivision surface allows the message to be smooth, right? It basically brings all the faces in all the different phases and it's smooth it out, it makes it smaller and smooths it out. And essentially it gives it a smoother look. And you can create more complex smooth objects by doing this. It also allows the quality of the object to improve, but at the cost of RAM and video memory. So that's why it's important to, if you do have, you want to make sure that these viewport is like on one or two and the render is at its highest possible or wherever you want it to be at. So whatever that represents, whatever the viewport represents is going to represent the render. The render is at to. The viewport is currently at two. If you put it at one, I mean, it's gonna be perfectly fine to work with. However, in the render, it's gonna be rendered at its highest possibility because it's going to render the background and you really don't have to worry about doing it real time. It's going to render. So if you have any questions, just let me know. But with that being said, we can actually hide the subdivision surface. I'm actually going to go into edit mode and then start adding some edge loops so that we could actually build out the curved areas. Here. I'll show you in a second how that will look. So let's control control loops or Control R. And start building out these edge loops and those how I'm dragging up an edge loop not even as close because the closer it is, the more of that curve is going to get away. So edge loop at the top control our heart right there. And those, notice how we're still working with our mirror. If you don't have that, makes sure to cut your model 1.5 and then add a mirror. Okay, so I'm going to add another edge loop. I'll show you what this, what this would look like in a second at another edge loop. And remember like when you get, whenever you add these edge loops, it's going to start in the middle of your, your shapes. You just click once and just drag it on down. That's literally a continued create these edge loops around our figure or around our camera. There we go. So now if I add, if I look at our subdivision surface and bring it back on, show it in the viewport. You notice how we have these, these curves. Now we still have the mesh. It's still blocky like this, showing our faces. Let's get rid of that. Let's go into the object. Let's go into edit mode, select everything, go over to the top and let's go to face, Shade Smooth. You notice how everything is smooth out. So let's look at, let's look at our metal surface here. I'm going to go in and really define these edges here. So I'm going to control are going to define it at the top here. Push up, close, pushed out what close to, right. So it kinda define the top of it. I'm going to find the inside. Let's see. Probably go under two. It's a perfect loop. So that's why we get these results with the edge loops. And notice how we have are really good looking curve here. Not too bad. Now if you want to really define that, make it look a lot better, increase the viewport or increase the subdivision surface in the viewport. And when you render it's gonna be two. So let's look at it. Let's see what it looks like in two. Let's cool, right? So I'm going to bring that back down to one. And let's, let's bring this out as comments. Weird. So I'm going to extrude it. Actually going to take this out of cellular service. I'm extrude that. Then I'm going to select. Here we're going to select the entire edge loop. The entire edge loop by pressing. Let's do it again. So I'm going to click this face. I'm going to press Shift Alt. And once you right-click on the edge at the top up there, and it's going to select the entire loop. I'm gonna go over to the material. I'm going to assign the base material the same color as this, just because we look at our camera, it's black. And that's really all I need. Not the black space shiny but base. Sign them. Then when you go back into the modifier, that's how the entire shape is blackman. Not too worried about that inside. I'm really not really too. Don't really care too much about that. So normally write about it. You could go in here and select the face. I'm going to modify them on Monday that real quick. So let's select the inside. It's kinda hard to see. So let's get rid of that. Yes, let's select that inside. Slip both of these guys. And I want it to, I want to size, I'm going to scale this down in the middle. So let's keep it at our median point. There's a scale that down a bit. Oops, scale it down to tablet. Here we go. Cool. Let's bring him back on modifier. Nice. Now you notice how this looks kind of weird, right? It's kinda not really proportionate. The top looks a bit more beefy at the side looks a little little weak. It's just easy. Let's just select the areas that we want to push out. Select all these guys. Oops, there we go. Now, you could do the backside too, but this is really the same thing. Another way of doing it, you can also, if you have like a completely symmetrical model, front to back, side to side, you can literally just cut this in half right through here and just mirror it across. And you'll be able to do this side too. But for our camera monogamy that I'm just gonna push us out of it. Notice how we have a bit more beefier. Nice. Make sure to save it. Always File Save or just hit Command S or Control S. It's going to help everything he are. I'm liking the top. We can go in and really kinda define it. Why don't we? It's a really focused on the specific object that you're looking at. If we only see what we want to see. So I'm going to select everything. I'm going to make sure we can x-ray or view almost select by pressing, by selecting only specific parts. And you can press B on the keyboard, B as in boy, and then highlight things. Another way of transforming that is you go up here to this little outline box and select. You got to hold it. And you could do like a Lasso Select that also helps suppress be. Actually, no, that's not it. You press control and left-click to select what you want to select. This case. We could actually leave it at that. So if you press Control left-click, you can select things. Be also does that as well. I'm going to select everything that I don't want to see in this mesh. All I want to see is the top. I'm going to turn off x-ray. X-ray and press Shift H. Oops. I am going to press Alt H star. Alright, just press H, that's it. So Shift H only selects what you want to see. Pressing H hides the objects selected. Alright, so but if you go back into object mode, you see everything. Edit mode. You only see what is within, only shown in edit mode. So I'm going to press control. Are probably define the talk real quick. So I'm going to bring that back. You can do the same to this side too. So the reason why we can't really define it to how he like is because some of these vertices and edges are somewhat not combined. So that's why you don't see like a complete edge loop through here, right? There's kind of more like a quicker way of modeling. Some more fine for like film. But for games you want to have a more complete topology. So you've got to be careful with that. And there's various ways to fix that. One way of doing that is going to show you real quick. Let's go to vertex select mode. I'm going to press Select that vertices. I'm pressing K on the keyboard. I'm going to draw, we're going to draw crap. I'm going to draw out a vertices from top to bottom here. You notice how it's going to create a few of them. You just hit Enter. So we just create a some vertices and do the same thing with this one. Hit enter, right? So that kind of fixed that side. But there's still, can be a lot more improvements to it. But we kinda got our shape out, which I'm liking. All right guys, so that should conclude this video. In the next video we're gonna talk about the strap, and we're going to wrap that around to the back. We're going to add some bolts real quick to push in the straps that keep them in place. And we're going to simulate a real looking shrimp that'll wrap around the back. So tune into the next video, guys, Awesome. 6. Shaping the strap: This video, we are going to be looking at the strap. Very simple and easy to do. And you can get really advanced with it. So I like to do, and you can also do this same technique in other programs. It's all about understanding how the curves work. Like I said before, you really have to understand the interface, the interface of the program itself, and you can apply everything. That's it. So we're going to add shift a or just go up here to add, going to be looking at the curves. I'm going to normally I like to work with the path. Blender has a bunch of different types of curves that you can work with. I like to work with path. That's my personal preference just because it starts off as a straight line. Bezier curve works well too. But for me, we're gonna start off with path. Let's drag it out. Let's go over to the curves settings. So what we're looking at here is different settings that will allow the curve to work in different areas, right? So basically, anything that you do to the curve itself will show in the Render if you want it to, but by default it will show. So I'm gonna go open up geometry. I'm going to extrude. Let's say you can even rotate it by 90 degrees. I'm going to give it a bit. But right there, a little bit beefier. You can mess with the depth. The depth gives it this hollow or not when a hollow, but like it gives it that 3D field instead of a flat surface object. But let's see why just want to work with actually, yeah, let's let's bring it out a bit. Tap it. Because notice how the strap is a curved. You see this curve on the strap. So let's simulate that. It's kinda hard to see. So I'm going to add a material. Going to add, let's keep it the same material as, as the it's called the base. A little bit easier. Tablet. Curves can also be animated as well. So when you want to edit mode, notice how you have these dots. You can move and edit the curve. They could also be animated. So let's see if I want to give this a little bit more shiny saw might want to change this. The base shiny area looks a lot more better. So let's go back to the curves settings. I feel like it looks good. Okay. Let's move on. So in order for us to get the strap feel where it wraps, it stays here and it wraps around the back. Not really going to worry about how it's curved in the front right there around. I'm not too worried about that because we can we can, we can edit that and make that shape on our own. I'm worried about is creating this this realistic feel of it being locked into place and then wrapping around the back. That's what I'm working on. So let's make sure our object is centered. Select somewhere on our mesh that we want to place it right around there, somewhere in the center. Let's I'm gonna go back and unhide all this. I'm going to, I'm going to go into edit mode on our camera. Press Alt H. Let's show everything. I'm going to select. Select the face, these two faces so that we can our cursor to be in-between those two phases. So selection to cursor, cursor to select it. So it's still selected. Tab it better. That's not what I wanted or whatever. It's centered and it's almost where it went. But lets you select our curves. Shift S, selection tool, cursor. Start moving it around so that we can actually build out our shape. Here we go. Probably scale it down a tab it back. So now we're wearing, working with a curve. You can move it. You can also extrude the curve to what that means is it's kind of hard to see. Let me see if we go a little bit better. Let's change the viewport to that. And then we could also make it even easier. Let's randomize, randomize the colors as well in our viewport. Let's bring this back because all forums on his innocence the curve. So I want to extrude, I'm going to use Shift S selection to cursor. Just fits right there, right? If it goes a little bit stilted way, but it's fine. That being said, I'm going to extrude it one more, one more time, one more GIN, one Morgan. And then I'm gonna select these to move that out a bit cool. Now I'm going to select this entire all of these points, going to move it out a bit. You can also rotate it. Actually, no, you only want to rotate it in edit mode is if you almost forgot about that, you have to actually drag these pieces to the back. So it's gonna select this guy, I want to have extra digits yet, Let's select the last piece, Shift S, selection to cursor. Notice how it's going to wrap back there. So you kinda have to play around with, I'm going to move this guy to the back. Start moving pieces wherever you want it. So you can simulate the strap. And then I'm going to show you a different way to actually rotate this area so that I can look just like that. So here's, here's one of those ways. But I don't really have that curve. Because I wanted to look just like this. Cool. That doesn't look too bad. You can also do proportional editing. So select that occur at a point on the curve, press O, as in octopus. Notice how you have the proportional editing circle and just start editing. Edit each curve with a nice, alright, so I'm gonna turn off proportional editing. I like how this looks so far, like how that looks. So what I'm gonna do is in order for us to actually edit the actual mesh itself, you want to press control C. No, they actually changed it. So I'm wrong. So in order to actually convert, so what we wanna do is basically convert this curved mesh into an actual match because right now it's, it's considered a curve and go into edit mode. We want to be a mesh. So give me 1 second. I need to confirm because the old blender, the one before 2.8, it was actually control C to convert your curve into a mesh. So 1 second. Okay guys, so the solution to converting our curve into a mesh, we're going to go to object in object mode. We're gonna go to Object and we're going to actually go down to convert to then mesh from curve or metal surface texts. And notice how we have our curved surface. It looks good, right? Alright, so all we're gonna do now is, like I said, I really wanted this curved areas. So I'm going to select maybe, let's say probably this area. Select that area. It's going to wireframe view. Let's highlight Control. Left-click. Let's have it a good bit. Um, my solid, you going to press O and go to proportional editing. So we're gonna to proportional edit this and we're going to rotate it to where we can see that curve that we want to kind of got to play around with it. Sometimes it's a little wonky. But you kinda get a gist of our curve. Let's get into a little wonky, but you get, you get the idea. Alright, then we're going to finish this off with a bolt. We didn't really just copy this guy over. What I'm gonna do this, since this itself is a mirrored object, I'm going to duplicate it, shift D, bring it over, and I'm going to, you can just press X on the modifier. I'm going to select the bottom piece. Then I'm going to go to Object, set origin to geometry. So it's centered in the middle. Will select the top of the curve and shift S selection to cursor. Anyway, just want to rotate it on the z-axis by 90 degrees. That's about it. We have a bolt that holds this piece in. Cool. Alright guys. So that officially, let's go to material review. That'll officially concludes our camera tutorial. I hope this really helped you guys. And the initial idea of doing this is that you will learn some of the techniques to build a model quickly, right? We built a camera and we built the materials and we built, we use certain techniques such as creating edge loops, creating these to build out certain areas, even creating different curved areas, right? So I hope that really helped and you can apply this to other models that you create in the future. Thank you guys.