Creating Game-Ready Weapons Using Blender & Substance Painter

1. Introduction Trailer: My name is Sam Cipla. I'm a three D weapon artist at Tire Interactive, and I'll be your instructor for this course. In this highly anticipated tutorial, we'll dive deep into creating a three D Caltech shotgun from start to finish, resulting in a full game ready and textured weapon. This course will guide you through several key stages, blocking out the weapon in blender, creating high poly and low poly virgins in blender. UV unwrapping in the most optimal way using RSM U V, texturing with substance painter and rendering final images in MarmosetTolpag. By the end of this course, you'll have a comprehensive understanding of how to create high quality weapon models for both games and cinematics. These skills you can apply to any weapon type and even to other model types. For this course, we'll be using Blender for modeling, substance painter for texturing, RSM UV for UV unwrapping, and MarmosetTolbag for final renders. With over 37 hours of content, I'm confident that you'll gain the skills needed to create impressive three D weapons and models. All project files, including the weapon model, save files and final renders are included. This course also comes with auto generated subtitles in English, Chinese, and Spanish. I hope this course brings value to your journey in three D modeling. 2. 00 Ref Gathering: Alright, so I just want to share a few resources where I look for my references. Good places to find them. And I guess we can go here. Yes, I wrote four different spots. So the first, you can just look up the gun. Right on the website, go Celtic KSG. And Celtek has a website, and you just it's simple. And this is a lot of times you can get really high quality pristine looking like spec beast. You can get measurements, too. Like, this would be a great reference for modeling. Another, so gives you all the the specs, too, measurements, whatnot. This is, you know, if you're modeling a gun that is still for sale, you can't go wrong visiting this, you know, like, the website for the gun because it just gives you all the information you need clearly displays the gun like this. And if you say you want this exact, you want to save this exact if it doesn't let you do that, then you just go to Snipping tool and then just do this. Then you can save it, do whatever you want. So And then the next way would be what would it be? Go to like an auction website. So I'm on gunbroker. Guns.com is good. So you just do Caltech, KSG for sale as if you're going to buy one, gun broker is a popular one. And then a lot of these are Airsoft, some are real. But. This is where you get a lot of the texturing ones, like the good like, if you look in here, you get all that guck that you see, and this isn't exactly what we made, but it's pretty close. Yeah, you get reference detail. You know, some of these, you can usually find some yeah, like, some nice clocks up here. Look really good. And, yeah. And then just straight up Google Images, is a great one, too. Um, yeah, you can't go wrong with this. Google images gives you a big variety, and then the last one is YouTube, so this guy. You just type in, blah, blah, blah, and then there you go. This is good because the close ups are like, really ideal. Usually, stuff like this. Tons of close ups, always. All the angles, too. This guy usually this guy's pretty good. Well, a lot of this stuff. Uh there's usually some close ups here, yeah, okay. Like, some of these some of these you get some motion blow when you pause it, but if he holds it still enough, like this is where the oils are, and it's been touched by somebody a lot, you know? So you can really get a good idea. First of all, like, proportions, he's holding it in an angle that people don't really see a lot. And then, like, the texture detail, the roughness, you can really see a lot of where oil actually builds up in dirt and simple stuff like that, like the seam line for this plastic molding piece. A lot of people miss that. Just basic stuff like that. Yeah, like, this is amazing. This is just awesome. Keep going. Yeah, so basically, that's that's where I find most of this stuff. I'd say YouTube is one of the best four texturing, actually. This is a pretty popular gun. Good pop yeah pop culture, too, John Wick. Yeah, there's some close ups. It's overall YouTube videos you K go wrong. Just kind of find out good one. The one with four has better close ups, I think. Yeah, that's basically it. So that is that's basically how I find my reference images. And, um, yeah, it's pretty straightforward. Takes a little bit of time. The more time you put into it, probably the better your result is gonna be. Yeah. 3. 01 Gathering Our References: So when it's time to gather our references, we want to make sure we have a good amount. We want to get them from various places, gun auction sites. You can get them from Ebay. You can get them from the company website. That's where you get the good orthographic guys like this. You can model from those ones. Yeah, and you want to make sure you can you get a good variation. So this is a good one, in my opinion, for texturing, shows good roughness. It shows good angles of the gun. It's also good for modeling, to be honest. Yeah, so in most cases, the more you have, the better, trying to make sure that it's the exact gun is pretty important for modeling, obviously. But for texturing, it doesn't matter quite as much. So if you have a variation of the weapon or if you have a gun that is made of the same material, but the texture, the look of the texture, the quality of the image is so good, it's worth it. You use that instead, definitely. But yeah, it's pretty straightforward. We just got a couple of images here, good refs, great material breakup here. We can get a lot of information from these images when it comes to how sharp we want our edges to be, you know, where we want specific details to be in certain areas. Yeah, super helpful to have a good reference in general. Totally worth it to put in that extra, you know, 1 hour, 2 hours of really looking hard to try to find good references. A. 4. 02 Creating Our Blockout Part1: Once we're satisfied with our references, we're going to go ahead and move on from that. So the next thing we're gonna do is start our blockout. Let's start with? This guy. So we just want to block this stuff out. I'm gonna pick a piece. Pick a piece that we should get the scale down, too. That's This will be pretty awful blocking out pieces, so we don't have to model, you know, like, the whole thing. This we don't need this part. Never gonna see it. It'll just be hitting in the gun the whole time, so whatever we see, we should model. Seems like a good one to start with. Easy to outline. Okay. Start with that one. To start here, actually. Okay. You know, we should get the scale down first. Rookie move. So I get the guy, this guy here. That looks right, right? About to scale. Our guy. Okay, for real, though. We got that, and then if we go to dimensions here, Like, overall, like, 261 inches. Yes, I'm an inch person, dear. O here in America. Sorry if you hurt that inches okay. 261. Just make a fake 261. Kasi. That's for these photos. The wrap photos? What six. I want to be able to see to them a little bit, so I can see the mesh, at least. Okay. It's okay if it gets messed up. Something like this. Not gonna be an exact match ever, but do the best you can. That's actually good there. Okay. We'll just start with this side. For some reason, I struggle to figure out which side it's on. I don't know why. So right side we should be seeing? So it's not the side left side. Okay. Got it. So, got our skill. It's this long. And then, if you know that you can get the dimension correct from there. Okay, so I'm just gonna keep this nowhere. Okay. I guess we can just start going. Let's get this piece going here. Yeah, it's kind of confusing from here, isn't it? It's not an issue. So just around. I was like there. Pretty pretty simple stuff here. We're just outlining it. Giving an outline. It's pretty rough at this point. Not much is going down. Just outlining it. We're not gonna make the whole piece, but, uh, you know, we're gonna make as much as we can. As much as we should. We don't want to get too far in the weeds or else if we got to make a change, good chance I'm gonna mess something up here. We'll have to fix it, and that's it. So that's that. Basically, just get this outlined down. It doesn't have to be perfect. You can copy exactly what I'm doing. There's a bunch of different ways to do this, though. Right. It could be kind of peaceful, to be honest, but, uh, it's super rough. Even to the point where I don't know about other software. I'm sure other software have this, too, but it's like this knife tool. It's super helpful, especially for this kind of, like, a rough blockout. You can literally just carve out what you want. It's pretty nice, actually. Pretty nice. I'll just delete the excess here, and then we can move on to the next part. Pretty simple. This part here. Yep. But yeah. Man, I used to do tutorials all the time. I still do. It's just the best thing to do. If you don't know something and you don't have a friend that's gonna teach you, you know, get a mentor or buy a tutorial, honestly. Such an easy way to learn something. Can be kind of painful. Some tutorials I've done. You know, they teach you what you want. They teach you they accomplish the goal, but, you know, by the end of it, you're about to claw your eyes out. It can be tough. Nothing on the person, either. I mean, sometimes the matter at hand is just boring. That's all. I can just be boring. So we're at the point where you can start delete some stuff. Just getting the outline. Like I said, get the outline. You know, this is not this ref isn't a perfect, you know, orthographic ref either, so it's pretty much impossible to get everything perfect, you know? But, uh we can do our best here with what we got. From there. I don't know why I did that, but Okay. Actually, yeah. Yep. Just get the outline. That's if you want to fast forward to this, go, go for it. We're just chilling. This part is pretty modeling in general can take some time. Just takes a bit of time. That's all. It's worth it. Can be a fun thing. This line here. What that line? Move this guy up. Take up too much space. Keep that level. Try, at least. Okay. I don't know what this turned into. Okay. Yeah, so this turned into this, so, I mean, one thing we can do pretty easy is just, just delete this, get this out of here. Yep. As long as we have this outline, it doesn't really matter. You can get it back pretty easy. Bring us to I think I lost some stuff here. Sorry about that. We're just. I was just looking here. When in doubt, use this knife tool. Changes lives. Oh my dear. Okay. Use the knife tool. When in doubt. Use the knife tool. Trying to straighten all this stuff out so we can keep our mesh nice. Now, we're making a nice simple blockout here. But our blockout at the end, we're gonna run through everything, make it some rough detail like this, everything we're going to do that with. But before we move on to the low poly or the high poly or anything, we're going to make this pretty detailed. Not to the point where it's done, but pretty detailed. Like a mid poly, you could call it. Call it mid Polly. Call it a mid. Okay. So before we get too in depth here, let's let's actually delete that. You can delete this, right? Okay. Extrude it. Recalculate L Just extrude it. It's a little off center now, so just I'm gonna place the origin my points here. Just bring it back. Kind of offset it a bit, but just realign it pretty easy. Okay. Just realign that. Push this in. Gonna get this here. P like that. This guy. Bring him in, push him forward. Try to keep this straight. Don't let that rough thought fool you. Okay. Okay. This would be a pretty important point. Nice curb here. Yeah, this gun's pretty cool. John Wick used it. Some cool YouTube videos on it I watched. I actually didn't really know how it worked, to be honest when I first decided I wanted to try to make it. But it's pretty cool. Loads shells and, like, has two barrels. As two barrels. Things kind of bad ***. Yeah, like, they're both they load into like you load Ammo into year from the bottom somewhere. Yes. See, there's like two spots. You can load it. They each hold like seven rounds, I think, according to the chart, the specs. This is from the website. Yeah, the MG capacity seven plus seven. It's pretty cool. It's apparently, it's a pretty small shotgun in general. Never seen it in real life, but Let's brought I'll be funky, okay? Just our general blockout here. Yep. I kind of want critter. Probably could just delete this, huh? Brick dear. Just line it up. Nothing crazy. No details, crazy yet. Don't even need this yet. We're just making making the silhouette. So don't need this yet. Just the silhouette. Far as With goes, With making sure it's not too wide. He is important. 5. 03 Creating Our Blockout Part2: Nick Next piece. Let's go for Let's go for this thing. This barrel. It's not it's not the barrel. It's like the Wait is this? It's like the breech. This is two. It's the loading. This thing. To barrels going into this guy. You can see it from here. Nice piece there. So owed it up there. This piece looks like it's kind of like a sharp. This corner here, goes straight there, so got to keep watch for that. This piece here. So we'll terminate it right here for now and then after, we'll add that little thing. But this is one of those, uh pieces where we don't want we don't want all this. No, that's Unless we'll be able to see it. At any point, we got to test it, but good chance we won't need it. I can unbear this. Okay. Yeah. No thing we could do here. You should. You know, nothing. Doesn't have to be. Oops, is to. What is this sort the freak? We want a cylinder. We're just gonna try to line up this just make it a bit easier to make it, to be honest. Yep. Knowing the shotgun measurement before this gets decided. We're just blocking it in there for now, so I'll get back, but then measurement, and then we can be on our way with the whole thing, so well. Dear. We're just trying to, uh, get that nice curve in here. Got a nice curve. That's off. Yep. Well, this is gonna be interesting, well, yeah, so it's kind of hard to tell. You know, there's no there's no image of a straight on. Uh, how do you say? Like, this is a pretty good angle. You can see it's pretty circular. But I'm talking about the angle here. So, something like this, it's kind of tough sometimes to realize how steep we're going. This looks pretty good. But you know, it looks okay, actually. It looks pretty good, but it's one of those things maybe you got to eyeball a little bit. But, yeah, I think we locked out good guess. Good guess, but there's always iterations that you'll probably have to tweak, which is why the blockout is so important, you know? These aren't exact. I want to but once I get the dimensions of that. So shock and hills are two. What do we got here? Okay. 12 gauge, three inch meg capacity, two, three quarter inch shells. Okay. So let's just try to get this organized a little bit. Get this guy in here, too. We're just gonna move him into reef's Refs. This is the left side here, so I just left side, and then Right side. You can hide again. And then make another one, get somewhere. So Celtech KSG. Throw it all in here for now. Might get a little bit more specific as we get further in, but yeah, as you can see, yeah, way off here, right. Which means this probably off, as well. I'm gonna delete this whole thing. Now it's a lie, but it just goes to show. It's really easy to make mistakes, so something like this. Okay. A little bit closer. So our way around this is we just delete a couple edges and then redo it. Okay, so. See how close these ares. They look really they look snug, so they look, they'll from there. And there's dog, though. They look they look pretty much hugging, so just get as much close as you can realistically. Okay. Okay. This doesn't look great still. A Looks a little wide. Top looks a little wide, doesn't it? This is something we can do. Looks a little bit. For sure. Definitely. Just looking at this here, so if we go back to, uh This one's been pretty helpful. Yeah, it's open. It's not a block. It's just a Open. That's right now. Don't let that. That's good enough for a blockout. No, as long as these tubes going on just far enough. Here. You know, he'll a bree all the way back here. You're never gonna see. Keep it like that. These guys, uh This slide goes back, so this slide moves on this rail here. Goes up and down to here. Yep, so I don't think we need 6. 04 Creating Our Blockout Part3: Just for now, keep it like that. Okay. Et's get this one. Just what we can see. Let's get here. Keep that right there. Oh cute. Could be useful to just do this. From here. Duplicate it. Make it its own thing. Okay. Looks like right off the gun. It's got a slant throups, doesn't it? So if we go right, looks angled, as well. I can see these they go right in. Kind of a weird piece, huh? So let's focus on modeling this thing as a whole. And then afterwards, we can slice this out. Or let's just see how it goes here. This whole thing. We want to get this, this follow this line. All the way. Okay. So this guy to here got that. And then from there, Okay. It looks like we have this bend here. I've covered that. This is not an issue. This is a quick booling. I've extruded down here. It looks like there's a little curve at the end there. It's well, but we can save that for the end. And it looks like after this, this piece here. There's a bit of a gap after that. We're gonna just go down here. To there line that up pretty well. Go to here. Go with this piece. Then, uh Yeah. The pick. Disconnecting this stuff. Disconnecting. Okay. Yep. So this might be worth a uh we return to this for a second. B to the piece of it disconnected. Looks like this hole exists. So I'm gonna guess this is attached to it, right here. Well, the goal is to make this accessible. We them there. Bring it down. We're gonna bring it down. Okay. Write that one down. Doesn't line up quite yet, but, uh, you know, we have this detail established, and that's the most important part because it means we won't forget about it. Okay. So just getting the blockout, the blockout. That's all we're folks. No. This blockout. So that slant just covered that slant pretty well. Where's the other one? I got to organize these roughs here, okay? This is the guy I'm using. I don't have as much as I think, but they I keep losing the good ones. This is a pretty good one. Here it is. Okay. For blockout purposes, looks pretty good. This curve has to be established, but I'm gonna wait. Hey, might not even be a need to wait at this point. I mean, it might be more efficient if I, uh that booling will go a lot better if I do this, I think. We're just gonna separate this. Okay. Get that guy covered. Okay. Just get this based out, get the base out. The basicect of the basics. So, this needs to be straightened out. It kind of actually formed into a circle, as well. So one thing that might be worthwhile is to, uh, Just try to reshape this a bit. Okay, so it looks round there. Basically, you could start with a circle. You could probably bubble this, as well. That's 'cause it doesn't all look like a perfect circle. And this liz looks like more like a square bubble than a circle. So I got some lines there, there, and it goes up. And this plastic piece meets perfectly with that. So that's our we just want to get the form down, so we should try to. It looks like this may maybe something that goes against Dear Yeah, well brand delete this for sec. Okay. This looks a bit wide, still, doesn't it? This you look at this, it looks almost like this doesn't look like a circle yet, so I think we could do here is, uh I'm just trying to find a almost like a template I can use to line this up. You know, there's a chance to these barrels sizing is pretty good still. Kind of wanted to just meet these this stuff here. It actually looks like this. Me like and like this. Kind of. Yeah, it almost has that edge to it, so it's I would say this is slightly more fitting to what the shape is. It's not a circle. That's what I do know. But we want it to eke closer and closer. Want to keep this even. This surface needs to stay even. But we want it to be bit more towards the, uh, circle side of things. Okay, that's almost to the point where it's in the right. It's in the right direction, that's for sure. We're in the right direction. This roof looks a little bit whiter, but maybe just a hair, a hair. Just a hair. Wir. Okay. So this part cuts off to line up perfectly with this. No, theoretically, we do something like this. We do not want h going back to this really making sure we get this circle down. The more circle than it isn't, so. Okay. This booling part, basically, we want to get a nice. We can mirror this, too. So it's just we need one good one. We just need one good one, huh? And. It's out? This is mirrored already, so I got this It's called Bool Tool. It's just you can get it here, go to add ons. I think it comes with blender. I don't know. It's pretty good, though. I recommend it. It's easy. Become, like, a part of my tool set. I have a huge tool set, but it's pretty good. The reason this happened is because this so let's just get all this covered. Let's see. Good part about this, you know, you can kind of just move it however you want. Move it up, B down. It's good. It's good. So, it's kind of not This is not it, but we're you know, I this could just be kind of like a temporary reference here. S. Yeah, we just wanted to line up. We just wanted to line up, and, uh, that's it. Don't cause any trouble. If you look here, it's a bit easier to see. He. Looks way off. E. Close, closer, closer, at least. We're getting there. We're getting there, that's for sure. Eh, closest. Woo it away, rotate it in. Close. Close, but looks like. We got the line up here. This line? Pretty good. Pretty close close enough, I'd say. Got the curve starts at the same time. I think we need a little bit more of an angle, though. Push it in on the Z. This is my peak here on the boolean. That's pretty damn close. And then here. We need a little bit more here. Something like that. Yeah, that's looking solid. I'm liking that. So look at solid so far. Looking solid. Is piece here. So, since we're making a mid poly here. We do We want to make sure that we have enough geometry here to ther take this get this to the hypol stage, get the details union. But we're still in the blockout, so I'm gonna just leave this here for our sick. We're gonna continue on our blockout journey. And, uh, yeah. So there's always something. This Okay. Let's let you see things about that. All right. It's parked. You can see that it's, you know, it's not a per it's not even a bebble here. It's more like a something like like there's a gap, you know? That's what it feels like. Like, for example, when I make the hi poly, I'm gonna do something like this. You know, something like it's got that kind of framework to it. But this you can achieve that with what we have now. So Okay, so that shape is done. Um, looking good so far. Looking good so far. This actually has a bit of a curb down, as well, so and it goes a bit farther than we think. You can see this this goes way up here, so this can stay down here. This part should be able to go up just a bit. So, it can be a bit, uh, we're gonna we want to move this guy as well, so move this guy. Just trying to make this easier. Tai visualize it when you have both sides going in at the same time? No. Just a simple simple thing we make. Okay. Got that. This type thing. I want to match this, no. Yeah, only on you look here. Only this part has that slat. This part, you can see here. It's flat. This part's flat. Like, I'm talking, like, scaled on the Y to zero flat. Like that. If we go back to our skewed, call it some. We can establish that. Okay, so established that that is gonna be there. That this is going to remain flat. And this is yacht. So this stays how it is because we got this lined up well with this, this and this lined up good. But then this part, kind of rides up along here, rides up right along there to about, you know, I'd say here. It's kind of it's like this type of thing going on. Maybe not quite that severe. But yeah, like, it's it's definitely doing something here. Maybe around there. Around there. Not exactly, but Whoops. Something like that. It just gives it that look that direct look look at. Yeah, and then you just kind of connect those averts. Nice. Good. Oops. This bad boy opened up again. I don't know why. I do know why 'cause I just did that, obviously. Yeah, it's okay after it's a hole. It's all good. I might need to go one step more up, actually. Yeah, it looks like it's if you can see, it's kind of like meeting at the corner here. You just got to takes me a while sometimes to realize. But, yeah, I just break out the knife to kind of add line. Get rid of this. Yeah, this guy that guy. Yeah. Same type of thing we're doing. Connecting these. Okay. No, I can do this, can I? Nice. Ct this little. So it looks more straight like that. Like that. Yep. But this part, it blends in. It's very curved, but actually looks like yeah looks like it lines up pretty well. One thing we could do is just Dad back off a Ted. To go at T. Just looks good. Still looks pretty good. 7. 05 Creating Our Blockout Part4: Okay. So I've gone ahead, I've imported a reference for the shell that this gun uses. It's just the length, so two and three quarter inches. I know I'm a classic American uses the imperial system still. I know. Just as a reference, we're gonna use these, so shell if. We can call that Shell if, whatever. Put it in here. And it's just to help with your adjustments. You know, when you're trying to find it looks good enough. It looks like it makes sense. It's believable. Um, yeah, it looks pretty good. And this is gonna be especially useful when we go to, uh, you know, loaded in and whatnot to Yeah. Can leave that here from now. Ride you. Hey. The whole point of this gun the whole concept is pretty cool, actually. Pretty cool. Something like that. You load them in? Ready to go. Nice. 8. 06 Creating Our Blockout Part5: All right. So the bullets are good. For now, and then next piece we should go for to lay the barrel on. Let's get this gout. Yeah. Okay. Back to the middle, bring up. Yeah, a All right. You can see it kind of gets a little bit more complex than maybe a normal barrel. No simple, super simple. But this part is the it's the part you slide back. And it rotates on her it slides on this barrel. Hope for a video of it till we're out. Okay, so good. To that. It's okay. Is there a way to speed this. Let you really look at this here. He shoots it, bull. So this whole unit, this guy. That unit is moving. Just this bot's moving. Okay. So as far as lining this up. I'm gonna use the top of this guy as a reference here. We eventually want to, uh, add a solidify, kind of, like, kind of like this. This is how we're we're gonna handle it this way. So I guess we could just keep have that. Come on. The thickness. So it's about that. In that vicinity, I'd say, right around there. It's a game, so a little bit thicker is not gonna make it look much worse, necessarily. But we're not gonna apply that yet because the the shape of it says you can see it is not perfectly rare. So it's actually more kind of it's got some angle to it. I guess we could tackle that right now. So I'm gonna push this out. And then let's see if this will work. What happened to weakness? Yeah, something like this. Just kind of pushed the node a little bit. Something like that is what we're looking to get. Just where it's flat on the top here, flat on the top. And then we got that angle going down. And when we add. It's start showing the best, actually. Okay, throw us a little fit until it started. Yeah, that's kind of what we're looking for. Okay. Nice. As for fitting this barrel into the right spot, this is pretty good. There's a bit of a gap, yeah. There's a bit of a gap. Kind of like what we got now. I'd say it's in that vicinity. C. Got that gap. The rail, as well. Then this piece, too, we should be making soon. But let's go, yeah, let's go with this guy right now. Just continue this blockout. What shape's the best here? What do we think? Probably go to square off the bat. Might have to push a circle in here at some point. Let's start with a Wonder if there's a different angle. Yeah, sometimes, honestly, sometimes too many regs can mess with you. Sometimes. I'm just looking for a y right, right, Jim. This one's pretty good. Angles kind of works out. Tiny better. Tiny bit better with angle. One's pretty good, though. Yeah, we'll just we it go back and forth, anyway. What's switch What's switch out. Both sides. Okay. I'm gonna do a similar thing to, uh, block this out. We're just gonna trace it out. Goes up to here, rounds off here. Bring it all the way out. Can be kind of peaceful. Just try to relax. You know, you know what to do. That shapes make itself. You just got to be a little patient and it comes together pretty nice. Looks like this rail's built in. Yeah, it looks like it's like it's part of it. We're gonna leave it out just for a second, just so we can get this thing, uh, established. Looks like they have a rail on the rail with this four grip thing. That's funny. We're gonna get the mirror going, also, right away. Kind of helps with getting the proportions correctly. Correct. Okay. That's okay. Let's start with this part. This part right here. Quickly delete that. From er. Pretty nice guy in. The Yeah, so let's not worry about this real quite yet. Let's bring it up to here. Like that. Easy blackout. Next steps would be, we want to get those isolate this guy. He's gonna be his own line. This can be a pretty nice bullying, as well, so maybe that's that's better for that. It's worth it to leave that here for now, though. We want this line to be unique here. Okay. I Looks like it rounds off here. It goes in pretty tight here, so it's pretty close to the barrel here at this point. Pretty close to the barrel. Under the rail. Okay. So, we're gonna take this here. We'll go with this guy, too here. We're just gonna do this first. Just get this extrusion established. Then we're gonna select everything. This is easier. Just do this. Then we're gonna bring it in, too. Bring them pretty tight. Yeah, something kind of like this. Okay. Looks like this barrel is sitting a little lower than we think. Just a bit. If we bring it down too far here. It's no good. Thickness wise, pretty similar. Actually it looks a little bit thinner, if you. 'Cause just the buckshots coming out of whatever the slug or whatever it is. So it's a little thinner. It's funny. It doesn't really look it. But. That's pretty cool. That's the extractor, I think. Well, that's sick. Yeah, so it looks like this part here. This isn't This is just kind of like the the muzzle. These just holds everything, holds it all together. It looks like but it does the barrel itself does look a little bit smaller, especially in this here. Not a ton, just, like, a little bit. Uh, so for the sake of accepting that things are not always perfect at games, let's let's just do what we can to try to make this work here. Not stress out too much over it. Can I actually bring this up a little bit, or does look a little little low, but Yeah, 'cause if you see this part, right around this gap here, kind of lines up at the bottom part here, bottom part of here. Yeah, it looks pretty close. Looks pretty close. Worst case scenario, we make these kind of these barrels line up correctly. Looks like in this gap here, we're gonna have this slide. Looks like a little probably connects to the bolt somehow. I go here. I yeah, it looks a little smaller, definitely. Yeah. What have we got 185? What is this? 185, sir. Yeah, the bulk carrier. This moves the bolt. This is what the carries the bolt, which carries the extractor. 172. Hard to find. Okay. How do? This thing takes the shell, pulls the shell out of it. Right there. This guy. Okay. Anyways, Raise this up a bit. I'm just trying to get the proportions down to an acceptable to an acceptable level before I move on 'cause it can really get messy if you neglect that at the start. This looks a little off. Yeah, it looks just a little higher. So a little bit higher. Just a little bit. Something like that. Yep, but we're gonna have to raise this a little bit. Just a tad. Us to Tad. Yeah, 'cause we just want to get it right over here. Steph we gotta push it up a little bit more, so be it. Okay. Got that. H This guy same here. Just a little bit. It's going out. This curve peaks right around the right at the start here. This curve is here. Well, it'd be right around here. Okay. Yeah, that's right. That's that's pretty good. We're not gonna beble anything just yet, but yeah, this will be added afterwards. Same as a rail, will be added afterwards. This is really, like, a really robust blockout year, but I think it's worth it to just move on per sec, 'cause once you start beveling stuff here, things get kind of solidified. We just want to make sure everything's tight, everything's good. Nothing's crazy, so got a little bit of space in here. That was on purpose 'cause we want to be able to fit this plate in this little fitting perfectly in here. So that makes sense. It's checking out for the most part. Might be a couple of errors, but for the most part, it's looking good. For most part, it's looking pretty good. L. Next piece. Starting to get the shape of it. That's pretty nice. Yeah, this is it's a long process, so you got to be patient here. Really just Let's go with this thing here. Then after that, we can throw the rail on there. So this is let's get this fitting in here, and then it's just we're gonna go off those lines that we have from there. So what is this looking like these days? Looks better than I thought. Well, I haven't cleaned it up at all yet. Looks pretty damn good. I wonder if this will do anything a little bit. Pretty plus. Thanks. What we're gonna do, though, is we don't want to solidify this yet. The changes, so we're gonna duplicate it. Click on this and then confirm that, confirm this. And now we just have we have an extra piece. But it's just gonna help us get the line for this, then we'll delete it after. But we're going right to the give her a take. Just do that, then we can just duplicate this guy. Hit P, and then selection. That can go. And now here, we can extrude Y. Just about that big. Maybe and a bit more. Just a little bit like that. We want to delete this thing. And, uh, throw that throw that mirror on there again. Like that. No. I'm not sure exactly what this piece looks like. That's the at least the blockout for now. This is This has been really helpful so far, Holy Crip. So this is it, Gray. This guy. Am I wrong? Probably. Yeah, this is so it goes all the way around. Dips in between these and kind of sits on top of these. This piece becomes like kind of a block, and it'll sit on loads. So it comes out like that. Is that correct? No. It doesn't look like that. It just kind of looks like it goes in and This is the main part we got to worry about, honestly, but some way to tie that in would be kind of nice. Okay, let's you can't forget about it for a second. The next thing we want to do is, uh we're gonna just switch switch again. I'm so annoying I know. Okay. Here. Ok. Yep. So just do the same thing. Just duplicate it. Penner. Yeah, we got this This guy. Okay, go back into Ortho. Looks like from the gun, we're gonna get a bit of a we can see a bit of a About to here. But as you can see, this part stays straight the whole time. So one thing we're gonna have to keep in mind is the fact that we just moved this bottom piece. I made a mistake. So we can move it out to say we can go the full distance for right now. Right about to here, right. We're gonna have to trim this as well, so Definitely. I working on the right side right now? Yeah. Oh, yeah, this is just pulled back. That's all. So it. This slide is up here, and then this image, it's just pulled back. That's why I was confused. It's late, okay. So we're gonna get that going there. In the delete that. Get the face back sharp edge so don't get that annoying shading. Okay, so we got this piece kind of established. We need to put point here. We're gonna select all this, Make sure the bottoms deselected. We're just gonna, like, lower it just so it fits that silhouette a bit better. On a basic level, looks like it goes from top to bottom, and then it straightens out. I think that's easy enough to do. We'll just do this just to get that establish that curve. Help. There's a bevel there? Gonna leave that for now. But this looks like a support for at least the rail. It looks like a little bit. What about here? Does it show anything? Looks like the rail attaches into here, and it kind of just stabilizes it. So I think one of the next steps should be the rail, for sure. Okay, so B D B Bluck it out. D here. Right around there. As you can see, it's perfectly aligned with our weapon. So go back to origin. Got to realign it. It's centered now, though, so Something like that. Nice. And then the widths gonna have to look that up real quick, but I always forget what it is. You just kind of pull it for a sick? Yeah, this is another good landmark for, like, establishing your proportions. 'Cause you know 100 times out of 100, this is needs to be certain away for it to fit, and it's, like, very standardized across all weapons, 'cause attachments are certain measurements and, you know, heat shield. Nice. All right? Yeah, that's honestly good enough for just the blockout establish that it's there. And then we can go for this little this part. This whole mechanism here can be next. So, if we look at it here, um, it looks like it just goes. Looks like there's a **** load of pieces, but which ones do we need to specifically worry about for this? Juicy. This is a good one. Pretty good one here. Got these caps. Can be pretty easy. This, I wish theories. These are really good book. One for the side. Would be kind of ideal. We need behind. I just want to see what it looks like right behind it. I really don't have one. This one kind of, it kind of looks like there might be Ooh. There's some stuff going on back here as well, so got to be caut to that. Man, it's just gonna be such a good texture reference crib. So, I'm not sure if this is the barrel or not, but heard the feed, like the I guess you can call it the MAG barrel. But Definitely something there. Let's worry about this for right now. This looks like one piece, this whole thing going into here, especially if we go back to this guy here. This has been our saving grace, honestly. Go back to the specs when in doubt. Whoever made this is a legend. So this is one piece. Looks like this goes in somewhere. These guys might attach. Anyway, so Looks kind of. Yes. What? Not sure what this is in other programs, but it just kind of allows me to edit it individually. So it's kind of helpful. In this specific case, especially. Yeah, it just serves like I'm just trying to get that this curve, then I'm gonna disconnect it. So Even can go a little bit more. Something like this. I know this looks really thin, but it'll bake a lot better if this is a bit bigger. Well, hopefully it doesn't. It's a. We're gonna apply that. And, uh, isolate this real quick. And Yeah, we kept after. To make the holes, we'll just boolean. We'll basically do that same thing again. But we can actually just do this, duplicate this, make it its own thing. Gonna just join all these to be a one mesh. Yep. So why? Kind of like this. Bring it out. Just leave it. Gonna leave it there for a little bit. Okay. Back to this. Got kay. So that we want to delete basically all this stuff, right? We don't need this. And this is going to go from here to here. Bridge that gap. Don't need these faces, honestly, up to there. Gonna just select all those, delete them. And we can just um I guess this is a way to do it. Gonna go back to the normal. Now I I'm just doing it scaling them on the Z on the X axis to zero. Um, and now just connect them, merge them. Not sure if that was even necessary, but My brain works on certain steps at a time, so it's not the most efficient possible way. You know, I'm not surprised. Takes me a little bit sometimes. Okay. Another way is just merge them like this or you can take all of them. I'm not sure what's going on. Interesting. Ah, that makes a lot of sense because they're not. We just got to make them, one piece now, okay? Large those. Okay, nice. Looks like I messed something up here. Uh we're just gonna backspace. Selected in by accident. Bad call. And So in order to try to make this a little easier here, go for the mirror, you know? Okay. It almost looks like this goes up to the halfway point, not quite the halfway point, maybe, like to there, and then it starts to go up. So we're just gonna add faces here. It looks like it goes up. At least to a straight line, maybe up to here. So we could just extrude out a little bit and then go down like this, delete what's inside there. I'm actually gonna continue just morphing this stuff together to be one thing. Yep. Okay. So yeah, so it looks like almost when it gets up to here, boom, right about there. I kind of takes a turn up. But that doesn't look dead center, though. It looks kind of like a little bit off dead center around this area. It looks like it goes straight up, actually, so it looks like it goes straight up. And then right about it starts to curve maybe like a little bit more than halfway up. It starts to curve. So that means when we bevel it, it will have started a little bit. I just inverted my dole, so that's Control N, but I just did I wasn't able to double, so it starts there, you know. But okay, so yeah, we're gonna just connect all this. Boom, boom, boom. Connect it, and then hit F to connect that. So we've established this so far. And then This is well. Nice. We can actually do this, too. Ah. Is it worth it? Yeah, it's worth it. Got it halfway. We're gonna just cut off the half that is has all the open faces 'cause we're lazy. And just hit. Um we're gonna set a new point here. Control three. Looks like Z is the lucky one today. So Z? Okay, we'll apply that and then just do it again. That should have got easier. I just messed something up, but we made it made it to the end. Yeah, that's funny. Okay, for visualization purposes, we should go, uh, get these guys back, isolate it. So we're just gonna we want to eventually um We would like to have these just rip a hole through these. So we wanted to kind of If I scale it, that might help. Sometimes this booling tool is just a mystery. Sometimes it works, sometimes it doesn't, I'd go it a 7.5 out of ten, though. Usually does the job, eventually, so it can't go wrong there. Did I make this cut too early? I'm not sure, to be honest. I think we might be good, actually. We might be good to just leave it. Um, I obviously know this is not the finished product, but we're pretty close. We're missing, like, a key part, though, so I got to look at this closely. So we got basically the bottom is pretty good. But the right about like like here ish, right about there, where you got that piece that comes out, goes up. Kind of, I I duplicate that, get it a little extrude. And then we can work on the normal axis for a bit scale axon. We're going to we're just gonna try to make this real quick. Extrude. Bar. You know, it's robust. It's kind of a I wait, it's rough, not robust. It's not crazy detailed right now. We're just getting the blocking. We're gonna make this look a lot prettier. If you double click Z in blender, you get the the default, the global, again, kind of what we want. And then it curves in again. So it'd be an easier way for me to do this for me. Separate that say, delete this. And then from here, we're going to one. This to kind of Um, it's actually quite a bit higher up, isn't it? Quite a bit higher. To the top. Basically, on the top here, right around here. But if we were to, you know, that's kind of what we're looking for, right? That piece there Nice curve. And we're gonna be able to thicken this after so we can fill up that space again. This is a nice point to have, though. Okay? So the next thing we'll do is take all this. Extrude up on the Z axis. H Z zero. Now we got that kind of extended piece we want. Um, From there, it's got that kind of little got that curve going in. And it looks like the wall is a bit thinner. It's a bit thinner. And we think. So we got a little bit more space than we'd like at this point. I wonder what would happen if I do this. If it ruins it or what? You know, you just kind of push it in. You can make up this guy. It's just the blockout, too. I keep saying it's just the blockout, but then we're eventually gonna get to the point where, you know, we're on the high ply. That's kind of gets important at that point, you know? I know how to do three D, I promise. Okay. So this part kind of pushing it like that. And I think we can just go ahead and delete all these just to make our make it a little bit easier to visualize everything and move the geometry how we want it. So got this. I think it's time to do the mirror thing again. And if you're also using blender and are wondering how I'm, like, cutting through the whole thing, I remember when I did the it's just K and then Zaxis and then you hit C. And you can see, like, on the bottom there, it's like knife cut through, cut through, you want to cut through. Cutting through is good. Where's that? The world's smallest face. Okay. Go back to mirror. I'm gonna keep an eye on this part, 'cause if it's your mirror can get messed up if you, if you go too close like this, you know, Looks good, though. This part goes up. We got a little bit of curve here. You know, this might be able to be beveled at this point, honestly. You know, just to bevel like that, and then just cut out all this. Looks good, right? Keep that. Okay. I like that. This curve. This curve. This is what we need. So it's just a nice, gradual curve. We want to keep this part established because it's gonna come back to this point right about the top. So where is this part? It's right at the top. It looks like. So we want to just make sure we're right at the top with it, can meet it there. Okay, this lines up fairly well. And now we want to just have it actually T. Yeah, if we just kind of push this in here. It's straight up until when right about halfway. Right, well, here, then we start getting pushing. Starting to push in a bit like this. Boom. Here we have it almost there. Close enough, huh? Something like that. If we just test the beble, you know, you can right click to cancel it. It's always nice to just test it out, see kind of what angles we're working with at this point. You know, so if we're around here, can right click out of that. And we see our vertical here, we can knife cut through on the X. And it looks like that part goes in just a bit, right? And then maybe actually a little bit deeper than this curve is gonna go. And then if you double tap X, you can kind of move freely and get up to here. So that's kind of almost what we want. It's close. Something like that. And then this is also beveled, right? Looks like we lost the face. What's the decor there? Into, like, a nice easy bevel. Okay, this looks pretty wide, too, doesn't it? Looks a little bit wider. This looks the right width. But this looks like it needs to, uh just get pushed back a little bit. Something like that. Yeah, right around there. Something like that. It is funny, though in the rough, it does not don't want to get too sidetracked here. Yeah, I guess this part's pretty big. Okay. Okay. Did I lose my I did at nights? Back to the real one. This is that piece, huh? That's the piece. This is our curve that we just made nice. This looks pretty large. Looks pretty large. And it goes up to this flat piece, too. This flat piece, I can guarantee you will have to adjust at some point to fit the rail, so we can just do this. Want to raise this a bit. Just give you that bit of a beefier look. And then this is this guy, so it looks like it's a direct impact. We can go to a little bit of a cleaner look here. This bell is gonna be cool. So I'm gonna give it a little bit more. Probably end up bringing it back in, but it looks like we're at a bit of a This hole looks too big. Doesn't it looks way too big. Hope you go back to here. As well we can bring it up one. I think that's fine. If we bring it up to here, bring it up to here. Like this one. Maybe even here. It looks right around here, doesn't it? Something like that, and then we bring it back down. It's gonna connect right up perfectly with this. That's a goal. Half there. That looks pretty good. Yeah, I think that looks a lot better. And we're gonna give it a nice juicy bevel, too. Just a nice one. That looks pretty close. Good photo. Yeah. It's around that. You can I actually looks kind of pushed in, like, slanted almost. So we redo this. The beauty of three D, huh? Yeah, it is. ****. It looks pushed in. You gonna do this? And now we can do this. Okay. And this needs one as well. Something like this. Okay. Bring this into around here. Okay, and this is where we're gonna have to try to do this, see if it works. We're gonna scale it just to get that real life measurement back, okay? The bevile The beble. Something along these lines is probably pretty good. Something like that. Oh, it's looking Looks like almost done. Wow. That looks good. Wow. Okay. Yep. And you can see that kind of kind of lips in. D lips in, so, if anything, give this a little bit more slack. Cut it some slack. Delete that guy. Bring this one in. We want this guy in a bit more. He's in. Okay. Then it's gonna curve up, Boll Aart rail. Something like that. That piece was kind of a pain in the ***, but we still got to get the bebls and then get these caps going too, so get these caps. So the caps are gonna be We can make the caps just from this, duplicate this out. Make them the wrong thing. So we got a mirror right now, so yeah, I just extrude them. Kind of like this. How is this looking? So these look a lot smaller, don't they? They look quite a bit smaller. And let's get a good idea what they actually are. So the two caps looks like these guys. So they're screws. So they're like screwed almost plugs so we want to just scale them in and screw them in. It does look like here. Um, if you look here, not here. It goes all the way through here. It's one thicknes, but it kind of bebles in here or extrudes in. So let's go back into this mode. And just quickly, we can, uh, we can add this looks like it's right about here. We're gonna get kind of a Hang going. Is this needed? Is the question. So I haven't. I'm thinking real time right now, so it almost seems as if we cap this. If we just cap this, though, just for a second, if we do this. And these caps going on? Will people be able to tell the difference too if they were not there? It's guy. It doesn't seem like it. Seems like we're good if we cap it. Uh, those holes won't even matter. It doesn't seem like it. So they're not they're not you're not going through anything, so yeah, let's keep let's just cap this, then make it easy for ourselves. We're gonna decap it for a second, and then cap it. U one thing we should do is Yeah, we could do this. So we're gonna tap this boom, easy peasy, and then here as well. Do the same thing there. Okay, so that's the piece we need. And then from there, let's we can kind of freely adjust this stuff. So we're gonna scale on the X only. And just kind of get the we got to take into account this bedw too. It's gonna shorten it. So gotta keep that in mind. But if you look at the gap here, it's pretty close, pretty close. Something like that is probably pretty accurate, right? Looks pretty accurate to me. Okay. And then as far as, uh, width goes, not much use there. This is pretty good. They'll look they look a little shorter than this. Gonna push them in like that. And then boom. So that part's good to go for right now. I think just for *****, we can add this, too. Um, yeah, let's add this. Give it just 24. Okay. Just scale it. Oops, I don't know how I do this sometimes. I just hit a shortcut really fast and then accidentally get put into orthographic note. I don't know why. That happens, but it does. Doesn't look like it's as tall as those guys. Looks pretty good. Something like that should hold up. Maybe a bit bigger like this. We'll come back to it, but good job. And then the last piece for now for this part is, uh This this guy. Yeah. So it just kind of looks like, holds this or something. Go back to our fly grail. The, uh these are the two plugs. This guy goes in gear. Looks like it let go to the back or A little uncertain there. Feel back here. Could be another one of those case scenarios where, you know, what's visible is what is there type of case scenario. That's all we might need to have to do. Okay, we're gonna do this. Same thing. And, uh, Yep, so it's hugging it's hugging the outside. Definitely. And here, it looks like it lines up pretty well with this, too, so we may need to adjust this, give or take, to fit this design. We're about to make this. We got that. We just want it to line up right here. And then this push it up a bit. Okay, so keep this base. We see an obvious line here, right? That's obvious. Next, we can go and cut this down a little bit. Actually, one thing that might be worth our trouble 'cause we're taking this pretty far. This is a mid pool. So one thing we want to make sure is we have enough. Um, just these slots. So I'm gonna give this guy a little bit more geometry. So I'm gonna actually leave that there and just make a new one. I was gonna give it 48 just so I have a bit of options when I'm modeling. Okay. Bring that down. Bright about there. Okay. Something like that. Bring it in. Okay. Extrude scale on the Y axis. Um, I guess how did I do that? So I just you S. S shift? No. S and then shift to Y. S and then shift to Y. And it gets you there. Extrude this. And, uh, pretty much pretty close. This is significantly larger than these, so bring that up. Something like here. Maybe even more, but these guys almost look too big, but I think they're good. Bring them in a little bit. Okay. And we can just pitrude that to here, and then let's isolate this briefly. We're gonna go and let's just do this for now. Same with here. And we'll go extrude, Y, bring it in. And then we're gonna kind of get as close as we can. Do this S Y, zero. And then I don't know, this is an easy trick. F. And then you just hold F after this, and then just kind of hold F. When do you do that? Okay. Blockout. Not too serious here, but, this is kind of a cool detail. This is, you know, you might do this with the normal normal map and painter, you might whatever. But it's a cool thing to, be able to do. So we're gonna just scale this up a bit, try to get this kind of like this. Just give this, like, a nice a nice deserving bevel. That doesn't look right? That doesn't look right at all. Okay? This Yeah, that's not gonna bake right, though. I just is if we do that, one thing I okay, so it's Control B. And then for it to stop perfectly, you have to hit C for clamp. Complete that and then just merge them. Merged them. So from there. Yeah, this might not bake too well, so you can see this kind of a little flat line going on there, so let's just get this kind of in a spot we want that we think is okay. Um, Yeah, this is kind of ridiculous for a low poly though, so maybe we can reverse that a bit when we bevel, we can just leave that there, and then we're gonna want to just make another ring on the inside, make this part, you know, uplicate make it its own piece. And then extra scale on the Y. Okay, so it's perfectly lined up there. We're just gonna give it maybe here, GG, lets you move. This kind of, like, freely how you want it, okay? Option, select all. Then we're gonna just bring it up. So that's pretty close. Pretty close. Okay. That's about as detailed I want to get for that with that as of right now, but it looks like let's just reorganize this really quick. We want all this. So Celtic. Okay, we're getting there. Slowly, but surely we're getting there. 9. 07 Creating Our Blockout Part6: Okay. Let's get back at this blockout. Okay. Just trying to move this so it fits into the shape pretty well. It's all here. It sinks up pretty good, so that's the main goal here. We're just pushing edges at this point. Real simple. Okay. Is the bottom here, still a little bit, uh unfinished looking. That's pretty. A bit of a curve here. Another thing to note, see, it goes from, you know, this piece up here. You just make a line, you know, it's almost like a straight line. To kind of prove my point here. If you look at this, it's not. You can tell. This is straight, but then it goes up. We want it to just kind of something simple like that. And this looks too long, of course. So just roughly move it in. Gonna move that in. Maybe a bit more. Everything. Seems like a safe distance for now. Safe distance. Gonna push this up here. This edge here, reminding ourselves we need to establish it. So and then ask for the bottom here. Pretty good image here. I was just looking. I was just looking as far as Bevil Land goes. Is this ready? Could be. Trying to think would we be messing anything up, but Okay. Can clean this up briefly. Seems. One thing we can do here is before. Small adjustment here. Something kind of like that. I don't think we want to get much more in depth than that. Looks like we got clipping here. Okay. So for now, that'll be good enough for this part, this butt stock area. We eventually want to give it a nice beble but not right now. Looks normal? Look. Nice. Good step done there. This part could be the next thing. This looks like a release bolt of some sort. We just want to get the landmarks in there, you know? Get the landmarks just shift right click if you're in blend. A super basic Super basic. This is the edge of this. So probably can move it up a bit right at the edge. That's there. Ah. I'm going to select everything. Deselect some stuff. Ah. I just want to try to see logistically what we got going on here. Mm. Just thinking about moving it, but, you know, that might disrupt a bit too many things, too many moving pieces we have, so it might not be worth it. But, aside from that, Okay, let's continue here. As for this piece, this is a pretty important part. It's kind of like this half circle quarter circle thing that we see here. And it's just hugging this part. So pretty easy thing that we could do. Just grab any piece kind of like this. Just duplicate it. Looks like it's already got the solidify modifier on it. Make it its own piece. We could just, you know, make it the opposite, turn up the opposite. Okay. And mirrored, go into edit mode. And we're just going to move this up to, you know, right at the start here, right where the edges. So something just kind of like that for now. We're just establishing the main features drag this one all the way down. And we'll just put a point there. And, uh, yeah, for now. Looks a bit shorter than what we have, doesn't it? Looks like ours goes up a lot a lot more ours goes up. So I'll go into face mode. We can delete this one for now. Still, if we compare it, it looks pretty tall. Let's go ahead and delete another one. Looking a bit better there. Okay. And more circles. Let's just go and, uh, just lay these out. Why they are. Just the important ones for now. Okay. Got that. It doesn't have to line up perfectly, as you know, from the reference. Definitely does not. So as for this piece here, we've established pretty good shape here. We could maybe work on getting these booleans cut out. Um, let's see what we got. Let's see what we're working with here. So it looks pretty simple. Where's that guy. We do have to establish these points, too. These bevels, I mean. Right now, we got sharp corners. So adding a bevel probably is gonna help. Just, uh establish that. Let's try this here. If we isolate this, I was gonna play around with this here, see what it could turn into either way. This might be Yep. We'll take that guy and then let's solidify this. Make that sold. And then I do remember This was not perfect. I remember that. Yeah, okay, here. This part was kind of messed up. So one thing we're gonna want to do here. I understand that people aren't gonna really see this part. But, I mean, this looks crazy. This is so unsatisfying to look at. No human in their ray mind wants this to stay here. So let's go into the knife tool. Honestly, just do this. Headache free. Headache free. Did that fix anything? I don't know. Oh, yeah, look. Okay. I can live with that. So this part, bevel and then that part. And let's just do this at the same time. So we know we can do this. We know the other one. So let's go in, select this. Bevel at the same time. We're just trying to hit this shape here, and we can worry about that gap afterwards. So something something kind of like that. Something kind of like that. Looks good. Quickly clean it up. Get rid of these ones. And yeah, we can just leave it like that for now. No need to clean anything up. Any cleanup here. Looks pretty good. Okay. So this piece is pretty well established at this point. And if you look at if you look right here. Um, yeah, this is kind of similar, so we can just although you may not see much of this, um, why not? It's one of those things. It just might help making it a little bit easier when we have to go put our pivot points in certain spots, you know? Okay. There Now, let's bring this down just a bit. Just to hear. Okay. Nice. This is gonna be a good detail. Go back to our roof here. Okay, so. And, uh, let's just see if we got as far as refs go. That's different. Looks like this is KS seven, KSG. These look kind of similar. Wow. Is this also? KSG. Okay. KHC 12. Who a little worried. Okay. I can also This this would work, right. GY. So if we wanted to move this just to kind of line up this curve here correctly, we could do that. Yep, this curve. But as you can see, that's happening. So one thing you can do select this or just select this hide it in edit mode. And now we're able to, you know, do whatever he we want for a little bit. Just kind of have it like this for a second. Control O or Control Control Option Okay. Get out of this. And now we can just kind of adjust it however we want. So whatever thickness we think is good. Just something simple as for right now. Okay. And now let's just trace this, uh All right. Could do this, as well. Something like that. Take all of it. Select. To get the edges, it's just control. Select. Okay, I'm gonna leave this one out up first. Bill this like this. Something like this, yeah. And, this one made it a little bit more. Scale it if it looks weird. It still looks. It still looks weird. Okay. Something like that. A k? No, this doesn't it doesn't look right. This It looks like it needs a bevel. It looks like it needs a two piece bevel. And then from there, it just needs to be a bit more circular. I think that looks a bit better. Build a lot of it. Yeah, that looks pretty good. And we want to just do the same thing, but then over here. Okay, push that out. A little bit more. Got the general shape down. Control A, all transforms. Got this now. Devil that. Backtrack a little bit. I just want to have this established, you know, if you see here, you can just it looks a bit more established. T. Set origin to geometry. Just a big scale. That's all we're doing. You so as far as this piece goes, this boolean, we decided this was good, huh? This looked pretty good, in my opinion, at least. It did not look half bad. Putting a support loop there. And we can kind of, there's not much we can do to prep it, but it looks pretty good. This edge is solid. This is gonna be helpful. Having that edge, tail end edge. So yeah, it actually just looks like a like we may have missed. It just looks a bit different in the f. So it looks like it flattens out on this pig. And you can already see the curve has started. So we wanted it to be something like this. Um, but I don't think that's crazy easy at this point. Um, here. This kind of thing is what we want. I don't think I altered it too much. And it looks like this is not exactly lined up either, so um, yeah, it looks like we can actually manipulate this a bit, as well, just to make it a bit more round, a bit more rounded. That's all. Looks good. And, this part is actually going to be around, too. Yep. This part kind of extend there. Nice. And then before we lay the boolins in, we want to just get the this bevel established. We do that. What happens if we pebble? Yeah, it is real simple. That little bit less, huh? It's a little too strong. Just like that? Something like that. There. And then yeah, we're gonna actually just leave this edge. So we'll bake this edge and This edge. Looks nice and soft, but, you know, it's in the back, so it's not of crucial importance, especially when you're making a weapon for a game engine. It's not the priority, the back unless you're focusing on that for some reason. Okay. And this is the last intruding piece. So this part, really needs to be put on. So bring it around here. If we just give this a huge bevel, what happens? This not what we want, but scale it. So this is too far down. We need to separate this a bit. Tied some parameters before. Okay. This here. That will be this one. Here. Yep, don't worry about that right now. Okay. We don't need right here that we can delete, fill in these gaps. And then as long as we just stay on track with circle, making a circle, shouldn't be an issue. What does that look like? The goal here is just to establish, you know, the circular. Keep the circle alive. Perfect circle. So adjustment to be made is We can go for this again. But the adjustment could be this gets moved down to be something like this. Something like this. It's hitting this wall, but not a ton. This is really hitting it. So I'm gonna just reverse a couple of things here. Bring this down. Um, and then bring this kind of right in the middle. Try this again. That looks pretty good to me. I like that a lot. Something like that. Probably would work. Okay, we can make this a tad bit smaller. Okay. That looks good for now. Yeah, so this is gonna I actually think this is we don't have to redo it per se, but just bring it down a bit more. Bring it down to, like, there. Bring this down. Yeah, we just want to make sure that this is a That looks better. Okay, nice. And then this guy duplicate this down to this. And we just want to try and establish another circle on top of that. So Rw here. Look different on the other side. Same thing. Okay, so what are we looking at exactly? Line this up. Back up. So there's space here. This is roughly the size we're looking for. Something like this. But when we move it, um, so we got this shape here, goes down. It doesn't even look like it looks like it just kind of curves out. Kind of curves out. Like, there's a gap here. Like there's a curve here, kind of, but it's this has moved forward. Kind of like this. That's what I that's what I'm seeing from here. This has even moved more forward, isn't it? Looks like it. Yep. So we're gonna continue to try to establish that circle path. Like that. Oh. Okay. Bring that out there. Looks like we're on the right track here. Definitely on the right track. This here. What would happen here? Got that curve. What a weird and confusing shape. Please make it make it end, make it stop. Doesn't even look correct, actually. But I think we might be able to work with it 'cause I see a bit of a curve here, and we could potentially just curve this type of thing. Just curve it in. But Okay, yeah, no, I think we're good right now here. Good right now here. Okay, we'll come back to it. But it's out of the way. So let's go ahead and booing this. Pay attention to these small gaps. Where's the corner? Proximity. How close are you to certain things? We look pretty accurate here. We should go down a bit. Um, and then how much space are we left with here? Can we fit this guy here? All these things we got to take into account. Not much space here. That is very small. So very small. These look to be the same size as well, so all the same size. So we can bring this down a bit, give this some space. And, uh, This here. Push it back a little bit. We got a little bit more room than we think. Right about here. This looks straight. This looks like a straight line. So make sure this is lined up. Um, yeah, might be an issue currently. So looks like these are lined up pretty well. These are lined up lined up there. How lined up is this? Lined up to me. Only issue is this guy here, so how are we gonna solve this? Is there a pain free way to solve this? It's always a little painful, let's be honest. If anything. So if we do this, what do we mess up here on the quest to Alex straight. So bring it down a bit. If we turn that to there, Okay, so it looks like we may have messed up a bit here. So just for the sake of making it correct. Hit P, separate it, delete the body, convert back to three points. Whenever you mess up, just go back to the basics. That's what my boss tells me. Just go back to the basics. What are things we care about? We care about this straight edge. So we'll make that straight, and we care about this being parallel. So is this parallel? Not quite. We just want to move this up a bit. Almost there. GY. Okay, looks parallel. And then how close About this close. That's the gap here. We're talking, and then to there, we have quite a bit more space, so this just looks overall bigger. Now that I think of it. Now that I look at it, that's why we have so much space. Okay, we don't need that much, though. It is bigger, but it goes to here. That space is about right. This is about right. The only thing that isn't right is, uh, this gap. So we do know this is correct, though, so let's get this. Something like this. And then this, something like this. Want to do the two thing again. Let's just get this way out here for now. Put it on the normal. We just wanted it to be kind of like this. Oh. Boom, boom. Looks good. Combine that dot here. Boom. Okay. So it does look like if you look at this from more angles. Looks like we can bring this in a little bit. Go back to global. No mess it too much up there. Except this. So we're gonna take all of it, move it in a bit, take all of it that we need. Okay, move it in. Move it in to our reference. And it does mess up a little bit. It's just all it's all just give and take here. And then on this side, we're gonna apply this mirror and then apply the booling. Okay, so we have the booling now. Very basic. Yep. Yeah, it seems like this piece, just goes out a bit further. So We're just gonna bring it out. We'll do that manually. Something like this. And then here, do this. And we're gonna bring this to here. I got to make sure that it's level. It's level there. It's level here. That is one of the frustrating things about three D is that sometimes it just doesn't want to work for you. It just doesn't want to work. So we're gonna just veer off from ref here and just kind of feel it out. So this is we need to lineup. So if we do this, it kind of an issue here, but something like that's Okay. Extrude it out. Normal. Okay. Next is, uh, click that that. Make sure there are no modifiers and whatnot. I'm just gonna try a boolean here. Difference. So satisfying. Nice. For the sake of a clean bake, down a little bit, just a little bit, just to get a nice this edge to have some surface to it, some density to it. What's going on? Boolean. Okay, same thing here. Just establishing these booleans. They look fine. They look normal. Look normal. Let's just, uh, Okay. Apply it. We do this. Okay, they're all they're good. Okay, so that was messy as hell. I'm so sorry. That was awful. Okay. Okay. Throw in one more of these continue to just try to establish these points here. So it's obviously not there. What we want to do is look at where it is and just kind of use good judgment. So It's roughly here, actually, so it's a little bit lower. I would say it's pretty believable if we put array here. But as you can see, it's not breaking the seam line. So well, we should just raise these up. Instead of tweaking this, let's take this guy and select this. We're gonna hit L here, go into X ray mode and just bring it up. We just kind of bring it up and ruin the whole project. So if we bring it up, what are we sacrificing there? That's not gonna work. Scratch that. We may have to just lower this. It's more so finding what the issue is proportionally speaking. You know, is this the correct size? Yes, that's correct. What's the gap between here and here? If you look here, this gap looks smaller than here. But this gap looks maybe a bit small here, but the point is, I think we should actually go for this, but it will take some adjusting afterwards. Yeah, so let's just kind of an uncomfortable move here. So the damage we did was throwing this off. So we'll just go and delete this, and it will straighten itself out. This side as well, Okay, not much damage there. Maybe I'm not realizing something, but it's still pretty clean. We're not dead in the water after that. Thank God. Um, okay. So that means we can let's see if we can move this past the gap. Nice. Looks like we're able to do that. And it looks correct. So I'm gonna save so I don't mess up. File, export. Where am I going? Okay, Cel tech. Okay, saved. Save that. 10. 08 Creating Our Blockout Part7: Alrighty. Today, we're gonna Well, it's the next day for me. This is just a continuation for you, isn't it? We're gonna hit this up today. The grip the grip this whole thing. Gonna see what we can get through. Just keep picking away. Okay. Got to break out the knife tool here. Start cutting into things. Right to there. All right. It's a little congested here. Thin these out a bit. Okay, and now another thing we can do is bring this over here. This right here. This looks a little weird, doesn't it? The knife tool. The best tool in the game. Was that efficient? I have no clue. Probably not. Okay. So this piece here? Gonna just Well, it looks like we did already. Nice. To an extent. We did to an extent. Let's find it up here, see what's going on. So it's a clean cut off there. Okay. What's going on? Right under here. It's in a good spot, so Okay. It does look like what happens when we start getting out there. Okay, so it gets a little funky over here, huh? This part looks like we got down. And then we're gonna follow this all the way to this part. And if we go into orthographic mode here, it looks like this is one level here. Um, Yeah. We're gonna arraise this, actually. It does look like we're missing maybe, like, a little bit of height, and it just looks like it starts a little low as well. Like, it seems like it should This looks a lot better here, but we're kind of, like, pushing in, so this lines up. Um, Hmm. Thickness wise, we could check that. Um, grip looks pretty thin, actually, so compared to here. This is one of the more complex parts, so it may take me a second to be able to get this down. This is a nice angle. Los wide as hell from there. That looks pretty damn wide. More so than here, we got a nice bump up, right here. And then there is also a bump down, so. Push that in. Push this down. We're just trying to establish the important points here. I see this has a nice curve to it. Gets pushed up there and then this here. And there's another one it looks like. So Yeah, this don't look right. This part. What happens if we, uh just move it to this side here? How's this sitting? This is this edge here. Is it lining up? Almost, almost. Not quite, but almost. And we've really established this already, so Um so that being said, this also is quite a bit pushed up. So all hope is not yet lost, folks. All hope is not yet lost. We want this to be pushed up. We're gonna select these all the way up. So push it up. Okay, this this, this. It's basically all this, isn't it? I don't know why I'm hesitating here. Sometimes hesitation's good. Okay. Yeah, we're just gonna do this thing. Do that. We just want to get this up 11. Just do this. That's it. I just to push up. This here, this edge. What's this gonna look like something like that? Don't worry about that side right now. Actually, let's establish this here, and then Okay, step one, complete. Is it already centered? Looks like it's already centered. But we have to find Mmm. Push this off a little bit to the side. Okay, nothing to go yet. Nice. Cut this off. Mirror, clipping. Grab these edges, pull them and Okay. Got that. That looks good. Goes up like that. We're not gonna worry about this yet. But, uh, Yep, this is another thing. Just bring it in. Okay. And then from there, this piece here. Yeah, this is a low key confusing. But we want a little bit of rise, but only until here. So this is weird. We're gonna do, just something like this. And then Yep we'll bring this down a little bit. Um kind of like this. Why? And then we're gonna bring this down a little bit to, like, here. Oh we just we just want to make another one. And, uh to there, and then we want to select. This guy? This guy. Well, here. Okay. That I select that. Raised that up, and then we wanted to put this here. So we could probably get away with this, as well. This might make it a little easier. There, there there. Pin try this here. Just a little bit of a raise. That's all. A little bit of a raise. And then this kind of gradually falls down kind of like this. Something. Maybe Okay. That's up now. This gets cut off here. And, uh Yeah. And now, this piece curves up along here. So can we work from this Probably? Damn. Just bring it to where we think it is. And then up here. You know, Yeah, I think we should cut that. So from here, seems pretty good. We just want the outside, though. Something like that. Bring one more up. Duplicate it. Okay, we get that mirror now. We're a little bit high, so right about here. Boom. We want this to be on the outside. Yeah, we're getting the same thing here, so there's a clear thing. I'm just not may not be understanding, but Oops. So when we do this, it is very low. Very low. Although this does looks like it fits. Looks like it fits. This piece looks like it kind of just bumps up and it goes right to there. That's the start. Okay. These are the same size as well, so if this guy's good lined up, size is right. Um, if that's the case, then. Alex's okay. Alex's okay. From this angle, it looks correct. Not always gonna be perfect. We just got to make sure it's established. And it goes until about here. We can boolean this afterwards. Same with this little flat piece here. That's part of this piece. Okay, so that looks pretty good. Duplicate, bring this over. We're about there. And it looks like lines up pretty accurately. It's that perfect circle where we got to make sure we get So this part goes in there pretty well. Okay. There. We want to establish this circle. The best we can. Oops. Okay. These are also the same size. This actually goes pretty far on both of these, so it's kind of like that. All right. P like that. Oh It's a little high still. It's kind of town like that, okay? Now, let's just apply. Let's take the miro for a second. Apply the solidify. We got a block now, so that's good there. This part. So this is part of it. You know, it's fully a part of it. Um, Okay, so this part is a bit difficult here. This is its own height. This is all one height. The same height. So in order to do that, we have to extrude up. That's probably the easiest thing to do. And then we'll attach this guy afterwards. So we can do this first. Boom, 32. Yeah, we can that'll work. Might be a little much. We can go go 24. Or why? Scale it in. Okay, so then we're looking for something kind of like here. Take out your knife tool. Cut that down, delete this part. Delete tattoo. Extra Y. Boom, we're gonna kind of, like, shrink this a little bit on the X axis a little bit. And then actually, we should do vice versa. Should actually just raise this up. Raise that up like that. Um, and, yeah, something like that. We just want to get this in here somehow. 'cause it's easy to trace. It's real easy to trace. We could even get this bottom out here like this. Like that. Union. Bring it in. It's just that elevated par we needed. Okay, and then this will take some cleanup, but boom, boom, boom. Um, here we can do this. Okay, so we got that. Delete the bottom. Connect these guys back. Okay. Can that one in. That looks good, but okay. Keep track of the goal. We just want to flatten this. That's the only thing we want to do. That's all we want to do is flatten this. Get this part flat. At the end of the day, we can just do this. We don't want him. Okay. Pretty flat. And Okay, that's there and then we want this to be raised up, as well. So from here, oh, this circle is kind of like the defining saying, I guess you could kill it. So we're gonna take the knife to bring it up to the circle. And now we could have done this a number of ways. I think I've picked a weirdly difficult one, but stick with me. We're gonna be saved by the booleans, so we're gonna go up EX. Boom. This remote. Just like that, we're gonna just clean up what we can right now. I saw this fish. Let's delete that. Looks like there's still a little bit of stuff to clean up. Boom. Okay, that's. Alright, so this looks pretty good. Pretty good. It's kind of hard to see, so it looks maybe a little bitter. This in there, This part is kind of a little complex here, so it looks like we can handle it after. It's tomorrow's problem, eh. Okay. So this elevation, getting the thickness right is important. That's the important part here. Getting the thickness right. Start at the grip. So start at the grip. Okay. Let's just get this going a bit more. I'm just gonna do it manually. Sometimes that's easy. Leave some pebble there. Just bring this guy out. Okay. Okay. That's down there. This is good. Let's try to get some good topology in here, topology. Topology. Whoops. Just moving edges along. Stuff. Edge flow. Is that cool? Yeah, we need that angle. Okay. What's it okay? A little bit more established. Can't even go as far as a little bit more. I know some people like to bevel it, but, you know, sometimes it works for me. I just it all depends if I, like, set it up neatly enough. Then it can work really well. Feel free to do whatever you want. But I'm just giving you a general idea of, like, this is where you should what you should be kind of trying to do. This industry, there's so many unique workflows that people use. You know, some people use like three D print, like, what is it called CAD? CAD software is pretty big now. I've used it. I do use it in my personal work. It's pretty sweet, to be honest. Yeah, like, it's, uh, super fun. But my point with that is that, um, you know, bevels and stuff are, you know, super easy. It's easier to bevel everything. Everything is easier. It's easier to bevel it all, bevel it all. Just pushing this up. But, yeah, this is a tedious part. It's kind of calming for me, for some reason, but we all have our own parts that we like. Hi poly's pretty nice, too, except when you get a crease when you're sub demodeling. That's actually the worst thing ever. But one of my friends really likes UV unwrapping. I think it's I guess that's a good one to like, you know, 'cause if you do a good job, it really pays off, but It's got to keep disappearing. So is this height good enough? That's what we started at the grip. I was trying to establish just more edge flow, and then we're gonna curve the grip. Uh, yeah, we're gonna give it a curve. Oops. Destroy your mesh. That's good. There can connect it. Um. Okay. Well, I see. This actually seems a bit better. So we're getting there. We're getting there. Bit by bit boat by boat. Brick by brick. Vertice by vertice. Okay. You could do this all day, honestly. So this part might be ready for a curve, to be honest. Could be ready for a curve. Scary thing, huh? So, the curve definitely varies. Here, it gets a little funky with a little piece here. I would say if we add a piece here, having it mirrored is extremely helpful in these cases. Um, So yeah, the curve stops here. That's where you don't see it anymore. So if we just kind of bring it to here and then do our best to line up, you know, I'm going to try the bottom here. And then you take the bottom, get that out of there. And now you're left with maybe go for this piece. Once that's good, get that out of there. And then this is where it gets a little difficult sometimes. I'm focusing right here. That looks good. Go up just trying to keep it straight and, you know, in line with what we want our topology to look like. And yeah. So here, it looks like right around here, this piece is probably gonna need a little bit of love. Let's see what we can do here. It's okay there. Um, and now here it does look likes this piece? We just kind of want to establish another piece here. We can do that. There Okay. Yeah, let's go ahead and erase this. I have this weird problem. I haven't figured out yet, but it's like my sharp edge is just, like, automatically go on. I have another computer with a blender on that, and it just doesn't have that same I'm on 4.1 or whatever. Weird. But yeah, okay, so we get to grip down. Very very basic. Uh, it's not finished, but this here, Curve tops there. We want to kind of raise this as well. Cutting in here. You know, might mess up. That's okay. You may mess up. It's a risk you got to take. If you mess up, you can always just hit this, uh, Control Z. Always. Okay, maybe we can keep that off. We might want this on for a second. So this piece? What happens here? Can we establish that? And then this piece, we do want to get rid of this edge, just for the sake of making a different one, but okay, I can kind of see it. It's coming along. It's coming along. We'll be honest, this is one of the more challenging parts for me personally. Ah, but I think we're doing a pretty good job. As of now, I think we're doing okay. Got that. So if we want this part, let's try to get another angle view. Nope, that's not gonna do much. Yeah, just kind of comes in, got a nice beble. Oh, good clean AF image. Wow. This is great. This is my texture F. I know that. Holy ****. Okay, that clearly shows some good anglage. So good angles. Yeah, we just kind of want to do that p here. And give it this guy. No. We're in the danger zone right now. Danger zone. Wow, I don't like that. We just want this. Delete. Connect. Did it connect? Okay. Nice. Okay, good job. It looks similar to what we're looking for. It's gonna need some tweaking, of course, but we're on the right track. If we give it this. We just want that little lip. It makes a difference. It really does. Doesn't that doesn't back spacing a lot, okay. This goes up to here. This is clean, hard edge. Boom, boom, we're gonna hit this. This is pretty gradual. We can keep it kind of hard for now, but it does look like it kind of just kind of folds into here. Folds into there. Up like that, boom, boom. This is a nice clean angle, as well. We can go and just kind of morph it. Morph that. Go into here. We do kind of want We do want this kind of, we want it to come into there and then, like, become this. Yeah. What happens if we do that? Um, Okay. We do this. Oh, I don't think that's we want this flow. We want the flow to be kind of through here. And then get that in there. It might not even need to go that far in. It just needs to kind of funnel into it. Um, I just needs to funnel in. Just the flow has to be good enough. While we're at it. We can kind of push this in a bit more. Yeah, I don't think this is necessary. These guys. This is something we could come back to, as well, so it's all it's not all dead here. But just for the sake of marking that up, let's do that. Okay, we got a nice we got the gist of it. The gist of it. Okay. This piece has potential to. So I know, one thing that I did do a lot was sometimes a cool thing you can do with these types of, like, angles is you can, like, maybe not this one, but sometimes if you pull it down, it just bakes better, but I don't think it as of right now, we can cross that bridge when we get to it. But yeah, it's kind of hard to see, of course, now, right? But get what I'm saying, I hope. Maybe not 'cause I don't make any sense, but okay, so this shows this shows here. So if we push this out even more, that may be the move. Push this out even more. And it looks like we can almost even just extrude this. Just go for the extrude. Just something like this. Push it out like that. Hold on. Now, why did I do that? To be visible. Yeah. So we want this to be visible. Now, we push it out. We can just do this. We don't need to extrude anything. Nothing needs to be extruded. This angle does have to follow suit, though, so it does have to be like this. So we may have to do something about that. Definitely, yes. We want this part. We want this piece to be visible on this side because it's currently lodged in there. So overall width could be a factor where we just go. Overall, we increase the whole thing. So that would mean along the lines, 'cause we like our current proportions, but we're not seeing everything we need to see. So something currently like this, let's try that. Width of grip is a great indicator of what we're dealing with. Is a good one. It looks pretty solid. I think ours might be maybe a little thicker, to be honest. That looks pretty accurate. We only got one, two bebles in, but for the most part, it looks accurate. Um Yeah. Looks pretty accurate. Okay. So we're gonna have to get width from a different spot. Um, That side shot was really good. We look on this here. We got all this. This goes up. It goes up again. It looks pretty accurate what we have to be honest. Oh. And, uh, It does almost look like, you know, this this fits, but it's it's all tight. So what's the size we got going? Mmm. 11. 09 Creating Our Blockout Part8: Okay. So these this thickness here looks pretty accurate. Our problem is we need to make space because our exact this guy still needs to be seen, okay? Long story short. That still needs to be seen. And we need to get it to the point where, you know, if we do this, sure, it's seen, but it's not it's not accurate to the actual gun. Um, Yep. That. And then yeah, so if we pull this down, I mean, we're looking at A, we have to maybe adjust these a little bit, it's a little bit overlapping. So one thing we can do, just a quick scale on the x and y. Something like that. It just has to be bigger than the barrel barrel. You can see there's a size difference. As long as we keep that size difference noticeable, which it is still in my opinion, we're good. So that's there. We have room now, a bit more room. Uh, yeah. So this in up with that that as you can see this part here. This was the whole issue that we were dealing with. So we're just gonna bring this, we're just gonna bring this down. Up. It's gonna sit here. So, it goes boom up like this. We got the up part up to this quarter here. And then the corner up to this. So, this part is not gonna be seen. It will be buoyed away. So we should just be able to lower this a little bit. Just to kind of keep it in play, keep it. And now this part. This part needs to find a way up more, but it seems like we're struggling to fit it correctly. It should be, like, right here, but it just doesn't seem like it's like that. Yeah, that might sickness wise, though. Like, I mean, it just seems like it's, this is definitely no good. Yeah, so as far as stickness goes, we want it to be able to hit that find. It needs to be it needs to be on that lip. It needs to be here. But that's not possible, this is This is where it stays, you know? That's where it's gonna stay, then we can move this a little bit. Or at least let's see what that looks like when we do do that. Can move it all. So if we move this down, you know, enough. What is that gonna take? What is that gonna look like? You need to keep everything else is in, so something along these lines. Like this. Looks good. Okay? So I think that covers that issue that we have. And this is air tight, so um yeah, maybe even. This is kind of what we're looking for, I guess, yeah. We just need to look at realistically where this is, and there's a gap. The gap is a little too big now, definitely. That is obvious. Um, Things we can do. Can raise it a bit. You know, we can't don't want to move that. So if this is too thick, if we raise that up back to here, just to go here is just to try and get this to not be crazy, this gap. But this right now this is a good spot, I think. And then this can Oops. Also, this part. Just bring it down. Yeah, this part. Just bring it up. Okay. Okay. So it looks like we tackled a pretty difficult part here. I know. So good job. Good job. Good job. These go out further than you think. Weird. Okay. O. 12. 10 Creating Our Blockout Part9: The sago right here. Wow. Look at something like this. H One thing that could be helpful before this is, I'm just going to realign this a bit. Okay. But, yeah, give it a couple more edges. Yeah. 'Cause it deserves more. We just want more edges 'cause baking will be easier. We don't have insane budget, pretty much, so this is a no brainer. Scales it down to zero, look kind of weird. Okay. That seems good. Looks a bit more smooth than a bake W. Okay. Um, some sometimes, one thing I'll do is just, like, I'll take this and this, just duplicate it, and then hide it because there's always a chance you just totally f something up, and you have to go back. And then trying to, like, go back from this, of course, you can just kind of cut it where it's just easier. Long story short, just to aid. I don't have to explain myself to you guys. Give me a break. What happened? There we go. Looks good. Okay, we'll eventually connect that, not yet. We also have this part here. Ah, this. Let's do this. Okay. Something like that. Cool. This part. Now, that's established. Other stuff. We got this pretty good. We got this to a good point. This part here? This is not. Yeah, this is nothing yet, so we ought to keep going here. Let's do that. Let's cut this out. Let's establish this. Okay. How do we want to do this? I guess we can go. Let's use this. Bring it across. This this stuff is fun. This aspect of it. I kind of like that. Just making them booleans and whatnot. It's kind of fun. Not gonna be exact. You know, this orthographic is not it's not perfectly orthographic. It's just a good idea of what we have. What am I doing? That I can't. We want to scale all this stuff. And just so this bevels normal. That looks good. That'll bake good. A here too. I'd give it this. This go to edge mode. Hit C for Clamp. Yeah, something like that and then up here. Go back to Vertex mode. Something like that. Okay. Got that. Colate it. It's way over here. I'm actually just gonna go around the the edges here. And, uh hit P. Delete that. Got this. Basically cleaned it up for myself. I just did something, okay? Um, clean that up. This might need a thing, but for right now, just extruded, set to the middle. No, I just need to get it back over. I don't know how that got over there, but where you got the middle here? Boom Okay, got to reset this a bit. No problem. This also couldn't hurt. Sure, something like this. Just give it a trial on there, baby. It's all this is. Um Okay. Yeah, this is okay. We just want different ways to do this, right. Let's just mirror it. Okay. Y, bull. Put that go up there. Bold. Okay, we got that. This part's got to go in here. Nice, we kind of set ourselves up a little bit here. Then, yeah. Okay, so from here, this is all one indent type thing. Uh, Here to here. We're just gonna want to go from here, select the stuff. Delete it. Take all that, Tate all this. Center it. Does any merging stuff, and then just merge it. Merge it and move on. So we made that, step one complete. This part, we got it kind of like a lip. Similar to this, actually, that annoying lip. So freaking annoying. Just establish establish that it's there. We're gonna make it. Okay, go back to the ifs. This part. Okay, this is the if you want to empty rounds, I looked it up. So you just kind of pull this down, and then all the shells will come out. You can kind of cycle through the gun that way. But, yeah. Okay, simple stuff here. This cube cube it up. It's just better. Alright, there. It doesn't look even. Like, it almost looks like a right triangle. Let's see. Yeah, it looks kind of like a right triangle. A little bit of free styling is required here. It's kind of like that kind of vibe. Kind of lines up. Scale it, then we can bevel it. Let's get this guy down first. Something like that. Okay, what's going on? They said Um I need a clear view of it, so Ooh, this is tall, wow. And it's flat up here. Tall. It's about this height, actually. Wow. So, let's just do the same thing here, and Bolin yeah. Something similar to this here. Nice. And, uh we can tackle that this way. We want to extrude in and then X zero. Kind of. How badly did I mess this up? I just happened. E X. S X zero. Okay, good. That looks way thicker, Holy crap. Okay, it's, uh, looks like that. That looks crazy thick. Okay, it looks looks like it gets thicker, as well, so This bar looks chill. That bar looks normal. Looks chill. We can even do this. Now, let's not. Let's just leave it like that. But then this part, you know, it goes I totally is dipping in like that. Can't even lie. It is. Let's get this in here for some reason. It's like that. Like that. Okay. Something like that. Then he SX zero. Bring it back up just to show proof. Okay, that can sit there for now, like that. This This is actually a bit more It's a bit more not like that, for lack of a better word. What's this gonna do? That mess everything up? Maybe a little. Well, let's just let's deal with that. Okay. Nice. Is it on both sides? Looks like it, right? That side, this side, okay? We'll do that. Nice. This easy one here. Something like that. Height wise? What are we talking? Safe? When it's safe. In that we're on the right side here? Yep. So when it's safe, we have It looks, like, kind of like this vibe. Size wise, W we similar size or Looks a little bigger, but looks about the same size, actually, so. And this is seemed it's uh Safety. Yeah, I mean, it would go through, technically, but I think it would make sense to just have two separate separate objects. We're not gonna see it. That's why we're not gonna see it. So let's just get this origin back and then mirror it. Oh. Okay. Why is this guy. Fall off. Looks okay. Okay. Something like that. And it comes out here, too. How's this looking? When does it flatten out? Um kind of looks like kind of looks like, up here, it flattens out. And then it gets, maybe, like, we're kind of close right now, actually, so kind of close. We're not there. We're close. Gradual taper like that. Looks pretty good. And then this curve here. Can we do that now? What's the deal? Ooh, nice. So curves in quite a bit. We're talking, like, to the point where we got to push that in, push it in, something like that. Something like that. And then that's kind of close. Not bad off the gun. Give this guy some support here. Let's do this. Nice. We may have made a mistake though, done this too early. Um let's see what we can do right now with this. This can actually stay. Then yeah, so this part we're gonna want this to all come back to, like, here, basically. That part. What's this look like? So it looks like clear, pretty clear right here's the cut off for that. So we can I want to end there. Yeah, just have it end here, so we can actually how would it be if we totally just, uh, took it out for a sick? Just this part, this part. Okay, this part here. Do we care about this right now? No. That part. Mm. We could take this, as well. That wouldn't be a bad idea. I'd be a good idea. I wouldn't and then leave this. We can take these. Okay, that seems good, and we can adjust that. So we're gonna hit P, separate it. We leave anything behind. For the most part, it looks pretty good. So just to establish that this is different, push it in like that, push this in even more, it seems like, so something like that. Okay, and then next part, we will attach this again. But for now, we're just gonna do our best to get that shape we want. And then from the shape, we're gonna reconnect it after we have what we ought. So try to simplify this the best we can. Simplify it. If we need it, we need it. We don't don't just for the sake of clarity right here. Okay. So here, this roof is so good I might just be annoying and Well, did I apply something? I just want it on this side. I just switched it. Okay, so we want this curve is something we want to get kind of curved here, too, but it's mostly flat on this plane. So I'll tell you, one of the first things we can do is sorry about that. Just make sure this thing's not gonna I can support itself. That's the main thing here. So, the curve should stop around there. Bring it down a bit more. And then this part Something like that. Okay. Bring the chin a little bit. Good job. If we do this, let's include this in here. So up to here. You know, I think I messed up earlier, so I'm gonna just this is easy enough where we're not dead in the water if I delete it. That's not the end of the world. It is annoying. I will say that, but that's part of T D. The D is annoying. Let's get this ref back in here. Well, so that that Mm hmm. If I bring this in that part gets a little weird. Establish that bevel. And then this part here, it kind of needs, like, its own. Like, if we just do this, sure, it kind of gets where we're going. But it's almost like we need a booling piece in there or something like that. Like if something we could do that would because this yeah, this is pretty honest the whole way up. So one thing let's just try that. Yeah, that's probably worth it. We're gonna just remove this piece and then try to establish this the best we can. I don't know what's going on there. Why have you a different color? Okay. That and then here Just super super simple. SY Z, S E or Z. Okay. Yeah, this is we're just gonna make this try and make this as easy as possible. Boom, leave that there. Okay. From there. Let's just, uh we're gonna scale this. This I'm not sure what that's doing. So how does this look? Okay. Bevel acquired. To there? Yeah, it's gonna give us that bevel we want, and then we can just boolean it in. Okay, so probably to right there. Boom. And then just to make it easy. It's gonna go so this part, maybe almost at the end of this triangle. So it's a good reference. Right about there, we want it to tape her out. Just tape her out. Stop. So we can just go like this, bring it up a little bit, like that. Or if we keep this steady like that, this can be brought down to become even again. Keep that like there. Okay. Something like that? Add another support loop there. Okay. I think we're good for a test run. Is this good? That's Blinable. And then it's got to be closed, so. Okay, connecting the easiest thing. Okay. Yeah. Oops. So that we want this to be smooth, seamless, smooth and seamless. So we can even just bring this up more. It's all gonna disappear. So whatever we don't want, throw it in the mix. You in here. We do want, like, so maybe we can just Give it that piece some more height. Same with this. Something like that. And then before this gets boolined, let's establish maybe one more line here, one more line here, and then just pop it out a bit. That we're looking there. Adjustments probably have to made up, but overall, it looks okay. Bring it down. This one on a Okay. Let's get some good support as well. Union. And then just generally is it meeting the shape we need? I would say, yeah, it needs a little bit of cleanup, but yeah, it is. That's metal, supposed to disappear. What the hell? Useless. Yep. So we want this is the plane. Match it. Match this plane. These guys have to match that. Go up like that. Okay? Clear sharp, clean up inside here. It's kind of annoying, but it's a good way to get a good shape. Boom, boom. What's going on here? Let's just redo this part. Well, Okay. And then from there. Nice. Crisp. So, this looks incredibly messy. Keep these lines straight. That's important. Makes it a lot easier. In a case where you got both lines, this is, you know, that's all good, but that's mirror time. Nice. I don't know why this stuff is so fun. It just is. It's probably not fun for you, 'cause I mess up every 5 seconds, but it's fun. What can I say? I never thought this would be fun. Match this a little bit better. Keep this line, though. Try your best. Keep the line. My pila just let's leave it for note. And then what is this? This should not. Let's get these guys up here. Uh, So we need this curve. These lines are needed. This curve here. This part needs to close in. Um, so these lines here we could look at our fien. Okay? Kind of do something like this. Alright. Yeah, this needs to come back, in that case. Reel it back in. Get rid of that weird sharp edge. I wonder if anyone else has that problem. I don't know what. I updated Blender and it just was like that. It's kind of annoying. You can't hit on blender, though. It's free. The best. No Okay. Looks okay there. That defining shape we have, that's all that matters. We have the shape. That's all that matters. This is actually not a bad idea. Goods. Establish this so we don't forget about it, we're F it up in any way. Simplify that part. Nice. Looking awful. Now we got to add back in other parts, too. Okay. Add in a support type loop. Add one here, too. Nice. Trigger also. All right. Gonna let my head reset for a second before I just automatically try to go to the next step. That's what people cut out for. Okay. This part connected there. Hey, now this part also needs to be connected. We're gonna boolean it, so it doesn't matter. If it's perfect. These connection parts are perfect or not, it does not matter. Just get them in there. Up here, too, get it in there. Can fix it after. What's going on? This, this. Yeah, That can be added afterwards. This piece can be added afterwards. Mm. Let's get this piece blocked out before you get any boolins in there. What's that piece? Okay. So no All right. All those points here. Mine The best thing to make at the start. I'm not sure. I have no clue. Just roll with it, okay? This part looks to be pretty decent widths. So we're gonna cut this part off. Cut that part off. F. Done. What is happening? Am I just not in this when I think I am? We are we're swapping details right now, totally. We can delete this for a second. Did I just mess something up? I definitely did. Yeah, we want this. Alright, so we got that that. So Okay, see. The classic knife slice. Easy. Too easy. Yeah, modeling is it's like a constant problem that you just have to solve always. And it can get kind of tiring. Can get kind of tiring. So width wise, this guy seems less wide than the one we have currently, so good thing we didn't booling it. But yeah, it looks like push it in just a bit, just a tad. Just a tad. Something like that. And then this guy probably push it in a bit. Push it in a little bit. Mm. Okay, this part has to line up with this pretty well. Yeah, that's okay. Like that. This part has to be round. Like that. Um, yeah. And now we can add the other part. It's probably, like, like this. That's the best way to do this. Well, we got all the faces we're gonna need. Maybe extra Y. And then we can I it or a bool? Maybe a boolean would be a better call. If we give this little room, we can just, um, take this cube, maybe, make it its own thing, shrink it up. Then, maybe that's the move. Something like that. Extrude it, and then we'll just boolean it in afterwards. Something like that. X R Z. Something like this. El What? Something like that. This guy looks okay here. This looks okay. Okay, and do that. We have kept our mirror. Like that. 'Cause you're ripping Bbbles right now. Dangerous. He doesn't need one or she or the. Okay, apply that union. Generally, that's good. We could actually just to make life a little easier, a lot of easier. Oh. Something like this. Then we'll union up nice. Yeah. Boom. Move this in. Move this in. Okay. We do this. We do this. Was this Ws Oh. Give it 28 RY 90. Gonna just establish this point. Make it easier. Something like that, how's this looking? So we can model around this. If these lines look okay, then great. But, you know, just adjust it however you need to. That's really what's important. Okay. There. So line wise, the next thing we need. Yeah, it would be just you could kind of see it, right? It's just kind of like a just a line. But needs to be beveled. And then the corner needs to be a bit more established. There. And then this actually can go up like this. Established. Those lines. Yep, I get this curve does not look like it should. So we're gonna work on that. Just getting the width out is kind of my priority. And we should bevel this, as well. Definitely. Okay. We can add this guy, too. I there. Just make it a bit bigger. Something like that. Okay. We're getting there. 13. 11 Creating Our Blockout Part10: Okay. So taking away. It's a good one here. Okay. Stand of that. See, clamp it. Okay. Go to kind of keep this for a bit here. Keep this height. It does look like it's a bit on the decline at this point. So definitely. Yeah, this just looks like a pretty basic bubble here. Pretty basic looking. We might be able to get away with this just being one. Maybe we have to bid might have to be with this. I just don't think I think I just didn't speak English right there. So sorry about that. Something like, yeah, something something easy. Okay. 14. 12 Creating Our Blockout Part11: Uh, Just continuing to block this out. Best I can. Get these inlays, helps with modeling to get stuff proportionally laid out. It really helps. So Greg. This is coming along. This one is also here we just kind of want to hiding. Something like that. Looks like there's a bit of a it's not a complete bubble. It's like it curves up to here, and then the curve changes. The plane changes. Last keep keep mindful on that and whatnot. Just trying to get this thickusUm in a good spot before I pull the trigger here. M now, this is actually somewhat of an important. Think of this as you're in an FPV environment here. FPBThs was made for FPV. I can't speak, Sir. You want this to be bebled, you know, pretty good. Enough where it doesn't look latch gen, you know? I'm talking, like, when you see these, it's important. You should I this is for a company, which, you know, it's not. But if it was, you really want to try to make sure that you know, it's hits that standard of, you know, being you know what I'm trying to say. It's important. This looks like there's a gap in here, you know, it looks pretty close, and this thickness doesn't line up. So what I'm gonna do is just try to push this in a bit. Um, yeah, try to push it in a bit more. And then just bring us up. Leave it for now. And then try to bevel it again, see what happens. Something something like that. Okay. The shell here. And then, um What's going on here? This is This is no good. This is the wrong. I've been tricked. I don't know if I'm gonna delete this out of the mid yet. That's messed up. Damn. That's annoying. After this tutorial just we looking through the refs, cheese. This is a good one. Same thing, though, okay. Same concept. Can I bring it down a little bit? Of course. We just nothing. Something like that. Well, you want, uh lock it down. Okay, and now we're gonna just utilize a let's do this. Perfect orthographic. How far out we talking? Not even at the curve. Something kind of like this. Generate the array. We just want three of them. I wanted to go that way. So I just go until boom right about there. Something like that. Actually, this looks like it goes all the way to the end, so it starts on the right spot. So All the way? Yeah, basically, all the way to the end. Could go on do. Alright. So it's there. This real we can tifle at some point. This piece here. This is a good one. Get in this also. So what am I looking at here? When I see this piece. This piece? Uh, I think I'm looking at it. What am I looking at here? This guy? I think so. Yeah. Are you around there. Okay, so we can just lodle this in. This let's use our this thing. Scale, why? Scale way down. It is a little bit bigger, as you can see, so hang it up. And do you want it to just fit nicely? Just fit nicely. Scale why. Boom. On this, we're gonna scale it out. Give it a little bit of room, line this edge up. It's okay if it's a little bit too scaled out. Totally fine. Um, that's correct. Yep. It butts right up against it, though. So. This all the way pulled back. This sits just about in the right spot here. And then this is gonna sit right? Yeah, it's in the right spot. There's a piece here that we have to make as well. And it's looking like lampces harder than I thought to find. Looks like the real rail note of some sort. Is it this thing? This right here. We 35 barrel extension. This this guy? No. It's this. But where the hock is this ship? I literally sits right next to this right under this. It touches this. I think it's this. Site Base. I think so. Site Base sits there and system Base for the site. So in order to make that. As far as this goes Sight Beach. This kind of links up with that. Let's see. We were raising it a bit that disc much. Okay. It's kind of sideways. That, that. Move it along. This part. Definitely wanted to be noted that there was a clear line year. So I'm just going my best to establish that. It's pretty important. Okay. Yeah, this is a bit of a curve, as well. Do This I'm using this rough. Yeah, it looks like they're pretty close to the bottom. Using it as a race. Then this rail was built in, so we're gonna have to pump this part out. Yeah Okay. This part. Yeah, we're gonna still that in. But this is, like, the it's the the This guy slides on, go back and forth, keeps it straight. Um, So, yeah. Two of us to make this. Just bring it back to roughly here. Why not go to roughly here. Okay, and then bring it out. Roughly looks like it's kind of hiding under that. Maybe a little bit more than this, but something kind of like this. Looks pretty good on this end. As we get closer here, it hides behind this. So it goes in, and then, as you can see this for herem. Something simple. So it is indeed a straight straight line. Okay. I think that this part needs to come out a bit. So we're just gonna take this in this, do this. Just pull it out. Don't make it too complicated here. Okay. Yep. Yeah. Yeah, I was great. Something like that. We go in. Realistically, we want it to look like that, but then it just looks so far in. So it just makes me think that it's just overall very wide still. And this comes out in a weird, uh Okay, it's not crazy far. A lot of things look right, so I think we're still on good track here. Yeah, we're still on good track, of course. Yep. What's that worry about with this? I don't want to be like this. It's a matter of I got to fit that in there. Got the waist pretty good. Yeah, it's pretty wide already, so Okay. This piece here? It's like a looks like this beach. This beach. I think it's this piece. Is this up a bit. Okay. This lines up with this here. Okay. We're gonna match this first. Something like this. Then here we'll also match it. I'll have to pull out a little bit. We can also, if we need to, just go up like this. I try. As long as we match it, that's what's important. Okay. And then the ian he's missing. One, two, three. I'm just trying to fit this proportionally. Okay. Quickly, we can do this. Uh, so we're just gonna do wondering here. About this much. About this much. Okay. Something like that. I sorry what's that? Okay. I can't leave that like that. This one down here. Uh, it looks like a barrel. Let's see what do we got. Who's that looks. What could be these guys. Okay. Most part here. From yeah, like roughly a year. We could establish this edge a little more, actually, but I just want to push it out just a bit more. Up until maybe here. I want it to seem like it's a very smooth transition. It looks pretty good. Try it here, even. It looks better, I think. Okay. Looks like we got there by accident, okay? Let's do this first. An insurance merge. There. There you. Got that general base down. Okay, this is looking pretty similar to the riff. Pretty similar. I see this little piece, too, it's fill. Looks like a little pop up. Okay. Okay. All. This is crazy. This is too wide. Am I crazy? This is way too wed. Well, actually, I'm not crazy. That looks okay, but then this that's crazy. Oh, gosh. Funny. Geez. We can just cut it probably. I just cut this out. Would I hire somebody to do this tutorial for me? Okay, Alex. Let's That's crazy. Geez. That looks cool from this angle. Okay. 15. 13 Creating Our Blockout Part12: Mm hm. Okay, so I just did the spacing for the rail. I'm going to boolean this. So basically, all I did was I looked up the space between each rail. This is the gap. This is the space you should have 5.5 millimeters. And then the space from here to the next one from here to here is ten. That's the space there. So with that information, we can we can set it up pretty easily. But we want to try to make this rail, so try. We shall succeed. We shall do. Huh? 16. 14 Creating Our Blockout Part13: Okay, so I just picked out this metric measurement of a rail. W. So 19 millimeters, baseline measurement. 19 millimeters we want, boom, boom. Down. And then we're just gonna try to adjust it to the real at this point. Adjust it to the real. Once you get the baseline measurement down, the rest is easy, so Okay. Okay. Looking for a top one now, top view. Okay, it looks like it just goes straight through. It's nothing special, nothing fancy. Okay. Ooh, nice. Wow. That really works. Yeah, it's fine. Okay. Okay. A, U Yeah. Okay. Same as usual blockout here. Just looking for the trigger. Oh, right in front of me. W. Yay. It kind of just continues up like that. Something like that. Doesn't have to be exact. You're crazy if you're gonna waste time on a game ready model making the trigger up you're exact. You're crazy. Not worth it. That's all I gonna say. We just don't want people to see it. That's all. That looks good. Don't want people to see the back. You don't want the player to see. That's all. Sorry. Simple blockout. Okay. Sometimes you can just do this by hand. It's not a huge deal. It's kind of satisfying. Okay. Is it worth this? Not even worth it to do that? We're just gonna we're just gonna make another one. And, uh, yeah. A. We can adjust that and then this Okay. A little bit of cleanup. Would I do force it with the blend tool. Okay. This part Interesting. Okay. Yeah, this looks like a mess, wow. Really? Yeah, just keep it simple at the end of the day. Does not need to be complicated. Something like that's definitely not. Try to keep it nice and neat, as neat as you can. Sure. We'll add this after and then the space. Can add that after? Do we have a This guy. Got that. It's kind of hit up here a little bit. This is thinner. It just doesn't look this thick. It's more so something like this. Just get it unioned in there, and then this part just kind of has to match, and then we're we're living large after that. Yeah. A This is gonna morph into it, so I wouldn't worry too much about it. This got to seal some stuff off. Yeah, that's it. It's gonna no more fright into it, so Okay. All right. On the center here. Yeah. Mm. That looks better. We want this to go in, but perfect. Yeah. Okay, got that. Same goes with this. Looks to be the same size, so, so that was a mistake. It's the same size circle. Ah, great. They're pretty similar. I mean, might as well just keep it. It's okay. That's one of the last things people are gonna notice when they're shooting people. They should they're in different sizes. That's prepped. I'm prepping it for the booling. So this whole thing. I just wanted to attach smoothly. That's all. There's a curve here. I think we can get that after, though. Afterwards. But Okay. That looks a little too intense right there. I just looks tall. Looks tall. Okay. Yeah, with Bolins you just got a little bit of cleanup after, but to get those shaped, it's totally worth it, I think, in my opinion. Totally worth it. That's good. Yeah, just as far as connection points go. Yeah, we can connect these guys. And then here This part is the same height as this. Nice. This looks a little smaller, and so does this. It looks more like like this, and then this looks more like h This guy looks connected, as well. Kind of Ban. 17. 15 Creating Our Blockout Part14: It's rail here. Then from there. Looks like there's a little bit of overhang, right? So bringing up to here. Okay. And then bring it down. To ab. Okay, it looks about right. And the next thing we could do is Alright, duplicate this. Put this to zero, right, zero. We want to boolean that piece, and then we need to get another boolean in there. Actually, we can probably Well, it looks like we already got it set somehow. Okay, I guess that's fine. 90. Or 45. Probably something close to this. Yeah, I want bring this in. Give it a mirror. It can be easier to get the proportion down when you have it when you're booining a mirror. So you can tell this is off, but um, looking at something like this. Something like this. Ah. More so like this. Yeah, that looks pretty good. I'm happy with that. Let's call it a day. Won't waste too much time over this. We do have to do this now. You already know what's coming. Good old mirror. Our Savior. Nice. Alright. Got that. Rail is basically done. Uh, it doesn't look like there's a piece back there, but like any sort of weird. Actually, it does, so it looks like it's just mirrored. So one thing we can do. What can we do here? Well, one thing we can do forgive me if this is just not not a good idea, but I've done this in the past. Kind of a new situation. So I'm gonna take this, duplicate it, make it its own thing. And, uh, RZ 180. You already know where this is going. Same thing. Same thing there. Just delete this stuff. And then just a simple Yeah, that looks normal. Okay, we're gonna do this again. Boom, boom. Apply it. RS 180. Move it way down here. He had to put it there. Okay. Apply this. Then we want to do Control J to just link them up. Hit that here. We just gonna try to get as close as we can. Call it a day. Call it a day. Okay. Looks like we got a lot. We don't want this going anywhere. Or this? Okay. And I knew there was, uh, this issue here. Other than that, was there anything crazy? I don't remember. Okay, for the most part, air rails are good to go. Next thing we can do is mark these up. So you just want to establish So let's wait. I don't get a clear view. These look to be pretty similar. Like, the same location, I'm trying to say. These look to be in the same location, different nights. For the most part, they look pretty identical. I think it's it might be worth it to try to do the same thing. Something like that. Okay. This Okay. Oh yeah, it's probably best to we got to thin down this side first. Select sharp edge, chick or deselect. Into that. Yeah, that's pretty good. And just make sure we have some real estate to work with. We prep it a bit, give it the edges it needs. It deserves. Okay. Yes, I understand these are perfect, but it's okay. Alright, so you can probably go ahead, and we should duplicate this, as well. And then Just do this. And as for this, I'm not gonna worry too much about that. This could easily be a high polytail. So same with this. We're not even gonna bother looking at that at the moment. Not even gonna bother. These screws. Okay. We just need the screw head, of course. Something like this is okay. And then it looks like they sit. You know, you can't really see them. So, you know, put them put them around here. Okay. And that here six. Alright. Got the array. This bottom rail is, uh, it's coming along here. It just looks plastic, so it totally just looks plastic. Um, let's bang that out right now. So G r, 180. We are going to start on a fresh note here. It looks different, so that's why. And then until when here about right there. Right here. Okay. Oh. Looks like I made a mistake. It at here. Okay. I'm gonna choose this route. Get this separate for sick. If All right. So if we're looking at this from this angle, you know, this is obvious. That sweep. It is built in. That is the thing we should first realize. It is built in. So it looks like it's missing one pin here. So an easy way to fix this. Is just do this, scale zero. Delete the face. Merge them. Delete the edge. This part is gonna remain for some reason. Merge. Merge. Okay, so that's there now. Tata looks pretty good. Looks like it's kind of angled up a bit more drastically, too. Let's see if there's another angle. This guy is good. Good angle. Looks like it's kind of an angle cut off there as well. So it might be another one of those scenarios. I think this one had it, yes. Nice. Wow, pretty close. Alright. Looks like there's little a little line here. And it looks like the obvious thing here. And that is that well, okay, one thing we have to notice here. This is not the correct front area, which is unfortunate, but Somebody's trying to set me up, giving me a little roofs. False fs. Okay, still, this S Y zero. And then merge, go to face mode. Delete faces. We can keep that. Ah, yeah, let's just keep it for now. Okay, almost done. There's a slight angle here. Let's go 45. R 45 scaled on the X there. Okay, and we're gonna just, uh just to try to make things easy here. Right in the center center point, change this to the center. Throw on a mirror. Scale it. Reigin. What is happening? Okay. And then Something like that. Okay. Gonna take this here like this. We got to check out the front again. It looks like it's got a little bit of, like, a little bit of a little bit of room going. That cut off is right around the breakpoint. It's looking kind of like this, yeah. Okay. Something like that. Boom. Difference. I don't kay. Apply. We're just gonna move it back a little. Okay, looks pretty good. It looks like it just kind of bleeds into this. It does. Yeah. These look lower. They look lower. They just do. They just do. I'm gonna delete this part out. I'm gonna fix this. Perfect. Make it a own piece. Okay. Just to get the general location back. Then we got to move it all down. Just down enough. Okay. And now we can do this. Nice. Okay, quick fix. All right. Back to this rail. We can just leave it like this for now. We should fix this first. I do this. Okay. Looks a bit more slender than that. Yeah, it looks like that. It almost looks like this part. Starts to curve, like, a little bit earlier than I'm thinking. So I'm trying to think if I just pull it in like that. I'm talking it just a hair earlier than I'm thinking. Just to give the curve a bit more of a curve, but, you know, I think that actually that looks okay. Let's keep moving. These right here. We can take this on. These little stub parts. We can lay this part into. Six already set up, nice. Okay, just about this. Just like that. Boom. Alright. And now these guys we're gonna want a bevel like this. Similar. And then just a simple X. So making an X. So we'll go here. Cube. Make our X shape. Um, we wanted to go in about this for. And then RY 90. So we do this guy. Okay. Okay, we got that? Go for another one. Let's go for 24. Something like this. So we're punching all the way through there. Okay, apply that. Well, apply all. We're gonna want re mirror this. And instead of just deleting one. Whoops. That's exact. Okay. Good. And then you can kind of see, see how it gets like it gets deeper. From here to year, it's, like, slightly deeper. So just a simple pull in like that. And then a top it off. It doesn't look like it'll give us many problems, so good to go. Yeah, this was recorded over multiple days. Some days, you know, I feel better than others, but I just find it funny that's the case. A lot of the times. You can definitely tell anyone who's watching this. Some day some days I just do not feel good. And some days, I do. I feel much better today than I did maybe the last recording. But it's just it's hilarious. Okay. This part. This is a rounded thing this is normal detail. We have to etch this out, so one, two, three, four, five, six, one, two, three, four, five, six. My guess is six. One, two, three, four. No. Where's this bad boy? Right in the front. Very tip. Is it this one? One, two, three, four. One, two, three, four, five, six, two, six, one, two, three, four, five, six. One, two, three. Six. Okay, six, it is. Six, it is. Right on that breakpoint, you're gonna get that. So let's feel it out here a little lower. It's like, right about here. Looks a little smaller, and it goes all the way through. This looks This seems like too much. Maybe Dural project. So check or deselect. That's a bit more what we want. This is a part you're really not gonna see much. But we're going to go to empty. And then scale this. Normal cursor back to there. We're gonna go array six, we decided. BbjectOfset. Tag this guy. And do math, if you can. I'm not that smart, though. Okay, so 60 or 60. Done. Okay. That can be set, delete this guy. And then probably smart to just do something like this. Protect those edges a little bit, at least. And, uh, yeah, maybe here. And then, that seems good. Difference. Yes. Okay. Nice. Yeah, and we're gonna adjust all these, like, little uh, you know, like this type stuff, make it not super perfect. That's all after. You can do that literally in Marmo set, so that can be a super last minute thing. This bevel is something we don't have yet. And, I actually looks like it's two separate pieces. But this here. Oh we're gonna just go ahead and attach this. Make it Blinable. Okay. Yep, we can keep doing this. Finish the job. Alright. Okay. Her We're gonna apply this. Apply these T two. Union. Okay. Just bring it back over. Eight, we got eight. We got eight, folks. We got eight. Okay. Connect that and then here. Good. It seems I've made a mistake. All right. And I'd here. Okay. Boom, boom. Quick. Attach here, why not? We got to get this curve. We need to curve here. So one thing we can do is just just do this. Curve curve Alright. This is like a perfect perfect curve. And then up here is a little closer, but still pretty far. Yep. Good old fashioned mirror. Oh, no. Alright. That looks pretty good. I'll tweak it a little bit as we go on. This can even be a normal, but this little piece down here. What am I looking at? Alright, let's connect this. And apply that put this down too. Union. Cleanup crew inbound. First of all, we can do this. I always lay this cut just in case I had a new geometry that hasn't been symetrified yet, whatever that word is. Equal. Okay. Do that thing. Okay. Looking good. Success. It's part bevels. I think it's time. Laying a bevel like that. All right. We're still going to have to haul this out, too, so that step is coming up, isn't it? I guess so. Et's mirror this real quick. Well, it's not directly in the center. Dice. Alright. This part. Also, you can see a bevel. A nice bevel. Nice. Getting rid of that sharpness. Alright. Started to look pretty good. I can really see the gun now, so good job, everyone, making it this four. Um, it's not easy sometimes. I've gone through and still do go through many tutorials, even as someone who works in the industry. And my God, I will tell you. Although they're necessary, I think, if you need to learn something, you know, by all means, just do a tutorial. But, man, they can get boring. It doesn't help that my voice is extremely monotoned, too, so I sound like a zombie. But trying to think there's no there aren't many ways to make Tutorials interesting, to be honest, but I guess just trying to be like a normal person, talk about, you know, just whatever. Trying to relate to people, I guess. That can be good. And most of this stuff, you know, there's a lot of this stuff. I'm sure where did this just go? Right here. Oh. A lot of this stuff you guys probably know, but, you know, some stuff you don't, et cetera. So it is good to just do a tutorial every so often, and, you know, I always was appreciative of the people who could just, uh, do a tutorial. You know, you learn from it, and then boom. This also looks so equal. What did I do? This is gonna be the This is gonna be the best texture reg ever. Honestly. Okay, what am I doing here? Perfect. Oh, okay. So we're we're not too far go. Yeah, it still looks pretty good. And there's a bit of a alluring that happens here, so Boyfit. Boy fit right here. Sneaky busted. From there, we'll go down. One thing we could maybe do here is G here. This is an experimental Okay. And then if we do intersect Slice slice and dice. Baby. Apply. I want to apply, please. Please let me apply. Oh, my gosh. Apply. Did not. Something happened. Okay, so basically all I wanted to do there was just create something that I did not need to do. I desperately want to reverse that. Okay. Looks like we messed that up. We want to throw this guy in here. But before we do that, we want to beble this lad. Honestly, I have no clue what the hell I just did right here. I might just backspace the whole thing. Don't try that at home. Yeah, that was not smart. Okay. Take this from the top until here. And we're gonna beble it like this. About this much. This? Yeah, that looks good. Do that. Distance, you know, the drill. And that's okay this is kind of messed up 'cause we're gonna just fix it in about 1 second. So What is happening? These sharp dgets just great, great, great. Whoa. Alright. So now, this guy. Oh, it was this guy. This is our guy. Our guy gal. Lock that in. We're gonna lock that in. Ah, it looks like we did that. Yk. A little bit there. Boom, boom. Boom. Okay, that's the deal here. Good texture ref. Wow. This is gonna be awesome. Correct. This looks worrying. This looks This looks This looks as I expected. It can go into the abyss. Please travel into the abyss. You're no longer wanted garbage. Feel this. Same here. Fill please. Okay. Looks Bully now. That's the goal to here, I guess, Union. Okay. Down wt yet. Apply. And we back. We back. Alright. That's set there. Okay, so it looks like we can't even Oh, that makes a lot of sense now. What the hell? You want your peace to look like this, please. What has happened? This Delete. Redo. Okay. That looks more like it. And then the next thing we can do is This guy got some space. This needs to be dropped a bit. I think everyone will agree with that. This needs to be just dropped a level. A way we can do that kind of painlessly is we can just go within the bounds of this circle here and take all this stuff. I got to clean this up. And we just want to drop it. So we just want to drop it. Another another another level. So Yep, we just want to drop it. To there when I drop it to there, we want this to remain, and by God, we did it except it doesn't look like a circle down. We're gonna have to repair step by step. All right. This part. Lastly, Nothing yet there. We do want this to kind of come out here. So that part we may have mistakenly dropped mistakenly. Till there. So All right. All right. Just something easy. Something like that. Something like this. It's okay to force it a bit. Just kind of get that shape you want. Alright. This topology is top to top tier topology. Can't find this anywhere else. Crusty knife tool. Okay. Alright, and then from here, we just went off. Give this a booling Yep we want that to join. Join. Okay. That's good there. As crazy as this looks, it's still, like the topology that it's even somehow. All right. And then here. Okay. Get that guy in there. Yeah, that this guy, as well. There we go. It's looking real good. We want we want this circle in here, so we want its origin to be there, then we want it to be here. Make sure di Something like that. Cats coiled up a bit. Pops out a bit. Okay. This gonna need a clean up run, but we get the shapes down. That's pretty important. Shapes are down. Got 'em. We can't leave her like this for now. For now. And we can actually just 'cause I will most likely forget not. Just throw in, like, something. Something to remember that this is a something hint at it. Just don't forget me. And I'm here. What do we got? A nut. A bolt. Bolt. I wonder. Nut. Okay, okay. A lock nut. This looks like a lock nut. I think I might be right. Does not look like that. A lock nut. I think we should go with this. I think we should go with this. By the way, if you think, Oh, damn, I can't do this. Sam's an *******. This is just a It's a blender add on. So it's just one of these Wherever this is, where are my add ons. Bolt Bolt factory. Do that. Then you're chilling with the big boys. The cool kids. Nice, clean. Yippie. Alright. One more thing here. Six Or 90. Or what to get here. Or 30? Genius. Bring hope. And then I just noticed that it was that's like what it actually looks like. Well, I have to really start showing the concept more or the refs. This is, you know, you get what I'm Get what I'm looking at here. Scale down, scale down. Something like this insert Okay. Also, this bolt is too powerful. I do wonder Div count. Oh, that's what I'm talking about, yeah. 20? Mm. Titch. Damn. Bm. The best screw ever square. Okay, it starts to look. Like, I guess this is probably. Okay. Like that. But here cylinder. Let's just do the same thing. Let's see if it lines up. A 90. Great. Okay. Something like that. And we can easily just normal put a normal here for a thread. And then we're chilling after that. So that being said. Okay. We're getting there, folks. We're getting there one step at a time, here. 18. 16 Creating Our Blockout Part15: It's rail here. And then from there. Looks like there's a little bit of overhang, right? So bringing up to here. Okay. And then bring it down. To a Okay, it looks about right. And the next thing we could do is Alright, duplicate this. Put this to zero, right? Zero. We want to boolean that piece, and then we need to get another boolean in there. Actually, we can probably Well, it looks like we already got it set somehow. Okay, I guess that's fine. 90. Or 45. Probably something close to this. Yeah, I want bring this in. Give it a mirror. It can be easier to get the proportion down when you have it when you're booining a mirror. So you can tell this is off, but um, look at something like this. Something like this. Ah. More so like this. Yeah, that looks pretty good. I'm happy with that. Let's call it a day. Don't waste too much time over this. We do have to do this now. You already know what's coming. Good old mirror. Our Savior. Nice. Alright. Got that. Rail is basically done. Uh, it doesn't look like there's a piece back there, but like any sort of weird. Actually, it does, so it looks like it's just mirred. So one thing we can do. What can we do here? Well, one thing we can do forgive me if this is just not not a good idea, but I've done this in the past. Kind of a new situation. So I'm gonna take this, duplicate it, make it its own thing. And, uh, RZ 180. You already know where this is going. Same thing. Same thing there. Just delete this stuff. And then just a simple Yeah, that looks normal. Okay, we're gonna do this again. Boom, boom. Apply it. R s 180. Move it way down here. I had to put it there. Okay. Apply this. Then we want to do Control J to just link them up. Hit that here. We're just gonna try to get as close as we can. Call it a day. Call it a day. Okay. Looks like we got a lot. We don't want this going anywhere. Or this? Okay. And I knew there was, uh, this issue here. Other than that, was there anything crazy? I don't remember. Okay, for the most part, air rails are good to go. Next thing we can do is mark these up. So you just want to establish. So let's wait. I don't get a clear view. These look to be pretty similar. Like, the same location, I'm trying to say. These look to be in the same location, different nights. For the most part, they look pretty identical. I think it's it might be worth it to try to do the same thing. Something like that. Okay. This Okay. Oh yeah, it's probably best to we got to thin down this side first. Select sharp edge, chick or deselect. Into that. Yeah, that's pretty good. And just make sure we have some real estate to work with. We prep it a bit, give it the edges it needs. It deserves. Okay. Yes, I understand these aren't perfect, but it's okay. Alright, so you can probably go ahead, and we should duplicate this, as well. And then Just do this. And as for this, I'm not gonna worry too much about that. This could easily be a high polytail. So same with this. We're not even gonna bother looking at that at the moment. Not even gonna bother. These screws. Okay. We just need the screw head, of course. Something like this is okay. And then it looks like they sit. You know, you can't really see them. So, you know, put them put them around here. Okay. And that here six. Alright. Got the array. This bottom rail is, uh, it's coming along here. It just looks plastic, so it totally just looks plastic. Um, let's bang that out right now. So G r, 180. We are going to start on a fresh note here. It looks different, so that's why. And then until when here. Just about right there. Right here. Okay. Oh. Looks like I made a mistake. It right about here. Okay. I'm gonna choose this route. Get this separate for sick. All right. So if we're looking at this from this angle, you know, this is obvious. That sweep. It is built in. That is the thing we should first realize. It is built in. So it looks like it's missing one pin here. So an easy way to fix this. It's just do this, scale zero. Delete the face. Merge them. Delete the edge. This part is gonna remain for some reason. Merge. Merge. Okay, so that's there now. Tata looks pretty good. Looks like it's kind of angled up a bit more drastically, too. Let's see if there's another angle. This guy is good. Good angle. Looks like it's kind of an angle cut off there as well. So it might be another one of those scenarios. I think this one had it, yes. Nice. Wow, pretty close. Alright. Looks like there's little a little line here. And it looks like the obvious thing here. And that is that well, okay, one thing we have to notice here. This is not the correct front area, which is unfortunate, but Somebody's trying to set me up, giving me a little refs. False fs. Okay, still, this S Y zero. And then merge, go to face mode. Delete faces. We can keep that. Uh, yeah, let's just keep it for now. Okay, almost done. There's a slight angle here. Let's go 45. R 45 scaled on the X there. Okay, and we're gonna just, uh just to try to make things easy here. Right in the center center point, change this to the center. Throw on a mirror. Scale it. Reigin. What is happening? Okay. And then Something like that. Okay. Gonna take this here like this. We got to check out the front again. It looks like it's got a little bit of, like, a little bit of a little bit of room going. That cut off is right around the breakpoint. It's looking kind of like this, yeah. Okay. Something like that. Boom. Difference. I don't kay. Apply. We're just gonna move it back a little. Okay. Looks pretty good. It looks like it just kind of bleeds into this. It does. Yeah. These look lower. They look lower. They just do. They just do. I'm gonna delete this part out. I'm gonna fix this. Okay. Perfect. Make it a own piece. Okay. Just to get the general location back. Then we got to move it all down. Just down enough. Okay. And now we can do this. Nice. Okay, quick fix. All right. Back to this rail. We can just leave it like this for now. We should fix this first. I do this. Okay. Looks a bit more slender than that. Yeah, it looks like that. It almost looks like this part. Starts to curve, like, a little bit earlier than I'm thinking. So I'm trying to think if I just pull it in like that. I'm talking it just a hair earlier than I'm thinking. Just to give the curve a bit more of a curve, but, you know, I think that actually that looks okay. Let's keep moving. These right here. We can take this on. These little stub parts. We can lay this part into. Six already set up, nice. Okay, just about this. Just like that. Boom. Alright. And now these guys we're gonna want a bevel like this. Similar. And then just a simple X. So making an X. So we'll go here. Cube. Make our X shape. Um, we wanted to go in about this for. And then RY 90. So we do this guy. Okay. Okay, we got that. Go for another one. Let's go for 24. Something like this So we're punching all the way through there. Okay, apply that. Well, apply all. We're gonna want re mirror this. And instead of just deleting one. Whoops. That's exact. Okay. Good. And then you can kind of see, see how it gets like it gets deeper. From year to year, it's, like, slightly deeper. So just a simple pull in like that. And then a top it off. I don't want to click it will give us many problems, so go to go yeah, this was recorded over multiple days. Some days, you know, I feel better than others, but I just find it funny that's the case. A lot of the times. You can definitely tell anyone who's watching this. Some day some days I just do not feel good. And some days, I do. I feel much better today than I did maybe the last recording. But it's just it's hilarious. Okay. This part. This is a rounded thing this is normal detail. We have to etch this out, so one, two, three, four, five, six, one, two, three, four, five, six. My guess is six. One, two, three, four. No. Where's this bad boy? Right in the front. Very tip. Is it this one? One, two, three, four. One, two, three, four, five, six, two, six, one, two, three, four, five, six. One, two, three. Six. Okay, six, it is. Six, it is. Right on that breakpoint, you're gonna get that. So let's feel it out here a little lower. It's like, right about here. Looks a little smaller, and it goes all the way through. This looks This seems like too much. Maybe Dural project. So check or deselect. That's a bit more what we want. This is a part you're really not gonna see much. But we're going to go to empty. And then scale this. Normal cursor back to there. We're gonna go array, six, we decided. Object offset, tag this guy. And do math, if you can. I'm not that smart, though. Okay, so 60 or 60. Done. Okay. That can be set, delete this guy. And then probably smart to just do something like this. Protect those edges a little bit, at least. And, uh, yeah, maybe here. And then, that seems good. Difference, yes. Okay. Nice. Yeah, and we're gonna adjust all these, like, little you know, like this type stuff, make it not super perfect. That's all after. You can do that literally in Marmo set, so that can be a super last minute thing. This bevel is something we don't have yet. And, uh it actually looks like it's two separate pieces. But this here. Oh we're gonna just go ahead and attach this. Make it Blinable. Okay. Yep, we can keep doing this. Finish the job. Alright. Okay. The We're gonna apply this. Apply these this to Union. Okay. Just bring it back over. Eight, we got eight. We got eight, folks. We got eight. Okay. Connect that and then here. Good. It seems I've made a mistake. All right. And I'd here. Okay. Boom, boom. Quick. Attach here, why not? We got to get this curve. We need a curve here. So one thing we can do is just just do this. Curve curve Alright. This is like a perfect perfect curve. And then up here is a little closer, but still pretty far. Yep. Good old fashioned mirror. Oh, no. Alright. That looks pretty good. I'll tweak it a little bit as we go on. This can even be a normal, but this little piece down here. What am I looking at? Alright, let's connect this. And apply that put this down too. Union. Cleanup crew inbound. First of all, we can do this. I always lay this cut just in case I had a new geometry that hasn't been symetrified yet, whatever that word is. Equal. Okay. Do that thing. Okay. Looking good. Success. That's part of bevels. I think it's time. Just laying a bevel like that. All right. We're still going to have to haul this out, too, so that step is coming up, isn't it? I guess so. Et's mirror this real quick. Well, it's not directly in the center. Dice. Alright. This part. Also, you can see a bevel. A nice bevel. Nice. Getting rid of that sharpness. Alright. Started to look pretty good. I can really see the gun now, so good job, everyone, making it this four. Um, it's not easy sometimes. I've gone through and still do go through many tutorials, even as someone who works in the industry. And my God, I will tell you. Although they're necessary, I think, if you need to learn something, you know, by all means, just do a tutorial. But, man, they can get boring. It doesn't help that my voice is extremely monotoned too, so I sound like a zombie. But trying to think there's no there aren't many ways to make tutorials interesting, to be honest, but I guess just trying to be like a normal person, talk about, you know, just whatever. Trying to relate to people, I guess. That can be good. And most of this stuff, you know, there's a lot of this stuff. I'm sure where did this just go? Right here. Oh. A lot of this stuff you guys probably know, but, you know, some stuff you don't, et cetera. So it is good to just do a tutorial every so often, and, you know, I always was appreciative of the people who could just, uh, do a tutorial. You know, you learn from it, and then boom. This also looks so equal. What did I do? This is gonna be the This is gonna be the best texture reg ever. Honestly. Okay, what am I doing here? Perfect. Oh, okay. So we're we're not too far gone. Yeah, it still looks pretty good. And there's a bit of a alluring that happens here, so Boyfit. Boy fit right here. Sneaky busted. From there, we'll go down. One thing we could maybe do here is go here. This is a experimental Okay. And then if we do intersect Slice slice and dice. Baby. Apply. I want to apply, please. Please let me apply. Oh, my gosh. Apply. Did not. Something happened. Okay, so basically, all I wanted to do there was just create something that I did not need to do. I desperately want to reverse that. Okay. Looks like we messed that up. We want to throw this guy in here. But before we do that, we want to beble this lad. Honestly, I have no clue what the hell I just did right here. I might just backspace the whole thing. Don't try that at home. Yeah, that was not smart. Okay. Take this from the top until here. And we're gonna beble it like this. About this much. This. Yeah, that looks good. Do that. Distance. You know, the drill. And that's okay. This is kind of messed up 'cause we're gonna just fix it in about 1 second. So What is happening. These sharp dgets just great, great, great. Whoa. Alright. So now, this guy. Oh, it was this guy. This is our guy here. Our guy gal. Lock that in. We're gonna lock that in. Ah, it looks like we did that. Yk. A little bit there. Boom, boom. Boom. Okay, what's the deal here. Good texture, ref. Wow. This is gonna be awesome. Okay. This looks worrying. This looks. This looks This looks as I expected. It can go into the abyss. Please travel into the abyss. You're no longer wanted garbage. Fell this. Same here. Fill, please. Okay. Looks Boley and bull now. That's the goal to here. I guess, Union. Okay. Don't want that yet. Apply. And we back. And we back. Alright. That's set there. Okay, so it looks like we can't even. Oh, that makes a lot of sense now. What the hell? You want your peace to look like this. Please. What has happened? This delete. Redo. Okay. That looks more like it. And then the next thing we can do is This guy got some space. This needs to be dropped a bit. I think everyone will agree with that. This needs to be just dropped a level. A way we can do that kind of painlessly is we can just go within the bounds of this circle here and take all this stuff. I got to clean this up. And we just want to drop it. So we just want to drop it. Another another another level. So Yep, we just want to drop it. To there. But when I drop it to there, we want this to remain. And by God, we did it except it doesn't look like a circle Damn. We're gonna have to repair step by step. All right. This part. Lastly, Nothing yet there. We do want this to kind of come out here. So that part we may have mistakenly dropped mistakenly. Till there. So All right. All right. Just something easy. Something like that. Something like this. It's okay to force it a bit. Just kind of get that shape you want. Alright. This topology is top tier. Top tier topology. Can't find this anywhere else. Crusty knife tool. Okay. All right. And then from here, we just went off. Give this a booling. Yep. We want that to join. Join. Okay. That's good there. As crazy as this looks, it's still, like the topology that it's even somehow. All right. And here. Okay. Get that guy in there. Yeah, this guy, this will. There we go. It's looking real good. We want we want this circle in here, so we want its origin to be there, but then we want it to be here. Make sure. Something like that. Gets coiled up a bit, pops out a bit. Okay. This is gonna need a clean up run, but we got the shapes down. That's pretty important. Shapes are down. Got them. We can leave her like this for now. For now, And we can actually just 'cause I will most likely forget if not. Just throw in, like, something. Something to remember that this is a something hint at it. Just don't forget me. And then here. What do we got? A nut. A bolt. Bolt. I wonder. Nut. Okay, okay. A lock nut. This looks like a lock nut. I think I might be right. Does not look like that. A lock nut. I think we should go with this. I think we should go with this. By the way, if you think, Oh, damn, I can't do this. Sam's an *******. This is just a It's a blender add on. So it's just one of these Wherever this is, where are my add ons. Bolt bolt factory. Do that. Then you're chilling with the big boys. The cool kids. Nice, clean. Yippie. Alright. One more thing here. Six rY 90. Or what to get here. Or 30? Genius. Okay. Bring hope. And then I just noticed that it was that's like what it actually looks like. Well, I have to really start showing the concept more or the refs. This is, you know, you get with them. Get what I'm looking at here. Scale down, scale down. Something like this insert. Okay. Also, this bolt is too powerful. I do wonder Div count. Oh, that's what I'm talking about, yeah. 20? Mm. Titch. Damn. Bar. The best screw ever square. Okay, it starts to look. Like, I guess this is probably. Okay. Like that. But here cylinder. Let's just do the same thing. See if it lines up. Now at 90. Great. Okay. Something like that. And we can easily just normal put a normal here for a thread. And then we're chilling after that. So that being said. Okay. We're getting there, folks. We're getting there one step at a time here. 19. 17 Creating Our Blockout Part16: Try to get this piece down. Okay. That didn't work. I just want to straighten them out. And then, uh, from here, so this piece. That's X zero. Zero that out. And yeah, I'm just gonna do this quick and easy. Quick, easy. To the point That's that. We're getting closer. We're getting closer. This piece. Make sure it's lined up correctly. Okay. Without this reference. Left side. That's okay for sights. Pretty good. You can actually take some off of this. Um Yeah, well, let's see that. Okay. I want this to be there. B. 20. 18 Creating Our Blockout Part17: Okay. Here, here. Just want to clean this up a little bit. A. Looks like there's a little mistake here, S. Was it some Yeah, it's a bit of a mistake. Um, so we basically want this part to be like this. And we want it to come out. Um, basically, just about to hear. Like this. Okay. Weird. Basically, we just got to get this, this thing in the right spot. We need a bridge here. Nice. And we need this roundness. Looks like we're gonna have to just move it. So We do this. Okay. It goes all the way to here, though. Okay. That's what we want, but then we do want it to be a little bit bigger. Also, it could be worth it to do this. Just try and bridge that gap a little bit better. That's right about where we want it. Thickness kind of matches up a bit better. Yeah. It is important. This is I always it's easy to get reminded that Yeah, it can be pretty easy to dig yourself into a hole if this type of thing you know, if you mess it up off the gun, it's sometimes not the easiest thing to fix. But three D is all about just, you know, improvising, doing the best you can with what you got. That's really the name of the game. That's about the width we're looking for. Okay. Yeah, we can fix this. Don't worry about that. Okay. Okay. I think that kind of meet expectations a bit better. Okay. Okay. Basically, I mirrored the wrong side. So I'm just this part. I don't have any detail here, but it's here, basically. Got it. Good. Get that mirrored. Nice. Join. I'm just gonna mirror it again, mirror it again. Just for the fun of it. I guess. Uh All right. That looks pretty good. Let's get one of these put in there. 28. Seemed pretty good. Looks like we're dealing with a side totally the wrong thing. Yeah. Let's scary. Put Math. What do we do in here? I'm too stupid. Oh, God. Calc later. Where are you? Three, 60. Divided by six. 60? 60. Did nothing. 30. Why? 30. Books. Alright, 30. There we go. 30. Genius. Okay. Yeah, something like that. But then we got a hexagon drill in there. Oh. Oh, cool. No. Cool, but no. Looks like we got a different couch. That's always fun. Well, to be honest, we don't even need all this, so let's just leave it at this. She looks like that. Pull it all the way through. To a difference pull. Okay. Okay. Yeah. Generate mirror. Okay. Oh, where it go. All right. So the shell here pretty much just a shell. That sounds Yeah. Duplicated. Boom leaned. A Okay, we got that part. And then this, it has to kind of match the circle that we're going for. So we're gonna have to tweak this to be a little bit less rigid. Specifically this bird. It's too angular, and it needs to be gradually gradually, uh you know, less steep. I don't know how to say it. Less steep. It's a little too steep right now. You know, we can do that by broadly speaking, this type of thing. Okay? So if we I'm gonna have backspace lot. Don't even copy this. We basically need to get it to be something like that. Um, something like that. Okay. This needs to be raised a little decent starting point here. Start from here, can kind of climb down the ladder a bit, give it a bit of height. And we're just trying to match it. That's all. Just match it the best you can. We're dealing with this angle, so this is gonna get messed up, but we can just normal scale it again. Not a problem. Not a problem. In an ideal world, we get this the first time. But hey, nothing's really ever ideal, is it? Okay. That was dark, but it's true. It's true. But there's always something you got to deal with. Okay. All right. Well, something like that. And then we can fix it like this. Get the normal base laid out. Okay, sometimes the mirror just doesn't want to cooperate. So we'll just have to redo it. Okay. So that's back. We can take a look at this again. Curves down, and then it's, you know, kind of a sin more of a sin Okay. All right. Looks to be a little bumpier, too. Oh put a bevel in. Yeah, something just easy. Easy for right now? You know? Okay. 21. 19 Creating Our Blockout Part18: Larry. Okay. Yeah, there's a gap. There's a gap. Or the bottom here. And I know this isn't the correct. This one ends. Yeah, there's a little bit of gap here. It goes down kind of right until this rails fell missed it by just a bit. All right about until there. Okay. Let's go Just stab a little bit ago a base here so we can we can do this. Cary w. Union and then. Yep. Okay. Six might be worth it to just, just tried to rand it at him more than I was. I can we could look at that. Guide. Okay. I'm going to add this No. Okay. Another thing that's important to always do is whenever you can, try to try to backface something like this in case you don't want any light to be leaking through. You want it to be, like, watertight, people say. So as you can see, like, it's not perfect. There's a gap here. And it looks like there's one here, too. So yeah, the goal is just to not allow any lighting. I don't know if you didn't know that. It's good to know. Point is. If you knew it, great, if you didn't. All right? I can mirror these guys. These boys. Okay. That guys over there. It's coming along pretty good. It's coming along, definitely. Hollow at this side. The snag. This tweaked down a bit. 22. 20 Creating Our Blockout Part19: Looks like these are the same size. Roughly. Maybe not. No, these Okay. Yeah, that seems pretty good. No, try to prepare this a little bit, cleanly. Then our result will be a bit better. It'll just be a bit easier to that **** together. Okay, that should be good. Do that. Okay. I to keep these quads. Okay. Yeah. You want to keep the link the same? Gonna have to make some adjustments here, but I goes right around there. Then with all these. Yeah, we just need to get the circle. There's a circle in here instead of this hexagon, it's a circle. So best thing we can do up here is, uh just line them up the best we can. Okay. That's roughly done. Uh One thing that's important to note is, like, here. So if we go up to this area here, see it's that like a little you know, it's got the thing in the thing. This thing. T one. Yeah, this stuff needs it as well. It's got the hexagon within the circle type of thing. Hexagon within the circle. So leaving a little bit of space here is fine. Definitely, I want to try to get it. Place. Okay, clean up a bit. So if we can do something like this, we should cap it, actually. Yeah, okay, so that's we can just do that. Easier than I thought. Give me a break. It's 6:00 A.M. Here. I can't think straight. I just got to find a good size for this. I think I got it. Well. Let's Sometimes Boeing just doesn't want to work. Okay. It seems like this side, you know, the screws part. Makes sense. Makes sense to me. Um, 23. 21 Creating Our Blockout Part20: All right. We need a trusted piece here. Looks. It. Okay. This guy use that fit in as well. Actually, it looks to be the size. Looks to be that size, right? Do my eyes deceive me? A Alright. Now we're gonna place it here. Insert that. Nice. Take this guy, duplicate him. Same old story. Same old story. All right. We're moving along. This is it's coming along pretty well. It's a good accomplishment. We can go ahead and boooling this. Why not? Just take this. Boom. Um, Oops. Just enough here. Duplicate it. Boom. Ss. Safety. We want ours on safety. So lush lush you go. No shooting today. We're on safety. Alright. I see. Yeah. All right. We're gonna just duplicate these and then edit bring it all the way in. Not all the way. Pretty far in. Okay, and now Boolean. Apply. Apply. So we got that there now. Looks like the same type of thing where it's just, you know, one side is nuts, one side, bots right side has this looks like this side is the one that hold on. It's opposite. Okay. Put that in there. Like that. All right. So this side, we're going to just apply our mirror. And then this side. We want some form of this Actually, There. Something like that. Really should optimize this beforehand. P. I'm gonna do that afterwards. Yeah. But, uh Yeah, we don't need any of this. I'll do it once, and then you can just scale time latch it, but W. T. Okay. That looks pretty good. So for this rail, we have this and this mainly as. One, two, three. So we got this guy. This guy and on the third one. Right here. The circle belongs there. Looks like it is affected. Just kind of like that, though. And then another one on the second to last. Okay. This one. Okay. Thickness. Shouldn't be too crazy. Something like this. Duplicate that difference. Alright. That looks how I want it to look for the most part. And then we're just gonna cap this. We're gonna put Okay. Just for the sake of saving time, keeping it neat. Throw that in there. Shrink it up a little bit, bring the top down. And it's a round one, so we're gonna have to probably scale this a bit. Oh. It's like that. A round one. Ooh. I didn't know you could do that. No, that doesn't look how I want it to look. Mm. What thing we could do? Is bolt. And then cap or dome. Yeah, that's no, it's really not. I kind of is, actually, yeah. Give it a shot. Okay. Sometimes it really is just as easy as that. I do that. Alright. Something like that. That's what we want. Alright, and then it has a cap on it, as well. Before we booling it, I'm gonna give it one more layer of protection for the sake of our normals. Okay, that, I'm gonna just throw a six on there. Good old six. Something nice and simple. All right. Celta KSG. Okay. What about in the rail here or in the butt stock? No screws here. It is kind of rounded. Might be worth it to give it a small boolean or a small bubble. Just so it looks soft. It's always nice when it looks soft. Well, that's good there. All right. And then this can be normal detail, don't have to worry about that. Um yeah. We should carve this out at some point. Yep. This has to be carbed out for. So this thing fits in here. That's where that's gonna fit. Okay. Oh Alright. You got that Bolin out. Get these attached. All right, so Yeah, it's just about the right. Height, these are, so can you even go up a little bit? Can I, though? Not really. Not really. Alright. Cthing like that. Um Okay, nice. And now from here, not yet. Scale on the X. This looks like an actual hex Hix dilemma. But then if we look on the other side, that's hex, and then it looks like just nut okay. So we can just go right from the gun with our guy here. Eight. We're gonna need this to line up some stuff. Okay. This two, this guy. Alright. Looks like it's pretty much towards the perimeter, so for the sake of our bake, let's just shrink it a bit. And, I mean, let's just scale on the X a little bit. Okay. That, boom. Something like that. Connect them all. And now go to the center here. Get a center point. The rail looks awesome. I really like the look of the rail. All right. So before that This is good here. I'm just gonna take something like I'm gonna take this guy. Duplicate him up to here. Gonna optimize him real quick and then get back to it. Pull that out. Okay, so All right. Okay. H Alright. It's almost even worth it to make an executive decision. I'm cutting you up. Get rid of those cool, although useless threads. They are utterly useless. Base that. Okay. And then extrude in. Okay. I'm gonna just go ahead and replace this afterwards as well. Extrude out. Oop. Alright, look pretty good to me. Don't even need this. We're not even gonna see it. So it's a pain in the Rs to even wrap, so it's just totally not worth it. New and improves. How do you like me now? Nice. Size. Oh, All right. Nice. That looks a lot better. Okay. Yeah, I'm gonna want to do that with this, as well, so sad. By all means, just, uh, speed through this part. You know what I'm doing. Okay. Hey. All right. Pretty good job there. This thing's coming along pretty good. I'm gonna just save this for the sake of saving. Alright. Yeah, it's coming along real nice. 24. 22 Creating Our Blockout Part21: Okay. Right up until this point here, so But Alright. Oh. No. Yeah, something just like this. Okay. And now, it looks like there's some sort of peace here. Some sort of peace we want to establish. Something simple like that for now. All right. And then here again. We got another bit of a longer piece here. Alright. This piece. Try to get the scale pretty good. Oops. Yeah, we just need a pivot now. No. Noticing these are a lot smaller than the barrel, and they're closer together. So I'm not exactly sure on the logic there, but it's okay. At this point, it doesn't really have to make that much sense, of course. It's always good to make sense, but it doesn't have to too much. Not too much sense, just enough. There's still a pretty good gap there. Yep. That's just what we'll do. That's just what we'll do. I'm trying to find that piece. I think these are some of them. This piece makes sense. Oh. Hmm. Okay. Well, somebody else found it, screenshot it. Stop it there. I didn't find it. I didn't find it. Okay, so we need this to We need this to be flush. That's what we're dealing with here. We also want this here. Duplicate it. Okay. Actually, what's All right. We're getting there. We're getting there. I go to float. We're not going to get too complex here. It's a waste of your time. Alright. Okay. Duplicate P I'm gonna give this a little bit of room here. I'm not spending a ton of time on this just 'cause it's, you know, it's a fraction of what you're gonna see. It's not worth it. But just getting the basics of what I'm seeing and just doing my best to recreate that. That's all. And then I'll add one more thing just to Just super simple. Nice. Okay. And then whatever this is. Uh, yeah, that's fine. Simple. Looks like we have some sort of thing here. Super simple. All right. And then here. Okay. Yeah. Alright. Okay. Covered the basics there. We got a little bit of a the leak here. No, we don't. Yeah, a little bit. And this is a case where you can you can just just do a simple, you know, make a wall. That's all. Nothing crazy. You're not gonna see it. It's not gonna see you. We're chilling. For the sake of, uh, not bleeding through anything, though. It's Let's go to Beble just to get it out of trouble. Okay. Looks good to me. Gonna have to clear this out. At some point, but other than that, it looks pretty damn good, I think. O Okay, so I'm gonna just take this. Take that out now. Actually, we all want that. Collapse. Collapse. Right. Tough to like this. Yep. Alright. That looks pretty good. I mean, there's still a little bit of work to do, but we get the basics down. That's the important part. Good job. Let's still go to 50s. This is hilariously small. That's the deal here. There should be that. Okay. Yep. Best way to deal with something like this. Okay. And we're just going to cover this up again. Yeah, we're gonna just do this again. All right. Next thing is take these. All right. Okay. It stayed surprisingly symmetrical throughout this whole process. Alright. Inside is looking good. That was pretty quick. Looks nice. This part looks a little wide, but that's okay. This thing is looking pretty sick. No gonna lie. 25. 23 Creating Our Blockout Part22: Thing. 249. Okay I Oh. All right. We're just gonna keep it like that. And All right. And now, this is well I actually looks like This has a bit of a curve, so Alright. Looks like there's a little bit of a bubble here, so we can do both of these at once. Scale on the X. So this piece needs to get boolined and we're gonna use this piece. Yeah. Something simple like that. A. Okay. All right. Okay. All right. All right. It's all pretty basic stuff, isn't it? Nothing crazy. It's nothing crazy. It's all stuff we can do. All right. Little lower. Looks like we're going way lower. Something like that. Okay. It's kind of deceiving. They look like hexagons, but I mean, the other side is the that's the part that gets that's where the nut is on the other side. Here, that's the hexagon. Yeah, you got to be able to twist it out somehow, right? That's my logic. Whoops. Okay, next would be here. Alright, we're doing pretty good here. Gonna just save obligatory spam save out of anxiety. It's coming along. Internals look okay. I guess we can thin out this barrel right now. Just want to give just something like this. 'Cause that's great. We can just do the whole thing, huh? Extrude scale, Y, zero. Scale, Y zero. Mesh, delete face. Delete edge. Okay, echoes in now. Yeah, we want this to be able to to go. The whole point of this is Boop boop, pop pop. This way or that way. You know, it just it's a double barrel loading system. So it's pretty self explanatory. Pretty self explanatory. This can be a normal detail. Alright, we're just kind of we've really come pretty long way. Good job, everyone. If you've made it this far, congratulations. We still have some work to do, but we're well on our way to victory. Well on our way. We're doing good. Um, I'm gonna leave this part out, too. I guess we could just extrude it in, right? Technically, we could do that. Um, let's just play around with the first sex, see how it goes. We can really kind of do this mess around with it. Something like that. Well, maybe get a little bit inset. They we can scale it in. How's that looking? Better, but now, hope, still no. Yeah, this happened. So the reason this is happening is 'cause I should have done this booling operation afterwards. What it looks like I waited. Um, I waited too long. Too long. These are the guys I want. Okay. Hit Oops. Yep. Okay. Kind of this thing, this type of leave it like that. And then just get a quick booling in here. Okay. Might have to do a little bit more work in here, but for the most part, it actually seems pretty nice. Pretty good. If we go back in here, we can kind of just define it a bit better. Want to be a bit taller. This can be a bit more aggressive. Yep, there's a bevel there. We can hit that in a second. It does seem like the whole face is kind of squished in a bit like that. This part is kind of going up like that a bit. This can be normal detail. This riveting. It can be normal detail. Yeah, then we'll just edge this part. We're gonna do this. That Okay. I'm here. 656, six, just six. X 90. Okay. Quick booling. In and out. Okay. These look to be taller, more towards the front. Bring them down a little bit. Okay. Can normal this, too. It's just not worth it to have it. I mean, it's not if you see it in a reload animation, that's the only time you're going to see it. Some sort of like a weapon inspect you might see it, but it's not worth the glimpse you're going to have, you know, it's it's not at an angle like this, you know, where you're going to see this rail literally every second you're holding this weapon in the game. So it has to be perfect, has to be, you know, defined well and whatnot. You know, like this curve we should bump up a little bit, add like a couple more edges to it. Because it's in the line of sight. And that's the important part when you're making a weapon for a game, you got to make sure that the parts that are going to be seen the most have the most definition, the most edges to them. So that's one thing we do when we finish our high poly and we go back to prep for our UVs and make our low poly model. We go back and we really just try to make sure that the edges that are going to get the most showtime, the most screen time have the most detail to them, the edges, the details, whatever it is. Whatever you're going to see, we want to make sure it looks the best it possibly can. Oh, so, yeah, that's just important to keep in mind when you're It's one of the big points you got to hit. It really is a crucial step, 'cause if you miss it, you know, it's a big miss. You notice everybody notices it. If you miss, everyone knows you missed. First thing, people notice. Oh, this looks low Poly. I wonder why. But I wonder why. Oh. Oh, I guess I should have, uh, not done that. You get the point. Okay, we're gonna bring this down here. D, it's flush. This gap doesn't seem nearly nearly the same. So I'm gonna bring it down to here. We're gonna also bring that down. This guy. Same thing. Bring it down. And then here we're gonna just bring these guys down too. Just so they fit fit correctly. This is the detail we should get. Okay. It actually looks huge. This part. It looks way bigger than I'm thinking. Mmm. Well, if we bring these down again, I'd say we could get away with it right there, right about there. But that just means we got to bring everything down kind of Is that right about here. Overlapping, probably. Okay. Yeah, as long as it can cover, you know, this, as long as it can do that and block an entry, that's all we want. We can revisit that. But yeah, okay. All right. So we're gonna want to make this four grip. It's time. Come on. Generate mirror. A little bit of cleanup. All right. Can do that. Let's do this. Keep it quad. Nice. All right. Why? Got a little bit of room. Okay. Up to here. So we just go straight from here. Scale it on the y, so at zero, right to the curve, right to the curve. Okay. Gives us some space we can try to get this going here. Just start attaching it. Honestly, one, two. Get some get some stuff going. Let's make some stuff happen. Whoops. This guy. Alright. That's still rough. Got this guy. Okay. All right, so we get that base. That's kind of relieving. We can get that over with. Um. Nice. All right. If we can actually just go ahead and go up with it, we just want to block in another normal or another, just another edge to lock in our normal to make it. So you can't see through it. Just solidify it a bit more. Come on. Come on, guy. Alright. Perfect. Alright, right about there. Yeah, we just locked that in here, as well. And then we're good to go. Should have done that as one unit. Yeah, just connect that. Just connect that. H. Alright. Okay. Looks good. Can I see you very far through? Yes. So we got a parent that's that's the main goal. We're pretty close. Just I think you would bring that up. This is the part in games where you can kind of, uh just for the sake of optimizing it, you can fudge it a little bit. It's okay. Yeah, that's totally fine. Nice. Alright. Okay. Yeah, there's nothing, no. None of those back faces showing. Here, as well. I'm gonna just give this a little bit more love here. I throw it down there. That's okay. Well, Alright. Now we can kind of send this guy. Clean it up first, then we can send it, uh, down there. Line it up. Get it out of here. See how close we were. 12. We got it. It's part EY. Okay. All right. We can go ahead and connect these guys. And then same Alright. I've still got a little bit of leaking going on here. Other than that, it looks pretty solid. I'm liking it. That's looking really good. We've done a great job so far. Here. Okay. A 26. 24 Creating Our Blockout Part23: A I I I So 27. 25 Creating Our Blockout Part24: Alright, we're going to make this aim point P. Okay, so we're going to just get the measurements down and get that straight configuration. So that's the whole thing. Length is 136136. With 70. And then height 81. Okay, so next we just got to fit this Fit this into That's looking pretty good. I say we should keep it at that. Okay? So this is correct. This is a reference block. Way in point. We can hide it and just model away. We can go for it now. Cut these references. So let's just get the body blocked out, right? Cylinder. We're just going to go with 72. Okay. We can stir right here. Okay. This cap here looks a bit wider than this one, so, we're just gonna upset. Alright. Yeah, it's one of those things, remember, we want to make it air tight, so like both scale and the zero. Can always adjust afterwards, but this is a bit taller. Looks a bit taller. Bring that up to there. Get some within there. Okay, and then the cap, as well. We'll add the cap. And the cap looks to be a different. They don't look symmetrical at all, so, yeah. Just a to there. Okay. And then try to get another angle here. This part here, this body part. It doesn't look like a complete circle. Looks more like a bit of a curve going on. Bit of a Yeah, it looks like a circle, and then it kind of tapers up a bit at the end, but Okay. So we're going to just use this circle to try and establish this part. Okay, so it does look circular up until about the halfway point about, like, this area. And then it starts to go up a bit more. And this part is flat. So that can be established pretty early on. Yep. It's got about this type of space. That's much space. And then flat. Do something like that. Okay. Yep. We're gonna want flat nut Okay, we're close. We just got the wrong. It's kind of something like this. Just got to find the right one. Might be this guy here. Okay. Something like that? Yep. And from here, we're gonna put this guy down here. Keep it watertight. Looks like this piece here. I'm not sure if it's a separate piece yet, but keep it looking like that. And then we got I want to keep this width from this piece or the like the circumference. We're working. That don't work great. Well, that's because of this. Okay. That's a little bit of a scale. This kay. Okay, yeah, this looks smaller, to be honest. Bring it down there. We'll raise that up afterwards. And, uh, yeah, we can do this. Oh, All right. And then same with this here. It looks like slightly. Yeah, it looks kind of like that. Nice. Do this as well. Okay. This. And then the caps. These caps here. They're trying to line them up with this here. About the same look roughly the same. Just got to cover this, cap that cap one. This one looks a bit taller. Shape is a bit different. Cap that. Looks just a bit different. Okay. Okay. And then we just got to get the centerpiece, which we can do by duplicating this. And then from there, we can quite simply do this. Looks like there's a bit of a thickness there. Yeah, it's rain about there. And then we're gonna get from about here to about here. Is that first piece we want to extrude? Extrude. And then our second piece. All right, about I'd give this something. We can keep it like this. And just do that. Keep it like that. Okay? And then from there, we're gonna just go and Mirror it. Mirror. Okay. And then we got this part here that comes down right about on this curve. It go see it, so a little bit before the curve. I'll start. Yeah, something like this. KX. Go. Maybe get one more in there. Okay. We're gonna just do this, just to get back on track. Alright. So we got that now. This part. Yeah, we're gonna make the caps and then flip them up after that. Just makes it a bit easier. Okay, so this is one piece here. Try to establish that angle. Check. And now from there gonna go to this bottom part, duplicate it. We're just going to erase all this stuff. Okay. And then this looks like one or two pieces. Looks like some sort of riser to give it a bit more height for these sights so they can both exist. So we're just gonna keep this design for the sake of copying it. Yeah, so it just looks like to here. Looks like one piece there. Don't really need a mirror for that. Okay. And then it looks like we got There's something simple like that. Okay. Okay. Alright, something like that. I ain't what. And then from here, we're just gonna make a gonna try to make this here. Oh. Okay, yeah, pretty good. Did a pretty good job. As far as getting the height established and whatnot. Good job. Alright, so this is a little funky. We can just delete this. And then, uh, just do this. Alright. Okay. Got that established. And we just get the little this point here. And it looks like this back part hangs over and it does not look symmetrical. Alright. Oops. Yep. That right there. Just trying to find this out get this guy. Yeah. Pure if. By it over. Okay. This gives us a better angle to work with. Overall. This gives us a better angle. Okay, so this is a cool knurling pattern. I like this. So it looks like this part, uh, kind of extends out like that maybe until here, a little less. Yeah, it looks like it just kind of extrudes out, and then we just kind of give it a little bit more of a push and then bubble it, and then it kind of boom. Looks like it's on a bit of an angle, though, so, before I bubble it, you can just push it down. Just a tad. Okay. So that's there. Um, and actually, you know, before I do this, I should try to establish this little piece here. It's kind of important. It's a cool detail. It just sometimes that stuff stands out, even if it's literally just that, so there is definitely value in doing that stuff. So it makes you stand out, to be honest. So worked well thing. Okay? Maybe I pushed it out a bit too far. I'm thinking this probably is more accurate. Okay. Yeah, it looks pretty good. And then right here, we're gonna connect a a square a square. Give it a bewil cut it open. Okay, something like this. And yeah, following the shapes. That's all. Just following the shapes until we get something that looks half decent. Okay, kind of like that. And yeah. And then we got a big something like this. Looks a bit more. Okay. This right here. Looks like it comes up a bit more like it sits on it. Pray bow And it's a bit further out, actually. So it's maybe here, locks it in there. And then here, we have this, you know, just make sure it kind of lines up how you want it to. This actually goes down a bit. Kind of a little space going. And then, that seems pretty somewhat accurate for now. Yeah. Yeah, okay, I can live with that from now. It does look like there's something like this going on. I didn't want to mess with it too early, though. Something you wonder if it's worth it to do that, but, yeah, I'd say it is. Let's see, it's worth it. Okay, we got that. And we're just gonna attach the, uh circle. Not gonna give it 72, though. Let's give it 48, 'cause it's prime time, you know? We don't want to see any any BFs. We don't want to see that stuff. Yeah, this looks a lot wider, doesn't it? So we can just do this and call it a day. Yeah, the attachment point is kind of it's floating. It looks like it's floating a bit, so got to respect that. And then, but I don't have an orthographic angle or anything, so we're just gonna scale it up. Jeez. And it is huge. So Compared to, it's like this big seems. Jesus. Oh, looks like I Did I put it on the wrong side? Yeah, it does look like I did. Oh, no. Okay, so this stuff. All this stuff, yeah. So, it's not the end of the world. We can fix this by Let's try a couple of things here. RZ 180. Looks like that fixed that. Keep this. Now we're gonna shut this to the three D curt RZ 180. Okay. Did we fix it? Looks like we fixed Yeah, it looks like we're in the clear. All right. So next would be Next would be just keep doing this. Get rid of this. Just kind of Yep, looks something like that. And then this kind of push out. And then we can push this out. Okay. And then here is some sort of thing like that. So the urling we're gonna make a normal detail, even though it's prime time. Yep, we're still gonna make it a normal detail. The reasoning is it's, you know, it's just a it's a lot of poonsT make all that knurling, it just takes a long time. So, I mean, it's very heavy, so I don't think there's much value in that. And then this is gonna be this can be normal detail, or we can just separate it into two pieces. This This could be a cool detail. I'm gonna leave it out for now just for a second. But it's easy hi polydtail as well. So Okay? This looks so out of place, well. It's 'cause this part isn't punked out yet. So it looks like we got to just kind of push this out a bit more. Just till it gets out enough working. Grab on, you know? Looks like I already got set out. Okay, so we got that. Um Yeah, something like this. And it goes down to about here. Alright. And from there, I'm gonna go knife tool. I'm doing it. Be precise, but use the damn knife tool. Okay. Yep, something like that. Then just delete this stuff you don't want. Yep, what's wrong? I was confused. Okay. Now that that's established, that's good. And we can go ahead and also establish this. Looks like it rage right up to the point there. Got a little bubble here. I'll just get out of the way. Nice angle. Okay, we're doing pretty good at this point. Looks like this pushes out a bit more, actually, so Um, let's actually let's try to match this a bit better. So this just pushes out more. Something like this we can probably get away with. And, yeah. Something like that. That doesn't look outrageous. That looks pretty good. Alright. And then we got how many holes you got? Okay. You can get that out of way, as well. Okay. Yeah, that'd be a good indicator of the size. Right here. Let's just do 20 fours for this. I'm gonna be pretty small, so the edges are gonna be a bit harder to see. Those imperfections. Okay, we want just about that size. What's this looking like? How close to the? They're pretty damn close. So we can go ahead and, uh, just kind of leave it like that. I can't get over how big this thing is, Jesus. Is this correct? It just doesn't look right. It just looks way too big. Yeah, I'm just kinda doesn't look normal, like it. Just a bit smaller. I'm bringing this in a little bit more. Same with this. Just try to normal. It looks crazy. Looks outrageous. Alright? How many we got here. Ray. Negative two. Put this in zero. One, two, three, four, five, six, seven, eight. We got eight. We got to make start here, go here. Something like this. We're going all the way through, so it's pretty good. We can just establish So safety points here. Every other. Just so you get stuff to attach to. And it will make the booling a bit easier to deal with. So, something like that. Okay, ready to go. Nice. And then it looks like here, we got some sort of thing going on as well. So we can tackle that, too. Alright. Well, delete this. I can. Looks good. Okay. Yeah, it looks right. Looks like slightly thick, T. Good to leave it like that, I think. And then, uh, yep. Okay, ah, we got a lot done. Well. Look solid. Come on. Okay, let's continue here. Okay, this is where it starts to get a little dicey. It starts to get a little confusing. So this type of thing, we're gonna make that. And this cylinder. Trying to get a good angle of this cylinder. It's a little tough right now, but um Okay. Okay. Yeah, that's really looks somewhat complex, so Okay, so just to try to get this thing established, we got we got another cylinder. We'll give it a 36. Okay. O X 90. Get it on the web, bring it down. We're just gonna bring it over. Yeah, we're gonna take a little bit of eyeball. Um, you know, we should just import this as well. This guy. Just line it up. Yeah, just smarter to do that. Um, okay. No. Look I'm just flipping it to the same to the same length here. We're gonna hide this for a second. Bring this to fs. Call it Aim point. Left side, hide it. Bring this out. Okay. Give us a pretty good scale. Alright. Right about to there, bring it out to there. Okay. Yeah, it looks like we got to bring it way out here, though. And it's also on this side, so got a bump of that. Got to remember that. Yeah, it looks like it's just kind of chilling right there. Just trying to get a scale of where it ends, where it begins, et cetera. So it looks like we got a general scale, which is good. And now we're gonna want to establish the cap. Something like this. Okay. Got this cap here. And actually, something we should do before this. I've learned this the hard way a couple of times, but okay, so we want to select, check or deselect and see experiment a little bit. So this actually looks pretty accurate. It's okay if it's not perfect, but it looks pretty good. Yeah. Just keep it in and do something like this. How does this bubble? Yeah, that looks pretty good. Okay, so we're gonna just go around, select these edges. It's a pretty heavy piece, so get away with the best you can. This isn't gonna be a fully optimized piece. Like, like a fully optimized, how do you say it? Model, it is, but it's not gonna be like I don't know, how do you say it, pull us to the wall type thing. Not gonna be all out, you know, like, make or break. Our studios closing if we don't if we don't get this engine running smooth. It's not nothing like that. We're just I'm basically just showing you guys how to make this stuff quick, efficient. Later down the road, there's gonna be my favorite part is, obviously, texturing. I love texturing. I could do it all day. It's my favorite thing to do at work. Um, but just trying to establish some points here that you guys can take with you. Hopefully, it'll be worth the money, you know? Like I said before, I mean, really, some tutorials, you know, they're just a lot of tutorials. Maybe this one included, I don't know. Are boring as ****. They are brutal. Brutal, brutal, brutal. But you just need to do it. Like, there's not really you have to just do the tutorial. I mean, you can do it yourself, but at the end of the day, it's gonna take you a hell of a lot longer. If you just bump around by yourself, scouring YouTube, we've all been there. How do you do this? By all means, you can do it. It's possible, but it is not fun. A tutorial, it's like biting the bullet. You just get it over with. You get it over with. And then you're done on the better things. Wow, this looks crazy. Geez. Okay. What did I get myself into here? Geez. And okay. Something like that. I'm pretty happy with that. Yeah, just a combination of Bolin, et cetera. That's all it is. We're gonna just bring this back to earth a little bit. We're gonna scale it so it's not hitting us too much. Okay, that's there. And, yeah. In a decent spot, as far as that goes. We got to get this cap, as well. And this one looks pretty different as far as what it's gonna give you, how we're gonna make it. Looking a little different. I so yeah, I would say, might be worth it to bevel that's beforehand. Yeah, give it a nice bevel beforehand. And then we can just go ahead and Hmm. One, two, three, four, five, six. Maybe 15. Something like that. One, two, three, four, five, six. Yeah, around 14, 15 slots. So if we do I don't think it as actually worth it to bevel it beforehand. We should keep it real simple. And, uh, yeah, selected. We have 18, so that's too much. Um, so 18 is too much. Okay, so one thing I think we're gonna do is cylinder 12 Mm, maybe it a bit more. 18. RX 90. Scale, Y. Scale Y. Scale, Y. Scale up. Yeah, something like that. It Edit, bring it up, so the origin stays the same. You got to do that in edit mode. Okay. And then from there. We're just going to kind of continue that up. Got lucky with the sides there, I think. Okay, and then array, we'll give it a 14 object offset. And then we're gonna throw in a plain x it's empty. It's gonna get messed up, I think. Yes. The scale is off, so bring it back to the origin. Okay. And now we're just gonna rotate it until we get I got to break out the calculator again. Calculator. 360/14. Divided by 14 is 25.71. Great. Or, 25.71. About as even as we're gonna get. Okay. Alright. Give it a test here. It looks a little too deep, to be honest. So we can go ahead and do this. That's looking better. I think still might look a bit too deep. Um, I think a little bit. This is looking a bit better, I think. Something like this. Okay. And as you can see, you know, we're gonna get a lot of uh, as far as the lines go, a little bit of inconsistency here, but I think we got enough to make it kind of still convincing. You know, you can see this. There are little incongruities, but I think that's okay. I think that's fine. We're gonna continue on like that. Just for the sake of simulating as if it were, you know, the real deal. Okay, so S all there again. We'll give this a 36. O X 90. Okay, just for now, go to do this. Boom. Extrude. Scale. I want my dad. Okay. Yeah, so we're gonna want scale it or whatever. And we're just gonna want to get that look, you know? We want that look. So Play gonna slowly bring it in, do this type of booling where it doesn't finish the job yet. Um. And yeah, okay, we're kind of Scale why? If we scale why here. Yeah, we can bring it down a bit more. Okay. Um, a little bit more. Yeah, that look pretty good cover the whole thing. Looks pretty seamless. Yep. I think that'll do it. Okay. And then just kind of scale it to your proportion that you want. Looks kind of big there. I did that little scale down. And we're just trying to gauge, you know, this height gap to that height gap. It's kind of a good key to go off and you can see there's a little rubber washer there. We can toss that in right now. Okay. So as far as the washer goes, you know, 20, we can just just duplicate this. Trying to keep it look seamless, too, you know, B Okay. Skill. That's, boom. It C. Keep that bell real low. Hey, something like that is gonna do just fine. Do just fine. Okay. Nice. Coming along good. You know, Dad, some of these stuff, too. Some of this stuff. And Yeah. It's looking like this part here. Yeah, it looks looks flat. It looks pretty flat, so from the point of attachment, we're gonna just try to get this guy locked in first. Give him a 36 or Y 90. 36. Yep, he's about that wide, that height. Okay. Can deal with that. Um, something like this. Okay. Yeah, and we're just gonna want to basically try to bring the center out here. From when do we want this to be flat? We want this to go up, and we want. So we're gonna want from here to basically here to be XYZ. Okay, don't have to worry too much about the top part. It's more the bottom that I'm looking at. And then Alright. What is that looking like? Zero? Okay. Yeah, something like this. Something like that, and then we're gonna just want to shrink this in a bit. Just a little bit, with that. Kate, G x. Gonna go out a bit. Okay. Yep, that's there, that's there. We flatten it out successfully? Well, the next thing would be we can see if we can kind of tighten it or is that gonna just sabotage everything? I think that's pretty good. But we might be a bit big, so we can actually got to backtrack a little bit. Yeah, it's more maybe a bit more like this. That look some bit better? Something like this. Okay. Back. And while we're at it. We're here already, so flatten this guy out. We're gonna boolean this guy, so this line up, something like this. We don't know how far it's gonna go into. It looks like it kind of establishes itself there. So instead of boolining a square, we'll duplicate this. Isolate it real quick. Use our fellow knife tool, cut right through the middle. That out, Extrude it down. That's gonna give you a nice booling setup that we should use. And, yeah, yeah. So we want it to be right around right before that curve. Something like this, Boll, nice. Okay. And, yep, so that's that. Trying to line it up. That curve. Okay. That's kind of like that. That's how it is for now. And it looks like this part. Yeah, we're just gonna kind of cut this open, too. We can just go ahead and cut that out. Yeah. Something like this. Yeah, it looks pretty good. That looks like this part as well. Yeah, some sort of this here. Nice. Okay. I delete finel. You have to make sure it looks a bit Orian No, I think it. It's all adjusting on the fly. That's really what we're doing. We're just adjusting stuff. All this **** is just on the fly. It doesn't look good, change it. It doesn't look good, change it. And then you just it's good enough at home. L Because it's kind of a fast paced industry, and if you can't take too long, basically, if I had one thing of advice here, you got to do it. Well, you got to do it pretty fast. So if you don't, then bad stuff happens. Okay, scale that, bring it there, there. And we just want. Bring it in a bit first. Scale it up. Boom. I'm gonna want to scale this guy as well. Just that establish that, nice. Okay. Boom. It does not look great. Oh. Looks a little. Let's This one's always good for this type of stuff. That kind of lets you Let you work it out a bit more. Gives you a couple chances, you know, then it'll rush. Alright, and then we got a little oval here, which I'm gonna guess is connected to this thing, somewhere, so it looks like we did a good job lining it up. Pretty good job. Okay. Get our oval. Keep that 20 pets. It's probably pretty good. Well, I 90 boom, boom, boom. Okay, one thing we can do here is just cut this part, bring it out, set a mirror, and then clip pop it in. That doesn't look good. Extrude. Oh, yeah. Okay, so that's looking a bit too. It's like that with. Okay, we just want this just enough to fake it. We're faking it today. Okay. You gonna just keep this one. For some reason, I have a feeling I'm gonna need it again, still. That's p here. Bring that in, like, a Looks. Pop that in there. Okay, so we want to establish Y C here. Okay, I see. Alright. There. And, you know, we might actually just be better off, doing something like this instead, so we're gonna just take this out. We're gonna keep the shell. And we're gonna expan it. Okay, so extrude scale Y, something like this and make it taller. In the scent there, we're gonna put 28 is probably good. Scale this down. Got to think, how can I best make the shape here? What's my best bet when it comes to making the shape. And then you just do your best. Alright, so we got that established. And then we get, boom, boom, boom. Cut that part off. Are we, though? I don't think we should do that. I think I'm crazy. I think I'm wrong. Okay, this Get rid of those. Okay, so we got right now, you got this part. It's good. And then we just want these parts to kind of just fall into place here. It looks huge. Oh, yeah, yeah. Of course. Okay, so we'll try this here. Scale this up. I bring you in. Scale it like that. Boom. We just want to try to get something like this shape like that. So um, something like this. Doesn't look super smooth right now, but we're gonna want to Uh, yeah, so it totally looks like I messed something up. Yeah, I totally did. So gonna move that, and then we need to just move this. I don't know how that got by me, but I did. Alright. We're gonna chancel this out, collapse it. Get rid of this guy. He move all these guys kind of up. He right about there. Right about there. It's true then and then give that the Bool. Didn't work. Well, it did, yeah. Okay. Yeah, something like that we're gonna be looking for and then. How this guy kind of great where we want him to be. So just scale it up, to be honest. And we just wanted to fit in a bit better. Something like that it's perfect. You can make that work. T you got a good piece going. Okay. Yeah. Yeah, that's fine. Keep it like that. Keep it like that. Then just running with the knife. Just running with the knife. Okay. A little bit of cleanups probably required, but other than that, you know, it looks looks pretty good. It looks pretty good. The site is huge. Wow. Did I make a mistake? This This gun looks pretty solid. I'm pretty happy with this. I'm proud of this one. Not bad. 28. 26 Creating Our Blockout Part25: But radio. Mm. One thing that we could do here bully that, and then we can we can probably just do this. Okay. Okay. This part, we're going to use normal. You bet like that for now. We got this piece in. Um, it looks like there's a similar type of piece here, but it's not rubber, it looks just metal, so we can we can still use this one and then just shape it differently. Okay. Looks like it kind of matches this. This shape. All right. We want to morph these together. Okay, are we gonna need to do this? Oh Okay. So actually, if we want to use this in game, we're gonna just go all the way through. All the way through. Make the whole body 'cause we're gonna want to look through it and shoot. Okay, so we're going to go ahead and try for this piece now. Just trying to get a good idea of when when it starts to kick up. That's all. Okay. That's too much. Mm, it's almost there, I think. We're right. It's gonna take a little bit of eyeballing, so yeah, I think this could pass. So if we bring this up Um, yeah. So we're gonna raise this whole thing up about to hear. No. Okay. I was like a uh It does look like this kind of tapers off into its own, uh, you know, so something like this happens. It's looking like it on a kind of maybe and Something like that is happening. Yeah. Okay. I'm here. Something like this. Spring it up to there. Like that. Okay. And I'm starting to think that maybe we shouldn't be nearing Let's Okay. So B. And then we just need a curve here so that make it curve. Okay. Well, that curves, but we want a little bit more. That's good right there. Nice chop. Then there's a slight beblee Something kind of like this. Okay. Alright. That part's good. We got to put in the bool this part. We got to round this off a bit. And then there's a little lip here that we got to take into account that we did not pray. So that's where the candle this would be this Okay. Yeah. I'd have to do something like this. And then it just goes out more. So Yep. Alright. Okay, something like that. We can trace over this Okay. I just kind of stamp that in. But I think prior to that, we should establish this one. So I just do this basically. All right. Alright. Hi out here. Yeah, I just want it to be basically thinner this thinner. I was saying this one go a bit of it. Something like that. Wings caps. Give it a bible first. Trying to establish that basic form before anything else. And then we can ten by some match in you. Nextran. Pull it over, do this first. We're gonna pull it over. And we just wanted to line up with, you know, right around there. Can't be a bit higher. And we want to curve it. Alright, go to there. And we're gonna do this to him. So. It's from there. Pretty close, pretty close. Something like this. Right Yeah, right. It looks like there's a bit of a inset going on there. And then it's got those two tabs. It's got those two tabs. Yep, almost looks like we can. First of all, let's just wear it really quick. Mirror. You know, we're gonna just take off one of these because as you can see, it's clearly thinner than I thought. Okay, that's pretty painless. Then we can Yeah, it was a pretty s one. We got to add the kind of, like, this thing. Add that circle. Get to 12, something like that. Something real light. Okay, we're in there. For the sake of lining everything up, let's just try to make this long. Okay. Yeah, that should work. Something like that? Sure. Just straighten it out again. You should be good. God. Realistically, it's about that wide, so we should just Do our best to make it look how it is in the roof. This could be, like, a tad bit wider. Got a little bit more left to give. Boom, nice. Something like that. And then this Okay. Looks good. This This could even be normal. And then these little flared things. Okay, so from the bottom, it's looking something like this kind of etches out. Little flare. Bring it in a Ted. Okay. Yeah. Yeah. We're gonna have to go to nom up here. Skeleton on the Y a little bit. And then we can reach Yeah. A little slap there. There. Hmm. Yeah, it's almost like we want to get this kind of a look. Yeah, something like this. But I think if it was, uh the show was just down here instead. It's gonna take something like this. Get out of and devil. Okay. It's gonna be two there. And we'll go something like this. But then we want to reconnect. These guys want to reconnect these guys here. You can hip it. And then from there, we can do this stuff. Lock that in. And then we can bring this bring us to, like, here, ditch. Something like that. Bring it to there. Okay. What can I want? Yeah, just try to set it up. Tell these vertexes, for the seas, whatever they are. They just got. They have a chance in this world. So they have a chance in this cruel world. Twisted I know I'm gonna delete whatever is under this crap. Boom, boom. Dad, something like that. Something like that. Mm Mm mm. Something like that? I curio if we give it. Go back to Norman first heck I tell you go. Freebll Is that legal? Can we do that here? What's good to make. Freeblling legal? Yes, it is. Ten guess now. This story gets me assessed, but we scale it in. I mean, what's that doing for us? And the pearl cows here. Yeah, it looks pretty good. Good shading. Yeah, okay. Nice cap. Got a nice cap there. All right. No mercy. Yeah. We can try to do this is. Kind of, if you can kind of, like, steal it inwards. Well, I guess that is Oh, no, do this. Just do this. Forget that. Forget everything you said. Whoops. Just forget it. At it? Good. Hey. Success. Fooling this cap was identical. But we don't live in that kind of world where we make identical caps because stuff needs to work a certain way. So we got a chunky one. A real chunky one, and this triangles messed up, and it's way thinner. Yeah. Looks like I messed that up. Which is fine. Mess that flow. As long as you know how to fix it, it shouldn't be good. You're just cutting right down the center. Right to there. Nice. Bring that in. Bring this in. This is our cap, isn't it? Isn't it? Yeah. And you're gonna just, we gonna duplicate this per around. C with the good old G 180, Z 180. Scale it down so it fits on the, this ****. I mean, stuff. This stuff. Scale it up again, scale it down again. Scale it up and down again. Why not? Yeah, that looks pretty good. And, something like that. Just not enough stuff right there, though. Got to push it all in a bit more. Yeah, that's what I'm talking about. That's that's what I'm doing. When it's fully closed, though, that thing is locked in. That thing is sealed to the brim. So let's seal it to the brim. What about this one. Yeah, like that. That is seal a F. Okay. Nice. This is what you love to see. You would love to see something like this. Good stuff. Good work. I significantly smaller. Okay. This part. It's got some chunk to it. It's got a lot of chunk to it. So much chunk. You're gonna need to do something like this and extrude that thing. Then you're gonna have to do something like this. Bend it. This part. Got to delete this guy. He served his purpose right there. Boom. Wow. Served his purpose. Before I seal that forever, though. I think we should think about what is that? We should think about moving this out. Move it out. It's chunky, you know? Got to get the chunkiness. Chunky, but this part stays Man, only the back window is getting loved here. Only this guy. Well. Okay, this is pretty good. Yeah, overall, it's pretty, pretty good. Window comes out. Blah, blah blah. There's a window here, though. Okay. Window there. And it looks like this continues. This circle continues into yeah. Okay, I'm gonna try something risky here. 'Cause that's what you're supposed to do on tutorials. You try risky stuff instead of trying to convince people you actually know what you're doing. So I duplicate this and then just do this. Okay. Can it its own thing. Delete that. Mm, extrude it out. Kind of like this. And yeah, this is just a random thing I'm doing, so that, okay? I mean, hey, that did something. I did something. That gives us what we need. It gives us exactly what we need. Exactly. We're gonna go back to that mirror life? No, we're not. Why would we do that? We're gonna Okay. Please. Nice. Get a little thing going here, though. The proud it. We took a risk. Now we're gonna face the consequences. It's a good way to learn, though. Yeah, just kind of send it sometimes, and then, you know, if it works, it works. If it doesn't, then go back to what works. You know? It's not gonna work every time. That's for sure. But, you know, take those times it does work and run with it, man, to run with it. Has around with it. Nice. That's for worst time real quick. Clean up our issue here before it gets worse. So that didn't solve it this girl. Good old Cena merge. That's always good. Same here. Good old Cena merge. What are we doing now? That looks clean. I think we got a little bit of tremble on the top, maybe? No, I think we're in the clear. Okay. Making a bit chunkier. Oops. Now we're gonna extrude down. Okay. We're gonna go in and then come out again and then go in again. And then that should be a good resting point. And then in and then we can put the glass here. This can be where the glass goes. It lasts. Okay, that's where the glass is gonna go. You like that? Nice. Okay, so we want glass here. Glass here, and then glass here. Skill down. Do your best to try to make them the same. You know, make life a lot easier. Okay, so we're just gonna go with the We're gonna go with the Extrude. I know it's kind of a bold move. Okay. Extrude Y zero. That was a bad result. So Y zero. Okay, we're gonna merge. Delete all the extra stuff. So we're left with this Dolete that face. And now we're gonna go F. Gonna go F. Take that out of trouble. This face here will be our glass. But still got this. Ooh. Hey. Okay. Well, as long as we got a circle down, duplicate it. Select. Click until you get that line. I'm never getting that line. Boom. Just extrude it somewhere. Move it in. That's about the size of a glass these days, huh? I don't know what the hell just happened there, what? F. Old depth. So is that right here. Okay. Old death. We Lass. Cool. This part? Uh, yeah, so it's still still. Still. Um it looks like there's some sort of some sort of a thing going on for. Okay. From here. I have a moment of silence for my brain right now. Just a quick moment of RAP. Come on, Brain. You can do it. I believe. So if we extrude out. Yeah, that kind of gives what we're looking for. Yeah, okay. We're still in it. We still got it. Hey, I'm still in it, man. We're still in it. I've still got you. You think we're done? Get rid of that. Boom, we back. Just like that. Okay? That looks so weird. I want this back. I'm scared. Okay. This guy, bring that out. Okay. And Brandon bring that set. No. Okay. That's better. Okay, that's our glass. That took a long time. Took a damn long time. I can't think of there. A little bit of spunk there. Alright. That's fine. Boom, boom, boom. Yeah. Alright. Finish that out. Okay. Smooth that. And then we got to make sure that we can get through this guy, so get this back going. I'd say that's important. By any means necessary. Yeah, that's doable. Ero. This guy. Dad itch. Yeah, we just couldn't make it. Yeah, this. We're not out of the weed yet. We just got to set this thing up properly, and then the d Okay. Grocery. Yeah, so that's not I'm looking for. Oh, I don't know how that got there, even. Looking for that. Okay. Yeah, something like that. That's good. Dad. Here. When was for this? Okay. Yeah. Why I open this back part out? No, but there's no glass here, though. You don't need a. There's no glass. This my high risk, my low risk high reward mode. Looks like it gets me to pay off again. Give it off this. Nice sheets, man. We're still in it, though. We're still in it. Why? Still baby. Trot Union. Got to the little. Apply it. Were we perfect game. Okay. Yeah. We're in it. Nice. Yep, we're gonna do something like this, as well. Just so it and grab on to this part. This s. Okay. 29. 27 Creating Our Blockout Part26: Okay. Okay. We are going to move this. Yeah, we'll keep it the same but we're gonna duplicate it. We're gonna bring it. Okay. Okay, so clearly looks a little different from how we had it, so and another thing would be this. Yeah. All right. RY negative 90. Bring it down to here, R Z 180. Okay. Push this down. EqorEtr that on cake. And we're just gonna give a little bit of space here. Yeah, something kind of like this. Let's try to get this guy set up first before we get too far. So we can go ahead and do this. Okay. Okay. We're gonna take this, give it the Boling. Okay. Looks to be a little too big, huh? It looks pretty good. Alright. Take this middle piece here. And we're gonna hit P. Okay. We can just extra Z on that. And do something simple like this. Okay. And that on these guys the remaining. We're gonna file these in. Okay. And then it looks like, so we should do this. Control. Boom Alright. Mirror. Yeah. Kick. Something like this. He got like that, but we wanted to have a little bit of, you know, like, a little lip. Get that going like that. It's actually it's looking like a little bit too thick. A little bit. If we keep something like that out there. So I can start from here. We can go out. We want to go up a little bit. Just a little bit. Go out again. Then we'll be at the peak here. Out again. And then finally, we can connect these here. Okay, so we get kind of that lip that we're looking for. Connect that. We can delete that part. Boom. Okay. Okay. And then here. H. Yeah, we're gonna extrude this. This is gonna be normal. But we're gonna just keep it. We're only gonna have this, this part. This part only. Just to give it that raised look and then Yeah. You know, might be smarter to do this. Mm. It's looking more like that type of thing than anything, so Go trick here is we go control I hide. Take this here. And you can adjust it. Take that control. Nope. Option Command H or option. I don't know. I have a Mc keyboard for some reason. Just never got a new one. Okay, so we got this down. Uh, for some reason, looks a little weird. All right. I I Okay Hey. A little bit of a bubble here. Maybe a little bit more bevel than what a beak would be able to do, so I don't feel bad beveling that. Maybe here a little bit, too, just to separate the two pieces. Alright, so we got that down. And now the next part would be to get these pieces in. Let's go with 24. Nice. Something like that. Okay, test it out. It looks pretty good. Okay. Get these pieces involved. Generate the mirror. And then down here. We're gonna have that piece again. Like that. Oh Yep. Yeah, it's kind of the same thing, so we don't have much of a choice at this point. We never had a choice. Nice. We could do this, though, yeah. Noise. Mission complete. Okay. Screws. Goes all the way down. Okay. You already know six piece six piece McNugget. America. Okay. We can swag out a little on this screw. Why not? Okay, so we got that down. This is faking it right here. We're faking it. But hey, we're making it. Faking it till we're making it. Okay, can I please reverse this? And no. No, we can't. Congratulations. You messed up. Okay. We got this here. Delete all that. Boom, boom. Yep. Yeah. Yeah. Okay, so we're gonna take this piece again. I'm gonna shrik it though. Just about a year. Alright, that's a lot better. All right. Do that. Do that. Connect these guys. Mirror, run out the center. Okay. Yep. Yep, yep, yep. Okay. That's that. Kate. Getting closer. Yeah, it's just so much bigger. Well. So much larger. This seems so damn complex. Wow. It looks kind of sick, though. Looks kind of sick. 30. 28 Creating Our Blockout Part27: Okay, so we're gonna add this part as well, this little carry handle. Shouldn't be too difficult. Okay, I guess I should preface this. So what I did before did a little bit behind the scenes, okay? So I made a folder for sight, and then I basically included the rail, as well as this piece, and then as well as the sight. So, yeah. So I tied that carry handle. Something like that. Okay. This guy. Just wanted to give more refs. Okay, so this can be our main thing we look at. But, as you can see, like, this piece here, the shroud that was there gets taken out and replaced with this. So just looks a little bit different. This is also a different weapon, but the carry handle is the same. But this is the carry handle. And as you can see, yeah, it just kind of just looks different. It just looks I mean, it just replaces it. That's. Okay. Start off with a cube. This is just like what we're used to doing. Just modeling, blocking it out. That shouldn't be all too hard. Shouldn't be too hard, huh? Just trace them trace them out. Put them where you think they should be. This one. Looks right about here like that. We can boolean this. Looks good to me. How does that look? Okay, we got good old mirror trick, cut our time in half. Alright. So first things first, we can delete this. I'm gonna add the faces back, just hitting F. That didn't work. Okay. Oh, yeah, it's mirrored. Clipping. Select all the outside. K. Got that in there. Looks like there's a slight bevel here. Like that. And then here as well, looks like there's a beble. It looks a little bit more not perfect. Something like that here as well. BbleTs one prime time, so give it a couple more pieces. This here. And down here. Having trouble for some reason. Okay. Nice. Alright, so we're gonna worry about this piece a little bit after. So compared to the barrel, this is not as wide as it. So really got to thin it down to about here right around there, about the width of the barrel, but then we're gonna chop it up a bit. Alright. So we can go ahead and do that booling now. Go ahead, do that booling. Just gonna add a cube, make the shape, basic stuff here. You guys can pause it, go ahead. You know exactly what I'm gonna do, so. A lot of the techniques I use they're nothing. They're not, you know, groundbreaking. A lot of booleans, just basic modeling. But you're gonna need me for the texturing. That's my specialty. That's my specialty. That's probably the best skill I have right now in three D, 'cause it's the most fun to me. If it's fun, you're gonna be good at it. That's just a fact. Don't get me wrong. Modeling's fun. It's kind of relaxing, as well, I think, personally, but I like the texturing. I think a lot of people like the texturing, as well. I don't think I'm unique in that sense. It's just fun. Just a fun thing to do. Okay, so now this, we got to basically push this stuff out, you know, to here. That's about where it goes, too. We can do that using this guy, as well. Just keep one level even, at least, you know, keep that Z even. Okay, right about to there. We're just gonna move it so it's even. Alright. Move that out to it ten. And we can actually get this in the mix, too, this guy. Gonna have to adjust, but it's still pretty good to have this, as a piece. Early yelling. Okay. I didn't look good, actually. I regret that. I take it back. We're gonna move this out like that. Nothing like this. And now we'll move this out. And this needs to go up hand out, so the up one we can get away with having the, uh, you know, all these Okay. Okay. Oops. I'm taking the wrong thing with me. Yeah. Something like that. Also, sorry for my sniffing. I know that's probably annoying as well. People get sick, okay? What are you gonna do? Alright, we got this. We do want to carve out the middle, but let's try to further define this real quick. Best way to do that could just be push this in a little bit and then add another loop and then just pull it out. Give us a curve we want. Everyone's happy. Everyone's happy. I'm just tapping G to move it along the axis, and then kind of pull it out again. Alright, and if we shade, do we get a curve? Yeah, we get a nice curve. Pretty decent. Yeah, that looks good. Now, there's a good chance we, uh we just use the if you can see, it's a lot smoother in the reference. There's no hard edge there. It's just kind of, like, kind of like this. But, you know, you can see that is pretty affected the normals. One thing we can do there is just select that, scale it in inset it, and it kind of gets rid of our outside normal issue. So, yeah, I think that's probably a good way to go it looks cooler and it looks more like the reference. And this this type of display. So, yeah, we got that. And then just for it does look like it's straightened out in the middle. So this part, you put a screw there. So we'll just flatten that out. We're gonna actually put our origin there, and then we're gonna add looks like a little screws there, so give a 28. Okay, scale it up. Screw cry around there. Okay. Bring it over. I'm scaling that on the Z. Okay. That's about where we want it. And then it looks like on that, we got another one. So, um, yeah. We're gonna bring this up, just so it looks like it's sitting on top, bring it up to there. Scale it into here. Okay, and now we're just gonna bell that top piece. Give it a three piece. That's really pretty good. The one thing, we'll just do this and then break it down a bit. Scale it on the y a little. Okay. And then here origin again, add a cylinder, six piece. We want a hexagllon. Okay, and then right end there. Give it a straight boolean. Okay. That's good to leave for now. I can get rid of that part. Alright. Nice. It does look like it's out a little bit more, to there. And then that means this can go out a little more, just to here. Nice. It's looking pretty good, I think. I'm liking it. We're gonna bring this in a bit more. Bring it down. Just a to there. Nice. Okay. That looks good. And now we can add these parts. Yeah, it looks like this part here is attached to this. So we're gonna just add origin there. Um, you know, we could probably get away with something like this. Okay. And that looks like it goes right to the bottom. Yeah. Nothing like this. And then right about here. Extrude out scale on the Y to get something like this. We're gonna bring this over. We want it to cover it. That's the goal here. We want it to get covered. Bring it over, bring the screw over. It's okay. Something like that? I don't know what this is doing. Okay. And finally, we're gonna go here and bring this down. Scale it up. Okay, looks good. And, uh, yeah, that'll be good there. All right. This part. We're gonna try to carve it out now. Also got to try to get this piece, this little extrusion. Take that into account. Can't leave that out. Yep, we're just gonna basically pull this one part out. And it goes if we're looking at this piece here. It's sitting on top of this. So All right, there. Okay, bring this out. All right. And it does look like there's a little thing going on here. Skill X zero. Give it a little sharpen or sharp. Yeah, yeah. So from there. We are going to quite blankly. Uh carve this out. Starting here. It's about this stick. Carve it out. Carve it out, carve it out. Okay. And then it looks to be 31. 29 Creating Our Blockout Part28: Okay. So I've gone and found these references of this beautiful old man who has generously made a video on YouTube. Not of the same weapon. It's slightly different, but the carry handle is the same. That's all you can ask for in this world. So we got a nice angle of this thing. And we can go ahead And just go extrude, scale X. Okay. That's gonna give us this. It's been scaled on the X. We want to bring it down a little bit. As far as that's concerned, and then cut that part off, cut that part off, and then bring it way down. Way down. To the point where that's where it cuts through right about there. Okay. How does this look? It's not bleeding through there, so we can cut that off. And then this part here, there is a lurking issue. So we're gonna take this and this and just bring it in. We're just gonna bring it in to the We want that to be like that. Okay. Yep. So it looks like pull back a bit more. Maybe two right here. We're trying to line this up. Okay, it's looking pretty good. And now we have to get it to basically curve in. We basically want it to go in like that. But first, we should scale it. So this roughly this bring it in, something like that. And that's that's a good job there. Okay. Dad. We got a lot of it done, so and then this part we also want to bring No. Extra it up. Okay. Now we're gonna get this Bolen out of the way. We, we can use a square 'cause you can see it's not a perfect circle. It's just more of a I'm looking at these things here. More of a bevel. G. Nice. Difference. Okay. I see. I see. Okay. Now we're going to go for this bowling. Okay. Got the basics there. Now we just bevel what we need to bevel. The details that we need to bevel. Okay. There. Okay. Something like that apply. Good to go. Pot that on this part, I think is best if it's just normal detail. This part can also be normal detail. So those details are good. We got the main ones out of the way. We need to get the sights and then this little piece that flares out and locks it in, also. So, the sights look something like this. Pretty basic looking sights. Kind of weird looking, to be honest, but how they even? Yeah. Yeah, it looks like it kind of collapses into a Okay. This is just gonna try to smooth it out for now that. Okay, kind of turns into a bit of a wary situation, yeah. Okay, so we can move on and add It's basically just like an extrusion from here, it looks like like you and Yeah. I there now. Yeah, if we wanted to maybe add this this part, I think that would be worthwhile, as well. Just something real small that we think can help it. Yeah, I think that actually looks pretty good. Okay. This can be a normal detail, too, we want our UVs to be supa supa straight. Okay, then this piece down here. Got another image coming in for you guys. Are you ready for this? Boom. This part it's along. It is. Give it 28? OX 90. And scale on the nine. Hi. We just want it to be pretty thin. Looks like it's right about here about this long. And it flares up, too. So, how's this story effect. Yeah. Something like that. And then we want a strap there and a strap here. So what we're gonna do is duplicate these P selection. Okay, and extrude to the Y or to the X, go X. Okay. Isolate them. We're gonna delete half of them. Take these, extrude them down, scale them, normal clearance, add a solidify, even thickness, and then put our offset to Okay. One 9 millimeters 0.5? Yeah, that seemed good 0.5. Okay, so we got that piece looks a little bit rounded. When that happens, we just need to scale it that'll work good. Okay. Yep. Good aim. That's the sight. Alright. Now finally, we want this piece. Where you want this past? What I'm gonna do is go back to site, get this guy, duplicate it, bring him into the open, hide site again. Now we got something like this, which is basically basically what we're looking for. Basically, but not quite. Delete that, get the mirror. I don't gonna just delete this delete this part. Delete that part. Okay, yeah, that's that looks pretty good. This part is kind of flat. So we're gonna have to flatten it. Um, scale down on the X. Nope, 'cause it's actually has to be has to end right with this one, right with this guy, so we can't bring this in. Scale on the X. Yeah, it looks really, I just looks really I don't even know how to describe it. Not correct. Does not look right. Boom. And we only care about connecting right to her. I think this needs to just be a bit wider, huh? Looks wide. This looks a lot wider. Not a ton wider, just a little bit. Not this part. But we want to bring it out to about there. And we could also one thing that might be worth doing is just, uh, kind of starting from scratch here a little bit, but it would just be we can even 'cause we ultimately want to line up here, right? So if we duplicate it, extrude, something like that. Yeah, it just isn't looking super wide. Like we need it to just be, a little bit wider. So we can get rid of that, too. Bool, Extrude. Yeah, we're looking at something like this is realistically what we want or what we want to try to get, at least. So once you get that down, scale down. Bring it down 'cause we're gonna bully in it. It's gonna disappear in about 5 seconds, so bring this one out to about there. And then keep that like that. And that's gonna give you what you want, believe it or not. Gonna do that. My yield this too. Union. Okay. And, boom. All right. And we're going to just take this off again. I put one down the middle. Get our Get this good. Mirror. All right. And you see this curve here. There's a nice curve. And let's see how easy that is do here. Let's see how much trouble this bell gives us. Alright, so this needs to line up here. Right? Nice. So it's able to be pretty smooth. Kind of what we're looking for here. Nice. Alright. We're almost done with this piece. Trying to think what else we got left. I mean, yeah, I think that's good to go. 32. 01 Turning Our Blockout Into High Poly Part1: Finished with our blockout. We're gonna go move on to our high poly. Alright, so we're gonna start the hi poly now. So we have this right here. Uh we're going to just go through this, I guess. Just do this. See all the parts that we need D'll need. Yeah. Yeah. Okay. There. We can hide the site. For now, we're gonna work. This is going to be our main piece that we work with. And then this or you can do whatever you want. But this is, like, what we're gonna end with. What's gonna be in the renders and what. Okay, so We can, uh, new collection. Just do low poly here. Throw it in there. Boom Boom. Well, it looks like I messed something up. Carry handle. Put it in low poly, and then sight. Low poly. Okay, so we got our low poly. This is gonna become our low poly. Okay. So it's gonna become our low poly. We're gonna duplicate the whole thing. And this will say hi Polly. This is now our hi Polly, and we can go for it as far as Yeah, let's let's give it a shot, huh? So I'm gonna be using a mix of Z brush as well as just normal subdi normal subdi. I guess we'll start top to bottom. Just a mix of it all. The hypol personally, I think, is extremely fun. I know people like different parts of the pipeline, but to me, it's awesome. It is so fun. O. Okay. We're gonna take this here. I'm gonna use the sea knife edge. Bring it down, and then we're just tracing it. You know, we can There's other methods, actually, so we can try to be a bit more neat here. Get rid of this, this. Okay, so maybe you're right to here doesn't need any help. Doesn't need anything, so Something like that. And then we're just connecting it. We're just connecting it. I'm gonna push this down. This is going to come out. I'm delete all this stuff. Don't need it. Okay. Yep. So instead of this, we'll just go. Yeah. It's just where do you want your edges to be? It looks pretty rough at the beginning. It gets better towards the end. That's just how it goes. Looks rough at the beginning, gets better towards the end. Just how it is. Same with this. Yeah, we're just gonna give it a nice edge. I give it a nice edge edge. Okay. We're gonna leave this part out. Okay. So perfect. Okay. Plastic. All right. I guess I want to give it some setup line too. All right. We're gonna do just a slight. This is gonna be one of the more complex pieces funny enough, so it's good that we're doing this right off the gun. Right at the start. It's good we're doing this. Yeah, the other ones aren't gonna be nearly as difficult, so Dorry. On that. Just want them to all I'm gonna do all of them first and then do that cause I want them to all be kind of even. Okay. Okay. Just adding edges, add nettles. Another day in the life three the artist. All right. D not sure. I'm not sure. I was dumb. Yeah. Okay. Yeah, leave it like that. Leave it like that. We're just putting in supporting edges. That's all it is. Supporting edges. Okay. Okay. Almost there. Hold on. Okay, we can probably start to try to do something here. This cray cray. Alright. First things first, get rid of all those sharp guys. And now we're gonna throw on a sub D. Keep it at one. It's enough to where we can see our mistakes pretty clearly now. See what we need to do. So this just needs a little bit more love here. And then inside here as well. Okay. But the shape is there, which is the important part, you got the shape. I bet no one can guess what graphics card I have. It's bad. Real bad. Alright, just a little wanky right here. They just not clear. So many gonsGta break out the knife. So many engons. Just break out the knife. One dot, break out the knife. What an awful s. Geez. Alright. This area needs some wove? Some details like this. You question whether you should leave it in the hypoly or not. It's kind of a nice detail. Nice detail. I'm not gonna but Just those little flats that just kind of something about them. They can just work with the PPR. Tip string. They go well with it. Alright, this piece is coming to an end. I didn't enjoy working on this at all. I'm gonna be honest. But it's one of the necessary evils for art surface. You have to do it. I could have thrown it in Zbrush, which is what I'm gonna do with a lot of pieces. Uh, but I did subdi because I don't know. I just want to do. It doesn't matter. If you want to do subdi do subdi. You want to throw it in ZBrush, cool. If you guys have no clue what I'm talking about, when I say throw it in ZBrush, I'm going to show you probably in a couple pieces. So all it is is just bringing it in and then using this. I'll show you when we get there, but it's pretty it's very easy. It seems like cheating, basically, but yeah, it's just super convenient. Can't argue with it. Can't argue with it. It's convenient. What are you gonna do? We're just connecting the dots. We set ourselves up pretty good, so it's not crazy, difficult to just connect these dots, you know what I mean? Pretty simple. Insides looking good. Looking clean. Okay. For the most part, this is good to go. There are some parts like here. Still need some work. No. Yeah, that's good. Throw one here. See this, you know, just lay it down lay down a line. Just fix that. And. All right. Looks pretty good. We can change it whenever we want. Let's bring it back down to a one so my computer doesn't explode. It looks pretty good. Okay, so next. This screw? What are we gonna do? We don't know how to do sub D. It's too complex. We'll bring it into ZBrush. No. Just a simple double thing at my bob. Done. Boom, muddy. Keep it at one. Don't make it any more complicated than that. I'll tell you that. This year, we got, like this. Bring that out there. And we're gonna delete this outer perimeter and with this one. And we're just gonna mm, I've done this a lot, and I always forget, but I would actually. But we want to make these cuts all around, and then we want to select them all again. And then just bevel them 22 bebleR about here, I'd say. Then we'll just connect them. Just connect the important pieces. Just the important ones, right? We don't want to do more work than we'd have to, 'cause there's a lot of monotony in three D currently, still, so I haven't even got to UBs yet. Yep. It's just very basic. And that's that. I mean, take away the sharps. You know, we got to just lay down one of these. Yeah, something like this. Looks good. Bring it in even more. Yeah. Yeah, something is real simple. Real simple. Next. We're way down here for some reason. Okay. Say what that super easy. Super easy. Okay. Done. Okay, these guys, we don't even need a mirror them at this point. Since they're one piece, we can just do this. B. They need to be a bit thicker that Just a little bit. Looks good. Looks good still. Okay, in this situation, we bring back both low poly i poly, and then just give it a nice drag back your reality. Nice. See you later, LP. Quick fix. Okay, so this carry endle is good to go. Carrendle. Something I don't know why these are here, but Mm. Okay. So Looks like we made a slight error here. Usually fixable. Yeah, it's not even really an error. It's just Fixed. 33. 02 Turning Our Blockout Into High Poly Part2: Alright, we're gonna instead of going to ZBrush, we're gonna just continue on trying to do as much sub D as we can get away with. Uh, so yeah. Let's just start with um one thing we're gonna do also as we do the sub D is delete as we go. So, I mean, hide Hide as we go. Give it a one piece. Alright. Hi that bad boy. Yeah, we got this one, too. It's so simple we can G. It's a good way to line it up, doing exactly what I just did. Exactly what I just did. That didn't work. Looks pretty good to me. What do we think? I can't hear anyone's opinion, so I'm just gonna do this, and then move on. E one of these. Nah. Okay. I'd push it in more. That sounded weird. Okay. Hi, low. Back to business. These guys are easy. Since they're different distances, 'cause one's pushed in and the others not, let's just Mmm delete these. This this Boom. You know, it's here, it's here, scale on the Xpring it out. And then this finish it off. Okay. Looks like we'll need this, too. I'm doing this because there's a bit of a sag, you know, that's kind of rounded off here. You know, we just want to I'll show you. You guys probably know this already. If you don't here, it's a good thing to know. It just strains it out a bit more, you know, makes it more flat. Lines up better with a little poly for the bake. It's a better day for everybody. Everybody wins. Trigger. Are we gonna handle this bad boy, okay? See you why. Think we got move this down a little bit. That This is well. This year, Alright. Now, here. I'll lay that one in there. Gonna bring this over to here, add this here. But we also got this we got to worry about. We can branch it. Add it up there, add it up there, add it up there. Chain of reaction. Nice. This. What do we got? What do we need? What you want in there? Here. Yep. Yep. We're just trying to line it up. All right. Alright, now I got this piece. Bring all this Just dragging it over. Alright. Looks good. Good job. This one. Can we do this in one go, I believe. Alright, hide that. And we're just gonna duplicate this. This year, I'd both move on. This guy already done. Wow. Look at that. Here. No, not yet. These here. Okay, in order to save time, you do this. We're just gonna make one, obviously. Just one. Probably already made one. I take breaks recording. So if I made one literally 1 second ago, for me, it was like a week ago, so please forgive me. Looks good. Okay, so mirror, boom, boom, done done. Cool it. Call it. All right. Call it. Pack it up. Okay. Just try to reach that silhouette, if you want these gaps to be a little bit filled, so do your best. And then coal it. This piece here. That does not look normal. Still. Are we gonna try it again a third time? I think so. Nothing. Okay. Dumb. That was dumb. The only way to learn is to fail. Hawaii's thing once said Okay. Somehow, this is messy, but we're rolling with it. Okay. There's piece here. Great. Alright, how are we gonna fix this? We're gonna duplicate this thing. Isolate this with the duplicated piece. And it looks like we are safe to boolean right through it. Fixed. I'm a problem solver. What can I say? Solve problems. Fix problems. Learned this off YouTube this trick yesterday. Whoa. Didn't work. I'm a pro. Okay. Coll it. Ooh, let's do these first. Mm. Speed Run. Speed running. Okay, can we do this? Cooperate? Yeah, I kind of cooperated. Kind of. Get some similar stuff here. Tricked you. We're gonna move you back. Nice. Boom. Boom. Same goes here. Okay. Oh, yeah, it's on a slant, obviously. I'm thinking to myself, Why the hell is it making this curve? That's so annoying. Come on, you as one of it, uh We want this and this gone. It's a lot of trial and error. What can I say? I'm not perfect. Okay. We get done with this. Make sure this is the same. Leave that one there, hold our origin point for us, and we're gonna go discover a new world with this thing. Line it up right there. Boom. K XC. KX C. Blah, blah, blah. Alright. That's what we're talking about here. Nice. We have the curve we're looking for. We have the curve you're looking for. We have the curve. We have the second curve, as well. And the third. But Looks great. It looks phenomenal. Alright. What do we do wrong? I don't even know it. I just hit there. I hit Option Control Option J. Oh, yeah. Okay. Uh Alright. Now we're gonna take this point back. Are we? Yeah. Take it back. And we're gonna mirror him then. It. Mirror Delete. Wow, that looks disesty. Let's go. That looks good. Ooh, that looks nice. Looking good. Get it out of there. Speed run this nut. Who Nut, speed run? I'm in, okay. Boom. What do I do? How do Control J. T. Tries to quads nice. Did it? Whoops messed up. It's okay. See if we can still get what we want. Oh. Yeah, I just started learning like CAD software. It's actually Gated. It's actually really good. I highly recommend. It's so fast. And it's easy to, like, if you mess up, you can just kind of fix it, and there's no problem. Honestly, that's, like, the most simple way to describe it. If you have something up, you can just, like, like, booleans and whatnot. I don't know if you call it a boolean in CAT software, but, man, it is like hell easy. You mess up. Did I mess up here? Well, Okay, we're gonna just cut this guy in out. Wow. Regenerate him. Nice. Same with all these parts. Make them one. Make this point there. Give it the point. Mirror, other way, other other way. Okay, got it. This and this. First, hide this Low Polly. See you later, buddy. See you later, buddy. Don't need you. Oh, boom. Yes, yes. Duplicate, M, low poly, this. And now to double check. Okay, we're good to go. I'm trying my hardest to just leave all the nuts, if you couldn't tell. Why is he not doing the nuts? I don't want to do the nuts yet, okay? Give me a break. Give me a break. Tutorials are hard, you. If I was doing this alone, let me tell you, the amount of shortcuts I would take is monumental. I would make so many purposeful mistakes. I wouldn't correct any of my mistakes. I'm gonna be honest. If I mess up, I would just hide it because I would only make a personal piece. Even in games, sometimes you just hide it. Just hide it. If you need to hide it, then just hide it. Just hide it. It's all you need. Just hide it, man. Just hide it. This looks so weird. Okay. This how does one solve this majestic issue by doing this fall into your mistake headfirst. Hide, no. Okay, the most unseen piece in all of humanity has been fixed, and it probably won't bake well. But hey, we're doing it anyways. Hi, the low Bally. Back to this. Back to this. That didn't work. What the hell? What did I not do? This piece. Well, you know what? We're gonna leave this. We're gonna leave it with all of its issues, 'cause that's the kind of people we are. We're leavers. We're three D artists. We don't take responsibility for our mistakes. We just move on to the next project. Okay, there's a clear issue here, though. I think it's like, this, okay. I think we've solved it. We've solved one problem yet only to make another. Nice. Nice. Okay. So this is the desired piece now, so we can go to opoly and execute it. Execution style. Get rid of opoly duplicate this. Hit M, LoPolyKltech, kits out. I trust it. Back to High Poland. Couple of things there, a couple of things here. One, two, here you go. Something's not right here. We're on two different wavelengths. Okay, problem solved. SY, zero. SY, zero. This part here needs to be transferred over. Wow, that worked. Okay. Nice. That's there. This issue here. What was the issue? Weird. Oh, I see it at night. No, I don't. Yes, I do. Covert operation. Oh, I hit I hit the normal. Oh, we're good. We're back, we're back. We're back. I inverted the normals. Quick inversion. Whoops, did something. The double stack. It's always safe. Double stack. Nice. Elite. We're part of an elite class of modelers. Modelers. Elite modeler class. We back down to nobody. All right. How's it looking? Good way to test to see if it's where you want it is if you just spam spam this button. Okay, that could give us a half decent bake. It could. This is an issue. There. Whoops. Here. There, there. Remember, folks, we're not dealing with your ordinary circle here. This is a highly trained circle. It doesn't stand down for anybody. Highly trained circle. Don't forget it. Alright. How's this looking? That'll bake. Yeah. This part looks too intense. Immediately, I can I can understand. Even I know that. Even I can understand that. That looks pretty good. Send it. Oh, this is the inside. The inside. Okay, we're gonna take this barrel out. Do we need to realistically? No. This barrel is not important if we're we're speaking hi poly, we don't need it. We don't need to see it. We never see. We're only gonna see the part that let's leave it, but we don't need to we don't need you know, we don't need a hipolt. We don't need it. We're gonna go through again anyways and double check the things that are important to us, not, et cetera. So just leave it for now. We'll be back to it soon after the break. Thank you. Back to you. Okay. Just going with the knife tool, taking names, taking names with the knife tool, left and right. Don't give a single ****. Brain up there. Alright. We're gonna do the same with this here. Taking names, cashing checks. Almost, almost. Looks a little weird. Looks a little weird. What if we just do a simple That seem to fix a lot right there. That smooths a lot out. Got a little bit left to go. Here, I'd say, is important, but we're gonna get rid of these sharpies. How's this looking. Looks pretty bad, to be honest, but we're gonna for the sake of time, because that's just what the world goes that's the world's currency right there, T. You can only sit on the couch for so long. For so long. I sit on the couch for a while today. Maybe 3 hours. It's Sunday. Give me a break. Either way, it's kind of a long time, can I be honest. It's a long time. But I'm here. It's all that matters. I'm here. Doing this tutorial 'cause I love weapons. I don't even how real guns. I have. I have before. I'm gonna make that clear, but regularly? No, no way. Only when I'm on, like, vacation. That is the only time you'll see me shoot something. If I had a gun, I live in, like, Northeast, Massachusetts, so New England, America. Yeah, okay, I know people are gonna say, Oh, you live in America. Everybody has guns, you know, all the gun incidents. No, not a lot of people, at least in the Northeast. I can only speak for the Northeast. I would assume people in the South, like Texas, et cetera. They definitely have guns. That's just a guarantee. But I don't have guns. No, not a gun. I'm a gun guy. I know how to work. I like watching videos about it, you know, just kind of for my job, 'cause I'm, like, a weapon artist, but I like playing Airsoft. It's like fake guns. It's kind of dumb, kind of fun at the same time. But yeah, not a gun person. Not a real life gun person. I know. America, even though I'm an American. Guns. They're pretty cool things, though, if you really think about it. Same with, like, Same with what was I gonna say? Like engines car engines, plane engines, whatever. Just the combmbusib combustible combustion engine? What is it called? It's also, the internal combustion engine. Just a cool concept. Somebody just made that up. Somebody just was just mocking stuff up one day and just made the internal combustion engine. Prototype, you know, real primitive. Crazy to think. Like a rotary engine, too, like in planes or, like, the those mazdas like the RX seven Rotary. It's like a famous one in a car. Man, those are cool. I love them. They're like, the coolest things. They really are. I used to be into a car called a car brand called Sab, it's a Swedish brand. Man, those are cool, too. They were they were pretty good quality. Weirdly enough, in America, you're only gonna find sabs in the Northeast. I swear that's like it's like a fact. It's a factoid. Small factoid of the day. You'll find them other places, but mainly in a you're gonna find the Northeast. They're fun, though. They're cheap. They got turbos? Is yelling, sorry. They got turbos in them. They're nice. Nice and cheap in my first car, I had six sabs in my life. Six of them. It's fun. I crashed one into a tree, actually. That was not the last one I had. They're all manual, too. No, all the ones I owned were manual, as well, 'cause I'm cool, you know, but they're just fun. I could I'm not, like, a huge mechanic guy, car guy, but, you know, I did it for fun in college. It was fun. It was a good time. I learned a lot about cars. Gained a big interest in, like, the JDM scene. Cool stuff. I don't know. Cool culture. Nice little sub car culture. Y'all got their own little cultures, huh? But you got American muscle car culture. That's like all the old guys here. Yeah, we love Chevy Corvettes, Stingray. Yeah, 1969 Mustang. Get it. Like my dad. A Plymouth duster. Fun stuff. Alright, call it. If we add a two, we're good to go. It's actually looks awful. What did I do? Doesn't look that bad. It doesn't look that bad. It actually looks better with the one. Looks better with the one. Alright, this piece? Yeah, we actually need to make this piece, as well. Quick speed run this guy. Speed run. Quickest speed runnwn to Man right here. Call it. Good to go. Right into that. Okay, we're gonna Z brush we're gonna Z brush this piece. This is a Z brush worthy right here. Is it stuff? Actually seems I don't know. We're gonna procrastinate even more. Even more. Boom, boom. I've said, No. I'm not falling for that. It's the oldest trick in the book. Boom. Hoy. I fell for it. I'm quick. Sometimes I just don't know. Sometimes I just don't know. I'm fast, though. F P. P. Alright, right down the line here. Carve out some, some nice lines we can follow. Nice, nice. Speed running, living the life in the fast lane. It's the only lane I ever knew. Fastest lane in the West. I'm gonna leave this as a power move. Taking a risk, okay? Taking a risk. I think it's gonna pay off. Did it pay off? I have no clue. Ah, yeah, we just got to connect this g. And I think we're gonna go. Yes. Took away too much brainpower. Ooh. Connect that. Connect that. Connect, connect. AI is going to take my job. AI, Connect. Maybe AI will be able to connect those soon. Just connect them. God, damn it, connected. Get connected. Okay. Nice. Moving it up, moving it up. You know, instead of fumbling that, we're just gonna back to the basics. What my sense taught me. Yay. This is okay. No one's gonna see it. We're gonna hide it. 'Cause that's what dridy artists do. We hide stuff. That barrel. Just hide it. These barrels hide them. Just hide them. This piece, we're gonna zit that. 34. 03 Turning Our Blockout Into High Poly Part3: Okay, so I decided to Z brush this piece instead. So I put a one subdivision on it, and then I put creases on all the sharp edges, creases. So if we do this, it shrinks down. Okay. Got that how we want it. File export to how we want. I just use a single file called Z Export. Alright, we're gonna open Z brush now. Okay. I don't know why this is here. I don't really care. So you rush Import Mats as Subtool. Have that on. Just left click, hit this button. F to focus. Now you can move it around. So I have this setup where it's just easy for me. I don't know, these exist somewhere. I just forget. So resolution. We want the resolution to be here. Points. Start out with 500 resolution. D No, we need more. We need, like, that'll do it. That'll do it. Right around. And then we want to polish it. See how easy this is? That's how easy that was. Now we just got a nice perfect that we can just keep polishing until we want to stop. Yeah, I want to stop there. Perfect. Okay, I'm ready to I'm done. Already done. So pre process current. That's the next thing you want to do. I honestly have no clue how to get these. They're in, like, like Z Z plug in, is it? I'm just trying to look for it, but preferences you want to do config or custom UI, and then you can kind of, like, move around the pieces. But anyway, decimate. We're at 20 K now, which is still kind of a lot, but Yeah, we're gonna just back up. We're gonna do a 613 K. Looks good to me. Get it out of there. Export FBX, you want. And we're just gonna put it as Zep. That's our guy. Zep. Export, export. Okay. Back to blender. Alright, so pile. Import. Also, one thing we should do here, New collection. Just hit Z, and these are the ones that so we're going to put this into the Z pile because it's a Z tool. It's a Z piece. So it's easy if Z, Z brushed piece is messed up in any way, if we don't like it, we can always go back to our Z folder. And fix it very quickly. So. Looks great. Looks better than all the other high poles I've done up to this point, so looks really good. Phenomenal. Alright, hide it. Good. Moving on. Quick, easy. Quick, easy. What's the name of the game in three D. Quick and the name of the game. If you quick, good. If not, get quick. Got to be quick in three D. Got to be quick. 35. 04 Turning Our Blockout Into High Poly Part4: Quick one there. Is that right? Looks good. I'm gonna go hit. Um Holy. 17. Holy crap. Big number. I can leave it. Well, I'm gonna hit, Shift G. We're gonna select all the sharpness, turn it into creasiness. Give it a one sub D to the road. And, uh No, that's not what I wanted. It's just not what I wanted. Alright. Alrighty. All right. Mm. Okay. Yeah, we're back. We're trying to z brush this here. All we're doing here is just lining it up. Just lining it up. T. It's not perfect right now, but you just got to trust the process a little. Z Okay, so we got something that looks like this. Just bump up with the ris. What about two. You just look at the edges. You know, if the edges look rough, you know, these look okay. I'm gonna just go for a little bit more. 380. Yeah, that seems pretty good. And change this to smooth and then polish. Okay. It gives a nice piece. Um, and it gives those edges that we look for, especially on those kind of hard to see pieces where the light is really gonna be its best friend when it bounces off the edges there. Pre process. We're actually going to do six decimate at 22,000. Edges look fine. Okay. Export FBX. S. Okay. So this is gonna go into Z, just in case we we need to fix it. We get this piece. Okay, get to go. Nice. Alright. Yeah, I guess we can do this, too. Okay. Something like that. Is a lot of times there's this little dimple. I'm not sure I'm gonna use a shell, but it's just a quick way to just to model one real quick. Hide that. Okay. Well, let's go with this piece here. This piece right here. Well, yeah, just leave that as it is, and then X C. We're gonna do the same thing that we just did. We're making use of this remaining topology here and just trying to get these edges to the point where they're gonna look good in a one or two subdivision setting, so we can just blast it in Zbrush and move on Okay. So same type of thing. The sharpness, crease. That didn't work. If we don't get all of them, just hit select sharp edges that'll get all crease Yeah, keep it. Go to one piece. Okay. Two piece. Starting to look a bit more normal. These stay tight. Um, yeah. I just decide we got to fix right here. Okay. Okay, something like that. Yep. It looks disgusting in bladder. Absolutely disgusting. Just checking the edges, making sure they're legit. Gonna polish. Give it a 500. 600 k is a little steep. Let's try four. Four, ten. Ah. Yeah, let's do it. Let's do. Okay, something like that. Go to process it. See the damage this does. Oh, hoops. Okay, not terrible. Hordge might be a bit bit rough. Do a nine. Yeah, let's do that. Export. See you. I was just looking. Alright, I just look they look okay. They don't look crazy good. They look pretty good, though. Enough to get an edge out, huh? I think so. If you see something like this, you just got to basically do this. The probably gonna be a couple of them. Just leave some if you want. If it's real bad, fix it. If not, don't touch it. But it's easy, right? Compared to sub D, this is quicker, I'm pretty sure, unless you're a subbGd, which I'm not. I'm okay. I'm not a god, though. This is undeniably quicker for your average modeler, I would say, if you want to just whip out a piece, quick, efficiently. This is your way. This is it. You know, it's the way to do it. It's the way to do it, A. We're gonna do the same with this. Just get the piece out the door. Just get it out the door. We got better things to do here. This piece is sauce, okay? He Yeah. I actually brought this up somehow. Sometimes you just click buttons too fast. What are you gonna do? Okay. Looking good, buddy. Okay. File, Export, FBX. Z. Go to Zbrush. Who Import, Z. Yes. Okay, new boy on the block here. Looking Mint. 488 off the bat, looks good to me. Give it a polish. Get out of here. This is polymer, so we, you know, look at your reference. You want it to be thick, the edges polymers like that sometimes, but sometimes it's not at the same time. So sometimes you want to back it off to here, sometimes you want it to be all the way up there. I want to go right there. I think that's a good one. It's safe. We're good right there. Pre processed current. I'm gonna give it a nine piece. I think that's probably good. These are pretty strong looking. Decimate. Okay, I think we're still in the green here. What I worry about is the edge here, deteriorating to the point where the bake looks like garbage. But I think we still got a decent bake on our hands. Export, get back to our folder. Boom, boom, boom. Alright, we're gonna go back. Blender. Z. Welcome to the club, buddy. Okay, Import. FBX, Z. Looks good to me. If you can see this little these little artifacts here, you can see them really good here. Go to your normal clear custom split normals. Then they kind of go away. Yeah, they kind of go away a little bit. Not all of them, but a little bit. I'm just gonna clear up this guy and be on my way. Okay. Good to go. I think, great. Yep, good to go. Are these okay. We're to hide them. Just move them to this spot. Alright. And then, uh Okay. We got a lot of screws left. That's all I know. Yeah, we could start with this piece, too. Why not get this one out of the way? Okay. We're gonna Z brush this piece. Yes, I said it. I said it, alright. This piece is getting Z brushed. Whether it likes it or not. Luckily, we can. Luckily. Okay. Alright. Yeah, let's go for it. Let's let's just get this separated. We want to cut in half, right? Just keep it simple. Keep it simple. I'll let this side. Pick your side. Got our point there. Mirror. Check it out. Looks good. Alright. Yeah, we might This could be a UV sheet. So what we want to do get all these things. Get them all, I tell you. Just get them all. And just bring them in one. Just bring them in one click. Bring them in a click. Alright. This. Okay, we might as well just do this here. Just an easy way to add those lines, you know, that's all. This here, easy way to add this. Just get that in there. We're just drilling lines in there. Get the lines in there. Like you said before, it doesn't have to be perfect because it's gonna be perfect after ZBrush is done with it. It has such a I'm not an expert in ZBrush. I'm gonna say that first. But, you know, it's it's really a great program. Just can handle a lot of pools, and it can smooth them down just so well. So well. I can't talk. My brain's using all of its power to connect these vertices as fast as I can. I hope there's a tool out there that I just haven't heard of yet. I can just get rid of this ****. This is the most annoying thing in the world having to do this. It just feels like, so unnecessary at this point. But it's just a part of the process, I guess, right? Just is straight up. Where does speed run in this thing? Straight up. Okay. Okay. Don't pay attention. I just did that you have business. Okay. This Yep, sometimes just, uh, for the sake of actually, my attention span has brought me to this point. My ability to focus is second to naught except everybody. Boom. I feel like a baler when I do that. Okay, here. Here. Breakout C. We're just going to do a a little inset to try to make our life easier. Okay. Okay. We're just connected stuff. We're just connected stuff. That's all. Mm. It M Do. Don't do things like that. I We just want to get rid of the line. So it looks like we got some okay, yeah. Mm. All right. You want to just establish real quick some few boundaries here. Okay. This guy, remember the seam. Go. Got him. Hey, we're almost there. We might be there. We're gonna just do a testern here. See how this stuff deals with it. We could always do a two piece. To piece might be the way to go. It's a little bit more heavy on the machine. But most machines these days can take it. I'll be right. Cleanup in here, then we're gonna export. Oops. Okay. I got these pieces here. So we're currently at 91 K. Give it to 500. Two, this is not nearly enough. So this is what I'm talking about. See, this is we're gonna need try 1,000. Might even crash. Sometimes it crashes 1 million. 1,500. We're gonna need even more. 2,500. Give me 5 million. Good guess. What have we got? Foke. And now we polish. Nice. Now, this is a little too much of a polish, as you can obviously see. It's close. You know, it's close. We might even be able to go with this. If we go back one step. You know, it's close. I might go with this, actually. Yeah, I'll do it. Sure. I'll do it. And then this part right here, I see a little bit of a crease here. We're gonna bring our draw size down, hold shift, and just kind of go over it a little bit. That's all. Smooth it out. And that's all we're gonna do with that. This is gonna look great. This piece. We did a good job. We did a good job. We do unfortunately have to go back and fix this part, but I don't think it's an issue. Other than that, I think we're looking good. Yeah, so it should be a little bit, just a little bit. Okay. 36. 05 Turning Our Blockout Into High Poly Part5: No. I I I See these little things here, these little If I take the subdi it goes away. It's just the subdivision showing itself. You just want to try to hide that as much as possible, get a good bake. That's pretty much it. This one's pretty simple. I'm thinking. I'm thinking. Okay. Well save Wile export FBX. Z. No Import Z. Okay. I'd say a bit more. 600. Yeah, that's straight. Yeah. I think we should. Go a little higher. Yeah. Looks good. Okay. Let's go. But 37. 06 Turning Our Blockout Into High Poly Part6: I oh Nice. Piece turned out really good. 4.7 million. Get your GPUs ready, get your RAM ready. Get those CPUs ready. It may be more convenient this way, although the caveat, because there is always a catch to everything. It's more compute heavy. It's just harder to do. ZBrush is efficient, so you can do it. My specs, I have, like, on this computer, a 30 60 TI 32 RAM and then an I seven something. So it's pretty it's a mid computer. It's okay. Can do this pretty well, though. The occasional crash, you know? But let's see what we get 280. That should be more than fine there. Yep. Okay. We're gonna process it again and go for, like, 50% now. See what we get there. So that's too low. Let's go for 75%. Did I do it? That looks pretty good. Still very still looks good. Yeah. Grep process. T. Might call it there. Now 160. Yeah, that looks good. Do that. We're gonna close this. Hey, hold on. I should be safe here. Should be safe. Don't be down. This is our most This is our heaviest piece, right here, so. Yeah, so it has this stuff. Let's just get rid of that. Go back in your We're just smoothing it out, that's all we're done. Okay. So we can get it to around 160 polis. Or yeah, Polly kill. So after this, we just have the screws, and we're just gonna make one. We're gonna find, you know, just one similar one duplicated across. I have set. So that's gone. We polished it out. Looks looks nice, though. Yeah, this is the This is really an awesome awesome tool. It just looks great. There's some flaws with it, of course, but, you know, it's totally good. It's just a good tool. Uh huh. All right. So all these scurries here. These in particular. Um Yep, so we're gonna just make one and then duplicate. So we're gonna go back to our Back to our sub D and Yep. We can just take our time with this, you know? We got nowhere to be. We're just having fun. Spending time, making a good piece for our portfolio, or whatever it is you want to make here. We're just chilling. We're just having a good time here. That's all. I start working a little bit. I'm chilling, though, for the most part. That's it. This That's her on one more. Okay. And the idea. That's so be luck. Okay, so this is also you have this involved. So when this is involved, what do we want to do here? What do we want to do? We should separate this. We should separate this and make it its own piece. That's it. This may be easier to just throw in Z brush real quick, too. Sharp Grease. Yeah, let's do it. File, Export. Z. So it looks like it's inverted here. I have a thing set up flip flip your null. Right, 2,170 seems more than enough. Call looks that back, boy. To about there. Maybe a little bit more, actually. 300. Okay, right there. Pre process. You know, we're gonna try to get 6% out of this. 20,000, do it again. Try to get 65% out of this. 15,000. Try it again. 10,000. I think we can stop there. Export Z, boom, boom. Okay. Move that to Z. We're going to import, le Import FBI. Okay. So that's our setup we got here. Guess for the sake of a. Okay. So next steps are take this. Looks take this here. Duplicate. Bull delete this guy. You get the point. And there's this here. Okay, sure, points is kind of lost here. So still looks like a mess something up. Nope. Nope. Yep. Okay, we're gonna go back to, uh, Z. This guy. So what do we go here? We got the whole piece? We adjust this part, and we're gonna Just that top up there. I D again. And then that's gonna be our new area. Yep. That's our area there. Io. By much form. Okay, perfect. And now with this one as well. Just get that border. Okay. Oops. Looks like I forgot to forgot. Of course. Of course. As long as it lines up, good to go. So this top shelf. That's all good. So we can hide Dad. These, we're gonna do the same thing here. Yep. Okay. Are they all the same size? So They're good. Don't need those anymore. These. We're gonna duplicate this whole thing and just send this Oop. Alright. All right. So those are good. We can go ahead and hide these. Okay, so. Oh, great. Or, 30. Wow. Give me the PlzerPrize. Oops. Those are good. Good. Good. Whit. These are not good. They've snuck by me. Okay. All right. This is the only one of its kind remaining. We can go ahead and send that one off as well. Are there any, like, that that are the same size? Does not look like it. I'm gonna hide that and then just move on to these three. And actually, before I when I just do this. Okay. It's gonna need two, it looks like, so. I made a mistake. All right. Yeah. That looks that looks good. All right. Okay, so this one is good. Well, yeah. Uh, All right. Those are good. All right. That's good. Look to be different sizes, so it's not an issue. All right, help. Okay. Looks pretty sexy to me. Nice. Good job. Everyone if you made it this far. Good job. Alrighty. Looks pretty damn cool to me. Okay. I really love the front here. I think that looks awesome. Yeah, we don't have to worry about this. Don't worry about it. I'm gonna treat it as a high poly, but, yeah. Can't believe I sub died this while. Actually not have done that. Oh, wax that il. L. All right. So we got this main part done. So the next thing we're going to do is do the site this part. The site and the remaining, you know, the rail, et cetera. 38. 07 Turning Our Blockout Into High Poly Part7: Alright, so we're gonna start the site now. Let's actually do the rail first. So, this is a classic Zbrush. Classic. Shouldn't be too hard. I give it a one, one, uh All right. We're gonna just select it all, triangulate it. Quad it. Read this. Mmm. We just want to check for any sort of loose loose tangent here. So we got, yeah, like this type of thing. We just got to locate it now. It's crawly right here. Okay. No. Watch this thing right here. Gotcha. Got you red ended, buddy. Is this, this Bing bang bong done done D. Still. Probably way down here. Yes Okay. Solution this time. 67. Alright. I'd say this is good to go. File Export FBX. Z. C. Z brush. Import Z. Okay. T Edit. The longest rail ever. Okay, this is getting pretty poly heavy, I guess you could say. Let's start with a 1,000. Are we gonna get a crash? No. Boy, this is pathetic. 200 K only rough. Okay. Let's go 2002, one mil. That's it. Not nearly enough. Not nearly enough. 2000 3,000. Two mill. A ferocious amount. Not gonna do it. 3,000, 4,000. We're maxing out brush. We're gonna get a crash. 36 mil Let's see what we get. Okay? I think that's just barely acceptable. You go to five, eight, polish. Start off. Okay. Can't do a bit more than that. Ten piece. Ten piece. Okay. One more ten, then we're good to go. Okay. Hey, one more. Pre process. 3 million. It's clean looking. That was quick. That was quick. Imagine having to do that all sub D. Probably could do some array stuff, but this was This took 5 minutes. It took 5 minutes, we had a eye polyl. 5 hours later. Just loading. Okay, we're gonna give this a 6%. Decimate at six. I think we still got a lot of real estate to work with. Gonna do this. Well, we're gonna try 25% from that. I think we're a little too low now, unfortunately. Let's try 50 piece. Uh Yeah, I think that's good. 100,000 holy ****. Okay. Alright, goes to the Z pile. And then this, we're in psych, so site, sit, sight. Import this site. Wow. Looking fire. Okay. Nice. You know, I'm just gonna leave that. It doesn't even matter. Clean it up if you'd like. Okay. H. Okay. I accept this piece. Hey, let's just do this here. I I 39. 08 Turning Our Blockout Into High Poly Part8: H Alright, I'm gonna pretend like I didn't just try to work on that. And we're gonna we're gonna just take this one duplicate, bring it back. Okay. I want to just save that for start from the bottom here. I just woke up, guy. Come on. All right, piece looks good. File export. Okay, so this area here, h. Okay. 1,000. That's good. Try six. It looks fine. Try 75 on the next one. That looks fine. Try another. Okay. That's probably good. Got to be a nice hedge, that thing. Looks good. Good up, me. Uh huh. Okay. I had too many edges. We needed to make it a bit sharper more dense and then you can take away. More of it. Well, it still holds its integrity, you know? Yeah. Just to give it a we want this sub 20 keg. Okay. We're just cranking through stuff. I don't even need to talk. Okay, so right here, we're going to want to duplicate this and then boolin it. Yeah. Pre process that. Okay. Yes. Yeah, it is worth it. Okay, so even if we're not gonna animate this thing, we still want to we want to, uh, just make a clear path through here. Even if we're not using it in game. And just gonna actually keep this. And just have that duplicated. Oops, it looks like Okay, so we get this extrude Y S zero. Bit distance, get the face out of there, delete this edge. It's like you were never there. Okay. All right. So that's kind of the look we're looking for for that. And then this is gonna be see through glass, so we can just go ahead and go ahead and give it three. I don't. Okay. Got the glass good. We're gonna need a boolean through here as well. We're gonna duplicate this so we can use it again. Blast through this guy. EY at zero. Oh Okay. Okay. The milli. We don't need that. One mill? Okay. Wow. Ooh. Does me Alright. Just cranky these pieces out. I'll be done in no time. Home stretch, baby. And stretch, then we go UV. Then, uh, yeah, low poly texture done. Bake. Got to bake somewhere in there. That's gonna get us on the bake, I know it. We bumped it up one. If anyone's watching this, you see what I did? It's a little rivety here. So I just bumped it up one. Easy concept. The Inevitable error. That's okay. We went a long time. We had a good streak going. Well, it looks like seabrush just changed. Why is it a different color? Interesting. Okay. These aren't the same size, right? Nope, okay. I was gonna say we could just use that, but Yeah. 40. 09 Turning Our Blockout Into High Poly Part9: Import Z. T F. Looks good. 320. Oh, off the bat. That's no good. Saving after a fatal crash, what is this? What is this blasphemy? One thing we can do is go back to blender, while that destroys itself. Just scale this and then make sure its normals are correct. And then we can just go and do the same thing again. I might leave it in just in case you have that experience, so close. Open. Pre process. That's am. Yeah. Alright. Alright. So this beast the one we messed up on earlier or the one I messed up on. He's our final boss for HipolyO HypolyFinal boss. Alright. No. So it looks like we got all the pieces modeled out. And we are ready. So this hypolys complete. 41. 01 Creating Our Low Poly Part1: Okay, so today we're going to be shifting gears and focusing on optimizing our low poly. We're not going to do Us yet. We're just going to make sure that it's fairly optimized. And it can be used in the game. So once you get the gist of this becomes pretty simple, pretty straightforward. We're just making sure that it's good to go. It doesn't have to be insanely optimized, you know? But give it a good shot. With cases like this, I want to go check and compare with this hi Poly. So it looks like I brought this part down to basically meet up with die Poly. So we can hide this down. All right. This can go all the way down here. We can probably inch or something right here. And what I just did was, you know, control T. It's just a shortcut to triangulate. We're gonna see if we can get away with this. A lot of it's just seeing what you can do, seeing what you can get away with. Looks still looks pretty valid. This is a support, but this park can go up. We're going to put one here just to try to straighten out some of the potential normal difficulties we're going to have with this piece. Okay. Something like that. This might actually lead to some issues, so I'm just gonna before it gets too bad here. Okay, that's a lot better, actually. A lot better. All right. Just to make things simple, let's just do this. We can do another one here and then just connect that. Do the same thing here. This is it's pretty boring. It's a tedious part. It is. This is, uh, some people like it. I have friends who love doing this stuff. It's just, it's a nice it's a nice calming thing that they can do. So they enjoy it. It's more of like, yeah, it's just it's a calming thing. That's all it is. Or if you're sometimes like me, you just want to get to the texturing. So you develop these tendencies to, you know, want to get through it as quick as possible, and then you run into all sorts of problems down the line, whether it comes to your bake has a couple of missing pieces or you see some sort of issue with the bake. And even if you get it in the painter too quick and that would mean you rush the bake. It is better, safer. It's more worth it in general, just to put in a bit more effort, a bit more care and really take your time with these parts because, man, it is annoying when you have to go back and forth and back and forth. Uh, yeah, it's totally worth it. To just chill out, focus on this, say, Hey, what do I need to do? How do I make this the best it can be? And then just focus on doing that? And that's it's a good formula for success. It requires a little bit more patience than a lot of people are used to, but it's worth it in the end, I think a lot less headaches you're gonna experience. Some pieces are better than others. This is a pretty complex piece, I'd say. So what? No particular reason I did that looks like, sir. And if I miss a piece, that's okay. We're gonna go back at the end and just do a quick check through. Try to find any missing pieces. Alright. There's a lot that's good there. Here, we can we can optimize this a little bit. Not gonna be crazy optimized. Like I said. We're not gonna spend that much time on it because people can do that in their own time if they want. But this is, uh you're gonna get an optimized piece, for sure. That is the case. All right. This might be skewed if I do this. Looks good. Looks good. That looks good, too. Alright. That I see compare here, is it gonna really skew my stuff? It does look like it is. So if it affects the silhouette of this bake, especially in an important angle like this, it's probably just best to leave it. It is best to leave it. Not probably. It is 100%. 1,000% better. This could be a mess here. We got to figure this out. So I got to figure this out. This looks disgusting, but this is just how the model was. Alright. Looks pretty. No, I bat. These inner parts. Oh, forget about them. Okay. I might not be perfect, but we got a good base here. Mirrored it, make it easier for us. These parts we can clean up. Yeah, so whenever it stops needing normal lap support, I guess you could call it, you just stick it to the nearest the nearest, uh whatever it is. The nearest vertex. You just stick it there. Okay, we're gonna do this comparison thing again. Is it different without this? It doesn't look too different. So we're gonna just combine those. Probably can. Hold on. See what happens here. Does not look too different. Still looks pretty normal. And then lastly, would be this. Does that change? No, no, it doesn't. Alright, so we got that. Here. That looks pretty good. If we wanted to really optimize this, you know, we're talking. We're just doing all sorts of stuff like this to just line up this high poly the most efficient way we can. The best way we can. But this could fit in the game right now, which could be good. As is, this is looking pretty good, actually. Fairly optimized, clean. Looking good. We're gonna move over to this now. We're not gonna lower this site anymore. It looks almost too low to be a site, but it's pretty far down the line. So what I mean by that is, uh like if you're our sight it's so far away, you know, it's away at the end. Our eye is here. We're looking down there. That's pretty far, I'd say. So it's good. It still looks like a circle. Collapse that. We might be able to get rid of this. Yep. And then this and then collapsed this. And that's done with that. That was pretty easy. These. Yeah, we can probably just get rid of these. Probably worth it. And then those are all set. Okay, we got that nice. Hi that, hi this. And then this screw. So we can get rid of that optimize with the collapse there. And then here, we're just going to do that. Okay, so for a screw, as well, you know, this stuff is it is pretty heavily optimized. You know, this is pretty high poly if we're talking about a baked screw, you know, a low poly screw. We're just gonna really just try to optimize this a little. Yeah, we can't can't be letting that slide. Like, this is still crazy. There's still a lot of, uh, we can get away with much, much more. You'd be surprised how good a normal map is, how strong it is. Really. But, yeah. So if we keep doing this, you know, we're gonna get to the point where it actually starts to look bad, and then it still looks good, though. I mean, it still looks good. That might be the tipping point there, but let's try it. Don't be afraid to push it until it just looks hanky till it looks awful. So it's starting to get a little bit of stuff going on that we don't want, so This is a low poly. Yeah, that's pretty much it. Okay, we can even just so it bakes well enough. Just do that. Give it a little boost. A little boost there. Co little boost here. We just want it to cover that, you know, that's all. That's all. Alright. Alright, that. So that's good to go. And then this we can delete that face, and then we're just gonna collapse that. Boo good to go. And I think that's it for carry Andel. Yeah. We got it down. About 2000. Alright. So carrels good to go. And, uh, yeah, I guess we'll just get started here. M, let's just start from back here. All right. Yeah, we could delete this. We could delete this. Just need to make sure that it's there's no, you know, like back facing normals, or I mean, there's no you can see there's a gap here. So let's change this Let's just correct this before it gets out of hand because you know it will. Okay. We're gonna do that. And then G Y. It's just simple. Maybe even push it in. Alright? You know, we can get rid of that. What does that look like just with the high poly? Yeah, that looks fine. Looks pretty good. We're to move just this. Yeah. Looks fine. How's this. That's where I was. Okay. Alright, so we're just gonna keep this 'cause we can just it's not crazy Polycount. And we can easily make the UI small, so it's not an issue. Not an issue. Here here. Okay, this looks good to go. A lot of these pieces are easy. Some of them are more difficult than others. And that's just how it is. Quick like that. Like that. All right. This part could probably get away with this. We're gonna have to branch off a bit here. That'll be theirs. And then this one. Collapse. All right. That's that. Can we get away with this? Think so. Okay. Looks like these are different. Okay, so here. Go along here. Select. Okay, so we have 32 edges here. And this is 16, so we had cut this in half. This is another good up the wisingtonteck or deselect, dissolve the edges. And then it's basically you just manually move them over. It does change it a little bit. So maybe one thing we can do here is take the top, put it to the bottom. We got that line still. It's still a line, so what we admit to there. We just want a clean bake. That's all we want. I don't think this would give us a clean bake, so Bleek that. Okay. Alright, we're gonna see how this works. It looks like we just need a little bit more room. We maybe push this up. That'll make our bake a lot smoother. But it's never perfect, and that's okay. Yeah, it's never sometimes you do get a perfect bake, but I can tell that one's gonna be kind of a up. So just got to be patient. You know, it's not the end of the world. I remember when I was learning how to do baking in marmoset, whatnot. Oh, my gosh. Oh, my gosh. It was awful. It was so stressful. Unbelievably stressful because I didn't know what I was doing. I was just kind of freebing out. I was baking everything, and it was awful. It is kind of there's something to be said about having a mentor when you start three D. I think it may have taken me a little bit longer to get to maybe, like, a professional level. Uh, just because because of that. I just a mentor is, you know, they're just gonna get you to where you need to be quicker. That's short and sweet. They know all the stuff that you need to know. They get the stuff you need. That's it. It's nothing more to it. They know all the mistakes you're gonna make because they've made them. They've already made them. We're gonna throw this in here. Get back that normal we just lost. Looks good. All right. Alright, this is looking pretty good. Looking pretty good. O Okay. I'm gonna hold off on this stuff again. It's clearly, you know, we need to optimize this, so clearly we do. Clearly, Hmm. I would say we can, uh m It's a tough call here. Let's just see what it looks like. Looks good to me. We're gonna need to just make it a little bit. Ah, I just don't want to deal with that. Okay. Now, we're just gonna we're gonna give it back its girth. We're good. Okay. Those are just the issues you run into with that high poly stuff. It's too, you know, the edges, good old edges. Alright. Good to go. Can get rid of this. Inside job here. That, don't need it. Hide it. Pack it up. Same with this. Don't need that. Collapse that. Good to go. This one, too. We'll do it in reverse. Good to go. Starting here. Alright? Still got it good there, right? Make sure it still lines up. Okay. Collapse that. Bull, it was quick. See how the silhouett's being affected? Just leave it leave it as it is. Got that there. Alright. Can move on from there. We can optimize this guy. All right. Looking good. This We can get rid of this. Good to go. We're gonna mirror this just for the sake of, do we need to? Yeah, let's mirror it. Let's you marry. Mirror. Okay, that's part. Get rid of it. Same with this. Oop, looks like I got too much. That part. All right. We'll get this going. All right, this part. Go to bring it down. All right. That's good. I'm pretty sure this has a hot it. It does, okay. So Alright, that's fixed. Well, if we leave these like this, we can, uh, Oh, actually, we can just probably do this. We just got to keep comparing it to the ye poly, see if it lines up. And that's Alright. It's there. We're just doing all the little stuff. Right now, that's all doing all the little stuff. That should be pretty good. U Okay. This two. I think we can make that work. H 42. 02 Creating Our Low Poly Part2: M. Oh. 43. 03 Creating Our Low Poly Part3: Is h Do I Sony. 44. 04 Creating Our Low Poly Part4: M. Things like that things like that I I I sss. 45. 05 Creating Our Low Poly Part5: I I I I n. I and D. D. D. D. The h. It 46. 01 Preparing For Uv Unwrapping: Now we're going to move on to our UVs and our baking. Okay. So this is how we're going to set up our UVs here. I've gone ahead and made three different groups here. Sit UV, set one, set two. Sit UV is pretty straightforward. This is going to be its own UB set, and we're going to use two K resolution. Okay. And then set one, set two, as you can see here. I just hide this. You know, it's just the gun to it's the gun. And it either has the rail on it or it has this carry handle, but I'm grouping them together. They're gonna share the same UBs. And we're going to split this whole everything here into two sets, and they're both gonna be four K sets. Um, so yeah, pretty straightforward. I've tried to split them up according to how much UVspace I think they're going to take up. And also, I've referenced this image here. You can see the tan parts are the polymer. So it's really kind of, like, convenient if you can just have all these on one sheet. So when you're texturing, you don't have to copy this material and then paste a huge file onto another sheet. And that, in turn, just really bogs down your substance painter file. It makes it twice as big, essentially. Um, so I've done my best to get plastic plastic plastic. All there if you can see here, you know, they're all on the same sheet. So it's just one plastic that I'm going to need. And then I've put the wretched on the sheet. So yeah And I think we're going to just mirror this. I don't want to get too deep into mirroring. It kind of tails off of what I was talking about earlier about optimizing. There's levels you can optimize. And I think this is just a good for people who don't know how to mirror. I mean, this is just a very simple basic. We're going to just copy the UVs and put them here. So, yeah, that's it. And we're going to get into the UVs. Yep. Alright. 47. 02 Uv Unwrapping Part1: Okay. I'm gonna be using this software called RSM. Okay. We're gonna start with sight o. Okay. LTlaw. I'm going to put this little thing in the other monitor. But basically all I'm doing is just using this to select item. For example, selects individual my items. So it's just I go down the line. I start at the top, and then I'm just gonna put it off to the side, though, hell. That's what you should expect if I just have random objects being selected. Okay, so to start. No Okay. A little bit of stretching, that's fine, though. One thing also is that we're gonna change this too. We have hard edges, and that's one thing you just got to keep in mind. This is the only hard edge. Got to be a seam there. So Hartage got to be a seam there. Same with here. Okay. Do h I an No. UV are good, but none the normals are off. So Hmm. So at the point where most of our UVs, well, they're pretty much done at this point. My pers two K. That's just the pay. Target. Okay. So it's really good as at this point, but we're just going to Well, I see. Okay, so 48. 03 Uv Unwrapping Part2: Okay, so I brought my match back into blender here. We're gonna take a look at the UBs. So they're all the same as how they were in Rizom. Everything's still the same. Um, yeah. What we do next is we're going to mirror a couple of things here. It's pretty easy. We're just going to take these two, I think these are the only two things we want to mirror. And then, yeah, we can leave those. These two are pretty simple. So we're going to look through the scope here. And mirror the left or the right side. We're gonna clip the right side. One thing we the origins good. Boom. So we save this. All this is gone. That's more room that we have now. And so we're going to go export it again to sit low. Open up Rizo, load with Us You can see this here 4941. Okay. So now, now we're gonna go back to here. And I'm just gonna run through them again. But this time, we're not unwrapping anything anymore. We're just we're doing this thing called biasing, so UVs that you're never gonna see those UVs we want to do this, just make them small. One thing you just have to make sure when you do this is that, you know, your whole UV is good to go, basically. It's ready to go. It's set up correctly. This is the final thing. You do. You tweak the size of the UV, and then you configure it again, you pack it again, but without changing the size of any of the shelves, and we'll just reconfigure it in a way that's more efficient, et cetera. That's done. Okay. Well, this here. That there. Just leave it like that. That's the other one this here. And you scale it based on what's important, what's not, you know? That's it. So we're not gonna scale it. We're only going to scale stuff down, too. Up, we can also go. But making sure to scale it down is also important. So this is prime real estate, obviously, right? So we want parts of it to go up, parts of it to go down. So we're gonna isolate it realistically, you know. It's part It doesn't matter too much. Here. This, this, this. So all this here. It's taking up a hell of a lot of space. We want to shrink it down. Just a little bit there, okay? And then This is well. It's just you're not seeing any of it, basically. Just this part. We're gonna shrink it to there. Alright. That's like that, pool. Can do that with this one, too. It's too good. Isolate to back here. You know, we're not gonna see anything. Not gonna see much, at least. Sam on the insides here? Not much. I part, we are going to see a bit, so yell it up. That's the type of thing. Oh, here. We're only seeing these two. Yell its way down. Alright. We're just kind of running through this here. Yes. Okay. So this is actually pretty prime stuff. We're just gonna only scale it up. Maybe that's a little bit. Okay. This is also prime. This is a movable piece, too, so we're going to scale everything up just to Tad. You In the bottom here. All right. This is a visual interesting visual, so L, I I All right. File, Export, FBX. Site Lo. Okay, so that UV is good to go. 49. 04 Uv Unwrapping Part3: Okay, so we got UB set one now that we're gonna UB nap. Gonna do the same thing we did. Hit this little button, get our tool out and just start going. Try to set that to 35. It's the angle at which a edge will get recognized, I believe. With the easiest one I've done. Looks like it's a hard edge. I want to see if we can get away with this being a, you know, not. Totally can. We can leave it like that. Yep, we can adjust all this stuff afterwards, but it'll be something you Simple. I'm gonna keep it it looks pretty normal still, even though there's this level of stretching. Yeah, I'm gonna I'm gonna keep it like that, and then It's just weird. I don't know why it's I don't know why it's stretching like that. But maybe we could do this instead. Just get this set this set. Bit cleaner. We can just leave that. It doesn't need to be It's not even it's never going to be seen. So actually, yeah, it might. No. Yeah, when we don't have perfect quads, like this, you got to, like, manually do this thing. It's kind of annoying, but, yeah. I don't know what else to say there. Okay, so that's Okay. Okay, so for this one, yeah, it might be easy as easy to, uh Okay. Yeah. Okay. That works. Got to check here. She what's going on. Okay, we go sharp guys. Big one here. Okay. It's a mess. It's just a mess. Okay, we can see the light. We can see the light. We can see the light. We're just trying to find a way to split this into two right now. I think our missing pieces are, uh yes. Okay, finally. A lot of work to do as far as cleanup, but I just did this. I'm going to get that piece off. M. Okay. I probably is pretty hidden. I'd say that would work as well. Okay. Yeah, overall, we're in a pretty good spot here as far as you get nor though. Got to do some optimizing afterwards, of course, but overall it looks pretty good. Just finding these loose ends. Oh. That confuse the hell and I would say this is very far in the back. Just trying to find this piece. That's quite a bit of UV space, so. We just need to see that and that. None of that. So that being said, so Okay. There's no distortion, much or worst pieces right here. Very hidden. That's okay. There are little pieces everywhere, though, which is something to look at at the very least. Yeah, the big boy. Okay, let's tackle this. I'm gonna need some water for this one. Okay. All right. One go. Let's see. Okay, we can already see the light. Great sign. What that there. Okay. Well, that was actually much less of a hassle. Of the bat. The other one, I really thought they were going to be equally as bad, but maybe they are. I haven't realized. Now, this Okay. Okay. All right. Call that what it is. Done. Okay. Okay, so for this we're only going to unwrap one screw. Yep, just one. We just w one. That's all. That's this one. We got the bottom right on the left side grip. Screw. Gonna write that down. This guy only. Yeah, and we're gonna just, we're going to mirror these all or at least a lot of them. I call it day. So they're all going to be we're basically almost up at this point, so. We're in here. A m D Got lots of tiny parts that we don't want. 50. 05 Uv Unwrapping Part4: I I I 51. 06 Setting Up Mirroring: Okay, so we're back. We're done with the main part of the UVs. The next thing we're going to want to do is I've actually already done it, so I'm just going to go through with you and kind of walk you through what I did. So, for example, we have set one here. As we know, this is going to be its own UV set, and I've gone ahead and deleted the parts that I want to mirror. So, for example, these two screws are going to share the same UVs as these two missing screws. Okay. So generally, basically, what's going to happen. I'm going to bring this back in, optimize the UVs, bias the UVs. I'm going to go through that in a second. But mainly what's going to happen here is I'm going to do that, bring it back in here, and then apply a mirror modifier, so I'm going to bring it back and then apply the modifier. And as you can see, the UVs are the same. So we have these highlighted, nothing. These highlighted, they're the same, right? If you apply they're on top of each other. Okay, so what we're going to do the concept of mirroring is we're going to move it out of the UV space. So GX negative one. It's one exact tile outside to the left. So when we go in and bake, it's just going to share this data. Whatever's on here is going to appear there. That's the concept. Okay? So that's basically what we're going to do, and I'm just going to go through what I've mirrored before I go into another segment of optimizing UVs. So I have a little I commend you do this, too, it helps you keep organized so you can bring it into the UV unwrapping software, whether you use Blender or Risom like me. So I have a mirrored items collection that I've made. It's like a subcategory for this set. So if we go through the line down the line, we have this. As you can see, I've deleted it already. The next one is this piece in here. These are exact on the Yaxis mirror elements. So then in here, boom, this one I just showed you. The next is this barrel. There should be one here. And then this screw, so we're going to basically add this screw everywhere in many places because this just the UV space is just crazy what this takes up. So we're going to add it here, here, here, here, here, here, here, here. All sorts of as here, and these over here as well. And the reason we're doing that is because we're going to have one really high quality screw. Realistically, this screw isn't going to see a lot of damage in real life. So there's not really a need to add, like, some crazy, unique scratches to it because it would hit here first realistically. So if we just have one really high quality screw, you know, maybe it's gonna have some good textures on it, but nothing that is so distinct that you're going to say, Hey, I saw that on that screw and that screw and that screw. No, it's just gonna be subtle enough where you can look at each screw and say, Okay, yeah they look different to me. Um, that's the goal with this. So it's going to all these other empty spots where the screws are supposed to go into will go into are just going to share the same data as this one thing. So instead of having 1 million little UV shells scattered around like this, we're going to have enough space to make, you know, maybe the shell can be this big now. And it's so much of a difference it's going to make as far as quality. So it's the same exact concept as, say this example I showed you just a second ago. But instead of doing an exact duplicate and exact mirror we're going to, uh where does this thing? We're going to basically once we're done with everything, we're going to take it, put this and we're going to bake it, as well. After we're baking it, we just basically duplicate it and then put it wherever we need one. And that's basically what's gonna happen. So it's just that. It's very simple. It just takes a little bit of time. Actually, it's pretty quick. After you are basically done with everything related to UVs, that's one of the final steps you're going to do. So yeah, I don't know if I covered everything or if I went on a tangent there, but we're here, here. Yep, we got another one. These are slightly different. This is a circle. And then this is a rectangle we have on the side. Um, I don't know where it is. It's the same, like this. We've got a rectangle on this side. Basically, we're going to duplicate this down, and we're going to take individuals and put them in the hexagonal areas. Hexagonal hexagonal, I don't know. And then finally, we have the small one, very insignificant. So, yep, that's basically what we got for set one, and I'll go in set two really quick. So there's nothing really going on here. I forgot to do this one. So let's do that. Yeah, we want to mirror this as well. So we're going to that one out and then move the bolt into mirred items. There's a lot less items in this set in general, so it's a lot easier to cover. So we're going to go, This screw is going to be mirrored. It's like a bolt rail type thing. The bolt moves along this or I mean, the pump action element lines up on this, so one on this side as well. The screws we're just going to do a 180, like just a mirror onto the other axis, all these while wrap. I think we're going to have a little bit more space on this UV, so we might have to actually move a little bit from set one to set two it's that if there's a huge disparity with the UV quality, and then a barrel. So this is probably why we might have to add some more items to this UV set is just because, you know, if you look at a barrel, I mean, it takes up one tenth of the whole sheet if you really look at it. So we're obviously going to want to take this element here and scale it way down. We're going to do that momentarily, but it still takes up quite a bit of room. So if we're able to save all that space by mirroring this, then it's totally worth in my opinion. It gives us a lot of space for this rail because this rail is crazy. I know a lot of people when they UV rails, they tend to try to do this with most of the rail angles just because the more little areas you have, it needs as much, you know, three times the space between elements. So it just takes up so much space, as opposed to if they're all connected like this, you can see you can fit just about this much in there in just one little area like this. So if they're connected, they're much more efficient, and you can get away with a lot more space. So people tend to, you know, smooth biangle really heavily like this, just to save so they're able to now this is shell, one shell. And actually, it's a pretty good way of doing it. And it can lead to problems sometimes, but usually it's pretty good. This is almost always people do this in game development because when they're actually making it an asset for a game, they're always going to do that with the normals. Not going to do that here just because we have normally for this size gun, we're going to fit it on 14k texture seat, and we're going to mirror maybe a little bit more elements, maybe even the rail will mirror. But yeah, we're for this project, we're going to leave it just because we have two sets to play with. So that'll be good for us. So yeah, those are the elements I chose to mirror. And I guess the next um thing we're going to do is bring each one of these sets back into Rhizom and tweak the UVs a little bit more and scale them in certain areas that we want to have more resolution, which would be like the player facing areas, et cetera. So, yep, that's going to be next. 52. 07 Uv Biasing Part1: Okay. So we are in Rhizom again. We're gonna be going through the list of each mesh, and we're going to decide how much each should have as far as you eat. So right off the start. This is number no, not number. Number one is that we're not gonna touch this much. I could stay. I'll have a base level, like a baseline. Just a baseline, you know. Uh, so we still have these. So we should go down Dos. And we just want to make sure we have the correct item. That one Unwrap. And then it looks like we're missing something. We'll just take we'll take the one on. It's sad. Yeah, this one. We'll do this one. It looks like we're gonna have to unwrap it a little bit. That's fine. So file export. And we had the same issue here, actually. So we have that, too. And we'll just do that. And then we'll move these into our UV set one mirrored items. And then we will launch it back into rhizome and see what we're dealing with. So UB one. Simple file load load with UV. Okay. So it looks like we still have this here. That's our main perpetrator and probably this. So let's just get these out of the way so we can tell whether or not we need to go back and forth again. Okay. We got that? The BVG. If we can get that launched up? Nope, takes a little bit longer sometimes. Good. We're gonna sometimes you have to rotate it. That's just how it is. I just sometimes takes a little bit. And sometimes you actually have to cut it in half and then kind of re separate it or re that's one. We want to keep that one, at least. Okay. Give this one that O and got to If we go delete that unwrap it again, now we're going to curb it a bit and just go for the type of thing. Okay, we got that. And now we click here, W. Boom. Oh. T V M here. Here that stays. I lost no. Okay, we're gonna keep it like this, then. We're just gonna keep it like that. We're not gonna cry over it. Okay, and then our second one was here. We're here. Okay. Yeah. Yeah, it looks like it Why? And then this here? It looks like it was part of, so. Ooh Yeah, this in here. We can just delete that afterwards. So I wouldn't even worry about it too much right now. That gonna affect anything. All, so we just need to organize it. So this is what our final bake to an extent it look like 40 96. We're gonna pack it. Okay, so that's a pack there. And then we're gonna go down here again. We got that. Just going down the line. Here, nothing crazy. But just stuff like this. We never we're gonna see this. I with this. Never gonna see it. Here. Never gonna see this part. One thing we can do to really just make sure we're not gonna see it. Just line these up. Yeah, we can delete that, sure. Or hide it. Don't delete it, please. We're not seeing that. Okay, so we got that. Back to, uh, We're not even seeing that where that scale weigh in, right? There's no way we're seeing that. We're in here. We're only seeing that. Okay. Even less is fine. It's totally, utterly useless. It's at least there. All right, isolate this in here, here, here. Now we're going to use it. That's okay. These are okay. The trigger up up up goes all the way around, so what much you can do there? Yeah, we can leave it as is. This block. No, it looks like we actually forgot A EUV, but we can just add that there. Um. That's fine. I think the bottom is unseen, but I'm going to just check again. We're going for this block here, this block. The bottom is unseen, so, yeah, we can we can minimize that. And Big Boy, so just stuff that we're never gonna see. We don't care about all sorts of stuff. All these holes we don't need. Alright, especially in here, useless. We just never see it. Alright. There, there. Okay. Here, here. I'm pretty sure this is unseen as well. Yeah. Oh, look at that. Wow. What about this farm piece here? Probably looking. That is seen. So I think with that, we can shrink a lot of this. About that level. Huge gain there. We can move on from there. Okay, this all these Yeah. Okay. Ather big one here. One thing I did I just check again real quick. Okay. There. All in here. And We got to be careful when we're doing this because we don't absolutely do not want to mess up something. Yeah, you can fix it, but it's okay either way. This might be a mistake. Probably. Okay. Um, yeah. So a lot of this is just good, good, good. In here, Inner here, we should let go. These. And these just shrink them a little bit. Not in fund, but okay, that's huge also. We've got this space. And then. There. Good to leave that, probably. Pretty big piece as well. But, uh So, here and here are good in the back is good. Here and here in the back? Oh, this is a big one, too. Big, big piece. Okay, something like that. Okay, leave it. Can leave it. Leave it. That piece there. Yep, you can leave that. Leave it. Yep. These three. Yep, good to go. We have anything here. It's at the very least inside here, can go down quite a bit. Oh Y, leave it. It's here. Inside can go down. Here. Leave it if it's really small, you know, we're just nitpicking at that point, and this is not what that is. Now, we're just uh we're not doing it that intense, you know? That's weird. I'll go. No. Yeah, I know that. That's actually good. Make that smaller. This here. Little bit small here. Leave it. This guy. Okay, in here. That's in and then the back? Maybe leave. But then definitely the back in there. Yep. Good to shrink. And this cat. No one needs to see inside of this cat. Okay. So very nerve wracking now. What do we do with this? We have this this cap here. We have this arrangement of pieces that we have created. And we're going to just do a couple control delete. This is our highest s, 52 30. We're going to select them all and hit this button, and this button packs it, but it doesn't change the size. It keeps all the size relatively the same. So I packed it. As you can see, this part is big still, and this part is now 6,000. So we've gained on the resolution and force that matter. And it's stayed pretty useless in areas that don't. Okay, we can just fix a couple of these for the most part, this is Gopi go. And we're just gonna rotate and just rotate stuff. And it looks presentable. And that's it. So it's somewhat of a process, right, but it's definitely not, you know, impossible. Of you're not impossible. Just get these going. When it's triangulated. Makes it a bit more difficult to straighten these, but with looking out where we are. Okay. And we just want to wrap it here. This turns into nice, that's what we want. But you see it's gonna lose resolution just a little bit. So we'll just kick it up a bit. So it's back to right around there. Yeah. Thanks guys. This one, too. Just nice simple. Don't stress that this too much. It's not worth V And then you looks like it's bending. We don't want that right. One thing we can try is to unwrap it again. And Okay. We're only gonna want just a little bit here. Yeah, if this happens, it's really annoying. As you probably already know. And here we're gonna just try to continue. It's just T. Okay. And you just slowly but surely straighten it. And once it looks kind of like that, go one for the final. There there. Takes a little bit longer sometimes. We want 6,000. Ops thousand. You just scale it up. So we're at 6,000 now. And don't worry about lining this up again. We have all of these, too. Okay. But see how this is lined up straight. That's good. We want that. We want that. This one. Just doing it. This is the trigger. You can kind of tell what it is, right? You can kind of tell. All right. Grip one as long as it's lined up where we want it to be. Ideally, we have it tilted in the correct way. You want them tilted the same way. All right. Okay. I think it would be for the best if we have for that and then send it off. Yep, let's go there. This it's important to know. Alright, fix that. And we're just going through, like, the whole patrol. It's cool. Just doing the right thing. That's it. The trigger would be a sin to not do it to this one. There. So close. Now, what if we remove this. Alright. I'm not complaining. That looks good to me. Alright. What are these? The bottoms here. Uh, we can probably do that. You guys get the idea, though. Just like that. Yep, perfect. That. De It's always nice when it works. Yeah, we can find loose pieces like this, line them up. Just put them back on track. Looks like we've found this. This one. Okay good. When were you with? All right. That's the back here. Well, it's never going to be seen, so I wouldn't even worry about it. This is a pretty prime time one. Let's get this one going. Yeah. One. The same All right. Well, you're gonna select it all again. And this is currently 6,000 6,000. 6,000. Okay. So we're just gonna go ahead and pack it again. It's gone up a little bit. Okay. So this is actually a pretty good spot to do this. So we're at four k, six k. That is our target. We want to hant with the next set. 53. 08 Uv Biasing Part2: Okay, so we have the set two UE set two imported into Rison now. Everything is wrapped for the most part, except we just need to basically do this, to straighten things out, and then go from there, yeah. Just doing your best to straighten stuff out. Orient them properly, just to do that the best you can. You do get the occasional steak here, which is totally fine. Okay. H. Basically, we're just trying to line stuff up, right? You know. You see what I'm doing. Pretty self explanatory. It just takes a little bit of patience, and it's definitely worth it at the end of the When you look at the end result, it is definitely to just put in that little extra time to understand, you know, what you're doing, why you're doing it, et cetera. It is definitely worth it. We just have to look at LIP. 2,500 intelectalIF. And now it's back to its scale. That's what it should be. It's equal to everything else now, basically. Okay. So everything seems pretty lined up. You can, uh, We can move forward from that. Okay. So let's start shrinking stuff. This rail can be shrinken, I'm pretty sure. The bottom, it can be a little bit, not holy, but yeah, a little bit. Like death. In the barrel, of course, This, of course, can And then in here, we can do that. And Okay. Just save that real quick, and we're just going to select all and then pack it like this. Okay. We're going to also change this to 40 90 64k and then pack it again. Increases the padding a little bit. Yeah, we're gonna test what we have. So 8,000 we currently have. So we select all this, just quickly go to 6,000, which is what our others was. Um, it So we get quite a bit more room, you know, 8,000. So we're much ahead. We're very far ahead. So we need to add. We need to take this, save it. Now we're gonna go back into blender here. And we're gonna take set two here. We're gonna hide mirrored items just so I remember. Um, Oh, it looks like I actually forgot that so that's important to add back. So let's do that. Yeah, let's do Let's do that again. Looks like I made a mistake. Export. We're gonna just add that that piece again, that rail. Um Kp. So Actually, I make this mistake a lot. So we're going to want to hide this rail, hide mirred items. Okay, and then we're going to select I'll delete, and then I'll import what we just had. To. While. Import too. Did we already have it? No, see, we don't have it. So, we're just gonna want to continue to do that. While. It's real time. Give me a break, okay. You can only move so fast. Have I heard this? Okay. Do that. File, Export FBA. While load with UVs. Okay. So this is now we just have to select this. We want it to be 40 96. And we want eight, one, two, three. 8,000. We want it to become 8,000. This is 8,000. And it's gonna shrink, but how much we don't really know. We got a lot of space left here, and it is now 6,000, so that's exactly where our other one was. Okay. This is 1,000. Okay. Here. Okay, pretty much the same. We need to orient this stuff in a way. That's just gonna pack a little bitter. That's all. So Okay, nice. We got a full pack. As long as it covers it, the padding makes the percentage look lower. Okay, we're at about 6,500 biopsy Okay. We want to just add one thing. Basically just one thing. One, two things. So we could pick this. That's something we could add. Yeah, it's safe safe thing to add. I think we should add it. And just that. So it's this and this. We're going to transfer from UV one to UV two except two. Okay. So that's been transferred. You have to do this, as well. Mirrored items from UV one to UV two, mirrored items. Okay, we can go ahead and hide that again. So we perceived that And, yeah. Okay. I'll export. We're just going to do the same thing. Pile load with. Okay. This is sideways. That's a good way to check. At sideways. Okay. And we want That locate our new objects. This. And that 40 96. 6,500. We can actually just go to 5,000. 5,000. Change that. And now. Back again. 6,400. But We can add one more thing, we're gonna save it. Wisave. Wile X. While Import BX. Yes. Do we have the same movies here? We just get to add one more thing. Let's add. Let's add these. All of these in here. To set two. Set two. And then mirrored items. This is also to set two. Okay. And then from there. File export TB. That, too. Load with UV too. 14 96. We want our, let's say, 5,000. We want it. And which ones this Okay. And now pack. 62. Good to go. File, Save. Back in the blender. Set two, file, import FBX, two. Okay. And we can see good to go there. They've that. We're going to export one now. Explore one, go back into here. Load with UVs, one. Okay. And we're just gonna hit Pack. Here we get 496 62, 46, exactly the same. That's how we do it, baby. That's how we do it. Hi there. Did that? Well, import FBX one. Okay. So we got basically the exact same taxil density on both sides. 54. 09 Additional Mirroring: Okay, so I just wanted to quickly go over. More UVs that I mirrored. I decided to mirror it because the textile density was too low, so you can just carry it into it. First would be just like everything I mirrored extra that was done off camera is just cut in half. So it's not a big deal. This mirrored the rail. This piece was mirrored. This piece was mirrored. And when I mirror it, I just think and I've got it in half, that's a mirror. You're gonna attach it later. This piece, this piece. And this barrel. Now, the barrel, you know, Okay, picture this. Cut the barrel and half. It's gonna be the same on both sides. Um, if we go to the low here, you see this whole shrouds covering it. So, of course, this is going to move back and forth. You'll be able to see a lot of it. But, you know, if you mirror it, okay, sure, you're never going to see the inside. One. And you can picture both, and you can just rotate it. So that's the other you can rotate the other side. So those are the pros. Dog doing that. Okay, so that one? Yeah, I think I did this. This one I mirrored that. What else? Back here. I mirrored that piece. Yeah, that's pretty mark. It's, it's pretty much it. But I was able to get the pixel density around. Um, to 70. Your TD unit has to be in D centimeters, and then your MAPs is 496. You should get rive 74. I also put geometry here just because this is never going to be seen ever. So it was worth it to put the extra geometry in there, and just shrink it because they're never going to see it. So we have these bigger ones that are displayed. So yeah, it was probably worth it. So, yeah, that's what we're doing now. And then the next thing we're gonna get into is beaking. 55. 10 Bake Grouping Explanation: Okay, so I'm just going to quickly go over how to prep for the bake because that's the next step. So we've got all of our UVs decided. They're optimized. And we still haven't mirrored yet, but that's for after baking. So we can just go through set one to start. Okay, so basically, we want to get them in groups that aren't going to interact too heavily with each other. So, for example, you combine the objects. So I have three groups here. That makes up the whole set one. I have made one bundle of objects, I guess you could call it, named one, and you put the suffix on low to help with baking, so it matches up with one high. You know, they're the same thing. You do exactly. You mirror the same action in the hi poly. So the hypol also has three groups. So one, and we can the reason I put all these together is because they'll bake well together. They're not right next to each other. Something that wouldn't bake too well maybe or could have problems is if I bake this and this in the same group. See how there's no space between them. So you need a little bit of room 'cause there's a cage that goes around the object and bakes it. Okay, so the next one is two, and you can see it's just the same thing. Just, I'm getting these screws out of their spots so they don't get messed up when the cage expands. They're not gonna hit the walls of this and cause a bunch of crap that we don't want. And then three is just the bigger pieces, bigger pieces. Um, so that's basically what it is. It takes a little bit of time to, like, believe me. I didn't just crank this out in 5 seconds. It took maybe an hour, at least an hour to just kind of decide. And then you have to line it up the same with die poly. So, for some reason, it was difficult for me. I don't know why. It just was. But yeah, so the same thing can be said for set two. It's the same principle. We're just taking a group and basically separating it. You could do a completely different setup for me. It doesn't matter. If you want to focus on moving parts, that could be something that you could do. So just to go through, this is just what I've done. So you can just pause the video if you need to. And it will just be a nice. This is like three objects. Yeah, that's set two set one, just to go through it again for people that want to copy exactly what I have. Um, and you got to take into account, like, these. You know, I've mirrored them, so they're not on the other side. Two is that two is this here. Didn't pause it. And then three is just the big pieces. That's it. Three. Right this. This is three. It's pretty self explanatory. That being said, it took me a really long time to figure this out just to organize it. So don't feel bad if it takes you a little bit of time to organize, but we want to get the texturing. So let's try to get this bake over and done with. 56. 11 Baking: Okay, so we're going to start with the site, and this is one UV set that we're going to bake. Right now, it has nothing on it. Just to go over the setup here. So what I've done at this point is I've used Quick loader here. So you quick load and then we're going to load site Bakes. And basically, what Site Bakes is is just site and the high poly site site. Okay? So it's just this. We've got our groups assigned so you can see they're both named the same thing, but just high, low. And we've exported it with the Suffix BC so if we go back into Painter, or I mean, marmoset for baking, we're going to go Quick loader. We're going to find site site Bakes. And I clicked on that, loaded it in here. Next, we're going to find an output, and you want to just wherever you're going to put your maps, output it there. I have a um, baked folder that I've made site maps. This is where they're going to go. We're going to do sample size 64, format 16 bit and resolution four K. And just at the start, we're going to do anal map and an AO map just to make sure that the bike is clean. Okay. This is the first bake. Okay, so just looking at it, it looks like it was pretty successful. One thing you can do, if you click on Low, see how I have this check exclude when Ignored. Okay, so this is going to hide AO from other objects. So I'm going to bake this again, and you're gonna notice this looks different. I guess it doesn't, but there's one Okay. This here. Let's keep doing it until we notice something different. Y'all got darker. It's baking the A O from this onto there. Um, and, yeah. So one other one. This is a good one here. I believe this this clath. Has yo got darker? Now we can leave it like that, actually, it actually looks pretty good. But for example, if you had a moving part that you did not want AO on, for example, I mean, we could use see this AO. I just eliminates that. So for example, here, if you hit exclude, we're going to bake it again, and we're going to chick again. Okay, see how it got later. That means there's no AO from other objects that are not in the same group. Therefore, it doesn't have that extreme darkness. But we're not going to move this part. So we're going to throw this back on. We're not going to move these lens caps, but it would be a prime the lens caps would be a prime candidate for that type of thing. Definitely. So the lens caps, just because if they move, you know, the AO will show it or it won't show. If we're going to bake it again, this is going to turn darker, give us that AO back. AOs going to really help for texturing where we can add dirt generators and dust and et cetera, whatnot. But yeah, this is looking pretty good. And another tip I've learned is you can sometimes just to get a better idea of the bake, you can darken your object, get an idea if the bakes actually good, if you see any decimating marks from your high poly, from zebush, et cetera. There's all sorts of things you have to watch out for, but this one looks pretty good. I see there's a little bit, you can see this lining here. It's just from Zbrush. When you decimate your high poly, it kind of gives you those lines when it's optimizing it. But other than that, it looks pretty good, and I'm not going to worry about that because our textures are going to cover it. It's not extreme enough where I'm going to need to back and redo the hi poly. But for the most part, it looks pretty good. I'm keening some hard edges here that I don't know if I want. So if you run into an issue like this, all you got to do is go back in here, uh, find your spot you want to investigate. So we have hard edges here, and then we have to go check our UVs to see Okay, are these actually here? And as you can see, a hard edge has to come with a broken UV, a seam. So these don't. So we can just go ahead and get rid of that. It's going to look like that. And we can go and just basically re export this. And this is just site bakes. That's all we want to do. And this is a process that you could repeat. I kid you not 20 times, especially if you're me back in the day, AKA two years ago, trying to do this. So bake again, these lines should fade. These are just the bake lines from the our bridges. This looks normal now, as you can see. So I think that is that's pretty good for this. So we can go and add more maps here. We want to just add thickness as well and position. And then that should be pretty good. Make sure it's four K again, and then c it. And we're going to see Okay, pages. And you can see our bake maps have appeared here in our folder. The more organized you are, the better off you're gonna be. Alright. So Dave, and we're gonna go to set one now. So I've already done this. But we can just do it again. Not an issue. So I have literally the same setup as, uh, as far as, like, these settings, same thing. So yeah, like, if you wanted to animate the trigger or you could just group together the parts you want to animate. So maybe this slide, the trigger. As you can see, I've connected it with a bunch of other stuff because I don't plan on animating this gun. But if you wanted to do that and then exclude from groups, and it will make sure there is no AO that affects your Bake. But I kind of want AO because I don't I'm not going to have this move. So we'll make sure it's in the right output. All the settings are correct, get bake, and it should work pretty well. Okay, so you got all the maps on. And you can see there's a little bit of pinching here or I guess riveting, you could call it. Um, and you can either go back adjust the low poly. This isn't the part that's going to be seen much on the camera. And then from this angle, you know, it looks fine. You can also see a little bit of here. But if you look at, I guess, references, you can see that this material here has a lot of height on it. So we're going to make sure that the heights on there, and it's not really going to you're not gonna see this riveting. It's going to be so filled up with pictures that it's honestly okay. Um, So it's looking pretty good. Our AO is here. That's okay. This is never gonna move. Um Yeah. That's there. So we're just looking around? Same with this. That's okay. Well, this is interesting. You know here, exclude. So I've hit that already. It doesn't look like this has baked properly here. It looks like there's an error. So I'm going to go back and troubleshoot this.He we go to UV site we're on set one right now, and it's this bolt right here. So first thing I should do is make sure the normals are correct. Okay? And sometimes to understand if they're actually correct, you have to scale them. You have to up ly scale. Okay, they look correct still looking around. With the mirroring, you know, you can get caught in the red sometimes cause you can see the inside of objects, but okay, so this is still no good. We got to see how the Us look next. Okay, it looks like it was unwrapped. It also looks like there are sharp edges on it. Um, Okay. It's not being sit on by anything else. There's a chance this exists in where we're at here. So set two. Let's make sure it's not in set two. No. It's not in set two. Okay. So we're gonna want to get rid of sharp ige there and just add them back normally. Okay. So that looks pretty good, though. Yep, looks fine. That's what it should be the outside. Okay, so we're gonna compare it to the high poly and see if it's in the same same group that I grouped them in. Two and it looks like it's on two for low. And in high poly, it doesn't even look like it's there, so two for low. Hi poly doesn't look like it's there. I think it's because it's just not there, to be honest. So what we can do this is the same exact piece. So we're just going to take it. Do this. This is your high poly, keep in mind. Okay, we're gonna set the origin there. And we're gonna need in order to set the origin properly here, we're going to need we're just trying to add this to the bat group. That's it. So we have iPoly we're gonna go back to the low poly here and just do this. So we're going to set it, give ourselves that anchor point to set it and then lock it in there. And now we just have to line up. I actually could use more. Just kind of line it up. And now that we see it, we can actually feel free to adjust it if you need to. And I mean it looks a little thin. The high boe is. Well, yeah, feel free. Okay, so that looks a little bit better. And with this, just adjust it. Bring it down. Nice. Alright. So we have this and we're going to line it up with our low poly. And as you can see, it's not lined up. And you can just slowly just do this. That's fine. Okay. Looks pretty good. Okay. That's lined up there. And we're on two, right? This is two. What's that one? Two, set one, number two. Okay, so this is a one. To lock it into two. So we're going to do this, this. You know, we're gonna convert this to a mesh just so it doesn't give everything else a subdi. So we got two. Approached the board looking good. And we're going to export again. Set one bakes. And this is just an iterative process. This is really like it just takes a little bit of time. But if you put in, you know, good enough time, it will pay off. It'll be worth it. Good bakes are good. Okay. I got this. So it does look like it baked. It does, right. Okay. Looks like it was pretty good. Exclude from B groups. Okay. Does look like there's a bit of an issue there, which I'm going to look at again. Okay, so we have this here. And it might be because if you can see here, it's through here. Okay, so we just want to bring it out out just a little bit. Just like that. And then I'll try it again. Set one baked. Okay, go back to one set. And we're gonna just bake it again. Just keep going. Okay, it looks like we got to change, but not what we wanted, per se. So if we move this out, um, it's not giving us quite what we want. We get this? It really blew up there. Bake again. Well, it's 'cause I moved it from the highball. Okay. Okay. And then as a last resort type thing we can do is we can push it back in to where it was. Yep, let's do that. Push it back to there. And now we're gonna separate these and call them 44 high or low. Yeah. Lo. Okay. And now go again. Export FBX. B. Go back. Okay, looks like I messed up the, uh this thing. That's okay. High, four low. Too high, too low. Okay. Whoops. That's gonna load. We don't want this. Okay. Exclude fake. Okay. A real engine. But These are just things you run into. Can't do anything about it. You just gonna keep going. Keep going through your checklist of stuff to troubleshoot, and sometimes you if you've done it a lot, you can still get caught and have a great example of that. Okay, so it looks like, it's just a huge disparity of, uh what this is, though. We're just going to extend this. Extend it way out to here and extend this out as well. Extend that. Just bring it down to there. A little bit path. And then, even though our UVs are sent, just do this a little bit. Uh, bring it in. Like that. Okay. And it should be good. File. FBX, don't want to bake. It just is over and over, you know, I remember. Sometimes you bake, it's perfect. That's very rare, but most of the time, you know, it's just one problem after another, you got to solve, blah, blah, blah. And Yeah. Yeah, so this looks good to go. Looks like we fixed it. Hey, it was right where it should be. So, for example, if we hit Exclude, if we check this off, so now it's susceptible. We threw it out to the dogs, basically. This whole match is just gonna eat it. See that? We don't want that a bolt sitting that low. Any AO generated map, any map that uses AO is just gonna absolutely not work properly. So, this looks pretty good. Yep. One more. Okay. And I think aside from that, we're pretty good on this big here. Yep. Pretty good there. Um, I did see a sharp edge. I think right here. It's right here. That is usually a sharp edge. So we're here looking at the high polyly right here, we don't want this sharp edge. Okay. Set up this again. Do the same thing. Okay. And it's going to have some residual from the bake. So this is just the normal map that's making it look like this. This isn't nothing other than that old map. So we're just going to hit bake again and then it should fix it pretty well. Okay, so that's good to go. And yeah, it's looking pretty good. So we're going to probably close this out and move on. Keep keep going. Okay. Good job there. Save that, close it out. And now we're gonna go to the last one, which is set two. And set two, I've already baked it, so it's the same type of thing. I'm just gonna go through and see on one I did do exclude. I think I did for everything. I've excluded them just for the sake of them kind of being close to each other, you know, in this But yeah, it all looks pretty good. Um the inside area here. I had a little bit of UV res, not none, but probably get a couple shots in the back here. It's looking good. The rail. The rail baked really good, looking pretty round, but it catches the eyewll. Um, yeah. We're good job with this. And we don't need any edges here, just because they opt into it after. They're never seen, basically. But yeah, so it's the same thing. Did I bake these? Yep, I did. Okay? So that's gonna be that from the baking. And the next thing we're gonna go onto is setting up our substance paint the FBX. 57. 12 Mirroring Sets: Okay, so we're actually going to mirror our final. We're gonna create our final low poly, and we're gonna mirror it. That's gonna be the last step before we go into our exploded mesh that we're gonna bring into painter. Uh, yeah. So that's basically what we're gonna do. First things first, we want to duplicate our UV bake thing entirely, just to clean. All I did was, boom, duplicate, and I hid this. You want to preserve this in case we have any bake errors, we need to fix. And then I just called it final low poly. And when you open it up, you're going to just get the same as you got in here. So it's the exact same thing. Got the same sets. So we're going to go through one by one here and basically Add our mirrored parts into here. Okay. So let's start with sight. Let's hide these so we can stay focused on this. Items I mirrored are here Okay, this is one and ten dogs. Okay, so we can move these as one unit. Okay. And then we're going to move this. It's now here, so we're gonna put it in mirrored so we can keep track of it. Okay. So that was mirrored. What else did I mirror here? Mm hmm. That may have been it, to be honest. That may have been it. Yep. So what we got to do here? I think our center point is still there, so it's just a simple mirror like that. Then we can apply it. And then, boom, all of a sudden, we're good to go. So you can see it's just the same location. We're gonna go GX negative one. Alright, that's good to go. That's mirrored. It. Okay. So we can talk with that back and forth. The next one is set two. Alright, so got a bit more going on here. I think one thing we can do is identify what does not need to be mirred. It's okay if we lose our sets, too. We can separate that because we know it's mirred. Let's start on this. We know this is gonna be married, as well. And that's. And they're all symmetrical to each other. There's no special piece there. So this is not needed though. This one. All right, so this here, put it in mirred see where I'm going with this. Okay. O here. Yep. We got. This piece here. A needs a mirror. We're just going to attach it. This piece is good. And in this piece. We get these sharp edges sometimes. You're just gonna have to go through. I know for blender, at least I get to weird shape, but I got to go through fix them pretty easy. Alright. Next would be the obvious here, here and here. Okay. This piece here. We're gonna leave this separate the double mirror. Don't want to get too confused. The rail. Awesome, can add that. And Yep. So that might be pretty much it. Anything else we see. Not seeing much else. And then these there too. Yep. Okay, so we do. So this and then all of these. Also. Okay. All right. I think we're good to go and mirror it now. It's just a quick generate mirror on the side. Make sure our merge isn't too high of a number, so we don't get any connecting geometry we don't want. And boom, it's already looking better. This sphere. We're going to have to just quickly. Set this point to cursor, and it's just one more little step. Now that we have this, that's good. We're going to do that and then send it back to the main area. We're going to mirror it once more. Okay? So here, we're going to select all that. That's all going to be mirred because it's the same as this. If you look at it, it's the same exact stop. So here, GX negative one, boom, our barrel is mirrored. Okay. For some reason I'm seeing that. Edges just keep popping up. Okay, we can deal with that in a moment. Um, this here. This is just because I cut two areas through the e. Let's deal with that in a second. It's a nice super. Bu right now, it's it's not game ending. We're still in it, okay, so. And then here also we want this Clect that's exactly how. Okay, looks pretty good. Make sure you get everything. And the C negative one. Okay, wear that. Good to go. Looks good. I'm a big guy. The big boss here. So we late. We want this one. Do the mirrored. Okay. We're gonna leave it open. And then these all along. Also. So we're gonna want not these. But this No No these. But these. We that yet. That's and not. So we have another side that we have to worry about too. So these are all going to be mirrored. Pete. Okay, I gonna bring this to mirrored. And now this year, that's gonna be mirrored. These are going to be mirrored. This This gonna be mirrored. Actually. Not these. Let this run out. So mirror. Here Alright. We're so close. I can taste the texture. Alright, this, this Mirroring if we hide it all. This guy. Miriam. We moved quite a bit on this one, well. Yeah, we actually didn't mirror these, so those don't have to be in Not these ones. These can stay in these? No. Didn't mirror this. Or these? No these. And we did. Mr this. I think so. Okay. Mirrored. Okay. I think that's it for that part. 58. 13 Finalize Mirroring: Great. So we just want to open this back up. And mirror everything on this side first. Okay. We can do that. While right Mirror 0.1. Okay, go have to fix it here. Hold on just a second. Separate this. I'm just noticing that the normal's here. Shade those if that's with you, too. And then we're gonna bring it back. Mirror. Okay. Got it. He's here. Okay, so just to check, we're going to go back to our low polyar we have a lot of circle screws here, and then hexagons here. So if you're looking at the gun nose down, the right side is going to be hexagons, and let's cover those first. All these are hexagons. We'll find a little poly. All these. We're going to take this year, we actually want to separate this briefly, and we'll just call it X. And then this here, we're going to separate as well, because that's the other side that we're going to mirror everywhere. And we'll call it rab. Okay, so after that, we can continue to bake or I mean, never got it. Why want? Okay. Now we're just gonna do what we've always been doing with time. Okay. GX, negative one. No, that piece is good to go. This piece and this piece. These mirrored on this? I'm not sure. So we're gonna go to poly. Do we have hexagons here versus big ones here. These don't get mirred. No mirroring there. H hexagons on both sides. Okay. What? This is correct. Okay. It just has to fit. It doesn't have to line up to mirror anything in particular. We're just duplicating it and send it over to there. And then an added thing we can do. There. One thing we can do here. Just to offset it a bit. That. We're just gonna rotate it so it's not mirrored, you know, wink wink. Okay. This thing. Duplicate Sight R Y. Okay, so that's good. These are all gonna share this one. Okay. We're going to show this. Well, we do this. There there. Okay. Okay. And then we can go ahead and take this one, which is going to be another pinnacle Wart peak peak performance right here. Okay. We go to bring it here. Duplicate, Asaate. Little rotate. Bring it up. Bring it up like that. Dear. Duplicate and sate. And then a little rotate. Okay, same thing. Duplicate and sate. Okay, just to make sure. Yes, I've made sure about 1,000. That's duplicate, I see. Okay. But we're gonna combine these. This is our ring leader for this one. These are all sharing. This guy's ****. ****. Hey. We're gonna add one more, actually. Tree. That G X, negative warmth. Good to go. It's good to go already. And we're gonna want to duplicate this right out. It's going to origin. It's like that. Bring it up a little bit. And I sit like that. Okay. And we'll attach it to this crew here. Okay. So technically, they're all kind of the ring leader. GX, negative one. Okay, so those are good. These are not mirrored. These ones. They each have their own specific stuff going on. Okay, so I think that side's actually good. And now we're going to go to the next one. It's brain up kind of like that. What's math here? What's some quick math? This 60. We're going by 30s, okay. So R 90. R 120. We're just trying to rotate here. 18. Duplicate. Or. Go. Very tedious process, isn't it? Okay, so that's good now. We're gonna bring one over here. So duplicate wide. Bring it over to here. Looks like I ruined everything. One right bud. Low goes doll. Okay, so you got this. You got a little bit more rum, pump it up. Or 60 duplicate here. As eight. Like this. 91 20. Okay. So right here, it starts to get R 30. That'll do it. R 90. And here. 01. Okay, I think we got all that covered. As far as X goes. X, we got all the hexes. Okay, so we're gonna combine and then GX negative and boom, you just like that. The mirror radio. Okay. There's a lot of space doing that. We'll check that. And that map is good. Next one, it's also been mirrored. And our site as a little bit of mirroring, not too much. Okay, so on to the next thing. We're gonna go in and just test them to make sure that they work. 59. 01 Defining Base Materials Part1: Okay, so now we're gonna input our exploded mesh in the painter. See how things are. I might not stay at four K. I just like to start there. Import, select I think FBX. I made a substance folder. Exploded mesh. Import Bake maps. Okay. Bakes we want set one. And also set two. We're gonna leave the sit out but this one, we're gonna text that separately. And uh okay. We got that. I've just moved out. Ws that I think are important. We're gonna texture it. This is the base look of the gun, so we're gonna start like that. Set one. Set one, normal world space AO curve. I don't trust that I'm gonna redo. Tick. Okay. Set one? That's pretty good. Let's change our HTI to studio Tomoko. This gives more real lighting. Accurate. And then we got set two normal. Set two world KO curve. Set two positions, set two thick. Okay. So for the most part, it's looking pretty good. We are 100% going to encounter problems on the way. So don't freak out if you get stuck where it's You know, I'm probably gonna get stuck, too. We're just gonna work through it. But yeah, not seen any major things here. He was good. This can move. That looks good. Okay, so we're just gonna I guess just start. Start set one. Just establish some materials here. So going to my rep here. Pure rep with the update. Not bad. Alright. So this is, uh, just a good model to look at, I guess, or material breakup. Let's look at this. Let's leave it nice and small right here. Just. Okay. So we're starting off with let's just do plastic. Everybody's texture style is different. So this is just mine. A folder, plastic, all caps, whatever. Okay, and then within that folder, just lay down a base material, make it, whatever, gray. Gonna select. This is plastic. Well, it looks like it's on another set though. Okay, so we can save that. Plastic, Elastic. Elastic. This is metal. Plastic. Those are the main pieces I'm seeing now. Yeah. I guess we can we can just copy this go to two. Paste Plastic. It's so it's the right collect, so it's cohesive with what we're doing. So we'll go back. It's just gonna be black, but just trying to get an idea of what the base roughness is and set them up just very gradually. We can continue you know, it just looks something like this, I guess, for now. Don't have to get super deep into it right now, but Yep, that's kind of what we're looking at for that. Next matrix here, I see metal. These look pretty similar. This is also metal. Got a little bit of a painted thing. This rail is metal, and the screws are metal, as well. So we can do another one that's gonna be like a bulk texture type deal. Screws. Get that going. Just make the metal one or one, not 0.1. Roughness, bring it up a little bit and color. Yeah, it looked a little darker. It had a tint of the slightest tint. We're gonna call that base. We're just gonna go collect all the screws now. That was pretty quick, right? The screws are there. And they're all just kind of similar. Even these ones, you know, they're a little similar. Okay. That's a different set, right? What's the front looking like? Uh, Almost, but no, I don't think so. Maybe later. Okay. Do we get screws? Plastic. Get that if we can. And then we're gonna go with what call it rough metal. This can be rough metal. Okay. Rough metal. And before I lose all my work, we're gonna just save save that saving project. Real. Okay. Rough metal. Gonna throw a base in there. We're just gonna make it a little bit darker. Maybe give it a point b eight just for distinctness at this point. What gonna call it base. Just to look at what we got. This This is a barrel type deal. They look similar, don't they? They look pretty similar. And if there's tints we want to experiment with, so be it. Okay, that's just, yeah, I'm getting ahead of myself this part. This block doesn't actually does look grea somewhere. This is raw. This also looks of the same cut from the same cloth. This looks metal metal. And then. What else? Okay. The trigger that. We'll go back to plastic. Cover that. We almost cut everything. And, um, these just look like raw metal. They almost do look like the screw metal. Um, so we can probably just make that. Similar. And you can add all sorts of variation. Okay. Okay. Rough metal. Okay. This looks to be the same color there. This go black, though. So we're gonna do this at a white mask. And just call color darken. Okay. And just put the color on and bring it just dark. We just want it to be dark. Well, firstly, we have to add a white mask here. And then we'll paint it black, so it doesn't um we want this. It's currently a quite nice. Rough mew. Whoops. Gonna copy that, delete it. The plastic. Color darken. Select. H. Okay. So we got that? Anything else? That's plastic but a little darker. The trigger and then this part. This part is so you can shuffle. You can just let your rounds out without having to fire it. It's like a cycler. By white mask. Here. We're gonna paint it black. Okay, so we got this? Here we're just removing it. No. Well, you know, we do want to have the same roughness information. I actually made a mistake there. Base. We want back. Watching back. Okay. Tarkin. Base. Nice. Okay. And then on the plastic, we're going to just lay down a three of dirt. This is good for making height. Little brand to about 10:10 ish. So just, you know, you can tell there's a little bit of height it height info and then we'll do plus 'cause we're gonna put it height up. Just put your channel to height, I hit Alt and then held Alt to click tight it selects just that 0.01. So we got pretty good setup there. Of that. And I actually think that this plastic is just it's just lighter. So I'm gonna save. Go back to base. Just click on this. Yeah, it's not purple, but it's it's like dis, I'd say. Let's say it's like that. More so like that. Maybe even a little later. Nothing. Light. Alright. And we're gonna go just venture off now into different textures. I kind of looks crazy, doesn't it? It looks just a little bit everywhere. So the textures just sometimes harder to read. Well, this is a really good one. So, yeah, it's got if you're looking here, height. And another thing right off the bat, we're going to just put a layer on top, add a filter, sharpen filter, put it to 0.2, four, two, three, two, four, and then set it to pass through. And that is going to just sharpen our detail quite a bit. Height info. We're going to put that there duplicate it want another height info. Okay. We're gonna just hit a seed. Gonna change it. And we're gonna change the actual to six. See what that looks like. And we're going to crank the balance down a little bit. It just helps with the variation. See that? We got some bigger ones there. And we're going to do one more right now and call it. Em fo minus. Okay. Item fo minus. And we're going to see it again and go to height and hit invert. Then that's going to make little pits that we want in here just to add more depth to it. Okay. And in those pits, we're gonna introduce color first time. Alright. It's just gonna be a little bit darker. We're gonna go base color, normal to overlay. And it's just overlay makes it so that, you know, it can be involved in the layers, but it doesn't overpower any certain specific layer. Well, so overlay is a very subtle way to add detail really effective. But you can definitely We don't want too much here. Just enough. There. When I go back to our roughness and just bring it up to Ted. Go about here. Alright. And I'm actually gonna just take this color off. Ah, maybe. Yeah, we can do it the other way. Go the other way, make it blacker. Now we're gonna duplicate this, rename it. Noise, color. White. We're gonna get rid of the height, keep the color, all white, and seed. If I'm going too fast, just pause it. Alright. And another thing we can do our normal height. This is our main factor here. One thing we can do here is add a layer, set it to subtract. And then we're just going to add, you know, any sort of subtract layer. And if you hit Alton and click on the mask here, you're gonna be able to see what's happening live. We're going to scale this up to about four Uh, I kind of just let go a little bit here. We're gonna put it to triplanar. Maybe even something like this. Yep. And now we're gonna take this subtract and just subtract to subtract. And it adds these inconsistencies. Maybe you can Just something like 40 40 ish. That's good. Okay. We're just getting the base set here. That's all. Just base material. Okay, so we're gonna move away from plastic right now before we get too involved with that. Make sure you save. Um. And now we're gonna go to screws. This is a good point to just kind of look at something like this. Screws or roughness, 0.42. That should be good. 0.43. Tate we're gonna make this a little bit darker. Like that. Okay. We're gonna add, not yet. We're gonna add a fill layer, and we'll add five. Live. Gonna scale it up to, you know, 13. Okay, the roughness, only roughness we want to see. We want to see the shine. We're gonna go to roughness channel here. Call this noise roughness. Okay, teen from you overlay. And we're actually going to go venture into our roughness channel. By adding X or C. I forgot what I just said, but one of those, but we're just gonna make it like this. Just very subtle. We don't want to do anything too pretty yet. 33, something like that. Good. Just like that. Alright, ish. Duplicate it. Now we're gonna change it to just color. Okay. Go back to base color. Put it on overlay. Bring that color all the way up to one. Pure white. And then I'm going to venture into a base color. Just like that. Make sure to heat it properly. That's gonna give us just a nice look. That we want for metal. All right, a couple more things we can add here. Noise roughness, so we'll call this noise. Noise, color. White. Okay. I'm gonna add our first generator. Just a metal edgeware. So, it helps with that actually a good base material building tool, so that's where that. All these It doesn't take too much. And it just adds an asperation. Okay. So we're gonna take that like this and we'll just go metal. Oops. We want it metallic, so we turn that off. Roughness to be about 0.367. We want it to be rougher. So that's good. Thing like that. Color. Okay. That's good to see you here. These are pretty good. Okay. And we'll call this edge Roughness. Edge color. Edge color. We're gonna do two edge color and also edge roughness. Which color? We're gonna go and add fill, subtract, we'll throw in. You know, you could probably do anything I've been rough to get some nice aggressive looking. But the whole concept here is we're just taking from what we just made. We'll scale it up to about four. You know, and you can start to see it just takes stuff away gradually. Do that. Yeah, that's all we're looking for. Stuff like that. And then just to enhance it a little, we're gonna add the levels and just push it in. Just a little. We can now just call this edge. Edge waiver. General. And we'll just add a little bit of roughness. Okay. Well, my computer's about to blow up. So I'm gonna go 2048 2048. Was it down. Yeah, just keep it manageable. Okay, well, that's good. Okay. Now we're going to go add edge. G red again. Pedal. Okay, and this is going to be just edge C. Add it to the overlay, change it to one. I'm gonna take this rust, add it to it. Seed. Let off a little bit. Want it to be a little more gradual, so we can even add another one. Weed. Right plant. This one can be. Dry plant it just makes it so the seams can't get you, basically. You got to tie it up a little bit to match it, though. I well, it's adding just a little bit around the edges. Okay. We can maybe if we weren't at the levels. Yeah, something like that. Okay. And Mr. Bruce. Okay, plastic. Height down looks a little extreme, actually. G go. We're going point oh oh five. Okay. And then height up point oh oh one. 15. We're gonna go. Or. Same with this one. Just bring it up a little bit. Save. And we're gonna go and just set up in. Barbara said, no, so I'll just do it live here. It's save, and then we're gonna go hide set one, we want to export bio export textures, one check set two. And we're gonna go. We want four K textures we don't need. Color, roughness, metallic, normal height, and missive. We don't need that. We go to global settings. Keep it like that, and we're gonna go to Miltech FBX substance or we can just go to final. Make a new folder and call it texture maps. Okay. And we're gonna just not get two folder over here. Elective folder. Okay, and it's okay. That should be good text work. Take a second. Okay, we're gonna open the output directory, so we have these maps now. Save again. It's going to psycho, go down to the place we go. Okay. And we're going to go to set one. And instead of having our big map in there, we're going to go to vinyl extra maps. This normal. As you can see, we have our map in there. That's correct. Albedo, base color. Roughness. Roughness and metallic. We're gonna take out AO just cause a tracing is going to do that for us. So metal we do need, though. Okay. Decent start here. That's a good start? Okay. And it looks like this might be inverted might not be. And if it is, just flip it. Actually. Yeah, so it was. No. Looks good. That's funny. It never does look the same in painter versus in it just never does. Never, never do. It's always different. Okay, so we're gonna save this Go to racing. Now we got that no one. I working distance start setup, change our camera to 100 makes it look a bit more dynamic. You can fit more in it. I also have these in here, but they're just not textured yet. And, uh, also in set two, I have this which is not set up yet. Okay? Or textured, I should say. So we have that now. You know, we're gonna just go to camera settings. Stay frame on is always good for test renders. Always good. We want to just have this other window, draft quality perspective. And we're actually going to just find a different HDRI. Um, C use this one? A bump. They're all pretty good. Webst kind of download this one. Sheet. Alright. Pretty good. Yeah, it looks kind of nice. We're gonna put it to 0.2. And then from there, we're gonna go completely vertical. At a light, and it's gonna be a directional, so like the sun. And then we're gonna six point. This is usually pretty good. Yeah, we just kind of want to like this. That's all. We can tilt it. Sometimes fun. Negative 15. The light just hits it, maybe sometimes a bit better. Well, worse. Okay, sky on this light, we want to make our sun not too bright. It's not a spot shadow, but something like that. I'm looking at the shadow here. The diameter, something like that. Okay. And we're just gonna go with Black. It's just whatever. Cool. Blared. Just a little it's nice. Okay. That's what we currently got. We're just checking it out. I'm gonna change my thing again. Image. I think I have, if you have your own HDRIs, by all means, then use that. Sweet. Don't want that one. Image. Yeah, I like this one. 0.2. You can just get a feel for what is looking like? A Okay. Looking pretty good. And we can turn our sharpening up to about 1.7. We want to eat pieces as well. Distortion. I don't think we need anything yet. Sharpening is important. Got that. So we have that in our render settings. Image output, we can keep it at that pn upw. Let's change this to 2048. Open image location. What we want to do. Images you're gonna be sent to FBX. We'll just have nl new older, that's what it should be renders. We'll say right to there. And we'll just do one. Sogopen location. Render. It should appear here. You know, it's not gonna be anything good, but it's We have everything set up, so that's the main lots right now. Okay. Pretty good. Working good. 60. 02 Defining Base Materials Part2: Okay. Hold on. So I'm going to keep plugging away. Alright. Ws. Looks like it might have small coding on it. Rubber. The barrels products. That's the darker maybe. It's actually looks similar. Raw metal, we can just take from two? Okay. Okay. This looks like some sort of black oxide or something. Okay. Every looks good. This looks glatsti. I don't know. Lost. It actually looks kind of metaly. We can change it on the way, you know, never set in stone. It's called orange. That never is correct, but it's always that's not W. Okay. We got everything. Maybe except that. Okay. I'm just looking for the carry handle version. I can't find it. Pretty sure it's oh like the green. But we can just leave that for now, and catch up to them. Yeah, just to look back at this here. There's a couple of different you know, this isn't a KSG, but, you know, just take guns you like, and you can just picture them with, you know, combination of details you like. That's what you do on three D, basically, unless you, you know, 'cause those details are gonna be on the same plastic as this. They just look maybe a little different. But I see noise here, and I see, like an edgeware that's a little bit like brown. I'm gonna go go to the metal. You just raise it up a little. Raising that to tear. They just call it to call noise. I'll just duplicate it and call. Noise rough. You know, but a three in maybe I five. Okay. No but to sound. Got B. Make sure they're set it. Yeah, just color. Okay. Looks like there's some black and white, so we can just that looks pretty good. Don't worry about this part. An tactical move. Okay. You go to take this sharpen too. Yeah, I'd enhance it. Okay. I start probation materials. 61. 03 Defining Base Materials Part3: I going to use these refs. Sometimes it's better to just stick to a couple instead of, I had a lot going, so. So it looks like I'm just going through my basic parameters from my base materials. I have height that's going up and minus height just to give the material more depth. Yep, and I'm adjusting the balance based on how much I want to show. You got to adjust the seed as well in the tiling, so everything is a little different. So it's unique. That's the idea. We're gonna adjust this one as well, a little bit. Give it a bit more. And So I put my height to overlay. And the height has, color. I mean, I put the base color to overlay. Sorry. Oh. Just adjust my mic in real quick. Yeah, so I'm basically trying to get the main materials, the base base base materials. Uh looking half decent before I go into any weird details. I'm exporting these in the marmoset now just so I can get an idea of how they're going to look in my final engine. So this is the last place I'm going to see them, the final renders. So even though they look maybe good in painter, that doesn't mean that they're gonna look the exact same in substance painter. In fact, they're not gonna look the same at all. Well, relatively similar, but there's going to be differences that are pretty hard to make it look how you want in both. It can't look the same in both. Looks like I exported my textures. I'm gonna continue to just scan through my references, though before I go into Marmoset to check. Probably gonna add a little more. I'm looking at the colors and my HDRI is studio Tacomo. Um, it's known through the industry as, like, one of the main neutral, HDRIs. So it really gives you, like, an honest color. So that's always good to use that one. I'm going back into that. Yeah, it's important to try to get this down early, get the details in. Looks like I'm adding a new layer. And But making sure that your base materials are solid is really important. It's important for all aspects of this. You know, if you think about your reference gathering, your initial modeling, your high poly, your bags, making sure that the first time you do a really good job is critical because down the line, you're gonna notice, Oh, this maybe isn't good enough. And it just causes a lot of problems. Yeah, sometimes it's better to just stick to a few reps. In this case, I chose this one. I'm going to probably go to a couple others, though. And I'm just going through all the layers again, making sure that they look okay. The process really goes by quick, if you like texturing, just like anything, but by far, it's my favorite part, so And there are, you know, you can get smart materials, and you can make your own, which is definitely a smart idea. If you are always using the same material, and you can just kind of tweak it from there. But in this case, I just chose to make it from scratch, just to show people how they normally would do that. So I went into the roughness channel and changed that height overlay from normal to overlay, just so it sits a bit more transparent in the layer. It doesn't cover anything. It sits within everything. So you can see it through. You can see all the other layers through it, basically. That's what that means overlay. I'm going to say export my textures again. Just need those four maps. Alright. Hey, you can see the polymer looks a little bit different than that reference. Mine has more of a blue tint to it. And that's partly because of the HDRI, and I think I maybe added a little bit of blue to it. Yeah, each model is gonna be slightly different, so it's okay if it's not exactly how the picture looks as long as you're taking a real world details and adding them to it. Not just making up details in your head. So I'm gonna add another layer, other full layer. Okay. Yeah, and right away, you can see that hole I missed in modeling. And I just added, I'm going to add a circle soon, but I'll realize it soon. I'm narrating this now after I've done it, so yeah, you can see that was probably the main mistake I made through this whole project, but luckily, it's in the very back of the gun. And if you're using this for games, I mean, one lesson you can take away from this is that, you know, you're not going to see that part. So if you're going to miss a part, that would be the part to miss, to be honest. So yeah, everybody makes that little error sometime, so I'm not going to be too hard on myself for it. I think we did a pretty good job overall. And yeah, I'm not gonna let that one little error ruin the whole project for me, so maybe next time, another thing to take away from this is that, you know, just make sure to double triple check your work before you move on to the next step. Like I said, because here I am. Yeah, I missed it at two, three, four different stages of the pipeline, and now we're at the very last part, and I see it in texturing and there's not much you can do. Of course, you can go back and if uh, if this was for work or, you know, some big project where it had to be exact, exact, exact, you would probably have to go back, adjust the UVs. Of course, the model, you'd have to rebake and you'd have to kind of tweak every part of the pipeline and go back and adjust the inner workings of that. And it takes a little bit of time. You know, it takes an hour or two to do. So it's kind of a pain, but in this case, we're not going to worry about it. We're just going to move on to the texturing. So yeah, it looks like I'm yet again exporting with les. And I should go set up, I marmot set the scene soon enough, and yeah. I'm really just taking my time on this polymer. Um, yeah, and you just really want to take your time. Don't let anybody rush you, of course, unless it's a deadline for something. But if you really want to get a good result, you got to really take your time, really look at these references and see what kind of detail you can get from them because at the end of the day, real world references is what's gonna get you the real world looking result. So I'm scanning through the polymer, other details. I'm going to add another layer here. Okay. I'm going to go through the layers again. And you get to the point after a while, where if you're looking at all this stuff and you keep going and doing what I'm doing right here, it might be good to take a break, go for a walk, do something else that's not three D, because we all every artist knows this when you look at something for too long, you know, nothing good is gonna come from it. You just get into this state of mind where it's really difficult to try to find a solution or your sense of what looks good or what doesn't look good kind of goes out the window for a little bit. That happens when you get tired. So it's pretty important to just, you know, when you see maybe maybe future me would tell myself here to say, Hey, go take a walk. Come back, take a break for an hour, come back, 'cause when you come back, you feel very refreshed. And yeah, it really makes a huge difference, in my opinion, it looks like I'm changing this height roughness channel to overlay. Um, so it blends in a bit better. I don't actually know exactly what overlay does, technically speaking, but I've watched a lot of tutorials myself where they do overlay a lot for those details that they want to see all the time. So, yeah, it's a good one to add for base details specifically. Those fundamental details like the noise on polymer. You want to overlay that stuff. It keeps it subtle, but it also keeps it there. You'll always see it with overlay. Those are my main three reps as for this base material, for sure. That's what it's been so far, so. So I've gotten to this point with just, you know, one set of references. Just it goes to prove you don't need a ton to get started or even in general, but as you move forward, you use whatever gives you the detail you want. Similar materials are okay. It doesn't have to be one reference where you get everything f. He wouldn't get very far if that was the case. I'm gonna add another pill layer. What am I gonna do here? Looks like I'm searching for something. We. Back in painter. Not exactly sure what I'm even doing here. All I know is I need a break at this point. I'm gonna continue on. I think I'm frustrated that my desktop icons are showing through my task bar, and they're not supposed to be showing, but for this video, I could not get it to work. So I'm just going back and forth. I think this is the fourth time I've done this. Really just taking my time here. Uh, if you I'm gonna just continue talking and narrating this, but until, you know, you should definitely fast forward if you're at this point already and just see what I do, Nick. So yeah, I won't be insulted if you fast forward through this part because I am clearly taking my time, but I'm gonna just continue narrating this as we go along. That bake, I think I did a pretty good job there because it's soft enough where the light's gonna catch it, but it still holds its form. It's not too mushy. I don't know. Yeah. So we got, you can see the different colors there pretty well, actually. Back into my reference channel, my height. Looks like I'm changing at the overlay. Just getting all the angles I can on it. Save war textures. Boom, boom, boom. And you notice I'm editing in two K. But I am exporting in four K. My computer specs. What do I have? I have a GPU. I got a 30 60. Not a TI. The 30 60 is good. I think it's better for three D, just because it has the high VRM. I think it's got like 12 like 12 or something. Whereas the 30 60 TI, I think is like, has more cutcors or whatever, but it has eight VRM, so it just can't handle a lot of this creative stuff. But I have. Okay, so I got 30 60. I think I got 32 RAM. I got an I seven, something, I think 1,100. Normal motherboard. And yeah, those are, like, the basics what I got, so it's not a crazy computer, but definitely you can get the job done, but my point is that I'm editing in two K just because it would take fever if I did not. So You know, it looks like I made that small piece there black. Obviously, it's metal, so it shouldn't be that dark. Um, but it looks like I just got it got the material in there just to differentiate it from being white or metal or whatever it was. Just getting it in there so I can come back to it and realize, Okay, this is its own material. I have to texture this one, as well. All right. So that's going to be up for this first section, setting up the base. Oh 62. 04 Texturing Part1: M. 63. 05 Texturing Part2 Timelapse: [No Speech] 64. 06 Texturing Part3: So it looks like I'm just going into that mask. Just making sure it's not cutting out with the UVs, adjusting the roughness. Important. Getting the paste, so we get color going into overlay, adjusting it. So edge colors gonna be roughness, as well. Just as a general rule, you know, you want to put edge roughness on most things. And then the severity is gonna just depend on whatever the material is. So it's important to just keep a reference going, keep looking at a reference, and from there, you can decide. But it's always smart to have edge color. And that goes with edgewar noise, roughness, base color. It's all kind of a nice template to use. On everything. So I'm gonna do another fill there. And I'm going to add some noise, scale it up. Like that. 515, go back to the mass, check it out. And then that is going to become color variation. So you can see that there might be a little stretching on the UV, so you can probably paint that out after change it to overlay, base color, change to overlay, so it kind of sinks in there. You see it a little less, raise up the color to just be able to see a bit more that just gives a nice Uh I just gives a nice differential. You know, I just varies it up a little bit, looks a bit different. Yep. I just breaks up to cover. That's all we're looking for. Don't want it to be too intense, either. I don't want it to be too intense. Just checking it on. So this mask is gonna apply to all these materials, noise, roughness. And we just duplicated it, changed the channel. We're gonna go to the color here and just have it on overlay as well, and then adjust it as we need to. And it gives that material that pop that's so important. All right. We're going to move on here. Y. Okay. I go to add geword generator, and we're going to have some roughness and color break up. A lot of this is just it's honestly guesswork for a while. You have an idea of what you want it to look like. You have a reference that you want to try to replicate. But sometimes, you know, the first time around, you know, you got to tweak stuff. It's not always going to be perfect. So a lot of times you're gonna come back to it, you know, a couple of days later and be like, What was that? Why would I do that? And it really just sick and gets yourself. And that's good to an extent. But, you know, if you find yourself doing that for a week, you know, just decide it's good enough or whatever. But sometimes you need a little bit of a break to just kind of let your decision making the decision making part of your brain kind of rest and reset and whatnot. So we had put down edge roughness. We're going to do the same thing just with base color. And the reason we don't put base color on that edge roughness with the roughness is because we don't want it to be on the exact same detail pattern. We want to be a little bit different because it allows the material to look a bit more unique and a bit more imperfect. Because the color and the roughness aren't going to align perfectly. And here, it actually looks like I went for a scratch map. So I put metal Edgeware on multiply. Put a fill scratch under it, scale it up the scratch. And now you're getting just height information. I just have height going now, probably negative 0.01, and it's just height information on just the edges. So it's realistic. That's the purpose behind that and you can paint out if you don't like certain areas. But, yeah, it's a good method for getting height damage or whatever kind of che damage you want to get on the edges. So I'm going to add levels to kind of increase the contrast, make it a bit more intense, less scattered around. We reset it. Okay. Yeah, and afterwards, you just paint out, you know, what you don't want. So for screws, there's just one. I mirrored all of them. So maybe these are individual mirrored all those. Okay. Well, those screws. Yep. So throughout the whole model, those screws are going to share the same material. What's that one. Gonna go back to the plastic here. Okay, so we're going to add a metal edge again and get the edges, some nice details. So edge dense, we're gonna do basically the same thing. You can even copy that layer if you don't want to go through all the steps again, but edge dense. So yeah, wear level. I'm just adjusting, you know, the grunge, the wear level contrast, triplanar. It looks weird. We're going to put height h color. So, just kind of eyeball the height up first, and then kind of hone it in as the mapGs applied. Put it on overlay, the base color. So it looks a bit more embedded, looks a bit more natural. Base color, Edgeware put on multiply, and we're going to add a fill layer, put it below the edgeware and add whichever map you think is best. Whichever one you think is best at a levels, increase the contrast. And scale it up to about three. Alright. And then adjust the balance. Yeah, it's nothing crazy. We just want to show some scupping. No, it's it's just a work in progress. So From there, the next thing to do change a map out and test out a few different ones, play with the scale. I know you're looking to me for, you know, straight advice, so you need to put X here, y there, but realistically, after this tutorial, you're gonna be you know, people aren't gonna tell you exactly what you have to do. And this storia is very, you know, rough and kind of running gun type thing. It's real time. So you're going to see me make mistakes. You're gonna see me go back. But generally speaking, you know, this is kind of what you want to do and just play play with the settings, you know, us because I have one thing set a certain way doesn't mean that, you know, you have to do it exactly how I do. Our edge dents, we raise roughness because when you scratch plastic, it gets rough. Um, it's just a real reference thing. So I added a blur. Make sure to put it on top of your levels. Yeah, we're going back. This is added to roughness, actually. Sorry. So we're back there. And, yeah, it looks terrible right now, but it all kind of comes together. Alright, so we copied our subtract. And that's basically to break it up. So I put a cloud fill layer set to subtract on the very top of the layer stack, and it just kind of takes away from your map. Very straightforward. And then that gives you kind of a much more tame, mild result. That's more realistic looking, definitely. Okay. Yep. So that's one of the first main details we're gonna add to this base material. It's always good to scratch it's general scratching. It's always a good first material. You feel like you're left behind, being left behind and, you know, pause the video. Take your time, go back, see what I did. Again, it doesn't have to be exact as long as you get the details roughly in the same area, you know. So yeah, I'm gonna open Marmoset check it out, see what the PBR looks like if I'm way off, if I'm close, whatever. So Alright, so we're checking it. Looks pretty good. It actually doesn't look bad at the stench. It looks very raw, but, you know, the base material, you can see it. You can see the shimmer, the height, the roughness. It's kind of coming together, but it looks like it looks like a blank slate, basically. Yeah, it looks like a blank slate. God I try to look at it at all angles. I've set it up on just a normal a plane. Set it on like, I've set it down 180, 90 degrees. I've silted it, and then I just put a just put that one light. Just need one light. That's it. Just a single. You know, you want to get a couple of test renders in, feel free. Base material likes these. It looks pretty good. What test render. I find myself rendering a unthinkable amount through this tutorial. So, you know, seems like every two details I add, I just export the textures, and then check it in Marma said at six different angles. You know, it's excessive, but at that point, I'm thinking to myself, Well, it's probably time to go for a walk or something like that. Ta a break, get a cup of coffee, do something, just get away from the computer at that point. Yeah. You get caught up in the little details. It looks like a good noise variation. Yeah. My favorite part about texturing specifically. I guess the pipeline is just trying to make it look as real as possible. That's my favorite part. I think a lot of people enjoy doing that, too. It's a nice challenge. You know, you get good reference. You can see other people's work, and you're like, Wow, that looks awesome. You just want to try to make it close to that good, you know? I feel that a lot. I look at a lot of these people on our station, and it's just extremely motivating to see that, you know, Wow, somebody can actually be that good at three D. You think, Wow. I mean, if I tried to do, for example, if I tried to do that, it would take me, you know, five years to make a gun that good. And it's really it's a very linear curve. I guess at the beginning, it's fairly exponential growth, but it does taper off. And you get to a point where it's like, Okay, these little things actually start to matter. Like how much you, you know, like, hi poly softness and where you put seams and how well you pack UVs, all that stuff at the end of the day, even if you're the best texture, you know, East of the Mississippi, all that stuff really makes a difference in the overall product. Because if one of those things are lacking to the train eye, you know, you can really see it. You can tell. It's one of the first things you go through when you look at somebody's work. You're looking, Okay, do I see sharp edges? Do I see, you know, textures that are going through the UB lines? You know, they cut off on UB seams. Stuff like that is ugly, and it really shows. And you can tell when somebody's a good artist when they can hand paint those things out or just avoid the problem in the first place. You know, um stuff like that. But here I am adding some color variation. The concrete map is really good because it kind of has this nice directional contrast to it. It's not super contrasted, and it has a nice, you know, scraped look to it, very even. And it allows to get these nice color variations that look very natural. I'm sure people use all sorts of different methods. And I'm sure there's 1,000 methods better than this. But this is just a nice way to add color variation that I found from watching other people. Good way to check your color is to go into, uh, you know, your albedo map. It's at the overlay here, which is smart. I don't think it should be red. Color breakup one. We're gonna add another color. Set it to red, and we're gonna put the strength to 12. We barely want to see this thing. We don't want to see it a lot. These are the small details that actually can actually make a pretty big difference. You don't want to see the red, but you want to see it. You want to see it without seeing it. Is the best way I can describe it. Whether it's red or blue, Yep. You want it to be so subtle, you can't directly see it, but strong enough where your eye sees it. That's the best way I can describe it. I'm gonna make a new layer. Ambient occlusion. Send new generator for us here. And this is gonna be I'm gonna Well I change the curvature. Next thing I'm gonna do here, invert it. Change the balance, bring it way up. In contrast, probably. I want to get in the crevices and darken them. That's the goal here. So dirt might be the move. Get rid of the grunge. Call tract up a little dirt level. Then we're going to add. So it's just AO. That's where we're gonna have it as. Just color. We're gonna bring the color down. See, I kind of adds that shadowy it gives you a bit of a cist the tracing. You know, I just really adds that shadowy look to it. Go into our color map. We can see it's darker. That's exactly what we want. That looks really good. That's it with it. That's what As that next contract at depth. Nice. Okay. So I copied that material, control. She went to a different set, and I pasted the new one. I copied the paint mask, paste that one, delete the old one, delete the old material. And then, boom, we have our material pasted over. I know there's other ways to do this. There's, like, a parent material. But I honestly haven't learned it. I haven't learned I just discovered it was a thing. Uh, yeah. Yep, it's kind of embarrassing, to be honest, but that's okay. This isn't an optimization tutorial. This is mainly texturing. Texturing, texturing. That's what people want. That's what the people want. They want the textures. Back into Mar It's looking the same, to be honest. I can see that AO. I can see that. I can also see that color variation. Yeah, it's looking pretty good. A little Yeah, and it just looks bare, but it's at the early stages, so it's okay. Change up the lighting. We just got one directional light at about a 6.5. For some reason, it just goes to 649 every time. I don't know why, but it just does. We're gonna render out an image. It looks like go from there. It's good to get these little checkpoints in marmoset because it'll stop you if you're on the path to something you're not you don't want. You know, this is where you're going to see it. If this is a portfolio piece, et cetera. If it's for a game, you're going to see it in unreal. So check it in unreal. If it's for folio, you know, check it in whatever the last place this thing is going to be seen and in this case, I'm going Marmoset for portfolio, whatever. Just for fun. Marmerset's good cause it's looks realistic. It's, you can it's pretty quick. And it's very intuitive. The whole interface is easy to use. Okay, so this looks, looks solid. That's stuff up there. That's normal detail. It's just get in there. Slowly, but surely. So we're back in substance painter, changing the color of this groom Lots of export. Okay. Okay. I just delaying. There's a lot of changes that are gonna happen throughout this whole process, too. I'm narrating this. If you can't tell, I'm narrating this afterwards. Um, in case it's not perfectly synced up, et cetera. Or I say something and I don't do it. It's just because I I didn't talk much while I was doing this, and I had to go back and properly narrate what was happening. Yeah, by the time this thing's done, you know, so much changes. So just the key thing here is just to understand the main details I'm going for and just roughly how I did it. You don't need exact stuff. I highly recommend you don't try to do exact details unless it's, like, a super specific hand painted detail or something like that. But with procedural stuff like this, you know, it's pretty important that you kind of have your own take on it and your own freedom on where it should all be spread out. If you understand the principle, then, you know, you're much better off in the long run as far as being creative with your own stuff. So, I think I mentioned it earlier. I messed up that part there. Which is fine. It's kind of a pain in the ***, but what are you gonna do? Well, I already said what you could do, but I'm not gonna I'm not gonna go back and fix it, but, uh, that rubber is looking good. It actually looks good PVR value there. This, I'm trying to get this to be like a coated metal, just like the reference. So if you scratch it, you know, you sit your metal setting to 0.8 0.85 right around there. It's like a thin coating of metal you have on there, and Yeah. I'm liking the height there. It's pretty good. Might need to paint out a little bit of it with a subtract paint brush, but it's looking pretty believable to an extent. There are some parts that it's in that's just not realistic, but got these screws just with a single material on there. Um, you know, we baked on the detail of the screw coming out the other end. It's setting up to be a pretty good texture. That just the lighting, get a different angle. Pro tip tooth. If you have a you know, if you get your this type of lighting is going to show off roughness. This direct lighting where you don't see much of a shadow. You're gonna see most of the roughness that's on this. So it's gonna be sparkly when we zoom in on the polymer cause the roughness, the noise roughness is gonna kind of be on the spotlight a little bit there. It's just mimicking reality. And when you. So we'll just wait on that and see and by all means, I think I've said earlier, there's a lot of fast forwarding that you could be doing right now if you I just sick of me checking in, and Mama said, I do the same thing every time. I just check the lighting, a couple of different angles. And a few renders, check the material, see what it looks like and get back to texturing. That's basically all I do. So Yep. And I believe I have a reference going off screen here. I just don't have it shown right now. Um, but oh, it's just rub earlier videos. Have that one up. Is the main one. Yeah. So it's looking a little liny actually, like the polymberH the white. See, when you do when you do those strong shadows, long shadows, you get to see the color. The albedo, the base color map shows a lot more. You can see the white, the white outline on the edges. That's base color only. And you can see that it's pretty strong right now. So gonna have to adjust some of it at some point. Yeah, the focus. Post effect, depth to field. It's one of my favorite things to do when rendering. This is a dark scene, but I'm just getting a feel for it. I mean, now. Absolutely, one of my favorite things. It's the key. It's one of the many keys. There are many small little things to do to make renders look realistic and I'd say one of them is to add depth to field. It's pretty crucial, especially on a on a shot like this where you want to focus it on one part and leave other areas of rest. Um, it's pretty important. It just really adds a lot. It's funny. It adds so much by taking away detail and focusing your eye on where there is detail. Just like a photo. Yeah, so that looks too white. Right, of course. Anyone would know that. You look at that, it's okay. This doesn't look real. It's real white looking. So we'll tone that down eventually and do some more to get through that. Yeah, fast forward. Feel free 65. 07 Texturing Part4: Alright, so I'm gonna add another itch, middle tchwarG into the height. Change it to normal because we want it over whatever is there behind it. We're gonna invert it? We're not. Just play with it. Doesn't have to be exactly how I have it, get an idea. Play with the grunge. I copied over that fill layer with the concrete map in it, and I put the edgeware generator to multiply. I'm in the height map now. I throw levels on it, too, to contrast parts I want. Spread it out. I'm using the same process over and over and over, so you might have an idea of what, you know, how it's gonna look. You know. Put the roughness on. Bring it up. Should be rougher than the main plastic. Itch height. I'm gonna bring all the way down to the bottom. Cut the brick sheet out again. I'm gonna try to get this coated metal, I think. Get that going. E. It smoothness, grunge mo. And then wear level are pretty important toast here. Hey, the levels. You really can't go wrong at the levels to anything. It's just such a such a good tool. It can really transform your mask. It's just a good thing. Mm. We're gonna have some scratches, it looks like. Scratch generator. Got to avoid that mirror over there. Scratches. Roughness scratches. Primarily gonna be in the roughness channel. Yeah, so basically, when you when you have direct light on them, they'll show up, but when they don't, they're a bit harder to see. Overlaying the roughness channel. Let them kind of fit into the layer roop a little bit better. Still pretty hard to see right now, but add some color just to help with the visibility, base color overlay. And we might want these to be a little darker, actually. Not super dark where you can see it in the shade, but yeah, just enough where you can see it, actually. Adding dirt, scale it to five. We just want white dots here, so for some reason, white dots make things look more real for some reason. Just mimic the dust that's in real life, so Yeah, bigger is okay, in this case. We want a few to show. But the roughness on overlay so it's not as intense, doesn't block everything. And it looks like these dots aren't white. They're just royal. They're like little oil splats. Yeah, they're pretty small details, but these are some of the details that you really don't see, but they're important. I know you say that with everything, but, you know, there's just so many details to disgusting amount of details in this. Probably I probably use more layers than I should, but, I mean, I should I should see what other people use as far as, like, layer stack, how many different layers they have. Because I know I have I know I'm not the most efficient when it comes to painter files. Like, some materials can share. There's there's, like, that instancing what do you call it instancing like ability between texture sets or just materials in general that allows you to share between texture sets that I need to make us. Because I have set one and set two. You know, I have plat. I'm doing a copy paste method. That's pretty primitive. So I'm thinking if I had, like, that instance setting, it would be just a little bit easier. Me optimized, as they would say. S another layer generator. Hedge wear inverting it. Put the wear level up. All want maxed out. I'm at 96, even higher. Well, it looks like I just changed it. I said, screw that Color variation. What are my n to use here? The concrete? No, grunge galvanized. Galvanized, galvanic, galvanized, galvanic large. This is great for a metal. Maybe raw metal, but, you know, it works pretty good for this, too. It just looks pretty cool. Super good for colour variation. Yeah, it's real easy to hide. It's, like, a nice, distinct, unique detail. It almost always looks good. So, you got to just really make it subtle, put overlay on that base color. And then we're gonna bring it down a little bit and just keep we might paint out that mirrored part. And yeah. Looking pretty good. Overlay roughness. Kind of lessen that a little bit, bring it back. Yeah, just we want it real subtle because it's a strong detail, otherwise, that subtract. We're gonna just paint that out. Just paint out that stuff that's mirrored. That looks awful, so Go up to set two pace the white dots. White dots make the world go round. Let me tell you. They just look good. Okay. Like sport into Marmoset. Check that out. Looks pretty good. Got that cool background, too. Okay. S, it looks a little different like that. That bolt. It's like the slide. You can see it. It looks kind of dark. It's the piece of metal where the pump slides on. Yeah, it's like a guide, the reel. Looks a little off. It still looks pretty liny too, like the polymer. It still looks like the white on the edges. A little too strong. My 30, 60 is putting in work right now. Yeah, that coded met looks pretty good. The galvanic, it's a little too strong. And those dots look a little weird, too. Looks alright, though. It's getting some more character. We just got to refine a couple of details. Yeah, that guide rail looks awful. Go for another render. Wow. Yeah, it's always good to just take a few renders. Every time you kind of get to a point where you're getting a little tired. Just take a break. Go render, see what it looks like. Will you finish, like, a tough detail? Just take a break. Hop up morset or wherever you're render. Yeah, that's it. I've wanted to try Kia for a while, actually. Yeah, I've been seeing some people in art station who use it. Uh, my God, it looks so cool. It's like, I don't know how to explain it. It's just super crisp looking, clear. Yeah, so this render looks pretty similar to. Same problems, lining, whatever. Yeah, key shot seems pretty cool. It's just fairly expensive, I'm pretty sure. But the ones I use mainly are Marcedes, like, the main one, of course. Then we got blender. I use cycles, actually. It's actually really good. And then I throw them in Photoshop, too. I'll show you after, but Yeah, Ira is in here. It's in substance painter. It's pretty. There's all sorts of. Here's Arnold and Maya, I'm pretty sure. Could be wrong. And then what else do we got? Tony Co. There's a lot of them. I know that, though. MormerstF realism has been pretty good, though. So this Clonoids Yeah, we're just trying to decrease a little. It just looked too intense. It didn't look real at all. You could see it. It stuck out like a sore thumb. M he sets. It's dense. We just want to break it up a little more. I'm just playing around with the settings levels. It's height. H Big height. Decrease a little bit. Put it in the negative, so it's actually height. And we're revealing it via this map. So the tried and true grunge concrete. We'll try a blur. See how that looks. Bring it to 0.12. Looks okay. Height at negative one. Okay. Roughness, way up. Way up there on that roughness. Bring it down a little. Right. Subtract. Wherever we don't think it's realistic, get it out of there. Up there. Also a mirror issue. Get it out of there. What else will I delete? That bottom, nice. Well, no, I faked you out. I hit I hit Control Z. I did not delete that. 'Cause it makes sense. Bottom of the grip, yeah, you bang it up a couple of times. Makes sense to me. Glad. We just increased our subtract to try to break it up a little more on both. As I said earlier, it was looking lining, remember. Finally got around to fixing. Plastic. Looks like I copied the plastic material, went to set two. I'm gonna go to this plastic material. I'm gonna paste the new one. Copy the old one I want. Place that new brush, and then we got the new material. Boom. That's it. Looks not bad. Going back to set two. Coated metal. Subtract on the edge of this. Oh blow on. Yep, and we're going to delete. We're going to lower the control bar from 100 on the subtract to about 75. And it just tames that without ruining the rest of the things it's applied to. So you can kind of B and get that specific bar, even though edge roughness is applied to many the whole material like this part, too. So that's a good tip to go in with subtract Box and then you can kind of, like, lessen the power of the subtract, which brings it back. It's kind of like a weird little trick thing. Kind of scratch layer, fill, Brush. We're gonna go to this is just a random stencil I got. The idea. I mean, you don't have this stencil, but maybe you do. It's the weapon group. The weapon the weapon discord, the weapons I don't even know what they're called. They released these stencils, though, so they're free to the public, so I guess I can just throw free. They're pretty good. Well, they're really good. Yeah, they got a lot of extremely unique details that you really can't get anywhere else. Straight from actual guns, they made them. Looks like. Yeah, they did a really good job. Uh Junk that in the stencils. Yeah, we just want to, like, try to make it cool. You can do this with the normal scratch wrap or you can get cool stencils and be cool. You just paint them in, whatever. You're gonna get 1,000 bad ones before you get a good one, so don't worry. Just takes a little bit of time. Adding the details. Gonna go UV, paint them more than U. Yeah, it's just a smarter way to add them. You can get a nice unique angle. Get it in the right spot. Delete that little residue part. Yeah. Then that's a good detail. That's a pretty Like, that would happen in real life, so I'm totally cool with that detail. Totally cool. It's well placed. Yep. Roughness channel, Wo Relay. I'm an open book. I do the same thing every time. I just make I do slag variations. That's all. That is it. 66. 08 Texturing Part5: Go back into that scratch layer. Base colour Ovalt. We want them to show a little bit. Dial that scratch back a little bit. Sometimes it is nice just to hand paint stuff. Gonna go ahead and try to add some more. Give it a little bit of height, negative point on it. That might be maybe a little too much, well we'll see down the line. Yeah, have that. That looks pretty good. Notice how it's less rough than the base material of that coated metal, too. Raw metal is usually a bit wetter looking. Break out the stencil again. I don't know. Just using the UVs. That looks a little intense. Yeah, if you want those stencils, go to discord. I'll look it up now. What's it called? Yeah, it's a nice discord they have. I think it's pretty new, so. It's called Weapon Group. Yeah, if you go into resources, they have all sorts of cool stuff, stencils and whatnot. Basically, just trying to get as many angles as I can. Trying to find cool ideas. I might have to make a new layer, actually. Just painting it in. Yeah, this looks a little too strong. But uh Yeah, I'm trying to find a just a nice sensil to put in there. I'm not sure if that's gonna work, though. And you can see that cut off for the UI shaped UB space just 'cause you'll never see that part. Had to wear. Turn rocks. Keep it on. Yeah, so we wanted to be a little bit in the black. Black, color black. We don't want white. Darker. Wetter. That's what we I'm just trying various details here, different stencils. Trying to get realistic looking markings. Sometimes it can be difficult to find the stencil that you want. Try a different one. And Yeah, if this doesn't work, then I think what I end up doing is I put a gradient, a mass gradient. So we'll see that in a second here. But yeah, maybe the reason why this isn't working is 'cause I'm looking for a gradient just to smooth. It doesn't have to be super unique. It's just more of a big colour change. That's all I'm looking for. So We Where we're gonna try a little bit of height. Don't think I'm happy with that. Okay. Add a new layer. Scratches. So we're on the plastic now. I go to add some nice scratch layers here. You want it to be rough? You use stencil. You know, I'm using seven different stencils, you know, so it's not an issue if you want to use your own stencils. I know you don't have my exact ones, but I told you where to get them if you want to use them. Looks good. Good. Trying to get the red angle here. I just try a little bit of everything here. Just keep rolling to the stencils. I'm just adding them. Areas I think there could be contact. I'm taking my sweet time. You know, it's it's pretty simple, though. Scratches. Just lining it up. Paint it out. Repeat. That's my main method for texturing. Adding those cool details. Well, I guess, well I do this. Um Yeah, you can just focus on fine incidentals that work for you. I think these are stentils for, like, old. It looks like they're old guns that have a lot of wear and they're all raw metal. Like this is nine. And this is some piece of a like like a like an hate gay but they're super good. He Yeah, some dice. That's good. Okay, so, that's pretty straightforward what I'm doing. I have a scratch layer. And I'm just using stencils. This is going to be pretty much completely manual. Looks like I added a sharpen. Unless if you didn't see that, it's set to pass through, not overlay, not normal pass through. And it's set to 0.24 on the very top. So it just makes everything else pop. You just add details and build off of them. One little detail turns into another. Yeah, I'm going on a spree here, so it's just that scratch mask, stencils. Get every place you can with the plastic. Take your time. That's it. I guess what I do that I can talk about uh you know, like, this could be a great portfolio piece for somebody that wants to get into the game industry. One thing I would maybe try to I know me telling you this now kind of defeats the purpose, because you're so far in already, but it's a good piece to show that you know how a texture. It shows good techniques that I learn from people that are a lot better than me. So people will be, you know, an employer will be happy to know, Hey, this person knows how to texture. It's one of the most important things, I'd say, knowing how to texture. I think I covered it earlier in this tutorial, but you know, if you can texture, that's the biggest thing because it's real easy to teach somebody how to, you know, optimize like a low polymesh or something. It's real easy. But texturing, you know, maybe requires a bit more of, like, a sense. I'm hesitant to say natural sense, but, I mean, if you have a natural sense for it, it's a lot easier to improve. So you can, of course, build a sense. What I mean by that is, you know, just a good observation. Good sense of how many scratches, how much scratch, where it should go, that type of thing. Adding a new layer here, dirt inverted it. Right, I'm using triplayer not invert. It's messing with the setting. Okay. Dirt general is gonna be our first layer of dirt that we put on our plastic. We're gonna put it in its own older called dirt roughness way up. Height, I mean, color, dirt color, roughly. We'll change it throughout. It's kind of puke color right now, we want maybe a little bit less saturated. Orthing like that, but dirt Gen one. Okay. Keep it at normal. I got to fill, subtract. And I'm just trying to break up this lininess I've been saying. My boss always says he calls it lineas. It looks liny. Just break it up. Make it look more natural. Throw subtract, concrete on it. Maybe do a couple, but til it up to two, play with balance, contract. Call it a day, throw s in there, see what I do. Add another one seed. Playing with the color here. We're gonna take away a little bit of color. It was pretty strong. Our roughness is really strong. We're gonna go into roughness. Take it down a little bit. Something like that, yeah. We're gonna make a whole new one. New layer, seed the dirt. We're gonna do something a little different. There is going to be the multiplier now, put a fill under it, set the normal. And we're gonna throw in a dirt three. So we're going to make actual specs here. Contrast up, balance down, tiling Somewhere in the 20s you want your balance to be? Not showing up yet, 'cause our Yeah, that's perfs There it is. This is my favorite part adding these specs. Uh, still incorporates some of those subtracts. Could break it up pretty well. It's okay if you leave them out, though. Balance up a bit more. Spec one. Duplicate spec. Two, 21, two, Spec two. Set the dirt. See that dirt. Change the scale a little bit. Change the color. Not all dirt is the same color. Change the hue. It's just a little different color. That's all. See that. See this one, too. These subtracts, so it's completely different layer. Just unique to e, the new layer. Everything's different, same concept, though. Now we're gonna look at it in marmosete see how bad it is and fix All right, what are we looking at here? What we got? Yeah, one of my biggest my favorite things to do to get ideas and inspiration for projects is to go on art station. Find do this. This is the ultimate way. Go find a piece of artwork you like. Go to that person's profile page. From there, go to their likes. It's like a web. A web. When you're in that person's likes, find something you like there. And then keep going. And you find, like, infinitely infinite artwork that appears. I. I. That there? That's a nice detail. This looks a little bit pursuit like a little bit unnatural, but I could see how it gets there. It's great. Going back to the reference. Add some dirt in there. Just trying to add the dirt in areas to where it is in real life, which is the crevices mainly. So Change our lighting a little. Yeah, it still looks very bland. I'll add abnormals at some point. Dirt is helping break it up a little bit. Tracer looks really but really black. Same with the safety. And then inside the grip is dirt. You got to paint out. But yeah. Yeah, that dirt. 'Cause it's so low resolution UV. When you put the dirt specs, they're just huge because they're so low res. And it just looks awful. They can immediately draws your eye away from anything that was supposed to be cool. I think I'm looking at the Render off screen right now. There it is. Hey, it looks less lighty. You'd say that at least. Los less lighty. That's for sure. But yeah, Yeah, we got a little bit of UV cut off there for our dirt. Go fix that. And, uh, yeah. Yeah, I copied my dirt folder to set two, which is where the metal and the rails and all this stuff is. So to just adjust it. That's all. It's not the same. Roughness. It's very strong. So if we change to put it more metallic to dirt, it doesn't become metal. It just becomes less strong dirt. That's basically it. So Specs. Specs are pretty easy to adjust. Duplicate it again. Wow, I'm a crazy person. Seed. Same type of thing. Skip this. You already know what I'm gonna do. I have a hair hair Alpha picture. Black and white. What do you even call that Alpha? You call it an Alpha R? I mean, it's just oh, a gray scale, great. It's like a gray scale thing. We it's just a map. It's like an alpha map, yeah. Black and white, but it's hairs, so you can see, it's just not exact dirt. It's not the exact same as the dirt specs map. It's more hairy. Scale that up or down. Yeah, so if you got something like this, just fill it in. I don't know where I got mine, my friend smuggled it to me somehow. That is too much. It is indeed too much dirt. Yeah. Here. I won't probably name. Yeah, I guess, uh, another thing I can dive into, well, you pause and follow this Satori along is important things to include in your portfolio. No, I would say the main thing is, it depends what you want to do. For example, if you want to be a weapon artist, which may be the case, or you're a other disciplined artist coming to this tutorial because you want to learn how to make a weapon, et cetera. Welcome. But if you are trying to break into the industry and you're wanting to be a weapon artist, you should make weapons. You should make one really good one. One really good weapon is better than two shot weapons. I would say. I'd say most people you ask would say the same thing because it shows what your full potential is. You know, if you go 85% on two guns, 85% effort, I mean, on two guns versus 110%, you lose sleep trying to make one gun, but you have one gun, but it's just amazing. That's going to get you a lot further, and it's going to get you a lot of interviews, too. Yes. Another thing is if you can show your technical ability, because if you have experience, for example, there's not a huge need for, you know, showing you can do loople if you have more than two or three years of experience, people know you can do opo. You've optimized stuff. That's what your job is, you know. But if you're new, you're a fresh graduate, you're self taught, trying to get into the industry, Yeah, people want to know, okay, is this person just, you know, texturing wise? They're really good, but they don't know what a normal map is or, like, they don't know how to you know, do upper tri count, their topology looks disgusting, et cetera. There's a slew of things that I guess I could go through them. Like so if they see Ju picturing, they're going to want to look at, Okay, can you follow concept? Can you follow, you know, real world specs? How accurately can you scale things? That's at the start. You know, how what kind of pipeline you use? Like, are you blocking stuff out, or are you using the latest stuff? Like, these days, people usually go to they use whatever package, Blender, Maya, Max, whatever, Moto for their blockout, you might go to ZBrush for your high poly or do SubD hi poly, et cetera, that kind of thing. Go into Marmoset for BACE or substance painter, people might still do for fake. UVs, people use rhizom like I did in this tutorial. People use, you know, various add ons for their TD modeling package that has great UI tools like blender. UP Master is good for Maya. I have a friend that does that. But, yeah. There's a bunch of different areas there just to touch on this. I'm using direct I'm trying to get some directional lining here. So this is where having straight UBs comes in handy because you can do stuff like this. Give it a little height, little roughness, little color. Little height, that's it to start. Negative 0.0 oh 25 down. You're not seeing much. I'm going to make it a little bigger. Five. Barely seeing it. It is there, though. Add a little roughness. Overlay the roughness. Take away a little bit, add some. Base color. Add a little bit overlay so it's not so strong. Put it up or down, down. Something like that. Subtle details. Looks a little too scaled up, but aside from that. So anyway, yeah, so you want to continue to show your work. And the perfect portfolio piece doesn't exist, but something close to it would be, you know, 100% effort put into it. You have one in it, you show your wire frame, which means that will show how well you've optimized your mesh. Um and when you optimize it, you want to focus on one P details. So when you're Game when your weapon is held by a character in a game, which is the job you want to get, if I'm correct, it is held by a person, and those details that the player sees have to be the most detailed. By detailed, I mean, not just texturing. It has to have cool scratches on it. That is important. You need hero scratches, et cetera. I'm talking more like match density. You want it to be realistic in a lot of cases. And you want it to not look achian low poly. You want it to be, you know, looking high poly as if you baked the high poly, right? I mean, as if you textured the hi poly. So add more edge loops in areas where you're going to see it a lot. So you can display that with, like, a one P render. So people can zoom in and see, Hey, oh, this guy actually knows you. This person actually knows what they're doing. Wow. So that's important. And then another thing would be you know, your UV sheets, trying to you should post that, as well. So you got your wire frame and then your UV maps. You generally want to do, you know, depending on how big the gun is, you're going to do 14k map or 24k maps, depends. But uh yeah, and then if you have a muzzle, you throw that on a two K map, one K, whatever. And if you have a site, put that on a two K map, make sure the glass is on like a 512 on its own material and UV sit, scale all the way up. Um, and yeah, the magazine, throw it on a two K, give it its own sheet with the bullets, include the bullets. And that's basically, you know, if you can show those UVs, that's, like, like, a pretty nice addition. It really shows the employer, okay? This person actually knows how to, you know, attack UVs, and they're not just good at texturing and fooling us all. They actually have some game dev skill here. That will get you interviews, definitely. Texturing will get you interviews. Showing your work like that will get you the job. I think that's a fair thing to say. But yeah, another thing is, I know there's this I don't know if you can do it in any other three D package, but marmoset tool bag had marmoset viewer file, and it's where you can basically your mesh can just be like, it's like, bake lighting scenario, but I think it's baked. Might be I don't know if it's real time, but you could basically just, like, view it, and you can adjust the light and see all the maps and stuff. You can view it in a three D space, but yeah, it's super, like, intuitive and really helpful for people to see, like, every part of the map. So yeah, yeah. Here I am hand painting out a metal edgeway generator. Just 'cause I don't like the symmetry that the mirror makes. Oh, yeah. That's there. Head roughness. Yep, making it a little bit little bit less, identical. That's the name of the cab. Yeah, that's my advice. If you listen, great, not okay. That's all good either way. Alright, we're gonna check, Marmst again. Are we, though? Are we gonna do that, or do we just fake ourselves out here? We're just end the color here a little Trying to look at it again in Marmson. M scratches. Make our changes there, adjust it again. Just making slight alterations. I have a tendency to just do little changes and then go right to Marmost. It's just a weird thing I do I'm a control freak and have to have immediate change, immediate satisfaction. I can't just work peacefully in substance painter for more than, like, two big detail changes before I have to go back into painter and look at it. It's just how many? I was looking. It's looking Skip Skip here if you want. It's okay. A lot of times for tutorials if I do them. Like, I'll just skip through parts like this. Hopefully you do too, yeah. Because they're long. You paid good money for it. Just go through the parts that are important, you know, Texturing you want to see what I do for the texturing, so hopefully by now, you have a good idea of, like, the systems I use. I only use a few, you know? I don't have a ton, but I use them in just different ways. Canceled it. That's correct. No correct correct. Yeah, it still looks pretty bland without all the normals on it, huh? We'll get those on soon enough. A lot of people do those first. I tend to do them, like, midway through just cause I love making base materials. Yeah, it's, like, my favorite thing is to make the base material. I never make smart materials, even though it's probably smart to do so. For work, sometimes I do, but just for the sake of, like, saving time, of course, that's why you make sworn materials. But for something like a personal project type of thing like this, I love just going from ground zero for some reason. That looks like I'm gonna change it. That looks okay. I might keep that might not, but that block, no reason for it to be brushed like that. Yeah, I varied from the concept on that one, but yeah, so at this point, I'm just gonna continue to add damage to areas on the edges and whatnot. So we're gonna go to Photoshop. Old move. What are we doing here? Okay, Photoshop. This is a quick titsorial. Now I do Photoshop stuff, camera raw filter, convert it to a smart object first. And then even though it's aces, do the contrast a little bit. Exposure, if you want. I'm probably going edit this terribly, but I'm by no means a professional in photo show. I can do it in this way. I'm talking like a photographer. This is basically photography rendering. Basically. Saturation. It's looking a little It looks okay. It doesn't look. I mean, the textures are only giving me so much. You can only make it so good. Grain. I do play with all these sliders, though, that is important. Like a vignette, I'll do maybe a little. Vignette's cool. Detail, sharpen it. Yeah, anywhere from, like, 30 to, like, 50 or something. It varies every project, basically. It'll vary, but yeah, I mean, this looks awful right now, but I just kind of wanted to add a fun thing. And I'll add lens correction, go into custom, change that to 50. Plus 50. The second one negative 50. Okay. And it adds, like, a cool chromatic aberration especially the metal. See how it's like that purple and whatever tinge. Real as a baby. That's what I like. Yep. Yeah, it still looks pretty pretty basic still, but we're getting there, that's all that matters, right? And we're getting there. We are 100% getting there. That's the important part. Yeah, I like editing stuff in photoshop. Sometimes I'll only use marmoset, or it just do contrast saturation. Excuse me, chromatic aberration. As will. Yeah. I accidentally barked in the tutorial. I hope I can cut this out. Yeah. Okay. All right. A 67. 09 Texturing Part6: Alright. So we're gonna try to make this grip here. And we're gonna start with a nice outline. Using the mask we got our reference. So just mask the outline of the grip. Turn on mirror, as well. Just colour the whole thing in. All right. Switch to only height. Negative 0.2. Really get that noble map to show up with the negative 0.2. Alright, paint out any stragglers we see. Looks good. Guilt there. We're gonna blur this a little. Make that edge a little bit more appealing. 0.1, two, that's okay. Yeah. Get out of our brush again. Yeah. Yeah, we're gonna set this as our background layer. I make a folder to contain all that stuff, call it grip. Alright, and then we're going to duplicate that layer, hide the background layer for now. We just got this one and switch the height. Okay, we're going to add hide the blare real quick. We're gonna add a fill layer, and we're gonna put tiling. We're gonna put a tile, whatever you call it. Tile texture. Got to put that in there, scale it way up. And at this point, I realized that we've made our grip to angled so the squares aren't gonna line up perfectly like they do in the reference, but we'll just play with the scale a little bit, try to get the scale we want. A And they're more rectangular, so do that. Scale it up a little bit. Contrast. We do want the contrast. It's scale it. So we're going to just kind of get an idea ballpark. Change to multiply. So we get it all ged up. We're gonna try to align it now. Okay, so just rotate it. That's rotated the best we can, the more lined up with the grip that it is gonna be, so keep it like that. I'm gonna take our tail, try to rotate it again. It's ultimately gonna stay, like, right around there. See us lined up. Yeah, I'm just confused now because, uh, ripped. But okay, so we're on back. I'm trying to paint out those nubs, but I'm on the wrong. Tiny Mbaber? Yep. So I'm trying to I'm on the right layer now, and I'm trying to trace out the space that's gonna be between all these changes to white. And I'm just not I'm just subtracting. We take the outline. And your texture. Just increase the background a little bit. So I'm counting the number of tiles, one, two, three, four, five, six, on the far right row. U. So you can see how it's not lined up, right? And that's just it was you can take it back to it's a modeling yar. You know, it's too angled because I have to both line it up. Vertically. As well as horizontally. It looks like some modeling area where I made the grip too steep. So I was in error. Can't do much about it now, but Background negative point oh five. Add that blur to those squares, make them look better. Turn off mirror when you do this because it wasn't exact. So yeah. I just made that perfectly somehow. I don't know how I did that, but yeah, just as with that extra stuff. Like that. Just added a bit more in. Now we're gonna go into the background layer and just carve out those lines. Don't worry about them all being the same length now. We'll fix that afterwards, but use the middle as a guide. The middle at the two squares as a guide. Looks like that's a little too close. Adding a little lip thing. Just to give some space between the screw and that's it. Make sure it lines up tangular with the rest of it. Yeah, kind of like that. Kind of. Turn off symmetry. To like that. Normal map is looking pretty good. Yeah, I think I miscounted the tiles, too, if you can notice that. But, yeah. Big grip. Now we're gonna go to the front part and do that. So just kind of make some space for it. Just fall along with how I'm carving it out. Yep. Just kind of rough head first. Are the way around those bots, too. Yeah. Get the inside there. And we're gonna just use that as with the tile on multiply, and then that brush that we just painted out, throw it under the multiply, just like we did with the tile or with the grip. We just got to fix the rotation at will. Alright, we just transferred a paint brush there. And so it's on its own thing now. So we have a UB seam there. Best thing we can do. Probably change it. Try planar Looks okay. We'll try cleaner. Yeah, it looks hub. It looks okay. It maybe looks a little stretched on the edges like that. But actually looks somewhat manageable. Yeah. Count them. Ten. Three by ten. Am I wrong? Yeah, just paint out the excess now. That's the main thing. Line it the best you can with the reference. Kind of carve it out there. I'm gonna make that herumeter around. So it looks like we need to make a new or we'll label that. Yep. So just a brush here. Yeah, we'll go to UBs. Oh. They look a little stretched, so you might be better off. Just going from the model view. Yeah, that doesn't look right. Change back to tangent or. Good way to line it up here. Yeah. It's a nice chip away. Don't zoom away. You'll lose your sizing. You want them all to be the same, right? Yep. Okay, all the way to the far right one now. Keep the same size. All right. We're gonna delete all this stuff on the inside. All right. And this is mirred so we don't need to do it on the other side. So we're starting to attack most of the normals here. That's when it starts to look really good. So we've got the base material normals now. Hint coming, though. We're just trying to etch at that rectangle. Sizing it up correctly. Test out the height. Yeah, it looks pretty good. All right. Yeah, we don't want to put Tokyo Marui. That's just like the ner soft brand, so we would I would suck. We do want to match that like background texture, though, that the text sits on. Yeah, it's just kind of like splank but a little rougher and darker. Try different things with the roughness. Looks pretty accurate. Pretty close. We like a pretty good. All right. We're gonna go do the other one now. Same process. Just trying to get the rectangle shape right. Cocoa, Florida. I believe I have the stencils attached in the source files, too. I'm not sure if they were included in the tutorial, but might be worth checking. If not, they're they're real easy to make in Photoshop. So I'm sure you guys are good with that. Yeah, it's real easy to make toast, so Tan be kind of hard sometimes trying to figure out which fought like, exactly to use. You can use Fat finder and stuff like that, but sometimes it works, sometimes it doesn't. But a lot of times you can kind of just eyeball it, too. Yeah, some people like different parts of the project, too. I mean, that's probably one of my least favorite parts, to be honest, making, like, normals and whatnot. I really don't like it. It just seems like a hassle. Even it's such an important part. But it just is it just seems like, Oh, my gosh, that type of thing. Oh, my gosh, I have to make this. Alright, I'm going back in marmosette kick it out in there. My 40 60 is working right now. Looks pretty good. Yeah, it's getting there. Even though the normals are blank, it's looking a lot better with the grip, too, it's looking quite a bit better. Yeah, that part is still that's just the detail. We've accepted our fate at that point. Come back in the paper. Alright, so we're going to add a generator dirt. Anchor points. They're good. Yep, they're good for getting in the cracks like that. So our goal here is to get dirt in between the grip. The spaces in between the grip. All right. So set to multiply. With the grunge underneath it, it's a nice breakup. Kind of hard to see right now. Yeah the levels. The levels is good because it allows you to amp up the current state. I don't know how to explain it. Like, you can't make it. You just make it a bit more intense. Like, you like your design, your current pattern, your current mask, but you just need to amp it up. Levels is so awesome. Alright. Dirt specs, also. So it's the same concept. Our map is just gonna be dirt specs. That's the whole idea. That's the whole idea. We're gonna make a couple of those, probably two of those. G get different colored dirt, as well. Yeah, you can just layer that stuff on there, try to mimic real life. Yeah. No, we just changed the color there. Yeah, and we're gonna add some scratches, too. Again, similar concept, but we're gonna throw in a metal edgewaar. Okay, we're gonna add it to the anchor point. And, uh, just a drifts from there. All right. So that's our current mask. Change to an old rush. Subtract. We don't want it on any of that, though. We just want it on the nubs. Yep, do broad sweeps to get rid of all of it. H Turn it to overlay. The base color. Yeah, this one it's a bit of a challenging detail. Yeah, it's pretty subtle. And, yeah, I'm literally just hand painting a lot of this stuff out. Sometimes it's easier than continuing to mess with the procedural stuff. Honestly. That's the truth. Sometimes it's just easier. Might take a little bit longer, but it really doesn't take that much longer. If you take into account how much how much time it takes to just fumble around those generators. I had a player, I might do something. Just altering that grip dirt to maybe be a different color. Like a whitish brown tan dark color, you know. Yeah, so we're just continuing to add some dirt. It's one of the most important pieces, so We're going to add This is a, you know, it's a gradient. So when you slide pump action, when you pump it back, you do it for enough time for long enough, you get that. So to get detail there. Yeah, it's one of those big details, you know? It's a big picture detail. It can help break up the monotony of an otherwise spring piece, you know? Yep, so we're gonna overlay that roughness. And when coated metal, you know, it gets it gets rougher. I mean, it gets I guess you could say looks more wet, more glosy looking. 68. 10 Texturing Part7: All right, so we're still working on the engravings. This safety pretty basic. We're just putting stripes, normals on it. Just so it reads well from a distance, too, we're gonna leave it leave those lines kind of larger. So it doesn't alias too much. A reference here. A All right. We're just going to use a basic S for a safety. Okay. I just highlighted it red so I could find it on the UV. Alright, we're gonna re put a map. And the way too big. I'm going to just go at that so I can use on the model, I can play. It's a little too difficult because our stencil and our UV shell don't line up perfectly, so this is the way to do it. Yeah, something simple. That works. Maybe the font. Oh, okay, so I'm in rapper Photoshop. Make it bold. Export it. The reference again. We're going to just maybe increase a little bit of the roughness. Coated metal with a new layer. Slideware gradient. Yeah, we could blur it. We're just messing with it a little bit. We're going to add a couple things. Looking at roughness detail too. Who's fingerprint areas. I'm going to go back to the Plymar here. I and we're going to add a seam line. So, there's different methods to do this. Throwing a map. Yeah, just keep it red so we can identify it. Change the this to play a projection. I think I fixed me a second terra whipper. Oh, yes. We're going to scale it way down the X axis, I believe. Rotated, yeah. Yep. We want to make that line. It's got to be a little bit skinnier. Yeah, nothing like that. And it's just gonna be height. So something like that is good. People add all sorts of, like, subtraction, distortion, whatever you want to add. But I'll throw in, like, a blur slope blur with scale to 100 and then whatever you want to do there. Yeah, just to give it that non linear look. Yeah, so we'll add a little bit of subtraction, too. We want the line to continue, though. That's the main thing. We don't want any points where the line is kind of blending in with the elastic, it's going to continue the whole way, but it can dip and rise, you know, I can never fully disappear, though. I'm just going back to the base heights, trying to adjust that. It doesn't really like, it's totally up to you. Each reference is going to be slightly different. So I like this one a little better. Just because the height shows a little bit better. Just going through all the layers. Checking to make sure that they're good. Yeah, that ck is a good detail. A couple of things here. I y Okay. Change that to multiply. And we're just gonna paint in the areas where there will be yuck. We'll ladder levels to concentrate it a bit more. Yeah, something like that. We definitely want color. We want height. It should be a little bit, you know, less rough than the coated metal. Gucky looking, you know. Yeah, I basically used the same the same methods that had all these details. It's basically a couple maps, maybe I multiply. Almost always IA levels and this kind of thing. Just gives you control over how you want the detail to look. H. It wherever you want. Some grease too. So we're using that reference here to find grease spots. Yeah, just use the cement brush. Mess with the spacing if it's then all the Yeah. Just restyle it. Yeah like that. Yep, get in there, too. All the cracks. Wherever you would think there's, like, you know, grease that could leak out or anywhere. You could even add some hand prints to grease that's gonna be the same map, I'm pretty sure. Anywhere oil has been. With a gun, it's a lot of places, too. M. A a Yeah, something like that. Nothing too invading. Yeah, we want the grunch to show up, but we don't want it to be too strong, where people look at it and it's like, Oh, what is that? Same with the oil the grease. All right. So this is prints. This is hand oils. Yeah. You just want to just spread it out rotate it enough where the map lands in a spot that is realistic. That could actually happen, you know? My hand actually goes there. But, you know, if you don't have one everywhere, like in every realistic spot, don't worry about it because, you know, people handle guns. You know, you pick it up in 1,000 different ways. So just don't worry about it. But just cover the basics, you know, near the grip, kind of like this where the left hand would go if you're right. I'm just going through them all again, all the scratches. A tested that and more said now. Let's see what we got. Okay. A it's looking pretty good. I can see the grease, which is good. A lot of times if it's the roughness can kind of hide, but the lighting's good I trust to lighting a little bit. Takes a while to run into this. Do you guys, I wonder what you guys have for TPUs and whatnot, computer setups. Mine is okay. It's like mid level. Yeah, that white ware is looking too white. It's just too white looking. Enjoy lighting again. Yeah, don't be afraid to just play around in here for a while, really get an idea of if your values in pain are sitting or not or if they're good or if you're way off. You don't really know until you do that in here. So make sure to just spend a lot of time in Marmosit just looking at the values at different lighting conditions. And it'll give you a good idea of, you know, if you need to tweak it more or less add more, whatever. Yep, different angles, too. But what's standing out to me a lot is the whiteness on the plastic. Just some of the edges are just too white. It doesn't make any sense. Yeah, the scratches would be more, like, gray, if anything. It would not be that white, though. That is for sure. Yeah, when you add dipped the field, did this stuff do? I probably broke a record. You know, I probably said a lot, but, uh, add so much. So, so, so much. Can't forget about the inside here, too. Yeah, it's important that we at least detail it a little bit. I know the resolution is not, uh, crazy good, but it's definitely not bad. And it's definitely, you know, it'll hold up in a game if you reload. If you do some sort of, like, a weapons check of some sort. Yeah, it would hold up there. Just a quick Check. Yeah. Just do some slight alterations. Bring it back in. A a That's good. That's good. Yeah. You got to play around with it, too. Sometimes it's the UVs are too, I mean, the the FOV is just too intense, but other times it's fine. The orange is a nice focal point. Yeah, it's a nice thing to focus on here. Yeah, we can tilt it up, too. It's all about just kind of exploring with what's What looks cool or not. The black background looks pretty cool. That's like a nice contrast with the plastic for some reason. Even though the plastic is, like, black, you would say it just kind of looks nice. Okay. Yeah, so the grip looks a little white. The hand grip looks a little bit too white, and then so does that. Still looks pretty white on that pump area. In my opinion, but and everything looks pretty dirty, too. Like, the trigger is filled with dirt. So we can change that then. Be ideal. One thing I do a lot is I make, like, a list as, like, I go into the view like this and I'll make a list of stuff that needs to be fixed. And so, 'cause it's so easy to just say it has to be fixed, then forget about it. You can say 50 things, and if you don't remember them though, then, you know, it's a worthless. Yep. Try the other side now. Looks pretty good. Yeah. Yeah. Yeah. So that. We're going to add to as cheap. Che Logo. Yeah, we just want to darken that a little bit. I'm just subtracting that out. So that white stuff is resin onto this, as well. Scratches? Yeah, it's on a couple of different maps. Kind of got to hunt it down a little bit, unfortunately, but it's not the end of the world. Base color. Just add a bit more color to it. Overall, get those specific points dialed down, but scratches. Yeah, we're just going to add some more general scratches to Okay. Yeah, so I got these stencils from the weapon group Discord under their resources. Super good. Super, super good. I don't know how they made them. But where they got the stuff to make this I don't know what, but it looks just fantastic. So good job to them. They deserve that shout out, for sure. Yeah, by all means, check them out. They're free. They didn't cost anything. They're just in the discord, the weapon group discord under resources. And they're super good detail stencils for just weapons. Like, they are weapons. A lot of times I get my Like, I make my own stencils sometimes, so I'll get them from, you know, paint chip images and then I'll you know, make them in Photoshop, but they're not for weapons, per se. But these are actually from weapons, so the details are, you know, spot on, spot on. Spot on. Here, we're just going to add a bit more height variation or lack thereof. I mean, we're gonna subtract this map or whatever map we decide to subtract, but Yeah, so that's too intense. Dial it back. You just want to dial it back a little bit. You still want to see the bumps. Okay. All right. We're going to go back in the Barba sit here, check it out. That's okay at this point. I'm going to just look at the rail now too. We haven't textured it at all. Just don't look at it. Okay. Yep, so we're going to put that a striped texture where I guess normals on the just to make the just to make the bottle look a little bit more interesting. Set it to multiply and then select that. Give it a little bit of a blur. I just rounds it off well, so Yeah, I like that. That's nice. That's where your hand needs to grip, so it's realistic. Yeah, it's realistic. Gee. You know, as you can see, each reference is they're not all the same, you know, different materials sometimes. They're definitely not all the same. But this is kind of the reference I went with. This two, kind of the reference. Yep. They're all a little different. Which is a good thing because, you know, getting something perfect is difficult. That's for sure. Yeah, nailing a material is not easy. Just take all the best parts, all the cool details. After you get the base down, take them all from the best Best references you at let it rip. I Hmm. I'm gonna add some more details to this plastic here. This is a metal stencil. This stencil is taken from beaten up metal, it looks like, but you can still use it for other materials. Of course, yeah. Where contact has been made? Yeah, small details like good Some entry marks there. That's good too. That's a heavy contact spot. Okay. Yeah, try some different maps. That's all. Okay. Yeah, we just want to get some All of variation, whatever we want to get here. So roughness. Small amount of roughness variation. What the roughness on overlay. Adds realism, roughness breakup. When we look at our roughness map, it looks kind of blank. So it's nice to add some variation in there so it doesn't get too boring. Yeah, we want to paint out some of that mirrored stuff. That's a zone, you know, get the middle. Yeah, you want to kind of hide the fact that it's mirrored with good texture. That's an okay job. No, that's pretty rad still. Yeah. Nothing there? Throw it away. And where did this de? This is the metal ware currently? Hmm. Yep. Is painting out all this stuff that doesn't make sense. It doesn't make sense, leave it. So just continuing to add these scratches. Okay. 69. 11 Texturing The Sight: All right, so we're gonna be texturing the site this time. Alright. Is it gonna be a bit simpler compared to, uh, the shotgun was, but still gonna be cute. So we're just blocking out our materials. Just like normal. Yep. They're all red right now, but we're going to change the colors to identify Okay. No, no, plastic. Looks like all the plastic there. Okay. And then we'll have screws, which is I know it's metal, but Screws. They're different metal. G. Good, good night. Only a rookie would have missed that one. Oh, boy. We're going to make corn for the land as well. I Yeah, four total. Save it before it gets your painter crashes and you have to redo all of them. That's happened to me before. Alright, so this is our main riff. This material is, like, it's like a coated metal. We'll try that percentage metallic for now. Might switch it later. Looks fairly similar. All right, so the plastic base. Now, we'll keep it just a little lighter. Obviously, no metallic value. Roughness. Okay. Good base PBR. The cap, too. Yeah. So we're going to just go through the basics, again, noise roughness. We're gonna put dirt five, dirt three, whatever you want to put. You can use fractal noise, blue noise, white noise. It's all good er. Keep in mind, this is two K. So when texturing it, you know, we're not going to put crazy detailed stuff, big details that I read well at low resolution. So you can see, like this noise looks kind of pixilly 'cause it's two K, you know? I believe I'm texturing in two K as well, so All right, so we're going to add Mal generator. The classic here. We're gonna subtract a couple of concrete just to get that unique look. Kind of hard to see right now, but, uh, yeah. Turning roughness to overlay as well. So we basically duplicated that and now we're gonna make head scratches. We don't want a lot, and we just want a little turn our base color to, I guess, screen or normal. There's a couple. Normal. Edges are a little too strong now, so we're going to go into the concrete maps, uh, seed both of them, and then kind of just increase the subtraction we got going. And see how that works. Give a little bit of negative height. And we want 100% metallic. Right. A a and roughness. Bit scratches. Mm. I'm just trying different blood modes because that corner. Ah. Okay, that's better. We're getting all the corners now. We want each side of the UV to get hit. So that's the reason I'm doing that. But we're getting some of the wear that's not, you know, it's not super. Like, I guess it could happen, but it's kind of protected, you know, we don't want the scratches there. If you look at the reference, too. The reference doesn't have many scratches at all, but Yeah, we don't want chips on the top cap or at least too much, but paint that out with the brush. This point, it's just, you know, painted out by hand in spots you don't think it's realistic. That's what it's basically that's texturing what I want, I guess. It's just really. Sometimes you're going to be precise when you're working on, like, a precise object like this. You know, if it's environment art, it's one thing, it's a little different, you know, if you're texturing, you know, a street sign you can get away with leaving some details. But everyone's going to see this, you know, and they need to know that a lot of work went into and it was accurate. That Make a new layer, a fill layer. Small wet spots. So this is just going to be a dirt map with dirt map, we're going to contrast up, balance down. Same thing. It's just to help enhance the base material. Keep our roughness on and keep it low. Low roughness. Roughness channel still looks pretty blank. So this is another color variation thing we're going to do here. Adjust the parameters. It just gives a great overall colobration. Trims the overlay the base color. Taint just the color and then bring it down a little bit. And it gives a fantastic variation. If you can make it subtle enough, I actually really stands out quite a bit. I know that's kind of whatever you call it. Contradictory, but Yeah. Pretty nice. All right, white dots. It's another important thing to add dough base material. It just helps it look normal. Helps it look. And we're gonna do overall sharpen, too. Put it on pass through put the sharpen at about 0.24. And it kind of enhances everything. It sharpens it. We're just painting out edges still. A lot of stragglers. Alright, so this is just going to be a chip. Add some chips. And we're gonna just thin it out a little bit. We're adding this to the base material. We're going to add a scratch layer too. Keep this real simple as well. And we're gonna go and do the same thing, a scratch. We're gonna just subtract the ones we don't want. It's a sure way to get it to look as good as you can. You can see you can really see that pixelation. Yeah, it just looks choppy. Pixelated with the two K map, plus the sharpen plus the levels. Kind of adds up. I Yeah, we're going to DAO thing again like we did with the plastic on the Celtic. Yep, keep it on overlay. In the glass, we're just going to put the roof test all the way down. E. Color noise to our plastic. You can add a lot more details to plastic without looking, you know, overstimulated, I guess, overused, too busy. Metal, you got to kind of be careful. It's easy to make it look cloudy. But plastic you can get away with a lot, especially if there's height involved, there's not in this case. Yeah. This is it's a white noise. Adding different colors as well, purple. We're just gonna subtract some of the color. So these clouds I'm using. It's just so it all. It doesn't have a shade of green around it. So it's broken up a little bit. Add a metal edgeware layer. Color, hedge color. So probably going to add a blur to this, as well. Hitch color overlay. Bring it up. Hand color roughness as a separate layer so they can be slightly inconsistent to each other, which makes the material look a little better. 0.2 on the blur. This might be a little extreme the edge color, but we're gonna we're gonna bring it into Marmost and see how it looks in there before we do anything. A All right, so this is an effort in the plastic to try to curve the edges? Yeah, just make them look a little bit dented. Just more plasticy looking the main. A little bit more plasticy looking. Y. Yeah, I guess one of the main identifying characteristics from metal and plastic is that clapsti is just a little bit more like, malleable, usually. It doesn't chip more or less. I mean, it does, but it'll squish a lot of times beforehand and kind of morph. Metal also does, but it just the wear pattern. A lot of times you'll see chipped metal versus kind of, like, mushy plastic, I guess, in a way. It's just a good identifying characteristic. Yeah, it looks a little extreme to me now, but I'm going to just wait until we get it into Marmoset before I decided to change it too drastically. 'Cause you can get into a pretty big cycle. Better to just get and see what it looks like in Marmoset first. Yes. We're going to duplicate our base color. Add a black mask. Change the color and then colored it. It's more of a gold color we're looking for a brown gold. It's like color variation for this middle. Screws amp up the roughness a little bit. Man on this day quick generator. So scroll color variation. It's a loud noise color. Okay. And we're gonna add some dirt, too. I got to be careful cause a lot of the dirt generator is just gonna find its way maxed out inside that lens base there. You can see it's totally filtered out. We want to do our best to just subtract. It up a little bit. Just to avoid some seam issues. Change it to triplanar. Seems to work better. Okay. All right. Two different dirt generators. Just to vary the amount and also the color. It just gives it a bit more of a dynamic look when you have two different colors. Okay. That looks good. Now, we're just mapping out where the specks are going to go, so we want them to fall within this range right around there. And now we're going to make it multiply the dirt, throw the fill into the dirt, set to normal, and then add a five or three, whatever. Scaled up the dirt speck and then good. Those are dirt specs. Indtrass up, ballots down. Maybe even at a sharpen if they're not showing up. Yeah. All right, so we're going to export it. Settings. All right. Just make sure it's at two K. I mean, do whatever you want, but two K is it's cool when you can texture out something cool at two K. Means you got a little bit of skill, and it's great for It's good to show that sometimes. I think I got these steps from Quickle before they became fab. Yeah, just add it to the scene. Why not? Simple setup. Simple setup. Hide that piece and then. Make sure your normals are the right white channel, green channel. Lipped. If you need to, it depends if you export DirectX or OpenGL, but I never know it'll do for some reason. Y. I just imported that ramp from Linder. I just modeled it. The site is looking Yes. All right just this lighting. Okay, it's looking pretty good. It's looking better. Los maybe a little bright the lighting, but it looks pretty good. Well, I can continue a little bit. So this is a This was a real time. Basically real time. Uh, tutorial on how to make this. I'd say texturing would be one of the main things that somebody could take away from this. Um, the modeling was good, too. I used booleans, et cetera. Just like a standard, I guess, current day, modern day pipeline. So if you are wanting to get into games or at least weapon art, and we're curious about that, hopefully that solved your problem as well. But yeah. I hope it was somewhat enjoyable and you got something out of this tutorial as it's kind of winded down here. Uh huh. See how this looks with the depth of field. Plastic looks good. Yeah, that metal catches in the light pretty nice. Another or two. All right. We're just gonna add a little bit of noise there. Noise and the height. Height noise. And set the dirt map to multiply. That's the trick we've been used. We've been using this whole tutorial. And select the parts you want. I selected that middle clamp. Go back in the Warmst It's a nice detail to add to help differentiate it from the rest of the materials. And we'll render that out. Maybe you could use a fingerprints map or something that needs to turn gold. All right. What do these renders look pretty good? I like how the scratch shows on there and the roughness variation on this one is good. Yeah, it looked pretty good. A