Hard Surface Modelling in Maya 2022

1. Introduction: Do you find it difficult to model a hard surface objects inside of Maya? Would you like to create complex shapes but don't know where to start? If that is the case, then I welcome you to next to It's hard surface modeling in Maya 2022. My name is Abraham Leo. I have 11 years of experience in the industry and I will be your instructor throughout this course. Throughout this course, you will learn all of the necessary tips, tricks, techniques, and tools to model complex objects inside of mine. This course is divided into six chapters. The first five chapters we will be covering how to model different kinds of prompts so that you can learn all of the necessary tools after that, in chapter six, we will be covering rendering, which will allow you to present your objects in the best possible way. In this course, we will be covering hard surface tools and techniques, subdivision workflow, edge flow control, proper topology, material setup, still the lightening and rendering. I have the signed the scores for beginner level students who wanted to learn the proper ways tomorrow's hard surface elements inside of Maya. However, intermediate level students might also find useful information throughout the weight. The exercises go in increasing difficulty from level one or chapter one all the way to chapter five. And then on chapter six, we'd cover all the basics for rendering so that you can get amazing results for your portfolio. Basic understanding of the Maya interface is required. However, we do cover the very basics on the first videos after dad, the only thing that you're gonna need is our note which comes pre-installed with Maya and another little software called pure ref, which you can get for free online. Join me and learn how to create amazing hard surface models in no time. 2. Project Setup: Hey guys, welcome to the first video in this series. Today we're gonna start with the project said that we're going to talk a little bit about Maya and we're gonna get everything ready to go. Let's go. I'm assuming that if you are taking this course, you already have Maya installed. But I'm just gonna go over a couple of the ways in which you can get Maya. Because a lot of people usually ask us, Hey, how can I download Maya? How can I get the software ready? Well, there's three ways. Of course, you could buy the full Maya version right here, which is a little bit pricey. I will imply it's 250 bucks a month, which I hope no one needs to do it. But yeah, this is the one. You can also download a free trial, which will give you 30 days if you've never used his trial before, then this one is great, of course. But here's the thing. If you have a student license or if you're currently enrolled in a university to our college that has sometimes not even close your symptoms even like a school's have this affiliation with all of this, you might be able to get access to the educational like Maya license. This one will be active for a year and it works really well. It has all of the tools that we need, so you should be good to go if this is not an option for you. If you don't have the free trial anymore and you still want to pursue more ammonia, then I can recommend this one is a little bit he them like if you don't know about that, you sometimes might miss it. But there's this thing called Maya in the, Maya in the east, a version of Maya. It's the same version. It's the exact same tools like you're not going to be losing any sort of these sort of tools or anything. But if your country is in any of these elements are in any of these places right here. So for instance, for myself, I'm here in Mexico. You can have access to this Maja. Indeed, there's only a couple of things that you need to require from you. First of all, you shouldn't be earning more than 50 thousand US dollars a year from Maya work. Of course, you can't work on a project that's worth more than one hundred and ten hundred dollars and you can only have one subscription per user or organizations. So pretty straightforward. I think most of us in these indie artists will be able to get this. Usually this is just to avoid the big studios from getting this or from using this. And it's really cheap. As you can see right here in Mexican pesos, it's 4 thousand business almost, which would be about $200.2, $100 for a full year. I think that's a really, really nice amount. Like if you divide this $200 between 12 months, you're only paying $16 a month, which is Quite, quite nice. Yes, you need to pay the front, which is a bummer, but it's really, really affordable and you're going to have access to every single tool inside of Maya, all of the updates, everything. So those are the main ways to get a Maya. Again, I'm assuming most of you already have a basic understanding of the Maya interest face. We will be covering some of the tools and some of the interfaces. And today I just want to talk about the project or project management because when you're working inside of Maya and pretty much instead of any sort of like the science software, it is very important that you keep things organized. Otherwise, you're gonna be losing files. You're going to be loosing scenes. You're gonna be having a difficult time, like knowing where things are inside of Maya. We actually have a great, great thing which is called the project window right here. So you're gonna go into File and then project window. And hearing the project window, we're going to create a new project. This is gonna be called next 2D. Hard surface. Beginners. There we go. You can decide where to save it. By default, it will save it on documents. And then Maya, if you're using Windows, of course, documents, Maya projects, and this is the default place to save any new projects. I personally have a couple of hard drives and I'm going to save it over here in my little area right here. There we go. Now what's gonna happen is you're going to create all of this, uh, files. Usually you don't need to change the names. If at any point in your career you go into a studio, into a project where they asked you to rename certain things because their pipelines or their scripts work in a specific way. This is where you would do it like maybe there are scenes folder is not called Seniors his skull worlds or something. Well, you just change the name here and when you accept the folder that gets created, it's associated with the Scenes folder. So anything that Maya, when my Aleks into the scenes folder, even if it's named worlds or whatever, it will go to that specific place. Now, the one that we really need is this one right here. The source image is one because all of the documents that come here with this project, all of the reference images and stuff should be here in the source image folder. I'm just going to hit Accept, and that's it. Other than that, another thing that it's very, very important for this product is the size of the grid. You can see right now that if I create a little cube, my cube is tiny, tiny, tiny, tiny, tiny. The reason why this is happening is because right now I went here into the display options degree, the options, option box. And you can see my units are changed some, let me reset this back to where they were. This is the default size. I'll hit Apply. And now you can see if I create a cube, it looks a little bit more inline with what we normally expect. So 1255 are the usual sizes for it for our grid. I'm gonna change this to a 100th, 101. And the reason we're gonna change this is because I'm gonna be working in something called real-world scale. At world scale, which means that every object that we model will measure as close as possible to the size that the object has in the real-world. This is a very important because that will ensure that all of our tools and everything works a little bit better, especially with hard surface tools, you wouldn't have enough size and space so that the pebbles and the extrudes and everything worked out nicely. So the only thing you are the only downside to doing this. Thing right here is that, yeah, now that we created objects, objects are gonna be really, really small. You can customize this. You can go here and edit the button and change the commands so that the command has bigger size. I just find that he should have just created them scaled up. I don't think that's that big of a deal. Another thing that we're gonna be using is the grid right here. You can see right now we have a gradient and I don't like this gradient due to a couple of reasons. First, it can be a little bit distracting, especially well, I find a little bit distracting. And secondly, when compressing the video with sometimes get a load to the banding. So I'm going to press Alt and V2 to turn this off, alt and v as in background. And we can change error to go around the colors. I like this medium gray. I think it looks quite nice and it's not as harmful to the eye. Another thing that you can do to set up your CNN, be ready to start working on all of those hard surface modeling is to change the workspace that we're working on, the general workspace. And yes, the general workspace is good. However, that we have a lot of things that we're not really going to be using. For instance, we have the timeline at the time slider, the script manager over there. I'm just going to click here and we can go to this modeling standard. And as you can see now in the modeling standard, we get rid of a couple of the elements. We do have our modeling toolkit here which is useful, and the attribute that are channeled books, everything, the outliner. If you want a little bit more space on your screen, this is a great. One more thing before we go is the shelf. We are going to be using a specific shelf. You can see here that I have one for our animation course. I'm gonna go to this little like cogwheel over here. I'm going to click it and I'm going to go into new shelf and I'm gonna say this next 2D modeling. Now we're going to have this shelf over here, and we can save as many buttons as we want in the shelf. I'm gonna show you a couple that I use quite frequently. So first we're gonna go to the Create menu, sorry to the Edit menu. And we're going to sweep delete by type and you're going to press Control Shift and then history. And that's going to add the delay of history button right here, which if you are used to it, it's the same one that we have over here. It's just a different icon, but it's the same one, same function. Then we're gonna go into modify and we're gonna do center pivot, and we're gonna do freeze transformation. Those three bonds are like the Holy Grail of modelling. We're gonna be using them quite a bit. And I always like to have them first here on my shelf. Then we're gonna go into the create options. We're going to go into polygons and we're gonna do something similar. We are going to do Control Shift, sphere, cube, cylinder, torus plane, and I like the pipe. Those are the six objects that are most like normally use in my, in my modeling. If there's one that you really like or that you're really going to be using for a specific project. You can of course, go to modeling and just add it yourself. If you want to get rid of them, just right-click and delete, and that will delete the button. Then we're gonna go to the next one, which is mesh. And inside of the mesh panel, we have a couple that I really, really need N'T. We really, we use quite a bit. So it's gonna be the combined. So again, Control Shift, combine, separate, feel, whoa, triangulate. And that's pretty much it. We use the mirror but I use a shortcut, so I'm gonna show you that one later on. You can see now we're starting to get our tools right here. Very, very common tools that we're going to go into Edit Mesh and we're going to use, or we're gonna add to our shelf the Bible, the bridge, collapse, x truth, merged the center. Duplicate and extractor useful as well. And I think that's it. Those are the ones for edit mesh. Finally, mesh tools, we're gonna do the Create polygon to Insert Edge Loop, multicultural, super important offset edge loop. And the and I think that's pretty much quadrant, quadrant. That one is also really, really important. Finally, in mesh displays, I'm just going to add the reverse one, which is really useful to flip normals. And probably the hardened and soft in nature as well. As you can see, we've now filled our shelf with most of the tools that we're gonna be using. If we need more tools later on, we'll add them as well. You can see that it really, it's not super different, but it is, it has a couple of other tools that we normally don't have on this area. That's why I find that really, really useful to do this. Now, before you close my hour, before you start working, make sure to save this shelf. Right-click here. We're going to go into save all shelves, and that's going to save this shelf so that anytime we open my app, we get this one. Just a quick note here. If you ever need to move computers or change workspaces, you can go into documents, maya, the version of my other, you're using Preferences and then shelves. And you're gonna find the shelf that it just created, which is this one right here next to the modeling. If you copy and paste this file on the same path on the new computer, when you open Maya, you should have the same shelf as you have right here. So that one's also a pretty, pretty pretty handy. Yeah, that's pretty much it, guys. You are all set now with the project set and with this guy said you're, you're ready to go and we're ready to start. I'm talking about some of the principles about modeling, some of the main things that we're going to look for and we can start creating our first model. One last thing before I leave, make sure every single time you start working on this project to go into file, set project and select the project like look for where you save your projects, select that folder and set it so that any scene, an image, anything that we do get saved on that specific path. Yeah, that's it for this one guys. I'll see you back on the next one. Bye bye. 3. Maya Basics: Hey guys, welcome back to this video. This is a very special video. This is a Maya basics videos. So in case you need a little bit of refreshment, are not refreshment. Reminder of how things work here inside of Maya in regards to navigation, menus and all that stuff. This is going to be cooperating most of the basic things. If you already know this or if you are running, are ready to go into the exercise and make sure to just skip this video and move ahead. However, for those of you that don't want to get a quick overview of the interface, this is gonna be great. So first of all, navigation, very simple. You're gonna be using the Alt key and your three clicks. So Alt and normal click will be the rotation here in your camera, Alt and middle mouse, it's going to be your pen up and down, left and right, and Alt and right-click will be your assumed. You can also use your scroll wheel to zoom in and out. However, as you can see, the scroll wheel here, it's a little bit like in Step mode and Alt and click and right-click is gonna be looking smooth mode. So that's the, that's the basics of the movement here. Instead of the viewport, you're gonna get this gizmo right here. Remember 3D is XYZ, and this gizmo will tell you where things are pointing. See in Maya is a front view or it's facing forward. X is left and right and the Y is top to bottom. When you click on any of these icons right here, and any of the menus here on the shelf. So you remember you are gonna be creating, as we saw here in an object like a cube. Then the keys that you're gonna be using to manipulate this cube are very easy. Q easier selection tool. You can also use a selection box. W is going to be your movement, E is gonna be your rotation, and R is gonna be your scale. When you're in movement mode, you can select any of the axis and move it that way. You can also select any of these like little cubes and that will constraint to the axis that you're using. So if I click the green button, it will only move on x and C, it will not move on the y-axis. Same for this one is right here in the EE key, which is the rotation tool. You are going to be able to rotate on each axis as well. So that's the x-axis. Let's scale this thing. That's the x-axis, that's the y-axis, and that's the c-axis. And finally, if you press art, you're gonna go into a scale mode, which is going to allow you to scale again in each specific area or a uniform scale if you select the center at square, one thing, if you go back to the w, which is the movement, then you press the little icon right here, that's free movement. It's camera based movements. So if you're in perspective, you're gonna move this. I don't recommend it because it might be a little bit difficult to follow. But if you're in any of the other cameras like the top your whatever, you can select that one and you're going to be constrained to the top camera. So very, very handy. Same for the rotation. If you click anywhere outside of the ranks, you're gonna be doing free rotation, which you can see the attributes over here changed quite a bit and you're gonna get a different effect. And finally, it doesn't have Freescale. It's just like each individual access or all of them together. That's the basics of movement here. Now, let's talk about components. Each object, any object here inside of Maya has components and each object, any 3D object in the 3D world is composed of vertices, edges, and faces. Now to access the components here instead of Maya, the easiest way is to right-click on top of the object. And you're gonna find this little smart quilt which will allow, it will allow you to jump into the vertex mode, for instance, whereas you're gonna be able to select specific verdicts, move it around and stuff, you can right-click, go into edge mode, which will move again. Just finally, right-click and go into face mode, which will allow you to move the faces. We're gonna be using this extensively. We're gonna be editing the edges and vertices, the faces because some of the tools that we have here on our shelf only work with specific moats. Other softwares have the option to jump in-between modes. Here we also have that option if you go to the modeling toolkit and you go into multi-component, you're gonna be able to go into face, edge or vertex at the same time depending on how you want to do it. Or you can go back into single component and just again, jumping to face, jumping into edge, right-click, jump into vertex, and again move it around. You can also click these guys right here. As you can see, object mode, face, I usually like to shortcut because it's closer to the action. But if you'd like using the modeling toolkit, you can find this guys are right here. And again, depending on which one you have selected vertices, etch or face, you're going to have some of the things that are gonna be able to be used, some of the tools that you're gonna be able to work with. That's pretty much it for components. Again, just a quick reminder, for instance, like the extrude option right here, it works with faces. So you're gonna be extremely faces once I learned the other, if you grabbed like the ACH are gonna be beveling that specific edge. And again, you're gonna be able to move it around if you want to jump between the modeling toolkit, the attribute editor, and the channel box control a is a shortcut Control. A will switch between attribute editor and channel box. And then the little modeling toolkit will be right here. You can also access the modeling toolkit with this little button on the top right corner. So that's it for components that sit for a moment that Let's go to cameras because that's one of the issues that love my students tend to, tend to happen. When you press the spacebar, you're going to jump into the four view panel selection here instead of Maya. And you're gonna be seeing perspective, top view, front view, and side view. You know, you will know which one it is depending on whatever you have here on the bottom side of the viewport. Remember the billboards, our window to the 3D world. So it's very important that we pay attention to it. If you want to go into any of those ones, you just position that your mouse in whatever window you want to go to and you press the Spacebar again and that's going to jump straight to that one. So as you can see, we're inside view and then we're in perspective view and then we're in top view, and then we're in front of you. So again, depending on which one you want to jump to, you can just spray the press Spacebar and then jump to whatever window you need. I personally don't like using that method, but it's important to know it exists. It's over here as well. If you press this little one right here at the panel layout, That's the exact one. And then if you press this one right here, that's the perspective methods. So at any point you lose this because something's people lose their screen. Don't worry, just press this button right here and you are going to be back here. You can also, if you ever want to reset this thing, you can just go here. Right now we're working with a modeling standard and at any point you can just reset current workspace and it will reset back to the basic options. So in this case, without the outliner which has this window right here, which is also very important because it tells us what things are the same. So in this case, we only have a cube and our cameras. Now, the one that I like to use the most and you're gonna see me using it pretty much throughout the whole series, is I like to press space bar and then click on Maya and then select the camera that I want to jump to. If I want to jump to a right view, I just select this one and didn't drop the spacebar, drop the Click and I'm in right view. So again, space-bar, Maya perspective, Spacewar Maya top view, spacebar, Maya front view. And I find it easier because once you get the hang of it, you can actually just jump rebury quickly. You don't even need to see where you're going, because as long as the mouse knows that you're going like EBIT or top or bottom. It knows which camera you are going to. I really, really like using that shortcut. This are called radial smart menus. And they're very, very cool. I think you guys are gonna like them as well. Yeah, I think that's pretty much ****. I want to do a quick exercises and exercises that I do quite a bit with every software that I teach. And that is, we're gonna be modeling a small D6 dots just to get a hang of the tools, get the hang of how Maya words. So if you're refreshing your memory or you're going to get all the way into, into the appropriate things. Get that nice knowledge that we need. Then there's just follow along. We're gonna grab this little cube right here, which is a small cube. And the first thing I'm gonna do is I'm going to press Control a, to go Control Channel book strike here. Let's bring the shuttle books there. There we go. I'm going to select the cube and I'm going to go into the inputs every time you create an object, remember it has inputs and you can change those inputs. It's how the object is born here inside of Maya. And I want to change the inputs to, I'm gonna say, I'm gonna make this like a ten centimeter die really big. So I'm gonna say ten. Now this is a really, really big die. We could also scale this with R and just hit the little square right there. And that's, that's it. Make sure to hit S if you're coming from Blender S is usually the scale button inside of Maya, it's the animation button. So if you see that all of the channels turned red, That's because you animated that keyframe and we don't want that. Now. I'm going to bevel the whole surface. So I'm going to go right-click edge mode, and I'm going to select all of the edge mode and I'm going to go into our shelf, the one we created and I'm gonna select this Bevel tool. The bubble will soften the edges, but it's really, really soft. So I'm going to press the letter T, select this bubble here and press the letter T to get this little box. That's the toolbox for the specific tool that we're using. And I'm going to reduce the fraction if it moves very fast, you can press Control on your keyboard and press a little word there and they will give you a softer a software transitions. In this case, I wanted to do something like that and I'm gonna do two segments to get a very nice soft effect to get rid of the triangles that we had on the quarters. There we go. That's the first step. We create a cube and we bevel it to get the round corners. Now I want to add edge loops on my element, but I want to add them in such a way that we get even spaced elements. I'm going to double-click this tool right here, which is the Insert Edge Loop tool, to get the option box, I'm going to select multiple edge loops and I'm gonna set this to chew. Now if I click here, you're gonna see that the insured to edge loops right in the thirds of the object, so it's perfectly evenly spaced out. I'm going to do the same thing over here, and the same thing over here. And now my cube is perfectly divided into nine sections for each face. I'm going to press the literary Q to get out of the tool. Very important. Some people stay in the tool like they, they do this and then they start clicking and adding a lot of more elements everywhere. You don't want to do that. So once you're done with the insertion of the issues, you're going to press the letter Q to get out of it. Now I'm going to right-click on the object, go into face mode and we need to select the faces. So let's say 12345. Want to, the opposite sides of the die should add up to seven. Then we're gonna do 1234561 and we're gonna do 1234123. You remember just press Shift to add to the selection that we select all of the faces and we're going to extrude. However, if we extrude just like this and we want to create an offset right here to create the little holes for our DEI, something's going to happen with the number six. As you can see, the number of six is not doing it the way I wanted. That's not getting me sits six dots is giving me two straight lines right there and I guess it's not what I'm looking for. So what I need to do is here on the little toolbox, I need to change the option from keep faces together on to off. And that way we get nice little square or circular points pretty much everywhere. Gonna do a second extrusion. Not a, it's not the first one. It's the second extrusion. The first extrusion I only use to create this offset to make this thing smaller. And therefore the second electrician, I'm just going to push this thing in. And that's gonna give me the little holes that we need for our dy. And that's pretty much it. Right-click, go back to object mode so that we get this effect. If you're person number three, you are going to get a very nice, smooth surface and a very nice and dice. Again, super simple exercise. I always like to teach my students how to make one of these in any 3D software, because it's a really easy way to learn the basics of the software and understand how things work. So make sure you are really, really familiar with again, how to move inside of Maya, how to change between cameras and how to go in and outside of the different components, vertex Component, Edge Component, Object Mode, and face mode. Because we're gonna be using those a lot. We have one more exercise in this chapter. I recommend everyone, even if you're already experienced to do with as well, because we do cover some important things about edge loops and the hardened edge and stuff like that. It's a Coca-Cola can. So we're gonna start that on the next video. And after DAG, we're going to jump straight into Chapter two where we're gonna be modeling more conflicts stuff. So make sure to get all the way to this point if you're still remembering most of the things about Maya, and I'll see you back on the next video, guys, Let's keep going. Bye-bye. 4. Hard Surface Basics: Hey guys, welcome to the next part of this series. Today we're gonna start with a very simple project. We're gonna be doing a Coca-Cola can. And there's a couple of things I wanted to talk about with the Coca-Cola can. First, we need to jump into our front view. So Spacewar Maya from you and we're gonna get our Coca-Cola can into the scene. We're gonna be using image planes. You're going to find this image planes on your project folder. So just go image plane, import image and you're going to find this POC site, hit Open, and there we go. Now, as we've mentioned in one of the first videos, we need to make sure that we're working in real skill. And a Coca-Cola can, I mean, you can always look it up like how high the height of a Coca-Cola camera, Let's hide Coca Cola can. It says right here it's 6.01 anxious thought, which should be about seven centimeters. So I am going to create a cylinder, which of course is going to be my basic shape. And I'm gonna change this cylinder here on the scale to seven. The skill inside of Maya is always on centimeters. So if you see 70 here, that's seven centimeters. And now we're going to scale this picture up until we get the proper height, which should be around. There. There we go. Now we're going to jump onto the top view and we also want to get the image here on the top. So I'm going to go view image plane, import image, and we're going to import this Coke top right here. One of the things that you didn't notice is that the image on the top might not match with the height or the size of the image on the front. Here's where you're going to have to scale this up. Probably move this right about there, and try to get it as close as possible, which that one looks really nice. Now the top image, you're going to push all the way down and the front, the image we're going to push all the way back so that we have this area free for us to work on whatever we want. I'm gonna go back to my front view. I'm gonna select this guy right here, and let's start working with the general shape of the cat. So the first thing I need to do is of course change the radius. This is one of the things that I like about Maya is that the inputs of the original shape stay there until you freeze the transformations and delete the history. So I'm going to press Control middle click and drag. And that's going to increase the radius without me having to guess the number. So again, control click and drag, and we're gonna go right about there. Now press number four to go into what's the word into wireframe mode so that we can see through it. One thing I like to do with image planes, I like to change their Alpha gain 2.5 so that they are semi-transparent and they're not less invasive on my screen. Yeah, that's pretty much it. Now, there's a ton of different ways in which we can do discriminatory. I'm gonna show you one that they really liked, which is using our cut tool. I'm going to use my CO2. I'm going to press Control. And I'm gonna create a new edge loop going right through that element right there. Now I'm going to grab all of the vertices here, this once and I'm going to scale them down so that they match the proper size of the upper lip that we have right there. Now you can see that this upper lip has this very nice curvature here. And that means that we're probably going to need to add a couple of more edge loops. So I'm gonna go again to my go-to control and we're gonna add one national bright there. And now if we grab this edge right here and against scale it down, we should be able to match as close as possible to what we had on the other edge. It'll bright there, perfect. Now if we press number three, wherever they know this, we're gonna go into smooth mode. However, right now we're going to smooth everything up. No need to go there right now. We're just gonna, we're gonna do that shortly. Let's take a look at the place down here. So I'm going to place a one-line right there. You can see the perspective here. This is something that we're gonna be seeing quite a bit with our reference images. It is very difficult to get a perfect front and side view of objects in the real world because we capture them with cameras. And cameras always have a little bit of perspective. And if you're using a super high focal length, you're going to get a little bit of perspective. So my advice is go for the high points over here. Just know that this thing right here matches with this. As long as the, as the borders match. We're going to do something similar here where you're gonna do one and we're gonna chew edge loops. I'm going to grab all of the vertices. You can do vertices or edges. I like doing vertices. Although this, and I'm going to scale them down until we get the nice little border right there. And then all of those guys right here are going to scale them down as well. And then all of these ones right here, we're going to scale them down as well to create a nice little like curvature that the moss have, which is that one right there. Perfect. Now, as you can see, we have the very basic shape of our camp. There's a couple of things that I know that this can have that we need to include. I know that there's a little bit of a bump inside of this area. So I'm gonna select these vertices right here, and we're gonna use a very nice shortcut which is Control F11 and Control F 11 will select all of the phases are connected to that vertex. So in this case, all of this pole going to press Control E to extrude and we're gonna offset to create a little bored or do we have where the Koch sits? And then I'm going to do Control E again. I'm going to extrude in an offset in as well because we have this sort of like a round shape here. I'm actually going to extrude again. Officer again, push this thing up again because I've drank some coaxing my my life and I know that this thing down here, it tends to be quite route. Yeah, there we go. That pretty much creates the shape that we're looking for down here. Now up here we do have the top view, so we do know that we get this sort of effect. But right now the only thing I want to create this, the very basic border, the basic lecture. So Control F5 and again, control E to extrude offset to give this lip a little bit of thickness. And then Control E and push this down. That's where our liquid is going to be coming from. We're gonna talk about the upper side shortly, but right now I just want to focus on the main things here. So as I was mentioning before, when you press number three, everything here instead of Maya, we'll smooth. This is thanks to something called the Catherine Clarke sub-division method, which averages out distance between the vertices and creates a nice like soft spline. Remember this one right here, very similar to what we have in Blender for instance, this is not permanent. This is just being here as a preview. Like you're not actually creating the polygons. You are displaying them, but you're not creating them if you want to do a permanent. So you're gonna have to go here to mesh and heat this smooth bottom right here. And that will create the permanent. But we don't want to do that just yet. Because if we do that, you can see that we're listening quite a bit of the border here on our object. Here's where one of the main concepts about hard surface will come into play, which is the support edges. Support edges are any edges that are close together, usually close to the border. They, as the name implies, will support them so that when we smooth, we don't lose that sharpness that we have here. In this case, there's two types of support edges. If we want a hard edge, we're going to use a support edge like this when they inserted the troop or the Cut tool. And that will give us a very nice hard edge. Usually you want to have two of them and that will give you a really, really sharp division there. There's other edges, such as the one that I'm going to be using here, which is like the bevel support that, so if I grab this war there and they bevel it, and I go into the options, modify the fraction a little bit. You can also press the letter T to get this little box here. And I'm going to do two segments. This bubble right here also has supported edges. However, they're not like completely horizontal like this one is right here. They actually rounded off the corner and we're going to get a nicer effect right there. So depending on how you use the fraction and the supported that just that's how intense or how soft the water is going to be for your optics. In this case, I'm reducing a little bit of the fraction there because I didn't want that to be super, super intense. I'm also going to delete one of these ones. Whenever you delete an edge, this is super important. You're going to press Control. Delete, because otherwise the vertices estate and you create angles and that's a no-no. Yeah, there we go. Now we get this very nice effect over here. I'm going to do the same thing down here. So for this one right here, I'm going to bevel it. I am going to add one fraction or a small fraction right there. And then a segment. There we go. When we smooth, we get this. If we went again, like a sharper effect over here, we can modify it. Let's go to the front view. And if I take a look at, I can see that there's a lip and then we also have that sort of lip on the top side, which is where the folds onto itself and creates a nice effect for that live. In order to create that live, I'm gonna add one actual right here. I'm going to select this face right here. I'm going to extrude it out just a little bit like that. Now, as you can see, that immediately gives me that sort of like lip effect. But if I really, really want to sharpen it, one thing I can do is you can actually grab this edge loop, bring it down just a tad bit, and then add a couple of support edges like one there and one there. And now we're gonna have a really, really sharp line. See that? Perfect, making it look super, super nice, very close to what we would expect. Here. I think I want to do another offset. Usually you want to keep this pulse as smallest possible. So I'm going to really, really offset this and push it up a little bit. When we smooth, we get a softer result throughout the whole thing. I would definitely expect to have some sort of edge loop here on this area. So I am going to sharpen this one a little bit there with a hard edge with us support edge. And there we go. That should give us a nice effect. Same thing up here. Like if I take a look here, I think this is a little bit too high. Like I feel like this things are a little bit too high. So I'm going to bring all of these guys down a little bit and we're gonna do the same thing. So I'm going to insert an edge loop. Right? Let's go right-click object mode, right? I'll bring them up. There we go. Right-click here on cultural and we're gonna cut that thing right there, which is the silver lip. Grab that silver lip. Extruded out. Push it out a little bit. There we go. Just a little bit. Not it's not necessarily to go overboard. Now to make this thing look way, way nicer, we're going to add a natural right there and right there. So when we press the number three, we're gonna get that very nice sharp align, which is like the cap of the actual cat. Yeah, that's, that's pretty much it. Now, let's finish this up by doing just the groups that we have here on the top. Again, it's part of the system. So I am going to again select this guy right here, Control F 11th to grab all of the vertices. Control E, offset a little bit right about there. And then I'm gonna grab this guy right here, Control E. And I'm going to extrude the scene and give it a little bit of an offset. And that's going to create the group C. Now to sharpen those groups, we can of course add one edge loop like let's say right about there. And then all of this line we can actually bevel, I think beveling. We'll look at nice. There we go. Now we have the group. This is pretty much a really nice subdivided model of a cam. As you can see, everything came from a cylinder. Very basic, very simple stuff. If this a little bit too simple, just keep watching to learn a couple of the other tools just to make sure that we're all on the same page. Or you can jump onto Chapter Two where we're gonna start with that with a nice appliance. But yeah, this is, these are the basics of hard surface. We are going to be following the silhouette. So for objects and we're gonna be adding, extruding, babbling, modifying the edges and the topology so that we get the perfect or the most perfect fit. Now we're going to jump onto an interesting part which is this top area right here. And we're gonna be talking about a nice topic called edge flow and natural. So hang on tight and I'll see you back on the next video. Bye bye. 5. EdgeLoops and Edgeflow: Hey guys, welcome back to the next part of our series. Today we're going to continue with Coca-Cola can and we're gonna get into work and they'll be doing the top area. The top area is actually quite tricky. Yellow people who might think that this is like super easy to do, but, but it's not, it actually has a lot of things that we need to take into consideration. The first thing I want to talk about these edge loops and edge flow. We're going to be doing this a small section first thing that you pulled, I'm not really sure whether they miss in English, but this I think it's the tab or something. So we're gonna be doing that guy right there. The first thing I want to do is I want to clean up this can, because there's a lot of information that we've added to the model. All of the tweaks and changes in tools that we use are now stored here in the history. We're going to delete it, centered the pivot point and freezer transformations. I'm going to go down here to the display layers are very, very important because we're gonna be saving Aurora, going to be creating a layer so that we can turn on and off the camera without having to worry about going into the outliner. I'm going to click this little button right here, which is going to add a new layer. And I'm going to call this layer. Can now HV go here to the V key. You can just turn off visibility. And now we're not gonna be seeing the canon, which is great because now we can focus on this thing right here without having to worry about the cat. Let's focus on the top first. And as you can see, this is a very complex shape. It might seem like it's really easy to do and it actually is not difficult. But we do need to take certain things into consideration to make sure that this is as nice as possible. For this one, I'm gonna be using one of my most useful methods, very common methods, which is the quadro and the Create polygon method. I'm gonna go here to this polygon right here. I'm going to create a poly phase. I'm going to do 1234 and hit Enter. And there we go. We have a face. Now once we have a phase, we can actually start working with this tool which is called a quadrant to quadrant two is super, super, super important. We're gonna be using it quite a bit throughout our course. And the way that works is super simple. You just placed two dots in-between like other two dots, which in this case are already edges and vertices, you press shift and then you create a new face. This new phase, as you can see, will allow me to start kind of like creating the silhouette of the whole element. But here's where groups come into play. We really want to keep all of the nice hard edges that this little tab has. In order to do that, I'm going to need to make sure that we have in that shuttle going exactly where I want them to go. So let's focus on this one right here. I know that if I want to have this as a very nice soft edge, we need to create a loop that goes around the whole thing. But, oh, we have a problem here. This thing is already working to create this, whether we're here and we're not really creating what we want on top. So what can we do here? Easy, we just control, we just add one more line here. And we create the actual Before the top part right here, like this. Now, usually when you're building any sort of object, you want to kind of keep it symmetrical. So we'd have 12, we will have like three. And then this will be, there will be three and this is four. And let's do one like right there, keeping things symmetrical and we'd even numbers usually helps organize everything that we normally do here instead of inside of Maya. So I like to keep it that way. Now you can see that we're already getting this sort of like top side here, that there's another nice edge loop doctor covers the whole tablets will. But we're getting nor downward right now and we're going to focus on this one because this is another complex shape. So this is this little metallic shape and we have a corner here. Corners are one of those topics that always confuses people because some people who might think, yeah, just do a corner like this and that's it. Usually, yes. However, when you have a round corner like this, you definitely want to have a round flow of the edges like this. So that when we press number three, we get a nice soft edge flow that goes nicely work where we want. It will add more geometry, yes, but they will give you a nicer and nicer topology as well. So all of this we need to fill in. Let's feeling with all of this face and see how we have that nice little square phase there that's shares, I like to call this a chicken foot because we get this three-sided thing. I know chickens have like four or five, but it kind of looks like that to me. And then we're just gonna, we're just gonna keep going down like this. One of the very nice drink that I also want to share with you guys is whenever we're doing topology, you want to keep it simple at first and then start adding more and more as you need it. Because a lot of people tried to draw their topology with a lot of polygons at first and then they suffer because they need to do very complex things in shapes. So try to keep it simple. Try to keep it the way we'd like big polygons at first. And then if you need more than we add them, you can see how it really nicely unfolds there. Now, I can see that an angle there and the like, the color of the image is a little bit difficult to, to, to really visualize, but there will be like right about there. Now let's just keep filling this in. Again. We're just bringing all of this edge loops that the ones that are flowing from top to bottom. And we're gonna bring them now we're gonna be focusing on this board that we have over here. We're going to be bringing all of those guys to the border. And here's where things are gonna get tricky because yes, we're forming a nice edge loop over here. That starts to look nice. We already have one over here, but it gets tricky, like congested over here, like a traffic jam. I'm actually going to bring this guy's down. I'm gonna push them in a little bit and we're gonna start drawing a new edge loop that's gonna be like flowing along the whole thing over here. So they're, they're just continue there. We'll fix that topology. I'll show you why or how. And we just keep going, going, going. And there we go. Now as you can see, we have created a new edge flow that goes all around our object. We can try and move this thing as nicely as weekend. We can also grab it like all of these vertices and just scale them because I know that's a pretty, pretty straight up In fact or element. All of those guys can be moved that way. And that will just move some of these guys over here. There we go. Now, we have a couple of problematic areas and here's where we're gonna have to take or make a couple of decisions. The first decision we need to make is okay, what do we want to do here? We can just eliminate this one and keep a triangle, which is not a bad idea because it is a flat surface and triangles in flat surfaces worked really well. We could split this thing right here at another issue and just complete everything with a very nice edge loop. Let me show you if I were to like this guys and Bevel them. I'm going to open a new road here. And now it should be fairly easy to go into edge loop. And just like book combine those, that's also a good idea. We of course get these things right here, which are angles. We need to fix them. One quick way to do so would be to just triangulate this things right here. This thing is right here. And delete this two triangles. Whenever you have two triangles really close together, you can just join them with a little edge right there. And as you can see, now, that's, that's an edge flow right there. There we go. We'll go here and smooth this out. And we get this sort of like U-shaped. This is a very common shape when you transform from three edges to one. And we get this. So if you want to be like super, super broad, this one's really cool because everything's going to be quartz. However, it's okay. Sometimes it's okay not to have everything be quotes because triangles again are not your enemies. We're gonna be using triangles quite a bit in some more advanced models that we're gonna be doing later. For instance, here. Again, if we want to eliminate that triangle, very easy way to do so just in certain natural there. And that creates a triangle here where it says square, but it looks very much like a triangle. And then we can just smooth this out and relax it topology so that, so that things work nicely. I'm pressing shift here to while using the quadrant two to relax the topology. There we go. We have a super, super clean topology for the whole thing. Now, we can grab all of this middle edges or vertices, scale them and width w and x snap them to the center so that when we mirrored this, we of course get exactly the shape that we want. But we're not done yet because as you can see, we still have all of these things that actually goes up. Now, here is where I'm going to save myself a little bit of a struggle, going to select all those. Is this actually going to quadro? The actual, It's just, I'm just going to press Stat key on my quadrant, extrude this out, extra this out. There's a nice little option here. If you double-click the tool, you can change the extent from Edge to border. And if you extend, you can see that everything gets extended. Actually, let's do that. I'm going to extend everything here. Actually. I'm trying to think which is the best tool I'm going to use extrude. I'm gonna show you how. We're just gonna go over the whole thing here. I'm going to extrude this thing. And now if we use thickness or officer in this case, you can see how we're extruding the whole thing out. Now of course, we're gonna have to go into vertex mode and move some of this vertices so that they really match the size of the shape of the element. But at least it saves us a little bit of work we're doing here is we're working with a flat thing and then we're going to start adding the volume and all of the changes to the shape so that we match our reference. So yeah, as you can see, our nice little tab here is ready. We have a nice topology. Everything is flowing exactly how we want. Now it's time to start giving it the three-dimensionality that didn't. It's, the first thing I'm gonna do is of course I'm going to press Shift right-click and I'm going to go into mirror option box. And this is going to be mirror, not on the world because as you can see, we're actually not centered on the world. A little tab is like off-center, which I don't know why did they move it? So it's like I move that. My bet, there we go. Now we can do World, World x negative and we hit apply. And there we go. We have our nice little tap flat of course, but it's ready to be extruded. The first thing I notice is that the outer edge of this whole thing is kind of like a race stop. So I'm going to grab the whole edge right here. I'm going to extrude, bring it up and offset a little bit to give it this or like a round shape. And let's bring it down a little bit. There we go. Something like that. As you can see, we create this nice little shape on the outside. If we press number three, we're getting close to what we have here on our etc. The other thing I notice is that there's a very, very harsh line here on the center. So like on this slide right there. So I am going to use my Insert Edge Loop and I'm going to do that right there. But, oh my god, what's happening there? It's Raleigh an angle and you can see that there's like an angled or something, or something's not like completely combined. Because technically, there we go. See that. Sometimes the mirror function does that. I'm not sure why it does it. It's very weird. Sometimes I get it, sometimes I don't. But yeah, just just make sure that you're eliminating or deleting that one right there. So now we go back to our CO2 and we're gonna add one extra bright there and another one on the inside. And that's going to give us a very nice hard edge on that specific part right there. Perfect. Finally, we need to give this thing the thickness that it has. So I'm gonna grab this edge loop, the external offshoot. I'm going to extrude it, move it down with w, and then extrude it and scale it in. And that's going to give me this sort of rounded effect where that word a metal goes, folds onto itself. And I'm going to do the same thing for this guy right here. So again, control E, move it down, and then Control E. And in this case we're going to offset or thickness out like this. And of course we're going to round all of those edge loops with a very nice bevel. Now that's going to look like it's actually folding down onto itself like this. And we're gonna do the same thing over here. Control E, push this down, Control E, thickness, push it out so that it creates this sort of like fold. And then just grab this guy and this guy. And we're gonna bet, that's gonna give us the folder we're looking for. Now. A big question or a question that a lot of students asked me when they were, were taking a look at this row thing is, should we extrude this to give a thickness? Should we screwed the whole thing and give a thickness? And the answer is, if the object that you're taking a look at is really thin, like this thing right here, which is just like folded metal. You can actually leave it like this, like having back faces like this, it's not bad. Most renders can render the back face of an object, but you just need to make sure that there isn't a shape that makes sense. For instance, like a piece of paper. Like if you're doing like like a pamphlet or something you want like a poster pasted to a wall. You're not going to create a plane and then give it the plane some thickness just because you want to have the 0.3 millimeter thickness of the paper. Now, you just keep a plane and that's it. But most of the times, yes, you are going to have thickness for objects, especially a hard surface objects. I think I want to give it a nice little like a bevel on this edge right there. Again, you can press the letter T, select the Bible and present little t to get this nice little tool that's going to sharpen it up a little bit more. And there we go. One thing that we're missing though, is again, you can remember that we had this very nice line here. So I'm going to add one line right there, and that's going to make it a little bit harder. It's going to use a nice harsher effect on that thing right there. I actually think we might want to add the one like here. And here. There we go. And that gives us the nice effect that word going for. You can see that we have a nice little LED. That's like the pivot point that we use to bring the little tap up. For that, we're going to add probably a cylinder, I think it's on there, it's the best option. So we're just going to create a cylinder. Let's go to the top view. Make sure we match the size. I know it's not centered, the image is not centered. We can center the image a little bit better. There we go. Here's where we are going to use one of the rules. If you don't see a phase, you usually don't model it. So I'm going to delete the lower faces, the lower cap like that. And then this thing is gonna be really flat. Get it right there. And of course we're going to bevel this thing with a nice fraction and a couple of seconds. So when we smooth this out, we'd get this nice little piece. Perfect. Now, we can bring our Ken back up, select this guy right here, and bring it all the way to the top. Let's turn a number five so that we go into the shade mouth. Let's smooth this out and just position this word supposed to be, which is, I would say about there, which didn't need to do, of course, the segments here for the cat and the cat has a lot of very intricate shapes as well. All of these guys right here, I'm going to show you a very nice way to do those. But that's gonna be other next video. So make sure to get all the way up to this point. Make sure to save. I'm gonna save the same as Coca Cola. Can. I usually like to save us a Maya ascii. I think I've mentioned this before. This is a more newer version of Maya files and it works a little bit better, I think so, yeah, make sure to save your scene so your project, and we're good to go. This is it for now, guys, I'll see you back on the next video when we finished the last part of the cat. So hang on tight and I'll see you back on next one. Bye bye. 6. Interlocking Edgeflow: Hey guys, welcome back to the next part of our series. Today we're gonna continue. We did Coca-Cola can and we're gonna be talking about interlocking edge flow, which is just a fancy term that I came up with that I think is going to show you a very important part of the topology, our process. I'm going to grab the little tab here. I'm going to create another layer. We named this layer I can, there we go. Let's call it this can later. Perfect. This is gonna be the tap layer. There we go. Perfect. So we're gonna hide that one as well. And I know that we already have our canned like upper surface, like this one right here. We have this guy and I know that all of the things that I'm gonna need to do need to fall into this place so that they fit nicely with the rest of the elements. So I'm going to do now is I'm actually going to insert this guy. So Control E will offset, just create a nice little edge flow on the edge right there. And I'm actually going to delete the caps because the only thing I'm interested in is this line right here. In this line right here, I'm gonna say Mesh tools or Edit Mesh. And I'm gonna say Extract. I'm extracting that little ring from the original Ken, which later on we're gonna be able to just patch up and combine them again. But right now I just want to get it out. We're gonna, I'm gonna click this guy, go into the cam layer, right-click and say Remove Selected objects so that when we turn the layer off, oh, it's not doing it. Okay, Let me see. Shift P to parent it. Now it's out here and delete history. Let's see if now there we go. So now it's only there. This little guy, I'm actually going to go here, right-click and add selected objects. So now we have this guy right here, and we're gonna be building the topology that we need to build, which is all of this very interesting shapes inside of this circle right here. As you might imagine, we're actually going to delete half of the faces because we don't need them. And we're going to jump straight into creating our topology. The way we're going to create this topology is very similar to how we created a tab. We're gonna be using our quadrant and we already have polygons. The only thing I need to do is I need to jump into the quadrant tool. Now, as you can see, we have this horseshoe shape right there and we don't have enough topology. So I'm going to add a one-year line right there. And I'm actually going to delete all of these faces for now. Like all of this. Now we have this nice light right here. I'm going to use this edge flow that we already have here to create this sort of horseshoe shape that goes all the way until right about there. So that's gonna be one of my intervals. I know that that's one of the one. That's gonna be one of the shapes that I'm gonna need to pay attention to. The other sheet that I need. It's this one right here. The sort of like a mouth. Again, following one of the rules that we had earlier, I'm going to try to match the same amount of polygons so that it's easy to, to bridge them in this area. So for instance, there, there, there's gonna be a couple of points, for instance here where I definitely need a couple of more edge loops. Even here I might need one more edge loop and that's fine. But as long as you can keep it as close as possible to the number of edge loops that you have in other parts of your model. That's going to be a lot easier for what we're about to do. Because now what I need to do is you just need to start bridging things up in this, in this way, like this. There. Try again to keep it as square as possible or as many squares as possible. Yeah, that looks good. Now from here, we can start moving forward. So the rule of thumb, and we've talked about this before. We want to try and keep the flow going from top to bottom and from left to right. That's a very general rule of thumb that we use quite a bit inside of modelling. The problem is gonna be, we're gonna start adding more edge loops here, for instance. And eventually we're gonna get to a point where hey, we only have one actual right here. Like how can we make this thing? Like right now here, it's three edge loops. 123. How can we convert this three edge loops into a single edge loops in a clean way? The answer is using one of the little tricks that we saw in the last lesson, which is a topology flow. So the easiest way is you create one polygon right here. And you move this thing a little bit out so that you create this or like, I like to call this. What's the word? Like this corner right here. Okay, so now we've changed the flow from two to one. In this case right here, we can actually move them to the side so that they start connecting to the outer side of our element and we can continue having are very nice edge flow all throughout the surface here. Now up here we do have this little extra tab, so we're probably going to need an extra edge. It'll there. And let's just create the little like shape for this. So just a little square there that covers that specific area. There we go. Now on this side, we need to continue patching up all of the details that we have. If we can find like EC squares to do so, we can do it now. We are going to find that this way I liked this exercise, we are going to find a couple of triangles. And again, triangles are fine as long as they are in flat surfaces and as long as they're not like colliding or influencing the topology that we already did. As you can see, this triangle right here is not really affecting topology of this horseshoe thing. And it's not doing any sort of like. It's not really affecting here, for instance, again, we can have another triangle like right there, and it's on a flat surface, is not affecting any of the other objects, so we should be perfectly, perfectly fine. There we go. Now this inner side, of course want to, and if we want to keep it simple, we can add another edge loop there to help ourselves, not a triangle there, no problem at all. The most important thing is that we have this actual right here, this actual right here, and this little actual right here. There's little face. So we pretty much built or finish this puzzle. I really liked doing topology like this because it is kind of like solving a puzzle and don't let anyone tell you there's not like a specific right way or wrong way to do it. There's a lot of ways. The only thing is that it needs to flow and give you the details that you're looking for. So if you ask someone to model the scan and molded the top part of the scan, everyone's gonna find a different solution for this, but as long as it looks good on the render and the surface reads nicely, then you're good. No one's gonna be like, oh, that's not completely optimized. You could have used a one less triangle here, one less triangle there. No one talks about that in production. In production, the only thing that matters is the final result. So as long as the final result looks good, you're completely, completely fine. Let's move this thing or a scale this thing. So again, just grab all of the vertices are, and just scale them in with the letter x. I'm just going to snap them to the center so they're perfectly centered. And we're gonna say shift right-click mirror. And this again will be world eggs and they had to make sure you have this thing set up. So what costume points 001 and make sure the settings are exactly like this. When you mirror, you get the perfect effect. That's it. Like as you can see, we have a lot of interlocking geometries and things going on around here. But the great thing is at the very end, like at the very edge loop, the outer edge loop. It's still the 20 sides that we need for the cat. Now to actually get the effects that we need, I am going to grab the faces. This face right here, this horseshoe element, and this little tab right there. We're going to Control E to Extrude, extrude up and offset a little bit to get this are like round effect. There we go. When we press number three, as you can see, we're gonna get this very, very nice effect. If we don't make it to make this look sharper, we of course cannot a couple of edges. Let's add just a couple of edges on the board or is there? And as you can see, that's going to really, really make it look nice. Now, here's where we're going to have a couple of problems. So for instance, this piece right here, if I do it, equals really, really round. But the other one that add edge loops here is because if I do this, all of the other elements on my, on my piece are gonna become a really, really wrong. So I'm gonna show you a nice little technique here that's going to give us exactly the result that we want. So what I'm gonna do is I'm going to delete this face. I'm actually going to delete half of it so that we don't have to do double the work. I'm going to delete the phases where this edge flow is going to flow. So as you can see, if I insert in that shuttle periods is it goes all the way to the border there and he goes all the way over here. So I am going to delete this face for just a second. And then I am going to delete this face for just a second as well. Actually, no, I don't want to delete that. I'm going to delete this face right here. Now if I insert a natural right here, you're gonna see that this thing stops right there because there's nowhere else to go. Same for this one over here. Here is where we can actually grab these two points, merge two centers so that we can create a nice long triangle right there and grab this guy and this guy and just bridge again. We're pretty much telling this guy hate the edge loop or the hard edge is going to stop right there. And since this is a flat area, it will look perfectly fine. Same thing here. I'm going to go from here to here and bridge to recover our original face. And then this one right here, we can do Edit Mesh or Mesh and say feel whole. And that will fill the triangle again when they press number three, yes, we're gonna have a triangle there. But again, since it's a flat area, nothing's gonna happen like no one's going to know that there's a triangle there. And we can recover or get this nice little sharp form of back shift right-click. And we're going to mirror this again to the x-axis. There we go. Now when we press number three, this no longer looks super soft. It looks a lot nicer and we're not destroying our topology. We're still using quotes and triangles, and everything is flowing very, very nicely. The last thing I would like to add this a little bit more. I would say a little bit advanced, but I think you guys can handle it is you can see there's a line there that is where the cans is gonna be, like opening and when you cut the element, right now, we don't really see it, but we do have the edge flow. We did have this guy right there and all of this edge flow going all the way over here. So I'm going to select the edge. And when you select an edge, we've talked about this before and you babble it, what's going to happen is just going to create a loop. Right? Now, here we are creating and then we can actually again using the same trick we did before, which is just like all of this points and snap them together and that's a triangle now. So grab all of this points and merge them to center so they're together. And now that's a triangle, you can see at the triangle right there. And what I can do is I can then grab that new surface that I just created, that new edge loop. And I'm just going to give it an extrusion in very small. Now when we do number three, smooth mode, you can see that we get a nice little line over there. So it's like the indication of where this thing is going to be cutting. It's really sharp, It's really, really nice over there. But that's just like an extra detail though we can add to the whole thing. Now it's time to bring everything together. So I'm gonna grab this guy, this guy, and let's of course, soften this up. And you can see how this is looking. Of course, I think this guy is a little bit too forward, so let's bring it up. There we go. And the only thing I need to do this, I need to combine this guy and this guy. So I'm gonna go Combine which is this button right here. Or you can go mesh and combine in order to make sure that the vertices are based it together, welded together, because right now they're still separate pieces. You are going to grab the whole object and you're gonna say mesh, edit mesh, and you're gonna say merch, very important. The threshold should be set to 0.001, so that only the vertices that are on top of each other wealth together. Otherwise, you, as you saw there, if it's 0.1, a lot of vertices are gonna Walden, you're gonna most lot of stuffs are not points 001 and only the vertices that are literally one on top of each other, we'll merge. Now if I were to try and grab this part right here, you're gonna see that whole thing is a single, a single element. And there we go. Our canon is ready. Is it difficult? I don't think so. I think it's fairly easy exercise, but it covers a lot of the things that we're gonna be talking about throughout this series because we're gonna be doing a lot of edge flow, a lot of hard surfaces control, a lot of interlocking things like what we just saw here, tricks like this where we are at triangles, where it might seem like we really need them. The yam, as you can see, this looks pretty, pretty nice. So this is a high poly subdivision ready can, if you need to ever do like a commercial or anything, you can just UV this thing, give it a nice texture and get it ready for, for the show. Let's do a little bit of clean up before we finish though. When I went to clean up a scene, if I remember going to use it again, I like to first erase the image planes. If you're not gonna need them anymore, grab all of the elements, press Shift P to make sure that there is no groups and then nothing. And then we're gonna do the history sensor p with freeze transformations so that all of the elements are cleaned. And it's important that we combine things that need to be combined, such as this one. So let's combine them again, though the history is freeze, freeze transformation center pivot and rename it. So I'm going to call it a scan tap. And I'd like to add the suffix of G0 so that they know that that's the GEO. And this is gonna be can. Now we can just save the scene and we are ready to go. We're gonna be talking about rendering, but we're gonna do that at the very end of the course as two after we finish all of the elements. But yes, you can see this is looking quite nice. Hopefully you guys like this model. This is the end of chapter one is just again, this chapter is just a quick introduction getting you guys into the mindset of how hard surfacing works, especially for those of you that are completely new or really, really need to 3D. If this was a little bit too simple for you, don't worry, the exercises are going to get quite tricky. I think you guys are going to like it, so yeah, that's it for now, guys. I'll see you back on the next chapter. Bye bye. 7. Setting up Image Planes: Hey guys, welcome back to the next part of our series today we're gonna start with chapter two, and we're gonna start by setting up our image points. If you navigate to your No, that's not it. Sorry to your project files, you're gonna find a little folder that I assembled for you, which is called toaster, that my friends is the second product that we're gonna be working on. Now I found this toaster online. It's like a retro series toaster, which has a couple of things that make it look retro. Even though it's now made out of plastic and stuff there. Yeah. I think it's a really nice, really nice wanted to work with. Now this one has a couple of challenges that we need to address. Of course, first of all, we don't have a perfect front view or a perfect side view like what we have with Coca-Cola can. That's something that you might face eventually when doing a project. Sometimes the objects that you're going to be modeling do not have perfect elements. If you're working on a company that does a lot of these models, you're definitely going to get this sort of stuff where you get a perfect front view, perfect side view and perfect W and the view match everything, then your PC is gonna be perfect. However, again, in the entertainment industry, we sometimes don't get that luxury. So I was fortunate enough to find someone who did a review of this thing. And this version took a couple of pictures. So we have this one right here. We have this one over here, which is as close as we can get to a front view. This one right here, which is a really, really nice top view. This one right here, which is like a front top view, Canada. And then there's one right here which is like a back view. So I am using this low software called pure ref. I recommend you guys get it. It's totally free. And pure ref is just like an image collector, collector. So you just literally drag and drop the images in here. And it usually helps whenever you don't want to bring this image into Maya, but you want to have them somewhere so that you can reference them and make sure that you're doing things as nice as possible. So once this is done, we can now jump into Maya and we're gonna be faced with our first challenge, which is how can we set up an image plane that is not exactly aligned to a front view, side view or any of the orthographic views. And the way we're gonna do is we're actually going to go into the rendering tab right here and we're going to click on this little camera icon. We're going to create our own camera and we're gonna call this beauty camera. Remember if you don't have your Outliner it opened, you just need to click right here and it will open it for you. Now that we have the camera in here, we need to jump into the camera so that we can see through it. And I'm gonna go into panels and look through selected to do just that. Now we're inside the camera and this is pretty much like a perspective camera. It actually looks identical. If I switch back to the perspective mode, you can see that it's pretty much the same thing. What do you need to click here panels and then look through selected. If you want to have a button, which by the way we can just panels Control Shift click and oh, actually no, sorry. Since these are different tools, I don't think we can add a button here. So you're gonna have to go panels and look through selected two. Of course looked at the selected camera. You're going to know you're inside the camera due to the name that you're gonna have right here. So if it says video camera will, of course, wearing that one. Now, I'm going to go into the same thing that we did for the canon. We're gonna go bu image blank and import image. And there's also a shortcut which is this one right here, this little blue plane at the side of the bookmark image plane. And that will also do the exact same thing. I'm going to go into the toaster, I'm going to grab this beauty shot. There we go. The first thing that I know this is that the floor is behind the image and we want it to be the other way around. We want the image to be behind the floor. I can also see that the image is a little bit too big for my screen. Even if I change this to the modeling standard thing, it's a little bit too big. So I'm going to click this little button right here, which is select camera, and it will select the active camera. There's a couple of things I want to change. First of all, down here in display options, There's this thing called the Uber scan. And over-scheduled is like the actual size of the other camera view, if you wish. I'm just going to increase this a little bit to like 1.3 and that should make the image look a little bit nicer. Maybe 1, just a little bit too much less than 1.2. There we go. So it won't change the distortion or the perspective. I think it's just like the how much extra area you're seeing that what you would normally do. Now that we have that we need to push this image like behind the plane so that we can start placing this thing where it's supposed to be. I'm going to select this one right here, the image plane shape. Down here, we should have an option called depth. Remember everything here is being dug in the attribute editor and I'm selecting the image plane is shape. I'm going to have once you wrote to the depth, and that will push the image like all the way back. So now if I start moving the camera, you can see the image doesn't really change, but the plane is changing, so that's what we want. We can of course move this thing or pushes things like further. We can change the size of this thing if it's a little bit too big, I think we can go here to the scale and say like 0.5 knots, not really changing anything right now. Yeah, There's the image you can see. It's gonna be like a humongous image right here. But the cool thing is, wherever we move this camera, the image is going to move with it. Now we need to find a way to align this toaster to the object that we're gonna be modeling. And we're actually only going to be using this image plane or this camera to see if the proportions are as close as possible to the original concept. So again, here's where knowing we're having a little bit more information about the object might be helpful. So usually if you're looking for common things like a Coca-Cola can and things like that, you might be able to find some information on the site. So for instance, I know that the dimension of this guy are 27.9 by 15.2 by 19.7. So if I were to create a cube with those dimensions, again, it's on the, on the, on the long axis, which in this case is C, that will be 27.9. Almost like a ruler. If you already in centimeters. The scale on Next it's going to be 15 to the scalar. Y is gonna be ninety-nine point seven. This dosa right here has the proper proportions. Now remember we changed, I think we've changed this grid thing last time, so I'm going to reset it back to default because this is a small object, so we can work with this a little bit better. There we go. Now what I'm gonna do is I'm going to press P and a V to move this pivot point down. And then a W and X to move this and snap it to the ground. So now I know that this toaster is sitting completely flat on the ground. And what they need to do is I need to try and match this proportions here, the camera, so that the dimensions of my object are as close as possible to the one that I'm seeing there on the reference. So I'm going to rotate my camera around and I'm just going to start moving this thing so that the dimensions again are as close as possible. They don't need to be perfect, but they need to be as close as possible because we're gonna be using this quite a bit. Now here I think we are using a focal length that's a little bit different than what we're normally seem. Like a really extreme focal length or like a really flat focal length. I'm going to select the camera again, press Control a on the options. Up here we have this thing called the focal length on the beauty camera shape. This thing called focal length. And it's the kind of lens that we're using. So it seems very flat. In this case, I'm going to push just like a 90. And then when we move this back, you can see that it matches a little bit better because the image becomes flatter. I'm going to again try to match this cube as best as possible to be able to start modeling. There we go. So now I know that if I were to start modeling things, as long as they fit inside of this box here on the perspective view, we're gonna be in good shape. So that camera right here where again, we're gonna be using it quite a bit to reference where things are going to be and how we're gonna be modeling the whole elements. Now we need to think or talk about the different parts that we're going to need to do on this object. I can see that we have this red hall. Then we have this front panel. We have this nice little bands over here. We have the logo, we have the dial number, a couple of buttons, the grills up here, the little tab here. So there's things, there's a couple of things that we need to do. And the best way to do this color objects is to block the mean in the ECS most simple way first and then start working on the rest of the things. This cube right here, I'm going to call it the volume. Because again, that's the volume that this object usually occupies. And then I'm going to duplicate it and I'm going to use it to start creating the basic shape of my objects. I'm going to call this just like blocking. The only thing I need to do is I'm going to grab this. I'm going to grab the edge loops of the whole thing. We're going to bevel them by bubbling them, adding a couple of segments and playing around with a fraction, we should be able to get this one we can hide, you can just press H to hide the fear. And we should be able to get the rough shape of this thing right here. We can even go to the top panel, which is also by both like all of this line right here. I know that right now this is an angle. We're going to fix that later. Don't worry. This thing that is right now and then we can just add a bevel that as well. Give it a couple of segments. There you go. As you can see, we've already have a really nice like a block reconstruction of what this thing is supposed to be doing, right? So the curvature here. Now, this is again where WE, the camera comes into play because I can just look through selected and check whether or not my initial fraction, my initial subdivision was good enough for the curvature that we're trying to capture. I think mine is a little bit too sharp, so usually you can't go back onto pebbles, but in this case I think we're gonna be able to do so. I can just push the fraction a little bit more and that will soften the whole thing and create like a nicer transition here for the shapes. Remember eventually we're going to be smoothing this out and converting everything. That's why I'm not that word. Now again, here's the word, the beauty camera comes into play because they can go look through selected. And I know that there's gonna be this sort of division right here. I can just grab my cut to insert the natural right there based on my camera. And I know that that line right there is gonna be as close as we could get based on a reference to where this thing is supposed to be. That largest grab all of these faces, Control E. We can extrude them out roughly, I think about there, which again, if you want you can go into the camera, take a look at the camera and play around with the intensity here. So let's go here, Let's proceed. There we go. We could push this out. I think it's something like there is fine and that we need to round the corners over there. So again, we're gonna grab this edge right here. We're going to embed will usually two segments is fine, but in this case I'm going to do three segments and then slightly bigger fraction that we get this very nice effect. Cool. So as you can see, the vases off our little dose or here are done like this. It's looking quite nice as we're getting very close to what we're gonna be having at the end. So I'm gonna save this real quick. Very important to keep saving. And usually it says this is gonna be a little bit more complex. I'm actually going to be saving inversion. So I'm gonna save this as so str. But the next time I save, instead of saving it as toaster, I'm gonna say file, And we're gonna go into Increment and Save. And this will save a new version so that if I lose corrupter, anything happens to that file, we don't lose all of the progress that we've thought so far. Yeah, that's it for this one, guys. I'll see you back on the next one when we started modeling, more of the stuff, hang on tight and I'll see you back on the next one. Bye. 8. Toaster Main Body: Hey guys, welcome back to the next part of our series. Do they work in the container with the toaster main body, which is this part to where working with right now. Again, it's all about understanding how the forms are moving along and what's the best way for us to attack them. I always like to use the word attack because to me it feels like it's a battle between me and the model. I didn't find the best strategy to beat this model. Now, as you can see on the top part here. And again, this is where pure rough, again comes really, really handy. You can see that there is sort of a gap right there. So we need to bring this whole in. And this is where again, this little phase right here will play a very nice roles because we can just extrude this and bring it down. Now, since I know that this thing will have a cap, this metal cardboard bagels are gonna be going in and stuff. We actually don't need to have this one right here. We can just delete it because even though this object has a little bit of thickness, no one's going to know that this object right here that I am using is not like a hollow. So people are only gonna be seeing this. And that's one of the big misconceptions that a lot of people have. You don't have to model everything sometimes depending on the processes. Of course, you can get away with just leaving some stuff like this, like paper thin. And it will shade, it will render, it will look exactly the same. And we won't have to worry about any extra and the extra stuff. Other times if object is gonna be destroyed or exploded or something, then yeah, you need to take care of other types of topology and all that type of modeling. But in this particular case, we don't really need it. Now I'm definitely going to bevel this edge right here. So let's do a bevel. It's definitely going to be a small bubble with two segments as well. We get that nice little effect. There we go. Now, one of the tricky parts here, of course, this front panel. And again, if we go to pure ref, whereas it here, you can see that the front panel is sitting pretty much right on top of the object. We have two options here. We can keep the whole encoder weighed this part and then modeled as partisan an extra bit, or just have this thing be on top of the hole. I think it's better to have this on top and also a little bit easier. So what I'm gonna do is I'm actually going to duplicate this object. Let's move it to the side. I shall not to the side. Let's, let's duplicate the object and I'm gonna call this white plate. I'm going to hide the blocking for just a second and we're going to jump again to her beauty cameras panels. Look to select here the beauty panel. I'm going to be able to select where the little white elements starts, which is about there, as you can see, it's about there and it ends right about there. Of course have this little circle right here. So we marked those lines. That's why the beauty thing is so important. And now of course, to make our lives so much easier, I'm just going to divide this 5050 and let's leave all of this phases that we don't need. Now, I'm also going to delete all the other phases that we don't need, which are all of these ones right here? All of these ones right here. This one is, I actually do want to keep the inner part because I do want a little thing to go around. And then here, Here's where things are gonna get a little bit interesting because we know that this is the general shape of the object, but it's rounded right here, right? So we need to round this shape a little bit. There's a couple of ways to do it. One of them, you already know, we can add a couple of edge loops and just move a couple of vertices around. I think one of the easiest ones is to just create an edge loop. So here's what I'm gonna do. I'm gonna insert another edge loop right here, and then another one right here. But instead of making this thing square, which is gonna give me a sharp look, the only thing I need to do is you need to combine these three points into a single point. That's gonna give me a round effect as you can see there. Now, if I push a line here like a support ditch, you can see that we get this nice little effect. That's one way to do it, which changed again, remember the flow of topology super important because if we change the flow that way, now we get this effect without having to worry too much about the whole process. I think I'm gonna push this thing outwards to get this sort of more rounded effect. And there we go. Now let's bring back the block him. Let's move it out to see how both of them will look. Some of the doubt, There we go. This one of course, we need to mirror. We're going to mirror this on the, in this case is x positive apply. So we get this on the other side. And I can see up here that this thing doesn't go in. You can see that my object right now is going to collect in. I don't want that show. We're going to grab all of this objects are here and with our, with my arche, let's push them out. And if we need to push them in a little bit, that's fine. Push them in so that they don't overlap like badly or anything, and that's going to make it look quite, quite nice. Now the only thing I need to do is give this thing, taking this. And as you can see, since this is relatively low poly, I can very easily just give it a nice little thickness here. And when with smooth this out, we're going to get this effect where this thing is on top, are sitting on top of the object. Now, the one thing I don't like it, again, if I look at the reference, will align these, it is a harsh line. And you can see that it becomes really, really thin. Very, very important to either a couple of support that just like one right there and one right there. So that when we smooth this out, as you can see, we hold a nice and sharp edge right there. We might need a couple of more divisions because I still think that this is a little bit too little. But yeah, I mean, we're we're getting closer. Now. I know I mentioned that we're, we're gonna talk about rendering later on and we will of course. But I think we'd be a good idea to start adding just like basic materials to this thing. I'm pushing this vertices out because he can sit a little distance there. Think mine was a little bit too low. I'm also missing a support edge down here. There we go. Just a quick little tweak here. This is the kind of things that you're gonna have to be doing, just checking around, making sure that everything is flowing nicely. For instance, here, if we want this to be a little bit rounder, we can just bring this Ina women more and it's gonna give us a rounder effect. That looks, that looks good. It's following the form, which is very important. As I was mentioning, even though we're not doing a rendering anymore or just yet, I think it might be a good idea to start adding some materials. It's just to get a general idea of how this whole thing is gonna look. I'm going to start with this guy right here. I'm going to right-click and I'm going to assign a new material. And I'm going to use here instead of the Maya materials, I'm just going to use the basic bleed material. This I can just grab the color here and sample like this red color that we have there. We can do the same one for this. I'm just gonna say assign new material. Blade. And we're just gonna against sample this like white grayish material. There we go. So now even though again, we're not rendering unit like we're not getting all of those reflections and stuff. We at least get an idea of how this whole thing is gonna look like and I think it's looking good. Now, let's talk about these panels right here, because even though we just separated this thing is right here. There's a couple of things that were missing. This front panel especially has a lot of holes built into it that we need to address somehow. So let's start with one of the most important ones, which is this dial right here. I'm gonna go to the front view. Sorry, I'm gonna go to my beauty beauty camera right here. So paddles electoral selected. There we go. And I'm going to create a cylinder. I'm gonna move this over there to the front, rotate it 90 degrees so that it's facing forward like this. And then I can play around because I know this thing. Right. That was sitting exactly where it's supposed to be sitting. I can play around with the size that this dial should have, which is right about there. You can see that the image is slightly like move or something. I mean, we can move the camera if you want, but I think it's fine as long as we know weird in the center and we know that we're matching the size of the thing. We're in a good position, so that's the size of the thing. Again, here's where our pure RREF thing really, really comes into play because I can see that the little knob here is really, really, really close to the border of the object. Now, the topology of this thing is gonna get really tricky, really complicated because we have a couple of cuts that we need to make or to do to create those little buttons and stuff. So this is again, where do you need to take a couple of decisions like should we create the circular shape? Where does little dials gonna go? And the answer is, if the characters are not going to see it, like if you're never going to disassemble this whole thing, you might not need to do it. You can, of course, it will take a little bit more time, but I think this dial in particular will look better if we keep it nice and clean. Now, this dial though, does have a nice reflect interesting shape, as you can see here. And we need to make sure that this is properly set up before we place it and where it's supposed to be. So let's smooth that out. One definitely has to be like right above there. The problem with this is you can see that it's a circle, of course it's a cylinder, but it has this thing that you can hold onto to move it around, to twist it. It seems like really, really straightforward. So what I'm gonna do is I'm gonna start with a plane. Right here. I'm gonna change the divisions of the plane to one. And then I'm going to say Mesh a smooth. What this will do is it will give me force of the Bishops, which is fine. But then I'm gonna say mesh as moth again, and it will give me eight subdivisions. And then I'm gonna say Edit Mesh circularize. And it will give me this sort of circular shape, which is closer to what we're looking for right. Now. I know that this circle right here, I'm going to move this with a v, which is the Snap to Point. I'm going to snap it right there. Rotate this 90 degrees as well. And now we can play around with that with the scales. It's gonna be a roughly about that scale. I think we definitely do want to have an edge loop at the edge. So I'm gonna grab this whole thing, Control E, and we're going to offset, we get the proper subdivisions. So now this thing is going to smooth out very, very nicely into this shape right here. Now let me take a look at this guy again to see how thick this is and it's not as thick as what we have here. There's a couple of options we can do. I can grab all of these guys and just scale them in a little bit like that. So that's a little bit closer to what we have right here. However, you can see that we're actually need to grab the border. So that's going to. It's going to make it wrong. So I'm gonna say measuring, getting one more smooth, which gets should give him more subdivisions. And now I should be able to grab this middle section and this middle section. And that looks a lot closer to what we have now. This one, I could potentially just extrude that out a little bit to get a nicer to look, because I grab this edge and snap it together, say for this one that snap it together so they're perfectly, perfectly flat. And now we need to extrude this whole thing. The first thing is we need to give this button like a little bit of width. So let's start right there. And then I'm going to grab this as shields right here, from here to here, and then from here to here, like this guys. And we need to create this sort of like U-shaped. So I'm going to Control E, Push it out in order to create that shape right there again, there's a couple of options, but in this case I'm gonna go to a right view. I'm gonna do something very similar to what we did with the cat. So I'm gonna start with the first central one, this one right here, or this three guys going to not select those triggers and just bring this thing down and then deselect that one, deselect that one, bring these things down, the select those ones to select those ones, bringing them down, the Select, de-select, bring them down. The select the last couple of them, and bring them down like that. That we need to give a little bit more roundness. We can just push this thing up like this and just play around with the vertices in this side view until we get a nice little shape. So we want to person number three. As you can see, we get this very nice thing. We no longer need this guy. This thing can just sit here on top of the, of the object. And that's the thing that a character would manipulate. And again, you'd, unless you're going to do like an animation where this is gonna be plucked out. You don't really need to model what's behind it because no one's ever gonna see it. Now let's sharpen this thing a little bit because it's a little bit too soft. And you can see here that it has a nice sort of bevel throughout the whole thing. So I'm gonna select, I'm going to select the object. I'm going to click this little button up here, which is called the isolate select, which will allow me to bring it out. And now I can make sure to select all of the edges here. Very important whenever you're doing a bevel, one of the rules of rule of thumb that I'd like to follow is it should always close the loop. Otherwise you're gonna get angles. Even here, you could get angles like if I do a bevel right now, you can see that there's something on there, but if you change the filtering from Aldo to uniform, it should not do it. So just small fraction. And there we go. Look in that nice sharp, clean look here for our element. There is one light here as well, so let's add it here now see how that line is giving me like a curved effect in my work, it might get you to the result that you want. But if you want a straight light, the best thing you can do is go to the front view, grab this guy right here, and then start drawing and press Shift. And that's going to cut through the whole thing. And it's pretty much like adding a straight line right there on the, on the surface of the object. Now I do see that this thing, you can see it in this photo. It gets a little bit smaller. The closer it gets to the center. I want to do that. I'm going to go to the right view again. And let's start with the parentheses again. Because now we have a lot more vertices. So we're gonna start right there with our key. I'm just going to make it smaller. Then the select that one and that one. Go with smaller. The select those. Select those are those. I'm going to get smaller. The Select, de-select, smaller, the Select Deselect established smaller than that thing. That's it. That's gonna give me a nice little transition there. As you can see, it's slightly, slightly inclined towards the, towards the front. And there we go. Now I can also see it's a little bit of one of those details that might be a little bit difficult to miss or it could be missed. This arrow right here. Again, here's where you need to ask yourself, do I need that arrow to be modeled from this piece right here? No, why would I? I would just complicate myself and create something really, really complex. What if I just modeled the little arrow and place it on top and both of them have this immaterial. No one's gonna know that that arrow is not part of the original mole because it's going to look just fine. I'm going to create a cube right here. Snap to Point, which is V, snap it right there. Scale it down. And the little arrows pretty much just like a triangle. So let's bring this points in. Just go right there. You can even make this a triangle if you want. Like if you're really, really wanted this to be a triangle, just like burst those lines and those lines. And now this little shape right here, I'm going to bevel the whole thing, two segments and its mole fraction. So that's nice and clean. And it's just a matter of position in the word supposed to be, which is about there. Let's go to the right view. Give it a little bit more thickness. Make sure that the inclination that everything matches perfectly. There we go. When both of these objects have a chrome material, no one's going to notice that this little arrow is not part of the same thing. Yes, we don't have a nice like a soft transition, but as you can see, it's a really hard edge over there as well. So I think we're gonna be just fine. We also have a little circle. I think I saw them, one of the pictures like this one right there, See that little circle? That one, that one, we definitely would need to do something about it, right, right about here. So one thing we could do is we can grab this edge right here, Control E, offset it to create this shape and then use my general knowledge of topology to move this thing and make it look a little bit like a little bit more squarish squares possible because when we do a square, especially if we were to grab this thing and extrude it in. Remember, like with the dye, we can do it now, some of you might be why not circularize? The problem with circularized is, no, it doesn't do the thing here like normally. Like sometimes he just doesn't like it will try as you can see, it tried there but it's not perfect. Maybe if we do it before the extrusion though. Let's try because sometimes you either circularized, it works really well when things aren't like fraud and size. And so that would actually work quite well. There we go. Let's Control E. I'm going to offset to create a little edge loop there. Control E and just push this in. There we go. That looks nice, clean, perfect. It's the little circle that we have there. I think we're a little bit low. We wanted to make sure this is as nice as possible, right? So let's go back. And we're going to repeat the same technique. So I'm going to start right here. Control E offset. Then let's try growing. This edge is right here. Let's trace your killer ice. So Edit Mesh, circularize. Let's definitely bring this in. There we go. That's where the little dots would be. Grab this face is right here. Control E, push them in roughly the same direction. And we should have a nice little indentation. As you can see here. It's a little bit more like not asked. Relax so we can try it a little bevel there, that should help. Yeah, that helps quite a bit. We could grab this parentheses right here and move it down and out to help relax the topology so that we don't have any weird like Pinterest and stuff. And now of course just a little sphere. We're just bringing a little sphere here. I would recommend lowering this thing to like 12124 segments so that it's not super high. And when we move this out, no one would we notice that this is like a smaller sphere. There we go. Perfect. So now we have the dial for our little elements. I'm going to grab this object right here, like all three of them. And since they're all part of the same object, one thing that you might want to do is just combine them, centered the pivot points at phase transformations so that when we move this thing, everything moves as a single object when they're called this toaster diode. There we go. First part is installed, and so we have most of the body. We have this little nice white plate over here. Let's assume that the materials, I'm gonna say new material here. Let's do Maya. I get that bleed. For this one, I am going to make this a little bit darker. So it looks like Chrome. It's not gonna be perfect again, because we're not seeing reflections on what they should do a good job. So yeah, that's it for this one guys. I'll see you back on the next one when we continued working on more of the buttons down here for the front patterns. So hang on tight and I'll see you back on the next one. Bye bye. 9. Toaster Buttons: Hey guys, welcome back to the next part of our series. Today we're gonna start with the toaster buttons. And there's one thing that I notice here on the reference that I wanted to change. And that's the fact that when we did the extraction, as you can see, we get this curvature over here and I don't really like it. So I think on the reference He's like really, really straight tumor to what we have up here. So I'm gonna go to the top you here. I think it's gonna be easier to manage on the top view. And what we need to do is we need to make sure that all of the vertices, like all of these guys right here are on the same plane. So I'm going to rotate them and make them flat. And the thing that I like when it goes down here, I don't see that much of a problem. But like This guy is right here. All of these guys, Let's go to the front view. Definitely want to have them be really, really, really straight. There we go. Something like that. I didn't mind too much about this ones because they're heated. And same thing here. Like this guy started coming down like all of this. All of this right here. I think it'll be a nice idea to have them be perfectly straight. Careful there, there we go. That looks a little bit better to me. Closer to the concept. So see how this one looks straight and this one looks round. Now it's just a matter of, again, going into, into object mode, right-click shift mirror, and we're gonna mirror again on the x positive axis. So what we just did here should be on the other side, it won't mess with anything of what we did previously. But as you can see that it looks way we cleaner, way closer to what we have over here. We're going to jump now onto the buttons of the toaster. And again, hearing in pure ref, we can see now we're spirit. There we go. We can see that we have three main buttons. So we have the defrost at the bagel, the cancel, and then we have three little spheres very similar to what we just did over here. So let's start with those buttons. I'm gonna start creating the shape. So it's a very basic shapes, just a cylinder. But one thing I am gonna do is I'm going to reduce the amount of phases that the cylinder has. Because again, working with really high phases, sometimes it's useful, we are actually going to be doing that later on. But right now, it's better to keep it simple. I think 12, It's a better number. We're gonna go to our beauty camera. So beauty camera panels look through selected. If you don't want that to happen and where you move the beauty camera and everything goes to like those crazy, grab your camera and just lock everything here. Just right-click and lock selected that way, nothing is going to ever move again. Here. The only thing I want to do actually, let's grab this guy wherever the layers, I'm going to create a new layer here. Turn it off. I'm just going to right-click and select logic. There we go. And let's turn off the grid for now. There we go. I just want to get the general shape of the button. Because I know that this one, for instance, is gonna be like straight on the middle. As long as we get the shape and the size of the button, I think we're five, so yeah, that looks that looks that looks good. That looks pretty good. And I know when I smooth this out, we're going to get a nice sharp line. So we're gonna make this thing smaller like this. And I'm actually going to delete the back faces. Remember, if we don't see a back face, maybe it's a good idea to delete it. In this case, it is segments and small fraction that when we smooth this out, we get this very nice cool little button. Now, if I take a look here, I can see that the flats were there and they don't have any bumper anything. We're ready. We need to inject this thing right here. And in order to inject an object, we already know what we need. We need to have enough geometry on the object that we want to work with for us to be able to inject this object or this nav button right here. This one's a little bit higher, right about there, I think, because there's enough room for the bagel Award and a little bit extra stuff. So there we go. Yeah, So I know that this face is right here will serve as a sort of connection point, but there's just a few phases because we're gonna need even more phases for the defrost and for the, what's the other button? Beglar something, we need more phases. So what I'm gonna do here is I'm actually going to smooth this thing. I'm gonna say mesh and smooth. And that will give me more phases. And as you can see, that's going to be a little bit easier to control. Now we can try Actually let me see if it works. We can try going back to eight faces. Because maybe with a phases it might be a little bit easier to do it. I'm just going to keep that one because we have the proper size. I'm going to create the new cylinder, again, V key to snap it right here, the center. Rotate this around 90 degrees. 90 degrees. Select the poly cylinder and we're gonna see eight sides. Let's see if eight sides works the same way as what we expect. So this is gonna be like This. Pretty much the same size, perfect. Let's delete the back faces. And I'm gonna select this guy, bevel it just segments and its mole fraction. Yeah, pretty much. It works pretty much the same, so perfect. So I'm going to probably little bit bigger. There we go. We got the other one, we delete it. Then we just get this thing where it's supposed to be perfect. So now that this thing is smooth it out, and now that we have enough divisions, it should be, should be fairly easy to cut a hole right here that follows this exact same pattern. However, one of the issues that we have is this thing has thickness. Remember we did an extrusion a couple of minutes ago, and then now we're going to have to delete both phases. So what I'm gonna do, I'm gonna grab these two phases, both front and side. And I'm gonna say extrude. We're going to offset them to create this face is right here. Now we're gonna go to the front view. Let's go out of isolation. And I'm gonna move those vertices that we just created to the corners where this thing has its connections as close as possible. So for instance, see that little point right here. It's getting a little bit too stretched out. Now one of the cool things is most of the front area right now is really flat. So even if we move this versus like down a little bit, it shouldn't be that much of a problem. So you can think for this one, we can move it up. And since this thing is really, really flat, There's shouldn't be that much of problem. So it's done on this side. Best thing to do when we have or we went to keep symmetry is of course to mirror. We're going to mirror this thing that we have over here to the X and negative axis apply. There we go. Now I'm just going to go up to this guy. Again, isolate that so that we can work on visit and this element select this face is delete them so that this back faces delete them as well. And I'm going to select this edge and this edge and then bridge. The bridge tool will bridge two surfaces or two parts of a surface that's shared the same amount of edges. So in this case, but that's working perfectly. Now it's just a matter of beveling this to give them a softer look. So it's gonna be a really, really tight level where we're gonna get this. Now, if we take a look at the button and we smooth out that this thing is actually going in. And we can push this thing a little bit out if we want, so that we don't have a lot of space in-between the elements, like we don't want to see you or we want to see the least amount of red right there. But yeah, as you can see, that works person will be fine. So at any point a character could come here and just like pushed his button. And you're gonna see the button to actually go in, which is great. Now as you can see that the shape changes quite a bit. So I definitely want to say meshes mood, but not yet, because I wanted to use this button to create the other holes that we still are missing. So where you have this two holes which are really close as you can see to the border. And they're like, if you check the distance right here, That's another thing that you could do to kind of get the best possible reference. So I know that they're the same size. I just know that they are gonna be like right about there, like rightward that were the border finishes. There should be right about this site. So again, take a look here and make sure that it looks close to what we have there in the reference. I think we're really, really closely, That's good. We're gonna do the exact same thing. However, as you can see right now, let's grab these two guys and isolate them. Go from BYU. The vertices that we have right here are a little bit different. We don't have a super clean shaped level. We have over here. This is where we're gonna need to move topology around a little bit. And again, this is one of the advantages of this model. The fact that most of the areas that we're gonna be working with are flat. So I can graph, for instance. I would say this two points right here. Because we need four phases. That's the, that's the secret. We need four phases. So I think these four phases are the ones that we're gonna be using or we could use this for faces. I think this four phases are better. So we're gonna go 1234, those four faces on the front and on the back. We're going to do a extrusion offset. Now we're gonna go again to the front view and we need to move some of the vertices will not see a lot of the vertices so that they match the shape that we're going for here. So most of these guys right here, for instance, they really need to move. For this one. We can move it around a little bit. This was right here. I'm gonna go down here. This one's gonna go down there, there. There as close as possible as we can get to the button. That the hole that we created with the button looks as nice as possible. Here we need to move this, a couple of these lines around so that we can accommodate all of these elements in points as close together as we, as we want. This one really doesn't matter, but let's put it there on the center line. There we go. So now as you can see, we have this topology and it might look really weird, but against this, this is a flat surface like most of this is flat. We really shouldn't have any issue where we're, where we're about to do. Let's take a look and see if this works. We're gonna select this guy, delete these faces, both sides, both elements, and just get them together. Grab these two guys. Bevel, small fraction, one segment. So we get a very nice clean elements. As you can see, we do get a little bit of a pinch there. We need to fix that one. The best way to fix it is just look at how the curvature of the object is going and just move it back or forward depending on how you need it. When you smooth, you then get that weird paints anymore. Which is kind of expected, I would say due to the curvature of the area right there. Again, just move this thing around. There we go. Get and captured that nice little shape of the button. That's it. Now this button right here, same thing we did. We can just make this a little bit bigger. She's a former slightly. And if we need to, you can see some of the vertices there are not exactly where I would like them. We can just move them out or move them around. So they really, really hugging the button as nicely as possible. There we go. Now I don't want to do that all over again. There will be quite, quite expensive in time. So the only thing I need to do is grab this thing right-click shift and we're gonna mirror it. But in this case is going to be x positive because we're going from the negative side to the positive side. There we hit Apply. There we go. We have the nice little hole over there. This button, we do the same thing. We just mirror it and now we have this two bucks. If you want to have them split, very easy. You just go mesh, separate and you say Mesh and sorry. And you grab both of them. Center people to the history for his transformation. And there we go. So now all of our little objects right here are ready to go and we can of course, modify them and move them around. I think this one's should be like a little bit like in like that. And then we can assign the same material that we assign to this little knob. So right-click, assign existing material. And we're gonna say blame three, which is the gray one. Yeah, there we go. So the ones are ready. Now it's all about the little lights that were still missing. Again, if we take a look at the pure ref file here, you can see that we have those three little lights and they definitely are inserted on the thing. So we definitely need to have the level a thing there. And this is where again, topology is gonna get even more tricky because as you can see, we don't have enough topology there to do the trick that we're going for. So here's where, again, I'll probably say Mesh and smooth this to get even more topology. And now we should have enough room to start working with the little lights. So I know that the first slide is at the middle of the buttons and at the middle of this guy right here. So that means that it's this four phases. And I'm gonna do the same thing. I'm gonna say Control E offset. Then we're gonna say Mesh and circularized, or sorry, I didn't circularized to create that nice little circle. We're of course going to make the circles smaller. And we're going to move it where we need it. So we're probably going to move this thing down because it needs to be aligned to the buttons right about there. See that little vertices that got trapped like here. We need to bring it down. Very important. We're not matching the other side because we don't need this little thanks to go through it. I mean, maybe you do right for it, for cables and stuff, but since we're not gonna be moving, this guy's not really necessary. I think. Yeah, now we grab this little guy right here, Control E to give it a little bit of fun of an extrusion their control E, and just push it in. So now we get that nice little indentation where our light that's got to be able to go into. We're going to delete history because there's a lot of history right now, and I definitely don't want all of that stuff. And now we need to think about the other buttons which this one is really close to. This one right here. That's what Buto catheter, they're worried. I think we could use this for faces right here. And we're going to do the same thing. So Control E, offset, Edit, Mesh, circularize, made this thing is smaller. Then of course, try and match it to the same size. And the environment here, I definitely want to rotate this so that it's lost a little bit nicer. We're gonna do the same thing. See how it's like the curvature there, it's changing. So that's a no-no. Let's push this back to the normal surface. There we go. Now we can rotate this, I think. Again, making sure that the surface is flowing nice and clean. Control E, offset, small offset, control E and push the same. Oh, whoa, whoa, I got another one over there. That's fine. I'll show you how to fix it here. Let's push this in. So now I know that that's a nice hole. That works nice. We have the two little holes, but how do we fix this one? Because I accidentally selected the phase that I shouldn't have selected and we did an extrusion back here. Very easy. Just delete the first edge loop. This one. Delete this one right here, like the, like the island of faces that you have right there. It's gone. And that was just a matter of governing this edge and this edge and bridging this edge and this edge and bridging, there we go. Now, the back part is fixed as well. Again, I don't want to I don't want to do this again. Here at First of all, I am going to move this thing around just so that it matches the exact same height, that one, that one looks good. And that gets us, I don't want to do this again, just right-click shift mirror and we're gonna go to positive x. And there we go. As you can see, this is a really, really complicated, there's a lot of things going on. There's a lot of things like interlocking between each other, like each circle needs to have its echelon. And one of the big secrets about this whole plate right here is that we needed to make sure that things were oh, wow, wow, wow. We need to make sure that things were a low poly before. Before we had the high poly. Let's delete history again. Sometimes it happens when you do the mirror and you get that sort of thing. I don't know why it happens because I do have everything set to the things that I need to have set. But it's very easy to fix. I'm just gonna go out with this three things right here. Mersa center. These three things right here, Marsha said there at least they're saying is right here. March receptor, that should fix it. If you see an egg. Oh sorry, my allergies are kicking in. If you start seeing angles in several areas, just delete them. It's a really weird book that Maya house, the mirrors and stuff. Very annoying to be others, But yeah, there we go. Now it's just a matter of adding the little lights. So again, simple sphere 12 sites to make it a little bit lighter because we're using subdivision with my Vicky. I'm just going to snap it to the burst. They're going to get really, really small. There we go. There we go. So that's gonna be like number one. Control D. Look at that perfectly light up by number through. And we're just going to mirror this to the other side to get light number three. Great. This is looking quite nice. Yeah, I've got to stop right here, guys, I think I think we're in that really, really good progress. This is where I mentioned, I'm not going to save this on top of the toaster file. I'm actually going to go file and the heat safe seat as to save this as sorry, increments and save file increments and safe. And it's gonna say, But that's toaster dot 0001. And that way if I ever lose any progress, I won't lose everything. I will only lose whatever it was on the version that I was working on. The next one we're gonna be working on this front thing, which is the last bit that we're missing. And then we're just going to continue going through all the different details there were still that still needs to be done, so yeah, hang on tight. And I'll see you back on the next one. Bye bye. 10. Toaster Switch: Hey guys, welcome back to the next part of our series. Today we're going to continue with the toaster switch. Or at least that's why I'm calling it, which is the little thing right here that you use to bring the toaster down. So for this one in particular, we actually have a load of, let's say, tricky situation because we need to take into consideration that it needs to go all the way through in this case, I do want to perforate or go across a both elements right here. I know for this one it's really not gonna be that big of a deal. Actually. Let me believe this angle and face for now. We'll solve those later. But yeah, this is the one that's going to tell me or the one that we're gonna use to define how big that little gap should be. What I'm gonna do here is I'm gonna grab the image plane and this guy right here, and I'm going to isolate them. And then I'm gonna grab my beauty camera. Panels looked at are selected. And that way we can see through selected. I'm going to insert the one that should be right there, which is where the lightness. And now let's just check that's pretty close to the center line, which I'm not particularly fond of because it will give us a weird results. So let's go back to the beauty camera. And again, if we don't have the proper image here, the best thing we can do is guesstimate. Okay, so I'm gonna go probably like 2%. I think 2% right there is perfectly fine. Now to see if this will work as I'm just gonna right-click shift mirror and we're going to mirror this across the x positive axis. So that seems to me to be overwrite like if I were to delete this, kinda looks like I think it's a little bit more though. So I'm gonna grab these two guys right here and just push them out to just a tiny bit. There we go. Now we definitely need to find the proper position on the height. How high and how low this thing will be. Will be looped through. Look through selected. There we go. We grab our little cookies here and it's gonna be right about there. And I would say right about there. Perfect. I know that this two guys right here are gonna be deleted eventually or right now. We're gonna get this thing right here. So if we take a look, I just want to make sure that the distance from the button and the little thing is close enough and it does seem to be really, really close, which is great for us. Perfect. Now comes to the complicated part of which is we need to insert a couple of edge loops up here that won't go all the way down here in order for us to create a little thing that we need here. So consequentially or thanks, thanks to our organization here we can actually snap this thing here, scale this down so that it's perfectly flat. And that one pretty much lines up with the line that we have back there. Now how can you snap an object to make sure that it's exactly as another, that's another object. You press the V, the V key in your keyboard that Snap to Point and then you just move. Now, I'm totally short that this line right there is perfectly in line with the one up there. What I'm gonna do is I'm actually going to insert another edge loop right here, right the bulk where this thing is going to be covering. Let's go to the front view and we're gonna do the same thing up here. So let's take a look at the cup over here. There we go. So we're going to insert a line right there, right above the little card that we have. Perfect. Now let's get this into smooth. Both are actually, Let's get the other guy into this mode. Mode. There we go. Because I wanted to make sure that when we smooth this thing out, yeah, this doesn't happen. So how can we avoid them? We already know that it's just a support edge. So we're going to insert a supported which probably one on top and one on the bottom. And we're gonna assume thing here. Careful there. So one on top, one on the bottom, and one on top here. There we go. So that should give us, as you can see, a nice little slot. Now as you can see, we're not getting exactly what we want up here because we need a couple of edge loops like right here and right here. Those are also going to hold the etch very nicely. Maybe even one right there, there we go. That's a lot better. Perfect. As you can see now, the slots looks pretty nice. No peaches us on the surfaces and things are looking, are looking nice. We're gonna go back to this one. And I know that the pinch starts and stops right there. So I'm going to insert an edge loop right there as well. Then that actually, I'm going to snap it so that it's perfectly flat. Now what I'm gonna do is remember del, two little islands that we added, this guy and this guy, this two guys should be on both sides of the object because this is symmetrical. So I'm going to select this face and this face on both sides of the element, which an easier way to do this is just selection those two guys. And then the same thing right over here, this two guys. And I'm going to delete them so that we create a little gap right there. And we're gonna do a very similar trick to what we did in the, in the soda can where we're gonna stop at the edge flow because otherwise this is going to become a really, really harsh and that's not what we want. Now I'm going to insert an edge loop right about there, and another one right about there, there, there and there. And of course they're not symmetrical. So this is where we would go and grab all of the vertices on the one-line, snap them together. The vertices on the other line snap them together. And then use our snap tool with again, the V key to make sure that there's not perfectly on the side of this thing. There we go. So that once one of them This one's another one. Perfect. So now if we were to grab this guy, this guy, this guy at all of those guys and delete them, we will get this locked. But before we do that though, we need to rebuild a little bit of things right here. So actually I'm just going to add one more line here once more language is eventually going to help me as a support line. I'm just going to have to do that right there. I could grab this guy and this guy, this guy and this guy, this guy, this guy, this guy, this guy, and delete them. Let's go to the front view. A little bit easier to do it this way. Just delete all of them. Perfect. Now let's isolate this piece right here. Again, just to work a little bit easier, to select all of the edge loops there. All of the edge loops here. And we're going to bridge them. And we should be closing, as you can see, the gap of the object very, very nicely. Now, when we do this or a tricks where we don't want the topology to move from one side to the other. One of the big advices that I can give you guys tried to make sure that your center line remains intact. So as you can see, I'm bridging from this face to this face rather than this face to this face. So that the edge loop flows to the topic of advice way. These guys are gonna be triangles, that's fine. Again, wearing that in a flat surface so it shouldn't be a problem. For some reason it seems like I deleted a couple of phases here. Very easy way to recover them, just create a new plane there. One of these guys at the 58% line, make sure this two vertices up top here are merged together. There we go. Now we do the same branch over here. So again, go into edge mode one and to bridge them together. And to bridge them together. And there we go. I'm gonna show you a quick way to do the triangles in just a second. So let's go over here. Same deal. So inside outside, breach, inside, outside, inside, outside bridge, inside, outside and bridge. There we go. Now, as you can see, we have a lot of holes. Like we have several, a couple of triangles, but everything else should be closer surface. So technically if I were to go Edit Mesh and say feel host or mesh, if you'll hold, it will feel all the hosts, like all the triangles that we have there are now filled. Just be careful that you don't have any other open spaces because they will be filled as well and you might not want that. But in this case, as you can see, that is working perfectly fine. Now it's just a matter of solving a little bit of this pinches that we have here. And again, fortunately for us at the surface is here are really, really tight. So it is very easy to just use, for instance, are offset that show tool. So I'm gonna go here to Mesh tools. After that you'll do. And we're going to insert a warm line like right there. One line like right there. See how it stops there. Were actually it flows with the rest of the elements, but it shouldn't be a problem there, as you can see it is that one is flowing all the way down, so we need to fix that. But before that, let's do one line right here, one line right here. There we go, That's better. We could also do one inner line and one outer line. There we go. That looks good. Perfect. Yeah, I like that. As you can see here, we don't have that much of a pinch, so I think that surface is perfect. But they're over here. There is a little bit of a pinch. You can see it right there. The reason why there's a pinch is because these two points right here are really, really, really far away. So one way to relax the geometry a little bit, just to bring them in a little bit like this. That should relax the pinch a little bit there. Another option would be to add, of course, a support edge, like an Insert Edge Loop. And we can do it right here on the side. So 12, and since these are triangles, when it stops right there, it will no longer be a triangle, and there we go. No more pinches. So things look a lot smoother. That's it. We have this thing I can see a little bit of a pinch there. It is bothering me a little bit. So let me see which line in this. You can see it, right? It's that one right there. When that happens, another tool that we can use is called the slide Edge tool. And what I'm gonna do is I'm going to select all of this, but not all of the elements, just like the outer ones, like this one is right here. And the tools here instead of mesh tools and it's called slavish. The slide, which as the name implies, will let you slide the edges from one side to another. In this case, I'm just going to grab one side. And then just this once and again, just a slide this edge. Just move it, move it down and as you can see, that will relax the surface. The pinch should be slightly less obvious. Another thing we can do, Let's go back through number three. We can move a couple of these edges as well. Like for instance, this one right here. And again, just slide this down. There we go. Instead relaxing, yeah, that's relaxing the surface quite a bit. Let's grab it like a visceral right here. I'm pressing the letter G to use the last tool which has been this case is that the Relax tool? Let's push this up. That's way better. As you can see, no more pinches. That looks a lot better. And then it just a matter of moving these vertices like up here, up, and probably a little bit in there we go. Yeah, that looks way better and you can see there's barely rarely any pinch, so I real I guess is still there. Let's fix it. Let's let's do it properly. So let me show you that's one way to do it. The slight edge could really work. In this case, it's making a little bit more complicated. So the first thing we need to decide or detect where the pitches, and I know that the pinch is going sideways. So that means that my topology right here, it's a little bit too. Again to tie together. We could add another edge loop here and here and see if that solvent so upset that. I think the problem is that this is, oh, actually that kinda looks nice. Maybe now that we have that one. It's really weird. I'm trying to figure out where the, okay, I see it now it's this one right here. This edge going all the way across. So I'm gonna try to delete it, just control and supreme or delete. And technically we shouldn't have any angle. And I think that's going to, that's going to solve it. It's way better, way better. Let's delete this one as well, the one that we just added at the end. There we go. Oh, it's still there. Hi there. It's really curious. Maybe you know what, Maybe when we did the hardened etch, something happened there. Okay. Let's leave this one as well. Let's see how that looks. There we go. I'm not sure. I didn't even show if it fits my screen now because it's really weird. It's really, really weird. And we have this, maybe this edge now, like all of the search. Maybe we can slide it up just a little bit. So again, I'm gonna press mesh tools. Slight edge. Let's move this up like halfway through. There we go. And that should relax the surface quite a bit. There we go. A lot less noticeable still there, normally textures and shaders and stuff, we'll mask that thing out. So I think, I think we're in a good position. At least the topology flows nicely, which is a very important thing. And we get pretty much everything that we want here. No weird peaches, everything looks good. We still got the buttons and the lights and everything. So I think we can compromise with a little bit of a tight element over there without losing too much of our, of our project. There we go. So now as you can see, this is the cool thing. We actually can't see through both elements. We're actually seeing through the whole, the whole plate or the whole, the whole of the Open. Now one thing I'm gonna do, I'm definitely going to give this thing an extrusion. It's bring them in just to see a little bit of the red color in case we ever see it. Very similar to what we did with the can. We just add a little bit of like a shelf there so that if we ever see it like here, we can see now the thing itself like this thing. Again, Let's go back to our Procreate thing. Up your riff. Pure a ref. It seems very simple. It's just like a monk, a shape with a little handle. So I think we can do that really, really quickly. We're going to want to have nice flowing topology. So I'm gonna show you another trick That's very cool. I'm gonna start with the plane. And then what I'm gonna do is I'm going to delete half the plate. There we go. And then I'm going to delete some of the lines right here. Weed control and delete. Just leap like two of them. The problem is, yes, we could do the same thing that we did for the button. Remember when we grabbed some of the vertices and I create this U-shaped, but in this case it's really round. We don't have any sharp corners, so I would like to have proper topology here. So a quick trick is to grab these guys right here. Do you extrude offset? And that gives you a loop. So it's pretty much like a loop that you would expect to have on a cylinder or something. And now if I do the trick, Let's go to the top view. Now when we start doing the trick that we've seen before, where we grab some of these vertices and just push them to create a nice little roundness that we want. We're going to get the shape that we're looking for. There we go. Let's scale them in the backend when we smooth and see how nice that looks. That's what we're looking for. Let's go back to number one in here, makes sure that all of the points are as close as possible to the temperature that we're looking for. Perfect. So that looks nice. I am good at of course, a scale, this thing, so that it has the proper size, which again, you can kinda guesstimate which in this case is a little bit bigger than the button. So I will say something like this. We're going to extrude, bring this thing up. I would say about they're probably doubled the whole thing, right? So I'm going to grab all of the outer edges. And the older. You get a small nice fraction, two segments, a little bit rounder, I think. There we go. Then, like this back part. I'm actually going to delete the phases like all of these faces here. Then snap them together so they're completely flat. Control ie, create a little bit of thickness towards the inside. And then Control E and bring the push them in. We w, and then control E, R to scale them. To fill that hole. Very simple mesh. Feel hope. You got the little guy and say Edit Mesh poke. That will create a nice little poke their way of coordinate to bevel so that, that, and that guy, we're going to bubble all of those edges. When we smooth, have this very nice little piece, which is our, our main handled. This thing is gonna be sitting right about there. I would say it will have the same in this case, it's the bleeding three, which is the material that we're using to simulate chrome. This one is supposed to be a little bit thicker, so let's push it up a little bit. Again. We don't really see what's there, but I would imagine some sort of connection or contraption. So I'm just going to go for a traditional cube. Just a basic cube. We can isolate them. Let's snap this cube with v to that triangle right there. Now let's make it thin enough. Started extruding this. Here's where the little holes gonna really come into place because we know how thick this thing should be, which is about there. Don't worry about this overlapping. This is happening on the inside of the hole itself, so you will never see that on the render. Perfectly fine. Scrub this thing signs assisting existing material between three. And again, I don't want this to be like this, so I'm just going to bevel it. Give it like two segments and the small fraction. And that's it. That'll be like my, my partner. So when I, when I animate this and we can combine them actually two points. And if we were to do an animation, we just bring this thing, this whole thing now, and that's it. Yeah, we're not very good position. Let's do a quick Save here. So file and increments and say Remember to, to have different versions of our object. And in case anything bad happens, we can just go back to this. So that's it on the next one, guys, we're gonna be focusing on the top part of our element and yeah, let's just keep moving to make sure to get all the way to this 0.1 of the big advices that I gave any of my students that take my courses is never tried to watch the whole course and do it yourself because you're gonna forget about him all things. It's better to take it by chapter. So just watch a chapter, check the tools, take some notes, and then you do it yourself. Okay. Yeah, that's it for now, guys. I will see you back on the next one. Bye bye. 11. Toaster Top Part: Hey guys, welcome back to the next part of our series. Today we're going to continue with the toaster to top part. And I actually have some great news for you guys. We do have an image plane for that one. So I'm gonna go to my top view right here. And I'm gonna say, I'm actually, I was thinking that my topic was the other way around, but now I'm gonna go bu image plane and we're going to import an image. And in the torso folder, you're gonna find this one right here. One of the review once has this one. I mean, it's not perfect. It's closed. Like as long as we managed to respect most of the main things, we should be able to create a very nice effect. The top part, I think it's quite easy, as you can see, it's made up of three components. We have at the top metallic part, which is this one right here, which of course covers the two little holes that we have there. We have the, this little icon right here, which we need to do in a very similar fashion to how we did the the coke like indentation and then the baskets right here. So in this case I don't see any wires on the baskets. Maybe the heating part is like inside usually like my toaster. Actually, I kind of see them right there. Those are hazardous heater things that we can use to burn the toast, right? So this is the basic shape of it. So what I'm gonna do is I'm actually going to go here to this object right here. We already have this faces. So I'm gonna select all of this faces. And I'm gonna say Edit Mesh. We're going to duplicate, we just duplicated the phases. We're going to move them slightly in. And let's change the color so that we can work with that nicer color. So this bleeding three, there we go. And let's isolate this real quick. And what I want to do, just want to create the top. I'm going to extrude this. In this case it's thickness. There we go. And that would just delete all of these faces. We grabbed this guys right here, Mesh display, reverse, and there we go. We have the boards are four hour element. I actually want this border to be slightly in. So I'm going to push this slightly in. There we go. And again, if we go to the top view, we know that the only thing that we need to do is we need to create the two holes for this thing and make sure that the topology flows in a nice way. We've done this before, we did that with the canon. So it's a very, very simple process. In order to get perfectly round and square effects, I'm actually going to use a cube here. I'm going to create a cube and get the general, the general size of the thing. So right about there. Let's scale this up. Right about there. I would say, remember, the perspective might be slightly off on the reference image. So we need to account for that when we were doing this, but that one looks fine. And I'm gonna do something similar here. I'm gonna select the edges, back edges. We're going to bevel. Give it two segments, maybe three segments. You get a nice soft around the effect of a tighter. So right about there, grab this face, extrude offset to create a little edge loop. This guy right here, That's the important one. Select everything else and delete. And there we go. We have this nice little edge right here, which if our calculations were right, should match pretty nicely to listening. And I move it slightly in so that we don't have as much of an issue with this guy right here. And this one, we can actually extrude the edges out just a little bit. Remember, you can press Control and click on this element or just like another easy way, just add another edge loop and then delete this one. Here we go. Same thing, same deal. We're going to grab both of this. And the first thing I need to make sure is that they're both at the same level because as you can see, one of them is floating in. We don't want that. So make sure that we centered the pivot point and with Snap to Point and we're gonna snap it down. Now, all of them or both of them are in the same place. I'm gonna grab this guy right here, shift right-click, and we're going to mirror this on the World x negative, in this case, a hit Apply. Now, select both of the elements, we combine them. And that was just a matter of finding out how to bridge everything together so that things fall nicely. And it's relatively simple, I would say like we can go 123456 and bridge. There we go. That's a nice clean bridge. We can do a very similar thing as this thing. Another way to make sure that everything is online, just grab everything and just a snap them on the scale. There we go. It's the material. So let's select the material here. Bleeding three, there we go. Now on this guy, we're going to add one edge loop right there, probably too. Then here we already have one. So let's do one. That's gonna be like 123. So it's 123123. We bridge. Then 1212, we bridge. There we go. Of course, we needed one middle line right here. Then we're going to need one right here. I actually want to, we can realize this one, this one and this one bridge, this one and this one bridge this one and this one is bridge. And then there's one and this one bridge. As you can see, this kind of creates an edge loop as well, which is fine. I mean, we still have our middle section. And the reason why the middle section so important, because again, we're gonna save ourselves a little bit of trouble here by just doing another mirror. So now all of the things that we just did on this side are now duplicated on this other side. Now, yes, we have a lot of edges here, so let's clean some of them up. Control Delete. And I do know that we have two main lines right here. So let's use, let's actually grab this guy said Since we're in the flat area, we could just push them out so that the size of the face, like this guy, this guy, this guy and this guy are really similar. There we go, see how nice that looks. And that was just a matter of again, finding the average points. So this one, I kinda want to have it over here. So it's going to be from here to here and bridge this one. I think we do need to bring it all the way down. So here she deadline that are actually same thing here like salt or to avoid having too many lines going down. For instance, like this point right here, we can just grab this two points and snap to center. And it will keep the same plane line that we have and the topology won't suffer as much. And now we can grab this two guys, bring them all the way down, all the way down. All the way down. It looks a little bit wonky, but that's fine. Here. We just need one more line. Then from here to here, there we go. And then finally this guy which is bridge, and that's fine. We've got again this thing we mirror and boom, we have our nice little elements. And again, this is one of the cool things about the hard surface. Whenever you're dealing with a flat thing, it's really, really easy to play around with topology and create the cool things. Because as you can see, not like you're not gonna see any Pinterest or anything because everything is flat when things are curbing or when things are have a very specific shape like what we saw in the front panel. That's when things get a little bit of complicated. As you can see, this is working quite nice. We have what we want and it's just a matter of extruding this thing down and creating this plane right here. Because it matches perfectly with our, with our nice little toaster, like we took this from the original piece. So when we do this, as you can see, it will perfectly fit at all of the curvature that we have. So that's fine. The thing that's not fine is this triangle right here. So yes, we need to do something here. We need to create all of the topology that's going to nicely accommodate all of these elements. So I think I'm gonna be doing this thing as a separate object first. And then we'll do, we'll do the rest of the elements. Here's how I would tackle something like this. First of all, let me grab a hold. The objects right-click and I'm going to select them or add them to the layer. There we go. This is what we have. So I would start with a basic shape like a cylinder and change the deficient on the cylinder to three. So we get a triangle. And then we should be able to find specific angle at which the church, the triangle, which in this case I think it's gonna be minus 30. There we go. So that's a perfectly straight triangle. Scale this up. And the only thing is that I need from this triangle, of course, are the caps, right? So I'm gonna delete this, grab this strict caps Control E to extrude offset and then delete them because we only really need this, like outer edges. When we see this from the top, you can see that we have the nice little triangular shapes. So, okay, perfect. I know that this is my triangular shape. This is working nice. And now I need to get this shape inside of this other shape, right? We have a box that's an easy one. Again, I'm gonna create a box or a cube. Then just make this thing smaller and get this right there. Perfect. So that's gonna be my little box. And of course eventually, of course my box. Down here. There we go. We need to match everything. So I only need the top face of that box. Again, I'm thinking about flat, flat things and I'm gonna press B and move it so that they are all inline. Perfect. Now we have the little flame icons which symbolize like a hot thing. And I think we can do them with a box as well. So I'm gonna start with a box. I'm gonna make it the size of the little S-shape. Bring it up on the options. I'm gonna give it on the case, this is the depth division, six divisions. I'm gonna go out of this vertex, move it back, or actually this for vertex move them back. And then this fourth vertex more than forward. And then this fourth vertex move them here because I know when we smooth this out, as you can see, we're gonna get this very nice S-shaped effect. So, yeah, that's pretty much it. Same deal here. We only need the top part for now. Because now we need to do is we need to make sure that this thing, like all of these things, I'm going to combine them. I'm going to go into vertex mode and we can snap all of the verdict so that they're on the same surface and they need to make sure that we get all of this a topology flowing in the way we need. So that's the first flavor right there. We need a couple of more. I'm going to say Mesh, Edit, Mesh, duplicate, and just grab one of these guys object mode and move it to the side. Duplicate and move it to the side. Perfect, Now we got everything here, combine again, delay history to make sure that there's no Extra information. This is the puzzle, the puzzle that we've been talking about, like how can we make sure that all of this works as apostle with proper topology and stuff. It's the same principle that we use when we were doing the Coca-Cola camp. It's the interlocking geometry. So I'm going to go into quadro and I'm just going to loop everything together. So here's a quick trick. I'm going to go into the quadrant tool and I'm gonna change this extended border to extend loop. And if I press the Tab key, which is by your cube element, we can extend this. Actually. Let's go stent border. And we should be able to, as you can see here, to create a national before every single piece that we just have here, like the cube and even the triangle. Now, I'm perfectly safe because I know that every single object instead of this thing is working properly now it's just a matter of bridging everything from here to here. And from here to here, we can just very easily bridge from here to here. And from here to here, we can easily breach as well. And we're going to start adding some lines here. So we're definitely new one line right there, one line right about there. Down here. We're gonna need like 123456. This is in case we don't want to simplify anything which I think we don't really need to. It just got all of this guy said bridge. There we go. Now for instance, here, yeah, let's just keep moving. Everything will simplify once we get into the into the main shape. If we need to. Just gonna start, I think all of the lines that we eventually will need. And it's just a matter of grabbing all of this edge loops. And Virginia, There we go. Let's go like up here. This one's right here. I think I am gonna merch, merch, merch. There we go. Now, here's another fun part of like, how do we do this? We're gonna kind of cross the other way around. So we're going to add the one division there and one division. They're actually just wanted division first. And then this guy is going to go all the way across this guy, going to flow this way. And then we're gonna add another line like right here. And we're gonna go from here to here. We are breaking one of the rules that we initially set out for ourselves, which was the middle line, which we can later record. But since this thing is asymmetrical, it really doesn't matter. So now how do we solve this? There's of course a couple of different ways. I'm gonna show you one what I'm gonna do here. So I'm gonna say edit, mesh, mesh, feel hold. Now that the hole is filled, I'm going to go from here to the center, back here, Enter, and then from here, there editor. Now as you can see, we've created a loop that goes up and down. And I think that's going to work a little bit better. Now if you want to keep the center line, I mean, again, it's asymmetrical, so it really doesn't matter. Now let's go over here. And we're gonna need like 123456. We're gonna go from here to here. Let's just grab 12341234, rich. Then from here to here, for instance, we can just bridge here, I think again to save a land limit of polygons, we can just merge them together. Here's another quick trick. If you grab an edge loop like this guys right here, you can select a mesh tools or sorry, Edit Mesh and then collapse. And that will also merge everything there. And that should make this thing a little bit easier. There we go. So for instance, if I say, hey, you know why I like this line or any lines, it's way too much geometry would just collapse them, That's it. And then this one right here, very simple square, one right here, very simple triangle, which is double-click. Or actually no, here four triangles if you can't, you can do just quadrant to quadrant. Keep it simple. So again, 123451 more here. So there's 12341234. Rich. There we go. The quadro will give us a nice triangle. There. There we go. There we go, There we go. Perfect. So now our shape is ready. And of course I know if we go to the top view and we take a look at the other reference this thinks is pushing out. And that's the reason why we took so much time trying to get the proper loops together, because now it's gonna be very easy to just select the edge loop so they want, which in this case are all of this. Control E, extrude them down, give them a little bit of offset. And when we press number three, we'll get the nice little icon. Amazing, right? Pretty cool. So yeah, this is the magic of edge looping and knowing how to and where to place your elements. Now, the next part is, of course, we need to combine this with our little thing right here. So this is where again, the connection of things is going to take a little bit of a problem. Now, some of you might be like, well what can we do the same thing we did for the, for the little arrow on the other part of where we just have this thing like this, like standing on top. If we give it the same material, maybe no one will notice that they are not part of the same thing. And you're totally right, like people wouldn't know that. It's very difficult for someone to notice that they're not the same thing. However, if we want to do it properly, we should definitely try to get them into the same place. So what I'm gonna do here is I'm actually just going to grab all of this faces, Control E, give them an offset, which is gonna be the area where this thing is gonna be, kind of like holding the area. Delete this thing because we don't need it anymore. Grab this guy, and let's move the pivot point to any pivot point that's on the lower side. So I'm going to press G and V, maybe even that one right there. And then I'm going to snap the whole thing, the object to the same plane as the rest of the elements, which in this case, it appears to me that they'd already is. So as you can see, it's already there would make sure that they're exactly the same element because otherwise they're going to look like they're moving to different places. Grab two elements here combined and it's again a typhoon remark muscles, we need to fill all of these things. So let's go to the top view, which is gonna be a little bit easier. Let's just start playing around like this two guys. Very easy. We can just merge the center. Like this guy right here. Let's move it to the site. Merced dissenter. Simply with this guy here, I think since this triangle, I mean it's not symmetrical. That's the problem with this struggle. It's not symmetrical. Let me go back. Because I think it would be a good idea to have this thing be a little bit, yeah, there we go. So a little bit more like this. I'm gonna make sure to have this as symmetrical as possible before we do the combination. Now, here is where we can actually start simplifying because you can see that we have a lot of different parts and I don't want to have as many parts like moving and flowing into the element. For instance, I know it's very easy to say, Okay, yeah, Let's grab this one and this one bridge, this one and this one bridge. That's when it, this one bridge those lukou. And again, I don't need to worry that much about the topology because it's a flat area like this bar right here, it's flat. However, here we have only two and there's way too many here. What can we do? Collapse. We've just got all of these three guys, for instance, collapsed the center. And then this one, Let's snap it to the center. That would just go from here to here, bridge, from here to here average. And when you press Enter number three, as you can see, no one, and I mean, no one is gonna notice that the topology is wrong there. Look how nice and soft or everything looks there. Yeah, don't be afraid to do this kind of like weird combination of birds is as long as the surface is flat and as long as it's done in an area that no one's good at C of course. So same thing here. We can go from here to here, very simple from here to here, very simple from here to here, from here to here. But now we have this big boxes. So what can we do? Like, I cannot a couple of lines and I don't think it's gonna be the end of the world. Maybe adding a couple of might not be a bad idea. So what I'm gonna do is I'm going to go into mesh tools, Insert Edge, Loop, multiple edges too. We're going to use her two there and two there. So they're symmetrical and they're not on a straight area of the main plank. Again, I'm not too worried about that one, but I need to collapse some of them. So I'm gonna grab this two guys right here and I'm gonna say Mesh tools or Edit Mesh collapse. And those should give me less edges. So it's gonna be one there. Then a second one there. For instance, let's even collapsed that one right there. So that we only have this guy and this guy collapsed. And that was just a triangle. And we're gonna try to mirror the same thing here. So we're gonna collapse, collapse that one and that one. Again mesh, edit mesh collapse one to one to bridge. We collapse this one as well. And we want to bridge this guy right here. We can just say Edit Mesh or mesh Close Holes or feel hold. There we go. Again. When you take a look at this, yes, there's a lot of things going on along triangles and stuff, but as you can see, it's a straight area. So look at how nice the surface just like goes around the whole thing and our elements looking it is looking perfect. I don't want to give this a little bit more thickness again, very similar to how we did with that with a Coke ad. You can see like a little lip over there. I'm gonna grab the inner edges here and this outer edge and we're going to extrude, bring them down. The next truth and opposite them. In like this. When you see it, you see things going in and out of perspective. Probably one bubble there. Very sharp, so two segments and really, really small fraction. When we press number three, we get this very nice effect. Cool. Yeah, So it really like how this thing is looking. There's a couple of elements there that I'm not particularly fond of. Like up here they look good but he dealt here. They kind of like we've lost a little bit here. Let's fix this. I'm going to grab these two guys. This guy, just bring this down a little bit. They overlap just barely, just barely. For this ones. There we go. When we see the whole thing. Everything looks nice. And yeah, that's it guys. This is the final part of the top element. Now we're gonna be working on the inner elements, the inner like baskets that this thing has. And after dad were very close, we just need to finish the little things right here. This extra elements, we need to do the logo and there's a little tray on the back that we are still missing, so hang on tight and I'll see you back on the next one. Bye bye. 12. Toaster Inner Parts: Hey guys, welcome back to the next part of our series. Do they work on a continuum with the inner parts of our toaster? So let's get to it. This is where we left off with the nice little top part here. Doug, going to make it slightly bigger there so we don't see any holes on the sides. But yeah, I really like how this looks and I think it's looking really, really cool, by the way, at the end of this chapter are actually, at the end of this chapter, we're going to take a look at some basic materials for rendering. So we're gonna take a look at how to set up a little bit of an image like a studio setup so that we can see this very nice guys render that. As you can see, we have those baskets inside the element in there. A little bit weird. I'm not going to lie like they look kind of weird. Like I really am not sure how those things should be modeled. We can try and do something that resembles them. I know that we need to start with a cube. That's pretty much obvious. I know that the cube needs to fit a little bit over this edge is right here because this thing sits inside this element. Whenever you have a shape such as those ones that you really don't know how to model. The best advice I can give you is just started modeling. Just start working with some basic shapes, basic elements, and see where it gets you. This thing is going to go all the way to the bottom, but roughly about there. And I can see that it has several cuts pieces, right? So I think this is one of those elements where we can benefit from just adding a bunch of geometry and literally cutting out anything that we don't need. So I'm gonna grab this guy right here. I'm gonna go to the inputs. I'm just gonna start adding divisions here. Now as you can see, I can't really add divisions now because we changed the scales and this is something very important. And if you've taken the intro to my, Of course, you know that whenever you do any change here, the inputs cannot be like get overwritten and they don't no longer work. So we're going to have to find another way and the way that we're gonna be using mesh tools international. So let's go here. Let's start by inserting a middle light everywhere. So middle line there, middle line there, and mid-line there. I think that one I wanted to go and I'm going to be referencing my pure ref because this is the best view that we have right here. For instance, on the side views right here, I can see that we have this lines and this sort of like little tree and then this other things. I think this is word like the little fences or the heating parts are actually hooked to. So we're gonna we're gonna take a look at those shortly. In order to do that, I'm going to be using the mesh offset edge loops with the opposite absolute. Let's add a couple of lines right here. And to get that nice little tree shape, we're definitely going to need like one line right there, one line right there, then another line right there. So let's go to the front view. And what I'm gonna do is I am just going to probably need a couple of more lines. So this one's gonna be at 80, 80%. There we go. I'm going to grab this edges or vertices right here. Just like bring them up. We get that nice little tree shape. This one's a little bit higher. And then we're just going to delete them. We're just going to delete the light nasal tree shape that we have right here. Now of course this is not working on the other side because we only did one side. So to fix this shift right-click mirror. But we can't mirror on the world axis because the world axis isn't, it's not in the same place as our objects. So in this case, we're going to change to Object and we're gonna change to see that we go to negative c and hit Apply. And that should give us a nice little tree on the other side. So cool, we have that one reader. I can see that there's those things right there, but I think those are the things that hold the bagel. Bagel will go download this tree shape and then they will go up. That's what I'm imagining. I don't think we're gonna be using those ones. The sides though I do see some sort of like advance. So we are going to add, let's say at 20%, 60, 40% percent over there. And let's just do another, another mirror and see, so we get the same thing. I'm going to grab all of these edges that we just added and we're gonna do a Bible with a small fraction. Then what we can do is just delete this balance that we have here. This guy, well, let's go to the side view so that we can select the ones on both sides. So that one right there, I wanted it there. That one and that one. There we go. So we delete and we have this nice little thing. Of course, of course, we don't have the tough part. By, by top part. This is where we get like a nice little box. Now, this are things from my experience there, usually like plates that are either bolted or soldier together on the corners. What I want to do is I actually want to graph all of the edges here, all of the edges that are connecting things like all of these ones. So all of these ones, and we're gonna separate those hedges. We have each side of the box is gonna be it's own geometry. And I think that's going to look a little bit better. All of the settings right here. This one, and this one. There we go. Now with all of those edges selected, we're gonna go into mesh tools. Mesh, sorry. And we're gonna say detach, detach function. What it does is add the name. As the name implies, it detaches whatever I had selected. So now as you can see, each individual phase, it's a different section. Now we're going to separate them. So Mesh Separate. We're going to grab all of them and we're going to extrude them, extrude them out to create this little nice corner thing. Of course, if we do number one, which is a smooth more than we're gonna get this, which looks really weird. But if we don't do it, we can just have this grab everything again and just Bible. Well, I'm actually going to combine them again. So Mesh, Combine y so that the bevel alt affects everything and we're just going to bubble two segments and this mole fraction. So when we press number three, oh my God, I think I went a little bit crazy there with the segments. Let me, let, let Maya think for a second. There. There we go. Let's go back to into segments. There we go. So we're pretty much bubbling every single corner, which is fine because it's so very, very straight objects. So as you can see, it's working quite, quite nicely. So this is our little basket that we have right here. As you can see, it looks like it's part of the whole thing. I'm just going to Control D or sorry, a shift. And here we are going to be doing a mirror on the world mode. And it's gonna be on x and negative applied to get the other basket. On the other side, we definitely want to delete history for information center pivot because there's all a lot of history or the history. And yeah, you can see that this is getting quite, quite heavy like the object when it's in non-smooth mode, it's forty one hundred, ten hundred triangles, which is where the bid, but when it's smooth, it's almost a million polygons, which is its normal by the way, don't, don't think that just because we're working super high, that it's not something that we normally do it, it's totally, totally normal. Now let's do the little heating parts of the toaster. And again, it's a little bit difficult to see what's going on here, but I've seen this sort of thing. I'm pretty sure you guys have as well, where it's this sort of squiggly lines like this. And they create this sort of like effect. The general, those are the parts that get heated and then they hit our breath. So there's again, a lot of ways to do. This guy thinks, I'm gonna show you one that I really like. I'm going to start with a plant. I'm going to create the plane like this, and I'm going to give it twice the amount of divisions on the height. I actually just want one dimension right here. There we go. Then you're gonna grab one and then skip the next one. Every other one, you're gonna grab them and you're just going to push them like this. When you do number three, as you can see, we're gonna get a nice effect there. I'm actually going to go to right view with my cut tool. I'm gonna come up. When we do number three, as you can see, we get this nice effect. If you want. We can grab all of these guys right here. Actually. Let's go right view. You can go into vertex mode, grab these guys, and just give them a little bit more thickness. This is one of the things that I don't think it needs to be perfectly symmetrical because sometimes they get bands or something. I think it looks kinda cool went when they're not perfectly, perfectly fine. Some of them are gonna be slightly bigger, some of them are gonna be slightly, slightly thinner. That's fine. We did the same thing down here. You have to do it by pair. Because otherwise you're gonna be scaling them in a very weird way. There we go. So now we have our nice little effect. You can actually just use this SS by just extruding this. So I'm just going to extrude the whole thing, give it a little thickness. And when you press number three, you get this, which is really close to what we want. But in this case, I actually want to extract something. I'm going to select the edge right here. Or I'm going to press a smooth mesh, smooth. So it's a little bit smoother. And then I'm going to grab this edge right here. And the last one over here. What I'm gonna do is I'm going to go into Modify, convert. There's one that's called polygon edge to curb. What this just did. As you can see right there is it generated this curve. And this curve is gonna be really important because we're gonna be using this curve to generate a very nice tool that we have in Maya 2022, which is called a deme. Here on edit or create, it's called a sweep mesh. So a couple of versions ago, well never wanted to extrude the long-run curve. We will have to create the polygon and then align it and then extruded. But there was really, really complicated and sometimes you didn't get the results that you want. But now this sweet mesh tool, It's really, really cool because as you can see, it will immediately grabbed the curve and extrude something, in this case of a cylinder throughout the whole thing. Now you can increase the precision here and the better the precision than nicer the curve is gonna look, of course. You can, of course changes the scale profile. So for instance, you can see how we can create this nice little cable here. Just keep in mind that for instance, right now the precision is really, really high. And that's gonna give me this. I can optimize this, which will definitely help. But yeah, just lowered the precision until you find something that works. But it's not a way, way too much like this because even when we do number three, that's going to look good. And that's it. Again, the street machines are really, really cool because as you just saw, I just click one button and it immediately extrudes whatever I have selected over here throughout the whole surface, we're gonna be using this tool quite a bit later on. I'm just going to delete the history so they before it gets that it's a sweet brush centered taboo point. And just position this where it's supposed to be. This thing is gonna be on this side of the thing. We go. Control D thing is gonna be on the other side and then select both of them. And we're going to mirror them on the other side as well. There we go. Now we have our nice little like induction, the heat things right there for us to work with. Yeah, I mean, here's where we can definitely go into the if we had the blueprints of the object and we can model and then change and move every single thing that we might see on the reference that I think for this first chapter, this is a really, really nice place to be to some nice completion. I would say. There's two more things that were missing were just amazing. The back thing or three more things. We're missing the little back compartment that we have over here, and we're missing this guy is right here. Since we still have a little bit of time, I'm going to do this elements right here. And we're actually going to be using the same tool that I just showed you. The what's the word, the curve tool. So here's what we're gonna do. I'm gonna Control D, This guy, move it to the side. And then I am going to insert an edge loop where this thing is supposed to be. So you can see it's one, and then it's two, then it's three right there. And it goes all the way till it hits this corner right here, right above the middle here. So I'm going to go to the middle there and have a middle on the other side, but we can do a mirror later on. So I'm gonna grab this edge 1234512345. Like all of the edges that I need. This gives right here. Perfect. I think goes a little bit further. So right about there. Trying to find yeah, I think that one no. It's kind of like in-between right about there. And since this is a copy of the original one, we're not actually affecting the original one, which is great. So let's go. There. There we go. We're going to do the same thing, modified convert polygon edge two curves. And then we get the weekend what we wanted. I don't think we did. Let's try again. Let me just grab one of them and then we'll duplicate it. Again, modify, convert. Paul, you're gonna have to occur. That's a really ugly curve. Now, what if this happens? If this happens is fine. I mean, we can grab it like Right-click and grab the edge loops here and try to modify them. It's really weird though. It shouldn't happen like that. Let me, let me do it live history. Sometimes, sometimes when you add a new modifier level, we just did there. You get that sort of effect and let's drag it. So it's 1234 also makes sure that you don't have any other edge loops selected that could also affect the thinking right here. Again, modify, convert polygon edge to curve. Now it's, it's, it's struggling a little bit. We can try it softening this guy. So let's say mesh, it's smooth. Sometimes when you really give it enough smooth levels, that helps to curve a little bit more. Let's see if that helps. Okay, but that's fine. Here. We actually have is we actually have what we want because we're really close to the kind of element that we want. So I have this edge loops selected and I kind of want the phases that are hugging that edge loops so I can go into Select, Convert Selection. And there's an option to convert this selection to, sorry, did you drew select? Whereas commercial action add two phases. We're gonna select these two faces. And very similar to how we did the caps before. And this one we're good extract, so edit mesh, mesh, edit mesh, and we're going to extract. There we go. Now we can delete this guy right here. And we have this very nice thing that follows very nicely the surface of our RG. I'm going to definitely make this go lower. Let's change the material. The bleeding three, which is the one that we had before. There we go. And of course, if I were to press the bar three, even if I were to extrude this, we wouldn't get the roundness that we want. And that's because the edge right here, it's not flowing in the way we want. So how can we make this very easy? Just grab the whole edge and we just give it a little bit of an offset here. Now, this thing is route, which is what we want. We can make this thinner and we need to, we can extrude this, give it the thickness of the needs. Probably a little bit less. And then of course, we're going to add a couple of support edges. So this is really, really nice. Now it remembers, or it should remember the distance, but if not, we just move it. Let's press number three here, which is what width here, and position it where it's supposed to be. Making sure that it helps to serve as nicely if we need to like scale this just a tad bit. There. There we go. That's a lot better. Yeah, that's pretty much it. So that will be my first one. And then Control D. That will be later the second one. And then Control D will be the third one. We grab all three of these elements right-click shift, and we're going to mirror this on the x positive axis and we hit Apply. We have this. Look at this, this little toaster looking great. This is, I always enjoyed modeling. Modeling is one of the things that I enjoyed the most India 3D world. And it's because we are able to get to this point from nothing like we had nothing where we were when we began this chapter about two hours ago. And we have this which is looking really nice and it's perfectly, perfectly workable for any sort of like commercial production. Like you can tell this model for quite a bit of a price because the topology, the way everything mixes and matches, like it's really, really, really good. So yeah, we're in a very good position, I would say. In the next video, we're gonna be working on the logo and we're gonna be working off the back little play that we have here. That's the only missing part that we have here for the main hall. Then we can close the lower part portion and will be will be almost ready to finish this mall. So hang on tight and I'll see you back on the next one. Bye bye. 13. Toaster Back Compartment: Hey guys, welcome back to the next part of our series for their work in the continuing with the toaster ends probably going to be the final one in regards to modeling. So if we take a look at one of these images, we have this one right here, which has this back compartment. Then as you can see, it flips back here on this section, right about there. We need to build this compartment and we need to build this piece right here, which is, I think it's supported like crumbles and stuff when they fall out of your breath. You just take this out and clean it up. Let's get to it. The first thing I need to understand your need to figure out is how, how high in regards to depth this thing isn't, as you can see, it's roughly at the end of the first little great things. So if I were to add an edge loop, it will be right about there. I would say we go now you can see when I was starting to actually give this guy is subdivisions. So I'm gonna just gonna say meshes smooth that we have a full subdivision was still need one more for when we do the final render because otherwise things are going to be overlapping. But as you can see this a little bit better. Now, in regards to how out this is, I think this guy's like full nicely on the section because it's this and there's this space that does look like the space that we're looking for, maybe a little bit more. But since that's already affecting the curvature a little bit, and this piece to me seems very flat. I think I'm going to just keep this one's right here. Again, there's a couple of ways to do this. The way that I'm going to choose to do it. I'm gonna pick this one right there. I don't know. I'm a little bit hesitant. Like we could add I think we can add a couple of subdivisions here, like one there to do something similar to what we did on the other ones. Let's do that now. Whenever you want to do this and you're the one that do the mirror. You can also turn this thing here like World x symmetry. Now if I go here and I inserted in that shape, you can see that it's on both sides now I just wanted to make sure that this thing is not getting me like a weird Pinterest and think, yeah, I really don't like that one right there. I like how to live without doubt one, it looks a lot softer. So here's where I'm going to take a little bit of an artistic decision not to select that piece right there. And we're only going to select this guy is right here. There we go. Let's turn off symmetry. There we go. And what I'm gonna do is of course we are going to separate this thing. I'm actually also going to grab, not, not those ones. Let's, let's only rub this 12 ones. We're gonna go into mesh, edit mesh and we're going to extract. Now we have two pieces, this guy right here and this guy right here. Let's fix this one here first. So the only thing we need to do is we need to create an extrusion. Get it in there. Unless we're really going to push this thing and see the whole thing, something like this is more than enough. I'm just going to do that and probably add a bevel. The connection. Let's do pebble there. We changed this military too uniform and we do two segments and small fraction. There we go. Now that's one of the things that I'm a bit worried about because this thing is super, super sharp, not super sharp, like a little bit sharper. So here's where we might have to use remembered illustrates we use to tighten something without going all the way to the top so that we don't affect the curvature off the objects. I'm going to insert a one more actually right there. Erase his face for just a second. This two faces. Let's select this guy right here. And we're going to turn on symmetry again on World x. We're gonna say one there and one there. So now that should give me a nicer effect down here. I really don't mind as much because it's the area that you don't see as much with. Yeah, that looks way better. And that was just a matter of closing this and I'm gonna close it this way with the breach. Then this guy right here, I'm gonna say mesh, feel, Whoa, There we go. Now there might be a land, but if a pinch there, we can minimize that pinch by moving the triangle area a little bit lower. You can see that this is the triangle line. We move this closer to where it's doing the little trick that should do it and we shouldn't get any late. Little bit of a pinch there. Let's see, let's try adding one more support that's right there. Now you'll know where to support edges are, where the I think it was better. Like up here, there we go. Just a small pinch there. We could try grabbing this vertices right here. This guys, and just moving them slightly in. It's going to reduce the amount of roundness that we have here, but it's also going to it, keep it a little bit cleaner. There we go. That's a little bit better. Now for this one, which is this one right here, you can see that the shape is really, really interesting. It has this of course, is metal band, which is super easy to model. But this one is the interesting part. Unfortunately, we don't have a full front view or top view of this time. I think one of the best ones that we have. One of the other ones. That's one right here. So we can at least see the shape of the whole thing. I can see that the lid opens on the backside and then we have this holes right here. So I'm just going to center the pivot point here. Move this thing. Let's start by giving it a little bit of thickness. Right there. Let's invert the normal mesh display. Reverse. We have the normals there. Now it's a matter of creating this section right there. I'm probably going to add a new like a line over there. Grab this four phases and extrude them back. That creates the general shape. And now here's where I'm gonna be guesstimating a little things. Let me, let me get rid of this. The symmetry. Let's start. I use the word guestimate, other proper word, by the way, guys, I don't think it's on the English language, but that will stop that word when I was set at school and it's got a guessing or estimating where things are. There we go. That looks okay ish, we definitely need to harden some edges. So let's draw a hardening this edge right here. I just wanted to get a general idea of how this thing is going to fit on the element there. So I know that when I enter like an actual appear in here, that's going to give me the shape to them looking for. And hopefully this will fit very nicely. There. There we go. That looks quite nice. Now we need to do the little membranes and things that it has over here. First thing I notice is that there is this thing right here, right about there. And then these two phases, well, in this case, I'm actually going to delete the support edges that I just added. I just added them to get an idea of how things are going to look, but we don't need them just yet. I'm gonna Control E disguise six through them a little bit more. There's a little bit of a ledge right there. And then there's another extrusion. This actually lets turn symmetry. Work on that there's a little line right there. Then this two guys get extruded little bit. But then the edge here, this one goes to the side. Then there's a final one, like a final line over here. The kind of holds the surface together like the little trade together like this. Then I can kind of see that this lower vertices go forward. There we go. That's generally the shape that we want. And what I'm gonna do here now is I am going to move this guy is a little bit so that we have a better space here. A little bit more organized because we need to have 12345678 little holes in this area. And I mean, they are relatively easy to do, but we just need to make sure that they're as nice as possible. So that would be one. Then that will be the second one. So that's why I'm moving this things and trying to make sure these things are as straight as possible. So that's 12. And then we're gonna have like 34. There we go. Now they add right about here. We select 1234, control E, Offset, Control E. We go in. And then we delete them because it's kind of like a hollow thing. To give them a little bit like a sharper look, we're going to insert a message loop. In this case, I'm gonna go to a top view. Go back here. We're going to insert an edge loop right about here, right about here. So that when we smooth them out, as you can see, they look a lot nicer. Now here on the original piece, I can see them going all the way through. But again, just to keep it a little bit simpler this time, I'm actually going to just close the host. I'm gonna say mesh. That's what we're going to have. Of course it's soft. It's often the things like quite a bit. If we want to keep them a little bit sharper, we can just select. Definitely one there, one down here. There we go. That's looking good. One here, one here. It's gonna keep it real sharp. I'm probably one here. Now, if we bring this thing in really, really nicely matched with the whole thing right there. Little bit like sharp compared to the actual element there. So we might go in and grab this guy is right here and smooth them out a little bit. Or I mean, that's another one that we can try and sharpen. This guy's a little bit more. They match a little bit better. I don't like that page though. This is where we can take a little artistic liver dangerous, change things around. Or we could also try changing the flow of this element right here. So instead of having this edge right here, I tried to delete it, have a circle or have a triangle. That might look a little bit better. Yeah, that looks a little bit nicer. We can then grab these vertices right here. Let's go to the front. This case I'm gonna go to the back view. There we go. We can grab all of these vertices, move them a little bit so that they feel a little bit nicer with the whole thing, the whole shape. I'm still not super convinced about the pinch. But if we get rid of that, really changed that much. It changes quite a bit. So now we definitely need the pinch even though it looks a little bit of weird. But yeah, that's that's the back compartments. So now we just take this out there. We need to create a little plate. So the little plate, super easy because it's just a box that's going to be held by this thing is right here. It's not going to have this area right here, nor this area right here. Let's turn this off. We're just going to position this here. Scale it up. Up. There we go. This guy is move them down. I hope out there. Guys. There. Again. Once there we go. It's supposed to be like a really, really long, like little plate right there. I am going to grab this object mode of this guy. Let's bring all of these vertices here, like a belt there. Then this edge continuous. We're going to push it forward. There we go. Mesh display, reverse edge. You can even like extrude this to give it a little bit of metallic thickness and then beveled the whole thing. We've done this previously, so just bevel the whole thing, two segments, small fraction. When we press the birth, three, things are smooth. There we go. We have our little like appliance here, a little extra detail. I'll probably combine these two guys into a single one so that we can move them at the same time and get this thing inside the far for little toaster here. Yeah, I mean, that's it, guys. As you can see where in a very good position, there's only one last thing we're missing and that is the logo. This nostalgia really drilled a soldier logo. Now I don't have the font like I'm not sure what the font is, but we're gonna do the shape and just get it into here so that we have the, a generic toaster because sometimes I'm movies, you actually don't use the logos. You use a different name or something like thinking about the Pixar movies, they changed the names of the brands so that they don't get into any issues. So we can do something similar. So I'm gonna go here, file increments and saved. And yeah, that's pretty much it. Now a good news is I actually do have the image plane for the logo. So we're gonna be doing that on a separate separate elements. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 14. Toaster Logo: Hey guys, welcome back to the next part of our series. Today we're going to be finishing this little nice guy over here with the logo. There were still missing. So I'm gonna save this real quick and I'm going to open a new scene. And the reason I'm going to open a new scene is because we actually do have the logo in our image plane. So if you go into your toaster folder, you're going to find this one that's called return series logo. So as I've mentioned, we do not have the actual topography to do the thing. And again, normally you can believe this is just a place holder. So we're gonna be focusing on the external part, which is super, super easy. I'm just going to move this thing to this side. I think I'm gonna do it with quadro, so I'm gonna, I'm gonna start. Remember we have here, we have our nice little quadro tool and we can draw 1234. To keep it as nice as possible. We're going to use, of course, our quadruped careful here, sometimes the object that we draw, let's go into object mode, facing the other way. So you need to say mesh display and reverse normal. There we go. Now we can grab this guy and I'm gonna go quadrant, and we're gonna go all the way here, all the way here, all the way here, trying to keep the same width of course. And all the way here. There we go. Let's delete that one that we have the beginning because we don't really need it. And now we just fill this up. So it's going to be to keep this thing consistent. It's just like a big square over here as you can see. Or we just hit, I'm gonna go into the Options here, change this to etch, just extrude this edge down. There we go. So this goes to the middle, and there we go. Now it's just a matter of, of course, are grabbing all of the vertices that are in the middle, scaling them so that they're in the same line and with x moving them so that they're in the center. There we go, shift right-click and we're gonna say a mirror, of course into, in this case is x and negative world Perfect. So that's the, that's the basic formula for the whole logo. Now, we're going to grab this guy right here, Control E to extrude this, give it some width. Actually, before that, I would like to give everything a little bit of width. There we go. Now we do the logo. So control ie, push this forward. What I wanna do here is you can see there's a nice sharp line on the middle. There's a couple of ways to do it, but we're gonna be using the collapse tool. So remember you grab this one Shift, double-click and grabbed the next loop right there. And you're going to go into mesh or Edit Mesh and collapse. And that will give us a very nice effect. Now it's just a matter of, I think of course our support that that's gonna be like 1234. There we go. Yeah, that should be it. Now of course what we need to add the offset that schlep. So here what we could have 12344 on this side. Let's just want into it's okay if it's not perfectly symmetrical and at any point we can just say mirror again and it will be perfectly symmetrical. Now, that's it. I think we're missing one light over here. So again, Cut tool and we're going to go there. Nice, cool. That one's looking great. Now I do want to separate at the interfaces from the outer faces just because I wanted to be able to assign different materials to the whole thing. There's no easy way to do this. Unfortunately. I think we can do this, this, this, this, this, this, this, this, this, this, this, this, this, those ones. And then Control F 11. It's already okay, so it's just a matter of selecting all of the other ones are perfect. No big deal. This one's right here. Now, I'm not going to extract this guys. I'm actually going to duplicate them, make sure that nothing else is selected. And you're gonna say Mesh tools or Edit Mesh and you're gonna say it duplicates so that we get another copy of the up the object. And now this one is a little plate that's gonna be like a rough. I'm going to just push it slightly forward so that we know that it's over there, but that's it. It has a couple of cylinder. So I'm just going to add them. Very simple cylinder. I'm going to turn on round caps, which is an option on the inputs and then subdivision capsule, we get this nice round effect. Let's rotate this 90 degrees. There we go. And go to the front view. Grab this guy and make it really, really small. Really small. There we go right there. Grab all of these vertices, we can just snap them so they're completely flat. There we go. And usually these guys are not like, perfectly round, do you usually like sort of like stretched out like this because they need to be on the same volume as the rest of the element. You can see how here we're intersecting everything else. So quick tip, I'm just gonna grab my cut to cut in the exact same direction. And on this guy, to save a little bit of performance and stuff, we can just delete those ones. There we go. Simple as that, Control D to duplicate, bring another one. Grab this edges right here, just align them, him so they are on the board there. We've got all of these guys watch them. This guy Control D, rotate this around 180 degrees. And we should have the other one. I'm going to keep them really close together. Usually this pieces are molded and they created this interesting shape. That's why we had the initial thickness here. Because I really wanted to thickness to kind of cover those guys right there. So they're not interfering with a nice sharp edge that we have there. The other option here would be to grab just like all of these vertices, just push them slightly forward. There we go. So the circles are coming from behind. Let's make sure that this thing is on top. And I grabbed this three guys mirror. Of course, and this is x negative the world. Let's combine the histories, centripetal force transformation. Let's combine them and now we do the mirror, x and negative. There we go. Perfect, So that's the logo. The logo is ready. Now let's clean this up before we import it onto the other scene. This is something that I do quite frequently and you will be doing as well quite frequently. You will be, let's call this a logo. Actually this two guys, since they're gonna be the same material, we can also combine history, sensory information, let's call this logo, border, logo inside. And sometimes there are certain pieces that are easier to do on another file and then you just import it into the file that you need. Whenever you're getting, getting 18 ready to import, just delete everything that you don't need. Make sure things are named and the free transform everything properly, save the scene. So let's call this poster logo, and then you're going to open, of course, the other scene, the basic toaster, the one that we've been working with, this one, beautiful toaster there. And we're gonna say File Import, and we're going to import the total logo. Now, technically, it should be over here, just a matter of moving it position, let's say minus 90. There we go. Let's find the exact spot which is like a little bit higher there. Gonna be a right about there, perfect. At this beautiful toaster. Let's grab this guy and assign the material to lean three, which is our chrome material. And then this guy, the plane too, which is our actually it's the red material. So blink, want there we go. Yeah, that's it, guys. We are done. Are among for the toaster is perfectly done now and that's pretty much it now, I am going to cover something very basic here in regards to rendering. This is just a super, super quick and dirty way to create a nice render. Later on, once we get into the final chapter, chapter, I think it's Chapters five or six. We're gonna be talking about more professional renders that we can do with a little bit of a camera work and stuff. So yeah, today or in this one we're gonna do a very quick render. Now we're gonna be using Arnold renderer. And in order to make sure that we're working with our note, we need to make sure to go into bug and manager. Look for Arnold or actually you need to write mTOR, which is Maya to our note, make sure it is loaded. I usually have it set to auto load. Let's create an infinite background is to say very, very simple. Just background that's going to help us to render the whole little thing here, or little toaster. There we go. And I'm going to select this two guys and just move it forward or up, up, up, smooth this out. And this is going to be, Oh, this is gonna be our nice little infant background. We need a camera, so I'm gonna go into rendering, create a new camera. This camera we're gonna cult shut cam, which is the camera out from which we are gonna be taking a render. We're gonna say panels, look through selected, and let's find a nice little like a render setup here. I think something like this will be cool. The only thing we can just rotate this thing around. Now, I'm not going to make it super complicated again right now. We're not gonna be talking about lights or anything. We are though, going to be using one special type of light called an HDR. And the HDR, high dynamic range images. There's one place called poly haven, which is a godsend for everyone because there are so many free assets here. And you can go into the studio once. And there's a lot of ones that looked like a very nice studio. So I'm gonna go for a contrast T1, something that I would expect to have for a product placement, this one right here. And let's download this thing right here. Whenever you download an XR, which are these HDR images that have a lot of color information. You want to play them, of course, on your source images folder. So we're gonna go into our project source images. You're probably going to find this one, all your files as well, which is called studios small. And the only thing we need to do now is we need to go here inside of Maya, going to our note say lights, sky dome, light, control eight to go into the attribute editor. And here in the attribute editor we're gonna connect that image into the color tab. So we go here, file, click and select Studio small, just hit Open. And there we go. Now of course, we need to make sure that this thing kind of like matches our nice little studio. So we're just going to rotate this whole thing around. And I'm going to click Arnold render as simple as that because this big thing that we have right there is actually emitting light. And as you can see, we're gonna get this very, very nice effect where the light is getting into our scene. Now, the colors, of course are not good. Let's go here to the shot CAB, which is the camera that we're gonna be using. And he'd render. And this is a little bit closer to what we would expect from a render. But as you can see, the, the materials are looking at a little bit wrong. One of the reasons is this are not physically basement joules. So I'm gonna go into my little Hypershade here, which is this little button right here. This is where all the magic for the materials happen. And I'm gonna show you a very quick trick. We're gonna go into our note and we're gonna create an AI car shader. This car paint, really cool one because the carpet, what they will do is, as you can imagine, it will give us this sort of like card effect finish. And if we were to grab now, as you can see, it's called AI car paid one. So I'm gonna grab this thing. I'm just going to cite any new material. Sorry. Right-click assign existing material and I'm going to assign the Eric car paint. And if I hit Render, look at that. Really read that was a little bit to read for my, for my liking. So let's do the history. And here, let's bring this back to the, to the red that we used to have. So syllabus darker like this. There we go. This one is going to react a little bit more relevant closer to what you would expect a physically based on material to work. The ones where you're going to really know the set or the Crohn's. So I'm actually going to go into the hyper shade again. And if you remember, the Chrome's where bleeding three. So I'm going to right-click select objects with material and all of the objects selected. Now, right-click assign new material are no AI standard surface. And I'm going to bring the color down. Now let's keep the color up and let's work with just metal NUS. And now if I render, you're gonna see that this is looking like chrome, which is what we're going for. Seems like we lost a nice red color that we have. There we go. So looking better now you can see the chrome is looking quite nice. I'm gonna go back to the Chrome and I'm going to reduce the roughness here so that it's really, really, really shy *****. And right now it looks a little bit dark because the scene in general is dark like the studio that we're using is quite dark. So we might change it later on, but look at how nice the buttons look here. Even the blade loggers and blend looks quite nice. So yeah, this is a very basic rendered. Don't, don't take this as the final render. I just wanted to show you how everything looks at the very end, which is always a nice thing to see, right? To be able to appreciate all of our hard work either in a more presentable way. We're gonna be working with renders later on. Again, this is just a quick overview and I'm gonna be showing you how to reduce the noise, how to get some nicer materials, better lights and stuff. But yeah, congratulations if you guys made it all the way to this part, you have finished Chapter two. We're going to go now into Chapter three, which is a very, very fun one. I hope you guys are gonna like it. We're gonna be modeling game cube controller. We're gonna be learning a little bit more about topology, more techniques, more trips. It takes some trips and yeah, that's it guys. I'll see you back on the next one. Bye bye. 15. GC Controller Setup: Hey guys, welcome back to the next part of our series till they were getting started with the game cube controller. And I'm gonna be talking about a very nice technique that I like to use whenever I am faced with complex shapes like this one right here. The reason why I chose this as a second project, or it's, it's like a big project is because there's a lot of things going on. And most of it, it's a single shape. With the toaster. We had the advantage of modifying or modeling and several different parts. And as they came together, we created the whole monk. In this case, we do have several parts such as buttons and the sticks. But the main body of the controller is pretty much one object. So again, I'm gonna be showing you guys and nice little technique that I like to use, which is a general planning of the whole thing. We need to understand how, how this thing is set up, whether I'm gonna do here, let me make my brush a little bit bigger because there's much is quite big. Not there. There we go. I know that there's two main areas like this one and this one. And then we have the two little Lex, this one and this one. And we have this main face blade right here. The most important thing about the faceplate is the button right here. Now some of you might be wondering, well, this is actual geometry, like the start and pause buttons are actually being pushed into the geometry. Could we do them with proper topology and that flow? Yes, of course we could. However, that's one of those things that whatever you're doing a 3D model, you usually leave that to either a displacement normal above our bump map because it's such a subtle detail that you really don't want to waste too much geometry tried to capture it. However, on this one, we do need geometry and we know what the magic number is, which is eight. So if we create a nice edge loop right here around our controller and we do 12345678. I know that that edge right there has got to be perfect. This is a pretty symmetrical controllers, so we're probably going to have a nice straight line going down there. And then this guy is following the rule that we've been talking about ever since we started that we want everything to move either vertical or horizontal fashion. So I know that those two guys upon one right here is gonna be the food. We of course know that there's gonna be like an edge flow over here. And if we follow this thing right here, I definitely know that we need to have a natural over there. Now one of the cool things is for the main body, we can actually realize a lot of things like we could build the whole body first and then focus on the buttons in this Bible that we have there, this hexagonal grid, this nice little bump and the crosses. So they're like the details. I know that these details right here are asymmetrical. All of these guys, however, the main shape of the object asymmetrical. So those are the things that you need to look out for whatever you're exploring a new concepts such as this one. Because it will save you a lot of time to try and minimize the amount of topology that we're gonna be used, recorded amount of modeling that you need to do. Now, how are we going to move this whole thing into the actual grid? Well, I know that this guy, for instance, is probably going to go down, that's the easiest path. And then from here we're probably going to create like a line going across like here and here. Same deal here. So we're probably going to push this guy up and up. And then this guy like this and like this. I mean, there's works fine. I know that we definitely need a couple of more subdivisions. So we're gonna have like 12 will have so much geometry over here. Like what's the best deal in there? Well, we need to start using a little bit of our topology tricks that we know to create more agile, try to capture all of the surfaces that in a better way. The first one is how do you convert to etch flows or too little polygons into, or in this case, sorry, how do you convert one edge loop into multiple edge loops? In an easy way, and the easiest way is to create a little wedge like this. Now, we're going to extrude this sites of the watch. We're going to create three Ashley's right there. This is what this very important guy said. We're actually going to be using it on both ways because sometimes we're gonna want to reduce from tree to one and sometimes we're gonna go from one to three so that we can cover all of this area in a nicer way. So that's one of the topology tricks that you guys need to know. It's super universal. You could use this in any software and it's really, really helpful. The other one is how did you go from two edge loops to either more or less actually, to go to less edge loops, you're going to create this shape right here, like this. Now what's going to happen? Sorry. Let me let me do it on another side so it's a little bit easier to see. There we go. So if you have two edge loops and you'll want to minimize it to one. You want to move this edge loop from two to one. What you're gonna do is you're gonna move this thing out like this. You're gonna create this sort of like a trapezoid shape so that we get one on this side. And this side, you can add one more line there and just finish this one over there. Eventually, of course, this is not going to look like this. You're usually gonna get a little corner, gonna be more like this. So we go from two edge loops to only one edge loop. Of course, this is one that we'll look back to another side. But again, it's a really, really nice strategy. That's exactly what we can do right here. I want to go in these two options right here. I wanted to go from one to two. So we create this nice little hexagon shape. We create this element right here. We go up there, there, there and there. And we can do the same thing on this side. I got to keep it like this. I think we can manage it for now. And then at this point. We can do it again. So again, little hexagon shape, up, down, up, down, up, down, there we go. Let's add one more actual there. There we go. And we go all the way across. So it's gonna be 123 dune, dune. And see how it's like way too much here. That's where, you know, you need to insert a couple more. So let's do 12. And again, we do our little hexagon shape right here. And as you can see, that creates the nice topology. So the more topology or do more polygons we need, the more this little net is gonna be increasing. So these guys are super important. This is U-shaped, this you loops because they're gonna be adding more geometry here. We're converting from one to three. That way we can keep it really, really simple on the areas that we needed the most and then add more geometry as we go forward. Now on this one over here, weren't going to depend a little bit on the amount of polygons that we get right here. So I know the wild 23456789. So it's really gonna be like 10th at this point. So that means that this is probably gonna be a 20 sided cylinder starting or ending at this point right here. And that means that this one is probably gonna be a 16th sided cylinder. We already know how this has to go. So it's gonna be like a nice edge loop all the way around. And then this actual trigger gonna start going inside. And as we start hitting each specific button, we're gonna have to fight a specific edge loop that goes around them. Let me use a different color so it's a little bit easier to see. So we're gonna have a bead shape of their circles over here, circle over there. There's some nice bubble there that we need to respect. So we're gonna have to find a way to create that one. And then over here we're gonna have a hexagon. Now, again, one of the easy article thinks about this is that this is a relatively flat surface on this area. So we're probably gonna have the peaches that we've used before. Remember the little triangles, and that's gonna be, that's gonna be it. So this is what I'd like to do again before I jump into interactional model, Igor into modeling the guy, I'd like to take a look at the object and try to understand the form of the shapes. Then once I start modeling, things become a little bit easier. Now you can also see that we have this intersections right here. This cylinder is gonna go down. Either we're going to have this sort of effects right here. And then we're going to cross all the way across. We definitely need a national across the sea blight. And it's probably gonna be like two parts of an object. At first are gonna be just one part and then we're going to split it up or something. But yeah, that's that's pretty much shut. And again, we need to understand that there's gonna be an actual player thinks need to flow with a very specific way over here. So we're gonna have, we're probably going to have like an edge loop over here. And then the cell shape's gonna go all the way up here like this guys right here, the triggers, those are really important. That's a horrible choice of color. So this was right here. We definitely got to have some sort of digital. They're going to form. Again, I like to take this from from woodworking. Wherever you are doing woodworking, one of the things that they tell you is you did to measure twice, cut once. Because if you make a caught on a piece of wood, it's very difficult to bring it back together. So it's a very similar approach here. If we do this little study which only took us about ten minutes, it's gonna be a lot easier to manage and to create the topology that we want because we already understand what the kind of thing is that we wanted to achieve. That look at the jumpy Tibet via edX. We're going to go real quick into the image plane. So I'm just gonna go fraud bu, bu, image plate, import image. And we're gonna select the game cube controller. By the way, sorry guys, if my boys are my by boys is something a little bit to like congestive. At the time of this recording, I've been diagnosed with COVID. So I have this like really, really bad runny nose, but hopefully the oldest is still quite understandable. I scaled the state to five units so that we have a bigger controller right here. And that was century, the front view, as you can see on the Start button right there. And the little legs are touching the grid, which has again, what I want. I'm gonna go to the right view now. We're gonna say Bu, much play input image. And we're gonna select this one again. And we're just going to move this again, scale this. So it's very important that we scaled to the same scale that we did the other ones. So that's five music and the arbitrary scale right now, because I just want this to be a little bit bigger than usual. If your grid is too small, make sure to go into display, grid options, option box, and you're gonna change this to 1101. That should match migrate now because otherwise it will be a little bit too small. I'm going to position this right around here. So that's like the middle of the body of the origin of the controller. I will say right about there. Perfect. So that was the front view. Of course we're gonna push back and the side view, we're also going to push back. And this is the working area that we're gonna be modeling our controller. That's it for this one guys, hopefully this technique that I show you again, we're going to be the usually are quite a bit. You don't need to do it if you don't want to. However, I do strongly recommend it because it's kind of like building the parcel before actually solving it. I do think it's a really, really nice tool. So hang tight and I'll see you back on to the next one where some modeling all this controller. So that's it for now. I'll see you back orthodox. The next one. Bye bye. 16. GC Face Plate: Hey guys, welcome back to the next part of our series. Today we're going to continue with the game queue faceplate work and start with the first piece. So let's get to it. Now we already have the construction of this thing. So it's just a matter of literally doing it at and making sure it looks as nice as possible. So what I'm going to start with is I'm actually going to start with a cylinder. And we're going to move this over there up. I'm using the, by the way, let me turn on the navigation keys real quick. There we go. So whenever you're moving things you'd start of my other is a nice shortcut that not a lot of people know. Instead of seeing the object, like even if you're not seeing the object and you press Shift and middle click and drag your mouse like up and down, that's actually moving your object and it's like, like access sensitive. So the bloody wonder how you move your mouse, you're gonna be able to do like a nice moment. That's how even though, for instance, like if I delete that one, create a new cylinder and I just middle mouse and drag up. I'm gonna be able to drag it up. It's nice little shortcut done a little people know. I'm gonna change this of course to eight sides. There we go, which is our main element here. I think this one's a little bit offset. You can also do this thing that I mentioned with the image place W and just like middle mouse button and move. There we go. Perfect. So whatever the distribution can then select the outer phases like that, Control E to extrude them. That's going to create a nice little circle and then select one of those faces and delete everything else. There we go. So now we only have the circle which is the basis for our little possible right there. Again, we already know what we're gonna be doing, right? So I know that these two edges right here, we're actually like to make this easier. Let's just do half of it, of course. And I'm going to grab the edge right here, and I'm gonna hit Control E and just move this up. What's gonna be my first edge loop right there. And then I'm going to grab this one right here, Control E, move this down to about there. There we go. Like I'm looking at the shadow and the where he changes color. That's how I know where my board there's gonna be Control E and move this thing sideways. So that's one touches, That's shallow part right there. And that's what touches That's shattered by rate, which again, they know when I press number three, things are good, are gonna get smoothed out. Now on this side over here, I think it's fairly easy. So in this case I'm just gonna add 12 loops. And we can even go into quadro. I think it just like quadro the stakes. There we go. If we need more edge loops later on, we know the trick how to add them. So no, No big deal here. So here's where I know that we're going to start needing a couple of more edge loops. So I'm gonna start with a little trick that we drew in Photoshop, which is this little, I was saying, like a hexagon, a hexagon and a pentagon. I meant to say this trapezoid shape. So sorry if my English was not a right over there. So it's this shape right here, this U-shaped. And that as you can see, it will convert whatever we have into three more lines. So that's going to allow me to capture this section a little bit nicer. Now you can add as many of those as you want. And the one really cool thing that we have here with the quadrature rule is that when you press Shift, it relaxes the surface and it kind of like evenly distributes your topology. So it looks a little bit nicer. One thing I do recommend is try not to get as many of them really close together. And that's just for information sake. But in this case, since this object is not going to be D4 meeting because it's like solid object. It really doesn't matter that much. As you can see, we add one more over here. We keep going. We definitely are going to need something over here because otherwise, things might get a little bit tricky. Let's see how stretched out This thing is. You usually don't want your topology to stretch out like this because we're going to just have a big problem. So here's where I'll probably add like another little trapezoid shape right here. So that when we started like moving this thing forward, we have enough resolution here to cover that space. And if we need one more line there, I'm not like I'm not against having it because it's again, it's going to help me overall shape. Here. We can actually save some of the lines as you can see. And now all of those lines, I don't mind like having them across the surface, but if we want to simplify, we can use the same technique to smooth out a couple of these elements. So right now I'm just pressing Shift, as you can see, that's a smoothing out the curvature and everything to, to have a really clean edge over the whole, the whole elements. So yeah, that's, that looks pretty, pretty cool. So I know that eventually when we connect this or hopefully when we connect this to this main shape right here, we'll have a nice eggshell going around and we can actually start working on this shape right here. The only thing that we need to keep into consideration is that the same ratio will be at a different height. So this one's going to be right about there. You can actually see that there's a lobe of a curvature over there. I think we're gonna be able to get down with the Bible. But if not, one thing that we're going to definitely have to do is grab this section right here. Just like push this thing back. Then this saturated here, push it back, and then they saturate here. Of course the one that goes all the way across. So that's why I'm here. Push it slightly back. That's the kind of thing that we're gonna have to guesstimate. Again. I'm going to leave that until, until later. Right now I just want to build the basic topology of the things and then we'll stick everything together. Here. Let's count how many edges we have. So it's 12345678910, the same ones that we had on the initial planning stage. So very easy way to do this again, just a cylinder. W, middle mouse drag. And I'm going to have it right here. Rotate this 90 degrees. So we're seeing it right here. I think 20 sides is perfect for this one. Same deal, grab the outer phases first Control E to get a nice loop, get this loop, and then shift select everything to believe it. And that way we have a very nice, clean 20 sided polygon right here. As you can see, it is a sphere like it's a pretty, pretty nice like round sphere right here. The only thing is I'm going to push this thing out because I just want to have the border there. And then we'll do the rest of the elements. Now, I think it might not be a bad idea to keep the same amount of edges over here. See how we have 123. This is a hexagon octagon, so eight sides. So in this case, one number, one magic number that we can have is actually 16 because I know it's gonna be doubled the amount of hexagon. So we should be able to get like an etch very close to where we want with this elements. So again, I'm going to create another cylinder. Let's move it right here. Rotate this 90 degrees again. There we go. Perfect. And we're gonna change the inputs here on the subdivision access to 16. We're gonna do the same trick. Select all the outer, the outer faces, Control D to extrude them and then select the face x except those words. Actually beth, this edge loop and then shift select everything else and delete. There we go. So now if we grab this guy right here and we extrude, as you can see, most of the points will get an actual that we can very easily or at least a little bit more easily relate to. Now we definitely need to fix some of the curvatures here. So let's push this out just for now because later on we're going to rebuild all of those elements. I'm going to grab both objects right here, this two objects. And we're going to combine them into a single, like a face or a single object. So combined, then we're going to delete all of those faces, or this space is right here. I'm even tempted to delete this one right here. This one's maybe not, that we're just going to go into quadrants and we're going to, sorry, quadrant. And we're just going to finish this in there and they're over here. We're just going to move this one right here to recycle it. There we go. Now you can see that there's a weird shading and that's because the depth is a little bit different. No worries. This is not a problem at all. We're just going to scale this thing so that they are in the exact same position right there. Who liked from one side to the other. That's what we want. I know again, based on the right view that this face plate right there, then I'm moving around, whereas this one I do. Here we go. It should be situated right about there. That's where it's gonna be. You can also see now, here's where again, the photographs, sometimes we'll have a lot of, of, of perspective. I guess we can modify this and move them around if we need to right now, I just wanted to get an idea of where these things are gonna be. Here's where I would definitely do a mirror. So I'm going to grab all of those middle vertices right here, make sure they're exactly on the same center line. Grab this object and I'm gonna say mirror. And we're gonna mirror. Or actually no, before we mirror, I think it might not be a valid yet you combine these two objects and pays them. So let's combine them again. 1234567, It's 89. Actually. Let's do those first. There we go. Then let's do 123456. So there I am immediately seeing that there's a couple of mismatches because as you can see, if we use that one right there, things are not going to line up perfectly. So let's move them. Let's help this shape a little bit by moving some of those guys. And even if we need to allocable of more lines, this is where I don't really mind creating something that's not perfectly circular. So for instance, we needed one more, two more. And yeah, that's probably just gonna, it's gonna be right above there, is gonna be right about there. And this guy is gonna be right about there. Perfect. So now we should be able to just reach all of these guys. Again, same amount of prejudice on one side and then on the other. When we bridge both, we have this very nice effect. And now we can mirror this thing, of course, on the X and negative X negative. There we go and we get both Facebook. And the reason why it was important to do this before we continue working is because we now need to complete the inside of the Facebook, right? So here's again where we need to start thinking about the main shapes. So if you were to ask me what the main shape of this part is that the a button, it's the one that has the most prominence. And there's this nice little bubble here that we really need to take into consideration. What I'm gonna do is I'm actually gonna grab, I'm actually going to create a new polygon. And thinking new polygon will be better. I'm going to create a new cylinder. Bring it right over here. Let's rotate this 90 degrees as well. There we go. If you remember this was a 20 sided cylinder, so that's exactly what we want, what we have. Same trick. So we just get that nice etched ring here. Delete everything else. Very important before we start moving anything we need to make sure that this thing is actually sitting where it's supposed to be sitting. I'm going to center the pivot point and we ve I'm going to snap it so that's right there on the face plate with everything else. Now, let's position this properly. It's gonna be like the outer circle. There we go. Then this is gonna be the inner circle, which is where the button is. Again, don't worry too much about the perspective in might not be perfect. But that's it. So I know that the connection right here, that's going to be the connection, but we need to make sure that that's the connection for the a button. And I also know based on the reference that we have here, that the little Avon is slightly raised. So this one right here will probably be pushing slightly forward. We can try and find like the exact element there. And actually, yeah, that's it. So that's pretty much it. That's how rice that affect S. And this one, since this is where a button is eventually going to be, we can already create the little indentation for now. Later on we'll fill it and do everything else. But now we need to do the combination. Like we need to make sure that this thing combines properly with everything else. So we combine both elements again and we need to start bridging. So 12345678910, we're gonna abridge the ones that makes the most sense first. Then if there's a couple of them that don't make that much sense, you're gonna see them probably at the, at the very end, the last couple of ones. Like here, you're gonna see like this one right here. It doesn't really have a need like nice place to go to Saint with this one right here. You can see some of them like very naturally flow into the other ones. And then we have a couple of triangles. And that's the reason why we have triangles is because we created a couple of more edge loops, right, for this thing right there. So I am going to try and keep this as clean as possible. Triangles are not bad. Remember as long as we know how to control them, we can, we can make them work. So I'm not too worried about them, but if we want to get rid of them, since this is again the flat area, or at least this outer part, we could actually grab these two guys and merge them together. So we have two triangles on the border right here, which again, it's still an edge loop, so everything is working exactly as we want. But those triangles are going to, I've got to make our lives easier on this inner side right here. Now we have more buttons, we have the B button and we have other stuff, so we don't need 20 sites here. The reason we went for 20 sides right here is because it was a little bit easier. It match everything else. But here we really don't need eight sides. Now. We can keep it a little bit simpler. So first let's fill this. I'm going to do it like this. We get a nice topology because we again, we are gonna be etched looping everything, which by the way, we can already start at jumping things here. I know that we're going to have this sort of like hexagon shape over here. We're definitely going to have pinches so that we get a hard edge loop over there is going to be some topology tricks that we're going to have to employ in a couple of areas. You might be tempted to breach things over here. I would advise against it because again, we want to keep things simple. And then as we make things a little bit more complex, that's when you're going to add the interest. This is a very common thick that trip tip that I'm doing, which is if you are having issue with Aquadro, like trying to identify this long polygon, just draw a smaller one and then Control Shift and delete the inner edge. That usually helps solve it. Maya fight like the proper, the proper elements. Again, looping, we're just looping everything and making sure we have the proper topology for the details that we're gonna be adding over here. So there we go. That's a lot nicer, perfect. We're gonna worry about that topology a little bit later. Don't worry, we need to take care of this button right here so we know what the magic number is, right, which is eight, but sometimes you're not gonna have an eight number, or sometimes like in this case right here, it's going to be a little bit tricky because there's actually curvature. So we need to take into account this curvature right here. That's gonna be important. So what I'm gonna do here is something a little bit different. I'm actually going to go with my cup tool and we're going to cut the points. I'm gonna say 123456, 789, but probably like 910. There we go. So now I can grab that edge they just created. The problem is, there is again curvature like this thing is not perfectly straight, but that's fine because we can just go, I think we can use our stricken raise one. There we go. And they will try to create the circle, that circle that we need. The only thing that this thing is doing that's not working properly. Weird. Where's my shaded mode? Did I change something? Let me delete history. They assign another material. Just like I said, That sounds like it lost the material at some point. So yeah, as you can see, like, I know that this is the phases that we're going to eliminate. Like that's pretty obvious. And that's gonna give me the circle that I'm looking for. And it's actually really, really close. Like I can just grab this inner edge and just scale it in and just move it to where I need it. But you can see that this thing definitely broke the flow of what we had, right? We're gonna have to fix that. I mean, right now it doesn't look that bad. This point right there is definitely making it difficult. So even though we first number three, things are not going to look great. The other problem is of course, like we don't have a proper topology. A very easy way to create proper topology is just to extrude. If you extrude and create like a nozzle offset there, that's immediately gonna loop the whole thing. And that's still got to start looking a little bit better. Now for this flow to work a little bit better, I'm actually going to change this got line right here. So I'm going to Control Delete to delete deadline. I'm gonna use my cut to go in the same sort of direction that we have here, which in this case would be better to go over there. There we go. Now we need to, of course loop does guys, so that's the square, That's perfect. Let's triangulate over this side because this is where the flat area of the object is saying with this, we can just triangulate over there and that's perfectly fine. And from here to there, that's two squares. So there we go. So that when we press number three, as you can see, that area looks quite nice. We get the circle that we're looking for. We can actually grab this guy and just extrude in to create the place where the B button is gonna be and we still get this. Now, the problem is, or one of the problem is, is that we need the proper ash flow that we used to have over here. Maintain because this line right here will eventually become like a nice effect that right now here we're breaking that flow because this is no longer a square. So we would try to insert a national right here. It actually is working. It's kinda weird. Usually it wouldn't work because it's an ongoing, but let's try it. Let's add a natural there. And let's take a look at how that looks. That's not bad. That's not bad at all. Let's grab this guy and just do a bevel. Suppose a little T icon to see the fraction, two segments, small fraction. There we go. Yeah. I mean, that looks pretty good. I would say that definitely does or services purpose that we're going for, which is having that nice little indentation and then our B button on this side. Yeah. I guess I'm not really sure how or why this is working because again, this is an anion and it shouldn't work. But I'm just going to leave it. Let it be, to be honest, this is one of those little, happy little accidents where we can get away with it. Now, I'm going to continue with this part right here just to keep everything on the same video. And now we can start thinking about the actual element right here. So I know that when we person number three, all of those guys get like, they do something that I don't want them to do. So what I'm gonna do is I'm gonna grab the whole edge right here. I'm going to extrude out with a little bit of offset here to get another edge loop. And then I'm going to start using offset edge loop on this area is right there so that we can pinch together that little area. Before we do the, what's the word? This teaching pinched together all of these areas. There we go. I wanted to actually way better than the first ones. You can also do it manually. No need for them to be perfectly mirrored. Anything. There we go. Now the reason why we needed to add the second element right now, if you press on number three, as you can see, things are gonna look a little bit nicer. Let's do the final one. There we go. So now when we press number three, you can see that we hold this octagonal-shaped very, very nicely, which is what we want. We're going to do something similar over here, but this one's, there'll be even trickier because it's round and the hard surface at the same time. Now what I'm gonna do is I'm going to grab all of this outer edges and just going to pinch them together. Just merge them to center because we don't want that hard line to be sent to the outer edge where we want this like very round shape. And again, we don't really worry about this topology because it's on a flat area. Flat areas are our friends in the hard surface modeling work. Now, now we can start leveraging things like say, okay, let's break things that makes sense. For instance, that square right there. Like for instance here. I think just like a breach there makes sense. I'm tempted to just mix this together, but I usually don't like when things are really close to the edge. So I'll rather in this case, I'll move this thing along a little bit. Let's do dad for instance, and dad like a little triangle there again, no big problem. Triangle there and no big problem. Triangle there, no big problem and a couple of triangles. You can see all the triangles are kind of like facing in the same direction. That's fine because when we smooth things out again, the topology there might look a little bit wonky, but the model is gonna look perfect, which is what we want. Those areas look a little bit wonky. It might be because of this one. So let's just fix this one. For this one, I'm just going to kind of just want to extrude this guy and have like another little edge loop over here. And then that's a square. There we go. There's a couple of weird pinches. They're not sure why merge all of the points together. One way to know if things were murdered now is just move one bursae around. And if further periods like that weird effect. It's really weird like everything down here, it looks nice. Then we have a couple of pages over there. Thanks. Thanks. We're not like merge properly. Straight again. Or are we getting it everywhere? It seems like we're getting it everywhere. So I'm gonna push this guy's down. Oh, I see. Now how we created this, like we're lying. Yeah, no, Sorry, my bad topology was a little bit too stressed over there. Let's fix it a little bit. Let's go back. This is about, it's all about like again, fixing the puzzle, like making sure things look as nice as possible. There we go. First things first, I want to make sure that there we go. So EBIT from here, we're already getting those sort of weird effects. We do need them though. So in this case, a thing where we're gonna have to do or one of the things that we're gonna do is we're gonna emerge to center. We're going to go over a couple of this guy's like merged the center, mersa center. Mersa center. That's also going to give them enough space. I think that way it when we create more triangles there, we shouldn't have that much of an issue. There we go. And this one, and that one's gonna be a little bit stressed. So I think with this one, I'm going to go there. Okay, let's go there. I mean, it's gonna be a really, really stressed out polygon number there. And that's why I don't like it. So this one, I think I'm going to just push it. That's definitely like grab these two guys and merge to center. There we go. Now we have a couple of triangles. So ECS ways with Aquadro just fill those triangles in. Which again, as you can see, it's kind of like going from one to two. So we're doing a little bit of fun at for division. There we go. I mean, to relax this one a little bit better. I think I'm gonna have another triangle there. Triangle. So really, really good people, people who keep a bad reputation to triangles, but they're really, really good if you know how to use them, like a double-edged sword. So same thing here, like see how this is like really, really stressed out because so weird polygon just make it a triangle. That's fine. I'm gonna show you one trigger right here. We haven't used this because we've been using subdivision modeling. But when you have triangles and you actually subdivided an object like heat smooth, all of those triangles become squares. That's one of the big secrets about smoothing every single triangle that is not a square. Even that goes. Remember the angle that we have over here, it solves itself and it creates a nice topology. So that's one of the tricks that people don't teach frequently because a lot of people don't know about that when you use move, things become square. So let's push this in. There we go. We have our nice little like octagonal gate here for the, for the Cystic. Yeah, that's it for this one guys, we've finished the first face plate or the faceplate and a little bit of the right side. In the next one, we're going to continue with this left side. And we of course need to do the extrusion for this thing and a lot of other things. But as you can see, this is working nicely. I don't think it's as complicated in certain aspects as the toaster wash. This is more about like edge flow and that control. The toaster was more about thinking about the pieces and how they fit together. This one is how to build the whole thing. So hopefully you guys are learning stuff with this and yeah, that's it. I'll see you back on the next one. Bye bye. 17. GC Sticks Area: Hey guys, welcome back to the next part of our series. Today we're going to continue with the sticks areas here on the game crypt controller. And as you can see, we're pretty much done with the right side. We'd need a couple of buttons though. And that's the first thing that we're gonna be working with. So as you can see, this button is right here are missing exactly what we need to create. However, I'm actually, I'm gonna go back and delete this one right here. I know that the actual is gonna work once we insert it because we saw them working on the last video. But it's usually easier to work with fewer topologies. This one is, I believe they're actually a little bit easier because we can just Control E to offset them and create the proper actual. Now before I do that though, I do want to add one edge loop right about there so that we don't interfere with anything on the proper temperature. So Control E offset. Now is a matter of moving this guy's the vertices where the little bean-shaped button is supposed to go. So we'll just move this thing around. Always do this on the front view because that way we're only moving on x and y and not in C. So technically all of the buttons should keep their original, as you can see, their original depth, which is something that we really, really, really need here. So now it's just a matter of grabbing this guy right here. Let's get to the front view. I think this one, this bursae right here. Go a little bit lower. There we go. Now we grab all of the phases and we just delete them. Like so. There we go. Now we have the little hole for our, I think that's the X button right there. Cool. So now we're just going to grab this edge right here and extrude them. Now, while I was taking a look at this, I saw something that I think we might need to fix when we press number three, you can see that we get a couple of pages here on the triangles. Remember to triangles are really good, but we need to really know where to place them. And here's one of the rules that I like to follow. If you can place this on a flat area, That's better. And if we want to keep this a little bit rounder, it might be a better idea to actually have this one down here. I'm gonna use my cholesterol, which I'm actually going to add to my shelf because we're gonna be using quite a bit and we're gonna collapse there. And collapse there. We're going to collapse. And class year. And you can see now we have triangles on this side. And again, just to keep topology a little bit cleaner, we might want to move the triangles a little bit and we can actually go all the way to the other side and get rid of this triangle right there. But I don't think we really need to do it. I'm gonna go to the front view and now reusing this edges right here is just a matter of giving them enough space so that the curvature of the, of the object looks a little bit nicer. Again, don't fears triangles. Triangles again get a very bad rap in the, in the 3D world. But the immediate games, we actually use them quite a bit because he can't help us capture the silhouette without compromising a lot of the other things. So as you can see now, the, that line right there, like this outer line, gets a lot, lot smoother, which is what we want. Now let's repeat what we just did here on this order, like bean-shaped button, which is this one right here. So we use 1234, right? Yeah, like a fourth, us four sections here. We're going to do the same thing, going to face mode, grab this for guys control E. We're going to offset them. And then we're going to play around with the point. So this point goes here, here, here, here, here. Move this one here, and just give it the sort of like bean shape to the button. Close as possible to working. We can get there we go. Now, it's just a matter of the leading this faces. But by, we're gonna keep the same nice movement right there. It's just a matter of pushing this inner loop. That's it. So when we press number three, you can see we get this nice long alligator element right there. Now, if the buttons are looking a little bit weird, that's again where you need to relax some of the vertices that give them more space. Because otherwise the proximity of the vertices will make or create this sort of like a page or hard edge. And that's not something that we might be looking for. Yeah, that's it. As you can see, this face over here or this face plate is ready. We have the the entrance for all of the points. Now we can talk about adding the little guy right here, which I'm a little bit concerned now because I just realize that we're going to have to add an edge loop that will go into the buns. So let's see how we can solve that. So I know that we need an edge loop like right there, right there, right there. We can hold this together. And of course in this case, we're gonna go from here to here. I know that's an England, but that should give us a nice sharp line that we want there. It doesn't seem to be creating like that big of a deal over there. Let's bevel this and see if you'd really mess us up with our topology. Because sometimes even if you've had those hard edges, you won't even notice them. Second, there we go. That's okay. Yeah. We can now see that the clear pinch right there. Here, what I'm gonna do is I'm going to use the same triangle technique, but we're going to use it here on this one right here. That one we collapse. This one we collapse. So that should give us a nice light. Now, that's actually making a worse. Let's take a look here. First. Let's make sure this looks okay. This guy is right here. We can move them lower just to give them a nicer effect. We could also use these slight edge tool and try that. Because really the pinch that we wouldn't solve this, this one right here. Let's try getting rid of the triangle right there on the border of the object. Let's see how that looks. Yeah, that looks a lot better. See what we're gonna do is you can see as we're going to capture the triangle right there on the edge of this guy, this guy and this guy, we collapse. And we're going to do the same over here. 123 collapse, over here, same deal. 123 collapse. That's it. Now we should have the nice line over there. Nice flow on the sides of the thing that Yeah, thanks. I think things are looking good. I think I'm gonna go to this one. I'm going to delete it. I kind of want this edge flow to go into the same area that we have over here. I'm gonna go into this button right there. I'm actually going to delete that edge as well. This one, I'm going to pin it there and merge to center. Then we're gonna do the same thing that we just did. 123 collapse. That way. It looks like that line is going there and then it stops due to the button and then it continues down here. See how nice that looks. By the way, if you want to, we can assign a new material here. Let's do the Phong or actually I like the blink, the blend better. There we go. I'm gonna do this purple material. I usually like to keep the color of light at first. We can see things a little bit clearer. And here's where we're gonna be able to see if there's any weird painters or anything. And as you can see, it looks pretty **** nice. It looks, it looks quite nice. Let's go for the proper tone. So I'm going to say delete history here, grab this blowin the color, and you can just color, pick, and pick the proper color. There we go. So again, it's a little bit too dark for me. I like going a little bit lighter and then once we render, we'll change it. There we go. So again, there will be able to appreciate what or not. We have like some big pages or the form is like moving in a weird way. So for instance here I can definitely tell that this guys are a little bit like elevated. So all of these guys definitely need to move them down. So they follow sort of like same inclination that we have with the button. There we go. They go into the button. There's a couple of pinches there. We're gonna see if we can get them, get rid of them. I'll later on, so far, So far so good. Let's go to the other side. And this is again, we've mentioned this before. This is gonna be one of the tricky areas because we have this circle and then it goes into this hexagon. So I'm going to start again with assumed her. So just move the cylinder up, rotate this 90 degrees. Grab the outer faces, extra them outdegree than natural. Grab that edge loop, shift, select everything, and delete. We do have our little navigation thing turned on right. There we go. So we grab this guy and I'm gonna grab the edge loop, the outer edge loop. There was, this one's gonna go all the way there. And then we're gonna grab the inner edge loop. And then this one's going to be right there on the, on the hexagon shape. Let's position this as centered as possible. Again, here's where we're gonna have a little bit of phone. It's not an issue, right? It's not a problem, but we're going to need to solve the effect. Somehow. We're going to center the split here, snap it to that so that it's flat on the rest of the elements. And I know that these two guys are gonna be welded together. It's just a matter of combining. And we can grab 123456789. And same thing here, 123456789. Rich, There we go. If it makes sense, like if the connection makes sense, we just keep going. There will be a couple of them like over here, where we might have a triangle like that. Actually that's not a triangle, that's a square. We can just fill it. And then like here, probably the last one before we started with creating another kind of topology on this side, over here. On this side, what I'm gonna do is I'm actually going to use my quadrant. I'm going to start drawing the little circle right here. So that I know how the space are gonna be organized. But they know that I'm not perfect. Like my circle drawing skills won't match the ones from a computer. So if I do this, for instance, let me check how many faces we have here. By the way, I don't think I've mentioned this, but right here I have this information that tells me how many vertices and stuff are in my scene. To get this thing displayed, you're gonna go into display, heads up display. And you'd want this one called poly count right here. This one will tell me if I select this entering, it will tell me, yeah, there's 16 edges right there, which is perfect. I'm going to grab this inner edge loop and we're gonna do, of course are circularize. You can see that the twisted thinks a little bit, that's fine. We can just rotate them back slightly and then they wish should be we should be doing well, they're perfect. I know that's a perfect circle and now we can finish building this or bridging this thing over here. Let's bridge and breach over there. Here. You can always think about what the best possible outcome for your topology is gonna be. So here we can actually create one of these like little U-shapes. And then a triangle thing that's gonna be nice. We might even do that here as well because we have one. Yeah, let's do here. Then a triangle there. I liked that one. Nice flow there, and then the triangle here. So as you can see, there's a match and Legos pretty much around the whole thing or along a lot of the elements. We create a nice little construction here. Now let's start with this one down here because I liked this one. I think it's I think it's gonna be a little bit easier to show you how we're going to approach this. We're actually going to be using our Aquadro again. And I know that we can just bring the corners here. This guy is right here, which are like the beginning itself, the cross. Now to make sure that this are lined up, we grabbed the vertices and we scale them. Now I'm perfectly certain that this guys right here are flat. If for it, this one up here, flat them out. The amount. The amount, and this goes down here. We also flatten them out. Perfect. Now from here we need to continue building our edge loop. And I know this is a round dish edge loop. However, I think when we smooth this out, if we do it wrong, we might need a couple of more vertices or edge loops that I might want. So I'm going to keep it. Okay, Let's try it first like this, and then we'll see if we need more. So I'm gonna delete that one, delete that one. And as you can see, that's pretty much just like a triangle there. A little bit worried about that one. We might be able to layer or, or, or, or we can keep it like what we have here and use a little bit of football, hockey tricks like this. And that's gonna give me there we go, like a sharper, sharper corner while still keeping the topology clean and not allowing this to go into other parts of the, of the elements. So again, the way we do this, we do this a couple. They're both square there. And then we go just push this edge loops forward. Again. It's going to give you a nice, It's going to give me a nice Hold on the edges. So same deal here. Want to little square there, and that's going to be two squares. Same deal here. 12, little square there and here and here, there we go. Now again, it's a matter of grabbing all of these vertices and snapping them together so that they're completely flat. That way. I know that the border for this little cross-section that we have here, it's working perfectly fine. There we go. There we go. This is where the perspective of the camera might be a little bit off. So just try to match it as close as possible. Let me go. If we need to move this a little bit, long as we didn't move it outside of a circle, which should be fine. There we go. So we press number three. As you can see, the corners are looking nice. What's not looking as nice? Are the the main corners like up here. So here's where, again, the Cut tool can help us with a little bit of a pinch. We're just going to add a couple of triangles there. And those triangles are going to hold the edge a little bit better. So it's just a matter of adding this sort of thanks to help me with the, with the holding off the edge. That just vertices there. Yes, that vertex is gonna be like really tense, is going to have a lot of work to do. As you can see, it's going to hold the shape pretty easy, pretty nicely. And we're still gonna get what we're looking for. Now the only thing I'm a little bit concerned about is that there seems to be this sort of thing going in. This cross seems to be going in, into, into the cavity like a sphere going inside. We can't try to replicate that. Let's first create or actually no, let's first try that. So I'm gonna grab these four vertices right here. I'm gonna press B, which is soft selection. And I'm going to press B and middle mouse drag to create this sort of like self-selection until we cover most of the circle. Now if we push this in. Should be creating that sort of effect that we want. Let's add the outer edge loop right there, which is going to hold the whole element. And let's see how this looks. So yeah, that's not bad. I mean, it's looking good. There's definitely a couple of pinches there that I don't particularly like. Maybe here's one of those things where I might try something else. Because otherwise the topology might be a little bit like wrong. This is not a bad method. As you can see, we do get the proper elements that we need. I'm just going to press W. And we do get this sort of effect. Which against not bad, It's not looking at Beth. Let's try a bevel because I think we can get away with this one. I think it's just a matter of like bringing maybe this vertices. Just a little bit down to help again with the curvature tool we're going for. We're probably gonna have to do the same thing with the lower vertices right here. Push them in a little bit. Maybe even this one. And this one's there we go. I've mentioned this before. This one of the things that they love about modelling, it's like solving a puzzle every single time. So things started getting a little crazy here. With this vertices like that British, that vertex is doing a lot of work to try and hold the deform together. And that's why we're getting those like weird pinches. The only way to minimize those is to relax them a little bit. We can't really move this one down because that will solve the punishment will create another issue. So let's take a look. Let's apply the same material that we had before just to get an idea. Yeah, So as you can see, we are getting World War we're going for, but it's not exactly solving it in the, in the same way. So I'm going to stop to be the right here guys. And the next one we're gonna rebuild this. So I know that normally I don't like to backtrack a lot. But in this case, this is not really working as what we have in the image, so we are going to have to find another approach. Thankfully, all of this split is complete. All of the bunch over here complete the pinch or the nice little bubbles over there, or looking nice as well. Just trying to find everything here is on the same plane. We did the same plane. They're strength to see how this thing looks a little bit better. Yeah, that looks way better. Way we'd better. Perfect. So yeah, I'm gonna stop talk with you again and again. As I've mentioned, we're gonna be rebuilding this. I'm gonna show you a different technique, which is a little bit more complex, but I think it's going to give us a better result for this cross right here. So hang on tight and I'll see you back on the next one. Bye. 18. GC Dpad Modelling: Hey guys, welcome back to the next part of our series. Today we're gonna be doing a D, D path, which is the directional path in the Game Cube, which we were not able to properly in the last one, Let's watch that we were using was not that bad, but it was not doing exactly what we wanted. So the first thing we're gonna do something like clean all of these things up. And I'm just gonna be left with this little icon right here. Now, I think I've mentioned this before just to make sure that you have this turnout so that we know how many phases we have. It's right here on Windows. Ui elements are starting to display, heads up display. This is polygon, so I know that here, like right here, we have 16 edge loops. And that means that if we were to create a new cylinder, for instance, we need to make sure it's 16 sites as well. That's another quick way to do this is we can just grab this guy right here. Actually, no, I want a perfect circle, so I'm gonna grab a new cylinder, bring it over here. There we go. I'm going to rotate this 90 degrees so that it's facing us. And then with V key, I'm gonna stop there and then I'm going to snap it right there. So I know that's right in the center of it. Grab the object, go into the inputs, I'm gonna change this to 16. There we go, grab all of the phases, extra them out to get a nice edge loop there. Grab this edge loop, select everything else, delete. And that's how we create this thing, which further we can also use a pipe if you find a little bit easier. I like this method, but it's very similar. I'm going to increase this size until we hit the little border right there, which is about there. And then what I'm gonna do is I'm actually going to bring this thing down to that circle over there. And I know that this thing has tasked to have certain geometry like a security guard is like a half a sphere right here, which is how this thing is gonna go. Which step out there, I would say. Now, this is one of the important parts. I'm gonna insert a couple of edge loops and I'm gonna do one right here, which indicates where the top of the arrows are. A little bit on top or a little bit after the top of the arrows is going to be important. And then I'm gonna do another one right here, which is right at the middle section, and then another one right here, which is where the whole thing like ants were, the little crosses. The reason why we need this guys is because we are going to be using Booleans, which is something that we normally don't use because they're really aggressive. But in this case they're gonna work very, very nicely. So I'm going to bring this thing here, a little cube right here, snap it in the center as well. I'm going to make this thing as big as what we have right there, which is this shape right there. Then I'm going to grab all of the phases that are on the sides. Control E to extrude them, Keep Faces Together off, and then just push them out so we get the nice little like cross-shaped that we want, which is this one right here. And I know that I want to remove this shape from this element right here. I'm going to select the first element, the second element, and I'm gonna say Mesh Booleans. And we're gonna do a difference that will subtract, as you can see, the element. Now, of course we don't need all of these phases. We only want the cutout of the cross section, which is this one right here. Which as you can see, it's great because not only are we getting the color that we need, we're also getting the curvature that we have there on the reference, which is tricky, but it's working right now. Sure know, if you have a really sharp eye, you're gonna notice that this thing has symmetry in four sides. So if I were to only work on half of this or like a quarter of this element, we would be able to duplicate it on all of the other sides. I'm going to select this half element right here, and delete and this half element right here and delete. What we're gonna do is we're going to rebuild our little cross with this things that we have right here. Technically, we could even do like just one section and this would be like a pizza and we'll do like eight sections, but I think it's a little bit easier this way. So this vertex, for instance, I'm just going to V and move it right there and combine or mixture center. Same for this one, we're just going to move it right there, grab both and Merced to center. And that pretty much solves the topology like right now. We only have one topology issue, which is this one right here. But that one can be very easily solved if we just go here, here and here. That way we just created while still following the curvature, we've just created the shape that we need, which is this one right here. Now if we want to sharpen the corners a little bit more, then of course we can add one more line. Let's say like here, here, and here. That one right there will allow me to hold this edge a little bit better. But you can see that here we're getting a weird pinch. We could solve it with little triangle right here, like this. And that one's gonna hold that edge a little bit nicer. The same thing over here. So there, there, there's three. And that should give us a nice effect. However, as you can see, it's pinching it a little bit and that's not exactly what they want. Another way in which we can solve it though is just add one line right there and right there. And that's also going to alleviate a little bit of the pressure. However, in this case, I'm just going to take them off for now. Because I know this is also something that I've encountered before that when we extrude this thing back. That extrusion is also going to help that pinch right there. As you can see, it's not gonna be as obvious. And of course, when we add an other international right here, that's going to really hold the surface a little bit closer. Look a little bit nicer. So, yeah, that's helping quite a bit. And however, one thing we know about this that really, really helps all of these elements is when we loop things around, like when we have an edge loop that's going around the different elements. So that's what I'm gonna try to do here. What we're gonna do is we're going to move the flow of this topology in such a way that we create a nice edge flow. So I'm gonna go here to the center. Let's add a point right there. Then we're just going to start looping this thing around like this. That little triangle there I'm not too concerned about. Because as you can see with that new loop, it gets quite reduced. So that's good. We can fix that one later as well. So I'm gonna go here. Look this thing around there. This is pretty much like moving the flow in the way I want. We can actually grab these two guys and merge to center. Just move this thing. Let's go to the front view that we're moving them on the same direction. There. There we go. Same deal with this guys. We can combine them. Move them to the side. There we go. When we print number three, as you can see, we get this very nice effect. I think we can even go and grab this edge right here and just collapse it. Because that would make the surface a lot nice, nicer. There we go. That's a really nice and smooth surface, which is really close to what we're going for. Now. We are getting this sharp line. But again, I'm not too concerned because I know when we extrude this thing, we should be getting a softer effect. But let's see how this looks. So I'm gonna shift right-click. We're gonna mirror. And it's very important that when we mirror were changed this to a bounding box because bounding box is the proper way to move these things around. The bounding box is gonna be x positive. So where this thing finishes, which is right there, we apply and then we get that perfect. And then we're gonna do bounding box white and negative because we're gonna go from the lower most section and we're gonna mirror it from there. There we go. So now if we take a look, let's add the other material that we normally use. Clean. There we go. Things are looking a lot nicer. Now. We're still getting a little bit of a pinch there on the corners. And I'm tempted to just delete this lines right here. Let's see how this looks. Is that better? I think that's better. Yes, you can see there's no more pinches we could do. Get the soft around the edges that we want for our element. And now of course we can grab this whole edge Control E to extrude, move it down just a scalar. So it has the same effect. And there we have our nice little cross-section with soft topology pretty much everywhere. And we can still grab all of the edge loop here. All of the edge loops, I'm going around the whole object. We can give it another babble. Giving me though, okay? Sometimes when sections are like this, when they're a little bit too difficult to work with, it's better to just like adding another edge loop there. And that's gonna give me that hard, nice surface that we want. Here. I do think that the skillset little bit off. I'm just going to cover the whole thing. Just make it slightly smaller. Yeah, I'm going to ignore this because I think the perspective of the camera is working against me right now. And that was just a matter of placing this. I'm gonna move the pivot point to the topmost bursae and then snap it so that it's right there in line with the rest of the elements. Grabbing both elements, we combine this guy and this guy and we just breach. You can see the bridge there like a weird thing. You can change the bridge offset until we find the proper connection. There we go. Now it's just a matter of probably adding one edge loop right there. So this is really sharp and we can see the difference from where we go into the controller. Now of course, if we want to make this a little bit sharper, we can try going in here. And I think it's like the normal lines that we've seen or that we've used before. Remember this triangle shapes? How would I am a little bit conservative? We do that, we might get some weird pinches. Now in this case, that's actually looking quite nice. Yes, there's a little bit of a pinch their dozen things, It's too noticeable. And especially as I got like a faraway scale, and I think that definitely looks a little bit better. I'm gonna do it for all of the sides. So again, just go from that little corner there to here. And down there. This little corner here, down there, pinches or one of those things that are really, really common, unless you use booleans. When you use booleans, you go into a whole different realm where we're like certain things are not as they don't work as nicely with cell division modelings, But they might look really good when you're truly printing and stuff. So even if we have like a really small pinch right there, it's perfectly fine. I worked for the I worked for a project for Blizzard a couple of months ago and the moles of the US had this real pages. So I can tell you with a true industry evidence that this is something that happens now. It looks nice up there, but it doesn't look as nice down here. I'm wondering why they're too far apart. Yeah. Okay. So we need to display this things down a little bit. The pinch is not as evidence. So if you see that your pinch syllabus too much, just push it slightly higher and you should get a nice, a nice effect right there. There we go. So we're just going to move the vertices are a little bit because again, this pinches a little bit too much. The cool thing is we know all of this follow the same like X or C pattern. So it should be fairly, or actually this one should be fairly easy to just move them to one side or the other without affecting the overall silhouette and curvature too much. Just this inner ones, not the little triangle right there, that one's important. See how this thing relaxes and we get a nicer effect while still keeping this very nice round shape. There we go. Yeah, that's pretty much it guys. Is it for the deep path? In the next video, we're gonna move on to the main stick right here. And after that, it's just a matter of finishing. The main form of the controller were in them. I think we're in a very good position. This is looking like a nice smile topology is flowing amazingly as you can see. And I've mentioned this before. In contrast to the, to the toaster do with it. This is not about creating the pieces because most of the pieces like the bundles, super simple to do, won't take that much time. It's more about like how to properly calculate all of the flows that we have here on our controller if you're having any issues, my best advice is opened the final project and just take a picture of this thing and try to recreate the exact topology so that you get the same result that we are getting here in this controller. So that's it for this one guys. I'll see you back on the next one. Bye bye. 19. GC Main Stick: Hey guys, welcome back to the next part of our series. Today we're going to continue with the main stake of the game controller. We're going to be using a trick to the game. It's one of the matrix that I wanted you guys to learn after all of these courses, which is, don't do more work than you need to in this case. That work means that if we already did an octagonal gate in this site, Let's just reuse it. So I'm going to Control D to duplicate the whole game cube controller. And then I'm just going to delete the faces that we have here around. If we have a clean edge loop, it will be a little bit easier. But since we don't have to do this sort of thing, right here, there we go. That's it. Now let's just double-click everything else and we are left with this thing right here, which as you can see, it's an octagonal gate, which is exactly what I'm actually going to delete these guys right here. I do like to keep the other elements over there, but I am going to delete this one. So the outer, the outer edges here. I just wanted to have the basic octagonal gate because this shape is a little bit interesting. Oh, actually, I just know that there's a little bit of a weird thing here, because this dot should be Around there. There we go. So now we have this octagonal gate with nice divisions and everything. We can use this to create the next part. So here's the tricky part about this other octagonal together we need to do, I'm gonna do a central pivot and we should be able to snap this to here. Here, there we go. So that's the midpoint. Let's play around with this a little bit just to, just to clean them up and make sure that they're as nice as possible. Like facing forward in all the directions that they normally need to face. There we go. The tricky part with this element right here is that this element is around. You can see it has this nice round shape and then it goes into this octagonal gates. So opposite to what we have on the other side, on the, on the little cystic that was a flat surface so we could get away with a lot of stuff because it was just a flat surface here. However, it won't be as easy. And actually, I'm actually tempted to delete this sessional strike now, like the extra tools that we added, just to make it a little bit easier for us because we know that we can add those later on. In this case, we're just extracting the basic shape there. The first thing we need to solve before we actually solve the, what's the word? Looks like? I messed up there. Before we solve the connections. What Scratch that. I was making. I was trying to make sure that we could reuse this thing. But again, since we're doing this flat thing into, into smooth thing, it's going to be a little bit difficult. So instead of doing that, let's do a just like a traditional approach here. I'm just going to grab this edge right here, extrude it, scale it in. That's where it's supposed to be going and then push this out, which is the roughly the size of the hole that we need to create there. Again, the tricky part here is that we need to make this top areas as flat as possible so that we get the octagonal shape. The problem is if we take a look at how many edges we have here, it's 20. And unfortunately, even if you're extremely good at math, we can't bite 20-byte f by eight, right? So there's not a specific amount of sites that we could use to generate the perfect circle that we want. However, there is a magic number that's really close to 20 that we could use, and that number is 16. So if we could minimize the amount of lines that we have on this edge loop going into this top arrow right here, we might be able to make it a little bit easier for ourselves. So how many edges do we need to delete? We need to lead four edges. So I'm going to grab one inch right here, one that's right here, one that's right here, and one that's right here. As you can see, I'm going to like the borders and doing a clockwise thing and we're gonna collapse dose. So now what we've created is we've changed the way the circle looks into a, into a sided circle. That should allow me to position the little points of my hexagon in an easier way. However, this is not circular anymore and I'm actually going to go all the way down here to this guy's right here, this triangle is, and we're going to collapse those as well. Because I don't want to triangles to be in the round area that I'm looking for. Now I'm gonna grab this actual right here, like all of this one, and we're going to circularize it. So Edit Mesh, circularize and that's going to really give me a nice sharp circle. Nice. And we're going to do the same thing here. There we go. You can see the circle even moved a little bit, which is fine. Because what we're gonna do is we're going to start flattening out some of the edges here. So for instance, I know that this one right here, like this, right here, that's gonna be my, my first pentagon or the first part of my hexagon. So I'm just going to start moving. This guy's slightly so that we can create nice like eight sides here. So let's go there. There, there, there, there. And there. Now, as you can see, when you see it from afar, this should look like a hexagon. Right now it looks super weird, that's fine. I'm just gonna go mesh display and softer niche because we're combining a lot of stuff that's missing things around. Now that we have the octagonal gate like we actually have the sites that we need. Yes, you could, of course, just like control E and extrude this thing like back. And that's gonna give us a very nice effect. But first I want to make this a little bit sharper. So I'm going to assign a international like down here. When we press number three, as you can see, we get a nice effect there. This is where again, we're gonna be using the trick that we've used before. But before that I'm going to bevel this whole thing. So I'm going to bevel this width. Let's go into our options. Poly bevel. So it's gonna be a small fraction and we're gonna do two segments. It's gonna be really important that bevel is gonna be super supreme important because that's the bevel. And we're going to use to stop the hard edge that we're about to insert here. So when my little cut tool, we're going to go here, here and down there. And as you can see, that little elementary there will allow me to create the nice little pinch, that effect. Now, in case we wanted to make this pinch a little bit less intense. Remember we can slide this edge, mesh tool. Slight edge, just like move a little bit more like out. And that's should soften it quite a bit. There we go. That looks quite nice. That tells me that the cuts that I'm gonna be adding needs to be a little bit farther out. And I'm thinking so right about there. Again, that guy right there, we'll hold that and will give me nicer, sharper edge. Maybe that's a little bit too much. Let's go like half that. There we go. Same deal over here. It's 123. Down there we go. 123. Down there we go. 123. Down there we go. Oh, one. Deciding where to go, right or left. That depends on where the topology feels like it's going to flow a little bit better. Some of them it feels like scuffled better on the underside. And some of them feels like it's going to flow better on the top side. Where I get a nicer triangle, like a more like equilateral triangle. That's usually where I'm gonna go. There we go. Now. We get our nice hexagonal shape right there. Now if it's looking a little bit too sharp, that might be due to the, due to the bevel. So we could grab this edge. Of course, we're going to have to grab all of the elements. I'm gonna see if I can slide this. Yeah, we can just slide it back a little bit. And that's going to make it look a little bit softer. There we go. Because the Bible is not gonna be as intense. Or you could also grab all of this face is right here. Just slightly skilled. Him in. The Bible is a little bit like a rounder. That should give us a nicer effect. There we go guys, with this, we're pretty much done with the main faceplate of the controller, like all of the crazy buttons that we had to do, all of the crazy edge loop being and things and movements and stuff there. Now, done. However, I do want to do something before we move on to the next part. And that is I do want to do the height of this guy is right here. So I'm gonna go up this edge right here, go all the way to this actual right here. We're going to control E. And we're gonna push this back. Now, again, this is where things are gonna get tricky because as you can see, some parts of the elements in parts of the controller, like this ones right here, stop. Like right above there at the seam line. And others started moving up like this. But this is where having all of this reference images is gonna be super, super helpful. Because we're gonna be able to know where to position all of these elements. Some of them again, are gonna be really close together. And then they can see that. I remember, I've mentioned this before. I do have one of these controllers, like lying here with me. I know that these things are quite long. Like you're gonna see this element going quite far back. But as you can see, this is the insertion point for the hands, which is gonna be the next part that we're gonna be working on. That we definitely need to do the same thing on the other side. But since it's the same geometry, I think it's better if we just make sure that this is working properly first, which I think of this and I'm gonna show you this trick right here. I'm gonna grab all of those guys. And we're gonna say Edit Mesh, duplicate. Then this new duplicated the face that we have, that object right there. That one, I am going to say mirror shift, right-click mirror. In this case it's gonna be World x negative pi halves on the other side. There we go. And now this new one, we delete, this face is right here. And then combine these two objects. If we go into vertex, select those vertices and hit Edit Mesh merge. Remember 0.01 is a secret that only vertices that are touching each other, merch, we should have the perfect mercury. Were there. Look at that. Beautiful. Yeah, that looks pretty good. I would say, yes, we're missing this inner part of the controller. We need to find our figure out how we're gonna be dealing with this. I definitely, definitely, definitely know that we're going to have one that should look like right about there. And we're probably gonna be like grabbing these two guys and merging to center. We need to do that on both sides of of course, but well, we'll take a look at that after we're finished with the little handles. Because it handles are gonna be playing a really important role on how everything else are merged together. That's it for this one guys. I'll see you back on the next one. Bye bye. 20. GC Handles Block In: Hey guys, welcome back to the next part of our series. Today we're gonna be taking a look at the gain handles. So let's get to it now before we jump into Maya, this is one of the pieces that I think we really need to take a deep dive in hearing inside the Photoshop. Sorry, to understand what's going on. We know, or at least I can even fear from this image is that the little circular things that we have here are gonna be welded together to these area to the right. So eventually they're going to go all the way to the bottom like here, where they're gonna be welded on this height right here, the backside we can see right here, it's made up of two parts. There's one and this one. This back part. I don't think it's that complicated. I mean, it does have a couple of things and the curvatures and stuff, but it's not really that difficult. I would say the most tricky part is this one right here, because this is where the union of all of the things that we've done so far, we'll come into place with the handler we need to do. Some of you might be tempted to start modeling this handle as a separate piece and then this headless another separate piece. But I'm gonna propose that we actually start modeling both at the same time, like this whole piece over here. This lists all of this area right here. And then after, after we get to a point where we can't continue, which is gonna be right about there, I would say then we separate the pieces and we continue like merging this to our front plate, which is all of this air right here, while still keeping this thing in tax so that when we merge them together or when we create the dilute that they need, we're able to create a nice little transition. Now, what are the things that we need to consider? Well, there's a very specific shape, like a different color that's coming in this side right here. We have topology flowing in this side. And then we have topology flowing on all of this lower sites. So we need to make sure that everything flows in the best possible way. And he creates a nice round handle for the whole thing. That's where we're about to do. So let's jump into my arrow quick. Cool. So we're gonna now back here in Maya and it's time to start working on the handle. Now there's one thing I'm gonna do. I'm actually going to extract this thing right here, like this, like the plates that we have right here. So I'm just gonna say Mesh tools Edit, Mesh, extract. Because I think it's a little bit easier to just combine these things with a handler rather than combine the whole thing. We already know that these things are going to work nicely, like we've done the initial setup. So I know this are going to organize and I'm also deleting that one on the other side because we just needed one side and they'll will mirror it to the other to the other side. Before I continue though, let's clean up this thing because it's a mess over here. So delay history, I love this front cameras, so they created we don't need, It's probably mistakes are just lead and that's it. We should only have two poly surfaces right here, this one and this one. Now, if we take a look at the controller, this is a very round shape. And some of you might be tempted to do a Aquadro around or like a plane or something. This is one of those instances where it's a little bit better to work with a three-dimensional shape. It's a little bit harder though. You're gonna see that it's a little bit more tricky than all of the flat areas that we've worked on this side. Because we now need to think about the 3D structure of the thing. I'm gonna show you one trick here. I'm going to go into right view. I'm going to create a cube. And then this cube, we're going to smooth it out twice. So I'm gonna go mesh, smooth once and g to repeat or just change the subdivisions and it's moved twice. Because as you can see right here, this cube has a really similar shape to what we're looking for. I'm going to rotate this slightly so that we're pointing downwards. I'm going to try to get the middle section right here on the little crevices that we have over there. Now, I'm going to start using the vertices that we have here, which are relatively few. To start giving you this the form that we need, I'm actually going to delete all of the top part right here. So all of this faces up here. We're gonna leap and I'm gonna try and match this thing as close as possible to the silhouette of the object is very important. We rotate things around and they were doing this on the right view. Very important that we're doing this on the right view because that way we're selecting vertices on both sides of this like little sphere thing. This one's gonna be my middle section and the middle line. I'm gonna try and match it as close as possible. Because eventually we're gonna be using that to extrude the whole thing or to create a little division there. Push this back. We don't want to live as much distance here. So let's start moving the vertices here. So the distribution of all of the elements, as nice as possible. There we go. So as you can see, we're creating this nice little cap here. Like we're, we're, we're pretty much matching the civil out of the element. You could even go to the edge loop here, scale it, and then rotate it to match like the perfect silhouette. And you can see when we approach number three, that looks like a really, really clean effect on the site. If we go to the front though, not gonna be looking at nice. So we need to move this thing to the front position that again slightly tilted here. Let's start by moving this too in. And we're gonna go into number four, which is wireframe. Here's where I like to grab my image plane and lowered the Alpha gain 2.5. So I can see my lines a little bit clearer. In this part. You might want to do a double value. So I'm gonna go in order to make a W there, there's a couple of ways to do it. Of course, I like this one. So you can select this one right here, the second option, and then here I'm gonna go right view and this is gonna be my front view. On the right view, I'm going to select all of this Ashlar right here, this one. And then here I'm going to scale it only on the x-axis because we've already modified the other axis. So only the x-axis to match the elements. I'm going to grab the next ring, which is this one, and match it only on the x-axis. Grab this one and match it again only on the x-axis. Down here. Like this, kappa faces all of this 16 phases right here. We're going to do the same thing. Grab them on the site and then match them on the front view with the shapes. So when we press number three, as you can see, we get this very nice effect. So now my handle is actually looking like the handle. We have the proper shape of the handle. Yeah. I really like how this is looking. If it's looking a little bit too sharp here, for instance, like on this guy right here, we can either push that one out or grab this guy's push them out a little bit as well. This is a little bit more about 3D box modeling techniques that we're looking at that as you can see, they're giving us a nice, nice result when you see like a weird pinch like on this guys right here. See this word pinch right there. Grab it. We push it because we need to make sure it looks good on all of the sites. You can also change the color of course, to the, to the blend that we're using, the orange so that we see like a smooth transition of the surface all along the elements. Let's go back to right view on this one. I'm going to go to this actual right here, and I'm going to extrude it all the way until we hit this border right here. When he Control E, W and I'm just gonna move it all the way up right about there. It looks really weird because we were creating in some very interesting overlaps right here. But this is part of this technique where we move things around on both sides and we tried to match them as close as possible. Let's have a couple of factual, so I'm gonna go 12 over here. This ones are quite easy to select and move around like this. Those wants to go over there, That's fine. Then this one's person number four again there to see the curvature off the object. There we go. So we match this really nicely. We can move this ones as well little bit, just to get a nice transition. Here on the front view. Most of these ones on the side of them are doing great. This one's right here. A little bit tricky. Here's where I would go into perspective. You be like, Okay, let's see. We're gonna grab this edge, this edge, this edge, this edge length, four edges only. Those are the ones on the side. And we're going to push them slightly out. And then 1234. And we push them slightly out like that. Perfect. Then 1234. Here I don't see it. It's hidden, but I can, I can estimate where this thing would be, which is right about there. And if I see some of these lines are a little bit too, like they're moving a little bit too much. We can help them by relaxing a little bit of tension that we have there on the topology. So feel free to move things around, but try to always move them only on one angle at the time or whatever, one of the axis at the time. Because you can see here, see how we start getting this very weird effects. So that's where we start fixing some of that so that when we press number three, there's no weird Pinterest or anything and things are looking as nice as possible. Perfect. Let's go back to a right view and now it's time to start bridging this shape right here and this shape right here together on this, on this area. But in order for me to do that, we definitely need to separate this two shelves. So I'm gonna grab this edge right here, and I'm gonna say Edit Mesh detach and then grab the object and say Mesh Separate. And then the two holes are gonna be separated. I'm going to rename this guy. So if you go to the outliner, you can call this back a handle for now. There we go. And we're gonna leave this one to work with. So now I know that I need these two guys. Are this two guys to work together? I'm actually going to select my image planes and isolate them on both of the viewports. Isolate here. Then isolate here so that we're working with the image planes and that area are those elements only. And we need to start thinking about how are we going to bridge this thing right here to this plate right here? The easiest way is to create a world, of course, a bridge. Now I know that we're gonna be stopping right about here. So I'm gonna start with my cut tool and I'm going to create a little bit of Off an edge loop here. See that? We're going there. There and let's stop right about there. Then what I'm gonna do, I'm gonna delete this phases. Now, when we combine both objects, I should be able to fairly easy bridge from one to the other and connect both elements. The way that they're supposed to be connected can even go here and connect. And even here in Connect, there we go. If we need to, like if I see that the interpreter hears a little bit to like not as nice as possible, which in this case actually looks really, really nice. But if we needed to, we could just add one more edge loops that were there and that'll be it. Now on this side though, as you can see, we have a little bit of a problem, but it's not really that much of a problem because the only thing I need to do as they need to lower this guy is down. I'm gonna go with this two edges, bring them down on the y-axis. Then grab this vertex right here and this one right here. Actually, let's make it even easier. When these my cuts will again, I'm going to create the edge loop that we lost over there. There, there we go. Now there's two phases. We just delete. That's it. Yeah, that's that's gonna be the end of this front butt right here. Now, I would imagine since this thing is made up of two parts, that these guys right here like this, actually what we have here on the circle will probably end all the way like in here, because this is half of the controller and you can actually see it. It's just really, really big. It's, it's a, it's a nice transition and you need to have some sort of cut, right? Otherwise, this thing won't work. So it's definitely going to go like quite, quite inside of the object. Actually give me just 1 second. I'm gonna get my GameViewController just to confirm that. And I'll show you a quick video. Give me just 1 second. Okay. So I'm gonna switch to the camera. We normally don't show our cameras throughout the biggest, but I think this is important. So let's go full screen. There we go. How are you guys? This is my controller. And as you can see, I'm actually missing something. Let me see if I can focus this. Like right above there. There's actually a line. Let's look at this finger here. The same cut line goes over here, but yeah, you can see this things are really, really thick. They do join with the background like they also have a seam line going around. That seems like it's gonna be important for us, I think, for the whole modeling process. So let's go back to to our course. Here. There we go. Yes, this thing will be as big as you're seeing it here. It's like a really big piece because he, they will eventually like a collider or merge with the back part of the thing. But the thing is, it has a seam line that actually goes like right about here. I'm looking at my reference and it goes quite, quite low. So either will create that seamless and that seam line actually combines with the seam line that we have going on over here. This similar right here should combine with this human right here. Which means the other topologies flowing in a slightly like a wrong way. Because again, this seam line, like all of this line that's our inner lives should actually be all the way up here. Now, can we do that? Yes, of course we can, but we're gonna need to slide this thing. So in order to create that shape a better way and make this thing a little bit more close to what we need. I'm actually going to take a look at the whole thing. Okay. Wow, it's really, really interesting piece. It does go down like this. But then at the end here, like this line right here, this edge actually goes like a really, really close to this area. So these two guys actually go like really, really close. They join or during merge with this line that we have over here like that one over there. We're probably gonna have to do a little bit of a change in topology. I'm going to delete that one right there to make sure that everything lines up as nicely as possible. That's how this little plate goes in here and this one actually goes forward. There we go. From here. Since we needed this main line, actually going to delete this face for now. Let's ensure the edge loop where this seam lines is going to be welded to this guy. Let's move this thing forward a little bit. Let's create another edge loop. Because I need this line to flow in there like that. It's gonna be like that transition that we're going to have this faces that we have right here. I'm actually going to delete this other edge loop because that edge loop right there is gonna be going to a different part. Now. This guy and this guy, Let's just bridge them together. It's gonna be a little bit of a pinch there, but I'm fine. And just to make this or keep the simple, let's just insert eventually appear. And we're gonna go from here to here, here to here, here to here, Enbridge. That way we complete our nice little hand like the front part of the handle, the front part of the little wheel. And yeah, I mean, it is a complicated piece. I'm not gonna lie. This is where things start getting a little bit trickier. Here, for instance, I definitely want to add another Insert Edge Loop to give this a little bit sharper. You can see it goes all the way over here. We can stop that from happening. We don't want that to go all the way over there. Over there, you can actually collapse this thing here. I think. Like if we collapse all of the edge loops and we just lived like a triangle on that area. Let's collapse. That should work fairly nice. Yeah, the finch that we see there is barely noticeable. And that way we can add one edge loop right here. And it's going to give me a nice sharp insertion point right there. That's it eventually, because I'm not gonna do that yet. We still need to do that like the back part of the object. But eventually we are going to mirror this thing to the other side. Of course, we're going to create the back part. So this one has you can expect, whereas my imagine this guys, we actually need to push forward because now they need to match this front butt right about there because this is where the Ottomans, other half of this wheel is gonna be, which is like the back part. So, yeah, our game can be controlled is looking good. This is a complicated object, but as you can see, as long as we are following the same principles and techniques that we've been using so far. We're gonna be able to finalize this thing in a very, very nice way. So keep on working on this one guys and make sure to get to this point. Try not to rush too much ahead unless you're already doing the exercise. Because you're gonna forget about all of these techniques and it's easier if you follow along. So yeah, that's it. I'll see you back on the next one. Bye bye. 21. GC Buttons: Hey guys, welcome back to the next part of our series. Today we're going to continue with the buttons. And this is actually gonna be sort of like a rest, be the OB GSA. These are very, very easy. I'm gonna show you a couple of techniques that I think you guys are gonna like to very, very fast or very fast way to create the buttons. Now, remember we mentioned that the little icons, the Adx, the DB, those are the kind of thing is the scene in the cystic. Those are the kind of things that you probably want to do with normal map or with a bump map. Can we do with them with Paul? Yes. If you want to take the challenge and do it yourself in a very similar fashion. That's how we did the logo for the toaster, go for it. One thing I'm gonna mention though, in case you want to do it, I strongly recommend using the type tool right here, which is going to create some letters that you can use as edge loops. But for now we're just gonna do it the basic shape of the bundles. So I'm going to select shift and double-click the phases that we extruded when we did the button holes. This one is right here. All of this ones. This one. There we go. Not the cystic and not the notice once the star button, the width didn't do it. So only this one is for now, I'm gonna say Edit Mesh and we're gonna say Duplicate. Immediately after hitting duplicate, we can use this little blue arrow to extrude them in just a little bit, just a tiny little bit. There we go. Now, what we have is we have four new bonds right here. The only thing we need to do is we need to make sure that they're working the way we want. So I'm going to go, I'm actually going to combine them all. Increase single object just like we can work on all of them at the same time. And we're just going to say Mesh display reverse so that the normal sort of facing forward. And I'm going to grab all of the inner elements right here, the interfaces control E to extrude. And we're going to use a thickness to create a nice little loop right there. Perfect. So that's, that's pretty much it. Now the buttons are a little bit like raised, so I'm gonna push this guy's a little bit up, just a tiny bit so that they're not completely, completely flat. Now, we need to go to each one of them. And I'm gonna say, I mean, we can do traditional topology, but in this case it's just since they're just caps. I'm just going to go to each one of them and say a mesh, feel, whoa, whoa, whoa, and feel whole. Grab all of the phases. And we're gonna say Edit Mesh POC, which is going to create a nice little point on the center. Now we're going to grab the both edge loops that we just created. We're definitely going to go probably like two segments and the slightly bigger fraction in this case, because we want soft nice controllers there. Now you can see that we have a little bit of a problem here with this one. And the reason is, if you remember this one is where off-center and you can see them right there. Like both of them are a little bit off-center. So this is where you might want to warn you. It's not that you might want to, you have to make sure that everything is properly aligned. So let me go back a couple of steps before the bubbles because it's gonna be a lot easier to make sure that it says works here. So I'm going to press Control F 11 for this one. I'm actually let's go to vertex select both vertex control F11 on both of them and the width, my art key, I'm going to snap them so they're perfectly flat like that. Then I'm also going to do the same thing with this edge. This edge. Make sure that they're in the same element and then just push them back to create a nice little better. Now, the like, we shouldn't see any patria, anything because the objects are going to be completely fat. And of course, once we add the bubbles, all of those weird shading effects that we're seeing. Should the result. Grab all of those bubble, again, slightly bigger bubble, two segments. And there we go. Look at that. Perfect. Now let's say a couple of materials for this. Let's do a smooth here. Here we can see that they are working quite nice, but they're a little bit like we're still seeing a little bit of the other side of the GameViewController. We want them to sit really, really tight. Here. I'm going to split them. So I'm going to say Mesh separate, center pivot for each of them. Now. I'm going to just extrude them out a little bit. There we go. Perfect. That it's, it's very nice. There were probably going to have to push this one up because the button's supposed to be uncompressed for this one. So press number three, scale it up a little bit. There we go. Push it up. For this one. Number three. Scale this up a little bit. Push it up, look up this to get to watch me. I'm going to grab all of them. Split-second here. Let's push this out. There we go. I don't want to see through the object now, let's grab them real quick. And one thing that we definitely need to do is we need to make sure that all of the outer edges are deep enough so that again, we don't see any weird things going on. There we go. Let's create some quake materials here to indicate the color of the buttons. So there's one sign in material here. Just to blend. We can bring this over, we can just grab this one over here. Let's delete the history. Remember when you delete history, you're gonna see the material here in the attribute editor. It's gonna be the last one. I'm going to go, this guy. The color sample. We're going to sample that blue color that we have right there. That's good. Now let's go with the x and y. We can assign a new material. Again bleed. That's actually a great, that's perfect. Now it looks good. And finally the B button. So we're gonna say in another blame, we're gonna do with, this is something that I wanted to mention and this is why I considered this video to be like a rest VT0. Because sometimes when you're working on a project that's really demanding, such as this one that takes quite a bit of time. You feel like you're not moving along or did you not advancing its employees, doing small things in the project like this bonds that we know that we could've done at any point. It's kind of like a nice little incentive for ourselves. So it makes us feel better because we're moving along. It's something that we still need to do and it's something easier. So seeing things getting closer and closer to completion, it's always a nice, a nice feeling and I strongly recommend that you, you do that every now and then. So if you're advancing with the project and you feel like you're not moving as fast as you would like or things are not looking exactly how you want them to look. Just take a couple of minutes and model something or events with something that you really know that you can nail that you are sure that you're gonna be able to do properly. And something that's keeps you enough motivation to keep going. Talking about motivation. That's something that again, a lot of people kind of like haven't confused. You don't want motivation. You went the discipline. You probably heard this in other aspects of life, glycogen when exercising and stuff like that. Because motivation will only get you so far. There's so much more you need to do. And again, usually, what's gonna get you there? It's gonna be discipline, not so much on motivation. So now let's do the cystic and the remaining of the buttons. I think we have enough time in this video. So this one right here, it's like a sphere. If you've ever like open one of these guys up or any sort of controllers, you know, that this is like a sphere. This is like a half sphere, like this. I'm going to try to snap this and center this as best as possible. There we go. This sits of course, like inside of the little hole. A little bit like that. Then from the spheres you can see we have the little cystic. What's actually gonna be like a little bit flatter because you can see on the right view, we don't see this fear in here. So that's just gonna be like hidden inside of the element. And then if we go into face mode, we're gonna grab like again, right-click face. We're gonna grab this phase right here. Make sure that it matches. We'd like the size of the stick, which in this case it does. And then I'm gonna grab this guy, this guy, this guy, not those guys. Control E to extrude, bring them out and just snap them or flatten them. Actually, maybe it's a little bit too big. Let's only got that one. There we go. Control D. Bring this out, right view. There we go a lot closer. It's just a matter of beveling this thing right here. Bevel, small segments. So when we swallow, we get this and of course, on the base year, we definitely need to add a couple of support that just so that we get this very nice effect. I'm going to push this forward a little bit. Because again, we don't want to see, I'm looking at my controller right here and then see how it looks. And it is quite deep actually, you do see quite a deep on the bundle, the one that's not as big though. So maybe the perspective there is playing a trick on us. I'm going to bring this thing back, but it is definitely just the cylinder. Like there's nothing there. It's just like a nice little cylinder. What you're seeing right here. We're really close, they're perfect. Assign new material, bleed. And in this case, let's delete the history, of course. Scrambling. Like a yellow color. It's not yellow, yellow, SSR. Like egg yolk. Yellow. There we go. Perfect. Yeah, that's our that's our cystic. Seemed like a nice on the line that I don't want there. Remember Control O it was like oh, that's a double extraction. Okay. To remove that double extrusion just collapsed the etch. Like if you collapse that edge loop and we're gonna give me back two to the beginning. Perfect. So, yeah, that's the one. Now for the little crossover here for our RD path. We definitely want to grab like that the borders that would be an option. Or we could just use a new cube and build it from here. Now I can see that here we might be missing a little bit of the quarters, like we're losing a little bit too much with the corners. So one of the cool things about this here, technically, we should be able to do a very similar technique to have with them before, where we grabbed this corners right here and we label them. Let's go here. Let's do like two fractions are like a really, really small fraction. And two segments. Yeah. I mean, there's a slight pinch in there which we could or should be able to fix if we just remove that link, if we collapse everything to the center. There we go. That's a lot closer, I think to what we had. So it's just a matter again to grab this Ashley's right here. Merge to center. And we get that nice little transition there we go. Those ones. And those ones. Perfect. Now for the little cross here, those details. Once again, we can model them. Our, or we can just do a, or use a normal map to create them. I think since this chapter is gonna be really, really long and we've already covered the techniques to do this sort of thing. I think we're going to skip the modeling again if you wanted to take it as a personal challenge and Oldham yourself, feel free to do so. But otherwise, yeah, this chapter or this, yeah, this whole chapter will be like five hours long and another one that there's still other objects that we need to model. Very cool objects, by the way. Yes, So we're just gonna do the basic shape. Again, control E, Keep Faces Together off. We extrude them out so that we covered the main area. We're definitely going to delete the back faces so that it's easier to smooth and everything. And now this one, it's a very easy one because we can actually just bevel the whole object, give it like two segments. And again its mole fraction. That's going to create a nice smooth across right here. So it's just a matter of extruding this out again, I want this thing to be like really close to the borders. Another thing we can do is we can just grab all of those guys, boost them up. All of those guys push them to the side. All of those guys push them to the side. There's guys push them down so that when we create this little guy right here, It's really flushed to the surface, so perfect. I think my crosses a little bit too thick though, do you think guys, Let's go back to the original size. And in this case, I think I'm actually tempted to go here to the, to the actual object. Move the object. Move the object in down here. Actually, let's, let's do that at the same time, it should be easier. Grab all of those guys. Not the circle on the outside is the insight that all of these guys all of these guys, this guy, there we go because otherwise the D-pad was going to look like super, super, super big. And I don't think that's what we want. We want them. Again, taking a look at this, it's actually, it actually protrudes a little bit more than the than this thing here, which is what we have. So yeah, that looks, that looks good. That the path is not have, it does have a slight curvature because I'm taking a look at the references. That's the kind of thing that's really, really difficult to see on the elements. So I'm just gonna grab this face, press B, which is remember this MOOC selection. And I'm just going to push this thing in a little bit. And since it's a very uniform like sort of shape, like this thing should give me like a very nice effect right there. So that's the, that's the dependent we're going for. Perfect. Now we're just missing the final stick, which is the main stick. And it's again, very easy. We can actually the same way. So I'm just gonna start with sphere. That's just a snap of the sphere. The center points here are as close to the center as possible. Let's increase the size. Rotate this 90 degrees. Again, this thing is hidden inside of the elements. So when you see the controller from the side, you actually don't see the sphere. Well, it kind of completes the curvature. It's about there. And half of the sphere is of course hidden like you're never gonna see like this back part. So it's gonna be like that. Let's go back to the front view. It's a little bit weird. I did match the hexagon, but hexagon should be straight. I guess that's one of the cases where we're thinks I'm not perfectly line up. If you wanted to change this, usually it's actually fairly, relatively easy. I'm going to do a mask lasso selection and select all of these phases right here. Not this one's. Again, we didn't match the elements, so we can just turn this around a little bit. So the hexagon syllabary more like straight. It's not going to really change the topology because there's nothing changing the flow of the topology. Let's push this forward a little bit it and make it a little bit smaller. Over there. There we go. The main thing is I don't want to see the distinct to overlap with the objects so that we don't see through it. That's great. This thing actually does have a small head and then a bigger head on the other top. The bigger head is going to be all the way until this edge right here. And there's more, I would say it's probably about there. An easier way is to just select all of the faces. The big hit one right here, the middle, Control E to extrude this out. Then I'm going to add an edge loop here, which is the border of the little stick there. Grab this edges and Control E, extra them in that way we create the nice little neck of the element. And of course we need to again continue following the curvature here. So this one, for instance, we can bevel to create a nice topology or a nice curvature. And we'll just move this and scale it if we need to. We can follow the proper elements right there. I don't see smooth transitions, more like harsh transitions. So just a couple of spore the edges up and down. Like this. The stick is bubbled on this side. So we're going to bevel this. You get a nice smooth stick and you can see that we have groups, like we have, I believe it's 123 groups. In this case it will be 123 groups. Let's bubble them to create the groups. And that was just a matter of selecting those edge loops that we just created and extruding them forward. That's it. Create a nice little groups for the joysticks. As you can see how things are looking quite nice again, remember we're gonna be mirroring this to the other side. You can see how the whole controller is shaping up, so things are looking quite nice. In the next video, we're going to finish this front plate because we still need to create the groups are back here, which is eventually going to connect to the backplane. It's actually super simple. It's simple transition right here. And after that is just finishing the backplane and doing the trigger buttons. The job we're, we're pretty much almost done with this project. So hopefully this has been again, hopefully there's a lot of good information that they have found that this project, I wanted to do this project without like a lot of preparation. They actually wanted to go like this for you guys. See how it really is when you are working or whether you're modeling something you've never done before. You're going to find some parts that were, some parts that don't. And you're gonna have you're gonna have, you're gonna have to have, sorry, you're gonna have to have that quick mine to adapt and create the different things that you're gonna need. So yeah, this is for dunk guys and I'll see you back on the next one. Bye bye. 22. GC Finishing the Front Plate: Hey guys, welcome back to another video in this series today we're going to continue with the front face plate. We're actually going to be finishing the front face, but we have everything here. Remember every single time try to do an increment and save just to make sure that we're saving all of her projects. So the place here, it's actually really, really simple. The first thing I'm gonna do, I'm gonna go to the front part right here. They're gonna grab all of this edge loop. I'm going to Control E to extrude it and we're going to extrude it back, which is roughly about there. We can actually snap it with V key to make sure that it's right there where the other end meats. And on the other side, on the downside, we're gonna do something very similar. We're going to grab this face right here. We're going to hit Control E and we're gonna bring them, snap them all the way back here. So there we go. Now we definitely need to combine the objects. So we're gonna grab both objects right here, the face plate and the two handles. We're going to combine them, go into vertex, select all of the parentheses and say Mesh tools or sorry, Edit Mesh. And we're gonna say, But, but bomb merch, very important. Notice 0.001 so that only birds, these are literally touching each other, will combine with each other. Let's isolate this real quick so that we can work on the Facebook in that, in a better way. And we just need to think about what's the best way to combine everything. I think, for instance here, it will be good to just add one edge loop. As you can see, it goes all the way over there. But I'm actually going to work with symmetries. Let's try symmetry of World x. And let's see if this works. There we go. We're gonna do one right there. Why? Because now we're gonna go etch, etch and bridge. This works a little bit better when you delete histories, you all of these things that we don't need, Let's do the history. Sometimes the symmetry will struggle when there's a lot of things going on. And then here we're gonna do the same thing, it's just 12. And we're gonna do 123123 and the bridge. And that's it. That's pretty much the whole thing. We just have a couple of triangles right here and right here. So we're just going to say mesh fill a hole. There we go. And verse number three, we should see this very nice look at this. Look at how nice this front plate for the GameViewController looks. And it's a really complicated like, Believe me guys, I've been doing this modeling thing for more than ten years and modeling this sort of things is always super, super tricky. I tried to go as fast as possible throughout this, throughout this part, just to make sure that we don't go super, super long into the videos. But this is the kind of thing that you would spend a whole day modeling. So don't think that just because we can do this in two hours or a little bit more, you should do it as well. It's very important that we do give everything a bubble. I'm gonna go through all of the HCl right here. And here's where I might decide just to complete the edge loop, to select all of those areas right there. Let's try a bevel. And yeah, that's nice. Let's go into the bubble. Well, let's just add two segments to have a nice rounded bevel. As long as we don't get any weird pinch look at that, that even looks really, really tight. I'm checking my controller, we have something like that then. Yes, we actually do have a nice like a transition on that part. There we go. That's the that's the frog blade. Pretty much done. That was just a matter of checking to make sure that we don't have any weird, like Pinterest, that one right there. Remember the poly bevel, we can change this military uniform and that should give us a nicer effect over there. Perfect. Here's where I'm also going to start adding some Insert Edge loops. So for instance, I'm gonna go with an international right here, like this area right here. And that should like really, really separate this part like the departs from this other. For some reason the work it tried doing it, but since the things might be slightly different, Here's where I might turn this thing off. Let's do it again. So CO2, Let's do one there. One there, and let's check the result. And yeah, that looks good. So you always want the chiggers unmute options and see that everything flows and goes from one part to the next, as nice as possible. Now, I do want to close this guys over here because otherwise we might see the inside of the object and that's not something that you might want. I'm just going to select all of the elements here, especially the circle once first, like all of the buttons. A little bit easier. Because it would just say Control E to Extrude, extrude into, create a little bit of a bevel there. And then say mesh, feel whole to close all of those holes. And then we just select the faces, all of those interfaces. And we'd go Edit Mesh and say poke. When we press number three, all of those areas are gonna be closed. This one's actually close to them. Really weird way. Because of that pitch over there. That's fine. Quick, easy way to fix this. Just immerse to center all of these guys. We don't need the transition to go all the way like that sharp line. We can stop it right there with this nice transformation. There we go. Now, the shape assault, there's a couple of weird peaches over here as well, which is a little bit, it's a little bit weird. Maybe the faces are not perfectly flat. We can flag them up very easily, just are just bloop. Same thing here. Just grabbed the verdict X control F 11. And with our key, just snap it there. Control F 11 and snap it right there. There we go. Now, things are looking great. When we place the buttons on top. Even if we were to press them, we're not gonna see through the whole thing or through the other side. So there we go, That's working nice. One more thing that we need to do is the whole for the cross, for the D-pad. So for this one, again, as I've mentioned, we're gonna do something a little bit different. I'm going to Control E. We're going to offset first or thickness in this case, you can see how there's again, a little bit of mix and match over there. That's what those are the corners that we really, really need to fix. Because otherwise what I'm about to do might not work as intended. Follow the same process. It's just that since it's a slightly different shape, it's better if we do it as a separate piece. Again to feel whole graph this thing and Edit Mesh, Edit Mesh and POC. So we get this nice little light right there. And that way everything is close. Finally, we need to create the little gap that we have here and that's going to eventually connect with the other part of the controller. So I'm gonna show you a nice little trick here. We're going to extrude this whole thing. We're gonna do a little bit of thickness towards the inside and a little bit of offset. In this case, we're gonna do this or like angles here, that angle right there. And the other part of the element is going to have the angle going in the other way. So we're going to create here, let me show you with this crayon. We're going to create like a V-shaped going on here. Like weird. Oh yeah, we're actually, there we go. So we're gonna have a V-shaped going here and the other piece was gonna go here. So when we smooth, we don't have to fill in all of the back part because there's moth will look like there's like a seam light even though there's not gonna be two different parts, but it's still going to look very nice. Yeah, The only thing I need to do here, this is a sharp line. So we definitely want to have like a couple of additions here. Now as you can see, we have that nice seemed like going over there. And we're gonna have the other one going on the other side as soon as we finish, of course, the backplane of the controller. And that's it. This is a super, super small video guys to short video. We're again getting into the last parts of the whole thing. It's just a matter of building are finishing up this back part right here, which is pretty symmetrical. Yes, we still need to finish the triggers and we still need to finish the what's the word? Like the rest of the elements, some of the bolts and stuff. Yeah. Hang on tight. And I'll see you guys back in the next video. Bye bye. 23. GC Back Plate Blockin: Hey guys, welcome back to the next part of our series. Then we're going to continue with the game queue back plate. And here we go. So this is where we left off and we already have something above the bike. But I really like how this one turned out to look at that super beautiful geometry. That's what you want to show on your demo reel like super nice topology, everything like with the proper shapes flowing nicely. There we go. So as you know here in the front view, we actually do have the backbeat down here, however, well, the thrombi is not a place that you normally will work on the back view of an object. Which means that we are going to have to switch on to the back view. Now there's two ways you can do this. You can actually rotate the whole controller so that you are working on the backside or you can actually go into the back view right here. The problem with going into the back view is that the image, as you can see, it's gonna be like a little bit intrusive. So you can have multiple image planes and you can show them a high them either here on the outliner or down here under display layer. But I'm going to show you another one right here. I'm gonna go to frame one and I'm actually gonna select this guy and press S. Now I'm gonna go to frame two, and I'm just going to push it to the other side, to the backside if they wish, going to make back view right here and move this thing forward so that we match our controller as nice as possible. So there we go. So now if we want to switch, like if we're working on the front view, I'm just going to frame one. And if we were working on the back view, I'll just go for two frames to hit. That's pretty much it. The side view. We do have the side view, but again, it's a murder, right? So in this case we're not gonna be doing the right view, we're gonna be doing the left view, and we wanted to do something similar. So I'm gonna grab this image right here. And I'm gonna go to frame one, hit S, which is my main frame. And then go to frame two and move this thing down here. There we go. And on this view we're gonna push it on this side over here because now we're gonna be seeing the other side of the object, which has, I think we're gonna be seeing this one right here. Again, left view in this case. There we go. So it's this one right here. This should match everything really, really closely, as close as possible. There we go. Now we're ready to work. So at any point I can just switch to frame one and that's gonna be my image planes for front and right. This is gonna be my image planes for backer left. This is a method I'd like to use because I find it a little bit easier since we're not really using animation. If you want them to get this even easier, just go here, right one. And to your wrench later. And that way you're only going to have 12. Again. Let's go. There we go. So you only have two selections here and you can do this as many times as you want. I were clearly animating the image weights. So I'm actually going to clean up a couple of these things right here. So let's go into the geometry. Again, central pivot with this information, the history. And let's start renaming a couple of things. So all of the things that are ready we should rename. I'm going to grab all of these guys. I'm going to save them, were actually grouped them control G, I'm gonna call this a button's sticks. Again, sorry if my voice is something a little bit like nasal in the middle of COVID thing. So it might take a while for me to recover, but hopefully everything is clear. So this is gonna be the B button, is going to be a bud. This is gonna be the white button. This is the X button. There we go. This is the Deepak directional path. This is the main stick. This is the C stick. This is the start button. There we go. And we can hide them because we're not going to be using them right now. And this we're gonna cold front plate. And we can hide that as well. Now you can see that we do have a couple of things like this one right here. Let's delete the history and there's this poly surface thing. Whenever you see transform nodes, just like standing there on their own, that usually means that they're residue for other things. So just delete them as long as you don't lose any object here, that means that they were we're not doing it or there were not influencing or doing anything. Now, again, Let's collapse this hit H to hide them, grab the front, but let's highlight as well. And we're gonna be working on this guy right here, which is the backplane. Okay, so again, let's go to left view. I am gonna go actually to the back view. Technically, this is supposed to be the other side. Let's go to frame two. So this is supposed to be on this I, we're gonna go from this site to the other side. So I'm just gonna say right-click shift mirror x positive world because it's actually sorry, x negative. There we go. We delete these faces right? Now we're gonna be working on this. So that will go on the left side or left view. This is the area that we're actually working with. If we take a look at this thing, It's a very organic shape. And the main thing that we want to worry about this, this one right here. Continuing this thing right here and the two little gaps down here where the partners are being held. So I'm just going to grab this edge right here. I'm just going to extrude all the way up to there, which is where this thing is gonna be stopping. Now here we actually do need the back plate or the front plate because we are gonna be using it a little bit. Because I know that this line right here, this elementary here, should match with distributor off the object. And actually, one thing that we can do, and I think it's gonna be quite helpful. Let's duplicate this guy and let's extract the border of the elements. So remember that we did this pebble thing right here. I'm gonna grab that little border and this bevel thing that we did, um, and I'm gonna say Mesh tools or Edit Mesh and duplicate. Let's push this back a little bit because that's where the other student is gonna be. And there we go. So now we can again turn this off because we are the front plate because we don't need it anymore. We duplicate it. Yeah. Okay. So this one, we hide it and this is the only thing that we need, which is the board there, the actual, the board that we're gonna be, we're gonna be using. So I need to make sure this thing follows the same curvature that we have here on this board or which by the way, we can of course delete half of it. So this is roughly the shape that we need to follow. Now, for this one, we're actually gonna be doing a very traditional box modeling blocking method. So I'm going to start up here on this edge right here. I'm going to extrude this like back. So if we go to our left view again, here's the curvature that I want or that they have, right? So I'm going to go like all the way down here to about there. And then with my cut tool, I'm going to start adding a couple of lines. I know they're invisible right now, but they're there. And then we'd our vertex, we're gonna start like matching the curvature that we have here. There, there, there, There, there. There would probably need a couple more. Let's do 12. Again, keep it, keep it low, low poly, low rest. Because it's gonna be easier to work with little or less resolution. And there we go. Now of course, the phases or the other way around. So we're gonna grab all of these guys and we're gonna save mesh display, reverse. There we go. Now we actually don't need this guys anymore, like those two guys, this ones, we might need them in just a second because we now have the proper contour on this backside. And again, if we take a look at this, I know that this contour will go and becoming smaller. What's hidden? Like this area right here? What I'm gonna do it, yeah, I don't think we need this anymore. And if we do, we can just get it again later on. This is the temperature that I was going for. Actually, sorry, let me bring this back because we do I didn't need to make sure that we're pushing this guy properly. So let's go to the backbeat now. And I'm gonna grew up this guy right here. Well, not this guy just like the front gap. This guy is right here. Go again to the back view. We're gonna do is we can do a little bit of an extrusion from here to this guy. So Control E, We're going to move this up and we're going to rotate it slightly. Probably going to scale this as well so that we kind of follow the shape right there. Control E. Keep going. Wrote it a little bit. Probably scale. There we go. We might need a couple of more polygons, as you can see here, because we need to match this temperature as nicely as possible. We're going to need more over here, like see how much geometry we have there. So close to that, it doesn't have to be the exact same amount, but it needs to be close to that. Another way you could do this just to add one. Then again, just like start moving this thing around. Very similar to how we built the original controller. So see how we're going and following the elements. And again here let's move this guy a little bit so that, that distance is pretty uniform. Looks good. Go. Then if you need, we can just add a bevel. So there we go. You can see, thanks are looking in the eyes here. Let's go to our left view. Here. I could definitely see that we need to push this guy forward, forward, forward, same for those guys. Let's push them a little bit forward so that the shape of the object follows a little bit nicer. And we're only doing like etched by h. That's why it's very important to work with loa, loa topology because otherwise it becomes hydrophobic conjugated. So here you can see that the selectivity is like, I think that once that one's nice. And again, here's where we can use our double, double view. Let us go to a back view and there's gonna be, or actually this is gonna be the left view. And I see that this right here, this vertices right here. That guy, that guy, that guy, that guy, and that guy probably, they need to go in a little bit more. There we go. And then the next ones like this guy, this guy, this guy and this guy. They also need to go a little bit in. There we go. And that's going to be creating the shape before object against super low Pali. And we start creating this element right here. Now that we have this, which is getting really close to what we need, we can actually. It started finding a way on how to merge it with this other guy right here. One thing we can do though, like if I if I went to keep the silhouette but still have this one that's a separate piece. We can of course go into mesh tools or Edit Mesh, just say extract. That way. This is a separate object. We can grab this guy and this guy, and we combine. There we go. So I know that this guy right here will eventually merge with this guy right here. And we can just bridge it like this. Let's add a couple of divisions, probably like four I think. Let's go to our back view. We're going to push these vertices. They match the curvature that we have on the front plate. There we go here. Move it a little bit more again so they will match as close as possible. The gap looks as nice as possible once we spent, a lot of things are going to get smaller. Of course, we don't have to worry that much about it now, the next slide, I think it's a very obvious as well. We could just control E, extrude this back. It just again play around with deconstruction here, making sure that the curvature is followed. For instance, this vertices right here, I'm just going to snap it to the next one over there, and we're just going to merge it. And then here's where we're weird. We're going to immediately start seeing how this thing needs to be or how would he needs to start curving down so that we created the back plate of the object. There we go. I guess if we take a look at this object right here, I can see that there's a big bulge. So right around, I would say this edge right here. If we continue this edge, I know that this part is gonna be a little bit more like bulging. Then it's going to flow nicely to the rest of the elements. So let's grab this case now, for instance, work on that bulging area. So all of this control E, we move them forward. I know that that's gonna be the big part. And then from here, Control E. And we're gonna go in because we're gonna have a nice curvature going into the control. So this thing is going to be flowing. Let's move this thing around a little bit. Should be flowing and matching with the rest of the elements. But there's a lot of tweaking and moving and scaling that you are going to have to do. It would be great if we had like a more detailed scaled model of the game cube controller or like a lot of different views and stuff for the schematics. But unfortunately we don't, so we have to work with what we have right here. There we go. Let's have one more line here. Let's start bridging. So again, this tubers, he's there and let's immerse the center. Let's go from here to here. From here to here bridge. And here you can immediately see how this vertices right here, especially this top, once they need to start flowing down, I'm going to start moving these vertices down. The help them flow. He did direction of the topology that is needed in this specific places. Like that guy right there. There we go, because it's the stricter about if you have checked the intro to Maya course, one of the first videos, I think we do a barrel and we do a very similar technique where we analyze the curvature of the objects and we make sure it matches and flows to the best possible way on the on the assets. So there we go. That's looking good. Now we need to take a look at the other side view and make sure that the side view also has a nice curvature and pretty much go line by line polygon by polygon, making sure that this thing's flows the way we expect this one. These two guys right there, we bridge. Let's bring this guy back in here. Again, you usually want that. You don't want to do what I just did there, which is free movement. You will not go into the BU that you're working on like this one right here and push things in the way they need to, even if we start getting really tight. Like topology here, that's fine. Yeah, there we go. Let's start bridging a little bit here. So let's do 1234456, rich 78 here. I think I'm going to have a triangle. That's fine. It gets heated and it's a nice area here. We can actually save it. That's gonna be a tricky area because that's where the trigger is gonna be. So I actually wanted to keep it as nice as possible. Let me see if I can delete this one right here and just reuse this line right here and just bring it back a little bit more. Because again, they know what, press three, we're going to smooth everything there. So yeah, that that kind of works. Now, I definitely need to add one line loop right there. And that's gonna give me the remaining squares that we did here. Now this becomes a square. So that means that we really don't need a square. Because we could just, actually, no, that's the square that we did with another position. So let's just move this guy a little bit. And this becomes a squared that flows into itself, right? So press number three. There we go. I have this very nice effect, little bit of a page there. So here's where again, we can start using our vertex over here on this right view and start relaxing some of the elements. Remember that the further apart things are, the software things are going to be on a subdivision modelling processes. Here we go. Press number three and we get that nice little bulging shape down here and add the remaining part of the front element over here. Now we still need to finish. And again, I have my controllers here. So you can see the reference. This bulging area continuous. Of course. Let's turn on our front panel just to see where the little circles are gonna be. So yeah, so this guy is right here. Like this guys right here. We can kind of scale them down and bring them in. And then just scale them and snap them so that they're right there. And then these two parts exploits just merge center. There we go. Because that's gonna, this is where it's going to join together with the other parts of the little circles that we need to we still need to create. Sorry. Yeah, that's pretty much it. So yeah, that's that's the base shape. Now, before we move on, we're actually not going to stop it right here because we're already running under adult high type control here. I'm going to stop right here. And in the next one we're going to be polishing the border here. And we're gonna be doing the back triggers, which are very important parts of the controller. So hang tight and I'll see you back out the next one, guys. Bye, bye. 24. GC Back Triggers: Hey guys, welcome back to the next part of our series. Today we're going to continue with the back triggers, which is where we left off. So as you can see, the first thing I want to fix here, it's not going to go to the top view. I haven't got to start moving into Burtynsky's a little bit here that they really, really, really hug the surface of the fraud plate right there. So wherever we need this to go like closer, you could go into E2 smooth mode right here. We should be able to really break this guy's into the element. Let's delete that guy, which was the one where we're using as a reference. And there we go. So because, because what I want to avoid this, I want to avoid those gaps that we're creating. We're gonna create a nicer gap later on. But for now that, that works nice. Now for the triggers, we're gonna have to go to the back view and let's hide this guy again a little bit. We have this thing right here, right? So it's a really complex shape, but we can actually make it relatively simple here with the things that we already know. So what I'm gonna do is I'm going to actually use the vertices that they already have here. You can see that we have a lot of vertices. We can start by moving them and pushing them around to create the little like the little crevice where this thing is gonna be. So I know it ends right here and I'm actually going to use a triangle here. You're gonna see why in just a second. So there's a triangle, and I know that this object, Let's keep the back view right here. This object is like this face, this face, this face, this phase, this phase they switch this face, this face, this face at this phase that's the, that's the area of the trigger. What they could do here is I can just extrude this, offset, this quite a bit and just move it in. Because that's going to give me that nice sharp like a trigger area that we want. Now of course this thing, we actually need to kind of flatten this out, but other ones are flattened and it has this very nice round shape. I'm actually going to Pauli model by moving the vertices around poly modeling curvature that I want this thing to capture. Even if I did to do a little bit of free movement. And again, we don't have a schematics for this sort of like, like around this that we have down here. But I know that's gonna be there. We're definitely going to have a bevel along this line. So all of this line, we're going to bevel this thing. We're gonna do two segments and a small fraction. When we press number three, we're going to get the trigger holder. Look at that beautiful. Wow. I'm sorry, I'm getting a little bit excited that here because I didn't thought we weren't going to get it on the first try. Usually this sort of things they love of more complicated. So as you can see, yeah, it worked, it worked perfectly. That's the trigger holder that we're waiting for. That was just a matter of creating the trigger. Now, eat this trigger holder. There's a trigger and the trigger button. They look round, but the actual entrance to trigger thing, it's really, it's not that S a surround this a little bit more of a squarish. We're going to use this area right here like this face is that we have here 12345 to create the little trigger section. Now you can see that, for instance, does bursae right here could be like a little bit closer to the button. So we can move some of this vertices closer into the bump area. So we select this they are holding or are there close to the bottom? So let's just move this thing. Scale this. Now. We can rotate this. So we're going to have to have a lot of extra faces like this. And that's it. Now it's just a matter of adding a support edge right there. And that's gonna be like the entrance for the, for the trigger button. There we go. Look at how nice this looks. Wow. There we go. That's nice. Hopefully you guys can like, you should be able to follow along if you're up to this point of view. And George, all of this construction, I'm pretty sure you guys can handle this, which is again, it is a little bit tricky to build this sort of like organic shape. Well, once you get this look at how nice and tight this element looks. Now let's do the trigger and the trigger is again, a little bit tricky. It might seem like it's super simple, but it's actually like a weird cylinder shape. So let me, let me turn the camera real quick for you guys. And hopefully you can see it's frozen. Sorry. I'm not sure why the camera is frozen. I won't be able to show it to you, but there's this sort of like, weird like line. You can see it right here. We actually have it. We do have it. So it's just a matter of going into the left view, creating a cylinder. Let's move to the right here. Rotate this, I think 20 sites is fine for this sort of thing. 20 sites, I'm going to add a couple of heights subdivisions. So let's five, Let's do five. And we're going to make this bigger. There we go. That was just a matter of moving some of this vertices select up. This gets code down. Down, down and up. That's the general shape of the the trigger. Let's get to where it's supposed to be, which is about there. That's weird. The left view, that's the size of it, but then that's way too big. It's a little bit more like this. Let's pull this out. Title rest. You can really see it poke through. You're going to see it like this. There we go. Let's just a little thing that we have there. The industry, like a small little taper towards the edge. Here I'm going to show you another tool that's really handy, which is a, it's called the lattice, the former right here to form it's called a lattice. So it creates a box around the object. And if you right-click the box and go into lattice points, you're gonna be able to move this vertices and they deform the whole object. So they're really, really handy for things like this, where it, where you need to modify certain things. And the cool thing is you can actually add a couple of divisions. So for instance, I can add two divisions here. That way when we make this smaller, you can see that we can control how the curvature of the whole thing transpires. So I can actually see that this guy's, this guy's kind of go like low. They wrote it in a very, very interesting way like this, and they become like smaller. There we go this out so we can see how this thing is. I'm actually going in there and let's go into the lattice points again. Let's push this guy back there, injecting themselves nicely here on the bottom cavity. And the yeah, that's this free much **** because they again, they have this sort of like finger holder thing. Now when you're done with the lattice, very important to delete history so that you don't have it anymore and then you continue working here. We definitely did a couple of bevels here and here. So let's do a bevel control be, Bevel. Let's look at bigger fraction and the segment. There we go. So we get a nice, Well, the fact that we're there, it seems like, okay. So there we go, There we go. Control B. That's really weird. It's doing that. Let's delete a straight just in case phase transformation. Because the Bible is doing something a little bit of weird. There we go, That's a little bit better. Two segments. The smallest fraction there we go. So it follows the appropriate curvature. Nice. Now over here, the controller, I can see that the ejection point is actually not like this and it kind of like grabs some of this person. You can also use soft selection. I'm going to move this vertices in. There. We go. Some of them out. We could go to the boxy area here, like this thing right here. Grab the parentheses right here and make them fit. B to get out of soft selection. Just move this thing slightly. Because I just realized that the other reference that this thing is really square, this area. We really want to hug the button over here. Same for this British. See, this one's right here. There we go. That's a lot better. There we go. That's our trigger. Looking nice. This a little bit closer. There we go, just to make sure that hugs the surface, it gets a little bit better. Now my level of concern about that, like weird effect, the word getting there, like the triangle shape, it's, it's looking really weird. And that usually happens when the normal sort of the phases are not completely aligned. Here I'm saying that the front and they are completely flat so I can grab this resistor right here, control F11 and just flatten them out and make sure that they're working as intended. The backside, they do have this sort of curvature. However, it looks really, really bad. This is where we can just play around with the vertices a little bit. One thing that really helps is to really eat, set this thing to create like a pole right there. Let's flat like that poll and just rotate it a little bit. That should alleviate some of the, some of the effects that weren't getting there. It's still a little bit weird though. Let's move this thing around There we go. Another huge fan of that, to be honest. We could try just like getting this iid here so that the stretchy this is kind of hidden. A kind of helps, I think. Let's not perfect. There we go. That looks good. That looks good. I like it. Perfect. That was a matter of going to the front view. And we're gonna select all of this bursitis right here, make sure that they're completely aligned. They are. So once we do the mirror, it will work. However, we're still basically what part and that is at this guys right here, the little elements. That's the only thing that we're missing, I think. So let's get to it. And the easiest way for me to do that would be two other hide this guy right here. And we actually already have this guys. So these are the loops that we have. There are different, I think they have different amounts of, do they have different amounts of geometry? Either? Remember now let's check it real quick. Easiest way to checks, just grabbed one face right there. And let's go there. That's 14 faces. And if we grabbed from there to there, that's 1314. Okay. Yeah. They're pretty much the same. So I'm just going to grab one of these guys like one. Let's go one and then all the way to the other side. There we go. I'm just gonna say Mesh tools or Edit Mesh, a duplicate. There we go. So now we should have a different object right there. That one right there. I'm just going to center the book points back. That's really close to the amount of thickness that we want there. I'll just 11 more. There we go. I was just a matter of connecting these two things. What's the easiest, most efficient way to connect this? We can then reference it with controllers just to make sure that we're doing this properly. Yes. Just combine them. I know that a couple of these phases, like probably like 33 of them, will need to go forward. That's where this thing is gonna be, right? Yeah, so that's, that's the gap. So that's the gap. Then again, I'm going to grab 12345, control E. Let's extrude this. Let's extrude this. It touches the gap. There we go. Actually, I don't need as many. I think just 3123. Get TRO E would just move this forward like this. Perfect. And then we're going to bridge from here to here. Complete the element. Of course that edge has to go down a little bit and match the, the curvature of the plate. Probably want more there and use it as well to match the curvature. Oh, it's played. There we go. That was just a matter of like flattening all of this. I'm gonna grab this edge right here. Like all of these guys. Oh, actually, we need to combine it here. So again, I think the easiest, easiest way is to just like for instance in here, just merge this supersedes together. There we go. That's what we're, this thing ends. Again. I'm just going to grab all of this edge. This, this, this, this, this, this, this, this, this, this, this, this, this, this one, this one, this one, this one Control E. We offset, or in this case, it's taking this going in different directions. That's a shame. I'm just going to press R and scale or Control E and then R and scale. Sometimes you're gonna have to do that. A couple of these vertices might need some work. Like you can see that one right there. It actually, I think it's better to just combine them. They're perfect. Everything else seems nice. Like me maybe with this ones we can just combine center. And now we grabbed all of these faces. The most important thing about this phases, like all of this element that we are selecting, is that they need to be flat. So are we just flatten them out? There we go. So now they're all completely flat. We can grab this edge again, control E, get another scale in there, and then just grab this guy, mesh, feel, whoa, got this guy, Edit Mesh and poke. And that way we're going to have our nice little indentation. They're going through the whole element. Here. The combination there is not working exactly as intended because as you can see, this one flows very nicely. And this was not flowing as nicely as I would like. But I don't really want to add another edge loop. I mean, we could though, I think we could. So here's what I'm gonna do. Let's isolate this piece right here. Because again, I want this edge loop to flow into the rest of the element. If I take a look at the controller, Yeah, it goes in a very similar fashion to how it how the other ones went. Like on the front. This guy right here, kinda going to combine itself and go or flow into this elements. So I'm going to do something here. I am going to create a nice edge loop over here. And then the only thing we're gonna just from here to here add average. That way. This thing is just going to flow into this very, very nice effect. As you can see there. It won't really affect anything else because it's an area that we're very, very flat area for the controller. So it should be fairly, fairly nice. Now we can of course a mirror this to the other side. We get all of the back face. And we're just missing the nice little gap here. So the gap, we're going to use the same tree that we mentioned what we're doing. The other part, hopefully you guys remember what that was. It was grabbing the whole edge right here, all of the edge Control E, giving them a little bit of thickness and offset. This gives the thing, this is gonna go down. Offset this, remember this v-shaped that we mentioned? So now when we press number three, number three on this one, you're going to see this very nice gap going along the whole surface. It looks like if this thing is being held together by the screws and everything. But it's actually two different pieces. So we definitely need to bevel this thing or just like an insert edge loop right there. To keep it really, really sharp. There we go. And here is where I will manually go and modify some of the vertices. Let me tell you the history for his transformation. Let's turn on World x symmetry. And some of the vertices will need to be moved on this mode, on smooth mode to match with the actual controller. That the gap here is this as uniform as possible? There we go. We can take a look at the gap. Looks good. This is the gaba is way too big over there. Just a matter again of pushing the sand closer because we want this to be as nice as uniform as possible. Versus here I think the gaps a little bit too close, like too tight, push back a little bit. There we go. Nice little gap everywhere, like all around the controller. Couple of pieces there, like down here. They might need just a little bit more space. We get the nice little effect. There we go. Like a section line that goes across the whole, the whole surface. And that's it guys. Look at this beautiful thing, are gave cubic controller is now ready. Of course we're going to assign the same. Let's assign the same. Is getting crazy now. This is something covered the way they went. Shortcuts, sorry, not working properly. That's because mine is having an issue. There we go. Mirror world x positive. There we go. We have the second trigger. There's a couple of details there. We're still missing. There's a couple of details that we need to finish. There's a little hole up here. Then we need to do for the cable, which we're not going to do a cable right now, but there is a cable and there's the sebum. That's probably the only thing that there's also a couple of screws that we might want to add. You can see them here on the backslash, 123456. Good against topology is pretty nice on those areas, so it should be fairly easy to do. Yeah, this is it for now guys. I have got to stop to the array now and we're gonna go on to the last video for the GameViewController, other next ones, so hang on tight and I'll see you back on the next one. Bye bye. 25. GC Final Details: Hey guys, welcome back to the next part of our series. Do they weren't gonna continue with the final details add. It's just a matter of finding the seed button that we're busy here. And we're gonna add some of the screws to get this ready to go. For the C button, as you can see here, the reference image, It's just like a normal cylindrical button that sits right on top of the right triggers. So right around here. And it's mainly being pushed by the outer plate. So the outer plates than one that's creating the little cavity for it. So what I'm gonna do is I'm gonna select this thing right here, go into the mode here. I'm going to start grabbing some of these edges, just pushing them out to create the little area where this thing is gonna be. Make sure that you're not selecting anything bought this part right here. So there, there, actually, let's make something different. I'm going to delete the edge loop or the bubble for now, just for a second. Let me get rid of this guy real quick. Now what I'm gonna do is I'm actually going to do a little bit of an offset here. Again, the seawater, this right on top of the right trigger. It follows a very close approach. Right here. All of this because it's really, really close to it. Yeah, so I'm going to offset this or Control E offset to create the place where the button is gonna be. And then we're going to Control E to extrude this down and push it in. Because this is where the button is gonna be. Perfect. That looks, that looks great. Actually, pretty, pretty cool. So now we can recover our bubbles. We should be able to recover the pebbles fairly easy because this is a geometry that follows along a surface. We can just do one there, another one there to keep a sharp edge of the connection. There we go. That's like the little hook where the C button is gonna lead. And that was just a matter of having this face is right here. We're gonna say Edit Mesh, duplicate. Let's push them up a little bit. There we go. Grab them again, control E, and extrude them out to create the little c bar right here, which is just again, it's just like a very nice soft bud here. It doesn't have any tricky areas or anything. It's very, very normal and smooth. Let's sign in your color to this bleed and this one is slicker, dark blue. There we go. We of course need to modify a couple of the elements here. So first of all, we're going to delete the lower faces. So the false very nicely there. I am gonna bubble like a top and a little bit there are the buttons, are the sites, so it's a little bit sharper. There we go. That's it. That's pretty much it. That's our c, But they're ready. Let's move this thing a little bit to the side. If we need to scale it, Let's center the pivot point, of course. And let's just scale it a little bit so it fits nicely there on it's the cavity where it's gonna be pressed. There we go. So that's kind of bothered that we would press. Now we go for the screws. And again, screws are really, really simple. Ic2 main screws like one right here and one right here. Here we can try using symmetry world x. So let's grab this guy is right here. Control E offset to make the small little hole. Let's try circularize so we can edit mesh and circularized. It's definitely make it the same way, way smaller. Rotate this around so that it matches the form proportions as nicely as possible. There we go. Then we can try extruding, offsetting, and extruding again and push again. We get that nice little hole, circular hole over there. Cool. So that's where one of the screws would be, where we'd go. And then we have another one like this phase right here. This one right here. We can grab both of them. Again, control E, offset, then edit mesh, so you can arise. That's a hexagon. It's fine again, we just wrote it this. Give it a nicer shape. Control, ie, create a nice little offset control and push again. There we go. That's the another hole for another screw. And finally we have two odd the trigger section like this place right here. You can see them right there. So I'm gonna go with this one that this is what control E offset, mash or Edit Mesh, circularized. Smaller, rotate this around. This one's gonna go against the curvature of the object. It's gonna be like on an angle that's fine. So we can kind of go in there. There we go, Control E off to the GAN to create a little Effect Control E and push him. And that's going to create the little entrance for our screws. The yeah, that's pretty much it. I think that's all of the screws for the element and all of the screws for our game controller. So that's it guys, we've worked were pretty much data VD view what to add the screws. It's a very simple process. I'm just going to grab a sphere, actually, just going to grab the cube. Let's go for two later quick screw here. I'm going to say mesh smooth. Twice. The leaf like the lower area. Lower area. There we go. Flatten this out. Grab like the square sexually here. There we go. Let's turn this off for a second. Control, offset a little bit. Control. Go in. That's it. That's it. That's a nice little screw. Usually this area is like ghosts in. I'm actually going to go back here. The flat this out. Then I'm gonna grab this for faces, a little bit of smooth selection. We can push this in. It looks a little bit more like it. There we go. That's the cap. That's all we did. So it's just a matter of positioning them. Most of them will have a center face. So it's just a matter of finding the center face, getting this thing the size it needs to be. Let's rotate this slightly so that it's not perfectly symmetrical. Like a nice screw head right there. Go. Control D. Let's go there. Saved view. And finally, we go right there. The three screws. Sure, this one's right here. Shift right-click mirror, and we're going to mirror this two x negative and hit Apply. And there we go. We have our nice little scripts. We can even select them, and let's add a different color as well. So Assign Material. Maya, surface bleed. Let's look like like a dark bronze color subject. We have something a little bit different. There. There we go. That's this guy is quite the riot. Like it took us quite a bit of time to get all the way to this point. But hopefully, you are now masters at creating complex, dynamic and surface he shapes like this once. As you saw, it's not, it's not an easy task with I think it's an easy task, but it's not, it's not simple. It takes a lot of steps and it takes a lot of analyzing the forerunner of the object to get the best possible solution. Remember, as with everything, there's tons of ways to model. So if you later on to find other secrets or other things, make sure to share them because that's the way we learn. This is it, this is the, in our final controller ready for a very nice beauty render. And I'm going to be stopping to be the right here. And I'll see you back on the next chapter when we started with a new prop, which is gonna be the second to last prop. So there's gonna be one more for the four chapter four, and we're going to have Chapter five. And after that we're going to have Chapter six with our rendering process. So yeah, that's it for now guys, I'll see you back on the next one. Bye bye. 26. Camera Setup: Hey guys, welcome back to the next part of our series. Today we're going to start with the camera. This is going to be able to, of course, the camera setup. So the good news are that we actually got some very nice images for a camera. So we're gonna go to the front view here, view the image plane, import image. And here you're gonna find this one, the Olympus camera. This is a newest model. It's actually based on an old model. I was debating whether to do the retro model or a new DSLR. I thought it will be a nice idea to go for this one. Now, of course, with all of the techniques that we've learned so far, you're gonna be able to move pretty much anything you might want. We have this beauty right here and we've had this front layer, which is just amazing because we can see everything in super, super, super good detail. Now just a quick note. At the time of this recording and the Federalists last couple of months, I've been encountering a WebP images inside of the Internet. When you download them, they don't work for. You can open them in Microsoft, Learn windows with no problem, but they didn't work for me. And so just quick little tip if you encountered that, you need to download this little plug-in here for Photoshop, photoshop webpage. There we go. And it's this or is it just like a little plug-in and it's free. It's completely free. There we go and get hip. So it's just a matter of downloading this plug-in right here, installing it on your Photoshop and you should be good to go. That's one of them and there's another one that I found. Whereas this one right here, it says this one hidden now it's not that one. So just look around. I'm not sure where did the exact file is. There's a plug-in to open the WebP images. And after Dad, you can, you can change the element. Now for this particular camera, I'm actually going to try and find a section. And what I mean by that is we need to find an option here to center of the object around. And in this case of course, is gonna be the lens. I'm going to move this last like up here. I'm going to try to make sure that this is asked nice and centered as possible so that we have the easiest time away when creating anything. Let's go to the right view now. And we don't have a rebuke, but we do have a top view. If you go here and you're going get into the ellipse camera, you're gonna see that we have the back open, back close. We're, we're gonna be using this one's later when we do, of course, the back part of the camera. We have front and then we have this one right here, which is the top view. Usually as long as you have a front and a side view, you should be fine. However, sometimes it gets a little bit tricky. Now here's where one of those instances, because as you can see, the top view is actually facing on her way. I'm going to rotate this thing around and make sure that we go into the transformation notes here on the channel box. We go to Options. Right here. The rotation on this one should be minus current lady. There we go. Now the lens is on the front. Now, we need to of course, make sure that the lens matches with a length that we have on the other side. So this is where I would go, like right above there and try and match this thing as close as possible. Now technically, technically, since the images I got the images from the official site, it should be the same scale, but as you can see, it's not. This one right here is a little bit like fruits. If it's smaller, there we go. I think it was way too. I think it's searched. Oh, I know what what's happening. So we need to move this thing. There we go to the origin, perfect. Now we should be able to match this and again, try and find the middle position. Just going to be a little bit difficult. This is weaker, it does the image, it is bigger. So we're going to scale this down and try to find the proper scale for the whole thing. And we're going to use again the lens as a sort of guide. So make it a little bit smaller. There we go. That seems to be pretty, pretty, pretty close. I'm going to check a couple of things to see if they line up. For instance, let's push this forward. I'm gonna check the lining with this, this little metal thing that's pretty darn close, I would say. Then if we check the width of this object right there with the contra apart. So right about there. Yet we're getting there. It's a little weird. Let's match this bond right there. There we go. Again, it doesn't have to be perfect. With a closer we can get to the proportion that easiest everything is gonna be. In my case, I'm using 0.811. And that one seems to be doing the trick. So you can see that that little circle right there is fitting nicely. And then this big guy right there, It's also fitting nicely. Yeah, So there is a little bit of perspective. I'm not too worried about that one. I'm a little bit more worried about the how we can match this thing properly here, but yeah, this seems to be working fine. And again, it seems to be matching with all of the elements. So for instance, you can see this thing right here would be testing right here. That if we move it back. And down, it does match the proper. Again, it might be slightly moved to one side because from the top view we're seeing a little bit of perspective, but it should be fine. So I'm just going to move this thing. I mean, it really doesn't matter. The only thing that I need is to make sure that the lens is century in the way that we had it. So we need to decide where we want the main body of the camera to be like, do we want the camera to be on the positive z-axis? Or do we want the camera to be on like half and half of the c-axis. I think I'm actually going to make sure that the lens like the base of the lens ys on the or as close to the front as possible. So that if we ever need to change lenses and the origin of the world who will be like as close as possible as we can get to the element. And then this one with, of course, we just move it back and this one in the back as well. Now, we could already do the proper size of the object, because right now if I create a cube, you're gonna see that this camera is only like six centimeters widen. I think camera should be like ten centimeters. We can look, let's actually look for the size. So Olympus Pen size, we're going to get that it's a 4.9 by 2.8 by 1, five inches. So if we convert, because we actually have the millimeters here, 125 millimeters, so that will be 12.5 centimeters. So if I say 12.5 right here, and then tall, it's 2.72 millimeters, so it's going to be 7.2 centimeters and then the depth is going to be 37 millimeters. So that's 3.7 centimeters, 0.7 centimeters. There we go. That should be again, 3.7. There we go. That's the size of our camera. Let's versus other, they extrude weird problems. That's the dimensions of our camera. So if I move this here, which is where I want everything to be, I'm going to grab this two objects, the image planes. So I'm gonna go into the outliner, grab both image planes. We're going to scale them up again uniformly. So even though this has got this guy right here is going to be 2.061 and this one is gonna be 2.5. So they're gonna be slightly different because they were originally different sites. We should be able to get this really, really close to the actual dimension of the camera, which has, since this is a little bit, officer, Let's go there. There we go. These two guys are again. There we go. That's the proper size of the camera. So as you can see, both objects are exactly where they're supposed to be. The lands, everything is lining up the cube. We don't need it anymore. We're gonna be doing our own blocking later on, this one that we push it back and that's when we push it down. This is the area where we're gonna be working with this camera. Yeah, this is pretty much it guys. Just the quick setup for our whole element. And I'll see you back on the next one. Bye bye. 27. Camera Block In: Hi guys. Welcome back to the next part. Today we're going to continue with the camera, and this is what we have. We have the setup and now we need to take a look at the other parts. So all of the little parts that we have, and this is a rather cool project because we have a load to the February and we have flat surfaces, we have curved surfaces. We have a lot of buttons that needs to have a slot and look at this nice gods like here, right there. So there's some other really fun things that we're gonna be able to build. Now, the thing here is we definitely need a blocking. Now, we could go the same route that we did that before. And just like grab the values that we have on the, on the internet, there's gonna be a little bit tricky. So in this case, I'm just going to eyeball it right here on the front view. The front view is gonna be the king of all of my reference points. Because again, as we've mentioned on the top view, there's a little bit of perspective and you can see it on the curvature of the camera, like this part of the camera, this front part is closer to the lens than this back part. So we're gonna have this sort of like, like lines going like this. We're going to see a little bit of this sort of storage and this is very common when things are laid out on the front view. However, since the depth of the object, that's not as much, we're not going to see that much distortion. So this is going to be the rough size of my box here. And here I'm actually going to start doing a little bit of basic blocking for the shapes. So for instance, I can see that we have a little bit of a change in silhouette right there. That's not just one line there. And now I'm going to grab the top faces, extrude them, go a little bit there for this side, and then grab this phase right here and extrude it again. So again, not worrying too much about the exactitude or a curious you right now is just a basic blocking. So just for me to understand how this thing is gonna be looking at, Let's go to the top view. And I'm going to move this. We didn't mention that we want to have the front view be right there on the lens. This piece right here should be right here on the border. You can see there's a curvature to the camera which has, it's quite nice. So we're gonna have to build upon that. And now we're just going to grab all of these vertices right here and move them to the back, to the first-line. Because again here we're gonna start seeing the changing somewhat and we don't want that. So roughly about there, which is where this button is flushed two. And then we're gonna have this love for the screen and everything else. So still a little bit of a complex shape here, but nothing that we can handle. Yeah, there we go. So that's the basic block right there. Of course, let's go forward the lens and it seems like my camera actually move. Sometimes this happens when you scale things, especially when you scale the image planes. Let's recenter this. And of course, we're gonna have to go to the perspective view. Let's bring this here. Recent through this as well. Because the skills are rights, It's just a matter of luck when we mix things around a little bit. Perfect, so that's good. I'm just aligning them on the front view right now. And it's just a matter of bringing them here down. Let's go to the top view. And we're just going to push this forward. There we go front of you again. This little box that we were modeling, just move it a little bit to the side. And there we go. Again, the reason why we want to have the lens on the front view is because it's gonna be a lot easier to match like this are things like you can see, you can just scale this up and we're gonna be like matching the lens pretty, pretty nicely. Let's go to the top view again. Let's bring this guy move forward. Because that's the base of the silver box. You can move the pivot point with D and V back and then snap this to the center of the grid and scale from the pivot point origin. And that's going to make it a lot more exact. So that's it. Quiet, nice little block in there. Let's go for two blocking under load things right here. One of the reasons I like to do a blocking in elements like this, prompts like this is because there's a lot of components or a lot of components. We have a lot of little things here and there. So it's very important that we don't forget about any of them. So very important. So we got that one right there. Then we've got dour right here, which is a little bit bigger. Let's go to the front view. Make sure that we're roughly into position that we need to be. There we go. W again. Then we have this guy right here, which we can't really see where it says flush to the elements. So one of the little things that you move around, so we can see the little head over there. Perfect. Again, we're following the front. I love him more than one for all wind the top due to the perspective issue that we've talked about. So if things don't line up here, don't worry. Where again, more concerned about things lining up on the front there. I'm just saying the top view to get the proper scale and then the front view to get the proper positioning. A little bit like that. Perfect. So we got all of those buttons right there. Again, if we go to the front view, you're going to see this thing right here and another control little thing. You just position it right there. Scale it down. Let's go to the top view. And I know that this one, as you can see there sits on the front. It's gonna be right there and it's gonna go all the way over there. Perfect. Even if it's floating right now, That's fine. I mean, one thing that you can do if you want to make your blocking a little bit like nicer, just control if 11, extrude this thing, move it back, scale it out, and create like that concave shape that we have there. We go. The front, we again have another one of this cylinder over here that's important. Again, w to the proper size and roughly the proper positioning. That's the, that's the size right there From View and just change the depth. We can secure that the depth of my cameras a little bit off here. Probably due to the movement that we did. Or actually, I'm just gonna move the box to vertices of the box. It's gonna be a little bit easier. Just match the curvature here. This one's go up a little bit. This one goes like it right about there, there, there, there. Yeah, of course we need this other element right here. Another topology looks really weird them, this is not even proper topology. This is just again, the blocking off the object. So that said let's go to the top view. And then we have this thing right here. So from the front I can see that there's a cylinder, right? I'm gonna go to the front creating another cylinder. Rotate this 90 degrees so that's facing us. And I need to find the curvature that seems to be, that seems to be right. And again, here's where pure references I didn't mention. I forgot to mention this, but I, while I was recording this thing, my computer decided to update to Windows 11. I lost some of the softwares that I have. Let me go here real quick and show you the images. There we go. If we take a look at the back view of the object, you're gonna see that this thing is circular, like it's pretty, pretty, pretty darn circular. So if we can catch the curvature here, even though we're gonna eventually modify the volumes over there, it's going to work just fine. So for instance here, we just do that Perfect top view. And I know that this thing right here is just a cylinder, right? So all of the shape of this form should follow this area right here. I'm even going to do a little bit of mourning over here. So Control E. Let's push this out and out like this. We get the nice little while actually based on, again on the side Beulah, see if we can have like a side view here. It fans out a little bit. So that kind of makes, makes sense. That's fine. This one. Let's just leave it like this for now. We have something like that. And even though we're not modeling good, I know that this bottom part right here will have a flattened area. So what we'll manage and change that later on. But at least we know that that's roughly the shape, an area that we're going to have. Yellow, That's looking good. Let's go to the top here and see if we're missing any other thing. We have this little thing I think it's a flash. Again, I will need to see more reference to see if that actually opens just a little flash, which I'm supposing, expecting, it will have another little thing right here. That guy right there, again, worst say this 90 degrees. And we go right there. Perfect. Now you guys remember the little trick that we did for the, for the top and backbeat. So that's something that we definitely want to do here as well, because otherwise it's gonna be a little bit difficult to model or blocking all of the things on the back. So what I'm gonna do, I'm gonna go to my back view of my camera. I'm gonna say View image plane. I'm going to import image. And I think I'm going to import the open element because I know that if I can model are actually not, Let's do the closer 1 first and then we'll just listening so that we can open it and close it so we're just gonna hit open. And the first thing is I need to copy these values right here. So I know that this guy right here, or this guy right here, this one is 1.643. So we're gonna go here, select all of these guys and say 1.643, that we have the same scale. And we should be able to copy the same elements over here as well. So it's minus, in this case it will be 1.009 because it's the back one on the x-axis and then it's 0.635.635. There we go. And then on C, on x rather. Let's go with this one. It should be right there. We can just guesstimate. There we go. 1 it was 1.09, right? Yeah. If we wanted to be super, super precise, let's just change them. There. Perfect, So now of course, the back view, which is somewhere way over there, it's gonna be over here. Now the problem is, in contrast to what we had with the game can controller, which was a single image that we can just animate like moving back and forth. In this case, we can't because there are two different images. So what can we do? We can animate the divisibility of each of the subjects. This one right here. I'm gonna go to my Maya Classic right here. I'm gonna go to frame one. Let's read or cut this. So we only have two frames which are going to allow me to jump from one, from one to the other. And the only thing I need to do is you need to grab this guy right here. Going to disability. And on frame one is going to keep key selected. Go to this one, turn the visibility off and key selected that we have this turn off, of course, and we were to frame two and we'll do the opposite thing. So this one is turned on and this one is turned off. There we go. So a key select both of them. And now if I went to work on the backside of the camera, I'm going to jump to my frame on number two. And if I want to jump to the front side of the camera, I'm going to go to frame one. Let's go here, Let's go front view. And it seems like I accidentally move this thing. There we go. Now, let's go to the back part of the object. So we're gonna go to frame two right here. What happened? I forgot to set the keyframe, so click key selected. They'll go. And then for this 10 click key selected, there we go. 121212. We check. Okay, perfect. So let's go here. We're gonna go to the back view. Now. Back view, we're just going to create some of the basic stuff. I don't want to, I'm not going to create everything because I think it will be a little bit of a waste of time because we're gonna be modeling properly, modeling everything. I just wanted to know where the basic things are. I know that that thing right there. Going to be right about there. Screen, of course. Let's go back. We, again. I'm going to grab a queue. The screen bigger, That's actually pretty much the screen size. There we go. Of course it's gonna be thin. Sitting in really, really close to the border. So something like that. Keep going to the front view out of habit. Then we can even create a nice little center here. Here's where we can see that the object, and here's where I can see that the image is slightly off. Let's add a little bit better. Again, things are not going to match perfectly. That's perfectly fine. We can move this thing. That's the problem if you tried to match every single image. Since this image is we're taking just for a beauty render and not exactly orthographic views, it will be very difficult. So you need to stick to one and say, Okay, this is gonna be the image is going to dictate most of the elements that I'm gonna be doing. Once you stick to that one, you don't change because otherwise you're gonna be moving elements and things around. Usually when you're working with a concept artists, you're gonna find this or thanks. Like when it, where things are not working exactly like you might intend. It's part of the job to be able to, to kind of navigate through the different things that you're gonna be finding. So let's just some small cylinders here to mark words as elements are going to be. There we go. There we go. And then as you can see, I'm not doing the balancers like a low-light think around the buttons and then those bonds. So that's where most of the things that are gonna be. And I can also see for we take a look at the back view. There's this thing right here. So this element right here goes in. I can see the shadow there, like changing slightly. So that tells me that from the top view, the shape of the camera is also going to change it. And yeah, you can, you can see it visible here. So it goes all the way to this side. But then once it hits this area, if there's like an, like an inclination. So I'm going to add a couple of points here. On this object, on the other main box object, we can take this vertices right here and just push them back a little bit. This one, let's keep them there. And it'll just push this one there. So there's gonna be like gapping there. Then in that gap, it seems like only on the on the top area though, only on this air because it then again, it goes back to, to the origin. I'm going to grab the cube here. I'm going to position it right above there. Which is the like the shadows what I'm seeing, I'm gonna go up to the front area as a front vertices and scale them up. Then out. That's sort of like the shape, that organic shape that we have. Let's go back to object mode. There we go. Push this up. It's up to the top view and see that the thickness, you can see that the shape of the obturator, they're really close to it. And again, I'm going to follow that the top view here. And Internet created like the channel shift the weight. Now we have something like this. You can even go like add a line there. Bring this back on the little line here. This phase right here. Let's go face mouth. Use that phrase right there, Control E and just create a quick little blocking here. Again, just to, just to give me an idea of where things are gonna be. It seems like this is the screen holding thing. This thing seems to be going that way. Then here, like on this area right here, I can see that the element changes direction. It goes forward like this, and back. Probably like this. Small, small change in direction there. It joins together. Again. We take a look at the elements here. It joins together at the same height, probably increase the section for the bottom. So actually let me go back here and grab this three guys here, control, ie. What's gonna happen is they're going to be creating this element. Then like the flat area. So all of these phases should be perfectly flat. We're going to have a sort of like changing directions over there. It seems to be also like a smooth transition here, like a pinch. You can see that the little picture over there. And that's where all of my buttons are gonna be. So eventually into their courses, things like all the way back so that we can see the ones or the elements around like pushed upon the forward. Let me guessing something like this. And then again, we can look at another division here, maybe grab this face extruded out. This is why this phase is so, so important because it will allow you to understand how the shapes of the elements work. I'm going to collapse those guys right there. That edge right there. Mesh tools or Edit Mesh collapse and then that one as well. So we get the source shape I'm looking for, which is this thing right there. And then it just flows into the rest of the elements. So just, just trying to find the, the answers due to the complexity of this, of the shape, because that's one of the things with this, with this sort of prompts, they're really, really complex. So if you don't do a blocking sections, you just started modeling. If you're gonna, you're gonna get to this area right here. And you're gonna start questioning everything about your model. And sometimes you need to remodel everything and it's a really, really depressing and he gets rid of your motivation because you have to backtrack a lot of your efforts. So I don't recommend. So that's why this is staging. Staging area is so, so important. So I think this is one doesn't go that far out. Because then we're gonna have the screen. And I don't think the screen like pops that much out. There we go. That looks closer to a blocking as you might expect. So from here, you have several server options like you can started modeling simple things like say, okay, I'm going to model this lens right here. I'm going to model this thing right here. I'm going to move this thing right here. And I think that's the approach that we're going to use for this particular case for the game keep controller. We went for the main body first and then we went for all of the little details. In this case. I think the little details are gonna be really helpful to, to kind of built around the shape. And at the end we build the main shapes so that everything fits in lands nicely where we wanted. So that's it for this one guys. I'll see you back on the next one. Bye bye. 28. Camera Top Knobs: Hey guys, welcome back. In the next part of our series today we're gonna start with the camera knobs. And as I mentioned in the last video, we're gonna be working with all of the small details first, like all of the buttons are all of the elements. Because by doing that, we will be able to assemble the full body of the camera. Now, I must warn you, this model of them about to do is a really high polygon. And we're gonna have a lot of polygons. And that's something that you need to take into consideration when working on your computer. Because if the computer is running low on memory, if you don't have enough RAM or enough processing power, you might be running into some issues. So let's start with this guy right here. As you can see, one of the cool things about this is this like RIP detailed like diamonds. There's a couple of different ways to do it. I'm gonna show you one of them. I'm going to bring this vertices down, then all of these guys up right about there. And I'm going to use my knife tool or actually no, I'm going to use my Insert Edge Loop tool and we want to have 12345 lines of polygons. So we're going to select here multiple shots at multiple edge loops. And we're gonna say four because we want five rows of this assignment. So it's 12345. Actually we want six, so that's gonna be five. There we go. So we're going to insert this right here, and that's it. Now, one of the issues are one of the things that you're gonna notice is that for this, all of this things that we're gonna be doing to work properly where the needs are a lot of polygons, as I mentioned. So actually this cylinder is of no use to us. I'm gonna show you why in just a second. We're gonna be using a tool. Actually let me use a tool like on another place so you can see what we're gonna be doing. So we're gonna be using a tool that's called the chamfer vertex tool. This only really works for specific cases like that one. It's not a tool that I use really, really often. And the way this works is very simple. You're going to grab all of the vertices. And if you go into Edit Mesh and say chamfer vertices, It's kind of like beveling and vertex. So, you know, when we bevel and you get like a nice little erode or like an edge, like a face loop. While in this case we're kind of getting this bubbly things on each vertices. So we're kind of split each vertex into four, and then we change this width to, let's say 0.5. We're gonna get the exact same plane that we had before, but then this diamond shape. And after having this, like you can imagine what we're gonna do. First, we need to merge all of the vertices because there are separate entities. And then we're gonna get all of the phases. And if we extrude this phases and offset them with Keep Faces Together off. And we do like an offset as same thing like appointing five, like a thickness. We're going to create this or like ruth shape, which is exactly what we're going for. We're of course going to merge everything together again. So Edit Mesh, merge vertices. There we go. That should work fairly fine. But as you can see, we need a lot of geometry. So if we take a look at this guy right here, you can see that we have one like 123456789101112131415 rows on one quarter of a turn. So that means that we have a 60 sided cylinder. I'm going to grab this cylinder right here, bring it over here. The first thing I'm gonna do is I'm going to change its inputs to 60. So we're gonna go with somebody within the heights or subdivision caps and say it's 60, It's gonna be really, really, really, really dense. Let's make this a little bit smaller. Position in the word supposed to be right about there. And we scale it down. Now, I do want to keep an edge loop going around the whole thing just in case we need to do all of the other extrusions that we're still missing. What I'm gonna do is I'm gonna grab this face controller for 11, or just like both vertices control if 11th to go into face mode, control E. And I'm going to extrude up a little bit just like this. Now we have a nice little like an edge loop in case we needed. We can do a lot of things with that edge right now, that it's just there. Now I'm going to go again into mesh tools, Insert Edge Loop. And we're going to go into the options, and that's gonna be five initials. So there we go. So as you can see, the faces are relatively diamond shaped, but it's not really like, it's still not there. And unfortunately we can't go back here and the increases thing because as you know, this thing just gets destroyed, right? So I'm actually going to go back. Because when we do the five phases, I want this thing to look as close as possible to squares so that the diamonds that we get are as close as possible to squares. So there we go. We're back to cylinder, lets say AD divisions. And now again, if we insert, we now should have AT divisions. There we go. Let's give it a go with the International. There we go. So you see how those look way, way closer to squares. That's what we're going for. So again, just to have a backup on the faces right here, like this one's right here. I'm gonna control if 11. And we're going to extrude this things up a little bit just to have again, a little edge loop there that's going to help us with the whole like support that just and things that work at an eighth. Now I'm gonna go into vertex mode and we're going to grab all of this parentheses right here, the inner ones. And if we do the same thing that we did before, actually, I think we do need to grab this ones as well to get the proper effect. So let's grab all of them. There we go. We're gonna say Mesh tools and chat or Edit Mesh chamfer. Whichever two vertices. There we go. Of course we changed this 2.5, which is gonna give us this nice little diamond shape effect. We're going to get all of the vertices. We're gonna say Edit Mesh, merge. Again, the threshold should be 0.001 so that only vertices that are touching each other and get the effect. As you can sit. This is working quite nice and we are getting a little bit more though, 1234567. So let me go back. I think I was right on the first one. Maybe it was just like this case right here. Again, Vertex mode. And just like this one's right there. Again, Edit Mesh and Chamfer vertices. And we're going to check for this 2.5. There we go. We go 12341234567 are getting the same amount. That's weird. Okay. That's fine. We can we can very easily fixed it. I'm going to show you how. Let's delete this. I didn't mesh and merch, merch first. Now I'm actually going to delete. I just told you that we needed the support that Let's get rid of them. Let's just get this sort of rip effect right here. And this is where we can count the amount of triangles against 1234567. So I think I got one extra row of elements here. But we aren't going to get the effect that I'm looking for. Now that's gonna be a little bit too high. Let's go back real quick. Critical shouldn't take long. Let's go back here real quick, real quick. Remember, and I do think we were okay with the 60 divisions then. But instead of five instead of five cuts, it's gonna be four. We're gonna go Mesh tools, Loop. Same factor here, four, there we go. There we go. That's a lot closer. So same deal. We're just going to grab all of the vertices. We're gonna say Mesh tools Edit Mesh, chamfer vertex. And the width is going to be 0.5. There we go. Now we're getting the proper amount of triangles that we weren't going for. The only problem is that as you can see up here, we're getting a weird mesh. And it's not the end of the world because now we can just grab all of this phases which are gonna be like the triangle faces. That's the, that's the mesh that we're going for. So he Control E to extrude. We're going to keep faces together off and do an offset, 0.5 offset, and push this thing forward. So we get the derivative, the effect that we want. Of course, not like super intense, but just good enough. There we go. We've got all of the vertices again. We're gonna say mesh, edit mesh and merged. So they all are in the same. Every single vertices that's still joined together will be joined together. Now, here's where we get into the smooth mode thing. And yes, we can smooth this thing as you can see right here. We're going to get the sort of bumpy effect, which is quite nice and it looks close to that. But usually this thing is have a little bit more grip like this once. And here's where a couple of students might go like, well, why not just grab the whole thing and throw in the Bible? Well, you know that the mother phases that we're gonna have here for the amount of bubbles that we're gonna get is just way, way too intense. We can do it, yes. If your computer can handle it, then Sure. Go for it. So when you press number three, you still get the little diamond shapes. However, this is one of those subjects that were never, ever gonna see like this. Like we're never gonna see this smoothness of the effect. Okay? So if you can, if you want, you can keep it like this. You're just like simple smooth both It looks okay. If not, you can just keep it in like normal like shaded molecule known in non-smooth modelling in number one, again, sometimes you will have objects such as this one that will not require this sort of effect. Yeah, there we go. Now let me just move this thing a little bit lower. Now let's start working on the rest of the honest now, some of you again, My be very observant and you're gonna see like, Hey, don't we have like England's right here, like aren't this phases, all of them and guns? And the answer is yes. However, this is one of those cases where England's are not really gonna be problem and we can actually keep them because as you can see here, we're not gonna be smoothing and therefore we're not gonna get any artifacts and they are holding the shape in the way I want. So the other option would be to just manually go and triangulate all of these elements. There's really no need to do that. I'm spelling that thing right there. Let's go to the top view. Let's position this thing where it's supposed to be, which is right about here. And now here you can see this is the, the actual like Shutter button. So I know because I am using a similar camera that this thing goes in and then we're going to have the bottom in the center. So I'm gonna grab this vertex right here, Control F, 11, control E. And we're going to offset this. We created the circle again. It will not match here, but we know it matches on the front view and that's the one that we care about. Now this one, we're gonna push down a little bit to create the sort of effect. I shouldn't want a bevel this one again, just a little bit there. Nice. And then we're going to grab this vertex again, controlling for 11, control ie, push it down because that's where the button is gonna be. Grabbed. This element. And we're gonna have bevel again, two segments and it's more fresh. And since we have such a high like division cylinder, as you can see here, we really don't need the smooth modifier because as you can see, we're holding the edge like pretty, pretty nicely. It's very, very difficult to see. It actually looks like a normal, like if you take a 20 sided cylinder and you bubble like the corners here. There we go. It looks very similar because you can see even this one, you can still see a little bit of the, the segmentation. Because what we're doing, remember we're smoothing this twice. Even if we're doing this, we'll still get a little bit of that jaggedy edge. Unless we would have two smoothers like five or six times. And we're still going to get that sort of effect. Now as you can see, this thing like all of these faces or this edges rather. This vertex right here. Let's see, It's about there. We do have a nice little bevel on this one. We're going to bevel. Same two segments and small fraction. Then this phase right here, control if 11, we're going to offset a little bit. We're going to extrude them. This is the front view. You also have a little bit more. You can remember grab this guy's press a Control click on the green square. And that's going to scale only on the y-axis. So we can get that they're really, really nicely. And it seems to be seething. There's gonna be a cotton the thing. So we still see more like elements over there. I'm probably going to go again to the the bottom face and give it another extrusion. I can see like a kind of like an offset. And then again, this sort of thing. That's the, that's the source shape that I'm seeing for the whole thing. Because again, we're gonna have like a, a cut here on the, on the element where this thing is like sitting. And that's it. Now, I am going to create a new cylinder because you don't need to copy this under two to get the button. We can play with that nice normal mark button over here. The button is very simple. You can see it's just like a look on. I just wanted to hear. It's just like a nice little bun. Their top view, it does have a hole in the middle. So I'm going to snap this to the vertices that were in line. And then I'm gonna got this vertex Control F 11, control E offset again to create a little hole there. Offset. Again a little bevel there, and then another offset there we go. And again, I know that those bonds tend to be or tend to have a little bit of an inclination on their faces. So what I'm gonna do is I'm gonna grab all of these guys. Bring it down a little bit. Then. This guy right here bring it down a little bit more. This guy bring it. I think that one's flat to the surface. Of course, we need to scale the borders here. Control click on the green button. There we go. We're going to start beveling. Probably going to bubble all of the edges here. Two segments in a small fraction. That's always, that's usually my go-to technique for the sort of things. And there we go. And now this thing is gonna be really flushed to the surface. Usually the corner on this, it's a little bit more like a rounder that you can grip it a little bit better. I'm going to just modify this a little bit. So when we get this, we get a nice look, smooth one. You can again scale it up slightly. Like a really, really flushed with the, with a waltz. 0.4. This is where having a better scale, there we go. 0.455 minutes. It's like the golden number. As you can see, this fits perfectly right there. That's sort of like Shutter button. Which again, from why they can see that's roughly the shape. We can always of course, check our reference image, this one right here, and see, oh, it's actually quite, quite, quite right, so okay, so my bath, so lets just grab this guy right here and push it up. And it seems like the center of the element is also like a little bit of rice. That graph. This face control if 11, let's do another extrusion. Bring this up a little bit. And then will the corner. Perfect. There we go. That's our camera button. That's the one that someone who pressed to get a shot out of the camera. And of course, if we're not gonna see the lower faces, we can just delete them. Just leave them. There we go. Now something that we didn't do, we didn't do it on the game cube controller that first, but we didn't do it on the, on the toaster. And actually I should go back in and fix that. E is a proper naming conventions. So I'm going to create a new folder here. I'm going to call this the camera elements. And then inside the camera elements I'm going to start dropping in all of the objects that I know I'm ready. So this one, for instance, I'm gonna call this knob shutter. It's not the shutter, but I'm not even sure how to call this. Let's call this two guys Control G to group them and then get them in there. So there's gonna be like Mike, I'm gonna call it Main, not going to be the knob. There's going to be the button. But always, always rename it. So I'm gonna call it Shutter button, even though I know it's not the shutter. I'm gonna call this shutter knob because we're gonna have more knobs. And it's important that we understand which knob at church so that we can create everything properly. Yeah, there we go, guys. That's, that's it. Now you can see here on the bottom side of this object, since we're not gonna be smoothing, you might see this weird shading. If you want to fix that, we're gonna use mesh display. So I'm just gonna select this edge loop and this actual right here are entering and I'm gonna say meshes flight software niche. That shouldn't give you the smooth effect without actually some moving the object. And that's exactly what we're going for. We can even go on this one right here and give it a nice little bevel. Let's go there. Segments. Two segments should be more than enough and that's it. Make sure to the history of freeze transformation. Same for this one, delay history for social mission center pivot is now that's important right now, we can choose those things later on. But since there were cylinders, the bullet points should be on the under center. That's it. Firstname done. Let's move on to the next one. I'll see you back in the next video. 29. Camera Option Knob: Hey guys, welcome back to our next part of our series. Today we're going to continue with DIY option knob, which is a decimal right here. And again, you would take a look at the image, this one right here. You can see that it's a very similar, it actually has, I think that the same density of like triangles as the previous one, just a little bit longer, since it's gonna be bigger and the little thing right here, it's a little bit different. Then that means that we might have to model it as well. Now, as you can see that right here, this actually is a, what's the word symmetrical up and down. So we only need to do half. I'm going to start moving a little bit faster because we've covered most of these tools already. I'm going to go in this case, I am going to go for 8080 lights because I know that when we make this thing a little bit bigger, such as this one right here, the size of the details is also going to change. I'm going to grab all of the vertices. This one is right here and then bring them to the midline right there. Perfect. Now we need to add a couple of lines there. So we're gonna go Edit Mesh, mesh tools, international, double-click. And we're gonna say two edge loops. We do two edge loops. There we go. As you can see, the squares are very, very nice. And we're gonna go into vertex mode and we're gonna select all of this inner vertices versus we're gonna say Edit Mesh. And we're going to, of course, Chamfer. When we do 0.5, we should get three lines of little triangles, as you can see here. So it's 123. And then of course the other section we're here, but that's the three and the two, the two top sections. Now, in this particular case, I actually do want to have the proper triangles on the top side. So I'm gonna grab all of these guys right here. I'm gonna snap them to the lower section so we get triangles there and triangles there. We're gonna pick up everything here. I'm gonna say Mesh, mesh, March, so that all of the vertices that are on top of each other get joined together. Now this of course will make our cylinder like bigger. It's going to face more than I'm actually going to delete the phases. So we're only left with this little ring right here. Grabbed all of the phases control E, Keep Faces Together, set to off. And we're gonna do an offset of 0.50.05. I think we'll have to find the proper number, 0.3 and let's bring the thickness up. There we go. Seems like it's 0.30.03, the opposite. Now, that's gonna be our nice little album. Perfect. We're gonna go vertices, again. Vertex and edit mesh. Mesh, edit mesh and merch. Perfect. If we were to do number three, you can see we've got triangles right there. Let's rebuild the low-life like face right here. So I'm going to just hit Control E offset a little bit. As you can see, that's gonna give us actually done that as a little ramp that we need for our, for our button. Let me check this real quick. The, this thing right here. And this one is a little bit flatter. I still see a little bit of an F, an inclination there. I'm just going to grab this guy right here, extrude a scale skill in. It goes like that. It's like the board of that we're gonna have and then the scale again or extrude again, scale really, really close. Now let's go to the top view because we of course need to capture the whole right here. So let's move this thing where it's supposed to be. I'm just going to be right about there. We're going to go this hole right here. Again, don't, don't look at the image because if we tried to match this thing for the image, it's gonna be like offset. Just look at the circumference, make sure that it's the right size, right there, even though it's a slightly to the side. I know that that's the right the right amount. Now you can see that we have actually this thing right here, which is trickier because this is the actual selector button that's gonna be moving around. So you're gonna be able to move from one side to the other. And that's where we got to be on this top side. So we need to do the mirror first. And to do that, I'm going to grab this hat trick here to extrude down to right about there. Now I'm going to go the whole object. I'm gonna say mirror bounding box or white and negative apply. So we get this on the other side. There we go. Now of course on the other side, we don't need all of this extra faces that we have. So let me select this guy right here and delete. So we only get this little section right here. Let's think about how we're gonna do with the, the little, little extra NOP that we have right here. So this thing right here, I know that it has the same sort of like a rebutted edge. Or at least that's why they think. Again, let's take a look at the images that we have right here. We have oh, the backfill. There we go. Okay. So it makes our job a lot of these years. So as you can see right here, yes, we have the selection up, but it's a different piece. It's something that this thing is sitting on top. So that's going to make it a lot easier. And that's why having so many reference images is super, super cool and super necessary. Because otherwise we will be modeling things that we really don't need to model. This one, Let's just make it a little bigger there. Scale it up a little bit. I'm going to go to the bottom site right here, Control E scale. So this is similar. It will always scale in. And I would just grab this guy and let's give it a small bedroom. Let's small bubble. So two segments. In small fresh, There we go. Now actually, since this thing is gonna be like colliding with the other thing down there. We can actually leave like a really thin margin over there. And that should be fine. Now, what do you mean? Just want to congratulate, gonna get pure. If we go down the pure ref real quick there is to be able to get in here and really, really see the images. As you can see right here. There we go. There's this little knob very similar to the one that we had around, but see how there's a little line right there. That's the thing I think that lights up. I'm gonna go to my top view again. And if we take a look at the image that's that line right there, which is the circumference that we actually have. So that's where we're gonna make the cut or the first got. So I'm just gonna see control ie, move this down. I actually do want to keep this cap so I'm going to hit Control D thickness in. There we go. And which didn't say Mercy center. Of course grab those borders. That one, I think I'm going to leave sharp. And since that one's gonna be covered, we don't even need to change anything there. Let's duplicate this button right here. Although again, if we check our pure file, it's not the same, so different cylinders, screen anion cylinder, then snap it to the proper vertex. There we go. Scale it. Top view to make sure that we have the proper size of the button. There we go. So that's the, that's the size of the button. It's a very simple button, so we just need to double dispatch segment and it's more fresh in this one we will smooth. So I'm gonna grab this guy. Vertex controller if 11. And we can smooth. So front view, there we go. Perfect. Now for this one right here, it seems like a really flat lakes like cylindrical area. So what we can do is we could actually duplicate this phases even though it's gonna be a little bit like high in, in polygon count, or we can actually duplicate this faces rather. Let me grab this guy. I'm going to duplicate it. I'm going to delete the top faces. So we're only left with this sort of like a ring right here. Bring this thing down so that we're hugging the surface quite, quite nicely up. And then Control E. We're going to offset out like this. Now we go here. I think I do want to bevel, this guy's just a tad bit really, really sharp bevel for this one's really, really tight. There we go. That's it. Now as you can see, we have a nice like selector knob and the little lip here and light there. Were gonna be renaming all of this and cleaning them up shortly. But now let's continue with the other part of the elements. So again, if we take a look at pure rough here, you're gonna see that on the backside. We see this from the back. There we go. We have another cylinder. And then on that cylinder we have this thing right here. We already know how this topology works. Like we're gonna have a nice actual bright over there. And then we're gonna have like three extra shift right over here. I think we can get away with like a 24 sided cylinder. I'm gonna go here. 24 sides cylinder. We're of course going to snap it to the vertices, to the central birthday where all of the other ones are snapped. Why a 2424 sided cylinder? Because I'm trying to find the exact number that we need to get three edge loops here. So I think we might need a couple more. There we go. 26 sided cylinder seems to be working a little bit better because 20 sided cylinder, which was the first option, is only two options or two segments there. And 26th seems to be working a little bit more. We can go even further and I think 33 is fine or 34, I usually like to keep the numbers like even so that's why I think 26 my work as what we want. So again, taking a look at this, I know that this thing is gonna be right around here. This thing is going to eventually go. I can actually go here and make this template so that we only see like a wireframe of the object and that we were not getting in whether we know where it starts and where it stops, but we're not getting weathered. Let's take a look at this and as you can see, it says a nice bubble edge right here and then a sharp edge right there. Before we beveled though, I do want to add one that should work right about there. We can actually go to frame too, I think, and then go to the back view. We should be able to see something really similar. There we go. So yeah, so that's the distance. 33 elements of this seemed to be working fine. We can rotate them a little bit. This will freak out a couple of you, but we can rotate it a little bit. So these guys are exactly in the position that it's supposed to be. And then we just control E, bringing them out. A little bit of offset, a little bit of, I'm gonna do a little offset first, get the proper shape, which is something like that. And then I'm going to go, this guy's scale them down. Change the scale to world mode, press R, click and change this to World mode. There we go, scale them down and then snap them so they're at the same depth as everything else. There we go. That's it. And then this phases seemed to be like a really, really close together. You can see them right there. We're going to set our, we're gonna go right there. Now we have this tree little groups. And those groups are gonna be important. First, we need to make sure that these guys are as similar as possible. We need to add edge loops on this guys. But other ones, this action was to go and contaminate this outer part that we have here. Very nice outer part. What I'm gonna do and you guys already know the usual hard surface he technique workflow. We're going to add a little bevel. There. Actually weren't asked. But I'm gonna change the bubble type to military uniform so that the polygons or lung nicely two segments. Let's keep one segment and I'm going to delete this for now. Now I'm gonna go 123456 actually, because I can see that this guy stopped like really close to the to the front. So right about there, I would say the in this case, I think it's better if we do this properly or manually. So I'm gonna mesh tools, Insert Edge Loop, and we're going to lose 123. Now I'm going to grab this phase right here. This phase right here, and this phase right here, which are like the three low knobs that we're seeing there. There are even closer together. It's crazy. Can bring them really close together. But I'm gonna have to first do the extrusion. As you know, we're gonna do look a little bit of an offset. This is where again, scale is gonna start playing against us or we're gonna have a little bit more issues with scale. Because we're working at really, really, really small-scale control, ie. Push this in again. Again, 0.005 opposite. There we go. Now. We can number three. We should get the nice little three notes are there. Of course, we need to position this guys, but in order to do that, we're going to collapse some of these elements. So when I got that guy right there, Mesh tools or Edit Mesh and we're gonna collapse. And then this one we're gonna collapse. And then this one, I'm actually not that one, the middle one, collapse, collapse, collapse, collapse, collapse. And then we can just like probably collapse this one. No, I want to keep that the same one. So we'll probably add like a melody triangular on another line on the edge loop itself. So that means we're going to have to add probably another edge loop right here. There we go. And then we're gonna go from there to the center, Enter. And then from there center, and then from there center enter. Same deal on this side, we're probably going to have to have an edge loop. So I'm gonna go to this part C Control F 11, control E. Offset this a little bit. There we go. Polygons much. Start with something simple. Let's do one more offset because that's gonna be the main opposite. And not from here. Same deal. Middle, click, middle, click, and middle and click. We've got the whole thing and we should be able to bridge because it's the same amount of elements for number three. And there shouldn't be a super discernible bench because it's a really simple union right there. Let's give it the proper bevel on the top side. And of course we need to add a couple of support that we got to add a support that's right there. There we go. Now of course my elements right now we're looking really weird, but that's fine because we can just go to the top view. And I know that if we give them a proper squarish shape, things are gonna start looking at allele blue closer to what we're going for. Let's just start moving this around them. Free modeling here a little bit. Just to make sure that this things look as nice as possible. Could we go, it looks a lot better. And we take a look, That's our selector knob right there. If this thing needs to be a little bit like even shorter, closer together, we might be able to do it. Starting to go watch this size of this thing. The back view. Yeah, that's a lot closer and closer. We do see a little bit of stretching over here. So we can grab this guy and just push it. And this guy, okay, I'm gonna do something here. That thing is gonna really help us guys and see how we're having a little bit of Phoenicia with the scale of the scene. So one thing we can do if we don't want to have as much of an issue is we could scale everything, everything, everything like a lot more like a different, a different proportion. And then what's going to happen? This, our children are gonna work a little bit better. I'm gonna continue doing it. I'm gonna continue working like this. And then if I see that we're having a really, really bad problems with the element, I'll switch to a bigger scale. But there we go. That's our little knob right there. It's a little bit off center, which is weird because we were doing this pre the symmetric load, say, then at some point we'd lost it. Let's go to the top view. It's weird because when you see it from the top view, it looks like it is centered. And then when we do this, it's kind of like off-center. I mean, one thing we can do here is if we get as close as possible to the proper division here, we can do a mirror. This case bounding. I'm gonna go Objects, but it's the center of the object. We're gonna do an x mirror. I'm going to hit apply. Now you can see that it should be mirrored. But it's a little bit off. A little bit that we do know it's actually x, sorry, apply. There we go. Now, it should be perfectly mirror and this thing should look a little bit better. We might get a little weird pinch there, the middle because we get this center line over here. We can just delete it. Careful with this like crazy vertices that we sometimes get. There we go. Nice. So that base looks a lot closer to what we have and a lot nicer. So yeah, that's pretty much it because as you can see here on the back view, this thing just sits there. It's a little bit bigger. I'll go a bit taller. This thing just sits on top of the other one. And that's the thing like the whole element right here, that's electron up. All of this thing are gonna be one single piece. I'm going to Control G, all of them. And we're gonna call this selector knob. Let's call this selector for base selector knob, selector light. And this is going to be selector button. This guy will go inside of the camera elements so that any point that we can just turn that off and keep going. Yeah. I know I said it was gonna be faster and we were faster. I mean, that's still two or three complex pieces. But this is modelling guys and this is what is that? Unfortunately, it's part of the job. That's why, that's why this sort, sort of moles. You find them really, really high in prices on sites like total squared and stuff like that. Because it takes a lot of time to do. It just takes a lot of time. So I'm going to keep recording. I'm not gonna skip any single-part. We're just gonna keep going and I'll show you how to do the rest of the elements. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 30. Camera Extra Knobs: Hey guys, welcome back to the next part of our series. Today we're going to continue with the extra knobs of our camera. We're gonna keep it simple. I don't want to spend too much time on this guys and let's just take a quick look at how they look. This one right here, it looks very similar to this one right here. The only difference is that we have an extra row of like little diamonds and the button changes. Then this one right here is very similar to this one right here. The only difference is the scale. So that means that we can actually reuse, utilize some of the things that we have here. I'm not sure where the image is down the other way around. So let's go to our back of the ear right here. And there we go. Now we're in the back view. So I'm gonna grab this one right here, this button. I'm going to create a Control D to duplicate it. Just move this down, scale it down so that we match the proper thing. And this is usually used to change the f-stop or a couple of settings inside of the camera. But we do need to get rid of some of the elements that it has because it's not exactly the same, right? So, easiest way to do it is just delete this gap right here. This leaps in Ireland. So when you double-click, you just select it and you're good to go. Just delete that one as well. And we delete that this one right here. Again, Island the faces just delete that one. That's it. Some of you guys, if you've used Blender, you're used to the field, which is the F key. And the feeling is it's fine. Now we're gonna do exactly the same here, but we call it here instead of Maya, it's called a pinhole. So it's this one right here. We feel hold there. And quick little shortcut G, the letter G on your keyboard will repeat the last tool that you use. So in this case it was a whole grab this face graph the other face. And I'm just gonna say Edit, Mesh and poke, which will create a board seat on the center of the object. Very important. I mean, angles are one of those things that some people who still are not bad, some people will show they're like the bane of existence for topology. Usually you don't want angles. If you can triangulate, thinks it's better, just do it. So here we go. Not bad, bad, like you can render with angles and it's going to work like what we have here on the first, was it this one? Yeah, So those angles right there, we can smooth this out, we can render this out and there's not gonna be any issues. But usually, usually you want to get rid of England's top view right here. So this one's perfect there. This one's gonna be rotating if we were to animate, and that's perfect. If we again take a look at this guys and we know that this guy has more triangles than this one right here, right? So let's go back. There we go. So it wouldn't be like super accurate to bring this guy right here, duplicate it and use it on this side because even if we were to expand this, we don't have enough, enough diamonds, but we have this one which is a lot closer, so we can just hit Control D, delete this one and bring this all the way over here. We can scale this up, move it down. And that's a lot closer to the amount of triangles that we're looking for right now. We definitely want to make this thing a little bit nicer. So I'm going to scratch it a little bit there. Then I'm going to grab in a very similar fashion. I'm going to go up this lower phase right here. Those are handguns. I know. I've got this guy. Delete it. Delete the cab right here, go back to a back view. Because right now remember we're in frame two, so we're looking at the back view of the object. And then I'm going to grab this actually right here. Move it up to about there, which is halfway. Shift, right-click. And we're going to mirror this on the y-axis on the bounding box option so that the lower portion of the object gets referenced and we just move it to the other side. We apply. There we go. Scaled seems to be about right. And again, they got my pure ref over here. There we go. So if I look at the element right here, you can see that it has a hole in the center. It's flat. The options here are flat and then we'll just have like an indentation. So we need to account for that. Again, if we go to the back view, we can see that our scale is working. Might need to scale it up a little bit here on the y-axis and maybe move it here. Let's go to our front view. Of course, we need to switch the image here because remember we're using the front view to properly place our objects. We can't see this one that much. We can also go to the top you see in front of you on top you all are a little bit closer than, than, than the rest of the elements. So we're gonna be using those. We might need to increase the size here. So let's push it up a little bit. There we go. We have the whole thing, super, super useful to have this view right here because we can just press control if 11 control E offset this phase right there, that's the first offset, offset again. And then this phase right here that we have selected, we're just going to push down. That's the whole, the original cylinder. We don't need that anymore, and that's it. Now, I'm going to grab this security here because we're not going to smooth this object. Remember the little diamond shape objects, we're not going to smooth them and we want to have hard edges. So I'm going to select those objects right there. And I'm gonna go mesh display and hardened match. Perfect. Now it will look as if it was hard, hardened, but it's not hardly perfect. It doesn't mean it's perfect, It's gonna be hidden. That's one just to select things. This one is to select some motor, something, that one right there. I see another one that has this sort of like a river, the edge and that's on the top you, you're gonna see it here on the front. This one right here. Again, this one has four rows, so it's a little bit closer in India amount of rows to this one right here. It's not as many. So we're gonna be using this one. I'm not sure we can have been used this one. I think I think I'm going to use this one instead. So I'm going to Control D, bring this rotate this 90 degrees so that we are seeing it flattened the surface. Let's go to the front view. And then this thing is gonna be right here. We can already see how this thing is going to be here on the front view. I'm going to grab the vertex their control if 11, I'm going to hit Control E offset, That's the first circle. Control E, also the GAN, that's the second circle. And then this second circle, of course we're gonna push in. That's the base. There's a black line right there. I'm thinking that's more material like painted on top rather than rather than models. So we're gonna keep it at that. Let's go to the top view, grab this guy and move it forward. I'm not going to obey this w right now. I'm just going to look at this hole, and that hole is gonna be important. So again, I'm going to delete this face and all of this capital we have right here. I'm gonna grab this edge loop and bring it up to where this starts. I'm going to hit Control E. The first thing I'm gonna do is I'm going to give it a little bit of fun, officer. Well, I'm actually going to give it a little bit of thickness first just to have an edge loop and then an offset. So offset, this case thickness. We go for a little bit more and then another extrusion and pushes back. So we see again this from the top view because you can see there's a slight change there on the size. Now I went a little bit too far. So I'm going to object mode. Let's tell her this thing deleted, we don't need it. I'm gonna select this guy right here. Control E, I'm sorry, are in control, click on the square icon to get the proper height. And again, I'm not matching it to the image. I'm seeing the distance that we have here, and I'm trying to match that to what I have. So it's roughly about there. Perfect. Now we know, because we've talked about this before, that for a circle to give us a nice circle shape like the one that we have right there, we need to have square faces. That's the squares possible. So I'm gonna grab this edge, it'll break here. I'm going to extrude it once more. This guy, I'm going to push it a little bit up. Let's hit one more line here. As you can see, this section right here is really, really **** square, if I may, even this one right here. Now unfortunately, I don't think we have like super flat faces or do we? Yes, this middle line and it's aligned to the top section. So if we follow that along this four phases are facing our top plane surface and y, which is great because now we can control E to offset this. Then we should be able to use our circularize tool. So Edit Mesh, circularize. And there we go. Let's go to top view. Again, I'm not matching that circle Specifically. I'm just matching the size of the circle which would be about there. Now it's just a matter of going Control E. Let's give it a little bit of an offset so that we have an edge loop there. So I'm gonna go 0.005. Again, this is the scale thing that's a little bit problematic and we'll just move this thing down. There we go. So now when we press number three, we're going to have a nice little circle there that shouldn't be interfering with the general situation of our, What's the word for cylinder as much? Now if we want to solve a little bit of that issue, like the cylinder issue, we can just like beveled those guys. Because remember, we're not going to really not gonna be smoothing this, or at least I didn't want it smooth. I want to kind of keep it like this. Or maybe this one we will smooth because we do need to see this like circle thing. Because the other option we have is to go into this edge loops right here. The corners beveled, which I don't want to do. That will definitely make the circle a lot nicer, but it's gonna be just a mess. So this one will probably just a smooth. If we were going to smooth this one, then we definitely want to give this guy a couple of support, that just small edge and segment. There we go. When we smooth, we get that nice sharp effect. Yes, the texture on this guys will be a little bit less intensity. It won't be as nice. Another option which we can also do this actually, I think it's a better solution. I'm actually going to go here to this guy right here, and I'm going to say Edit, Mesh and detach. Now we can smooth out this section. Well, I'm of course gonna say a mesh separate. Now there are two different objects and they can smooth this section without affecting this one. Yes, there will be like a million metric gap right there. It's gonna be almost impossible to see though. You will have to really, really, really close in to see it and we can actually fix it. Easiest way to fix it. You're going to laugh if this of course, just overlap it. So I'm just going to grab this face right here. Scale it in. Just with W sent to the proof point. There we go. Just suppose that pushes a guy a little bit. There we go. This one's smooth. This one is not smooth, but since they're overlapped, no one, no one will ever know that those things are not combined. So yeah, that's not true. The only thing we're going to have to keep them as separate objects from the subject though, we do have this sort of thing, which is again placed on top of the main frame of the camera. So we do need to do that one. So I'm gonna go with this. I tried here. Go to the front view again, control E. I'm going to scale out to get the proper size of the thing. Again, following as close as possible, the section not necessarily matching it. And then it's just a matter of bringing this thing down. Now, I would imagine that this thing is gonna be like really flushed to the surface there and we can go to the top view and get an idea. Yeah, it's really, really flat. It actually curves. You can see that the main frame of the camera curves. We can actually use this one like at this point to start like to do, to understand a little bit more how this whole thing is going to flow. Because you can see that this thing actually like really curves quite a bit. So that's about it. That would probably give it another color right here, which is the thing that's going to be going inside of the other camera. Grab this edge, grab this edge. And we're gonna say bevel, two segments and the small fresh. There we go. So that piece is going to be smoothed out. Eventually we will have to of course texture it and everything we're not covering texturing in this course, we're just doing the full modeling, but yeah, all of those left letters and stuff, those would be our texture. Yeah, that's pretty much it. We do have one more like Rebeca thing, which is this one right here. And this one is a little bit different because we have this shape right here on top of the whole thing. If we see again, let the front view then take a look at it. It has a lot of robots. So the closest we have one of these ones, I'm just going to Control D, bring it all the way here. I'm going to change the besides of this things and let's see if we can recycle it. And yeah, it seems like we should be able to get away. No, actually, we need way more. This is one of the objects that I'll probably do it again. Let's do a real quick. So you guys remember the number that we use? It was 80 in the divisions, a lot of divisions, crazy amount of divisions. Let's get it in here. Close as possible, focusing on the rings only. So it's 123456789 lines. And we're going to add eight mesh display or mesh tools. Insert actually double-click. The most important part is that there as a square as possible. Let's square root amount. Then we're gonna need another, like another rope. I'm just gonna grab that vertex stack purchase control F11, control E. Let's go to the front view again. Just like guesstimate where these things are gonna be. There we go. There. We grab all of these vertices. We're going to say Edit Mesh chamfer versus 0.5. Grab all of the edges are diversities. Mesh or add the mesh, merge, merge them again, go into face mode. Grab all of the physics of except for those ones. Control E, Keep Faces Together off offset. I think last time I was like 0.2. Be working. We're going to push them. We're going to do point to offset. There we go. So we got our nice little triangle effect, Edit Mesh and March a perfect. So now if we were to do smooth mode, should be working fine. You can see the poly count on the whole scene is really going up. We're at 78 thousand. So that's quite a bit, but it's required. So it's part of the whole thing down here. I think it's rather easy. So I'm gonna go again to these vertices right here, Control F 11. Let's do a small extrusion here, small offset, and then Control E and bring this down, which is there we go. Bring this down, which is like the support right there that I use here. That seems to be going a little bit lower. So I'm just going to grab this section right here, bring it down. And then those two lines, line the deadline. You know, the drill bevel segments and its mole fraction. Some of you might be wondering, could we not write the tool to do the bevel and fraction? The problem is it's, it will change based on the chapter, so things will be a little bit different. Now, here's where things are gonna get a little bit tricky. How would this particular knob, because we have this shape right here. I know that there's not should be about there seems like the sizes a little bit bigger than done. It looks on the front view because it's kinda like hidden. But that's fine. The problem is we have this very nice clean shape that's sitting on top of the object. And here's where we have to ask ourselves, do we really need to suffer and model like a Ps is going to flow from this like super high-quality mesh. Sometimes you don't need to do it, but we can utilize some of these elements to create the shape and then just habit, sit on top like perfectly. So what does that mean? Well, I'm actually going to duplicate this guy. Move it to the side. And I can see that this line right here, this, this, so it's 12345678 pieces of pizza puzzle. Those are the ones that are going here and then going across, I'm gonna go to this one. I'm going to do the same thing. I'm going to go to face mode or face mode. And then we go to the middle here. I know that it's 12341234234. So it's those eight pieces of the pie, right? Those are the ones that are important to me. I'm going to select everything else and delete it. Then from here, I'm going to Control E and extrude up. And really the ones that I really, really, really care about are those ones right there. Like this, this band right here. Why? Because He Fei, mirrored this object on its pivot point here. In this case, it's gonna be, it's not gonna be bounding most gonna be objects because we're following the pivot point and we're going to go on x positive apply. We're gonna get exactly what I'm looking for, which is this piece right here, like the curvature on both sides of the piece. And then you can see it's like really, really like when we see the front view, you don't even see that thing on the thing. I'm actually wondering if this is not like painted or maybe going in. Let's go pure ref. They're going up. You can see it's going up there. So it is going up. Now what I'm gonna do is I'm going to combine bridge from this border to this board there. And then from this border to this border there. And we have the shape. So now we'll just a matter of bringing the shape back to the center right there. And you're gonna see that this lands perfectly on the surface. So again, no one will ever know that these things are not combined like that. They're not the same piece thickness wise. I think we're really, really close. But again, taking a look at the reference or at least at the, at the top view, I can see that this thing kind of goes in. I'm just gonna got this whole edge loop right here, Control E. Let's are not controlling just scale. I'm just going to scale the scene. An ene like this. Probably bring it a little bit up. There we go. And we need to rich. So we're gonna go from here to here. And we Birch, Perfect. We're definitely going to bevel the top part there. Because this weekend try and do like a smooth version of it or we can just leave it like this. But I think I do want to have like a bubble up here. All of this area we beveled two segments, small fraction. There we go. So we have a soft effect over there. And there's a small little detail we can see here on the top view which is like a, like a cylinder, should be on the center, right? So we know that our central pieces are this one's right here. I'm going to, I'm going to freeze the transformation that this guy, I'm going to change my symmetry to object or object X right here. Technically, if I add one line right here, Should I did on the other side, but it's not doing it actually, it's not symmetrical. So it starts any dancer right about there, which is fine. And then I'm just gonna go 1234. Where does it say Control E? Offset Control E and push this down. And we're definitely going to add another line right here. Let's turn this off. We don't need it right there. When we smooth it, we should get a really, really close shape. But wonders to be a little bit more cylindrical. No problem, We go top, you grab all of these vertices right here. Scale them up. Grab this one's right here, kill them up just a tad bit. And it's gonna give us the sort of like Rauscher. And we can keep polishing and moving this even more if we need to. To get the perfect cylindrical shape. There we go. That's the detail right there. Now, the only problem where the only thing I'm a little bit concerned about is that again, since we're not gonna be smoothing this thing out, if we split this one, the thing might not match perfectly, but in this case it actually is matching quite nicely. Now if we want this border to, to remain really tight, That's something that we can very easily solve. As you can see, we're gonna get this again when we render this, you shouldn't be seeing any problem and you might seem like it's the same or it might seem like it's just one piece when it's actually two of them. And it's a really complex shape that we're able to solve it this way. Now, can we actually stitch this back to this element? Yes, of course you can, with enough topology, enough time and enough work. Yes, you can stitch this into this. This is a flat area so we can get away with a lot of us teaching and a lot of crazy things. But they also want to show you that sometimes you don't need to do it at the end of the day again, and we've mentioned this before with a client cares most about is the finer render. It's a final commercial, is the final shot. Imagine this is just a camera. It's gonna be there on the background. Like you didn't even like I would even go to this amount of detail is more like for a commercial renders and stuff. That should be more than enough because again, no one will ever notice and I can show you this if I were to assign a new material, will sign it, bleed material which has the shy to it. You can't see like where this thing starts in it. It's barely noticeable, they're very noticeable. We might get away by doing a bevel really, really small fraction. Again, it's gonna be super hard to know as you would need to zoom in here to know that these things are like a separate. And even here, we might even get away with, again, very similar fashion. Just like scaling this just slightly in. It won't be flushed anymore. You will see a small gap. But this might not look bad on the render. So yeah, it's a little bit of a concession. You're going to have to concede a little bit of detail there, but I will ever need this render right here. Cool. You're probably gonna see it at this distance. Anyway. This is it guys for the extra nops. I think we're finally done with an ops. We're going to start jumping on to other accessories. So the thing I wanted to do like these little guys that are poking from the size of the camera. And I want to do some of the bottoms on the on the back as well because those are gonna be really, really telling them that I'm aware of things are gonna be placed on everything. So yeah, on the next one we're going to keep working on those areas. Hang on tight Anansi back on the next video. 31. Camera Strap Hooks: Hey guys, welcome back to the next part of our series today we're going to continue with this chart hooks. So let's get to it. This is where we left off and now we have those little, I call them strap hooks because I imagine that's where you're gonna be trapping the hook or hooking this trap for other that we're gonna be using. So the one that I really like is this one right here because it's pretty much perpendicular or at the same distance or our site at this one, it's like a perfect side view or from BYU. So if we do one, I know that the other one is pretty much exactly the same, or at least might be a little bit longer, but it should be fairly, fairly similar. So we're gonna go to the front view and we already know how to deal with this or shapes. Hopefully by this time out, none of this, like modeling challenges are like complicated. So we're gonna start with the cylinder. We're going to modify their rotation so that it's facing us. There we go. We're just going to move it there to the center. We're going to grab all of the faces, not those ones. And we're gonna control E extrude outside to push this out. And then we can just grab this, all of this faces and delete. Now of course, this ones are not hollow, so we are going to have to go here, grab those one right there and bridge. Yes, you could actually use pipe as well. Maybe you'll find it a little bit this year. Go for it. I'm going to change the twist here so that it matches the proper section, or rather the bridge opposite. Now we want to find the proper officer perfect. Now, for the next part is just grabbing this outer faces Control E again to create the next section, which is that one right there. And then we're gonna do another control E and we're going to push out. But this one, we're gonna change something because we're actually going to be scaling this in. Because from the top view you can see we can move it there, that there's a little bit of a bevel. And it's better to just do the bubble. Now, here we can change the thickness of the element, fairly simple. Now here's where things are gonna get a little bit tricky. We need to find a way to properly create the rest of the elements, the straight areas that go here, but we want everything to flow in a nice direction. There's a couple of ways to do it. I'm gonna show you one that I really like, which is I'm actually going to delete all of this faces. Delete them. Then I'm gonna go to this edge right here. Like this sort of like little hook that we have on this guy. And then this one over here, front view again was going to say Control E. And I'm going to extrude all the way in. So we continue the edge loop very, very nicely. And that should allow me to create a couple of edge loops here that are going to allow me to stitch the other edge loop that I have right there. So no needed for them to really like perfectly cylindrical or anything because this is going to eventually be a nice flat surface. So here I'm actually going to bridge. I know that we're gonna have a triangle right there. I don't mind. I don't care. Actually, to save a little bit of fun. Why not just delete half of it? Grab this guy controlled, move it here. This guy controlled move it here. Just marched his vertices together. Grab all of this guy's, scale them together. Perfect. And breach from here to here. Nice. Finally, we just got that edge right there. And we can say mesh, feel, hold, perfect. Got the whole guy, the object. Right-click mirror and we're gonna mirror on the bounding box. Why a negative? Apply that? Yes, we need to change the threshold to costume dot 001. And this one is going to be dots. There we go. We don't get any weird in sessions or anything. Perfect. And that's it. We have our art piece now. We need to make sure that it works in subdivision mode. So in order to do that, I'm going to grab this actual right here. Just save a little bit of time. Why not just add one line there at the center and then delete the back island. We need to grab another one over there. We delete, but the Buck Island, like that, this one's not aligned, so let's just snap it there. Perfect. I'm going to go because you can see that there's a looking intention or something like a little look. So we grab all of these lines. That might be the only downside to having a triangle that the edge flow doesn't flow as nicely. But once we do this and you're gonna see that we actually get a nice flow. I don't want to grab, I think this thing again, Let's go to our pure ref. Let's try and see how it goes in a little bit. So that's cool. So we're going to do that. So I'm just going to go here, Control F and just extrude the spin a little bit there. That's fine. Don't worry. Yes, we're getting double phases. I'm going to delete this guys. Actually delete this guys as well. Then this episode we're going to extrude and we're gonna snap it to the mid-section, which is that one right there. And that's it. Now again, we're gonna do a mirror. In this case, we're gonna do bounding box z negative hypocritical. We were going to the back. And again, I'm not sure why this is not doing it. I measured it set to costume dot CS101. That should be always a setting Perfect. That was just a matter of a beveling the parts that need to be bubbles in this case, that one, that one, that one, that one. The other one and we bubble segments and small fraction. That's it. Clean, nice-looking little strap book. Now we just duplicate this guy, of course, and we're going to move it to the other side, which we're gonna rotate. We're going to rotate a 180 degrees top view. And this one's going to be, I would say at a 45 degree angle. So I'm going to freeze the transformations. We can find the it seems to be like a minus 30 degree angle loop. Minus minus three. There we go. Yeah, that seems to be it. I mean, it, we can go like Superman ethics act here minus 20th. I'm going to keep it at minus 30 just because I think it's a nicer number to remember. And we're pretty much covering the shape. When we go to the front view and let's say Yeah, it's position where it's supposed to be. So again, we take the camera here. You can see how our camera is taking shape, but we can see all of the different elements moving, pretty much moving along. I'm going to go to a back view. Now. Let's turn this on or place it in temperate mole again. And let's go to the back. Boom. I'm actually going to add this to this layer. There we go. You can see that we have a lot of buttons right now. Most of the bones are very, very similar. Again, if we take a look at this once, that's like the section where the button is going to be, it looks like an M&M to me. They look like M&M's. So I'm gonna do this button down here first and then we're just going to duplicate them and place them all in all of the different places that they need to be. Not all of the buttons are the same like this one right here is the friend. That's alright, here's the front. But at least like this once or Rayleigh, this humor, really, really similar. So remember how we've mentioned that the spheres are bad? Well, yes, or bath. And in order to get a nicer, better looking button, we're going to use a cube again. I think we've used this technique before, so I'm not gonna go too much over it. But what we can do here is we can say Mesh and smooth mesh. This will give us this shape right here. I'm going to smooth it again. And now I'm going to delete this guy right here. Now the only problem I have with this tool is that yes, it'll give us this round button, but sometimes it's not super, super round. It looks a little bit like, whereas squarish, because we are deriving this from a square. But once we do this, you're gonna see that the button looks pretty darn circular. Again, it looks a little bit squarish and we know that we can use. So if I click this guy and say Edit Mesh circularized, you can see that yes, things do change a little bit and we can actually go through the remaining parts of the button and circularize them as well. And that should give us a nicer more rounding around are looking element. You can actually grab all of this like 16 phases right here. But the problem is, remember whenever we have curvature, if we trace it to circularize this, we might get a flat edge. And I mean, it's not the end of the world, but where I have the smoothest, so I'd rather keep it and maybe just scale it down a little bit, it in a little bit. When we move things look a little bit nicer. Like closer to like about maybe maybe not to be honest thing was it was looking quite good. Like I think just especially circular icing the back parts should be more than enough. I really want them to be circular because once we do the circular like indentations here in the frame, things are gonna be, things need to be like really, really precise. You just Control D. We get this guy over here close as possible to where it's supposed to be in control. The both of them because they're perfectly or should be perfectly aligned to the ones on the bottom. And there we go. That way, we have our four bonds right here. We of course bring them to where we think they're going to be placed, which should be about there. And nothing we can delete this guy's for now because that's gonna be part of the frame. And it seems we already have the buttons. We know where things should go. So those are just four little bumps I'm gonna control did this one. As you can see, we have another very similar buttons here on the top. So I'm gonna go to the left view in this case because I want to see this part right here. And we don't have a left view, right? So we're gonna have to go from the back boom. And tried to find where this thing is supposed to be. It's right about there. It does seem to be a slightly bigger, a slightly rounder. So I'm gonna push this out. Then what I'm gonna do is I'm just going to grab this guy Control E and go down. But as you can see when we do that, things are gonna start like shove, but I'm moving in, in directions that we might not want. So I might be tempted to grab this edge right here, push it forward so that when we do this, it's a little bit nicer in general. Then they changed this to World mode, the scale to world mode. And if we do this, it should look fairly natural. Yeah, that looks that looks okay. I mean, the deposit is not gonna be that big. Like normally this sort of buttons they would get the, actually I think this will be better to try and go in the same direction of the normal. So that if we were to press it, we will need to of course, change. The pivot point. Will be like this. So when you press it, we do this. Yeah. That's better. Yeah, that's those are the four main buttons over here. Now we still have a little bit of time, so let's just keep chugging along. Gonna go back view again. I see one more bond did I miss? Which is this like search thing, Control D. And that's it. So that's another one. It seems to be the same size, if not slightly smaller Omega and keep it the same size. Then we have this one over here, which is the function. It seems, I'm not sure if this is for recording or something. Kinda looks like it, but that's more like cylindrical in nature, right? So again, just under 90 degrees. Let's go here. Now let's see how we're working with a lot of degrees. One thing that you can do to help to avoid going all the way up here. You can press E, click and select discrete rotates. So now when we wrote and told you is when I rotate in increments of 50 degrees. And that should save a little bit of time because I'm a little bit tired of going up there and writing what we need to control E also to get the proper size. And then I note that that face right there, it's like pushing forward like this really not that much. Yeah, that's that's pretty much it. That's her that's her bottom right. So it rests right about there. I would say. We can delete this back part and just bevel and babbling and segment distinct around. There we go. That's our nice little button right there, that one, this one back view. Now there's another very curious button, which is this one right here. And this seems to be again like, like a slider, one of those lighters that connect clicks when you move it along. And you can see that it has 12345678, the visions creating a sort of like bunker like shape. For this one again, it's very important whenever you're dealing with things that have a lot of sections, you need to find the proper number because if you just start with a 20 sided cylinder and you tried to make it work, it's not gonna work. So in this case, I think I'm gonna start with 16 sided cylinder because this tells me that that's the amount of lines that you see here, which are eight. And there's a little bit of spacing between. Then I'm gonna rotate this 16 side cylinder. It's not going to be 15 degrees, probably gonna be like 20 degrees or 25 degrees, 40 degrees. There has to be a magic number here. I'm going to, i'm, I'm actually going to select the screen rotate and turn it off. It's about, there seems to be like 33 or 32 degrees. Now try 3233 themes a little bit more. I want to find a number that's as exact as possible. Even if we are not matching those guys right there, right now. For instance, if I wanted to go to a really straight element, 45 degrees, it seems to be the magic number. So now we have a symmetry which is also gonna be a helpful. I can see that this one right here, where it appears to me, that's the problem. We didn't cover a back view of the beauty shot here and impure if I can't, I can't really see it. There seems to be like an inclination like this top part of the elements seems to be going further it in. So I'm going to grab this on the right here or this edge, just going to scale it in to about there. Then, you know, at least I can I can perceive of course now that's thick. Probably something like that. I can perceive that you're going to select one of them. You select one and then skip the next one. What we have there in the reference. Then you create some sort of like shape here. So I'm going to Control E to extrude. I'm going to offset this a little bit. And then I'm gonna push in. Now, I'm actually going to grab this extra faces that we got. I don't see, I don't see like there does seem to be like a base. To make this a little bit easier, I'm gonna control the 11th and keep me give myself like an edge loop right there. Perfect. Now when we press three, you're going to see that we get this sort of shape, which is really, really close to what I'm seeing right there. Then I'm going to grab this phase right here, this interface control if 11th. Let's go back to the back view. And we're going to Control E. Given myself a little bit financial control E again, a little bit more edge loop. Because I want to, I want to create the button again like an indentation that I'm seeing there. So I'm gonna go over this one controlled ie. Push this in with a little bit of opposites. Like barely, barely noticeable so that we get that nice little cut there to keep this guy's like really, really, really, really tight. We need to of course add a couple of support. They're just so we're gonna have support edge right here and down here. That's going to have definitely help hold the shape a little bit better. Then. I should have done this when I did the extrusion. We're going to add the one and h of this like segments. Again, we're throwing symmetry away and this one. But again, it's really not that much of a deal. I remember when I saw one of my teachers doing this, he was doing a sci-fi armor, was doing a couple of details and we were like teacher, but it's not symmetrical anymore. Like the distances between the bubbles are not perfectly exact anymore. And he was like so who's going to measure my bevel size is someone's going to come into this little guy right here and measure that every single thing. It's like perfectly Babel. No, they're not doing that. Don't worry too much about. There we go. Now we have this very nice shape and that will be like my little slider to the clicks when they move it right. Let me check the pure ref real quick. Yeah. It's very, very close to what I'm seeing there. It does seem like the, like this thing has more like this sort of effect. I'm going to have a one-line right there. Because when I see it on the front. In the back, yeah. See how it's shines like this is very flat and then this is not flat. So I'm actually going to flatten this. And let's push it forward or not flat and just move it forward a little bit more. And then we're going to bevel that one small fraction into segments. And I think that's a little bit closer to what we're looking for because we see the light shining on those elements. So yeah, that's that's it, guys. I'm gonna stop to the right here. We're pretty much done with all of the buttons. Let's do a quick recap to see if we're missing any button, at least not in the back. I'm not seeing any any bottom in the back, to be honest. Let's go back to the front. Where do using this button right here and this lens right here. Now, hopefully you don't mind. I'm gonna do this bottom off camera just to save a little bit of recording time because I don't think you guys need help doing that one right there. It's going to do the other one off camera. And then we're gonna start with the lenses because the lenses are actually quite important and I want to make sure that we get them right. So yeah, hang on tight and I'll see you back on the next one when we start working on some of the lens aspect of the thing, That's it. I'll see you back on the next one. 32. Camera Lens: Hey guys, welcome back to the next part of our series. Today we're going to continue with the camera lens and in the interests of not making this course a masterclass on modeling a camera. We're not gonna be modelling the insights of how the lens actually like locks into the main body of the camera. We're going to model it as if it's already with the lens, which is what we have here on the image. Because I was looking at the front view, not the front view, the top view right here, this one. And as you can see, that's a little bolt that can be used to guide where the whole thing is going to lock. If you've ever played around or seen one of these cameras, DSLRs, you're gonna see that this guy is right here. Can change, you can change. The deadline says, we're not going to model all of the intricacies of how those things connect. We're going to model it as we're seeing it right here. I actually added a couple of images to this pure ref file which you are going to find in your, what's the word in your source images folder? And this is the lens when it's collapsed. This is the lens when it's of course, activated, as you can see here, this is a 1442 millimeter lens. So that means that the distance from the lens to the sensor changes from 14 to 42 millimeters. Meaning that you can get a really wide lens right here are really wide shot and a little bit more of a medium shot right over here. We're now going to be modeling all of the inner like components of the camera. But I'm gonna show you how we can make a very simple rake to be able to move this and in case we want to animate it, we can animate this thing like going up and down. Now, if you take a look at this or rings right here, which are the things that we're gonna be seeing connected to the main body of the camera. You're going to see that that's made out of like three layers. It's 1231 of these layers usually changes the focal lengths you are going to change from 14 to 42. The other one usually focuses. So you're gonna change the word of the focuses on your, on your element. And this one is just the base that usually happens, the information overshoot. We're going to go here to the top view. Again, as I've mentioned, we don't have the full length, but we can again estimate how big this lens is gonna be. But before we do that lens, I would like to do the base of the camera, the vehicle to the front camera. You're going to see that the most interesting thing is this piece right here. Let's talk about this one because it's actually quite interesting. We could start with just like a simple term there, like this one right here, and then rotated around to try and match the proper size and then give it the proper element. But the problem is, once we start adding, you remember the Insert Edge loops. We're gonna have a weird shape. So what I'm gonna have to do here, so I'm actually going to have to really increase the division of our elements here. I'm at 37, I'm going to go even higher. I'm going to go to probably like 60. That's a little bit closer as you can see. The reason we're going all the way to 60 is because now we should be able to grab four of these edges right here. Let's go to the front view. So this four edges right here. Let's go again. There we go. Nice. And we can extrude them out and move them out. Now we're going to use this for edges, just a re-creating this little circular shape that we have here. The reason why we have to, or we had to go all the way up to 60 subdivisions instead of keeping it low is because when we do a smooth element right here, I want to keep the roundness of the element without pinching this as much as you can see, that's roughly the one that we're going to have. Now on this one right here, we can actually go back to 20, but we know that this is a circle. And we know that one of the magic numbers for circles is a four. And right now we actually have four phases over here. So if you put 22 together, that's roughly what we're gonna do, right? So I'm gonna go to the cylinder here, rotate this 90 degrees, and I'm gonna change the subdivisions to eight. And we're gonna do the trick that we normally like to do. Work in gonna please this right here. We're going to grab faces, outer faces, and we're going to extrude out. I'm gonna go directly to the final portion of this thing first. I'm actually going to give it its own little edge right there. Before doing all of the molecule. Which again, if we check the pure, if you're going to see that this thing, can we see it somewhere? There we go. It's this thing and it's like the base of the thing, like really thick on this element right here. And then we have the thing like pushing out. I'm not sure what the says, To be honest. We would have to go into the guys and see what this is. This definitely seems to be thinner. What I'm gonna do is I'm actually going to make this thinner. Let's go to the top view. For this one, let's keep it the same distance. This, all of this vertices, I'm gonna snap them with v to this line right here and all of this, I think it's gonna be like Dad thing. Now on this guy right here, I'm actually going to grab all of the vertices again. This guy's angle will be this number to that guy. Because now what happens is this face, main face. The main pole of the whole thing. It goes a little bit further up. Like this. You can see that again here. See how this thing is only like on the bottom part of the element and then it just blends into the next part. So there we go. I know that these two guys share the same amount of folk like sites and stuff. Now, I am going to go to front view again. We need to probably rotate this guy a little bit. I'm going to get rid of the screen rotate so that the faces match a little bit better to what we want to do. And we need to start creating, as you can see, the edge loop that's going to go around the whole thing. So I am going to grab the whole faces are all of the phases for this guy real quick. And let's give them down just a tad bit. What I'm gonna do is I'm going to grab the border again, the outer border, and do one more extrusion. Then I'm actually going to delete. We're not delete, but I'm gonna move this vertices right here. These vertices right here, like there. Now, as you can see, we have four faces. If we delete, this guy is right here, so we're going to delete these faces. We have 1234, and of course we have four faces on this side. So again, I'm going to grab all of those four phases, delete them, combine both objects, and we should be able to bridge. Perfect. So as you can see, we are merging or bridging from 1 to another eight, we get the exact shape that we want. Now this guy, a lot more complexity. So let's bridge first and again, let's go here. And you can see that from the base, it goes up, up. And in. Now, I'm not sure if this thing is it seems to be on a different border. So that's kind of weird, right? It's going to look a visual illusion. But I think this is another skin detail because otherwise if this What's at the same distance as this one, it will be shadowed because of this thing. This is like a flat surface. So I am going to go to the front view, find out where this first element are changing in some way, this which is as you can see it right there. And so we already have the first section. So in this case I'm gonna grab this edge. I'm going to make it go in. I'm going to grab that face and push it up. It's going to be like the first, this first one. Which actually, as you can see, that first one is pretty much the same distance as the border. What can we do here? I'm not collapsed us. I mean, we can put up, okay, let's collapse it. So let's grab the whole ring. Will not the whole ring, but that guy, that guy, this guy, this guy, this guy, those guys only go, Let's collapse them. So remember mad at mesh collapse. Now, that flows nicely. Okay, so that's, that's the first board. We know that that thing goes up. And then there's like this flat area like this flat area right here, which I'm not really seeing, but I'm guesstimating that's gonna be like right about there. This one probably know that those improper, maybe a little bit more just to talk to them more there. And then we've got this guys right here. We extrude out the image here. It doesn't seem to be going inwards, so it's just like a nice extrusion there. And yeah, that's pretty much it now it was just need to add a couple of support edges. We're gonna have one support, support edge there, there, there. Now you might be wondering why are we not beveling? We're going to bevel some of them, the ones that we want to look a little bit rounder, but the ones that we want to really sharp like those ones right there, we're gonna get them really, really strong. Now, say for this one here and 111. Look at that. Beautiful right now. For the other like leather beat that we have over there, I am going to add just like a cylinder. Let's rotate this 90 degrees. We're going to move this right here. Just have it be in there. Unfortunately, we lost the pole, so we don't know where the element is, but we can do something like that. Actually, we don't need any of the other phases. We can just leave the cap on this object. We just leave the cap. That's it. There we go. That's our main piece for the lens. Now, again, if we were doing this like super, super like exactly. And we're gonna be doing explosions of the camera where all of the different parts are gonna be like a moving and revealing all of the internal components, then we will definitely need to model the remaining bits of this element. But in this case, we're just gonna keep it like this. Now, for the next parts of the lens, which is that the main lens we of course need to go to the top view. We need to create a new cylinder. Rotated the cylinder 90 degrees. It's gonna be a tricky one. And the reason why this is going to be quite, quite tricky is because again, we have three main rings, which is this main ring, the connects everything. And as you can see, it has a couple of details there at the, at the side of the element. Barely, barely visible on this one. But you're gonna see like this guy is right there. Then we have this and then we have that. So it is a complex shape, I'm not going to lie. It is a complex shape. And unfortunately, as you can see, for instance, for this zooming device, the amount of geometry that we're gonna need is going to be quite, quite high. So I'm just going to do the quick blocking right now to kind of get the idea of where these things are going to be. And we can actually go to the top view. We can insert another image plane right here. So I have here on the Olympus camera at the lens. Yeah, I mean this is not the proper size. But we can get an idea like if this lens was here, I would expect to have that sort of amount of detail and you can see it here when you hold it, like yeah, the lens goes quite out, so it is relatively normal, I would say maybe not that big, probably about there. I'm going to be focusing on this side right here. This is gonna be like my first cylinder. See how I'm comparing that side right there. That's gonna be the first cylinder that we're gonna see. Then we're gonna have another cylinder that's a little bit bigger. So it's a little bit bigger in this direction. A little bit wider. Then the next cylinder is like a really small one, the blue one. It's a slightly smaller, like right about there. Finally, we have this one right here, which is a little bit bigger. I would say like that. And it's pretty much the same size as the other one. Now we're going to grab all of the elements right there with my art key. We're going to expand them so that we're only moving the y-axis. I know that that's the size, that's the blocking for the size. But of course we're going to have to rebuild them and recreate them to get the proper element. But as you can see, yeah, this makes sense. I'm looking at my camera right now in the sizes are relatively there. So that's pretty much it for now, guys. I'm gonna stop the video right here. I don't want this to go super, super long because we're going to be spending quite a bit of time with all of these elements right here. Like all of these little sections right here that we need to build. Our gonna be building and some of them are gonna be separate pieces or we're gonna be able to move independently in other ones are going to be joined together. This is it for this one guys. I'll see you back on the next one. Bye bye. 33. Camera Lens Rings: Hey guys, welcome back to the exploited for a series of their work in the computer with a camera lenses, lens rinks rather. Let's go. This is where we left off and we needed this blocky. And just to get an idea of where the general elements are gonna be right on our, on our camera. And you can see this is something I actually found really interesting. This piece right here that we just modeled it, it's pretty much there. I think we're a little bit off. Maybe the scale is a little bit off on the c-axis. Just barely, just barely compared to our front view or a top view. But you can see that the curvature of the camera that does not change until we hit this area right here, until we do the little switch there on this lens. Everything on that camera is completely flat. You can actually see the shading over there. That's quite interesting in contrast to the other side, because on this side you can see that the inclination started going over here, so the camera's not symmetrical either. Very, very curious. Now, going back to this rings right here, let's open our pure ref. There we go. You can see that the first one, Let's start with the first one. This is our zoom lens. And it's made out of turn on this little blocks right here. And we know how to do this is just a we would need to counsel. Of course, I'm not going to count every single one of them. I'm just going to make an estimate is just 12345678910. I count ten, unlike a 20 side of things. So it's probably gonna be like 200. Dad, of course we'll bring our resolution quite high, but shouldn't be that much of a problem because of course, we're not going to be subdividing this guy. So first things first, let's go here. And the subdivision axis, we're gonna say 200. Yeah, that looks quite similar. So that's a good indication. We're going to, of course, snap this to the center of this cylinder right here. Rotate this 90 degrees. Let's turn on the screen. Rotate again. Scale this up. Like this. Here is where we're gonna evaluate whether or not this looks okay. I think it does. I think we're in a really good position. But you can see that the whole thing of this ring is not all made out of this elements right here. So we have the little things, but then it goes into this, a smoother Bevel effect over there. So I'm going to do this bevel effect first. And now down here I don't really see the connection. I think we do have this thing's going all over the place. So first things, first year. Here. Let's scale this properly matches the the scale that we have on the other one, on the one that we're using as a reference. So that's the value. There we go. Then let's isolate it so that we can work on it alone. We're gonna grab this guy, bevel, small fraction, which is close to what we had right here. I'm actually going to do an insert here. So control of 11th, Control E, or an offset, they call it an offset in this software. Here we can actually go to the front view and take a look at the reference. Again, we can see how like how much distance we have. A little bit difficult to see. Let me go to the pure off again. You can see that's the, that's the element and then we have that, that, and then we go in. I think I'm going to use the same piece to go all the way into this area right here. This brand thinks it's just a different material. I'm gonna keep it as a different element. Actually, this is a different material as well. Since it's a different material that the proper thing to do is actually to have it as a separate piece. So yeah, here I'm just gonna make this go in and then delete the faces. There we go. If we take a look at this guy again, we have this. Of course, we're going to delete the back faces because we don't need them. Now it comes to the moment of truth. We're gonna grab this guy Control E. Keep Faces Together off and we're going to offset each individual face a little bit. I think that's enough. I can see that this thing is right here. Quests quite soft. So I'm actually going to push them up. Move this game with the x-axis like this, so that we get that nice sort of like soft sharp effect. There we go. This is another piece that we're not gonna be smoothing. We don't need to do it because if we smoothened, that means that we're gonna have to add an edge loop to every single quarter of the object and that's completely, completely unnecessary. The one thing I do want to do just to keep things a little bit more solid is I'm gonna grab this line right here. And I'm going to snap it to the back part, to the back plate if you wish. And then I'm just gonna grab this guy and this guy, and since they're the same amount of edges, we can just bridge them. And of course, change the offset until we find the proper rich officer. There we go. There we go. That's it. That's our nice little camera rig right there. We don't need this guy anymore. And now we need to start analyzing again our mainframe or main camera. And you're gonna see again, we take a closer look here, that we have the outer ring. And then there's this ring right here, which is pretty much the lenses. This is where we're gonna start seeing the lenses. I really like this one right here and it has 12. And then we have the mainlands, which is the little Leica. This thing right here that we're saying, which doesn't really match. This seems like different lenses for some reason. Yes, if this is a twelv millimeter lens like only that lens, and this actually has the ability to change. So we're gonna go for this one. We're going to go forward for this one because that's closer to what we have right here. You can see it here. This is the main ring that we just built and we have 12 and then they'll nice little rake over there. I'm gonna go here. And again, in the spirit of taking this are keeping this as optimized as possible. I'm actually going to create a new cylinder because otherwise this is gonna be way, way too heavy. Can we duplicate the one that we had and just move it? Yes. But why why would we need to do that? Because we know when we smoothest thing is going to follow the curvature like perfectly. We might end if you want, you can make this like, I don't know, like a totally four-sided cylinder. So it's a little bit cleaner if you wish, but it's not really super necessary. I'm going to get this all the way out until we touch the little borders there. Of course, we're gonna make this a lot smaller. I think we can already like delete the other ring, a list I want. Just so we can see this one a little bit better. Now this one that we'll extrude a little bit. So I'm expected to have a little bit of room for this. So probably like this. It will get stored like here. But when you started like switching this, they will just go and come out. So that right there looks, looks okay. I am going to grab both faces, Control E, offset them a little bit to create like the first barrier, delete them and go here. The next one I'll do with a pipe. So just as you can see how that can be done as well, of course, I'm going to go all of the outer edge loops. The outer edentulous, we're going to bevel two segments and its mole fraction. There we go. Now, we should be able to grab these two guys. Let's go to front view so we can perfectly match like it should be like really, really, really nice, tight fit. Let's grab this guy are, and we can press control and the middle circle right there. There we go. Now, I know that this one can sit right there. This is like the base, a position for this element. And when this thing gets, US gets extruded, we're gonna get the next one. Here. It's a little bit thicker though. It looks a little bit thicker. So we can go and grab the elements or the edges again. Let me see what else can we do? Yeah, I guess we're just scratching. It. Shouldn't be that much of a deal to, to grab a couple of edges right here. We just got all of those guys are, again, control click on this one and that should give us a little bit more of a thicker effect. There we go. That's a little bit closer to what we have in the reference. I like it maybe a little bit thicker though on this. There we go. Although I think now are we getting an overlap? That's normal. Okay, Let's go back. Now. I am going to just grab this guy, Control D and make it smaller, right? That's, that's the second ring, which is this one right here, which is a little bit smaller. And as you can see on the reference equals a little bit like closer equals a little bit like that. So that's gonna be like the second, the second ring of our, of our element. And then we have the mainlands, which as you can see here, is a really big ring. It has the shutters right here, which we're going to do in a different way as well. When you close the lens, sometimes you get this sort of like cover. I think those are the shutters. Yeah, we're gonna move from there to build that brain. I think we're going to reuse this one because it has a really nice shape. So again, we're just Control D are control this guy and make it smaller one. But again, we need to grab all of the sides right here, which again, it shouldn't be that much of a problem. A couple of edge rings. This is to make sure that everything is as uniform as possible. So are, again, control, just make this a little bit bigger here, we could actually use our front view two together, an idea of, of this, remember this less than we have right here. It's a little bit different to the one that we have on the reference. I'm following the reference a little bit more. So it's quite thick. Over there. We go. Of course, we're gonna have the little barriers that it has. It's like one over there and one over there. We've got this face is right here, Control E. Here's a little trick to save a little bit of diamond in the bubbles and stuff. You just push it a little bit. And then Control E again, push a little bit more and then Control E Again. We pretty much inserted the two support edges before we finish the whole thing. There we go. We have the main, the main area right there. Like the main the information where the whole information is. Now again, I don't want to make this lesson or this course a masterclass in camera like with all of the inner loves this stuff. So we're gonna keep it simple. And for that I'm just going to use this fear for the mainlands. Of course, if you want to take the challenge, tried to model everything, every single piece. So as you can see, we had that big lens over there. Perfect. Usually lenses are not perfectly spherical. They have an elliptical shape. I think about there would be nice to have a little bit of sweat showing up. Eventually we're going to add probably like sort of like glass material to the thing in the renders. But for now, I'm just going to delete the back part. If you want this too. If this eventually, if you eventually everything and you want this to give proper refractions unique to give it a thickness. So make sure you, you give it a little bit of thickness because the glass needs to have thickness to to reflect refract. Thanks properly, even if it's just a little that's it. Now the one thing that I do see on the reference, it's the sort of banding over here. I think. I'm not sure whether this, to be honest. I'm pretty sure it's a lot more Zoom. It's not like this thing's going to pop out all the way through. Like I've seen this effect. I'm not sure if it's to catch the light better. I'm not sure if it's to isolate the light better. I don't know something, something must be going on there. But as you can see, it's a very important part of the camera because it gets a lot of texture and all other elements. And we can very easily solved that with a pipe. This pipe example that I was mentioning, Let's grab all of those guys. At least a couple of them, just have a proper size. And we're gonna go Create Polygon Primitives and we're going to select a pipe. Technically the pipe should be there. We're going to rotate this around 90 degrees in the pipe. The only thing is that you're gonna have to focus or play around with the radius, which is this one, and then the thickness, which is this one. So as you can see, the radius is the outer ones. So we're going to match that 1 first. Then the height or the thickness, which will be around there. Perfect. That's the basic shape of this thing. Now of course, I know that this thing is inside the other things. And if we take a look at this guy, it's interesting. It goes like a really deep and then it goes forward. We're actually not it goes really deep and it's like a flat surface and then this thing just like kind of pops out. And then right about there, it goes in again. I'm going gonna add one edge loop there and then grab all of these faces, bring them up, actually extrude them up. Extrude them up like this. And they do have seemed to have a little bit of fire of inclination. So I'm going to make this right there. Then, then after a little while, this edge loop. Then it goes insight to hug the left like this. This shape is what we're looking for. I'm going to eliminate all of these elements right here are the backfired, the back faces. This one we can actually push forward. We don't need to have as much distance over there. For this one looks a snap them. So let's write that actually, those faces and start back faces and you're not gonna see them, but we can do this and we can count it. So 1234 lines on this area right here, and then there's like 1234567 lines on this one. And then there's like four lines, so it's 474. And then this is a smooth. I'm going to go into mesh tools, intellectual. Let's start with four. And we have four there and four there. And then we have a seven right there. Now, I'm going to grab all of them. All of them. All of the lines that we just added. And we're going to bevel them. Then we're going to grab the little like a rich that we just created there. All of the little edge loops. I wish there was a faster way to do this or to select them, but unless you want to write like a command or something, I don't think there is. Then we're just going to say Control E and extrude them up just like that. Because when we do number three, we're gonna get this perfect. The only thing I need to make sure is that this edge right here and this edge right here remain quite sharp when we do this, this movement, same as this one right here. So segments and some mole fraction. Perfect. As you can see, our lens is complete. Now let's play around with some materials real quick. Let's add like a, like a, like a blend material. And I'm gonna make this blend material. Let's delete history. Of course, we need to do a lot of clean up here. I'll probably do it off camera again just to save time. Jealous described like this sort of color. That's gonna be like our lens. Eventually that could be glass, of course, you can play around with transparency here, for instance, just to kind of see through it. But yeah, you can lower the eccentricities. It's a little bit like sharper. And there we go. While most of the components of our camera are already here, we're running a little bit low on time for this section. So I'm gonna stop the video right here, guys. And in the next section we're gonna be talking about the remaining ranks. So we're going to use the focal length rink and all of the supports are here to finish this lens. And the after that, we're almost done. We just have this land spending and then this little guy right here. And once we're done with those two guys, I think that's pretty much all of the details. We can start working on the body, which is going to be the, the last and final part of this camera though the screen, No, No big deal. It's just a big square. Yeah. I think where they're really good position. As you can see, a lot of components, not very difficult. I would say there's a couple of tricky parts here and there, but not something super complicated. So yeah, that's it. I'll see you back on the next one. Bye bye. 34. Camera Lens Focus: Hey guys, welcome back to the next part of our series. So today we're going to continue with the lens focus ring, which is this one right here, which is, you can see it has a nice little diamonds that we've come to love. We know the trick. Let's make this as fast as nice as possible. We're gonna talk about the weight. They delete something that they shouldn't. Yeah. Okay. So those guys are supposed to be there. We're gonna talk about the the rigging as well in this video. And it's just a very quick rig so that we can push the camera in and out and make sure that it looks as nice as possible. Okay, So what I'm gonna do is I'm just going to create a new cylinder. Of course. It's also going to be 200th sites on the subdivision axis. And we're going to snap them or just rotate this and scale them. It has the size that we're going for, which was a little bit bigger, just a tad bit bigger than the main focal length over there. Let's go to the top view. Again using this or like a guy that's a reference. There was a little bit of a gap on, in this picture that we have over here. There we go. There's a little bit of a gap that we still need tomorrow and then this big one. So it's, it's like the same size plus 50% of this triangular right there. So I think, I think that's a good size for this one right now. We need to add the lines to create the little diamond shapes. I'm going to go here. I'm gonna go into mesh tools, Insert Edge Loop. We're again going to select this and I'm gonna go for six sides right here. Because that's gonna give me some very nice squares. And now I'm gonna go to the top view again. Vertex. Nothing that we haven't done before. We're going to select all of the ear elements right there. Perfect. So we again go Edit Mesh. And here that chamfer, chamfer vertices perfect 0.5 on the poor and five on the value graph. All of the vertices Edit Mesh and March. Now we've pretty much like switch the topology flow. Of course we're going to select both those elements and delete them. So we only have this nice little effect. W, go into face mode. I'm going to select everything and then select the border and this border. So we only get the nice little triangles control E offset. Keep us together off-course. If we go, offset is going to be 2.2, I think. And then thickness. Let's go to a little arrow here to see how we're gonna push this guys. There we go. It seems about right, grab everything again. Mesh, edit, mesh, sorry. And March again, 0.001. I know the drill. And that's it. We have our nice little focus ring ready. Now of course, if we take a look at this, there's a couple of bevels and stuff that we need to take into account. So I'm just gonna go with this guy and this guy Control E and push them in. Probably about there because we're still missing one section right there, which we're going to add shortly. This guy right here, this guy right here, and Bevel. And this one's gonna have like a little bit of a more aggressive bubble. And that's it. Because again, we're not gonna be smoothing this guy at any point in our process. Yeah, that's it. Now afford the next one which is this blurring. We can actually use one of the rings that we have, not this one because this is the outbreaks are just going to grab this guy, Control D, move forward and start playing around with the thickness, this stuff. Let's move this there. So this really close to the focus slider or element. And then this one right there. There we go. We definitely want this thing to be a little bit thicker, so it's going to be going right about there, I would say when we smooth this, of course with proper edge loops and stuff, we got a nice effect. Let's grab all of these faces, delete them. Then this guy we're going to extrude in to get like a nice little ring shape. And then of course, mesh display a reverse to reverse the normals of the element. And Pauly going to bevel this guy's kinda sharply right about there. And then this new lines that we just created, along with this lower ones, if we wanted to be super precise, are going to do the lice, fraction and decimal. There we go. So now we have this nice little band that bridges this guy and this guy. So as you can see, it's right there in the middle of them. I think it's a good job of highly HENI issue or things that we might have. The yeah, that's that's pretty much it. So we have this one, the only missing pieces, this one right here, which is similar to this one. And I can see it has a couple of details. So this one has details. And then this one's really smooth. Again for the, for simplicity sake, I'm going to keep it smooth. I just think we've already cover enough information in regards to adding details to cylindrical shapes. So there's not much that we can learn from this. I'm gonna keep it like this. But let's, of course, let's move a little bit bigger. Let's give it something. I'm gonna show you a nice little trick here for a section line or something. So actually if I want to show you the section line, actually have to go quite high. So let's go to 60, which should be quite high. And here's some nice little trick. Let's say what I want to add. Just like one nice section line that goes across. I'm taking a little bit of artistic liberty this year, but I think you guys are gonna like it. There we go. Let's go to the front view. And then let's say this vertices right here. We're gonna push them up, and that's a section line. But that's a nice very common section line that we find that in stuff. We just got that one. We of course do a small little fraction there. It's very important that we go for quite a while, a high amount of polygons when doing this sort of like sexual lines. Because we can't add more elements. If we add more lines here to support it, we're gonna lose the cylinder consists of the, of the object. So it's quite the, quite important that we, that we do this right here. This one's on this or this one. And this one we're just going to Control E, push it in to have a little bit of depth. And now we can just grab the borders, give them a small fraction of that bevel. And there we go. When we smooth things out, as you can see, we're gonna get that nice smooth section line across the August. If we want this to be even sharper though, I mean, yes, we can try adding a couple of edge loops here that's going to hold it a little bit better. And we could add a couple more into the trick that we've talked about before. When we like international peer. Because again, if we answered the actual here, yes, we're gonna get that sharp line, but as you can see, we lose the roundness of the cylinder. So either you start with a really, really high similar like 200 sites or something like what we did with the other pieces. Or you do the pinch strip that we've done before. So this one's going to be right there. All right, about there. Right there. Doubled the Ottomans. So it's just to add something there. Just nice section line that makes it look a little bit more advanced, advanced if you wish. This, since we changed the thickness of that guy, we need to push it in. There we go. Now let's talk about the what's the word the rigging process for listening. Because eventually one of the cool things about camera or a camera animation, if you want to do a render, is that we can just push the lens in and out. Just one of the only things that you might see on a, on a camera commercial that it's important to have. So what I'm going to do here is first I need to decide how many things can move. Like, what are the things that I'm gonna be able to move around? Right now I can see that this guy could rotate. And when this guy rotates, Let's get rid of this creed rotate. When this guy rotates, we're gonna see this guy's like this one, this one, this one and this one push out. All of these three guys, there's 123 are pretty much the same. They're not gonna move, so I'm gonna grab all of them, combine them, and I'm going to call this main lens. Because again, we know that all of these pieces is going to get a move as a whole. It's never gonna move as a separate piece. And then we're gonna call this the next one, lens myth section. We're going to call this, sorry for all of these things right here. It's part of the cardiac think. There's gonna be called Lens base section. We're going to grab all of these guys as well. We're, we're gonna do is we're gonna do a very simple rick. And the thing is, if the main earlier than base lens moves, all of the other lenses move, right? Simple as that. Well, first of all, let's freeze the transformations and everything. There we go. So if the, if the base section most all of the other lenses should move as well because that means that we're pushing out. That means that the mid-section is gonna be parented. So middle mouse drag and drop on the base section. The mid-section is parented to the main section. So if the base section moves, as you can see, the mid-section is moving as well, but that means that the midsection can move independently, which is also very helpful. Finally, the mainlands is going to be parented to the lens midsection. And we're going to have this very simple rig. So that means that I can grab the first one, move it, and then grab the second one more with a little bit more. And then grab the mainlands and move it a little bit more. We're gonna be able to animate the lens. Now, if you want to be leaving cleaner, you can of course create controllers and stuff to control them in a better way. But this is very simple parenting option is should be more than enough to create a nice compelling effect. Another thing you can do, and this will be a little bit more advanced. We will have to cover that on the reading course. We could create a set driven key that when we move this thing at the whole thing most automatically the way it should. It's doable. But again, we're gonna have to leave that for another, for another time. So as you can see, the lens here is are ready, it's finished. And as I was mentioning, we're really, really close. We have most of the details ready. And you can see that the camera is already like shaping up quite nicely. I'm going to do this little guy off camera as well, guys again, just to seem a little bit of time, you can see it's a very similar lens. It's actually even simpler. It's just a couple of bevels and stuff, but I'm gonna do this as a separate piece or Afghan registered against civil little bit of time on the recording session. Yeah, that's it for now, guys. And I'll see you back on the next one on the next video, guys, we're gonna be working on this piece right here, which is the one of the viewports that we have to see what the camera you see. Hang on tight and I'll see you back on the next one. Bye. 35. Camera Viewfinder: Hi guys, welcome back to the next part of our series. Today we're going to continue with the camera viewfinder. So let's go. The viewfinder is this thing right here, which again, we check our pure ref. You're going to see that on the backside is this rubber thing. And usually when the screen is not active, you can use that one to properly place your shot. If we see it from the top, you're going to see that we have this hard plastic effect. And then it's the rubber, the rubber thing. But they seem to be following a very similar shape because you can see here we have a very nice interesting cut. So I'm actually gonna be using the top you now to properly place some of these things. And the thing that I've mostly care the most about right now is this line right here. So that the rubber like the hard rubber line, I'm just going to go out with this line right here, push it out. And we're going to use this one right here to start beveling and creating the shape of our elements. So I'm going to bevel the book. Similarly, we'll have a weird bevel there. We shouldn't be seeing that. Oh, yeah, that's right. Because we already I already changed the way this thing was looking. I actually don't want to do that. So I'm gonna delete this and I'm gonna start with the new cylinder. Again, I'm going to change the sides of the cylinder to something like 24. That it's a little bit easier and we have more lines to use. That should also help with any sort of like hard edge that we might need to add later on. So let's go again to the pub. Boom. Position this here. And again, I'm gonna follow this sort of like dark plastic, which as you can see, it's just slightly bigger actually than the actual viewfinder. It's right about there. Then we're going to select the faces. We're going to hit Control E, a little bit of Offset. Control E, and push out was way too much. No problem. We grab this face is right here. Control E, or sorry, not control you just are. And we scale them without the c-axis in this case, to get the proper size. There we go, grab all of the vertices and push them forward. Nice, something like that. I'm actually going to bring them down a little bit because when we do the bubble, we're going to get a little bit more volume. There we go. In this case, we are going to have a big fraction, probably like two segments. To get this very nice around effect. We push this guy's forward. I'm probably make them slightly bigger. There we go. I like that shape right there. Now again, if we take a look at the pure ref, you're gonna see that we have a nice little small area there and then flat and then the bevel towards the inside. So I'm gonna go with this vertices right here, control if 11. Control E to offset. Going to create a nice lip is mobile live there. So that one, we're actually going to extrude out, Control E, Push it out. There we go. Which goes around and under. So that's good. And then we're gonna go to this controller if 11, it's the flat surface. Now we can actually go to the back view. I think the back, we're just going to give us a nice indication here. Let's go to frame. Two frames. There we go. Where's my time slider? We're going to go windows, UI elements, and let's go with the terms later. There we go. Here. We positioned this properly, what's supposed to be, which is right there. Again, we can go into vertex control if 11 control E offset to create a nice flat area, and then Control E, and it seems to be going in. We're gonna push in a little bit of, of Babel. How much will it depends on, on this thing right here, right on the concepts, so right about there and then we have the lens. So this is our shape. The only problem is we need to make sure that this shape is flat on this underside right here. This is where things are going to get a little bit tricky. Before we do any further modifications to the elements. I'm going to try and find one burdened, see, which in this case it seems to be this one. This segment right here are the ones where everything stopped, right? So we have this nice like a variable like the flat area and then the verbal and the bubble stops right there on this segment right here like 1234. And it just kind of fans out. I'm actually going to delete this guy. Of course not this one. So this guy is right here. You're gonna see this sort of effect. We really don't need this one right now. We can rebuild them later. So that's what we need. And the reason why I am deleting, instead of doing like an extrusion or edge, it'll turn anything is because this is really, really flat. So for the edge up to properly go the way that I want, I think it's gonna be a lot easier if we do this in a flat away. Now, I'm going to grab all of these vertices. And the good thing is they're all like most. To a certain degree. We should be able. For instance, this guy is right here. This is the main, Actually I think the main bevel, little bit too. Where am I? I'm a little bit lost there. I think we're a little bit too big here. So let's push it back. There we go. I'm going to move this points. All of these guys, and they're gonna flat, I'm going to look this Five Guys, I'm gonna flat them out. And then this one right here. Actually, I think I'm going to delete this one as well. Like this face is. Because this one's from here and here. It gets really, really small. See that? So it's going to create a flat surface over there. And this is going to project itself to the next area. I think I'm also going to delete this once right here. We're creating the sections that we need. So I know that from this and this, we're gonna have a bridge, very obvious bridge switches again, this one that I'm seeing there. And then from this bridge, we're going to extrude and we're going to get this sort of like flat area as well, which has to wear the little rubber thing ants. So again, taking a look, Let's go pure ref. So you can see that this thing follows along and then it kind of stops down here. We do need to respect that like the fact that this guy is right here. I'm going to rotate them slightly. They're going to keep on flowing in there, sort of like circular motion right? Now I did a couple of steps there, so I wanted three and then just push them out a little bit. There we go. So this is the flat areas. So I know that these two guys should be fairly easy from here to here. Now this is where things are gonna get tricky. I don't want this thing to continue, so I'm going to stop it right there. I'm going to press G to repeat my last action, G. I also don't want all of these guys to continue, so I'm gonna flatten or tried to flatten all of these guys as, as nice as possible. I'm going to snap this guy there. These vertex. We're going to merge them together this week. Merge them together. See how nice that looks. Now we're also going to grab all of this lines and just reach them together. We should be able to breach pretty much all of the other pieces of geometry in a relatively straightforward manner like this. Because most of the elements are gonna be squares. Now this triangle right here, which is felt, mesh, feel hope. And we can press a number three, we're going to get the proper, proper shape. So the only thing is of course we need to start adding a couple of support edges for that, for the whole thing. So let's start on this side. I'm going to add one there, one there and one there. We keep the soft and then this one lobe is sharper. This one sharper. And we get this. So that's roughly the shape. However, we're still need to add a little bit of like a couple of bands over here. I'm going to go there. I'm actually going to delete this guy for just a second. So we get proper topology on this side. There. They're gonna give me that nice sharp look that we're looking for over there. Same over here. We can add one line there. Let's delete. This guy gets all of this area. Remember something similar to what we did with the GameViewController of that area is a flat area. So we should be able to sharpen all of this in a very nice way. Same thing, I'm going to sharpen it here as you can see that the flow is going in this way. I would love it to go the other way because I want to like beveled this whole bottom area. Wait what happened here? It gives us like I forgot to add a couple of extra lines in there. So let's go back a couple of steps. There we go. Okay, so for this area, I think it's better if we add one right there and one right there. And then this vertex we go there and this verdicts week up there. Technically, all of the areas down here should be flat, so I'm not sure what happened there. Let's just grab one of the vertices first. Let's do emerge. I didn't mesh and March, There we go. Now we're gonna go to the back view again. All of these areas, bottom better, Cs and Gs, nothing. There we go. So it should follow the proper shape of the element. Now something that we could do here, I'm not sure if it's going to necessarily work. I think it should work. Let's give it a shot. It might give us a little bit of a weird topology, but we can use our CO2. Just like cut across. That should give us a, a sharper edge under on the back like this. So a couple of pinches there, which I'm really worried about, really holds. It's really weird. Okay, that's fine. I mean, that's a square mesh. The whole then feel whole again. There we go. That's a lot nicer. I loved software and it follows the shape that we're going for. The only thing that we're missing now are the little things that I wanted to add here. Another faster ways to describe this edge and this edge which should, should move it all the way to the other side. Remember, whenever you're doing pebbles, you want to complete the loop so that we don't have any late weird effects. That case, we are getting some weird effects is because this line right here, It's really, really intense. Another option is just at a couple of really why is it having issues there that we have like an extrovert series, something? No, that's weird. It's kinda weird because it's not like behaving nicely on that under polygons, sometimes it happens, sometimes when you do breach and stuff, certain polygons just don't, don't play nicely. So let's try it again. Let's rebuild it. And let's see if we go. Nope, that's really weird. Okay. Let's, let's called Maya. So I'm just going to delete this guy. I'm going to insert the attributes that I need. So I'm gonna do 1212. So that's three edge loops. That should give me a fairly sharp line right there, which is similar to what we have in the concept. And then this one's right here. We can just mash, feel whoa, whoa, and grab this one and say, We're gonna have been gold mesh and triangulate. Let's see if it doesn't either. It's like a super horrible job. Easiest way here is just use art Cut tool and go from one to the next. Then from one to the next, we can't do a POC or just grab all of these guys. The lit mesh feel WHO and re-post this one. So just make sure that this is all in the same plane. When we do this, we get that nice sharp effect, perfect on this side. To solve this issue, again, just keep it simple. Don't over-complicate things if you don't need to. I'm just going to go like this, whereas history and push them back. Grab, there we go. That's a weird edge that we had there. See that there's a weird face, that face, that's the problem. There we go. Now, let's just check. Yeah, now we should be able to grab this and this. So you control E, just move it all the way to the front. Add like 1234 lines so that we can grab these two guys to center, this to Gary's Mercy Center. This two guys Mercy Center. Let's do guys smarts to center this semester, center. Same thing on this side, or we can just mirror the whole object. I'm just going to do this, but if you want to, perfect, perfect symmetrical topology is another option. It's still giving me a weird like pinch right there. See that? It's this face fleet it and this one as well. So all of the weird faces, Let's leave them. Yeah, that's weird. Okay. Let's just rebuild this bridge there. We can just bridge there and feel, feel hold air, mesh, feel Hall. There we go. That's cleaner surface. What do we have the issue there? So now I'm going to mirror. So we're going to mirror on the object. This is going to be x positive. Apply. There we go. So technically which shouldn't get any issues and the ankles or anything, and things should be looking good. I don't like how this is looking due to the new mirror. So various your weight fixers just grab this whole thing again. Now mesh and then to grab the whole thing, Edit, Mesh and poke. Now we should have a nicer effect, and of course we can go, we can grab it like all of these phases again. Give it an offset to help hold the edge a little bit nicer. Of course, actually, well, this is where the Lance's, so we actually told me this faces. We're just going to delete them. We've got this thing and give it an electrician going to the inside, we can create the viewport. And that's it. This is a nice little viewport. The only thing that we're missing is a spirit to work as a lens. So we're going to rotate the sphere over here. We can actually kinda get it in there because there is a central line, so we can snap it to the center line and then just bring this in here. I'll say something like that, that we need all of those back faces. Not really. So we delete one line and the whole There we go. We have the viewport, right? Yeah, This is it guys, this is the end of this thing here. We've probably want to go back, boom. Either delete those faces or flatten them. I'm not sure how nice the flooding is gonna work though. Sorry, guys. There we go. So yeah, it works. It works for what we want. That's it guys. This is the db Board thinking for our camera and it's looking, it's looking quite nice. And we got pretty much every single thing ready. I think I think the only extra leg accessory that we're missing is the screen. But again, it's just a box. I mean, Let's do it right now. We still have a little bit of time. So as you can see the screen, the only tricky part about this screen is that it has a hinge on here, but it's a hinge that's not even on the same piece, it's going through the inside of this thing. So we can just grab this box. And I do see in the reference that it's kind of like beveled how the thing is on the inside of this little box. And this box is just a, it's just a bubble box. We can describe this box, bevel it, give it two segments and the small fraction. There we go. We have our screen. No, No big deal over there. Again, this is part of the whole thing. Yes, we're gonna mold, doesn't worry. So we're going to model all of these things that we can open the screen. But I think we're ready, we're ready to jump onto the main box of the element. I don't think we're missing any other button or section. I think we've pretty much covered everything. Yep. That's it, guys. I'll see you back on the next one when we start working on the body. Now, the next couple of lessons we'll probably be like part of 1424344 depending on how many parts it takes. But it's all going to be about the camera body. Hang on tight and I'll see you back on the next one. Bye bye. 36. Camera Body Base: Hey guys, welcome back to the next part of our series. Today we're going to start with our camera bodies. So yeah, let's get to it. We mentioned this at the beginning of the whole chapter. You don't have to start with all of the accessories before doing the body. You could do this like afterwards. However, I thought it was gonna be a good idea to do it this way, just to practice a little bit of all of the hard surface things that we have to do. And also because since the camera has a specific curvatures and elements to it, I felt it will be a little bit easier to approach it this way. So the main thing that I want to point out right here at a is that the camera has this sort of like a rounded bevel edges. That's very obvious right here. You also have a lava lake changes in silhouette, like right here. This is rounded over here and then there's like a curvature over here. And then we kept going over here. So it is a complex shape. We already had the block in which is this one right here. Now, we could start working from this blocking or we can just start fresh. And I think in this case it's a little bit better if we start fresh. One of the first things that I'm noticing is this like leather thing of the camera. And I think that's gonna be a really good place to start because it's going to allow us to understand like the form of the camera before we do all of the metal bits like this down part right here in the upper parts and everything. I'm going to start with a cube. I'm actually going to go through all of the other elements. We need definitely need to do a clean-up pass on this guy right here. And I'm going to grab all of the elements, including that cube that I just created are except for that cube. I'm going to create the new layer. I'm gonna call this accessories right now at this point week don't need it, so I'm just going to turn this off so we can focus on only the main camera. I'm going to extrude this out. Of course. You can see that this is not even that's fine. Let's go all the way to the border right there, and all the way to the border right there. Then we're gonna grab this guys and push them up to about there. We can see a change in this lead. They're totally fine. We'll do a little check in just a few moments. And then we go, Let's go with the Cut tool. We're gonna add one there and probably worn like right about there. And want a right about there. Now, this vertices right here on this cube, we're just going to move down. This guy's right here. We're going to move up. We're probably going to need one more extra line, right, right about here. Let's snap this guy Right there. Perfect. So actually you see another change in the lead here. So probably got have one and to grab this two vertices as well and just move them down. Perfect. Probably going to add one more line right there and then this guy snap it there. Perfect. So that's a little bit closer to what we had. So that's the main blockchain, the leather shape. And if we go to the back view and to our backbeat right here, I can see that the leather shape kind of like blends into this sort of like a plastic bits. So we really only go to halfway of the element. So let's go back to the front view. Actually we're gonna go to the top view because this is where We're domain like important thing is gonna happen, which is the curvature that we need to capture on the camera right here. Well, I can definitely see that we're a little bit too thin. Let's grab all of these vertices and bring them back to about there again. Do we need to remember that there's a little bit of perspective going on here on the camera shape. So we're going to get as close as possible to what we have for effect. And even though they are asymmetrical like meaning distributor on this side is different to the curvature at this site. They're quite similar, I would say. In this case I'm gonna grab this edges first, like the ones on the right. And we're going to bubble, add a couple of segments, probably like four segments, got to the top view and try to match the curvature as close as possible. Again, this is one of those things where were the perspective might be a little bit different. You can see there's a little bit of a curvature here. That's the kind of thing that we need to catch here. I'm gonna got this guys right here and just push them in a little bit. So that's like the angle at which we're flowing. See, don't worry about this thing not lining up. We know that we're lined up on the front view, so that should be R cubed the front view. We're gonna do the same thing on this side. So I'm gonna grab this guy and this guy gave you the bevel, a couple of segments and a bigger fraction. Let's go four segments to have enough resolution. Let's go again to the top view. And this one's a little bit different because as you can see, the curvature actually starts from this point. So at this point, bro, probably at this guys right here, when it start pushing this curvature in, just start creating the, the changing silhouettes. So all of these guys, the Bible was pretty good. I would say, I think we're in a good position there. Maybe change this a little bit here. Just push it a little bit there. There we go. And on this side, you can see that the main body of the camera, all of this guy's going to go like a little bit further back. There we go. And then we'll start getting like a hall of the different details here on the, on the bag. But at least this is the rough shape of the camera, at least on the on the other side of things. On this guy right here. I would love to have them. Actually, we do have right? I think we do have one three-quarter view that we might be able to analyze. You can see it kind of stops there. There's a little band over there. But here on this side. Yeah. So see how it right there at the middle that it changes from this leather like effect. The plastic bits. So just keep that in mind. We're going to have a change in texture. We're eventually going to have a change in texture right about there. Now that we have this, we can actually start working on the next parts, which are the bottom part right here. There's two options. We can inherit the elements from this piece right here, or we can just create new ones. I think we can actually just copy the faces that we have right here. This guy, this guy from here to here. Since that's an angle, and of course we're gonna have some issues, but that's fine. I didn't mind the annulus right now. I'm going to go Edit Mesh, duplicate. That should give me a second piece right here. There we go. And then I'm just going to Control E and bring this down and scale it in. Now we have this nice effect right here. Like that. That's the bottom part of the whole thing. We can see that there's a slight bevel on this site. So we can grab all of these vertices. I think it just push them in a little bit. We have this line right here, this cut line going across the sections. So that means that we're definitely going to have to add one line right there. Grab that edge, scale, it would go there. Let's push this out again so that we have the proper curvature. There we go. And then there's probably going to be like a cut over here. We need to add a couple of lines over there too to properly hold that surface. I know that on the back view. We also have some details over here, so we have this weird corners and then this one's pretty soft. We also know that based on the, on the screen position on this side, this thing is probably going to go in a little bit. So we're going to create a little bit of thanks tuition. Here's where we might bring the accessories in. The, I think the screen in this case should be a little bit more flushed. That's a big question right here. Because this does seem to have the proper size. Maybe I'm a little bit too short. So let's let's push to protect a little bit more. There we go. Yeah, that's great. I think in the proper position. Even though we have that, we also need to grab this vertex right here. Don't push them, outlined it. There we go. So here were the screen is, we're gonna have a couple of lines. Let's leave this guy, Let's go back view. Actually, let's delete the lower phases for now. We just need to sorry, this one right here, because again, their guns and since we don't want to mess with English right now, we just delete everything here and discuss. So we only have Leica, like a ring of faces right here. We're gonna go again to the back view, afraid to, so that we have this other selection. And here I can see that we have this corner. This is where we're going to have an extrusion going in, right? And it's going to end right about here. Here we go. Let's go here. Of course, we don't need all of this information like this guy is right here, so I can grab this edge and just snap it down. We should be able to delete some of this edges as well as its effect. It does a very flat area so there shouldn't be any issues. Let's go to the back view again. Just make sure that we are. That's the line. There might be a little bit of curvature there. That's fine. So now I'm going to go to school. Here. I'm gonna go up. This face is right here. I'm going to extrude them in to create the little cavity where this thing is gonna be. Okay. Let's delete this guy. And this guy. Now of course, as you can see now we have a little bit of thickness here, and that could be slightly problematic. So based on the reference again that I'm seeing here, we're gonna have like an extra little step. I'm just going to go over the whole edge and give you that one Control E, two extra this down just a tad bit to get the nice little shelf where that's super small area right there. Or another option would be to just delete this. I think deleting this might be a little bit better. In this case, just having the hollow area like this. Now that we have this, we definitely need to rebuild the lower section so that we can start working on the what's the word on all the details. So the corners that we have right here, like this one, that's actually fairly easy, but we do need the bottom area. So thankfully, this is outset rather simple because we didn't have 12. When we did the bevel, it should be fairly easy to just go from one side to the other like this. Do the same thing on the other side. So 123, then 123. There we go. And then what I'm gonna do is I'm going to insert a couple of fetch loops. So let's say one that's actually right there. Then we're gonna have like one inch right there. And when I should have right there, this vertex is going to snap. There. Were actually no, we're not going to snap it. Let's insert an edge loop. Trying to see the best flow of typology because I know we need that natural right here. Because we need to snap this vertex to that corner, like those need to be together. But I want to have, It's sort of like a nice edge loop here on the insights. So let's just move this on my snapping. That's really weird. If this ever happens to you word the tools are behaving weirdly. You can just go here and hit reset to o. When this happens, this is a super awful thing for Maya to do. But it's unfortunately part of it just like books itself out. One quick way is tried to save real quick and then just reopen Maya or try re-opening the same file. Sometimes that fixes it. Let's see. It's not fixing. How do I know? Because I can click one object or actually did not, It's not fixed. So as you can see, the tools are behaving weirdly. Okay, so you're gonna have to recent Maya area seating is not the end of the day, but it is annoying. So let me show you real quick how to do this. You of course save this case. It's not even letting me close. I don't know what happens. It's some sort of bug in some versions of Maya Arlo bit more. What's the word there? A little bit more. Control. There we go. Some versions of Meier a little bit more stable than others in that regards. So we're gonna have to go all the way to the Task Manager and delete that one. Sometimes, again, when reopening, it might work again. If it doesn't, you're going to have to go to Documents. Your documents, maya, the version of my other you're using, and then delete all of these things which are like base preferences. Unfortunately, you are gonna lose the shelf that we build a first. You've know this. I actually haven't used that one in a long while. You can't save it. If you go here to preferences and two shelves, you can save the shelf that you created and just reimported the ones in my yuck kinda like recovers from a crash. But yeah, it's it's an unfortunate thing. Seems to be working now. Let's try opening the camera scene. There we go. Let's go here again. Again, what I wanted to do, and it's fairly simple. It's just want to create a nice edge loop here, C. Instead of, instead of merging this with border, I think it will be a better idea to just create a nice edge loop that goes around the whole thing. I'm going to add another one right here. Let's just move this like this. And as you can see from here to here, we just bridge from here to here, which is bridge. And now we just need to modify the topology here. So this thing flows a little bit nicer. So before we do that, let's have one more player. Delete these faces right here. This is going to allow me to kind of rebuild the, the, what's the word the edge loop, right? So doing something like this, there we go. So we're gonna go from here to here. That's a bridge. And then from here That's the bridge. And then from here to here that's a bridge. And that rebuilds a nice edge loop around the whole element, around the whole lot like camera border. However, yes, you, some of you might have noticed that this topologists like really, really tense. So we definitely want to fix that one. Very simple fixed, I would say. We can just keep one triangle right there and go all the way over here. There we go. So now even though yes, we do have a triangle there, all of these topologies, way, way nicer. Now it's just a matter of grabbing all of this actually right here. I'm gonna say Control E. We're gonna do a first sexual their control ie. Second edge loop control E. Third edge loop control E, Ford Edge Loop. And then we're going to start merging things. So grab all of these guys, March to center, all of those guys immersive center. All of those guys so much to center. And those guys March to center. Perfect. Now we're gonna go here and the question is, should we add more lines just to keep it simple, yes. Let's just add a couple of lines. They're like add as many lines as you need on this borders. And that way it's gonna be way, way easier to just like bridges this thing. The edge loop, in this case it's continued on this site, which is fine. And then on this side we're gonna have to do something similar. We're going to go with this guy Control E, push it in. I know that this vertex right here has to be snapped there and Merced. Then we need to create the edge loop over here. So easiest way, Let's delete that face. We're going to go 123. There we go. Grab those two guys from March to center. This guy on the side the same. So it's 12. Tree. Grab those two guys, March the center. And then we need to move the faces around a little bit. This things flow in a nice way, right? Like, I know that we need to grab all of those guys. Control E, You can actually go are you just kind of bring them in, push them in like this. And I know that those two need to be merged to center. For those ones starts to center. We're going to add the lines that we're getting from here. So 123, merch, those guys, those guys, and those guys, remember we're using the G key to repeat the last action. And we just started like getting this guy into place again, little triangle there shouldn't be that much of a deal. Over here. One more line. We should be able to bridge this two elements. This tool I miss. There we go. Perfect. Our little element right here is ready. Like of course, if we press number three, we're gonna get a weird result. But here's what we're gonna do because we're still need to do the little corners. If I want to word line right there, we're gonna get a sharp line on the bottom, which is what we're going for. And then let's go for the thing we're in the background right now. On this side we have that corner right there, kind of like a rice. What we're gonna do is we're going to go over this two vertices right here. And would self-selection, which is the B key. Rather in this case, I'm just going to push them up for this ones right here, push them up. Same for this one is right here. Just push them up and out, out, out. So now when we do the number three, as you can see, we're going to get that sort of like erased elementary there. And of course, if we wanted to make this thing look even nicer or sharper, we cannot. Another score that's right here, which is why we added the initial actual right to be able to do this sort of thing. Same here with definitely the one that should right there. When I should've right there. You can see we get the very nice like race corner on that area of the camera. Set the proper one. Actually, I messed up. Let us go back. That's the strategy, but that was not the corners. The corners should be this one right here. So same deal with just grabbed like 1234. Just those ones were adhering and this one, so I think just raise them up and then grab these two guys and raise them up. They're really, really close to the upper edge. So if I need to grab all of this and really move them, let's do it. There we go. There we go. And it's going to give us that nice rice quarter that we are looking for. And again, we can add one line right here. And even like in here. And it's going to give us a nicer like sharp effect, which is what we're looking at there. Yeah, that's, that's pretty much it now, for the inside thing which some of you might be wondering, we're gonna do a very similar trick to what we did with the game cube controller. I'm gonna go to the whole edge right here, Control E offset in a little bit of thickness in to create the bevel of the thing. That's it like now we're just going to have a couple of support that just like here and here. And that's going to create the little sport because on top of this we're going to have the leather thing, which we're gonna do, a very similar thing so that the board of the elements are matched. Now of course, sharp corners like this one. We need to add support that just like 12 to get the proper division there. Same for this one over here. One to probably like one over here. One over here. That's it. It looks cool. Now for this piece, which is the leather thing, we're gonna do something similar. We're just going to, we need to delete the caps as well. The element so that we can grab the top areas. Control E, offset and a little bit of thickness to go in. Now when we press number three, of course, after we do a little bit of sharpness over here, and over here, we should be able to see this very nice. Seemed like on the bottom part. It seems to be going to love it down. So I'm gonna go to the front view. You of course need to add the sport I did like the same support edges are as close as possible to the ones we have on the other side. We get the sharp lines that we're looking for. There we go. That looks a lot better. Probably going to add one line right here as well. We need to push a couple of these lines, like up or down. Might not be a valid yeah. I mean, we're still going to build. Remember we mentioned that here, the leather thing becomes like this other plastic thing back here. So that's gonna be like a different piece. But everywhere else it looks pretty nice. Same thing here, like probably going to split this thing right about there. There of course. We can just delete all of the faces back here because that's where this thing, yeah, that's it guys. This is the first part of this element. So a couple of areas here that are not matching nicely as I would've liked. Then we can get rid of this one right here. There we go. Looks a lot nicer. Let's add the quick material here, like a bleed material. Let's delete the history. We're just going to give you the dark material to get an idea of how things are looking, right? Because it's very important that we still get a remain motivated for the horror elements. I'm going to go here actually, and I'm gonna divide this right here. Well, not yet Because we might use some areas from this piece to create the plastic pieces that we're still missing. So yeah, this is it guys. I'm going to do an increment and save real quick. And I'll see you back on the next one. Bye bye. 37. Camera Body Top Section: Hey guys, welcome back to the next part of our series. Today we're gonna start with the camera at the second part of the camera. So yeah, let's get to it. Now. This next part is probably the most complicated part of all of this, all of this project. And that's like the top part. The problem with this or the thing that you might be overwhelmed with first is there's so many changes, so many like little intricacies and details on the thing. So for instance, when seeing it from the front, we have this element going up, down, up, down there. And you can see on the top view we have this thing right here where it's like a cut where the little cylinder is. And then we have the cuts were this like Northstar, so this EA, complex shape, it's a really, really, really complex shape. But again, one of the best techniques that they can give you is try to simplify it. Tried to find the best possible scenario for each part of the element and it should be a little bit easier. So I'm actually going to duplicate this guy here real quick. I want to grab the silhouette that we have. So I'm gonna go with this faces right here and just shift select, delete everything else. Grab this edge right here. Are actually just like top edge Control E to extrude it up. Then we're going to delete everything else. There we go. So now we've pretty much extracted the same profile that we need on the other parts. So I'm going to bring this back to blend. And one that we do have a lot of edges that we might not need just yet. So let's just Control N Delete to make sure that we're not keeping any of the vertices, just cleaning up some of the areas again through to make sure again, everything flows and most nicely. We've got this guy right here. Let's move it right here is where it's supposed to be. Again, I'm gonna go to the layers that we created. Let's turn off all of the accessories and actually let's grab this guy. So I'm gonna create a new layer and that's gonna be like the, like the main layer over there. This is what we have. Let's focus on the main shapes first and then we're going to start adding all of the differentiates, don't we need? So I'm going to grab all of the upper edge on this guy, go into vertex mode rather, all of the upper vertices, I'm going to snap them, so they're in the same line and push them up. There we go. Then as you can see, like right above here, like this one, probably, we could probably move this one a little bit like back, so we match that line that a little bit better. And then from here we're gonna add 123 lines. And we're going to use this vertex right here. Just started like creating this little profile that we have over here. This, this, although over there. Let's grab this guy and push it a little bit closer. Then this guy's, we're just going to snap them to this top guy. Perfect. Since we already have some elements right here, we can try and utilize those to create the shape that we want. So there we go. So what I'm gonna do is we're going to go up all of these guys right here. Let's go again to the front view. We're going to start going like this guys, let's go down. Then this guy is cool it down like this. We of course are going to need more elements. You can see how, how things change really rapidly here. So this one, we definitely want to snap it to the top. And probably this line right here. Actually, yeah, that's not a one line right here. Again, let's go here. Object mode K2. Let's have the one-line were there. That way we can grab these vertices and use it to create the curvature that we're eventually going to need here. This is the cool thing about working with low Pauli's. We've mentioned this before. We were able to utilize and move things around so that we can get exactly the shape that we want. So again, let's take a look at the reference. Let's look at the back view. We can see that this thing pretty much goes all the way through. So I'm expecting to see the same kind of temperature on this side and on the other side. Both sides should be fairly, fairly similar. So that means that this one is probably going to be right over there. We can already bridged this thing. Because we know that this area right here as we're seeing it here, It's the same area. So right about here where this thing stops, which is this one right here, it will be flat. So again, just to make things a little bit easier for ourselves, let's just start adding the lines that are eventually going to create this OMA right here. Now, do we want a natural? Probably, yes. So that means that instead of doing what I'm doing right there, I'm actually going to grab all of these edges right here, Control E and use a little bit of an offset. In this case it's thickness. There we go to create the edge loop, as you can see right there. Let's delete this face for now. We don't really need it. I'm actually going to delete this side faces as well just for now. In now on this one that we just created that we're going to add one line right there and one line right over here. So we can now join both of them like this and like this. And we create the little effect we have here which has this sort of curvature and then it flat theory. Now, this guy, this guy, we can again join them together. So you can see that here we have two lines, probably going to need them. Guys right here, probably going to go a little bit lower to create the curvature. So again, I'm always, when we smooth, those are going to create a nicer effect. Then we bridge. We bridge. And here to add a little bit more resolution that we're eventually going to need because we know there's a lot of details here. Let's add a couple of elements right here. There we go. I'm again going to keep a couple of triangles. It's a flat area, so it really shouldn't matter. And it will allow my topology to flow a little bit better. So we will mesh and filled home. There we go. Now because you can see we have that nice little effect, so it's a curved area and then listening right here. And then we can see though, and that's why I added a couple of extra elements that on the top view, we're gonna have the cylinder. We have a little bit of a shelf for this guy right here. Let's turn on our accessories for a little bit. And I'm going to go into this area right here. And I'm going to go into vertex mode. As you can see, we don't have a lot of vertices here, we just don't. So it will be a good idea to add a couple more. Let's add like 123. I think those should be more than enough. Let's give it a shot. I'm going to go with this three guys pushed back and then it's this guy push it back as well. As you can see, it's four phases. And we know that number four is like our magical number, right? Because that's going to allow us to create the proper elements here. I think I'm just going to move this thing to the side a little bit. When we press three, which will have the smooth effect right there. Now of course we need that same smooth effect to be propagated to the bottom side. So I'm going to grab this bird sees as well. I'm just going to push them back. Then this one and push it back. And now we're pretty much creating our little like a cavity for the element, for the little knob. Of course, we need to clean some of this stuff up. We get as nicely so that we can create the little slot there as nicely as possible. I know when we added some more support, that isn't stuff. This should look a little bit nicer. But at least right now, we get that nice effect where this thing is just like leaving and it's gonna be rotating from. It's this one that we have right here. Yeah. That's that's pretty much it for that specific area. Now if we keep moving, you're going to see that the next slide, challenging area, it's this piece right here we'd, which has to do with the cover piece right here. The cool thing is the cover of bees actually has some nice topology, so we can utilize that as a listen, as an eighth. So I'm gonna go to the front view and I'm going to use this one, or I'm going to extract this last ring right here. Let's delete everything else. There we go. I'm going to use this last ring as a guide for myself, which is gonna be right there. Again, they can see in the reference that we have this thing a little bit bubble and then all the way to the back, right to the back area, which is this flat area over here. I'm gonna grab this edge right here. We're going to snap it to the back here, to the back area. Because that's the that's the area that we're gonna be moving towards. And then I'm going to grab all of this control, ie, push it in, give it a little bit of a bevel, which is this bubble that I'm seeing right there. And then when we see it from the firm, there are certain there's a little bit of a flat area. So we take a look here. This is the line that we want to, we want to match. So I'm going to delete all of the other faces. All of this faces. There we go. And then the last vertices that we have, Let's turn this off again. That's the, one of the issues. Removed selected objects. This is one of the issues we're working with so many elements instead, it gets a little bit tricky at the end. So let's grab these guys and just flog them amount. Probably scale them out like the last ones, this guys. There we go. Now of course, we're going to go up all of these guys and we're gonna snap them to the line that we're following. In this case, to keep the roundness, I'm actually going to push this up a little bit, again, going away from the original reference just to, just to make sure that everything lines up as nicely as possible. And now we combine both of these elements, like both of these sections. And he starts, started like joining them. So in this case, again, if you want to keep it simple, don't try to match every single element, just match the ones that we need like those ones. For instance, here, I'm going to Control E to extrude and create this nice little elementary hear Merce to center those ones. I want to have a little bit of an edge loop on this area right here on this border. I'm going to hit Control E, pushed his back. I'm going to add, of course, one line right here, one line over here. That way if we need a support edge going around the little cylinder thing that we have over there should be a little bit easier to manage because again, all of that area is completely flat. So see how we're working in implementing all of the topology inside of this element right there. Here's same thing like, I really don't want to merge this to that point because if we do that, we can do it. But then when we add a support edge right here, it's gonna go all over the place. So when I keep the edge loops of this guy inside this ongoing or bring it to a different position. So what I'm gonna do some HQ going to extrude this thing. And move it out like this. Now we have that. Now if we are a support edge right here, it will only flow in this particular area. I'm actually going to do the same thing here. So I'm just going to create a nice little square over here. Let's snap it to the same position. Now, I'm gonna grab this guy and this guy we're going to bridge. And here's another trick that you can do. All of this area that's a whole right? So we can say edit mesh, mesh field. And then from that filled hold, you can just start using your gut tool to create the topology that you want. So I know that this thing is going to go down like this. And then down like this. Then download this. This is square, but I don't like those squares. They tend to be a little bit weird. So I'm just going to try and delete that one and that's it. So as you can see, we've revealed the surface and eventually when we inserted the actual is that we need, we're gonna be good to go. Now, as you can see here on the front view, we can just bring all of those lines to the front view and it's not gonna be an issue. But if we want, we can also simplify a couple of these elements. So you guys remember the three-to-one conversion, I'm going to say Control E versus out. Then move this guy's like this guy's control, ie. Push them out. There we go. And then these two guys Mercy Center and these two guys most of center. We're just going to grab this edge and this edge and we're going to bridge. And that way if we've reduced the amount of polygons are now on the front view here we only need two. This two lines. We're rebuilding all of this area and we're trying to simplify some of the topology just to make sure that it flows a little bit nicer. So for instance, here, we can actually use the same topology that we have to control E. Just push this forward. Melinda concerned that there seems to really look at change in depth there. Now. Just grab those two. Merge the center. Add another edge loop right there. Merge to center. Again, just to keep this a little bit cleaner, Let's bring them back. That's also this like pushing this line back will also help me with the what's the word wood keeping things a little bit closer or tighter here on this area. And again, I don't want to bring us like all of these lines to the front. So let's simplify a little bit. Like 123123. Those are fine. They are fine. Actually we do have look, just street. That's nice. Just move this over there. Here. Again, if we want to simplify, we can use this little arrow right here to do so. It's just a matter of pushing this going from here to here, bridge, from here to here bridge and from here to here bridge. And as you can see, we've simplified from two to one. And again, since it's a flat area, is gonna be perfect, it's going to work just fine. Let's assign the blend to get a nice effect. And there we go. There's a weird pink over here because we did a couple of extra loops. So we're just going to want to versa Center, mercy center. There we go. Now, all of this part of the body ESR ready and we can keep going. So let's take a look at the front view. On the front view, I don't see any other thing. Like it's pretty, pretty clean on the side. On the top you though, the one thing that I see, there's a couple of them. There's two little holes. I'm not sure what that is. I think it's like the microphone or something. And of course, this section right here. But first, let's complete this segment right here. Again, to make our lives a little bit easier, Let's just extra ones. Extra twice. We grab those two vertices, March to center. Those two vertices merge to center. We do 12 Merced center, whereas the center there we go. Not all of that area is completely flat. Yes, we're getting a weird effect over there and let's just grab this guy. I'm going to straighten them out to make sure that they're super nice and clean. And just extrude this all the way over here. Perfect. Here's where, if you remember, there's, We're gonna start having a little bit of inclination. So since I know this is flatly, I'm actually going to move this one up instead of the other one because I really wanted to keep my top surface like really, really flat. Let's of course add support that over there so that this little guy right there stays really, really clean on that specific area. And let's go to the top view. Find this little guys right here. These little guys are very similar or we're going to build them in a very similar way as to how we normally build the circles, any circle like indentation. But I'm gonna make it little bit easier. So I'm gonna go to pipe, let's just say pipes. So I'm gonna go Create Polygon Primitives and we're gonna use a pipe. And we're gonna change the divisions of the pipe to eight. This going to position this right where it's supposed to be. It scale it down. We can play around. I think it's pretty much what we're pretty much there on the effect. So I'm just going to delete all of this half, push this over here. You see what I did here is I wanted to face mode and I push this back so that the pivot point on object mode, it's still in the center right there. So I'm just going to mirror object mode x positive. We're gonna get this. Now we can just grab these two guys and Bridgestone. Remember Object Mode uses the objects pivot point to position the elements. Now of course we delete all of the other phases. We only want this top faces. What we need to do is we need to create the topology. Let's go. Let's make sure that they're completely snapped or let's center the pivot point and then snap them right there. So that's the place where it should be. But we need to make sure that the topology of this object right here matches or it'll helps me create the topology that I need here, right? So we're definitely want to have like one there, one there. I need to be very careful if I add it over here or not. I don't think we needed let's do one here in the center. We're probably going to have a lot of stitching here. Now, I'm going to grab this face is right here. The lead them. That's the area that we need to stitch together. Before we do that though, I'm going to duplicate this guy and move it to the side because we're gonna use later on for it for another piece. Here. I mean, you can modify this so that it looks a little bit nicer. But again, since, since it's a flat surface, we really don't have to worry too much about it. So I'm just going to combine them. We're just going to start merging them here. Let's see. I think we can go 1212 and we can bridge them. 1212, we can bridge those. 12. We want to, we can bridge those and that can emit triangle, that's fine. And same deal here. So we're just gonna do this and this, and we're gonna keep this triangular mesh. And Philo, remember we can keep this or do this because these are flat surfaces. And in flat surfaces, triangles are our friends because we can do some really, really crazy stuff. Let me go here to the reference just to see because on a three-quarter view, I don't know if this guy started like rice up or going down. Now they definitely are going down. So again, if we take a look at the top view, you can see that they go down. So it's just like a nice bubble here. So this guy is gonna go down, just literally push this thing down. Probably give them an extrusion. And I know we are not seeing the Capstone. I'm just going to do Control E and then R to create like a little bubble and then mesh, feel whole. Grab the face, Edit Mesh and poke. And eventually when we smoothest thing out and flattened this, we're going to have a nice effect. This thing that you're seeing here, That's the material. So I'll just assign a new material that we've been using and that should be it. Again, if you really want to see the nice hard surface technique here, very simple, just a small fraction and the small segment. And that's the effect that we're going to get. So super clean, super nice. Everything's super plotted with the rest of the elements. Again, no need to do it right now, but that was pretty much a stitch of very, very nicely. Now, what if I told you that we can save ourselves a little bit of time, but just recycling all of these things. I'm just going to go up to this guy. Let's duplicate this face and then grab that section and delete everything else. Again. Grab that section and then delete everything else. There we go. And then it's just a matter of grabbing that little thing. This is a trick that we do quite a bit when we're doing keep bashing. So if you create an object or a piece of geometry that you really, really, really, really like this. A very easy and nice way to reuse this element. So let's go back to this one that we're here. Object mode. Let's add just the support that just the wind. So we need one there, one there, one there. Let's go to face mode with a little spaces and that's it. Grab both of them, combine them. Just stitch those two guys together. Again, thanks to the fact that we're in the flat surface, that should very easily become the element right there. So I'm going to stop right here, guys, as I've mentioned, this like a body part is probably the one that's going to take that the most parts. I'm not writing specific pieces because it's all one single piece and the Yes, So now we're going to jump onto the little camera here. So in the top view, we need to do this section right here. So it's like an extrusion. I think it's gonna be fairly easy to manage. And after that, we're going to jump onto the, what's the word onto all of the buttons over here. Hang on tight and I'll see you back on the next one. Bye bye. 38. Camera Body Flash: Hey guys, welcome back to the next part of the series. Today we're going to continue with the body of the camera or the main body of the main shapes. And we're going to work on this guy right here, which is the little like it. I think it's a Flash. I'm not really sure what it is, but it's sort of a square shape. So if we go to the back view, should be able to appreciate a little bit better. So you'll see there's like an indentation here where this little bracket ghosts. And then we of course have all of the other buttons that we've already modeled as just a matter of modeling the remaining pieces. But yeah, let's model this piece and it's, I think it's one of the ETEC pieces because as you can see, we already have the edge loops. So it's just a matter of moving this guy like over there to the side. Then this guy right here to the side as well, grabbing all of the elements. So all of these phases, I might move again to recycle some of the edge loops on my moves. This one's right here, just a little bit up like that. Then if we go here and grab all of the phases again, we can just Control E offset to create a little edge loop that we're gonna be using. Very important and we're going to delete this face is right here. And then this border, we're going to snap it to the side. And then grab all of these phases again. If it is that we're gonna be using control ie and move them down to create the element. Let's go to the back view. And here we're gonna know how deep it's supposed to go right about there. Again, we're using the top Bu more than the side view. You can see there's a nice little change there. We can have it. It shouldn't be that much of a problem. Again, we delete this sketch right here. If we went to add that little extra step that thing has, which is a good control E. Give it another little officer right there. Again, delete these guys right here. Push this case right here. These two guys are three guys, snap them so they're the same distance as this guy's. Grab all of the phases again and give this thing a little push. Careful there. Make sure that we're only grabbing the faces that we want to grab and nothing else. So careful there, Control E. There we go. Again, super important. We are going to delete this border face strike here. When we do this, we get this nice little section where there were the flash is going to be safe. I'm not doing any bevels. So as you can see where we're not babbling and thing because since this is such a complex shape, if we started babbling, then it will be very difficult to continue other pieces or parts of the element. I actually need to finish this part before we moving on because that's gonna be a tricky part as well. Yeah. But this is it. Now let's do the little flash right here. And again, I'm, I'm really not sure, like the main or the supposed shape that this thing is meant to have. But I can see that this thing right here, it's probably the pivot point or the hinge. And then from the top view I can see that there's this balance that hold the thing and then a main square. We're going to keep it really, really, really simple at this time around. And let's start with look at the main blob right there. This is gonna be the main block. That thing like that triangle thing. I mean, we can model it. But again, for, I think for simplicity and time's sake, because we're already, we've invested quite a bit of thymine in all of this. I think I'm gonna, I'm gonna skip it and that thing we can just add it later on on a normal map or something. So yeah, this is set and then from the back view, you can see that this thing actually has some winks. It's kind of like having gonna go face view. And we're going to extrude this phases out. So again, I'm following what I have here as a guy. That's pretty much it. That's the shape of demand, our main object, let's give it its, its febrile already. So that's gonna be the main shape. Then we have this C-shaped things that are like hugging the surface and I guess this are the ones that pulled up or something. So I'm going to grab another cube. This ones are gonna be like this particular area. They're going to hold the surface or the thing here like this. Let's add a couple of lines. So it's gonna be like one right here and the other one right here. One more leg right here. That to me looks like the C-shaped that we're going for. Go grab this faces delete. I got this faces delete. And would just bridge this thing real quick. There we go. Get this thing at the distance and how it's supposed to go. From the top view. Because the hinge to the hinge back there. So the top view, we're in a good distance here. This one right here. Again, I'm just going to bubble the whole thing, two seconds and the small fraction to get the effect that we're going for. Like hard surfacing thing from the top view. Yeah. I mean, it has one section line going around here. So I'm going to create a real quick, remember, very simple way to create sexual lines is just create a line, bevel it, and then grab this line and just push it forward or in. That's going to give you a nice section on line. There we go. Control D. Let's go here. Rotate this thing around a 180 degrees, and position it right here. Now here's where it might need a little bit of adjustment to make sure that they all fit. So let's first transformation. Probably scale them up a little bit. There we go. And then scale this one up a little bit. Nice. There we go. The tub bu, this things are supposed to go all the way to the front. So let's combine them both. The vertex, vertex, there we go. Just pushed us all to the front. Here's where we couldn't just like smoothest thing that we are eventually going to have of course on national, but it's going to go around this elements are close to this area to hold the edge a little bit better. But yeah, so you can see this matching nicely. And now we just need this sort of like hedge that we were seeing there. It's a little bit tricky. For the handwriting. We're just going to go for a cube, like a bubble cube. I think we can keep it simple for now. Gonna be like right about there. Let's give it the proper thickness. There. We're just going to bevel it fresh. That's it. That's just like that. We're going to use it to C or to yet to see the black piece. Actually the black business like an extra piece. It's kind of weird. Really worried. It's like this. We can just duplicate this piece. There's something like this. Again, just to simulate the area there because we're, we're not really going for, for super accuracy on this particular piece. Mainly because again, we're running a little bit low on time for this whole project is what like four hours or five hours. What? I've mentioned this in other some of my other tutorials and in the YouTube channel. One of the challenges that I have as a teacher in this particular cases is I need to make this as quick and as accurate as possible so that you guys can get all of the ideas without making it boring. So it definitely is quite a challenge. But it's one that I'm happy to take here. I'm just going to start extruding this thing around to start creating the different elements. And in this case, an easy way to do this as, again, just, let's move it, snap it there. Let's grab those vertices right there, much to center. So that's the same piece. And then this edge and this edge which is like rich. And we just add a couple of clips here. So it's going to be like one to three to three. And we do want 2341234 bridge. And those are gonna be triangles, That's fine. Mesh, feel whole. And I'm not really worried about that area. Because again, since we're not going to be like, What's a word on assembling the whole thing. This element right here, like the little viewport Finder. This is going to be, Let's first transformations. This things are gonna be like right here, right? So we're never going to see the inside of this area. So the only important thing is for topology to be flowing in the best possible way. So here we're just breach that as well. And there we go. We are, I think in that, in a very good position here. Network in the jump onto the rest of this area right here, which is the balance. And as you can see again, one of the cool things, It's a very flat area, like all the way up to here to this area, it's really, really flat. So we can just continue bridging and creating the proper topology for this flow of elements. So I'm gonna go to the main one right here to this three phases. Control E. Just snap them all the way down to the same distance right there. Now so you can see that it seems like we have some weird depths over there. I'm just going to flood them out. There we go. And now here is where we need to start stitching. And it might seem a little bit counter-intuitive at first, but we need to make sure that all of these guys are like nicely laid out. Let's go to the top here because I'm a little bit concerned about the straightness of all listening. There we go. So let's make sure that everything's completely, completely flattened the same plane. And now this tool versus right here, we can just merge. And we should be able to bridge very easily from here to here. We need to do that bridge because now we're gonna grab the next series of phases. So all of this control E and snap them all the way down to here. We again grab all of these vertices or the down versus here, and we brushed them, immersing them, sorry. Then here we've got one to control E. Let us go to all the way down here. And here's where we're gonna start adding edge loops on this area. And we needed, because we're eventually going to add this one right here. Now those two smashed, smashed center has emerged to center. Thinking about Smash Brothers or something. There we go. That's gonna be the first line and then we're gonna have a second line right here, and second line right here as well. Grab those two vertices. That we can bridge these two areas right here. And finally, we can bridge these two areas with your perfect. So we just need to be very careful that the new lines that we either are not modifying or changing anything that we did over here. Now we'll see this. It seems like a one-point. I selected some phases and did the opposite and I didn't want that. So the cool thing is we have all of those areas and we can just collapse. Well, actually, no, we can't collapse. A little bit annoying, but let me show you how, how to, how to fix it. I would say, like it's not super super simple, but it should be fairly, fairly soon. Just going to start snapping all of these vertices where they're supposed to be going. So that's the oriental face. It they have. So let's just go there. There, there, there, there, there. There. There there. Perfect. So grab everything and then just mesh, mesh merge. That pretty much just salts it. Now let's say we don't want this like, let's say this two lines are a really hurting my, my flow over here and I don't want it. What can we do? Well, we know the answer. We can just collapse him. Like, since this is again a flat area, that page that we're gonna see there. It's gonna be barely noticeable once we do all of the elements. So I can just collapse that one, select the remaining echelon. We should go all the way around, collapse everything else. And then it's just one line, which I don't think one line is going to hurt us. It's actually going to help us do to keep some areas overlap sharper. And yeah, that's that's pretty much it. The only thing that we're missing here is on the back view. There's this circle right here. It's one of the circles that follows this bottom right here. And again, it's an area that we should consider are doing to get the proper proper technique. We know the drill. We're going to grab a cylinder. That's a snap it right there. Rotate this 90 degrees. And we're gonna say it's eight sides, the whole thing make it smaller. Like right above there. I'm going to face mode. Like the caps, like the other elements. Just extrude this out. Grab this guy right here in bird select, grab this guy. And we need to insert this shape right there. So centrifuge would snap to plane. So we're gonna snap it right there. Perfect. Let's grab these two guys again. This sort of things that we need to be mindful here, we can actually recycle some of the lines that we have. For instance, this line, we could recycle it. So we already have like several of the lines that we need. I'm just going to add 123. And we know that normally for this sort of things, we need eight phases. We can move this thing around, even like this edge right here. Let's move it just a little bit to the side. Let's grab this face right here and move it into the silo swell. Like even this ones. Because eventually we're gonna have like another flat area we're here. We can just move them a little bit more, scaled him even. It's fine because it's flat. But again, all of these areas are flat. So just grab those areas right there. This vertex, for instance, let's push it up a little bit down. That's it. There's just all of these guys, all of those guys and we just rich. We of course need to combine the objects. We're not gonna get anywhere if we don't combine the objects. So we combine the objects that we've reach. Make sure that the offset is properly laid out there as nice as possible. There we go. Again, just to give this thing a little bit cleaner, just more a couple of these vertices around, align them. That's gonna help. We can collapse some of these lines as well. I don't think we need to go on the reference. Of course, the back view. There we go on the reference, that button goes up a little bit. So going back here, I'm just gonna go with this edge right here and just move it up. Then control ie, probably going to give it a small little scale there. And then Control E and pushes it so that when we do the number three and we have the button right there, this one is gonna be sitting very, very nicely there. Grab this whole thing. Existing material, blend one, and there we go. It seems like my calculation was a little bit too far away. I'm just pushing things back to where they're supposed to be. And again, if you already want to see how this thing is gonna look, because this is a self-contained part of the topology. We can just bend it and that's it. We're gonna see the nice little button. So yeah, as you can see, little by little, we're building the whole camera body. We're gonna go into the complicated. They are one of the complicated areas. But as you can see, if you, if you follow this or rules in a segmented way, like if you take pieces by piece and try to build up on all of the techniques that we've learned so far. A super complex shape like this one, because it becomes a lot simpler, right? Like I know that if I ask any of my students, Hey, build this guy right up. And I showed them the topological big, I don't know, I don't even know how to start. But if you again, like visualize the shapes, the basic shapes, and start building it from a basic pieces and basic segments, segments, it becomes a lot more manageable. So let's take a look at the whole piece because a look at that little camera is almost they're homozygote, which is missing this part right here, and then the controllers right here, which is another slightly tricky area. But it shouldn't be that much of a deal. Yeah, that's it, guys. That's it for now and I'll see you back on the next video. Bye bye. 39. Camera Body Knob Section: Hey guys, welcome back to the next part of the first series. Today we're going to continue with the next part of the body of the camera. So now we're gonna be jumping onto again, one of the tricky parts of the element, which is all of this section over here. I actually realized that I forgot to model one of the little buttons right here. I'm gonna do it off camera again just to save a little bit of time. So now as you can see here, we have something interesting going on and we can take a look at this and impure of what happens here is that we get a sort of like small bevel. Actually that one goes all the way through the object, all the way through the object. Then from that bevel, we get this new section, which is where we're, we're gonna be placing all of these buttons right here. Again, we see that over here That's the bevel and there's all of these pieces just going in and out of different parts of the camera. We can see the bubble here as well. So this is one of those occasions where I would definitely do the bubble. The bubble that we eventually need to do. This is where I would, I wouldn't do it. So I'm going to grab this edge right here, except for all of these areas right here. So I just want to do, actually, I think we first need to connect. Let's isolate this. Too many things going on to really pay attention properly. So I didn't think this guy goes all the way down there, at least not back here. It's take a look at the back view. Let's turn these guys off. Let us go to backfill the isolated. Yes. So as you can see on this side of the camera like on the backside, we don't go as far in us on the front view, in the front view a week or really, really down. And then this is like the size that we're gonna be following. So I'm going to grab all of these actions right here. I'm guessing it's like halfway on this area, but there's probably like a sexual mine or something. Probably like there where we're gonna be moving all of those guys to that specific height. So something like that. Yeah. Now that we have this, it's just a matter of combining from here to here. Technically, it should be quite flat. It seems like there's a little bit of a nucleation which is fine. We did know that there was going to be an inclination. And then there's a lot of lines coming on here and we got to see where they're coming from. As you can see, they're coming from the circle there. We might not want this many, but I don't want to have some big triangles over here. I'm going to collapse it like right about, about here or even here, like hidden behind the element. I'm just going to collapse that line right there. Or actually let's collapse this one and this one. And that should allow me to collapse all of this edge loop, all of this without having that much of an issue. Now, we have waitlist geometry here. We should be able to just bridge from here to here and from here to here. So yeah, that's pretty much it. That's the, that's the line. So now that we have this section, this is the section that I want to do, the Bevel tool. I'm gonna grab all of this area is right here. I'm going to hit Control E air. We're gonna give it a little bit of an offset right here. Like this. Now I know a lot of thickness is just the creation of the of the border. They're gonna be like the inner bevel that we're going to get. Then from here, I can see that on the front view, It's really, really sharp, like we're not going to see a lot of stuff, but all of this area is really, really interesting. There's a lot of things going on. So again, whenever you're faced with something complex, break it down, break it down into simple, into simple steps. So let's start, for instance with this section right here. So I can see that a right around here at this height. From here, we're going to extrude and bring this guy all the way back here to right about there. There we go. That's like the main area because I know that if we extrude from here, this is where all of these elements are gonna be doing their stuff that actually might be a little bit too high. That's fine. Let's actually delete this face. What I'm gonna do is I'm going to extrude this face forward like this. And again, that's roughly the shape or the area that we're gonna be working with. Of course it's not perfect. You can see that right here. It doesn't match on a couple of areas, which is five and we're gonna be fixing all of that. But at least we know that this is the rough volume of the element. Now of course this thing, let's push this face back. Then. This edge we're going to go eat like this. That's roughly the, again, the shape that we want to follow. Let's push this in. I'm actually going to, I make this thinner like this. On the back of that. We don't have that though on the back where you can see that it's it stops right there. So I'm just going to be like a hole in here. We'll address that one a little bit later. Now we need to make sure that this thing is sticking to the side of the object. So let's delete some of the phases here. The phases that we were using. And let's scrap it. That's elements merge the center and both of those elements and Marsha center, there we go. Now, it's a matter of first completing this area. And then once we have the area complete, we can start modifying and well, first thing is, I think this a little bit too high. Yeah, we're a little bit high. So before we do anything, we could just grab this face and just Bringing it slightly back. There we go. That's a lot closer to what we have. Perfect. Now. It's just a matter of finding the edge loops here. So it's like one I showed there. And this edge loop, it's going to be that border. This one. Let's push it a little bit more like they're going to have one that shows up there. And this one, we're going to push it like they're one edge loop there because that's actually, let's grab these two guys. Because that's one. That means that we have one there and one there. This one is going to be that one right there. Then this one is going to be this one right there. Now technically we should be able to say 12341234. And Rich, This guy's together like this to create a little effect. Here's where we're going to use a little bit of traditional box modeling to make sure that this thing that looks as nice as possible. We're going to babble a lot of things were suddenly took out, a lot of things out. But at least this is the general shape that we're going for. Here. Let's bridge. Bridge, and then hear that little triangle right there. It should blend into the rest of the element. Then I'm going to add another extra line there. I'm going to use this line to create the flow of the apology in this area so that it blends into the, into the rest of the shape of the camera right there. Let's continue on this side. We're going to add an edge loop right here. And we already have the edge loops here. So it's just a matter of using them and moving them to where they're supposed to. And we're gonna be modifying a lot of these areas because this is where we have the cuts for the for the other geometries. So don't worry too much about how this is looking right now. Let me go probably going to need another line right here and a couple more right here here. And then 1234. We go from here to here to here, here to here to here. Rich, Rich bridge. Bridge. Then we definitely need to push like this guy's up. Again, a little bit more like traditional box modeling. More than that, I remember, I recommend only using one axis of the time. Things flow in a nicer way. We're gonna go here. ***** bridge, bridge. There we go. Now we have the section before we started joining it with the other section because I know that there's gonna be a nice ramp over there. Let's start working on the abundance that we have right here. So we have our first button, or a first section right there. And we actually do have the button, which is this one right here, which represents what we need to create. This is the element that we need to create. So I'm actually going to grab this guy, I'm going to duplicate it. Let's isolate it. One thing you can do is you can actually collapse. I think I was going to collapse and stuff, but I think it's easier to just create a new one. I'm just going to create the new cylinder here. It's going to be an eight-sided cylinder. Of course. We're going to move it to the book point of this guy right there. Perfect. Make sure that we match the purpose scale. And as you can see here on the reference, this thing is like a cutout, right? Like if we see it from the top, there's a nice little cutout where this, I think that's is that the power button? It looks like the power button. Yeah. This is gonna be right there. So I need to make sure that this shape right here is calling through. What we have. Here is where we can actually use one of the tools that we used before, I think we used with the was it the the toaster? I probably was a toaster. If the button is going to be right there, which it certainly looks like it on the top view. Let's just make sure yeah, perfect, perfectly in place. We can actually use a Booleans to create a little edge that we, that we need. That's one option. The other option is just use the traditional technique that we've used before, which is Control E. And just create the Bible. Select the faces that are gonna be our, like our guy. Just cut this faces inside of the shape. If you're using Booleans, there's gonna be a little bit more clean up to do, of course. And if you're using this technique, there's not as much clean up some thinking I'm gonna go with this one for this piece, Let's see how it goes. So we're gonna say edit mesh, mesh display reverse. We're going to center the pivot point and snap it there too. The first transformation tried to find the vertex. There we go. That, that should be here. We need to again find the shapes. So I'm gonna go to the top view. And what we can do is recycle the points that we already have here. So for instance, this point right here, it's perfectly line up. We one of the vertices. And then we can grab this point is right here. Just keep the same curvature. But move them closer to where we're gonna be doing the cut which is right about there. Same for this one that's gonna be around there. We're following that one. We might want to move this one over here. Then here's where we might add one more line. Because this line, as you can see right here, will help us build this connection right here. Perfect. So now we delete these faces. We actually delete these faces as well. Combine both objects. We're going to snap the one on the outside to the one on the inside the exam. Pretty sure that the one on the inside, it's the proper circular one and the one on the outside might not be exactly where I want it. We're going to match them over there. We actually don't need this faces right here, like this, two phases. So let's go grab all of the vertices and again Edit Mesh Merge. Now we have a nice little circle there. I'm going to grab this circle, the top one, Control E. And we're going to bring it back to about the same height over there. We just breached death or bridge that bridge that, Let's grab these two edges right here. Extrude them in a little bit. Much to center, to center. Grab this whole lets me control E to create that nice little effect. They're flattened this out. It's gonna be like our base. It's Control E and scale it in again. There we go. Now we do the mesh, edit mesh poke. In that way we've built our nice little cylindrical indentation there, which if we check our accessories, should be matching pretty print nicely as you can see there. Here's where we might need to move a couple of the vertices in or out. Like for instance, all of those guys, let me just push them slightly out, get the proper hawk on the surface. Eventually when we add more sport edges, things should look a little bit better. But yeah, that's the, that's the first button right there. Again, I still need to model this power button right here. That's gonna be sitting on this area. But that's, that's pretty much the process that we're gonna be following for, for the remaining pieces. So let's go for one more right now. I'm going to go through that to the backside. Now. On the backside, you can see that this thing right here, like this one has a surface on top and on the bottom that's kind of like poking out. We really want to have that. Let's rebuild this. We'd lost for some reason. I'm going to, I'm going to create a new cylinder. Again, let's try do eight-sided cylinder to, to keep it simple. There we go. We go right there. It's a slightly smaller than the ones, so probably something like that. I can see it's like this. It's kind of like like this. We have a surface right there, hugging that area. Then we have another one down here. As you can see, this geometry is right here are really, really simple, right? So that's just a sender and we need to simplify it. So let's called the half of it. And what are we gonna do here? Since I know that all of this back area is right there, I'll just push it forward. Push it forward so that matches the round is that we have here. And if we need to give these things a little bit more roundness to recover the disorder like cylindrical shape. That's what we're gonna do. Same for this one, which is even smaller one. So again, we would delete alone, but lower faces. There we go. We're gonna go up the vertices, pushes things out. Or another thing we can do is just grab the whole cylinder. Let's move the pivot point to the center of the cylinder, like this. And then let's move this thing out. Rotate it a little bit, and then just scale it so that we get the size that we're going for. Kind of weird. I think I might go in and maybe this one is going a little bit too, too far, far in. Let's push it out a little bit more. Because I am pretty sure that this thing should be like this. Let's just holding a slightly on the surface. Now we can bringing this out again or backup out. This guy, let's push a little bit out. The only thing we need to do is combine them and make sure that the elements flow into each other. That's pretty much it. So let's combine it. Again. Let's add a couple of edge loops. So let's say one that should write their work, of course going to recycle this one for this one right here. It's in for this one like this, this guy right here and this guy right here. Why not just move this up for this one? Let's move them up. That way we save ourselves a little bit of geometry here for this one might not be possible. We're gonna have to add, Wow, that's a really weird, really weird flow over here. I mean, I'm not super worried about it, but it is a weird flow. Same deal here like that. Scrub this guy. Just like push it back. For this Bernstein, push it back. Because I know that that's four phases that we need to delete. Technically, those four, those four, we should be able to bridge just like that. And just start moving. This guy's a little bit to one side to the other to make sure that we have a clean, nice transition later on with the bubbles and everything. Thinks she look a little bit nicer. So those two guys, this guy and this guy, and we bridged together and make sure that the opposite is the proper one. We need to move the branch offset. That's it. Again, just move the lines a little bit so that they are as nice as possible to the, to the shoot that you're going for. That one when we create or when we smooth things out, things will smooth a little bit better. I think 16 material and blebs and one, That's it. We're getting there, the shapes of our main body are looking better and better with each passing video. We're really close to the final part, part of this body, body thing. Again, we still need to do this other part right here, the main wheel. There's still a little bit to go probably like other one is secured. You guys was probably like two more hours of videos. That's it for this one, guys. I'll see you back on the next one. Bye bye. 40. Camera Body Details: Hey guys, welcome back to the next part of our series. Today we're going to continue with the part five. So here we go. Now I think the only couple of buttons that we're missing, if I see this top view right here, or the like, the the insertions that we need. Are we missing one not right there. That's really weird. I do remember making dentin up though. They hide or something. It's quite weird that one you guys remember. Pretty sure we didn't model it. So I'm going to save a little bit of time here for that now I'm just going to duplicate this one over here. Let's go to the top view again. The sort of like selector knob that goes right there. So we're missing that indentation right there like the cylindrical cylindrical thing. And then that's then this one right here, where the main Like button here. So let's go for those two. We're gonna follow a very similar approach. We're going to start with a cylinder. Let's make this eight sides so under so we can keep it low poly. And we're gonna go to the center of the element. The vertex that represents the center which is downward right there. We're going to encompass the whole thing. Let's go to top view. The boat there. Here I'm actually going to rotate this thing a little bit so that the border here matches as close as possible to what we already have. We're going to look this guy's delete everything else. And then extra this in. There we go. Select this top face right here. A ring, the main ring that we're gonna be using to cut things out off. We're gonna say Mesh display reimburse central point. And there we go. That's the first one. And then we're going to use this one. Of course, let's go to the top u, w, and this one's going to go right there. And it's gonna be a little bit bigger. So right about there, That's the hole that we need to cut. Let's grab both elements that we're gonna be using. There we go. This one of course, let's get it right there. Again, we're going to follow a very similar approach to what we did before. So all of this area, like all of the segments, we need to create this cylindrical shape right here. So if we go to the top view, we're going to find which vertices we can use to recreate this shape. And as you can see, we have this vertex right there. We're probably going to need a one extra edge loop right here. We can start creating like this one. Right there. This one's gonna go right here. As you can see, we have more polygons on the outside, what we need. But that's fine because we're going to be deleting most of those guys. So for instance here one thing that we can do is we can actually triangulate this little guy right here. Because all of the sections is going to be cut out right there and over here. Very similar thing. I'm just going to grab these two edges, scale them, and move them to where the cylinder ends. And that way I know that it's all of the section that we need to delete after the bubble, of course, all of these phases, because that's where our asymmetrical shape this week are. Both of them. We combine and let's use what we have here. So this one, we're gonna snap it right there. That's why I'm we're gonna snap it right there. This one right there. This one right there. This one. Here's where things might get a little bit complicated. So again, since this is a flat area, we can get away with our traditional trick here. I'm actually going to cut the other thing like this guy right here. And I'm actually going to move this point. They're merged, so center because we're also going to be leading this guy's in a very similar way to what we did with the first one. That way we create this little shape right here. From here is where we're gonna be creating the cut. So this guy and this guy, we extrude, bring them in. Let's merge those guys to the center. There we go. Here's where we're going to start creating the edge loop. So this guy's all of this control E, we're going to extrude in, going to create a nice edge loop right there. Grab all of these guys, Marsha center. Then this two guys, we're going to extrude, push them out like this. Mercy Center and merchants. There we go. Now we have this area right here. Now, I know that this cylindrical shape, it needs to be conserved. So I'm just gonna go with those four phases and bring them down to about that distance right there. Let's have the one edge right there to match those guys right here. And we figure out this two guys, Mars to center. Let's do guys members to center. On this side. We're going to go from here to here. We abridge, probably from here to here where the bridges well, and almost a triangle. But we know where we are. We know what's the journal with triangles. That way we get this flat surface area here should be able to fund this out. Control E, get another edge loop, control E, and then really close in there, just merge to center. That way we create that nice look at that. When we smooth, we're going to get this cut right there. Of course we're going to assign the same bleeding one material so that we get this shiny effect. There's a couple of points there that I think we forgot to combine. There we go. That's it. As you can see, we have that nice little curvature where the other button is gonna be. We're gonna follow a very similar process on this side. I'm going to go to the top view. Let's start moving some of these faces around or points around. This one can go right there. Actually in this case, I think I wouldn't mind adding one more edge loop here. Just to again help myself a little bit with the proportions. Go like that one right there. And then pretty much all of these guys are gonna be gone. So yeah. So as you can see, all of these phases, I don't even need to bother because we're gonna be eliminating this case. Phases gone. This is gone. Then from this guy, from the main cylinder, we're going to delete. This face is right here. Let's go to the top view. They need to make sure that this vertex gets all the way to the border, like right about there. And same for this one. So let's just use our CO2 code right there and delete that face perfect. We combine both objects. That's what we've done before. Combined. Then this vertex goes there. This one goes there. This two. Actually this one I kind of wanted to go over there. And it's a lot more sense topology wise. So for this one makes more sense to go there. And we go there. Yeah, that's pretty much it. So now we describe all of the vertices versus center. Whoop, sorry, Edit Mesh, merge. Let's do a quick little history. Because there's a lot of things going on here and I want to keep it safe. And let's do a quick save just in case. Now we grab this border right here, and we're going to extrude down until we hit this vertex area right there. So that's gonna be the dissection that we want, that we want to keep. Now from here when it started like bridging things. So let's add one more inch right there. What's going to happen here, of course, is we're going to grab this guy is right here. Control E. We're going to create a nice little bevel shape right here. From here to here. We're going to create our nice bridge, which is like a flat area. To make it simple for ourselves, we're gonna add 123 lines right there. Technically, this guys should be going to those points right there. I do remember that there's a little bit of a ramp here. I'm going to be moving this things down so they follow the same height of the ramp. Like that. There we go. Again, grep, all of the products in this area. Just hit the merch. They become a single vertex. We add one more line right there, grab those two guys and emerge. Finally, we grab this guy and this guy and we bridge in here. I mean, we have a line going there. Can we use it? Yes, we can use it. So let's grab or add one more line there so that we can bridge these two areas very, very nicely. That's it. We're just grabbed this guy right here. Same deal. Mesh, feel hall, grab this guy, Edit Mesh and puck. Perfect. One was would we get this very nice effect? Again, we can assign the same material that we had before to blend. Those are the areas now there is a little bit of a pinch there and that's because of the inclination of the elements. Here's where I might debate whether or not to keep the inclination here. Maybe, maybe, maybe, maybe like this guys right here. We bring them down. On this area of the button is like a little bit straighter. And we don't get any weird shavings over there. Now we can finally go into this area, which again, if we go into a reference, which is just like a ramp connecting both, both elements. And then we can start bridging all of the elements that we have up here with the elements that we have down here. So we're going to go here. First. Let's fix this area right here. So I'm going to extrude this out there. Those two guys Merced the center. Then same deal here, like this one, Control E, Push it. Marcia center. Here. And here's where again, we don't want to add more, like topology them when we need. So for instance, these two guys, I think we can merge the center. And that way we only have like a, like a bridge here and this becomes like a triangle. We need to be careful with triangles though we're adding a little bit too many triangles for my liking, that could potentially create some problems. Because triangles do make it a little bit difficult to bevel later on. However, I think we might, we might be fine. Now up here, we definitely want to simplify because as you can see, we only have 1234 phases and I'm sure we have 12345678910. Very simple to simplify because it's again a flat area so we can just start collapsing. One of them. We collapse one and keep the other one collapse on, keep the other one, collapsed one and keep the other one. Now it should be a little bit easier to bridge this. For instance, here. We got to be careful with this guys. I might want to do a triangulation as well. So for instance, those two guys, I don't know, I really liked the sharp edge that we have there. The other thing we can do is we can add one line here. Then if we fill this whole mesh feel whoa, we can do a little bit of topology tricks here to go in this other direction. We do this change right there. You can see that the flow of the topology changes and now we're moving all the way over here. So that could work. And then over here though, we're gonna do something similar. Match feel, whoa. Cut tool. We're going to go down there, there. Then from here to here, there we go. Now everything is flowing in a nicer way and we do get the little ramp that we wanted to. Of course, we need to do traditional box modeling techniques as well here. And start pushing some of these guys so that the transition from one to the other becomes like nice and smooth. So in this case, I do recommend going into smooth mode and then using your smooth mode like resolution to see how the elements are flowing from one piece to the other. Gets really, really tight in here. So I'm actually going to push this one a little bit more. There we go. We get them nice. Factory form shape. Yeah, This is it guys. This is pretty much it for the top part. I think we're done here. I think we have pretty much all of the things that we need. Let's take a look at the elements. Yeah, that looks pretty good. Now it's time to go into the bubbles. So let's start, let's start beveling. And this is where we're, we're might get a couple of angles and stuff and we need to be very careful. For instance, I'm gonna try to bevel everything, whereas many pieces at the same time as possible, for instance, that way, That's a nice line that we can buy all of this line, the main line that goes pretty much around the whole object. That's, that's another one that we definitely want the bevel. Same for this one right here. For some reason it's not flowing. We go all around there, there, there. The upper section here, There we go. Remember what? We've talked about this. Whenever you're doing a bevel, It's always good if the bubbles connect. That makes it a little bit easier for, for Maya to understand what, where you wonder pebbles, all of that area. It looks like a good area to bubble. Bubble. Yeah, there we go. Perfect. We get a nice bubble there. Let me just let's just make sure that we don't have any handguns. There might be a couple of icons like they're, they're, I mean, they're not the end of the world because remember, we've mentioned this when you do a final smooth at the end, you can get rid of the bubbles or the ankles. But usually usually seems like I forgot to select. Right there. Perfect. So yeah, when you get rid of the bubbles here, Let's continue this one. Actually, I'm not sure why he didn't continue. Let's go there. For instance, here. We can connect there. That's a flat area, so it shouldn't be too much of an issue for this one right here. Let's give it a go. Remember we can change this military from auto to patch and that should make a little bit easier and it might not perfectly solve it. And we can see couple of pinches. Well, that's horrible. Let's go back. Let's try it again. It's a really weird topology. Bubble. There we go. Single bevel, just normal level. Looks good. Let's keep bubbling other pieces. For instance, this one right here. Since it has its own sort of section, it's like an insertion to the whole thing, but should be able to only isolate this case with a single bevel. Again, here's where the patch will work a little bit better. Two segments if that works. Nope. To Beth. You know what I think for those ones, instead of doing bubbles, we're going to use internet loops. So let's try it in such a natural right there, there we go. That's a lot better. Let's do an Insert Edge Loop right here, right here, right here. And I'll just start analyzing the surfaces, see if there's any weird Pinterest or anything. Nope, Everything seems to be flowing quite nice. We get a couple of pictures here. So how do we solve triangles? We collapse this guy right here. And then collapse the triangles that we don't need over here. So Collapse here, let's collapse. Then we collapse those over here. Let's collapse that one. And collapse those. Collapse that one. Collapse those. There we go. So now we recover our nice little circle. Everything else seems to be looking nice, nice, nice. The most important part about this is, is making sure that there's no weird like Pinterest or anything like here. How there's like a little bit of a weird well, that's where that word the angle changes. You can see that it's barely noticeable but it's there and it's got a bothering me. We can try and like collapses the whole thing. Let's see if it if it works. Yeah, I think that makes it a little bit better. It's getting a little bit pinched over here. You can see that it's an angle and so I think I'm just going to march to center. That's a square now. And if needed, we can just merge all of this into a single point. And that should give us a nicer and nicer curve or nicer effect. There we go. Let's bubble this guy's mole fraction two segments. So we get that nice sharp effect. Then this one right here. This one, I'm gonna do something a little bit different. I'm gonna grab this guy is right here, this faces. I'm going to extrude an offset them. That's another way to kind of sharpen that area without modifying the topology around it. Think that's gonna work. I want to see if I can add one more line like right here to create a nicer effect, even like like this, such I kind of want a bevel. There we go. Again, we're getting that change in silhouette there. It is kind of expected. I think I'm gonna get rid of that one though. I think I'd rather have like soft, soft transition there if we want to create this area. So as a more like defined cylinder for the, for the button, it might be easier to just control ie. The opposite. It's going to give me a nicer, nicer effect, right? Yeah. I mean, this is looking pretty darn good, I would say, especially for the amount of time that we've invested it. I think we're in a really, really good position. So yeah guys, I mean, this is it, this one. Let's delete this layer. And the initial. Whereas the blocking, There we go. Let's delete the blocking and look at this. Not too shabby. It's one of my teachers used to say, which means not that bad. Yeah, we're in a really good position, guys. We're just missing a couple of pieces now, which are the black plastic pieces that are go under this whole thing. We're gonna do a very similar technique to what we did here with the pebble once, once we're done. But it's just a matter of finishing this back piece right here. This is the other section that we're that we're missing on the main area here, it seems like we went a little bit too high compared to our, our initial to our initial blocking. So let's fix that real quick. Let's go to the back view. It seems like all of these vertices, like, especially like the ones on the back. There we go. Then let's just push this like that. That's better. Now, when we create the black piece right here, which is the one that we're missing. Yeah, thanks. You'd be looking quite, quite nice. So that's it for now guys. Make sure to get all the way to the sport. I know it's hard, I know it's difficult. I know it's a little bit tedious, but that's our job. That's, that's part of what we do as, as 3D orders. And sometimes things can get a little bit complicated, like what we're seeing or what this camera right here. Well, the important thing is to keep pushing, keep going. And that's why these models are so expensive. Yeah, that's it for now, guys. I'll see you back on the next one. Bye bye. 41. Camera Back Section Block In: Hey guys, welcome back to the next part of the first series. Today we're going to continue with the back part. That's the last part. We're almost there, almost done with the whole camera. So as I mentioned, I've finished the little thing there was the power button and the something else like little sensor. The other was still missing off camera, but now we're ready to go onto this main section. So first let me limit to lead the layers here. I'm going to create a new one with everything. So there we go. Because on this back area, I actually want to focus on doing it without actually seeing any of the other camera. Because as you can see down here, it's really flat. And then we have this section right here, very interesting. And then over here we go all the way over here. So it's a rather, I mean, it's not super complex, but it is tricky. It's a tricky part. And I think one of the best ways in which we're gonna be able to build this ease by doing a little bit of quadrant following our topology. I'm going to go into mesh tools and I'm going to do a Create Polygon. And let's create a small polygon. Over here. We go. First thing I'm gonna do is I'm going to scale this emergencies in so that they are skilled. I mean, so that they're perfectly flat on the top and on the bottom. And that way when we start working, things should be lined up. I'm gonna go mesh, display and reverse. So this thing is facing me. And then we're going to go into quadrant. We're going to extrude this thing all the way over here. So I know that from here we're going to start getting a curvature, but we're going to take care of that curvature later on. What they really want to take a look at this area is right here. Let's start by adding a big square over here. And again, don't worry too much about the buttons right now we know that we can get them into the section without too much of a problem. But here, I can definitely see this thing going in like this. And then of course this, it goes all the way to the top. So I would imagine that on this area, we're also going to have a face like some sort of board or something. And you can kinda see it right there. Now, I'm going to continue with this thing right here. And again, if we take a look at this, there's a very obvious edge loop right here. This edge loop is going down this way and it flows into this area right here, not into this area, but rather down here. We need to capture that area before we do anything else. There we go. Now of course, where it ended a couple of edge loops here. And let's start bringing up this little ramp here. Now for this room, I do want to keep it as a square as possible because it's going to help me with everything else that we need to, we need to do there and there. And push this up here. There we go. Now you can see that we're matching the, the area's quite nicely. Now this thing right here crosses or goes across like this. And then we get another little boards are going down. And it's important that we get an idea of where this borders are gonna be. You're gonna see why in just a second. Now from here you can also see that this thing flows down into this big section. And then we should finally land on this flat section right here. Like this flows down. And then this thing again to keep it straight. Let's do this. Perfect. Now from here I know that we're gonna go to the side view right about there. And again, I'm going to have just one for now to have an idea of where this thing is supposed to be. There we go. One more. Perfect. Now it's time to strengthen some of these vertices because they are definitely a little bit skewed. So for instance, like all of this sideview vertices, let's make sure that they're really, really flat to the side. Same for those ones are not that important, but this ones are this one's over here. There we go. Now the reason why we kept the shape really, really simple and really smooth, is because now we're going to start pushing those very simple faces to the proper depth that they need. So I know that this thing should be sitting right about there with a curvature, right? So let's say right about there. We'll take care of that curvature later on. Now, I know that this thing right here, this phase, this phase and probably this phases as well. Like this. Four phases are the ones that are further down. That means that I'm gonna grab this face is like all of this. Once this one, this one, this one, this one, this one, this one, this one and this one. Probably the sideview naught. But all of the other ones and just push them forward. Like this. That's like the first Bush. And then we're gonna have a second Bush on this guys right here. But then we know that this thing blends into the proper like the normal depth that we have over here. So very similar to how we did the, the CAN going to match this there. And then this things are gonna be blending in into the shape. This is how I would recommend doing this sort of shapes. There's like very organic looking shapes. Because otherwise if it goes really, really complicated, safer like this piece right here. You can see that We're going to need that love and more resolution. I mean, we are going to get the soft effect here that we need a little bit more help in this area. So I'm going to add one more line here. And then we're going to use this vertex right here. To push this back. We get the nice little soft effect that we're seeing on the element. Now that we have this edge right here, we know or we can start matching it to the top view. Here. On the top view, I know that this thing should match like roughly about there. Then we extrude, we can move this thing down to that point right there. And then extrude and move it to this point right here. And then extrude. And that's a flat area. That way we create this area right here and it should match very nicely with the rest of the elements in this area or this guy right here, a thing we can give it a little bit more roundness. Just push it out and around. Again, it's a blending effects. So each little polygon here should be blending and it should be creating the DH that we're going for. And that's it. We have the basic shape of the element, which is looking quite, quite nice. Now of course, I know that this thing has a little bit of a curvature. It's not perfectly flat, or at least on this area's flood, but then it gets like a weird curvature over there. But that's not a problem. I'm gonna grab this edge for now. Just extrude the whole thing all the, all the way to the other side. Actually should go all of these edge loops and extrude the whole thing to the other side. There we go. Let's snap it together. So we have a nice straight line. And here's one of the things. On this side, we go back to the flat area. So it seems like there's a point in here where we tend to recover the flatness of the elements. And I think that's gonna be our top faces. I'm going to delete this face is right here. And even this one. Because I really liked this face right here. And I want this one to be the one that guides my depth of my, of my camera. So let's push it right there. Let's grab this edge right here and push it right there as well. Right there, that we're following the shape because eventually this thing is actually going to go all the way around and through like about halfway here. I would say, I'll probably delete this actual break here. And delete this one right here. Perfect. So this thing right here or this phase that we have eventually need to rebuild this area and create the elements on this, on this side. Now if we go to the back view again, you're going to see that this thing actually has a little bit of curvature to it. So let's grab like this elements right here, snap them together. And we're going to have one national there and another rational there. Because now this edge right here gonna go down like this. As you can see, this matches our line and we're going to have a natural break right there. The black line that follows everything. We're going to have a cut line on that specific area. Eventually. There we go. Now on this area and this little button right here. I think the best idea would be to bridge the things like to make sure that there's a natural, that continuous. I'm going to grab the whole thing. Let me, let me isolate it for a second. I'm going to grab these three guys, Control E to extrude them back. Merge those two little guys together. Then same thing on this side. Like grab this guy's control E. Just scale them in. Let's go Control E and just get them in. So that now we should be able to again grab this guy's, Bush them in and create a little edge loop right here. These two guys would bridge. Then from here to here, Woodbridge, sorry, from here to here we bridge. There we go. Now from this area right here, I'm going to extrude, create one nice little line right there. From here to here we bridge. And then again to keep this clean because again, this is gonna be a flat area. So eventually this thing should be like going forward, like that. Probably add one support etch, like right here, which is already the side view of the camera, which is fine. And that way we can bridge those two together. Because we wanted to have a really, really clean surface over here. Like all of those guys were gonna do a lobe of the poly modeling to make sure that they match like a nice little curvature here. That was just a matter of grabbing this two guys, getting them in there. Grabbing this two guys merged together and merge together. That's it. I'm going to stop right here. Guys would just this, just a basic blocking of the shape? And in the next video we're gonna do a little bit of refinement. We need to fix a little bit of this area right here and the wind started working on the, on the screen area. So hold on tight and I'll see you back on the next one. Bye bye. 42. Camera Back Section Refinement: Hey guys, welcome back to the next part of our series. Do they work on the continue with the BEC section of our camera. So yeah, let's go. This is where we left off. And the first thing I want to do is I want to fix the flatness of this top bar right here. So I'm gonna show you a nice little technique and this has to do with both points. So what I'm gonna do is I'm going to select all of this area that I know it's gonna be flat. All of this points shouldn't be perfectly flat. I'm going to press R and I'm going to scale them. And then I'm going to press D and I'm going to move the people with point a back here so that we can rotate this. Let's get rid of the screen rotate. We're going to rotate it and of course, move it up a little bit more because I think we have a little bit more curvature to it and then push it forward so we can create the nice little effect that will ensure that this thing is completely flat. Now what we can do, of course, is we can play around with a couple of these guys so that we have a nice transition from the different areas that we need then as you can see, Yeah, that is perfectly flat and it's working the way we want. The only thing we might need to do is this outline right here. Remember this is our section line. We might need to fix it a little bit to make sure that when we do the, when we sharpen this up later on with our nice section line, it follows the same sort of like volume that we have. That's nice. Okay, now, everything else is looking. It's looking, it's looking quite nice. And now we need to figure out the screen section. We know because we already have this indentation right here on the bottom side, we know that we need to follow that sort of indentation up. And here's again where it really utilizing some of the parts that we already have might prove a lot easier than having to start again. So I'm gonna go to this area, just grab this whole section right here. I'm gonna say Edit Mesh, duplicate to duplicate that window, little window thing right there. Perfect. Let's isolate it and let's get rid of some of these vertices for now, or some of these edges. Because I only want the square to be honest, because that's the square at the proper depth that we need, right? I know that that square right there, we'll start, let's center the pivot point right around there. Now I know that those pieces are, that piece should match with the top piece right here. Let's add one line right there and then one line right there. And we should be able to grab these three guys and these three guys and just rich, of course, newbie mistake, I forgot to combine. There we go. We combine both objects and we grew up all of these guys right here and we merge or *****, There we go. Now we need to fix this area over here, which is getting a little bit too crazy, especially on this area right here. I know that the easiest thing to do on this guys right here is just to extrude back like this. And then of course insert an edge loop right there. Grab this guys right here. There seems to be a curvature there, which I'm a little bit concerned about. That's weird. That's weird, but they all follow it. And the reason why I'm going to follow it is because we know that the camera does have a little bit of curvature. So let's just add one more piece right there and let's just snap them right there later on if we need to blend them out, we can do that as well. So we march to center all of these little guys right here. Remember we can use, Let's snap to point there. We can use this guy right here and this guy right here. So now we're missing this one right here. This one right here. There's a weird face happening there. Let's delete that one. There we go. Grab both of those points and merge TO center. You guys don't want to do it. Sometimes, you know, Maya behaves in weird ways. No problem. We'll just delete that face, the one that was causing the problem, and we create a new one. There we go. Now, this thing is fixed. Now let's fix this error right here. And again, this is one of those complicated areas. And to make it a little bit easier for myself, I'm just going to push this a little bit in because we really need to have some sort of like extra border here. So I am going to insert an edge loop here and delete this edge loop right here that we just created. I know. Let's insert a natural right there. Grab this three guys and give it a little bit more space. There we go. Now of course, we delete this back faces that we have here. We don't need them. All of these guys. Bye-bye. We're going to delete this one as well. Actually, no, this one I'm actually going to extrude, bring it down to that like bursae right there, which is the problematic one. And then grab this edge and bring it forward. That's where we're pretty much creating a border. And we're gonna do the same thing here. I'm going to delete this face is grab this guys right here and bring them forward. Now we're going to combine those objects. Let's keep bringing this guy's forward. There we go. Let me take a look at pure ref real quick. I just want to know that we go. So yeah, it's it's pretty straight. And I think we're actually pretty straight. Let's just take a look at the other one. So the this one, the bottom one is the one that's correct. So I'm gonna grab all of this edge loop, then snap down there. For this one, let's just snap it there. Perfect. Now it's just a matter of merging these two guys and these two guys. Nice. Of course, over here, when you merge those two guys as well. Now, let's isolate this again. We can fix this by merging these two guys. Deleting this face and bridging from here to here. Oh, I forgot to delete this face as well. And this back face, from this edge to this edge we're going to bridge. Then from this edge to this edge we're also going to bridge. We're going to start combining these little guys as well. Again. Here, an extra edge loop, one hurt us. Let's percent there were sent there, isn't there, isn't there. And that's it. So that as you can see, this is going to give us a little bit of a break because he's going to relax the geometry a little bit better. Of course, it's still a little bit too stressed above. We're gonna be adding some ad supported edges later on. Are there does seem to be weird. But this face has seemed to be doing a weird thing. Don't worry, let's just rebuild them so they are properly connected. There we go. That looks a lot, a lot better. So that gives me the section that we're looking for over here. I'm going to delete this face. We don't need it anymore. And that's it. We have the little section for the screen now here I can definitely see that I'm not perfectly aligned. No problems. So I'm just going to go back to this guy. Bert says, Hey, this, I wish mine was a little bit smarter on the selection set of things. I'm gonna grab. This thing that we just created, which is this little border. Actually this screen seems to be a little bit too big. But this does seem to be a little bit like this. Let's move this in a little bit. And this green, I'm also going to move the vertices just a little bit closer here. There we go. Now on this side, we also have a little bit of a challenge because we need to recover this sort of curvature that we have on this area, right? So first I know that I need to grab this thing. Yeah, you can see that this thing goes forward to create a little hinge and then they goes around. We actually again already have some of the curvature down here. So I'm going to duplicate this faces mesh, edit mesh and then duplicate. Then we're gonna select that piece that we just duplicate it and this piece right here. And we need to kind of combine them. I know that this guy right here, outlet center, the bullet point. Let's go to this edge loop. This is going to go all the way over here and it's to capture that sort of silhouette. This is again, I really feel like all of these phases should be flat. So I am gonna flatten them. There we go. I do feel like they have to go a little bit like like this. Then here, again, if we take a look at the, at the screen placement, then this thing will go out to write it in back into this, after this element, we definitely need to bring this guy. Let's find the proper height. This thing goes there and then guys are gonna go over there. We'll take care of that one a little bit later. Here we go. Now, I know that this light right here should match that one. Perfect. What I'm gonna do is I'm going to go up all of these vertices, snap them together again. It's nothing to that site. I do think we need a little bit more depth on this, guys. I'm not sure because the screen already has some nice yeah. We definitely need way more definitely think do we know? I think we're fine though. It looks like we're fine. Let's grab the pieces again. In this case, I'm just going to start adding some edge loops here to bridge the little gap that we have there. I think I'm going to just delete this one. That way we avoid any desired edge loops. Snap. That's go from here to here, and from here to here. And we breach. We don't have the exact same number of elements. Silly me forgot to combine the objects. Simple thing. Just from here to here, and from here to here and we reach, there we go. Now of course, that's probably going to have a bevel or something we can already added if we want to. Make things a little bit tricky on the upper side, but now we have the proper section for the screen to be. Now there. Yeah. I think that's pretty much it. It does seem like this thing though. Based on the reference, it doesn't like this thing goes for worth a lot more. Like this curvature right here. This curvature, not this depth. That's where the word that the point is for the for the hinge is for that for the screen. That of course means that we're going to have to modify the lower part as well. The screen or if the element, to me, it kind of looks like this, like this thing is pushing back a little bit more than, than what we're seeing. Probably all the way towards the screen ends, which would be right about there. Which again would mean or will tell me that all of this corners right here also need to push forward to match the element. I think that looks a lot, a lot closer to this area right here. So I'm gonna keep it. Which again, since all of the topologies like pretty, pretty nice, it shouldn't really impact anything on our belt. Let's let's do add one support edge. Right there. There we go. Keep it sharp. Yeah, That said this thing now it looks like it's deep enough which has one of my concerns. Let's save real quick. Let me check. Let me see what else do we need to do here? I think we need to do much though. I mean, here I can definitely see that the screen, Let's go to the back view. I can definitely see that the screen here, here's where the hinges. So this thing is gonna be like slaving out. I am going to add an insert edge loop right here. There's probably going to be, or we're probably going to extract this shape right here. Later on to create the hinge for the screen. We're going to extract it from there. But yeah, this is pretty much it. I think again that we're really close on the other curvatures here. Things are looking nice like this thing I know that's eventually going to be like over here. Same for some of those guys who we need to, to bring them down for them to match what we're gonna do that. But in the next video, I want to focus on the button section right here, which is a fairly simple, I would say, like all of these faces, it should be flat. Let's make sure that they're completely flat. There we go. It was just slightly off. Yeah, We're gonna build all of the buttons, like the button layout for all of these elements right there, which is definitely needs to be pushed back a little bit more. And after dad was just going to start working on the edges and then the final parts of the screen, hang on tight and I'll see you back on the next one. Bye bye. 43. Camera Back Section Details: Hey guys, welcome back to the next part of our series today we're going to continue with the back section that I mentioned in the previous video. We're gonna be working on the buttons. Button started actually quite, quite simple, but they did have some interesting shapes. And the cool thing is, shape right now is actually really, really clean. So we should be able to implement the position of this button is fairly, fairly easy. So I'm gonna start with the cylinder, you know, do you know the drill? Actually let me show you the pipe approach. I think we haven't really used it. I'm just going to go into the pipe right here. Rotate this 90 degrees. Changed the amount of elements that we have here from 20 to eight. I'm going to select this faces that are facing me, select everything else and delete. So now we should have only like a nice little circle. I am going to snap this to the center there. And we should be able to scale this and create the proper size of the bundle, which is roughly about there. Now let's select the inner edge and scale it as well. There we go. So that's the bottom number one, Control D and snap to point to the center there. That's button number to control the both of them and snap them down here. It right about there that will be or those will be one number 34. And finally we snapped this guy right there on the center, and that's gonna be the insertion for button number five. Now you can see the bum number five actually has some nice interest like that, like the outer loop, the black lobe, which is the one that I'm looking at right now. It's very simple, but the inner loop actually has this sort of like cross-section. So we're gonna have to deal with that shortly. But yeah, you can see when we press number three, we get our traditional normal looking loop. So let's bring this out. There we go. Now, the process we also know we need to do first, Let's select all of these guys. All of the circles. I'm going to combine them and I'm going to scale them so they're in the same plane. We do this a couple of times. As you can see, there are now scaled at the same plane. And now I'm going to center the pivot point and I'm going to snap them to the outer edge. There we go. So now we could get bored of this elements. Got this guy, say Mesh display reversed so they're facing us. And we can start working on the situation here. Again, it's fairly, fairly simple because we've done this before. It's a matter of adding, let's say one edge loop right there. Let's grab that edge loop that we just created and make sure that it's completely straight. So we can have it right there. You can see this vertex right here where my need to move it slightly up so that we don't interfere with the sections here on the circles and we know how many phases we need. That's, it's eight, so it's gonna be one there, one there. Just making sure that we're not snapping, we're modifying anything that we need and it seems like we're not so perfectly fine. There we go. And then down here we can have one there. We can recycle this one right here, this line which against the very straight, so just flatten them out. It's very important that we recycle or use as many lines as weekends. For instance, this one right here. Let's just move it up and that's going to be the line that we're going to use for this particular section. Now you can also see that the circles are really, really close together. I don't remember if looking at the image they were that close the other really, really close together. We might have a little bit of overlap here and there shouldn't be that much of an issue. Let's start with this one's actually we need one more line, I believe right here. There we go. Let's start with the middle or the small buttons first, let's isolate this. And I know that's gonna be this face is right here that we're going to have to, to delete. We delete them. Now we circularize them, circularized. There we go. Circularize, circularize, and circularize. Of course, the proportions are not gonna be proper, but that's fine because we can just go got this two guys, combine them and isolate them again. There we go. Let's start with, for instance, like this one right here. So I'm just going to make it smaller and get it as close as possible towards supposed to be. For this one, Let's scale this down. If we need to give it a little bit of rotation, we can do that as well. Move it to the side, especially because we want to have enough space on this side eventually. As long as this is a flat area, which it is, we shouldn't be having that much of an issue. There we go. Finally, this one right here. There we go. Now, let me actually, I think I'm going to extract this one from the rest of the elements. I'm going to grab all of those guys and say Edit, Mesh, extract. So now there are different shapes. We should have this main shape and this one only. There we go. We combine them of course, and we're gonna do our traditional and already used to so many times, our bridge element. There we go. I work in a bridge. Rich, and finally, bridge. There we go. Now I'm going to go up all of the inner faces. Actually. I saw in the, in the original concept or a, it looks like this. Things are indented a little bit. I'm going to grab all of the circular patterns. We're going to extrude the mean to create a little bit of the element or the hook. And then we're going to delete. This guy is right here. Grab the edges again. Control E, an extra them back. So when we smooth, we get this very nice holes, pretty much everywhere. We've got this guy, this guy, this guy and this guy and we can already bubble segment because that's where the bumps are gonna be. And those are the marks for the abundance which technically should be there. In this case, the only thing is that they're a little bit too far D, because we didn't have the proper depth sorted out beforehand. But it shouldn't be that much of a problem. We just did that. And there we go. We have our nice little info buttons. It's the info, the gallery delete and the menu buttons right there. We are missing the, this one right here, that's another button, but let's do the main button first. The main button, as you can see, it's a really, really wide, it gets really, really close to where the other pieces are. That's gonna be a little bit of an issue because we don't want that. We want to modify a couple of things here, but we don't want to create a mess. I'm going to pick up this four phases which are really relieved like square-like. Then from here we're going to extrude in, going a little bit of offset to extrude in. We definitely want to have one actually break it right here and another one right here. We're going to use those points to build up the asexual right here. So I'm going to again combine both objects. They should be in the same, at the same plane, which I think they are. They, it seems to me that this one's a little bit further back. Wait, no, I think when I did the extrusion, when they did the extrusion students like I pushed those in or something. Let's go back here. Let me show that this thing is completely flat first Control E, and then just scale them in. There we go that should be perfectly flat. Grab both elements again. We wanted to look there and another one over here. Combine. Perfect. Let's isolate against that. We can work cleaner. We might need another edge right here. Just find all of this are going through this flat area, so it shouldn't be a problem. Here. What I'm gonna do is this inner, that's the one that they cared the most about. I can actually just start bridging this guy over here. Again, as long as we do not break the inner edge loop, we should be fine. Very similar to what we did on the game cube controller. And again, this only works because it's a flat area. Here though. Here, thanks are going to get a little bit tricky, right? You can see that already over there because for instance, here might not be a bad idea to mean it's gonna get really, really tight. That's the only thing that's a little bit concerning to me that these things are going to get a little bit too tight. Mean we can make it work as long as we give it that list little bit of space. And we can receive circularized this thing. So we can circularize it again. And then we needed to make it slightly smaller just to get some space there. That might be a good idea. Let's just breach here. Breach here. Reach here, that's a triangle, triangle, triangle, triangle. This point sweet merged together. And finally, that's trying. Perfect. Now technically we should be able to grab this guy. Let's give it another small edge loop here, which is going to be our actual, our actual loop. Then let's do another one. This is the one that we're gonna be pushing in because I think this is a slightly erased. Now we've grabbed all of those guys. We beveled with two fractions. So when we do this, That's the whole that we create, the perfect. So yeah, that looks good. That looks good. Now we are already adding some supportive I just saw them might not be a bad idea to start babbling certain areas. For instance, this corner right here that goes all the way over there might not be a bad idea to just bevel it now. We start getting a better sense of how this whole thing is going to be smoothing. Because again, we're already doing some of the main smooth on the, on the subject. So it might be a good idea to do that as well. Let's now go to the last button, which is this one right here. So again, let's perfect squares. So we haven't like a very squared surface right here. Control E, offset a little bit. Circular, circular rice. We create the size for the button, which is right about there. Control E, another offset. We delete that one. And then we extrude this guy in. I grabbed that one, Control E and push it in there. Grab this guy and this guy bevel segments in this mole fraction. There we go. Just got this little button right here. Bring it forward. Let's make sure that it's lined up with our new circle right here. A little bit in. There we go. Cool. So now we of course are missing the main bond right here. Let's go for that one. The main thing I'm seeing on this button is that it also has a main button on the center. So that's something that we need to take into consideration. But it has, this section is right here. And remember what we talked about those sections. Whenever we're dealing with the selection, thinks it's better to start with really, really high polygon count. I'm going to delete this cylinder right here. I'm going to create a new cylinder. Weird, it's a little bit of a weird topology right there. And we simplify. Maybe we can simplify like for instance, these two points, we might be able to combine them together. Well, know, a little bit concerned about the shading, but it looks good so far. It's a little bit of a pinch there though. Let's just do edit mesh. Mesh fuel. That's a lot cleaner. Those look clean. This are the ones that look mesh feel whole. Let's merge those two center. Let's merge those two center. Let's delete this two guys know should be able to agree the square there, square there, and two small triangles over here. Those are complicated areas that we need to make sure are really, really clean. For. Four, we're doing to properly work. So I'm going to use append to polygon tool here. So Mesh tools a bit polygon from here to here, Enter. And then let's delete this phase right here. This one, which is the, seems to be the problematic phase. Let's go mesh feel. Whoa, There we go. That's a lot cleaner. And the finally this one that will hold. There we go. Yeah, there were a weird a couple of pinches there and pretty much fixed them. And again, if you see a couple of parts where things are not looking as nice as they could. Merging them into triangles might not be a bad idea. That might give you a better topology, better flow. And it will also look better on the low poly thing. So it's more about the cleanliness of the topology doesn't really affect the model at all. You can see that the sheets pretty nicely. Just a good practice. Again, let's start with the cylinder. We're going to changed decides to something like probably like 36 or something, but we'll see what the proper amount isn't just a second. Let's rotate this 90 degrees. Let's go to our back view again. How am I going to know the exact number? Well, when I place this thing here where it's supposed to be, like the amount of elements we will tell me which in this case it looks like it is. And usually you want to have like, like half's, like a quarter or two quarters of the, of the elements. So that seems to be working. I'm gonna go with this guy, control F11, control E, offset. Run that. I just want. This guy right here. Here we go. Back view again. Go. So this is gonna be like the outer edge. You can see I'm lining it up on this side. Remember if there's a little bit of fun, weird perspective going on, so don't worry too much about it. Then. I'm trying to think what's the best option here? I'm not sure. Let me let me take a look at pure rough because I'm not sure if those things are rice. What direction they're rice. It seems like just Let's look just, it seems like buttons. This will be the button. A little bit difficult to pinpoint. I know I totally know that this thing goes in and that's where the main button is going to be. But then on this outer side that I'm not sure what's going on. I'm going to insert an edge loop right there. Then I'm going to extrude this thing out to give you the volume for clicking effects. Then if we grab like the parts that we're not seeing, so it was like 123456. Then on this, there will be 123456. Then that means that it's two and then we split six and then it's two. We split this side. Sorry, again, 123456. And then this side with all we don't have a half. Now. We do have I think it's 123456, It's three. So it's 123. And then we skip 33123, we skip 33123, we skip 331123. That mirror. There we go. So that's like the site. Now what I'm gonna do with dose is I'm gonna push them back in or showing gonna, we're gonna extrude them in like this. Now this will of course create a couple of bad phases that I don't want. This one's right there. Those ones right there. Now this is why doing something or an object that's symmetrical, it's gonna be a lot easier because rather than doing that four times, I can believe, like the quarters, I think we did this with the GameViewController, right? So there's this face right here. Let's fix it. We're gonna do is we're gonna delete those guys, insert a natural right there. They're merged those two points. Then mirror or breach this element right here. When we smooth, we get that sort of effect. Now of course, we're going to grab all of this etch root looks like right around here, babble it. A nice effect. That's the sort of dial effect that we're going for, right? You really don't need the back faces. I'm going to delete them. There we go. This one says, well, actually no, that one we might need for that, for the inner button. So just this. Once we delete, that way, we get a nicer, sharper effect. And now we're gonna do the respective mirrors, right? So we're gonna mirror, it's gonna be bounding box x negative apply. Or in this case r is x positive Apply. And then y negative apply. Perfect. That when we smooth, we get that sort of effect, which is I think closer to what we were looking for. We center the booth point, get this inside the nice little hole that we have there. Push it a little bit. Then if we go again to the back view, we have the button. There seems to be like a nice little like a ring again like an indentation. Small fraction there. Grab the button, push it in. When we smooth, we get that nice effect. A thing this faces should be a little bit closer in of course, a nice little bubble like that. And now we're just missing a button which we can recycle from any of these guys over here. So Control D, right there, I'm using the V key to snap it to the center of the element. There we go. Make it bigger and get it in. That way. We have our nice little effect right there. Of course, once we do the materials, it will be a good idea to create a material for this thing. I do think we need to act the section line though. So here, I'm also going to bubble that thing, create a small fraction. Then just extrude this. In. There we go. That looks a lot better. A lot closer to two what we have right there. Yeah, That's it guys. We're now done with the with the button sections of the elements. So we're now going to jump onto the screen. And after doing the screen that we're going to go back here. Well, it's part of the screens this case right here that we still need to build. And after that, it's just about limiting the lead on both the lower and the upper side. When we smooth everything our camera, it looks as nice as possible. So like little pieces like that one right there, that one right there, which is supposed to be like a sharp edge. Those are some of the smaller details that we need to fix. But we're gonna have one specific breathe. I'm gonna do one more, probably going to be like one or two more videos for the screen. And then we're going to have one video called cleanup where we're going to start matching and making sure everything looks as nice as possible. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 44. Camera Screen: Hey guys, welcome back to the next part of our series. Today we're going to continue with the camera screen, almost, almost done with this model right here. So the first thing I want to do is I actually want to create the actual camera frame in case we ever need a different material. And that one is super, super simple. So I'm just gonna go with this phase right here. I'm going to Control E to offset control. Again two or sorry. Yeah, Control E again to extrude that in. And I'm gonna do one more control E2, get it in there. There we go. Now of course, I know that we need a couple of edge loops. One right here, one right here, right there, and the other one on the other side, like the corners, than we normally get to get a really nice sharp screen. I'm actually going to bevel this edge loop as well. So let's bevel there and two segments. There we go. And we'll get this thing right here. Now as you can see, one of the issues that we have here with the screen is at this line right here, like the actual line that goes around the screen. And technically, if you want to have a super, super sharp angle without having to add too many attributes, we are going to separate this. I'm going to go into face, grab hold of this phase is over here and keep going. Sorry if I'm inhaling and exhaling pretty, pretty deeply. I think after COVID, I did get a little bit of a little bit of a weakness in my lungs. So it's becoming a little bit more difficult to speak for long periods of time. So we're gonna go Edit Mesh and we're going to extract right here. There we go. Now we have this screen which we want we can smooth out and this one is, well, the border will never be noticeable. You're gonna see a super clean divide between both elements. Now, I'm guessing that right now this is green is flipped on the opposite side. However, I know, and I'm going to actually combine this object even though they are separated. I'm going to combine them to the same object. And we're going to move the pivot point all the way over here. Because this thing, what it should do is it should move this way around this area. They wanted to push this a little bit further out. Moves around the soft area right there. And then it has this ability to switch around and then go back. So that's one of the things that we're gonna be doing. Now I just notice we're missing a face right here. Weird. There we go. Yeah. It's just a matter of again, do they separate that face? I think it's like a floating physical there. No. So now that we know that the pivot point is going to be there and it's going to give me this or so their movement. Now we need to create a deep thing right here. Again, we've got a pure ref, is this certainly hinged that gives us that movement. And as you can see, the hinge lifts with the same shape of this element like this place right here. I'm gonna go to the back view. And let's find where the two lines of my hands are. Again, Let's recycle some of the actions that we have. For instance, this one right here, we're just going to move it forward or up. And then this one right here, we're also going to move it right there. We can do that which is just aligned diversities. And there we go. I know that we go from here to here. That's my hinge section. Let me grab this object real quick. Let's go again into the selection. There we go. So I know that my hunch is this thing right here, this section. So what I'm gonna do is we're just going to grab that section right there and I'm going to extract it. So Edit, Mesh and extract. Now we need to rebuild this thing so that it's like a complete piece. Because again, when this thing moves around, I would expect, I mean, I'm not sure if we would expect this thing to move as well. I think it does move. When you open the camera. Let's move the pivot point down here. This thing would move like this to kind of open if you want to, if you want to see the whole thing at the other side. And there's a very easy way to test this out. If I parent this to this guy right here, and I move this out, like this is what I would expect to see. That that looks quite natural. I think that looks pretty, pretty close to what I would expect a camera to have. So that means that we need to grab this piece right here. Let's compare this against Shift P and just rebuild it. Makes sure that it works as intended. So what does that mean? Well, it means that we're probably going to have an edge going from here. Back. Then. We're probably going to have a bridge over here. There we go. To make things easier, we can delete this, let us toward these beveled. For now. Let's delete the middle section. Then collapse. That will give us the old version of the things. Again, this, this ankle. There we go. Now, let's add just like an extra line back here. And it's just a matter of going from here to here. From here to here. From here to here, and from here to here. Perfect. Of course we are going to double this and give it a nice smooth edge. All the way around. Perfect. There we go. Level two segments and a small fraction. So when we smoke, we get super, super clean effect. Perfect. Now, this, as you can see, this is no longer match over to here because we've cut it out and we need to make sure that this thing is also repaired like right here. So again, easiest thing to do is just go from here to here, Control E, snap it back there. Then technically it should be the same amount of sites. Bridge. There we go. Perfect. We add one line right here. We can keep the bubbles because the bubbles are there so should be fairly easy to breach them once we get there. So just bridge from here to here. Bridge from here to here. From here to here. Now we have the pebbles. Don't, we have the bubbles? It seems like we don't have the bubbles. Okay. Well, a couple of options here. Because I can see the bubble there. So it might be easier to just add the one actually right here and go from there to there, for instance. That's going to leave a triangle. Let's do, Shall we do too? I think we can do to that. We can grow with that little line right there, that line right there, create a nice little long square. And then down here, I'll see that it has actually continued over here, but that's fine. I mean, if we wanted to reduce that, we can just grab that board that right there and get rid of it. I think that will be ideal. Or rather, let's go into a flat plane. Remember when white flat areas are super important, Let's just to optimize and minimize the amount of edge loops. Let's go like their, their, their collapse dose. And we're just going to collapse that one right there. There we go. Now, of course we keep collapsing all the way to the bottom part. When we smooth, we're gonna have that nice transition. There's so little bit of an issue here. That's weird to see. We are missing, we weren't missing some of those lines. Kinda weird. Okay, let's, let's analyze what we have in and see how we can fix it. Shouldn't be that much of a problem. I think easiest way here is delete these levels. And then merch this point over here. Now let's say they said full piece, and now we need to add another bubble here. We just do it. Just one more bevel there. And that's gonna give me a sharp effect. Of course, we need to add one more line going all the way over here, but I don't want it to contaminate any of these areas. We're gonna do a very similar trick. Let's stop it. Let's add, for instance, we can use this area. Let's add one line right here. Call it code deadline, even deadline as well, who in just a second. But let's go there. It's going to give me a sharp edge right there. Perfect. Of course, Let's go here. Should hold the edge a little bit nicer over there. Yeah, See that That's Laude lot better. It should match a little bit closer to what we have or it's really, really sharp. Okay, So that means that we're going to need another line right about there. The sea that might give us the, the weird pinch that we've seen before. Here's where we might do this trick where we have just a small little triangle on the connecting corner. Let's clefs. There we go. Finally to relax that I went a little bit, maybe same for this one over here. So we're probably going to grab this guy and collapse. I think I collapse a little bit more than they should. Let's find. Now from here, since we have that line right there, It's just a matter of going what our CO2, that's a weird one. Just go back. I'm gonna go with my CO2 and we're gonna do 123 like that. That of course it's going to create a nice polygon over here that keeps my edge flow flowing. And then over here we're gonna have a little triangle, perfect. Still not quite like in love with that one. We might do the same thing here. The leader face into the national loop, which I don't really mind the going this way because it's really like it's flat, it's a flat surfaces. So we're not gonna see any weird effects or anything. But they do mine about this area. So that should again, let me add the Field Hall. We've been using this quite a bit. There we go. Now we're gonna have yes, it very weird pinch over there, which we can again simplify. We add another support edge whenever we're gonna have a really nice hard edge over there. And we need to repeat the same thing over here. Let's delete this face for a second. I had the one that you'll write here. Then rebuild that face. Then fill this whole delete this face for a second. That's actually a square. So we might actually get away with just having it there because that's a square, very strict square or very stretched square, but it will work. There we go. That gives us a nice sharp effect. We wouldn't get that nice little line there. Kind of like a section line. Looks cool. Yeah, there's this thing right here. That's, I mean, it's not a difficult shape, but it is a tricky shape that we would need to input over here. I think it's actually a rather simple. Let's edit, insert that you'll write here. Let's grab the image and that guy isolate and go to the back view. There we go. Weird. This guy, this guy, this guy isolated. There we go. Backfill. There we go. I would need to change the image, but we can just see that it's like a circle going from this point right here to this point right here, just roughly where were the lens and switches deadline right there. We can move very simple process of just pushing this here. Then I don't think circularized works, but let's give it a go. Let's see what happens now. I'm going to use soft selection here. And then start pushing vertices. For instance, there's two and this two, let's print them back. And then this one and this one. Let's bring it back. This one does one. Then this one and this one. To create a nice little circular shape that we have. There we go. Now since that's an edge loop, we know what we can do with actual trade. We can babble them when you Bevel and that should loop and then grab that line right there. An extra depth out a little bit, maybe a little bit of offset. We're going to get the detail that looks a little bit square. We're going to have to and play around with the vertices a little bit more. I think this one's needs a little bit more curvature. So just be very mindful. Make sure to grab the same amount of vertices on the top and on the bottom. And start pulling and pushing. Thanks to one side or the other, you can also grab a cylinder and use it as a, as a guide to make sure that you get the most exact one. Now, remember, we already saw that here we have this angle, so I might just add a couple of support edges. So when we press a smooth mode, we get the proper technique. There seems to be an angle in there. Let's delete that one. Good. Let's add one there and one there. So as you can see, we're already doing a little bit of polish as well to make sure that all of this looks as nice as possible. Looking at both polish, there's this shape right here which is really sharp. So I'm just going to give it an offset. We'd like to divisions again so that we can get that sort of like hard surface he effect over there. I also see that there's a nice line in this guy right here. We're gonna go throughout the whole element. There we go. This guy, I also would like to bubble it. Again, two segments. Let's change the filtering to patch to make sure that we don't get any angles or anything. Yeah, that looks a little bit better. We are getting and then going though, she's a weird. There we go. Much better. Sharp effect, nice effect. Cool. Yeah, that's the screen thing over here. It's working nicely. Let's fix this elementary there. Again, let's do the same trick. Let's grab this face and delete that for just a second in certain natural right here so that one can allow me to hold this corner a little bit better. Then we're going to collapse. I don't know why. I'm not sure if you control C something over there and got rid of it, but we already had that salt. Again. Let's just collapse that one. Now collapse rather. Let's go from here to here. Then just fill the hole there. There we go. Better. I should fit. As you can see, this thing a lot nicer. It seems to be fitting better on the upper side than on the lower side. Another thing we can do is we can give it a little bit of help here by randomness thing off a little bit. Changing the topology. Not actually, I did not, because it does look good on this side. On the lower portion, the pinch is happening on this guys right here. So remember another thing we can do is we could slide them down. Slide them down a little bit. That should alleviate some of the pinch as well. Let me isolate this a little bit. Let's move this guy up. And that should give me a software pinch. See, it is there the pinch still there? Which I think we're going to be able to really avoid this. Otherwise, we're not gonna be able to hold the surfaces such as nicely as I would like to. I mean, we can try and bevel this guy as well. That's another option. That's giving us a weird effect either. Let me, let me really like how it looks like flushed on the surface, this thing. Let me just fix the upper side. Maybe when we do the upper side will find nice solution. We know that we need an edge loop going like stopping or rather both here. Let's use that triangle as a stopper. So I lost my shelf. Give me 1 second. There we go. So I'm just going to answer the national right here. As you can see, it stops right there, which is perfect. And that should give me a sharp brush over there. Let's try this one again. I think that might be the solution. Yes, we do get a little bit of a pinch over here. But I think once we go into texturing, we should be able to avoid it. Or we can add another edge right there, even if it hits our temperature just a little bit. We can do is like up here. Like this guys, we can use remember the slight edge T2 to relax this curvature a little bit. And that should minimize the pinch while still keeping the sharp effect going. Burden, particularly like super convincing on the, you know, what, we're missing. Something that could potentially be really, really helpful. That's a pebble. Maybe we do a bubble across the whole corner surface, will be able to create something interesting. Let's try that better. Kind of better. Let's delete this one. Was holding a little bit better. I think. I think that's a little bit harder or a harsher than what we had and that seems to be working. That seems to be working a little bit better. Yeah. Like God, this is not good guys, this is not good. I usually don't like stopping and solving it. I'd like you guys to see how we can solve all of this. Let's really, really give you the thought. I know that I'm backtracking quite a bit, but let's think about this, okay, So we know that this shape is becoming a little bit too complex for what we want and pinches that we're getting are super, super ugly. Another way in which we can check the Pinterest is with the blend materials. So we add a blend material to this thing. You're gonna be able to see those pinches a little bit more. Obviously, this seems to be one of those pieces that would really benefit for us from a super, super high topology. However, it, since this piece is connected to this other piece, I really don't want to I really don't want to create like a mess in regards to the Bulge because if we'd had a lot of divisions over here, this will be avoided because we wouldn't see any weird pinches. Same on this side right here. What I'm going to do is I'm just going to insert a natural right here. First, let's, let's backtrack a little bit before we deleted some of the edge loops. What I'm gonna do, I'm gonna recreate the curvature with new actions. I think that's gonna be the solution for most of this. Let me get rid of that bubble that we did as well. There we go. This is what we have and I'm going to delete some of the support that is that we have to work really, really, really ugly. So those ones right there, Let's go back on this one. There we go. That one is fine. The one on the inside is fine. But I know that we need a couple of support legend right here. However, here's the problem. If I had the support edge right here to really hold, hold the edge, we're going to get that sort of pinch. How do we avoid that? Well, if we go to the top view, we select that row of vertices that we just added, which is going to be this one top view. We follow the same curvature that we have here. We should be able to rebuild the one more here, for instance, we should be able to rebuild a curvature without generating that pinch. Yes, it will be more geometry, but as you can see, the pinch is now barely perceptible, which is closer or better than what we had before. That's the pinch on the vertical side of things, not on the horizontal side of things. Something very similar is going to happen. We're going to need a couple more edge loops here to make sure that this holds nicely. So one over there, we're going to need one over there. Those will allow me to have a nice, clean, sharp edge there on those corners without seeing that much of a pinch on the materials. And now it's a matter of patching the holes that we get. That one and that one. And this one. There we go. Now the piece should be a lot better. There we go. That matches a little better. Again, if we were to parent this thing here, this thing would be able to move out to about there. And then this thing on its own would probably need to move this thing a little bit closer because there'll be able to rotate from one side to the other. Yeah, there we go, guys. I think that looks a lot better. Let's move the screen here so that it's really flushed with the rest of the elements. This means that we probably need to push this a little bit more over here. Let's flush on this side as well. And that's it guys. That's pretty much it. I think with the screen size with this black piece over here, I think we're in a really good position. And now the next step, AS2 cleanup, we need to start cleaning up, I think a couple of edge loops and stuff to other things. So we're gonna go now into the detailing part of the whole process and the last video of this series, complex shape, complex project. Nonetheless, of course, with more time, there can be, we can publish it even more and more. But we don't want this course to run 30 hours because it will be really, really difficult to follow along. So, yeah, this is it for this one guys, hopefully you learned some cool techniques. I think this one's over here. We're really, really helpful and I'll see you back on the next video. Bye. 45. Camera Final Details: Hey guys, welcome back to the last part of this chapter. We're finally in Chapter four and final details. I always find it really challenging to do this sort of tutorials where I am doing a full modelling a relatively short amount of time because normally when you're working on the job, you're not going to be doing this fast. Like it usually takes quite a bit of time to get until you get all the way to a point like what we're seeing right here. So for us to be able to do it in like six hours, I think that's something it's not perfect. There's definitely room for improvement. There's always this, I think it was Michelangelo or dementia thing. We've talked about this before. They mentioned that never finishes, it's just abandoned. So I really like that phrase because it's really true. You never really truly finish a piece. You just abandon it and move on to them until the next, until the next element. So the first thing I want to do is I want to do the section line that we have over here. That's going to go around the whole thing here. I think. Let's go into smooth mode. And you can see here how this thing is supposed to go. So that means that this piece right here, the one that they have over here, it's a little bit, It's going way too low. So I'm going to go to this section right here. And all through this section right here, this should be really, really high up, like right about there. When we smooth this thing right here that would just build, the back part should blend nicely with the rest of the piece of, for instance, this piece right here. Let's lower it a little bit. There we go. There we go. So at this thing sits right on top of the, of the other one. I'm tempted to add another extrusion here, get this in. And now we need to finalize this sidebar over here. So all of those guys need to go and match this guy sober there. And we're definitely going to need a couple of other visions. I think this one right here, it should be a little bit tighter. I'm not sure how much I'm going to affect the whole piece by, by making this a little bit tighter here. So if I enter a natural break right here and right here to keep a nice round edge, Let's just make sure that there's nothing affecting any other piece of our element. It doesn't seem to be. We might have a couple of angles here and here and there, but we already know how to solve those. We're gonna be doing that shortly as well. Over here. We're going to insert one that schlep, which is gonna be our main line over here. That matches pretty closely. There we go. And then we're gonna have one more readable there. These vertex. We're going to bring them down. Well, same for this one. Bringing them down. And then this vertex right here, bringing them up. They match the same piece that we have there. Of course, we're going to add a nice little support that right here, right here, right here, and right here. So when we smooth, thanks land and nice. Now for this one, for this upward piece, one thing that we forgot to do was the inner piece right here. So I'm going to Control E. Just extrude this in a little bit like this. Probably lower than a little bit as well so that we have a nice little lip that we can use to cover certain areas of the thing where if things are just blending into each other, Let's, instead of doing a bivalent is going to insert an edge loop on the border there. So we have a nice sharp edge. There we go. Now as you can see, the elements is flowing nicely here. In dealing with, we need to add one line right there. And again, just making sure that we're not affecting anything over there. It doesn't seem like it. Same thing over here. Perfect. This piece right here. Same deal. Just want to prolly 12 over there. Perfect. So that should start giving us all of those sharp, nice lines that we have on our camera. For instance, here we can see a little bit of a weird pinch. That's real thing and we need to avoid that here. I think by adding one that should be right there, that should solve it. And if we need to move this verticies up a little bit, in a little bit. I think that's better. There we go. Perfect. Over here, Let's start looking at the transition like down here. Because on this piece we also need to create that nice little lip that we just talked about on the other one. So I'm going to grab everything here, Control E. And I'm just going to bring it in. In this case, I think an extrusion might be might be a good idea. There we go. Yeah. Let us, we don't get where we're gonna get some of those weird pinches. That's unfortunate. Unfortunately, something that we get when we do a bevels and stuff. I mean, they shouldn't be that much of a deal, especially we ensured like a support group here to help us get the nice sharp edges that we're going for. Just make sure that you don't have any super weird Pinterest or anything. And we should be fine. Let's add one more line right there. Now, of course we have the section length here. So this line right here is our main section light. We're going to bevel it. We're going to extrude it. We're going to push it in. Nice. Now we have that nice section line going all around our element. I do want a bevel, this edge right here, just over here. Remember it's always a good idea to complete the edge loop that the bubble behaves a little bit better. Go to segments. And that should give us a nice hard surface theatrical or there which is where the button supposed to be. We also where I remember seeing a bubble-like on this borders right here, which are the ones that go into the into the main camera. I'm just going to bevel those keep us mole fraction. There will be pinched, for instance, that guy we're just going to emerge to center. I know that that's a triangle, but that's to hold that sort of shape a little bit better. See that sort of effect. Again, angles and triangles are not our enemies as long as they flow and they generally follow the form that we're going for. So as you can see right there, those ones are working perfectly fine. Buber here, we might need to add one edge loop over here. Again, here's where all of the segments we really need to make sure that they look as nice as possible. Because we don't want to be seeing inside of the element of any point. For instance, here, if we need to, Let's just bring this out. For this area right here on this corner. Let's just follow the corner of the, of the object in the best possible way. Other camera has a really nice, clean feet all the way around. For instance, here this reserve going a little bit too low. I love true if it's all the way around, it does seem like it's all the way around. So I'm gonna go up all of the vertices, just bring them up a little bit. So when we create the nice little edge there, there we go. Thanks, flow. A little bit nicer here for instance. Well, we're still missing this piece. On this area. I'm going to grab all of this vertices. Snap the ultimate dose, this ones. Because I want this line to start right here. There we go. Probably going to add one natural right here to again hold that the support there. I'm a little bit worried about this because Sunday camera. Yeah. Okay. So we need to fill it. You'll see that we need to fill this, fill these areas. So that means that we are going to have to do a little bit of clean up here. All of those vertices. Let me, let me delete this face. This thing's gonna be easier if we do this. There we go. Let's delete that. Let's isolate them. I think it's gonna be a lot easier to work when this is isolated because we only really see that problem on those particular areas. Everything else seems to be flowing quite nicely. I would say here, super easy solution, just Control E and extra days. To fill in this little blocky area of the element. Let's start adding some support. I just hear. So that's 12121212. We bridge. Then we breached there. And that's a triangle, but it's on the flat area, so we know that that is okay. Then from here, here's where the bubbles are gonna be playing a little bit of a complicated game. We definitely bridge those ones. This one, let's do a small bridge and then another small extrusion like this. I want to keep this simple. I'm just going to isolate this one here and this one, I'm actually going to go all the way over there. Because what I want to do is I want to grab this one and this one merge to center and these two Marcia center. There we go. I think we're missing those two center that we might need another support edge right here. Really hold that edge a little bit better. Then over here where we have the bubble's gonna be a little bit annoying, but we're gonna have to insert a natural break right here. So we can go, let's say from here to here. Then another actual right here. Well, I don't want that to happen. Let's fix this one. This one's a little bit ugly. Let's clean that up. Patch this up a little bit better. Rich. Now we should be able to maybe add one line right here. Bridge. Bridge again, just making sure that we don't have any weird things going on down here. Everything seems to be normal. And now let's scrub this edge, flatten out with Fort Worth. And let's rebuild this thing in a better way. Shouldn't be that difficult, which is moved this thing here. It's 123, control ie, the first section, and then Control E. That's the second section. Those two guys Merced center, those two guys emerged the center. Again, we can we can simplify this area is right here. That was just a matter of growing like this guy control going all the way over here to center. Let's do another one here, small one, and Marsha center. There we go. So now we have a flat area, which is what we have there on the reference. That black area where there were the screen is as hooking up to it. And there we go. Now for this piece right here, we definitely need a couple of more edge loops. We also need to harden this thing a little bit more. So 12, there we go. And here we're gonna say one. And to grab this vertices right here, push them up. And of course, at their supporters support that is right there. That's pretty much shared. I think another thing that I might want to do is grab this border right here. And again to hide the connection a little bit, just push this in in certain that should loop right there on that border. Now if we take a look at the whole thing, I think our camera is ready. I mean, it looks pretty, pretty good. Aerosol, lot of pieces, a lot of complexities. But this is looking quite nice and we're gonna be taking a look at this guy later on when we do the rendering, we're going to have your rendering chapter, which is Chapter six. And it's gonna be fairly simple as you can see, we have very simple materials just like rubber glass and then this leather, leather, anything on the front. So I'm going to show you how to do that later. I think as well, we're gonna do UVs for this little piece right here. Hopefully guys, you learn a lot. And now again, we've mentioned this before. As with anything, the more time you invest in something, the more time you spend on something, the better and the nicer this thing can and will look. As you can see it. That's weird face over there floating around. As you can see, there's a couple of pieces here that we can probably push further out, further back. I think these border right here, push it forward so it matches with the blackboard or the with it. When we move the screen, if we move it, everything lines up perfectly. So any model guys will take time, it will take there will be challenges. You saw how I was having some issues with some pieces, but the thing is, the best advice I can give you guys is always tried to look for the best possible solution with the techniques and the tools that you know, I'm going to add a couple of support edges over here to make sure that all of those things like lions nicely, a little bit of a mismatch here with some of the vertices like this ones right here. Let's move them. Let's grab this top ones. We go because we want everything to look as nice as possible. Yeah, this is it, this is the final model guys. You can see the complexity of the topology is quite, quite, quite interesting, but you can get some very amazing renders from this guy. So hopefully you guys will be able to get all the way to this point. Be patient. This will take time. Take your time. As I mentioned in the beginning of this, be either one of the challenges that they have is that I need to make this thing relatively faster so that we can explain everything in the best possible way. You don't have to rush. You can take as much time as you need a model like this. I would say at least it will take a full week, like 40 hours of work. The downlink, imagine that if we our tutorial, I would love to do it, but you guys probably wouldn't get bored of my boys real quick. Hopefully with this quick overview of modeling this camera, you guys have a lot of, uh, better ideas on how to approach complex models such as this one. And now anytime you need to face anything similar to this, you will be able to do it. We're now going to jump onto our final chapter, our final prop for this course. And it's gonna be a fun one. I wanted to save it if on one for, for the last. Gonna, not gonna be as complex as this. But we're gonna see a couple of other techniques that I think you guys are really going to enjoy. Yeah, that's it, guys have a good one and I'll see you cut back on the next one. Bye bye. 46. Chainsaw BlockIn: Hey guys, welcome back to the next and final modelling chapter in this series. Today we're gonna start with a chainsaw. I wanted to save a cool project for the very last one. I know I knew when I was pulling the course that we had to go through a very technical modeling section, which in this case was the camera. You guys saw how complex and difficult It wasn't certain areas, but I think we managed to get a very nice model at the end of the chapter. So now we're gonna go into another kind of hard surface modeling. And there's a couple of tricks and techniques that I want to share with you. I was looking online for a cool, like what's the word a cool, nice little chainsaw to model. And I decided to go again for a retro one. And the reason I wanted to do a retro is because I think this one looks a little bit closer to what you might find in the video game. I mean, you can of course, find like modern chainsaw or modern-looking chainsaws. But this one looked pretty, pretty cool. So this one is aim. The brand is Remington. I think the brand, which we're going to be referencing quite a bit, it's called the DMM. Whereas if they had the name over here, lost it. I think what's called the wood. Wood what? Log log breaker or lock? Log molar or something like that version two or something. So it's this purple one that we're gonna be doing. And as you can see, this or an upper row, sorry, this blue one that we're gonna be doing, it's the same one as this red one. So we have a couple of images here. Unfortunately, we don't have a perfect like front view or a perfect side view. I found this one right here, which looks similar. It's not the exact same one. But I just wanted to get an idea of how most of the things we're just there for reference, but we're gonna be doing this a blue one right here. Now as you can see, it is made up of several pieces. We do have a front view or this view right here, which is the, this would be like the left view and this is the right view. And there's some very cool objects and things that we, that we can model from this guy. So, yeah, let's jump into my and start doing a quick blocking. So I'm gonna go to my right boom, and I'm going to import of course our source image. So here in the chainsaw, we have, I think it's this one called chainsaw, see, change. So C is gonna be all right, buh, remember whenever we modeling side of Maya, you want things to be pointing towards the c-axis. That's like the front view of things. So if you imagine like a character picking this up, the character would be facing that way. And then he just grabs this thing from the ground. So that will be my right boom. And I'm going to scale this up. Sorry quite a bit. Let's do ten because remember when we worked with like high or even 25, when we're working with a high size. Certain tools like the bubble tool to extrude tool. All of those tools will work a little bit better. So that will be my side view. We can do something very similar to what we did with the camera. Let's create two sides here. On frame one, we're gonna, we're gonna give this thing a disability. And on frame two, we're going to turn the visibility off. And let's go to the left view. Now. Let's insert a new image plane again, chainsaw. And we have this other view, which is a side view. We're also going to scale this up 20. I don't remember if we move this one. We did translate in y-axis 25 units. So 25.8, I think it was that way. If we were to see both of them at the same time, they should be pretty much on the same, same area. This one, which is the left view. It's going to be on this side. Let's animate this on both frames. And then on frame one, we're going to turn this off. There we go. Now, if we want to work on one side of the element, we can go to this frame and then we want to work on the other one. We go to the left view in this case. And this is where we would work. Again, we are going to place this here just to get an idea of where this thing is going to be, but it's not really gonna be here. Now, the way we're gonna do this is actually quite simple. We're just going to look very, very quick, faster blocking right now. So I'm gonna go to my right view. And I know that there's like a cylinder here. I'm not even going to bother, we'd like perfect, so unjust because we're gonna be replacing them. You guys know how we normally work with this sort of things. We have this polygon right here, so I'm gonna go into mesh display, sorry, a Mesh Tools, Create Polygon tool. And let's just create like a really big polygon that's going to represent our main hook. And then we have another circular security of body shape. So let's rotate this 90 degrees. It's a little bit like, like an oval right about there. And now from my understanding, this thing would be about there. And then this thing would be a little bit wider. I think this thing is only on one side. If we again, I'm going to have my pure file on my other screen for now. On the other side, we don't have this, so this thing right here, it's only going to be on one side of the object. Like this. It's not super light. You can see it on this image right here. It's, I mean, it's blocky, it's big, but it's not like super, super, super big. I think the size that we have right now it's fairly decent, maybe a little bit less, something like this. Now this thing right here is on this. Like side views on this part of the element that's really important. There's a cube sort of section. On this side. Again, if we go to the left view, we're gonna be able to see it here, that cube, you'll see that for those of you that don't know, and I didn't know either when they started this project, I did a little bit of research. The way chainsaws, chainsaws work is of course you'll have a little engine and you hear that creates like all of the rotation on all the forces. And there's a little thing right here. I'm not sure, like a gear or something. That gear is the thing that rotates the chain around. And thanks to you the way that this chain is tied into this metal grip, into this little wheel under on the top, it flows around the edge of the metal bar. So yeah, I honestly didn't know how it worked. I thought this thing was like Amazon, like complex and notice it's just like pretty much like a bike chain. But instead of having this thing being a hollow, It's it's filled with his metal so that it can hold the form and go through trees and trucks and stuff. This little block right here is what holds all of that mechanism together. Okay, so let's go again to the left view. Let me move this thing closer to where it's supposed to be. Moving the image. So thanks, match a little bit better. Let's grab this guy, get it all the way over here. Because again, this is where, where the rotation happens and when we're actually going to have the chain moving around, then we have the handle like right above there. Which again is like a very nice cylinder. This one is centered, so we're going to center it to the grid because even though we don't have a perfect symmetry on uncertain areas, most of the shape has a certain symmetry to it. Like this big block, it's probably gonna be centered. Let's go to the top view. So let's center that block and then if we need to move things around, we'll move them around the center of this thing as well. There we go. Then of course we have the handler right? So let's go again to the left view for instance. For the handler, we can do again with the Create polygon mesh tools, create polygon. And I'm actually, I'm not going to care that this is an angle. I'm just going to create a polygon there. That's gonna be my blocking right there. Something like that. Of course, sent to the book point. And then from the top view, we just snap it to the center. That looks quite nicely close to what we're going for. Let's go to the right view. Here. I'm definitely going to use my right view as my, as my main guide. So yeah, just just keep that in mind. Yeah, that's pretty much it. We have the cord here. This is where you would create the little what you would start the motor with this little thing, you just pull it and then it goes. Of course, we're not going to model it here, but probably one of my lit up here, but this is pretty much it. This is like a little blood like what's the word blocking of the whole thing? In the same way as how we started the camera. You guys can start with whatever piece you find the most interesting. In this case, I think I'm going to start with the main chain. So I think that's a really cool piece that we can start working on that I really want to show you how to do this chain links, which is gonna be real roof on. So that's it for this video guys. We're going to start modeling this one. It's going to take us awhile. I'll try to do it as fast but as clear as possible. So make sure to follow along. Don't skip ahead. Watch everything so that you know how we do every single piece. And yeah, I'll see you back on the next one. Bye bye. 47. Chainsaw Chain Support: Hi guys, welcome back to the next part of the series. Let's get to it because I'm really, really excited to start with this element right here. I'm gonna grab the whole thing here, make a new layer, make it visible, and maybe you like keep it as a template just to get an idea of where things are. But I'm not gonna, I'm not gonna be paying too much attention to it. Now. This is the piece that I want to model right now and it's a really interesting piece. And the reason why it's very interesting is you can see it here on the reference that on the very front part of the element, it actually has a mechanism that allows the whole chain to rotate. A little bit nicer. I'm guessing this thing is as some sort of, again, like a gear or something that holds or helps hold the whole chain together. And then we have, of course, the chain going around and these are like the little cutting things that we're going to get. I don't know because we can't see what's happening on the inside. But I'm guessing that's pretty much the same thing with the only difference that this thing might be attached to a motor. If we were to do half of this thing, of this metal support thing and then mirror it to the other side. We should be good to go just in case we ever removed this thing. If not, we can just leave it like completely plane and that's fine because again, as long as we've done on the sample, the whole thing, we're never, were never going to know from here. You can kind of see how this thing is going. Yeah, that's quite important, but I don't think we're really gonna see what's happening. Let's start with, I'm gonna go into Maya and I know that this is a very flat surface. Now I know in my in my blocking, the blocking we did was actually going in a different direction. I don't want that. So I'm gonna start with your plane. And I'm going to rotate this plane at 90 degrees, so that's facing us. And we're definitely going to make it just one sided face, like a one-sided face. It's facing the other way, so just mesh display reverse. There we go. And this is roughly the size of it. I also know that we have this thing right here. For this one, I'm actually going to keep a cylinder like a 20 sided cylinder. So I'm going to move this thing up here, rotate this 90 degrees. Let's select this vertex C Control F 11, and then shift select everything else. And then I'm gonna select this guy and Control E to extrude this thing out. So that's the ring that I want. I'm gonna keep the pole like really, really close to the center. This thing is going to be like right there. I'm using my grid, snap to grid to snap a tube-like specific point, which one seems to be fine. Then of course, I need to make sure that they're both line up perfectly to the same distance. So that will be, that will be the distance even if we later on the To move this thing. Or we can just grab both of them. And at the same time just move them a little bit lower, like there. Again, looking at this thing right here, I can see that this wheel is kind of like a free-flowing wheel. And then we have this support on top, kinda like guiding it. I don't have another view of this thing, so it's little bit difficult. We can kind of see them. This, it seems to be welded or like, like place together. So this doesn't seem to flow like this piece, but there's a small wheeling there that might be moving along. Again, it's a little bit difficult to see, but it kind of looks like like two plates that are screwed together. And there are holding this bar right here, which is the support bar, and this wheel that's moving the whole thing. It does look like a gear. You'd really, really does look like a gear. Since it looks like a gear. I'm going to make a gear. I'm going to go right here, Control E to give it a little bit of thickness. Let's extrude this out. Not a lot. It's not like a super big gear. I also don't see like super big teach either. So I'm just going to graph one face on each parts of the element. There we go, Control E, push this up and give them the sort of little t, the effect. There we go. That's gonna be my main gear. So if we take a look at this guy right here, that those would be going into the teeth of the elements and those actually looked to be fairly uniform to the distance of the bike gears. I think I think we're in a good position there. Now on top of this, we can see this plates. And those plates actually have a very nice topology. So I think we should try to follow along. And the easiest way would be to use a pipe. We've done this before. So I'm going to use a pipe right here. Let's move the pipe over here, rotate this 90 degrees. I'm going to reduce the amount of divisions a little bit. Let's go to like 12. There we go. Then on this pipe, I am going to delete half of it. Grabbed the phases in phase mode and push this out. Then I'm going to mirror the object. Shift-click mirror the object to in this case this object C positive. We get this. And now we should be able to bridge from one side to the other. There we go. We can grab the whole thing. A nice isolated real quick. This is definitely where we flatter than what we have. And the thing that I'm mostly concerned about is the things right here. Like, I want to make sure that, that we can close all of them into a nice little topology. So let's bridge actually breached the other way around. Let's reach to their breach there. In order to breach this, I think the easiest will be one that you right there. I want to actually right there. I'm going to shoot right there. And we go from here to here, bridge from here to here, from here to here, bridge from here to here. And then again, I don't want, I'm a lazy artists or Other want to call, teacher used to say that being lazy as part of being an artist, but it's not really being lazy, it's being smart, right leg, work smarter, not harder. So this side is right. I'm just going to do an object c negative, then an object x negative. And that way we're actually gonna do That's weird, yeah, since it's white, but let me freeze transformations. So there we go. Should be x negative object. There we go. So now we have both sides are ready. Of course we're going to push this to the front. Let's go to the right view again. And let's scale this up. This thing is holding the main gear right here. So this would be like right about there are no overlaps, just just keep them really, really close. We might make it lightly, slightly thinner. There we go. That will be on one side. And of course, in this case, easiest way to find or to create the other mirror object. I'm going to go to the wheel or the line right there in the center, and then grab the pivot point of this guy, snap it. Snap the pivot point to that center line. And then from there we just mirror on object, again X. And there we go. Now we're properly hugging the surfaces of the, of the object. That's my plates that we have there on the support. Back to the right view. We have this guy right here. I know that, that this face is right here. I know that this face is right towards this vertices are gonna go all the way there. This ones right here are going to go all the way there. Now, an easy way to do this would be to add a couple of divisions. Let me add 45. There we go. I'm gonna grab this four phases which are really, really squared and I'm going to erase them. Great. We're actually, yeah, Let's circularize those. Because now we can delete. This face is right here and this space is right here. And this should give us a relatively close approximation of how we want the elements to move right? So I know that these guys are going to be like right there, right behind the gear, just kind of like protecting it. Now it's a matter of grabbing this guy. So I'm gonna move the pivot point of this selection to the center there. We can scale it up and find the proper proper elements here a thing I'm gonna grab this guy, just make it slightly smaller. So that's inside of this object right here. Again, grab this guy, move it forward. This should be like that. The support for my, for my gears. Very important and I'm actually going to isolate them so that I can make sure that this is actually working very important that the centers are four of these guys are lineup. For instance, let's, let's move the pivot points here. They can see that this guy was a little bit lower than it was supposed to be. Now I can I can push this guy's a little bit more forward. There we go. We have a very nice bucket. Now of course, this guy, I'm going to center the pivot point. I'm going to snap it to this wall right here, to this wall, and then Control E and snap it to this other wall. If I can hit the V key, because the problem is the pivot point is off. Let's do the other way around. I'm going to grab this face. Snap it to the wall right there, to the, to the wall on this side there and then Control E and snap it to the next wall. Let me just grab the face again. For some reason, the point is not playing nicely, but the problem That's really weird at the pivot point is right there. Let me let me tell the history. Maybe that's it. Yeah. Because for some reason like the point of this selection should be. There, Let's see if that works a little bit better. There we go. Now this thing is actually where it's supposed to be now we'll just bring it back. There we go. Slightly tricky shape, not super difficult, but it's just slightly tricky time to start adding the all of the supports and stuff. For this one's super, super simple. We're probably just going to bevel with our same traditional effect. We get the very nice salt effect. This one, we definitely need support that right there. And they supported us right here. Of course we're gonna need Support which there and there. This is one that I do want it to be a little bit harder, like hard surface, not not like a bubble. That's why I'm doing that. Let's do one right there. Right there, and then one right there. Told her the circle properly, probably one right there. Right there. Now since we have a little bit of changing sublet, we can actually go here and since we have a couple more vertices, Let's go here, reset the tools. We can move these things around a little bit. You can see how they're kind of like collapsing with the whole thing a little bit. So it's a matter of grabbing both of the sites at the same time, just moving them to the side of the limit. Well, we got a weird pinch over there. That's interesting. I was not expecting that. Oh, my bad. Let's go back here again, right view. We're going to move. It seems like the British started like jumping way too much over there. There we go. So now we know that this are the proper parentheses, just American pushing this case back. Then this guy, since this guy's a little bit back and this guy lower like that to get the nice circular shape that we're seeing over there. It's kinda weird because I'm not on the reference. The reference here. There's no holes, but I think there's no holes because this thinks are poking into the element. I'm not sure that that would mean though. That would mean that this thing would be like higher like this. Maybe this board right here. We'll have a little bit of overlap like this. Not sure how this will work, but that's how it looks under the elements. That's where we're gonna go focus. That's kind of weird on this one. There does seem to be like an empty space there and there you see that maybe some of the vertices there are, are wrong. Maybe, maybe, maybe this thing just holds or just like remains like outside of the effect like this. A little bit tricky. I don't know. I'm not sure. I'm gonna keep it like this because it looks a little bit closer to what we have on the original concept, on the other concept. But yeah, we might need to look into more stuff. I know that with the chain we're gonna have a different effect. Of course. Again, they can see here on the pure ref reference that we have a couple of bolts and stuff. So there's one main bulb right here and then there's like four bolts on this side and then the middle section, it's weird. I'm still, I'm still really, really confused. I can see the shadow. And now here see that. You can see that this thing is going outside of the element. Really, really weird. No worries. Let's go to the bolts. Going to do very simple bolts. I'm just gonna grab like a sphere position there were supposed to be. Again, keep it low in, in sub-divisions. Rotate this 90 degrees, push it out to save some polygons. So I'm gonna delete the half-life, the back half part. And then on object mode, we're going to scale this down. So it looks more like a, like a nice bold. This ones are not the ones that you can take off, I think right there. And then we'll have another one right there. Then two down here. I think they're a little bit too big. So I'm going to scale them down on the y-axis. There we go. Again. I know that when we do remember three, those are going to look quite, quite nice. And then there's one right in the middle of the gear, right there. And then there's another one like right on this side of the element, right there. The one on the middle of the year, of course, would be like out there. Yeah, those are the balls. Those are the ones that I'm seeing right there. Those bolts and then there's some indentations there on the elements as well. I'm not sure what that is though. That breath thing. It's only on that one I think because everywhere else it's normal. So yeah, there's just those four little bolts. I think they're a little bit tighter to the surface. So we're just going to scale them down. Imprisonment. We only get a nicely to end. This seemed to be a little bit smaller even. So. There we go. Now we're gonna go up all of them. I wish I actually would like us because this thing is very symmetrical, right? Like, well, now it's not that symmetric. I mean, geometrical, but it's not that symmetrical. So I was thinking of both having this be on the center line of the object. It might not be the best idea. What I'm gonna do here for the bolts. The subject of links to go there, there we go. This one's a little bit off. Let's go top. You. Going to move the pivot point forward so we can better calculate this thing. There we go. This thing off-center, something. We're there we go. Let me the scene a little bigger. There we go. Because we scaled this thing, right? Yeah. I think it's because we scaled this thing. Let's center the pivot points again on this thing. There we go. Now we have the shape. We got all of these guys right here. We are going to group them control G. And then I'm going to go top you. And I'm gonna move the pivot point of this group to a midsection, like right there. And once the pivot point of that group is where it's supposed to be. We can just shift right-click mirror. This gives us object x negative when he applied and we should have it on the other sets and not on the other side. That's really weird. No, it should be it should be on the other side. We in the middle section, No. Maybe we need to combine the objects. So let's grab all of this guy's combine them til the history for transformations. Again, I'm going to move the poof point to the center there. Shift right-click and we're going to mirror this on the x, negative x. There we go. That works. Yeah, that's it. That's the support. Are ready to go for the nice little chainsaw that we have. In the next video, guys who were gonna do something really cool, we're gonna do with the change itself. We're gonna do the chain. And I'm gonna show you a nice little technique that we can use to make sure that they were super, super nice. So hang on tight and I'll see you back on the next one. Bye bye. 48. Chainsaw Chain: Hey guys, welcome back to the next part of our series. Today we're going to continue with the chainsaw chain. And I'm gonna show you a really, really cool technique for this sort of elements. The first thing I'm gonna do is I'm actually going to go to my front view, or in this case, we're going to import this a chainsaw. Do this one right here, which is our chain links. I assume, I imagine like we're not gonna be molding each specific link that will take forever and it will be a really, really bad waste of time. We need to understand how many pieces we have here so that we know how many pieces we have to model. From what I was able to do in understanding my research. We have two types of pieces. We have this link right here, which has called the coding when chord, the one that uses or doctor actually cuts the width. And then this one right here, which I think it's called the driver link, which is the one that gets pushed with the different engines and stuff to move the chain around the support. If we take a look at it, that's two links, that's one and then two. So we technically only need to model those two links. But since we're gonna be creating a tile, we might need to create a third one. That's going to be the one that combines both of them. I mean, there are quite easy tomorrow I would say. So let's start with a plane. We're going to start with a plane. If someone displaying all the way over here. I'm gonna make this fight Britain playing a four-by-four. We're going to rotate this and many degrees, so that's facing us. Let's of course pushed this image back. Actually let me grab the whole thing right here. Let's get it into a layer for now. There we go. You rotate, 90 degrees rotation. There we go. Mesh display, reverse. The the reason why I started with a four-by-four is because I can grab this four phases as you guys know, and circularize them. Circularize. Now, this guys, remember, this happened just recently, tool for transformation that the history there we go. This guys are gonna go right there and we can actually grab the outer edge. And in particular, I said this wall with this one right here. And it's gonna give us a relatively circle edge, which is fine. In this case, it's not so circular though. It's more like a hexagon kind of shape. I'm going to go like this guy, this guy, this guy and this guy. Let's get them in there. There we go, a little bit closer. We can of course see that as we go towards the center like this guys right here, we're going to get a flatter effect. Then of course from this edges, we're going to extrude it to about there. We're just going to create the other link on the other side. Here, I can also see that we have sort of like a like a sharp line. Let's grab all of this and make them sharp. There we go. That's it. When we smoothest thing, we're going to get a nice little factory there. Of course, this guy, we're going to extrude it to give it a little bit of thickness, a little bit of thickness like that. Then delete the circular faces. Let's find the rich opposite the proper which offset? And there we go. We're going to delete. This guy is right here. And we're going to, of course, a mirror this to the other side with a bounding box. Bounding box in this case is z negative. Apply. Well, we have this guy right here now we should already be doing the hard edge. Thanks, they're hard surface things. Let's go all the way around our elements. And the hard surface all the way around. Make sure that we're not missing anything. There we go. And we beveled. We're definitely gonna have two segments and its mole fraction. So when we press number three, we get this very nice sharp effect on our link. Now, I've seen these sort of things and usually what happens is you have two of them on the side. So there's two little links that hold together this other links that we have here. So as you can see, this two guys, we'll hold this specific shape, the driver and then this one right here, it's going to be on the opposite side, like it kind of like interlocks, like you have one on this side then the other ones on the other side. But you do get this sort of thing on the, on both sides, right? So you can see it here and here. So let's make the next shape. And for the next, next, next shape, I think it's easier to do to just do a quadrant. I'm gonna grab my quadro again. So Mesh Tools Create polygon. Let's start with a nice little polygon there. With my quadrant tool. I'm just going to create the shape that I'm seeing here. I do see some hard edges, hard surface edges that are easier to, to create like this. And then a little curve there. There we go. Now we start adding these things right here. We start filling in the little triangle there. No problem. Remember the 32 gotten to one thing that we can do to simplify our elements. We can do a two to one over there. Let's relax topology a little bit. And this is just to give a nice like small topology on the piece right here. There we go. We're going to extrude this thing, of course. Give it the thickness of the needs. It's probably gonna be way, way thinner. Mesh display, reverse. And it's just a matter of grabbing all the external actually right here. Cruise with all of them are selected bevel segments and small fraction. Of course we're gonna start adding a couple of hard edges like there, and they're probably there as well. There we go. We have this very nice ashamed right here. This one. It's probably gonna be right over there. We're of course going to have cylinders. Let's bring a cylinder here. I'm going to use the little holes from the circularized that we have. That's bringing this down to eight. Again, it says we're going to have so many of them. It is a good idea to try and simplify them. There we go. And there we go. That's 60. This will go through the, through both sides. So we're going to be really flushed. Of course, we're gonna grab the edge loops, bubble. When we smooth, we get this very nice, clean piece. We need to make it a little bit bigger. There we go. That one's gonna go there. And then we're definitely going to have another one right there. This one, this piece right here, it seems to be the same direction. I'm just going to grab this one and it goes like right there. So that's like 11 link, that's going to be happening there. And then we have this other piece, which is the actual like cutting piece that we have, the actual cutting piece. We can see a little bit more clearly here has this very nice shape. And I also think that it's a lot easier to just do it with quadrant tool. So let's start right here with a quadrant very quickly. Let's mesh display. Reverse it. There we go. And then we're going to jump into our quadrant, grab this guy quadrant. We're gonna go there. There, there. There, there. Create a nice little edge loop here. We can catch that curvature. Curvature there. So we should catch the curvature as well. There, there. Let's keep going down, down, down, push this down, down. There we go. We'll just finish this thing. One there and one there there, there, there there. Relaxed to the whole surface. And we have our nice like cutting piece. This one we extrude. One thing that there's one that will have is that this part right here, it's gonna be really sharp because that's the one that we're gonna be using to took up. You can see at the right there on how the shading changes. Now some people like to collapse that thing to create a super, super like razor sharp edge. I think it's a little bit unnecessary, especially because you will get it will make the bulge a little bit harder. So I prefer to just keep it like this and then just add hard to adjust if you're doing a game, though, that's a different, that's a different process. Here, as you can see, by doing this, we should be able to create a really, really nice and sharp effect. As you can see, it will look sharp enough for World War II, for what we're doing. You can go even more extreme. Really, really, really extreme on the sharpness. They're really looks like that, like a knife. I want this to actually show the knife edge. You can add another edge loop right there. And they will show like a, like a knife like that. So yeah, that's it. This is the this is the link. I know again that this guy is going to be connecting there and there's also a couple of these guys over here. It seems like whenever we have one of this, we're also going to have one of this as well about there. Joining both elements. And then we're gonna have the cylinders as well going across. So this is like the, this would be like, I would say one link of the element. Then technically, again, technically this ones. Or actually that's one of the thing we need to I think the thickness is right. So lets just grab this guy's make them a little bit thicker and just push them out a little bit more. Probably not that much. More. There we go. Perfect. So technically, if we grab all of these guys and we were to group them, for instance, center the pivot point, duplicate this and move this forward. As you can see, we're going to get our link, like we can just continue this and we're eventually going to create our nice little chainsaw link, which is exactly what we're going for. One thing that I do know though, before we do that is that this thing is the other way around. So I'm going to grab this group and let's rotate this 180 degrees. 180. There we go. Because this thing is the one that should like Shrek through the woods, like this, like little eraser thing. So I'm going to call this chain link base and I want to keep one copy. So I'm going to duplicate this and hide this just in case we ever need to do any sort of like change to the chain or anything right? Now, this one That's the new duplicated, what I'm going to combine it and we're gonna do it. You really, really, really cool trick that's going to allow us to duplicate this thing along the curvature of the actual acts or accident change. So change, so, so the first thing we need to do is we need to create a curve that's going to tell us where all of these things are. Let's bring this thing back. I'm going to go create nerve spring tips and I'm going to create the circle. And I'm going to bring the circle forward, rotate this 90 degrees. We're going to position this thing right here on the board. Thinks should technically be like holding or hugging the element. So in theory, we should be able to actually snap this thing exactly on the pivot points of the Kia. And it will be like something like that. Perfect. Now I'm going to go into the control Burtynsky's of the curve. And you're gonna see that we have way too few controlled diversity student. What I want to do. I'm going to go into my modeling tab curves and I'm going to go to rebuild curve and I'm going to change the number of spans to something like 24 and hit Apply. What that's gonna do is it will create this exact same curvature that we have. However, as you can see now we have way, way more points. And the only thing I need to do is I need to bring all of this points all the way back to where I would expect this thing to me, which based on our research, if you remember, would be like inside of a little box probably all the way over here where the main engines is gonna be like moving the elements. Yeah, that's it now to have this group be a little bit cleaner, I'm actually going to rebuild it. So I'm going to go back into Curves, Rebuild. And let's say again 24 he'd applied. As you can see, it's not enough. We carried like a really weird effects. So let's go like a 100th. Hit Apply. Now we go with the a 100th points. This curve is a lot, a lot nicer. You can see that we get very, very clean all the way around and that's how we would expect the whole lake chain to be behaving. Now I'm going to move the curve is gonna be important. They've got to move the curve to the middle section right there because that's exactly where it's supposed to be going. Now comes the fun part. We're actually going to be using a mash. Mash is a plugin that we have here instead of Maja. And it allows us to instance thanks across a lot of different areas and options. If you don't have the Mash plugins journal and make sure to go to Settings and Preferences Plug-in Manager and look for a mesh. There we go. You know what, I just forgotten, just realized I haven't used them. The Karnak thing in the wild. Sorry about that, guys. Yeah. Then after you have the mesh thing turn on, you're gonna select your chain link right here. And you're going to click this option which is going to create a, as you can see, a mash network, you're going to click this option box right here, and this is the mash editor. Now, we do go a little bit more in-depth in above the mash editor in the intro to Maya series. However, we're gonna be just taking a quick look here. So the mash distribute here is the main node that's working right now. And we're gonna have this little note that will in this case duplicated or instance this object ten times and it's instancing them, as you can see on the x-direction, which in this case we don't want that to happen. We want them to go This PSC offsets, so we want to push them forward. And as you can see, look at that. We're creating our nice little chain link one on top of the other end. And we can create like if you just want to create a straight chain, this is a great way to do it, however, and here's where the magic happens. I went to have this guy on this curve. So we're gonna grab the repro mesh, this thing right here, which is the instance mesh. We're going to graph the curve. And then I'm gonna click this button right here, which is the curve of work, the former. And what the curb war of the former will do is it will try to form the object throughout the curve right here. So one thing that I did forgot to do is delete the history. So this one right here. Let's go to poly modeling history. Now, we should be able to grab this one, this one, and again go into the mash menu and do a current or former. Doing it a little bit better, but not exactly like I want. Let's check the options here. We definitely do want to do an envelope. We're definitely going to need way more copies. So I'll probably like a 100th. And maybe we need to change the offset here. That's really weird. Let me go back. And maybe one thing I forgot to do before the repro mesh, let me, let me delete the repro mesh real quick. Maybe I forgot to freeze transformations on this guy. So let's. It does have frozen transformations with That's weird. Okay, let's try it again. We're gonna grab this guy. We're going to go to match. We're going to create an instance mesh. And then we're gonna grab the object, grabbed the curve, and we're going to use the curve of the former. As you can see, it is doing it, but for some reason it's doing it on a different loop, closed curves. It's taking on a different distance. I'm not sure another thing that could be happening, which would be really, really weird. But maybe the amount of points that we have in the crypts are a little bit too much. Because it doesn't seem to be respecting the proper effect here. As you can see, this thing is trying to duplicate it and move them through object, but it's not the curve. Let me, let me pause real quick, figure out what the bug is. It's probably the count here and I'll be right back. It's just gonna be a quick jump here for you guys. That's the process. By the way, I'm not making this up. This is the actual process. I actually did test this out beforehand, but for some reason it's not working now, let me check real quick. Yeah, so super simple solution. The problem was that my object was originally like up here, it needs to be on the origin. So that didn't notice that when we apply the correct format, it jumps to the curve. Now, we should be able to play around with the sea officer. As you can see right here, we can start pushing the elements and increasing the amount of a change that we need. So I'm going to increase the points. Let's say like, I don't know, like 50. And we can start pushing the DCF. So now it says that it stops right here, but it doesn't actually stop right there. You can keep pushing it. Since here we're gonna have like 350. It's way too much. Let's try 40. It will scale them as you can see, it's kind of scaling them a little bit. Let's try 30. That's a little bit better, but now we're there we go. That's a little bit better now, I want to make sure that we were actually getting all the way through to the end right here. For some reason the last one is not it's not touching, but that's fine. I mean, it's just the last one that we can we can fix it relatively quick now it's also the forming them a little bit here, but this is just a model. So even for animation, I think it might work. But as you can see, this is working, I think nicely. That's a really nice proportion. In my case, I'm using 30 points and I'm using 243 on the offset. And that's getting me the element that I want. The only problem was the only thing I don't like is that the things are going to the other way. Let me see if I can rotate this guy around a 180 degrees or 270. No more. I know because it's rotating each one of them individually. Another thing we can do is we can go to this one right here, which is the original element. And right now it is doing this again to the other side. If we rotate this thing around, it should do it the other way around. So again, I'm just going to rotate the original thing that I'm instancing 180 degrees. And as you can see, this works or looks a lot better. Actually nothing we weren't, We were fine. But the focus is on the inside. You'll see that the hooks on the inset. So I'm actually gonna grab this guy, rotate this around. So now the hooks on the outside like this, 180 degrees as well. There we go. So now the hook of the chain is actually on the outside. And the yeah, I mean, the the grid right here matches the the chain. I mean, it's close, it's not perfect, but it's kind of matching it. Then we can make this a little bit smaller and that will look a little bit better. I think we forgot to even like a bevel this thing. We forgot to bubble. That's fine. But yeah, as you can see, this is our chainsaw. Now the one thing that we definitely need to change a little bit is the curve. I think the curve is a little bit to a wife. So we can actually push this in. And they will adapt itself to the curvature of the element so that it hugs the support a little bit closer. This yeah, that's it, guys. That's the that's the chain. That's how you model a nice little chain right here. Let me show you something cool real quick. I'm going to turn on this thing called ambient occlusion and then this thing called anti-aliasing so that we can see a little bit better. And if we add a light, like directional light, we press number seven and turn on shadows as well. There we go. Now we're gonna be able to see the little, the little details of each individual parts of the element. Quiet, nice, right? Not bad, I wouldn't say, I mean, this looks quite, quite nice. Yeah, that's it, guys. Now, let's do a little bit of cleanup. We still have a little bit of time. Let's do a little bit of clean up this repro mash. If we don't want to mess with it anymore, we just duplicate it. And then we can eliminate the original repro mesh. And now this one is like geometry. So this is just like normal geometry there curb doesn't influence it anymore. There's no connection. We can actually delete the curb after I've I've done using it. So I think that's, that's a good idea. Now let's just clean this up a little bit. So I will grab all of those guys, probably Control G and call this chain saw. Saw. The main part. We're gonna call them welded plates. This is the gear gear saw. This is a main support main bolts, and this is going to be the actual chain. That's it. We have our very nice first finalized pisa the chain was is looking pretty, pretty dope, pretty, pretty cool. I think. We're ready to jump onto the, onto the next one, which is gonna be the body of the whole thing. Hang on tight. I don't see you back on the next one, guys. Bye, bye. 49. Chainsaw Cover: Hey guys, welcome back to the next part of our series is still there. We're gonna do the chainsaw cover or the cover that goes here where the War of the chain and the main blade of the thing, which is this one right here. I'm going to turn off the initial thing that we had there. One thing I'm gonna do, let's, we don't need the image plane anymore. This third image plane, that's fine. This one we also don't need, so technically you can save it. Here's where I recommend doing the increments and safe. So in case you need to go back to a scene where you have all of these things. Just go back in and that's it. Let's go back to number five, which is no light. Grab all of those guys. Of course I need to grab these vertices right here. This would go all the way over here. We would expect to have some sort of like a round effect, even though we don't see it. That's where we would expect to see it. So it's gonna be hidden behind this blade right here, this main area. Main area, it's quite easy. I think it's a simple shape, but they got this thing is kind of like in the way. So I'm gonna go everything, right-click this layer that's selected objects so that we can turn this off and just hide them for now. As you can see, this round shape has a round shape over here, kind of like a cover. And we can see it here on the, on the pure file as well. This site that has this sort of effect, a little bit of an inclination and then flat, pretty much flattened. And this two little lines there as a little detail, the bolts as well. So I am gonna go with quadro. I think quadro is gonna be one of the four main tools throughout this exercise. In the same way, the cylinder is worth the main thing during the camera. In this case, I think the quarter is going to be a little bit better. So let's start with a big plane right here. Or we go, Let's go into vertex mode. There we go. We're gonna go poly modeling quadrant 12345 over there, 67, you can see sharp changed right there. So instead of following, flowing with the elements, we're going to create a new 1463. So let's do one more here. And then there, there, there, there, there, there, there, there, there, there there. Here we have again four. So easiest solution. Just add one more line there. That's gonna be there we go. Now of course this are super, super dirty, so let's start stretching them out. I like to work this is, and you probably have seen that throughout this whole series. And then you've have any of my other tutorials. You probably know that I like to work very, very dirty at first and then start polishing us as we move along. So that's just one way to do it. There's other people that are really, really perfectionists. The way they work. I have a good analogy for that. Some of you guys may be fancy for baseball. I'm not, I'm not really a baseball fan, but I do know a little bit about it. And one interesting fact that I learned some time was the fact that it apparently, or there are apparently different types of pictures. Some features are good at the beginning of the game. Some pictures are good at the end of the game are some pictures aren't good at the end of the game. So depending on what kind of pitch you want to have throughout the games, part of the strategy. You're going to be a changing who is the main picture? I think in 3D is something similar like you are going to be. Sometimes you're gonna be better at starting projects and then someone else is gonna be really good at refining them. Or the other way around, someone's going to be really good at making the blockings and the main shapes. And then you're gonna go in and really apologize and things, especially when you're working in a team environment, that's something that's gonna be really, really important. So I know that we're gonna have a line right there, but before we add any of the details, I think we need to add the main volume right here. And that's why I started. We'd like a super, super simple solution care because I can just grab all of these guys right here. And again, if we take a look at a pure ref, you're gonna see that we go pretty much all the way through. Maya. There we go. I'm just going to W and just push us forward like this. Just keep them nice effect right there. If we want, we can give it a nice little bubble here to help me around everything off. Yes, we're going to get a triangle here, but the easiest way to solve this triangle is just to delete it. Just delete that triangle. Delete the vertex right there. Let me move this thing a little bit down, and that's it. That's the, that's the main plate that we have. Now we can start thinking about the details, but before that I would like to add a thickness to it. So I'm going to extrude this thing out to give it a little bit of a thickness to this main plate that we have over there. Now, if we go back to the left view, we can see the details right here, this line, this very nice section, light. And I got all of these borders here and add them together. The whole thing, Let's make sure that it's completely lined up. Let's move this up and let's add one more line right there. And yeah, we're we're pretty much at the finish line. I'm just going to have one extra line over there. We also have this holds over here. This will address them now. So there's one over there, and then there's another one here. It's one to 12. And then there's this second line right here, right. The second detailed line that goes all the way, pretty much all the way to the back. This does seem to have a little bit of funding clinician. You can see that it starts up here and it goes all the way down here. I'm going to create the thickness first. There we go. Then what we can do is we can just use this vertices and just move them down in a very similar fashion to how we've been working so far. Just kind of give them the proper inclination. Like make sure this thing is like flowing down in a nice controlled way. Now, let's of course add the actual extrusion. So let's grab this, this, this and this, this, this, this, this, this, this and this Control E, or through them up and give it a little bit of offset. And I'm actually going to immediately extrude them up again to create the edge loop, the support that we have there. And that's gonna give me the nice little line right there. Look at that super clean. And here's where of course we can go to the left view, take a look at this line right here and review the inclination, right? Let's make sure that this thing is actually flowing in a nice, straight away or as straight as possible. There we go. Now if we want to sharpen them a little bit more, we can of course add a support edge and just be careful that this support which does not change the shape of the elements. So for instance there, I don't like that one. So we might have to do something, something different there. But I actually do like the way this are looking, like they're looking quite nice. The only thing I might want to do is I want to fade them out as they get closer. I'm going to start pushing them in like this. So they kind of like flow and the emerge back with the original effect, especially on the lower one. The upper one does seem to have a really straight edge over there. Of course, we need to add a couple of support edges. So we're gonna have one there and one there to keep this thing like nice and tight. That's how the one-line right there, one right there and one right there. Those are also going to help with the overall shape of the plate. Looking quite nice over there. We're still getting those sort of like pinching problems here. Should be able to solve them without too much of a problem there. We do get a little bit of a weird pinch there, which I personally don't super, super like. Let us go to the left view. And since it's few polygons here, we might be able to just spread them out while keeping the curvature like this. That way we don't have the pinch anymore and that we still have the hard edge over here. So yeah, that that's looking good. Now, of course the word what was the word of this thing? Remington, Remington brand, would need to do a super, super complex shapes and elements to get that specific shape. So I'm not gonna do it for this particular one. I'll probably do that in Sievers to be honest and with a displacement map or Obama or something. Because yet so it's a little, little bit more complex. But this plate, this, we're looking quite nice, Quite, quite nice. The only thing that we're missing are the little square holes right there. The allow us to kind of see inside the element. It's weird. Let me, let me look at the reference and see. Yeah. They allow you to see instead of the of the thing. Yeah, absolutely. You can see them right there. There's actually this one is another brand. You can see that on the handle. It's a different one, so there's only two lines as you can see there. And then there's two, those two elements right there. Perfect. Let's go to the squares. Left view. Seems like I forgot to add one line right here. Did I do it wrongly? It looks like I did wrongly. I'm going to add two more lines. There we go. So select those faces, delete, select those faces and delete. And that's gonna be the two holes. Super messages go from one to the other and the bridge. And then etch, go from one to the other. Oh, it seems like things are not really weird from here to here and rich. Now to really hold the edges, of course, we don't want this is very important and we don't want to add any offsets, because if we do offsets, we're gonna get the circles. We actually want to keep them like this. And when we insert a couple of edge loops to support the shape, we're going to have a really nice straight, straight elements. So you can see that right there. Of course we're gonna need like one on the inside and one on the outside. No bubbles, no nothing in this case, we want the metal to look quite, quite sharp. We go much, much better. Now as you can see, I'm not adding lines on the horizontal side because it's going to affect my curvature over here. I only add the lines on the vertical side of things. Yep, that's it. This is the this is the plate. Now we're just missing the bolts. Nuts and bolts. I am going to grab let's do the cylinder. The left BYU. Have this right there. 90 degrees proper size, just that one. Same for this one. Well, let's do one and then we'll duplicate to the other side. This is just again, this are not going to be like completely engineered the correct nuts and bolts. They're just gonna be here for show. In this case, the only thing I need is just a nice bubble there. We can actually delete the back faces to save a little bit of topology. Because this thing is going to be stuck there. Then the bolt, as you can see, it's probably like Not symbols are usually like six-sided. I think. Double-check that real quick. And not six sites. So I'm gonna go here to the center. Let's go six sites. Then I'm going to go up the outer sides, Control E to give them thickness. Delete the inside of the insights. Go from here to here, bridge that yet that's the, that's the bolt. We can actually grab all of the edges and label them. And that's gonna give us the default. Let's go to the left view. Snap it to the center there. Rotate this 90 degrees. Find the proper size which will be right around there. Usually, Usually Usually the inside of them bulb though. It's usually like strict color. Let me see if I can circularize this things. I might be able to. That's not bad. I think we just need to it's trying to do it. That tells me that one thing that we could do is we could grab the outer edge. Then grab this guy right here, circular. I said, There we go. Give it a nice little offset. Then if we extrude this thing down, and we of course bevel this edge. There we go. Mesh display, reverse. And that's where not. Yes, of course we could go to the circularize and maybe you twist this thing a little bit straighter. That looks nice. I'm probably going to add one bevel there as well. Keep it sharper, it nice. And you need to decide how big this is. This tend to be quite big to be honest. Most of the industrial knots for, especially for things like this, like dangerous things like this chain. So you would expect them to be like quite sturdy, right? So probably something like that. Then for the actual bolt itself. In these cases we're just going to use a cylinder. So same deal. We snap it there 90 degrees. In this case, I am going to leave it as 20 sided cylinder. Because I went a little bit more detail on the curvature. This edge right here, babble it. Now some of this like elements have a threat on them. If you want to add the thread, I'm just going to add it on the outside because we're not gonna see the inside of the elements. I'm just going to bevel. We looked at nice little thread there. Control E. Just extra. So when we did this, we get that nice little threat. And we of course delete the back faces. That's it. Now we're gonna see a little bit of threat for the bolt. Grabbed all three things. Let's combine them into a single object. Left view. We're going to duplicate and move them to this side. And there we go. My friends are back, blade is ready. Now let's check it out with this guy right here. Looks pretty, pretty good. I'm going to grab all of those guys right here. Group it til the history of his transformation center pivot, and let's rename them. So this is going to be what's called a saw plate. This is going to be bold. Going to be bold be, and this is going to be played. Now this one definitely needs to go a little bit up, like right above there, just because it's gonna be covering this whole thing, we still don't know where it, most of the things that are gonna be because we do know. So this one should be like right about there. This group right here, this change. So group should be right above here. Yeah, there we go. Second part, ready? Let's go to the next one. I wanted to live. There's just a quick comment. I wanted to leave this one that at the very end because I knew that we were gonna have some difficulty on a couple of the other ones, like the GameViewController was three key, the toaster was, I think EC, the camera was definitely a tricky. But now that we know all of the main tools, this is gonna be a piece of caking. We're gonna be enjoying ourselves because it's gonna be so much fun. Yeah, that's it guys. I'm going to stop right here, and I'll see you back on the next video. Bye bye. 50. Chainsaw Main Housing: Hey guys, welcome back to the next part of our series. Today we're going to start with the main housing of the chainsaw. As you can see right here. I think there's two images are probably the best tool to understand what's going on here with the housing. You can see that we have this orange plate, which in this case it's blue. And this is where the headless attached to with this circular thing over here, interesting shape. We have this other plate which is I think where the motor is gonna be like breathing. Then there's two caps over here that we're gonna be using to probably feel are filled with fuel. And the other types of elements. Right here is really interesting. And again, we can use our quadrant to create the basic shape on this side, on the, on the left side. And then just extrude all the way to the front to create the front side. Now you can see that this thing actually goes forward like this. Let me see we have another view. Yeah, you can kinda see that over here. It starts and stops there, it goes down here. And I don't have a proper image for this unfortunately. But it continues to about this place right here. Have this other thing which is like a garden or something. We're gonna be doing that later on. You can see it's, it's with this big piece right here and there's another piece of blade like spiky things. But yeah, so this is the shift that we're gonna be going for. So let's go to our left ear, right here. Let's delete the layers, won't actually this layer. Let's just rename it yet. Let's just rename it. Let's call this blade. I know it's not ablate or probably that's not the right name. Describe both groups, right-click and add selected objects. And that way we can turn them off. There we go. As you can see, this is the image and as I mentioned, it's, I think it's gonna be a little bit easier if we just follow this shape first and then we extrude all of this remaining base R to the other side. Very similar process, we're gonna go Mesh Tools, Create polygon. Let's start down here, like in this little corner. Let's start with our quadrant. Here. I'm actually going to be a little more careful because I do want to hold the Azure, the security trends of this thing a little bit nicer. So we know that we have some sort of like a round thing going on here. Then this thing stops. And then we go over there, seems to be a little bit of a fog from element there. Whenever I'm tracing an object, I like to go through the border first because that way I know when things are going to be hard surface or soft surface depending on how we'd like, modify them. Here. I'm just gonna keep going forward who weren't quite round. Actually. I mean, we can already do the sort of like cylindrical shape, so that's fine. It seems like we stop right about there on the front. And on this side, this is a round surface, so I would expect this thing to start moving around like this, creating a nice little shape. You can actually go into, into smooth mode in number three here on your keyboard to start tracing while at the same time seeing how this thing is looking. Perfectly, perfectly fine to do that as well. Now, one thing that I am seeing, and I think it's going to be important that we address soon. See I'm adding a little just to keep things nice as possible. I'm actually going to delete these guys right here, like all of this element because I think are rather extrude that and I just wanted the main bodies. I'm gonna stop right about here. When this thing becomes like a 90 degree angle, if you have extra points there, you can double-click the tool and cleared thoughts. And there we go. One thing that I'm noticing is this line right here, this section line called light on the reference. It does look, it's like a sticker, right? But we could model it. We could actually model it inside of the upper plate. The only thing is we don't have it on the other side, so I'm not sure if it's really going to be worth it though. I'm just going to measure this. If you wanted to do this out, probably makes sure that the loop follows that section. So we can just do a quick belt, just throwing this out there in case you guys want to do something, something similar in other, other occasions. Now here you can definitely see that we're going to need a couple more edge loops. Always want to keep this as nice and clean as possible. We can start with waxing some of this and I'm just going to start adding in completing the puzzle piece right here. This sort of technique, this tracing technique, super, super useful and super super common. Whenever you have a volume or a shape that's EC2 to trace like this one right here. And especially if you have like a side view, like what we have right here, sometimes you need to work without the sort of things and it becomes a little bit more complicated. Here. Again, we can do our little topology tricks. Remember those? Let's do 321 over here. Because there'll be way too many polygons going on here. I think we can afford a one more polygon, shouldn't be that bad. We relax this, a surface over here. All of this, Let's relax it. We can have one more. Like loop going on here. I'm not sure if I wanted to triangle, but I'm gonna keep it for now. And then here Let's hit one more. And the whole topology is getting a little bit weird over here. Here's where I will probably start simplifying a little bit. Like can we reduce some of these are just move them back a little bit so that we don't have to have such a weird topology in this topology is really, really weird. Let's, let's clean this up a little bit. Another thing we can do is we can go and do the three, the two to one. Remember two-to-one. Can do two to one and then that's a square. There we go. That's a lot nicer, a lot nicer closer to what we have. And our topology is flowing where we better. Perfect. Yeah, That seems to be looking quite nice. Let me grab this whole shape right here. And I know due to the reference or at least the blocking that we have right here, I know that this is gonna be like right around here. Here's where we might need to turn this thing on. Because this is roughly the place again, we check the reference. You can see this is a plate. There's a little bit of a gap in here, and then there's the blade. And after the gap, that's where we have this thing right here. And we're gonna control E and the extrude all the way to the other side. Like that. There we go. Mesh, display and reverse. Not of course, of course, of course, of course I know that we don't have any of these interfaces. This is like a hollow metal plate equals probably. Here's what reference is really, really handy. Little difficult with product goes all the way around here. So all of this front-facing elements are probably going to be gone. You can see that here again, from the reference, we have a section line right at the middle, right there. That's a nice little group, same for this one over here, which is where this thing starts. So you kinda goes there and it goes out. So that tells me that some of these lines over here, this front area, it's a little bit thinner than the other parts of the elements. So I'm going to, from here, I'm probably going to add those two lines that we have there. Let's do 20%. I think it's a good number. So 20% on both sides. Or another option here, let me, I'm gonna add one that right in the middle. And then I'm going to use a mesh tools offset edge loop. That way I know that both of them are gonna be exactly the same distance. There we go. Then from this line is right here, Control E. Those are the ones that are going to continue our nice trajectory right here. So Control E or Control E. E. Control E or Control E. There we go. So that thing is going to keep on going and creating the nozzle element. Because at the end, at the very end of the whole thing, we're probably just going to extrude the whole thing and give a thickness to create the actual like the actual segments. Now, here's where we can add this slice, this sexual ninths that go pretty much throughout the whole element. You can see they go on the front side as well. This one like the one on the right seems to be a little bigger. I'm going to scrub this guy. That one's going to be probably about there and this one's gonna be about there. And again, I know that this line goes all the way around, all the way around. To control E. We're going to extrude this, however, at this thing. Oh yeah, it's fine. It's fine. What's gonna say that we still need this curvature right here, but yeah, we haven't drink. Yeah, that's the one. Then this one's control ie. Are you going to extrude a little bit out so make sure that we don't get any weird faces or anything like this face right here, like the caps. I'm going to delete them for now, later on if we need them again, it will bring them back. But those could mess things up when we do the full extrusion. So I'm going to get rid of those. And as you can see, we're getting the nice little shape there on our, on our cartridge strength here. Now on this site there's nothing. It's a very simple shift. Select a line here, it seems like a whole square. We can not that one, not another big deal then. But then this side we do have this bold sections like where this thing like what are these things split collide and that's gonna be on the front view. So let's go to the front view. All right. View rather. Again, I'm now following the other photograph. I'm just going to find the area where these things are. As you can see here, I kind of missed the how far, far out or maybe not, maybe. No, we're fine. It does seem like on this side of the element, this thing is like more complete. That's something that we might need to take care of right here. I'm gonna grab this guy right here. Let's move this forward. For this one. This one only on the same plane. It's not, not moving in them on the x-axis. And then I'm gonna grab this guy Control E. This guy is gonna go up. This and then Control E. And we're gonna go like this. Snap it, because we wanted this to flow that way. These two points we're gonna emerge to center. This two points were marched to center this forward and then this guy Control E, pushing forward. We can grab all of these guys, snap them together. Let's go again to the right view and see, yeah, you can see this thing kind of continuous a little bit more than the other side. Actually. Quite a bit more it seems. Yeah, it goes pretty much like all the way over here. Here's where we definitely need to correct some of the housing things. Let's grab those guys right there. So I'm gonna grab this edge right here. Just control E. And kind of like, let's go to the right view. Follow the same sort of direction that we have right here. Where we'll following it. We probably want to curve them out a little bit. They nicely bent towards the the other pieces and it does seem to go like all the week. So I can see you see that little piece right there. So it doesn't go all the way to the front. Again. We move and rotate a little bit. We move and rotate a little bit. There we go. Now, it's just a matter of bridging. Of course. The Brits shoot, be fairly, fairly easy. Can think should smooth out pretty nicely. Like we're not really changing anything on the silhouette. Now, of course, if of course we need to patch it this area right here. And I think we can try and do a quadrant. Let's see if this respects it a little bit better here. So let's go there now. See the problem with quadrants. It's trying to go into different directions. So we're probably gonna have to do this a little bit more manually. Not the end of the day, of course, just a little bit more time-consuming. For instance, from here, let me extrude out like this. Like there. Then extrude forward. Let's scale them. Control E, or Control E for more than a little bit of a rotation. Control E there in a little bit of a rotation, control E there and Control E there. And that should be more than enough. Because this big piece right here, this white piece will cover everything else. So yeah, it shouldn't be more than enough. Let's just start grabbing this vertices. Merging two center. Since we extruded from a single plane, everything should be in the same, in the same level. So we'll just grab all of these elements right here. And there we go. Nice. Yeah, that's looking good. Now of course we need a little bit of a bevel on this side and on this side as well. I don't see it on the bottom side, so I'm only going to do it there. But you know the rule. So we might as well just bubbled the whole thing. Just to keep the edge loops clean. Let's do a bubble. That's gonna be an angle, that's fine. I'm going to keep it either by relatively big, something like that. And there we go. That's looking quite nice. And of course we have an issue over there. Delete those guys and delete that, perfect right there. So that should be going back to a single square. Delete that vertex. There we go. Now we have a nice effect there. We just forgot to merge those ones. Cool. Let's do the little bolts that we have there on the side. This one's right there. For those ones, we're gonna be doing something similar to what we did when we were doing hosts inside of the other elements. We go to the right view. I can see that one volt is going to be unlike this. Let me go into face mode, like this area right there. One volt is gonna be like over there and the other one is gonna be like right over there. So those are gonna be like the sections where do bolts are gonna be? There's a lot of ways to do it, of course, a bit, I think here in light Booleans might be an option. For instance, this one, I think it's elevated, it's just Control E offset to create the little hole. And then Control E. And I'm going to, I'm going to select the more places. And I wanted to start with this one right here. Control E, Let's offset a little bit. And then Control E with our key. I'm just going to scale down. Now the problem here is we actually, I actually want to delete this guys. I want to create the actual hole. From here. I'm going to extrude and I'm going to push in. And then we're going to bridge from this side to this side. We can create the actual little hole in there. Just to keep it simple. I mean, if we have 12 pebbles Over there, should be fairly easy to just bridge from here to here. And on the other side as well. The other way the flow of the bevel remains intact. When we do this, we're going to get that sort of effect, which has close to what we have over there. I think there's some little bit too deep though. So I'm gonna grab this vertices right here and probably just like push them out. That's a little bit closer to two what we have with it. Again, if I take a look at it, you can see that it doesn't go all the way to that, to the front. It kind of sticks right about there. Let's go again to the right. We'll do it again on now on this face right here. 1234, control E Offset, Control E scale to create a little hook. And then delete these faces. Grab this face control E, push it in, and then bridge over there. Then we add the two edge loops that are going to follow the Bible. 1234456123 for 56 level. There we go. That's it. Now again, very similar thing to what we did there. We're just gonna move this guy's forward so that the whole is not aspect. I mean, both holes should be fairly similar in size. So either we make this one a little bit bigger or we make this one a little bit smaller. I think this one needs to be a little bit bigger. So here's a trick that you can use. I'm going to select all of the vertices that are right there. And if I tried to go to the right view and scale them, it's gonna be very difficult because the pivot point, this is wrong, but we can actually press D here, move the pivot points so that we follow the side that we want to scale it, scale it up, and then we'll scale it. That's gonna give us a closer, something closer to what we have over here. You can modify the pivot point on the selection. Make sure it fits a little bit better. That looks pretty nice, pretty different ice we do have one like actual player that's like pinching a little bit. You can see it right there. We can push this edge loop up and up like that. That should soften it up a little bit. Later on we can add another support edge. Now let's go for the final bolt. So that one's gonna be right here. So it's gonna be like this face is right there. So here the only problem is that the edges are getting a lot more contracted. So I'm gonna grab this and bring it down a little bit for this vertices. So we have more room on this ones right here on this four vertices that we've been using, Control E offset. Here's where are probably like work on the shape a little bit better beforehand. And that will scale, extrude the scale. Delete all of those elements. Control ie, push this back. Grab that one, bridge, sign like 12, and then select the edges bridge 123. The edges bridge. There we go. So now we have that nice round effect. The size seems to be fairly, fairly consistent, so I'm happy with that one. We do need a little bit more height. They think. They seem to be a little bit too shallow on the front view. Here, one thing that we can do to make it a little bit easier is governed like this face, use soft selection. Just tried to push this thing like downloading more to get a little bit more room. Same for this one. Just like give a little bit more room there. In their way when we place the actual like the bolts, screws, things are going to look nicer. Let's do this real quick so that we get everything in the same video. And then on the next one we're gonna work on this plots that we have on the top. Or actually no, I think we're already over the normal time. I'm going to stop right here, guys, in the next one we're gonna be working on the details for this thing. We're gonna do the descriptors that we're missing there. And we're gonna do the what's the word? Ddt? Ddt team. Those caps right there. Yeah. Hang on tight and I'll see you back on the next one. Bye bye. 51. Chainsaw Housing Details: Hi guys, welcome back to the next part of our series. Today we're going to continue with the housing details. So let's get to it. For the housing details. I mean, the two main valves that we have up here, not this one and this one. And also the descriptive which we need to model. Again, there's a lot of ways to model the scripts we've already did one last time. I think we're gonna do the same one to be honest, I'm gonna start with a cube mesh smooth. Let's go there. Let's do it again to smooth. So in this case, we're going to select the lower half of it. Let's remove soft selection. Let's isolate this real quick. I do want to do something a little bit different here. What I'm gonna do is I'm going to blend this out. I'm going to make this completely flat. It's kind of like a circle. Now I'm going to create the borders here with an offset that I'm going to create the screw on the instead of I've seen some screws and some of them don't go all the way to the outside. They're only like, I think they're called Phillip's screws. This control E. We're gonna go down again to save a little bit of time. I'm gonna do Control E, one small x truth control E. Second extrude control E one more. And that's gonna give me that hard edge that we're going for. Now. I'll probably got this guy right here. Press B again, self-selection. And I do want to give this sort of like a round effect over here. Like I'm the head of the screw like this. And then I'm going to reduce this thing like the or. Rather than reduce it, we can just select the interfaces. Let's go top view. This guy is right here and this gets right here. I'm going to bring them down, scale them down. I'm gonna go like this for guys and bring them a little bit more like that. That's, there'll be a little bit closer to what you would expect. Then just gonna grab this guy, give it like the little head of the screw. And that's what we're gonna, we're gonna see. So grab that thing. Let's make sure that it's completely flat. Give it a nice fraction there. And that's it. That's her, that's her screw for this, for this element. So it's not the point. Let's move it all the way to the top here. Great, the boat there. I think I did forget to grab this vertex right here for this guy, this guy, and just push them forward. The screw is not like a hallway in the border that we had there. Press F over F is always a great tool to fund this thing. Now you can see that the screw is really flat, but this surface is giving us this sort of like weird effect. In this case, it seemed a certain sense the surfaces as flowing nicely. We can add one actual right here. And that should give us like a flatter, flatter bed right there. That's where screws is gonna be like right about there. Here's where I'm might be even tempted to just give this a little bit more of an extrusion and make this thing like a really go in there. I know that this is not what we would normally see. But since I don't want to see the insight there, something like this might work a little bit better. I'm going to go up to this face is flatten them out, bring them down. And that's going to allow my screw to, to leave a little bit nicer over there. Control D. Bring it on this one over here. One fits a little bit better. Let's give it a little bit of a rotation so that it's not all of them are at the same, at the same rotation. There we go. That's it. Nice little screws on the top of the element. Now, we have the cuffs up here and I know that the caps are going to be our cylinders and they're gonna be inserted into this area is right here. So easiest way to insert a cylinder, we already know it. We create the new cylinder. We make this eight sites and we bring it towards supposed to be. So let's go to the right view. And this one is right about there. And we can see that this is roughly the size. Again, if we take a look at the reference, I know that the other one is a slightly smaller, so perfect. This one's gonna be like right about there. Seems like a really big concept right there. But my object is not as big. I mean, we can make it bigger if we need to, we can just scale this thing up and it'll be the same or just centered a POC point and give a little bit more thickness so that we have enough room. We have, of course, is going to have to pick our little screws here and move them forward. They match the curvature there. And that way we can fit this thing right there with as close to the Proportions as possible. Yeah, that seems like a really big really big, but yeah, it seems to fit that this is really, really close to the border. So now what I need to do is I need to create the points where this thing is gonna be, like emerging two. And we already had a couple of faces here that we can recycle. Let's move this a little bit further here so we can use this two phases. I'm going to insert a natural or right around this edge, right here, right there. So that's 12. Then I'm going to use this middle section. Let's move. It shouldn't affect anything really. And let's insert another section right there. Now I'll have this one, this one, this one, and this one, which I think I wanted to match the closest. What I'm gonna do is we're just going to start moving these points around. For instance, like this point, Let's move it back. This point, let's move it in and back a little bit at this point, let's move back a little bit. This point Let's move with Ian. And in like this one's fine there. And let's move this point link over there. By moving these points around a little bit, we're gonna make sure that the bridge goes a little bit cleaner. Let's grab this object real quick. Let's select the vertices control if 11 delete and combine both objects. Of course, grab both objects here and bridge. Now, this thing is molded through that thing right there. And we can of course add an insert edge loop right there to make sure that the connection is a little bit better, I'm probably going to add another connection right there. So this thing is nicer. Now this is where you would pour gasoline and stuff. And again, I'm not going to be like this assembling any of this elements. But they might not be a bad idea to just create the little hole right there. So that will be that will be at the right, that will be the whole for that, for the gas. Now for the cap, we're actually going to go for a high polygon cap because as you can see, similar to the camera out we have a lot of divisions. I'm not sure how many I would say about in 4040 seems about right. Let me just but will this thing once there we go, we get a nice effect over there. Yeah, I'm just going to create the cylinder, change the options on the cylinder to 4040 degrees or 40 divisions. I know based on the concept of its riches, but it also has a cap on the middle. So control if 11 offset, then this thing, push it up, and then we have the caps, right? So I'm going to delete this edge right here. Like this guy right here, Control E. Keep Faces Together off. Give you a little bit of offset and extrude them out. When we smooth, we're gonna get this thing. Of course we need a couple of support legis. One down there, one up here, probably. One. Again, one up there, one done there, and a couple of ones over here, here. And now here, we get this very nice effect on the inside. If we want to be super precise, we can of course, an offset this a little bit and then bring them in. Just said this is like a true cap. You can even more like the like the screws here, like the thing that actually screws onto the capital. I don't think it's really necessary. Let's go to the center point here on the cylinder. And we're going to rotate this to try and match the curvature as nicely as possible. Let's scale this. I'm gonna change the MLC two objects so we can move this thing that's smooth this out. That the pretty much fits, fits nicely there. It says it's gonna be our main Leica section, therefore, the capsule, that one, that one's looking quite nice. Now we're gonna do the second one, which is quite small or smaller. It's gonna be in this area right here. So very similar process, just cylinder eight sided. Let's bring it over here. Pretty much at the same distance. It's about this size. I do feel like this thing, it's a little bit bigger than it. It's showing right now. I am going to grab all of this bird you see right here and give it a little bit more room. So otherwise this thing, the size that I'm seeing on the reference, it's not going to match what we have on the elements. So that seems about that. It's smaller. You can see it's flatter, It's a little bit more like flushed to the surface. Let's move it. There will be like right about there, I would say. Again, we're going to create the loops that we need. So we need 123. We delete this face is right here. We're going to start moving this point a little bit closer to to where it's supposed to be. That one's fine. Small down a little closer, closer. And again, the reason why we move this closer is just to make sure that the, that the geometry that's not a stretch as much. And it feels a little bit more inline with what we have. Grab both of them. Combine them. Vertex, scrub that one, delete the lower faces. Edges, select the faces here. And we reach. There we go. How would a nice little connection over there? You can as well add one right there so there's a little bit closer and closer to the surface. Control F 11. Let's extrude, offset, extrude and create the cavity and probably just beveled edges for good measure. There we go. This guy Control D snapped into the vertex there. Of course make it smaller. This one is again, a little, flush it to the surface. That's it. Look at that. Quite, quite nice. I would say. Yeah, I think we're pretty much done with this piece right here. The only thing that we're missing now is the thickness, because we should have a little bit of thickness. However, here's where things might get a little bit trickier, complicated because we've changed the way that the object works. Sometimes and I think this is one will be one of those cases. Sometimes you're gonna keep Worth have things that are thin, like this one right here. Unfortunately, we can't just like control E and extrude that out. I mean, we could try it, but it's going to look really weird and it really doesn't change that much. I mean, it actually doesn't doesn't change much, but now it's not really helping in the problem is, we have so many nice shapes over here that it might be a better idea to just try it and create something similar to what we did with the camera. So I'm going to try and do that here. So I'm gonna do Control E. Just create a little bit of a Philip right here. Okay, So now, yes, this thing is gonna be like thin like like I know what that will look weird, Wouldn't it? We need thickness. We didn't thickness. I'll do this. I'll keep it like this for now. And later on when we fill the remaining things that we are still missing inside of this area, like that thing right there. There's a couple of engines are cylinders right there. We'll we'll fix it. Okay. Because it's again, it's not really nonsense. It's really, really thin. It's a really thin object. But this is important, I think will be important for us to consider it, right? Yeah, we're gonna have to find out how to how to fix the sort of thickness right there. So how are we doing on time? Okay. We still got a little bit of time. Let me see. What else do we have here? There's another plug to them. See here it's this one right here. You can see it here, right there. This one. So there would be like a cylindrical hole on the front here. Just that one right there. I think we should add it. So I'm not going to add it as a whole. It's gonna be more like rather I'm not going to add this as a protrusion is gonna be more like a whole. Let's go eight sides here. We're gonna go something like there. It's roughly about there. The cool thing is we already have, or we should have enough information here. In this case, since we have this here, it seems to be aligned with a big button. So I'm just going to use this four phases that we have right here. But I don't want to grab an edge from that, from the border. So I'm going to add a natural their control E. And we're going to offset right there. Now let's try to circularize that one. Yeah, perfect. That works nicely. Then let's keep just making it smaller. There we go. If we take a look at the right view, we're a little bit low. So we definitely need to to move this thing up and up, like they're trying to match the same circumference that we have and we just delete. Eventually, I think we're going to end up doing this sort of thing where we just create like a sort of thickness to a thing like this. There we go. I think this is gonna be the way to go. Later on when we, when we add the thing that we're going to add this sort of like lips to the two, like this settlement because otherwise, I think we're going to be eliminating some of them very nice details that we have. The other option is to rebuild the whole thing over here with that, I don't think it's going to yeah, I don't think it's really good at all of this edge right here that we have. We could just like Control E, scale it in or something to create the thickness as you see there. Something like that I think is going to be what we're gonna be, we're gonna end up doing. We'll see, we'll see for now. I think that's it for this, for this part guys. This thing doesn't need to be a little bit further down or back like this. Let's first transformation. We just push this thing open more like this. Because there's, there's some space between this guy and the actual like this plate right here. Yeah, that's it. The next part that we're gonna be working on, I think it's the handle. Let's do let's do the handle, the handle it. I think it's gonna be fun. It's a little bit tricky. I mean, we've got a couple of sections here that needs some work, this knots as well. We have this rubbing over here. This section will be here as well. We have the same thing on this one. Yes. Very similar. So yeah. We're gonna be working on the handle, so hang on tight and I'll see you back on the next video. Bye bye. 52. Chainsaw Handle Main Shape: Hey guys, welcome back to the next part of our series today we're going to continue with the handle. Let's go. This is where we left off on the right view of the element. And this is a handled the heterosexually, I think pretty straightforward shape, as you can see here. It is not part of the element, it's more like welded together, paste it together. We have this big cylinder over here. And it's really curious, sometimes these things are like air exhaust or something. So I think we should do that 1 first. It's a relatively simple shapes, so let's go for it. I'm gonna start with histones are here. Twenty-five, this, this is fine to keep it around and nice. In 90 degrees. In this case, we're no longer gonna be using or blocking. We're gonna be using what the shape that we have here, which is following most of the elements are properly, as we can see here in the reference. It has the same size as the, as the main thing right here. Let's make sure it fits right there. Perfect. On one side it's this weird spiraled cap. And then on the other side is like hello, Let's start with the hollow side. Move this thing. Okay, there's a nice little cut here. So let's look at this. And then this thing goes in a little bit. And it actually has, you can see here like a nice like a ramp for those kind of ramps. He says wasted at this sort of thing and didn't just without the y-axis, just scale them down like that. There we go. Then let's label this border here. Grab the main element right there. You can see it gets quite small. So Control E, Offset, Control E and push them in. There we go. Again, we're not really interested about the whole of inner workings of this thing. Just getting the general shape out. On this side. You can see it on this side over here, we have a very similar effect. So the beveled edge, rounded ledge and then this support going in another couple of insects there. And then this is spirally thing. So let's start with the nice bubble. Fractions segments. Control E, control if 11 control E, offset. That one's not as big, then we do have a big officer right here that's like the gray area. And then we go in. And then we have another offset. This thing seems to be going in with a little bit of liquid nuclear nation. I can kind of see it right there. Actually seems to be a little bit bigger, so I'm going to scale this up. There we go. Let's go for the bubbles, trustee bubbles level. There we go. Now, this thing is supported by something, I think you can see like a plastic, like a black plastic. Those are usually like seal. Thanks. I think it might be a good idea, but I also want to add like this, like silver thing, which is this two borders I think control ie. Let's give it a little bit of Offset, Control E. Let's push it out and a little bit of opposite. There we go. So we have that nice little shape right there. That's looking good. I'm just going to create the tourists. Snap the tortoise. That pivot point right there. 90 degrees of rotation. Small section radius. There we go. So that's gonna be like the black thing that's holding that thing. And then there's like another cylinder. And here you have a couple of options. You can get it from the same piece if it's not gonna move, I'm probably going to be doing that. But if it's gonna move or animated, probably want to have it from a separate piece like this. Given a nice bubble. There we go. We get that sort of effect. And now we can use to do this partly thing. So I'm not going to introduce a one-to-one. I'm not sure if we've used it before, but it's a really, really handy tool which is called the sweep mesh. I think we've used it before. So what I'm gonna do is I'm gonna go here to this object. I'm going to go into Create curve Tools, EP Curve. I'm just going to trace the curve or the spiral. Teresa, Teresa, Teresa as nice as possible. There we go. Now let's isolate it and let's clean it up a little bit. Looking a little bit weird. That's fine. I'm just gonna go off the curb here and listen to the point. And we're going to go create sweep mesh. And the sweep mesh thing where they will do it will create a sweep measure in an element. You can see it right here throughout the curve. So there's a couple of things we can do. We can change the scale of the profile which we definitely want to do. We can increase the precision, which is gonna give us a nicer effect. We can change the size in this case, I think I'm gonna go to six sides because we're going to be smoothing this out. And as you can see, this is giving us something closer to what we want. Now the cool thing about this one is that the curve actually modifies the object. If we grab the curve and we go into the controlled burns, he's on the curve. Let's go to the left view again. You can actually move these points around. The curve will automatically try to, try to find the best position for this thing. If you want to fix a couple of areas that seemed to be like colliding a little bit too much. Here's where we can do it. Again, as you can see, the geometry updates and he tries to match whatever we have on the elements. Don't need to be like super, super precise. I think that's more than enough. Delete history is very important to history. And now we'll just center the pivot point of the sweep mesh. We positioned the word supposed to be. And there we go. That's our little like spiral thing that we have over there. I don't know if it's like a heat sink or something, but it's gonna be like right there. Yeah, that's the, that's the cylinder. And now that we have the cylinder, I think we can go on and start working on the handle itself. So small little introduction there that we needed because the handle curvature of the handles, you can see right there is quite a bit to do with this thing right here. The handle, I mean, when we look at it, especially on the reference here, it's very square. You can see it's quite square and then it's just beveled edges. So the best thing to do is use our quadrant because the quadro will give us a very nice profile that we can just extrude and then just modify it and move it around in the way we needed. I'm gonna go into my shadows, create polygon. Let's start with a small polygon over here. And let's go into quadro. I'm gonna do three polygons for the base. Actually it's 24. Again, using like even numbers usually yields better results. For instance, here, this thing is going to continue. We're going to have, of course, our four polygons. So one of the big advices that I gave you guys when we were first starting this, of course, is whenever you are using the quadro, try to match or grabbed like big areas first and then we polish because otherwise it takes forever. I know that over here we're gonna swell, have 1234. Again. We just match them. Now we start adding a couple of edges. As you can see, it's a lot easier to make this things flow in the proper way. Once we have this now here I'm going to try and be very careful to have like a one-line where this pattern starts, where the handle things starts in another pattern where it ends because we're gonna be using those edge loops to match everything. See how well the second actual there also matches where this thing starts an int that's going to allow me to kind of like what will be the worth to isolate that, that section so that we can work a little bit better. Let's keep going here. They're careful there because we do need a couple of extra polygons there for this twist to give us the proper effect. Gets you there? No, there's no problem. Like I have no issues in adding extra polygons if we need to on areas like those where we're going to need like hard surface or a hard corner, cut corners, something. Let's go all the way over here, which is the final section, 1234. And then it would just connect them at a couple more and we start modifying them so they fit the proper area. There we go. Now if we take a look at the shape, the shape is looking quite nice. We can still clean it up a little bit here on the product side of things. But yes, you can see when we smooth this out, we get this very, very nice cool shape. Now let's center the pivot point Control E to extrude. Let's give it the things that it needs in here. I'm going to reference this thing. It looks a little bit like this. Let's center the pivot point again. And we don't have a center line on this thing anymore. Or at least I don't think we have. So we're going to have to go with this right here. And let's just our modeling. So I know that the base of this thing flares out a little bit once it hits the surface of the object. So I'm going to press and just flare this out to the way I want this thing to eventually connect. And then we're gonna go to each of the next ones and just give them, give them a little bit of that sort of effect, like the flare effect. And then we have the proper thickness of this. And then down here again, you can see on this guy right here, we flare again at the very end. So graph, this case right here, flare them out, and then grab this one. Flare them out. And there we go. I think this one's a little bit too thick. You can see it here. I'm going to grab this face is right here. And we'd self-selection. I'm going to increase the soft selection radius. I'm going to scale it in. And that should give me a nicer effect like a Softer software. Like I think I'm going to even go a little bit crazier here. Let's go here. B and middle mouse and really go in there. So we can create that nice little flare fake. There we go. That looks a lot nicer. Cool. Now let's focus on the basis where were they land? So I'm going to insert an edge loop right here because that's going to hold the insertion point. Let's go to the right view. Grab all of this, Let's get rid of self-selection. Grab the vertices. This vertices. Now, it's a matter of going to smooth mode and making sure that when they connect, they actually are touching the section of the what's the worth of the chain. So then on this side, and let's go to the right view again. And that's why we had the cylinder. Let me turn off the reference because it's kinda confusing me. And now we're going to use this points to hug the surface of the cylinder like this. Now we can again use our Insert Edge Loop that when we smooth this out, it looks like that thing is actually holding to this thing. Let's go to the right view. And here's where I'm going in the right view and it's smooth more rather, we're just going to push this thing a little bit closer to the elements, are they? It looks like it's actually intersecting with that thing, the curve. We don't need it anymore, we can just delete it. So there we go. That's it. We have the basic shape of the abdomen. So this main shape, it's working quite nice. We will have a section line down the middle, which is the two pieces that are, as you can see, screwed together, which is fine. That's like super, super easy to do, which is in certain natural right here at the 50% mark. And then that would just bevel, give it a small fraction. Grab that small fraction and just a scalar. They're going to give us a nice middle section. We already know how to do that. I don't think it's a, it's a big deal. Now on the right view though, on this view right here we have this thing but the handle, the ergonomic handle. The first thing I want to do is I want to make sure that this is ergonomics. So I'm gonna go to this section right here. From here to here, from here to here. And we w, I'm going to push it in and up so that we get, start getting this sort of like round the fact I'm even going to scale it in to again get that sort of like a round effect. Remember how, when we were doing this thing, I told you, Hey, we're going to segment this thing. Here's what we're gonna do. I'm gonna grab a knife brush and I'm going to start cutting two points that are close to where I want to segment this thing, which in this case it's just that piece right there. So this one right here and this one right here. That's the one that I need. Of course, I need this object that's centered the poet point. I need a mirror. So let's do a mirror object and in this case is x negative. Apply. There we go. So we have the two triangle on the other side. Now, I'm going to go back to right view. Select those faces right here, where the ergonomic shape is. Going to face mode, like this guy's all of those guys. Because that's where the ergonomic things is gonna be. I'm gonna Control E. Offset this to create the, again, the low place where all of this is going to happen. And now what I'm gonna do is I'm actually going to extract this thing. So I'm gonna say Edit, Mesh and extract. Now this piece no longer has those elements. It's empty. We need to fill it in or at least give it a little bit of an offset. So I'm going to give it an offset, a little bit of fun scale in just so that when we plays the new object, we don't see any gaps or anything. And then this thing right here, this is what we're gonna be using to create the riches that we have there. So let's go to the right view again. The first thing I need to do is I need to try and fix this geometry right here. Just to make it a little bit easier to work with what I'm about to do, which is the regions. And unfortunately that triangle might be a problem. So I'm just going to cut right here. And that little triangle right there at all of those points, Just Mercy Center. Well, of course, we need to do it on each side. So those guys right there March to center. And those guys are there Mercy Center. So yes, two triangles, but it should work. Because now what we're gonna do is I'm going to start moving these things around. I'm going to start inserting lines where we have the ridges. All of these ridges, as you can see right there. It goes a little bit up. And then that one right there. Now, I'm going to grab this thing again. For this one, I do think I want to delete the midsection. I'm not sure though, because I would imagine that we still have the midsection there, so let's keep it. Let's see if this works. I'm going to go to all of the edges. All of the edges, all of the edges, all of the edges. We're going to bubble. Small fraction. There we go. Then I'm gonna go to the phases. Here's where I'll probably do like half and then the other half. So let me select this edge, deleted half of it to make it a lot easier. So, yeah, it's a little bit of selection work. But it will work quite nice. If I'm not mistaken. This. There we go. And we're going to say Control E extrude out little, just barely and element. So now when we press number three, as you can see, if we get this nice effect and we can insert a natural there and probably an edge loop Right, right here. And that's going to give me like a, like a nicer ergonomic effect. Of course we mirror this. The, in this case it's gonna be the not the object bounding box apply. Technically, if we go out, this thing should be sitting quite nicely on this thing. It's not sin perfectly though. Like we'd definitely created a little bit more like hard edges then when we have right here. So here's where we would, in a very similar way to how we work with the camera. I'll probably grab this guy, center the pivot point, which is a skill it in a little bit. Probably like like that. There we go. Now that looks way, way, nicer. Looks like the ergonomic. We still keep the midsection line. Even though they're two separate pieces, they share the same section line. And we get this very nice and cool detail. Yep, That's looking quite nice. Now there's still a couple of things missing on this object. As you can see, we have the holes where the screws are gonna be going through. So it's one right there. And there's another one right there. Here I can see that's it's three of them, so it's 123. Then there's this thing, which I don't know what that is. So very worst thing, this thing right here. I do know what that is. That's the trigger that's the trigger thing that we pressed. You press to run this whole thing. I guess that has something to do, maybe like a safety feature or something. But yeah, I'm gonna stop the video right here, guys, because we're already almost at the 20-minute mark. And the in the next one we're gonna do the trigger, that trick that we're missing right there. We're gonna explore the shape and we're gonna do the little holes for the amount of scripts. So yeah, hang on tight and I'll see you back on the next one. 53. Chainsaw Handle Grip: Hey guys, welcome back to the next part of our series. Today we're gonna be talking about the handle or the second part of the handle. Yeah, let's go. This is where we left off and as I mentioned in the last video, we're gonna be doing the trigger now. The trigger, I think it's one of the easy parts as well. So I'm just going to start with a cube. Bring this all the way over here. Rotate this. Let's take a look at the reference here. As you can see, it has a bubble or something, so it's only gonna be like there. Then let's snap this to the with the V key to the center there. For effect, Let's get the proper size that seems appropriate. Let's go over this face, push it up. We're going to grab this object, this object Control E to extrude this. And then this faces like all around, control E. Trivalent a little bit more. There we go. So now it's just a matter of babbling, probably the whole thing, like we can, the whole thing here, and that should give us a nice straight little trigger there. Now, if we wanted to, we could of course, a model of how this thing goes inside of the object. But this is one of those things we're, unless you're gonna do on the sampling thing, this is perfectly fine. You can just move the pivot point like about there. When you animate this, are probably there and you only made this like going in or something. So you really I mean, yes, we can model it would be difficult a little bit. I mean, they will definitely take some time and we would need to call the holding here. It would definitely take some time. Should we do it? I'm wondering whether we should do it or not, because this course is already running like 15 hours long and I don't want to bore you guys, but I think I think it would be a good idea to do it. So, yeah, let's do it. Let's start with this piece right here. And really this half, because we're eventually going to redo it in certain natural right there, which goes all the way through the flat areas. No big deal. And then it's just a matter of grabbing this edge is right here. The ones that mark where this thing is, which are all of this, and delete them. Then we're gonna grab this edge and all the way to the sexual life. Control E. Just bring it up. We're definitely going to have is supported that right down there. That's going to create the little entrance for the trigger. Here's where I will probably grab all of this vertices and move them forward so that we have, are given enough room to that the trigger to move through. I'm not sure if this trigger is supposed to be like a round or something. We can make it a little bit rounder, like by moving or by adding one or a couple of sexualized right here. Giving you this sort of like round shape that we went when we move this, we animate this thing. Everything moves in a nicer way. Like I'm not really sure where the pivot point would be. I'm guessing who'd be like right around there. So this is what we would get. That seems a little closer. I think. Let's go back here and bring some of this vertices back. There we go. I know when we move this thing to the other side should be fine and we can add a natural right here. We shouldn't have any big Pinterest or anything, and the hole is going to be ready. We could also try and babylon doesn't think it's really necessary. I think we can live with that and it'll be fine. This is the business is going to be a little bit trickier. So let's go. Not that big of a deal, but it's just keeping in mind that things do get tricky depending on how complex the shape is. So there we go. This one. What I'm gonna do is we actually like it matches word this thing and it's like where were this gap, this, I think what we can do is we can just add the one that should right there. Delete this faces. Very similar process to what we did with the other piece. I believe those pieces, pieces, which is where this thing is being inserted. Let's isolate this. The very careful here because the geometry on this guys are in this area is a little bit different to the other one. Control E. Let's see, we can just move it back up. Yeah, it seems to be working. Should work nicely. Let's have a support that's right there to keep it nicer. And probably one like right here. There we go. Yeah, that looks good. Now of course we probably need to move some of this vertices from this guy, like all of this back and back. Nucleon, clean those ones. Once we smooth, this thing is writing there. Perfect. So now we just mirrored this. Technically this should be working quite nice. We have the ergonomic shape and the effect. Now, this is getting a little bit harder here. We might be able to delete this lines and hopefully not get, let me, I know that we have and then gone right there, but hopefully the angle won't be as noticeable and that way we can have a smoother effect overall. You can also see that we have one line right there that's really, really making a real ethical, Let's strike getting rid of it and see how that looks. It's not that bad. Well, no, wait, I think we do need that line. That lens is gonna be a little bit more intense on that specific element just because we needed for the trigger. There we go. So now the trigger can go in and it animates nicely. There's, there's a hole in. Everything is working fine. Let's do the screw holes now. So let's go back to this area. That's one of the areas. So all of these faces on both sides, of course, we know the drill, so it's just Control E. We offset and we circularize. And then we scale them down as well. Let's scale them on the, without the x-axis there we go. Go to a right view and move it right about there. Actually, the circularized didn't work as exactly as intended. Because remember there's a little bit of a curvature. So it actually did work. Again, this is one of those areas where I will definitely do half of it and then the other half, half of this one as well. Again, this four phases control offset, circularized, scale that down. Control E. Bring them in. Grab that edge loop, that inner edge loop. And a Bible Segments. And smooth. There we go. That's gonna be our first element. Nice and clean, following the soft shape. Perfect. Let's go to the next one. Here. This face right here, controlling set log more faces. It should work. It should still work the same. I don't think there's any change like important changes, whether they're so that should be a little bit easier. It is still quite big. Control E pushed it in. That one, that one, that one, that one, that one, we bubble. Small fraction. There we go. So that's the second bolt and the final bolt, it's down here. So down here, we can see a due to the TDM, What's the word? Changing the perspective. But it would be like right about here. Control E offset. We scale the same. Control. That one, that one, that one, that one and that one, we double. And some mole fraction. There we go. Perfect. Now we can just mirror this to the other side. And we're going to have the elements on both sides, on one side of the elements and we have a not like this ones right here. I'm gonna go with this surface right here. And the actually the surface of all of them. I'm going to say Mesh tools, duplicate, duplicate. There we go. Now we move this thing to the side. We should have this elements right here, since the field point, and let's move them. Let's bring this back towards, to where it was supposed to be. Is this perfect, this hard at once? Then we need, this guys are going to be living this side of the element. Let's combine them. Just make them smaller. Rotate them a 180 degrees or 80. There we go. Get them in there. That's one. That's two. Over here. That's three. Perfect. On the other side of the hole, select on this other side, we have bolts or scripts like this one's control, lean, rotate this same deal. 90 degrees. We can snap them, should be like a middle point right there. Break them out. Go control Dean. This out There we go. Control diem and pushed us out. Great. So now we have our nice cruise over this side and nuts and bolts over this side. Even though it's not actually going through the whole thing, it should look fairly, fairly nicely and look at that. The handle is looking amazing. Now we just need to do the vinyl little part, which is this section right here. And again, I don't even know what this is. It's really complicated, the ones that really complicated, but it's a complex piece of sorts. I guess this again assumed like safety measure, maybe you need to press this thing and the trigger at the same time. And this thing is connected to something on the inside out of. The thing that I do know is that there's a little compartment right about here, like on this face. This face right here has a little compartment where all of that thing is happening. This is one of those things that I would definitely extrude. An extrude and extra again to create a little shape. And since this is again the flat surface, I think we don't have an issue adding a couple of edge loops here to get the hole in there. As long as we don't get any weird Pinterest or anything going anywhere else, which would be fine. Actually, we do get pinches there. Let's go back then Trying to think how we can solve that, because I don't want those to go there. We can use the same sort of thing that we did with the GameViewController, but I think it's gonna get really weird. Let me go back. I think this is one of those cases where we can just overlap a couple of things on top of the others. So I'm gonna start with a cylinder here. And I'm going to do this thing so you can see it's a cylinder and then empty and then another cylinder right there. This sits right about there. Let's go to the right view. We can actually matches quite closely Roosevelt there. And what I'm gonna do is I'm going to add a couple of edge loops there. Grab those phases control E, offset and thickness to the point that that thing has. Then bevel all the transition points here. There we go. There we go. Perfect. Now we need to create the little cap thing like this thing, which is this cylinder. You can see it's a cylinder, but a couple of the edges are going out and they're inserting themselves into this thing right there. So let's start with the cylinder. I'm gonna modeling liking big scale here first. So control with 11. Let's leave that one right there. I can see that this is like Bevel. And then from the image, I can see that there's a little bit of this indentation. So something like this. This thing is gonna be like up here facing this guy right here. Of course it has thickness. Scale it to the proper size. Just right about there. I'm going to rotate a little bit because I know that we're gonna get this two sides connecting there. Or maybe it's gonna be like three sides, like right about their students monitor. The silhouette doesn't really go over the things here. So that's what tells me the size of the object. Then of course, let's give it some thickness. And then say Mesh display a reverse. Then what's going to happen is we're gonna get a couple of edges, again, probably from here. Like this one and this one Control E, or Control E. I'm going to push them out. I'm going to make them thinner, like right here. And then Control E, push them out. That's the thing that holds them to the element. Control E to push them out. Again. That's gonna be like the, again, the sort of holding thing. I don't even know how to call this. This element right here IS already freaking out. Just do a quick delete history to help my out freeze transformations. Let's do an increment and save just in case this crashes. Because as you can see, I can't really move this thing. There we go. Then this thing would be like overlap with this element right here. Again, there will be sometimes where if the item that you're trying to model doesn't have enough information, you can get away with doing a little bit of overlap bend. And when you see the whole model, it looks fine. It looks like yeah, this is pretty much it guys. This is the end of the handle. We're pretty much done with handling this thing. I think in the next section, we're gonna be doing this area right here. This I don't know what this is. I don't know how to call this, but this white area on the, on the other reference, it's this white color. And as you can see, it has a nice shape here and this is a cylinder. We're going to start probably with that. They had that Nana, I'm gonna show you how to do the net, which looks pretty, pretty cool. And yeah. That's that's the next step. After dad, just to give you a little bit of a heads up, we're probably going to do the tube that connects to this other side. And then we need to discard right here this thing that connects everything as well. And then we're gonna start doing the internal components and we're gonna be pretty much done. I think this is a little bit simpler, like it has a lot of parts as well, like the camera, but the parts that are a little bit easier, I think so That's why I wanted to save it. For the answer that you guys can see how all of your hard surface skills are now paying off and you're gonna be able to model this relatively easy, easily. So that's the guys. I'll see you back on the next one. Bye bye. 54. Chainsaw Exhaust Base: Hey guys, welcome back to the next part of our series. Today we're going to continue with the chainsaw zoster. At least that's what I'm calling it, which is this white part over here where we have the base, we have this section, the nice little NADH right here. This is, oh, it's lovely. Excess is where you actually turn this on. So this is the piece that we're gonna be doing. Now as you can see, it's a very cylindrical piece. I think what we would really benefit from starting with this piece right here, like the big white area first. And then building on top of this because this is just a cylinder. So let's go. I'm going to go to the right view. There we go. You can see the white area. It's all of this. Well, in this one that says quite a rusted, but work AS or with a cylinder. I'm probably going to increase the size of the cylinder to 24 to have a little bit more subdivisions because I think we are going to need them 90 degrees here on the resolution and just make this bigger. So that's roughly the wheel there. We're gonna do the same trick that we normally do to get the, what's the word, the sections here or this are right here. Control E and extra that, there we go. So let's go back to the right view. And actually let me grab everything else again, it into the layer and turn this off so that we can focus on this thing first, as you can see from this top bar. So from this section all the way to about this section or this section, we're going to have an extrusion and create this area right here. So once that I know where the faces are, which are like this ones right here, what I'm gonna do is I'm going to extrude out. That's gonna be the white section on top. And we're going to respect the fact that this is a cylinder. So for instance, I can just grab control F11. This, this because you can see kinda goes up. So we're just going to extrude this, like this. Perfect. Now we're going to save that shape and we can keep on building the other ship which has this one right here. I'm going to use, utilize it as a British straight here and just start pushing them to create the nice little shape that we have on this other side. And it kind of blends. It sounds like really, really soft and they couldn't just starts growing and growing. And here's where we need to decide how we want this topology to float because we don't really have a specific idea. So I really like keeping the curvature. I would say up until here, where things can start getting a little bit too stretched out. And then from here what I'm gonna do is I'm going to do another extrusion. This guys. I'm going to use this to build the remaining parts of the elements. So this gets are gonna go like there, there, there, there. And then here. We're going to use this to build the remaining pieces here. Now we need to of course, join these two guys together and we need to again decide how do we want to handle this? Like do we want to add another edge loop right here to make sure that this thing flows a little bit nicer? Or do we want to have triangles? I think having another event like super small elementary there will be better. So just a little extra on there. Delete this thing right here. Then from here to here we bridge. From here to here we bridge, and from here to here, we'd reach. There we go. So now when we smooth, we're going to get the shape that we're looking for. Of course, this thing is also like, I mean, it has thickness of course, but we're not going to see the inner side, or at least not yet. Now, one thing that I'm noticing here is that on this cylinder shape, we actually have another small cylinder here where it worked. The other elements connect and I see three pieces here, so it's 12. And let's see, we have another view. Yeah, there we go. So three, so we need to have those three cylinders. And I actually see that this thing goes all the way around, which is what we have. But we might want to grab this guy right here and just extrude this or make this thing a little bit thicker like this. Then here, this piece right here, it's a little bit weird, like that transition there is looking a little bit weird. So let's help it out. Let's relax a little bit so it cannot flow s2 into itself like this. Now we need to, we need to add the little faces right there and we kind of know how to do that. We know that we need to insert a couple of cylinders. But in this case, it might be a little bit trickier because we don't have enough resolution here and things will get or will become a little bit different. So the first thing is, I want to model this in a little bit better. So let's start creating this sort of shape for the reference. There we go. So it's this shape right here and then there's a bevel. So that bevel, I'm actually going to add it right now because I think we're going to use it for the, for the insertion of the cylinders. And then let's start adding in the cylinder. So this is gonna be an eight-sided cylinder. Of course. Let's find where this is supposed to go. So the first one goes like this versus E right there. And then the second one is going to go on that bursa right there. Then the third one is going to go, I would guess, like on this bursae right here. So those three, those are the three sides where we need it. So let's start with the first 1. First things first, I'm gonna rotate this 90 degrees so that is facing. The same direction. And the problem here is we need to paste this in such a way that it works the best possible way. So it's a little bit bigger. There we go. This thing needs to be inserted into this area right here and merge with this area right here. So the good news is that we can actually use an incident actually right here to create like the eighth phases that we need right here. That should help us with the process. Because remember when we insert a natural into a cylinder, since these are triangles, it becomes a square. And the, Technically, yes, we will have, will have a little bit of a harsh, harsher edge right there. But it shouldn't be that much of a problem. Now I know that this one, I should rotate it a slightly like this. Let's of course, delete the faces there. Now, this should be pretty flushed. I'm actually going to delete all of the borders here. I just wanted to remain or keep the cap. Because now we are going to combine these two objects. Combined. And what I'm gonna do is I'm going to start moving these things around like this points to kind of give it the same sort of like cylindrical shape because we can't really, what's the word we can't really circularizes because of the changing in depth, right? So I'm going to manually move these things around like this. Now let's go 12341234, merch. Then here's a problem. You can already see the problem. The problem is that here, I mean, we can't breach, of course, It's going to look a little bit weird. Let's try it. Let's try breaching. It doesn't look that bad. I think here what we can do is we can just grab this edge, flattened it out, or just move it up. So we get the nice surface. Yeah, that that kinda works. And technically should be able to do that. There we go. Yeah, that looks good. I like it. And we can even another one like right there. That looks, that looks quite nice. Yeah, that's the, that's the insertion point. That's, that's the first one. Now we need to do the second one, which is this one over here. One thing that I did forget to do is I should have saved the, the size of the cylinder. So I'm going to paint this guy over here. Again. Let's rotate this 90 degrees. There we go. We're going to scale this up. We did rotate this a little bit, so it's the scale is about 1.83. Okay, fine. This one we know is like down here. And same deal. I'm going to only keep the cap. Either way. There we go. Let's center the pivot point. Lend the capital to this thing. Let's go to the right view and make sure that we're on the proper. That's the vertices that we need. And this are the faces like we need to create a, an insertion on this face is right here. Here's where again, we might be able to add that just one more phases there. And start playing around with the elements, right? So I can delete this phase, this phase, this face and this face probably, I mean, they're a little bit too far away. So let's add a couple of edge loops here. And it's this ones, the ones that I want to add or delete. We can even that we could even delete those ones. Be honest. Like this two guys. But then we don't have eight phases. So maybe that's a no-no. I shouldn't know because this thing has to be like outside of the edge. So right about there. Let's grab them. Combine them. And I know that this two guys are going to be a very simple bridge. Same for this one is very simple, very simple bridge from here to here, from here to here. And then I know from here to here, from here to here as well. But of course, one of the things that we're going to have to do is where I have to move this line all the way down and kinda like fade this out in the cylinder, right? So a little bit of fluid traditional poly modeling here. Make sure that this work as nice as possible. Here I'm tempted to even move this thing around to give it a little bit more room. Again, it's a little bit difficult to see because there's no specific reference to that part here. I don't really get to see how this thing is looking. Or another option is, we go back here. We could actually create this thing like a floating bit. So if we were to grab this for faces. Control E and just move it down. We could also just create something like this, which I think my work a little bit better because it will allow me to keep the cylindrical ness of the whole thing. Let me grab those guys and snap them to the same depth. There we go. Now the only thing is it's going to get a little bit tricky here for that, for the topology. I mean, it's not the end of the world whether Mike, a little bit tricky here, I think we can just Control E. We're actually because if students were in the cylindrical shape, there was no specific direction to do this. Let's see, let's see what else can we do here? Let's do a bridge from here to here. Then let's add a line right at the center. Then this vertex, we hope we snapped a point there. That way we can select both of those vertices and merge them together. And finally, it will just create a bridge there. Cool. So yeah, that works, that little additional works. And I think we're gonna do pretty much the same thing on this one right here. Let's repeat it. The scale was 1.85 or something. This forward. Grab that guy, delete everything else. Center the pivot point, snap it right there. And then we needed to add like 12 lines over there. We're going to delete 12345. There we go. Then just move this thing, that point to that point to a right view and move it like right about there. Wrote it a little bit. There we go. That way. We combine both objects. And then from here to here, here to here, that's a simple bridge. From here to here. That's similar, simple bridge, simple bridge. Then we were gonna grab those four phases control E, snap them to that area right there. Simple bridge. Simple bridge. From here to here will reach again. We are the one line right there in the center. We move this vertices right there. Grab both of them, march the center. 121212, rich, Perfect. Now when we spoke, we get this very nice effect. And if my calculations are correct, we should be able to add support edge right here. Gonna keep those guys a lot tighter. Same for a sport like right here. It's going to keep the whole piece where we try to look at that beautiful, beautiful, beautiful. This one looks a little bit wonky, like we're adding an extra edge loop there. I don't think it's the end of the world. It's one of the pieces that's right there. So it's not against, not the end of the world. We can fix it or at least help relax it. So if we go here to the vertices, we just tweak them a little bit to bring back this sort of around the shape. That's your work. Perfect. There we go. We have our nice little effect right there. And this is looking at, this is looking quite nice. Now, of course we're gonna grab this face is right here, Control E or Control F 11, control E. And we're going to extrude this in. Now technically we would see the motor there or something. But in this case I'm just going to keep this cap. I think we can skip the inner details on this area because we have still some introduced on other areas. We can do something like this. That's a little bit, Oh, yeah. The triangles there. Okay, so we definitely need to fix those. So when they get there, let's collapse them. And collapse them. And collapse and collapse, collapse. That way we should be able, it's not a natural anymore, but it's not dirty anymore. So when we bubble this, as you can see that it will hold nicely. Now this one should be fairly easy. No, No problem. So though, There we go. Now let's very quickly do the net because I think that's a really, really cool thing that we can, that we can do. For the net. There's a lot of ways to do it, of course. But I'm gonna show you one that I think it's really, really cool. Let's go to the right view. You can see that we have this like literally it's just like a grid and we have a lot of little, little, little points. So again, there's a lot of ways to do it. This is one that I really like. I'm going to make a plane and I'm going to give it out. Lot of the visions, probably like 50 divisions everywhere. There we go. So the thing that I want to match is I want to match the, let's say, the proper size of the grid, which in this case, that to me seems to match it quite nicely. Especially for what I'm about to do, what I'm about to do. And you might have already imagined that. I'm going to select all of the phases. Control E to extrude it, Keep Faces Together off and offset then. And then we'll just delete that. That's going to give us this day right here. When we hit actually, I think I went a little bit too far under the extrusion. Let's do a little bit of offset and delete it. When we smooth, right now we're getting circles, right? But that's not what we want. Now before we create the circles though, we need to cut this out into the shape that we are going for. Which in this case is this shape right here. Again, just to make things a little bit easier, I'm going to go into face mode. I'm going to select this thing called the Lasso Select. And I'm going to draw a circle around the outer edge of the element and select those faces as you can see. Then I'm going to shift select everything else and delete. That should leave me with those phases. Now I'm going to again draw a small circle around this thing and delete all of the other phases that we don't need because that's those are the only phases that we're gonna be seeing. This one's right here. Of course we bring this forward and you're gonna see that we're still seeing more faces were where we don't want them. Let's go again to right view. Let's go get into face mode very carefully. Now, we're just going to select the ones that are in the outside. There we go. That one right there. There we go. Topology wise. Yes, there might be a couple of weird thoughts and stuff, but the only thing I'm Kara or the thing I care the most about this is the general shape of this thing. Now I'm going to Control E to extrude them. Give them a little bit of depth like this. There we go. That's a nice, nice effects. Of course, let us mesh, display and reverse. And that should give us this flat effect. However, this is not flat. You can see here on the reference that it's actually like a little bit the round. So I'm going to grab this thing and I'm going to go into the form. And I'm gonna say a nonlinear and we're gonna do a waveform. Okay, so let's grab our guy right here and the wave of the form handle and that's isolated. And the way, the way it works is if you start increasing the amplitude, as you can see here, he will change the way this thing works. So the way this thing looks. So I'm gonna change the wavelength, make it really, really small or really big in this case, like this. I'm gonna change the amplitude to the other way, to the other side. As you can see, this is going to allow me to create this world like around effect all throughout the day surface. So that to me it looks good. So I'm just going to delete the history, bringing it back. There we go. Just push it forward a little bit. We're going to have this very nice effect over the whole thing. Yeah, this is it for this one guys, I'm gonna stop right here. We're still missing of course, a lot of details. We have like some bolts that we need to add like there, there. We have this big thing where it's where the pulley system is. But as you can see, this is looking quite, quite nice. Let's take a look at the other whole thing. We can already bring this thing towards supposed to be. So let's freeze transformation and bring it forward. So it's gonna be like right about there. I'm actually kind of tempted to the lead like the backside so that we don't get this weird etch. Or we can just have IT support. That's right. They're going to help me the shape a little bit better and look at that nice little, nice little chainsaw is looking nicer and nicer with every single point. Let's just quickly add the one bubble there. It's slightly bothering me. There we go. That's it. Just save increments and save. This one will remain in number one. This is actually something hopefully you guys didn't skip through this. But this is actually something important on this one right here. Actually, I'm gonna say this on the next one because I'm pretty sure some of you guys well, if you're watching this, of course not, but I'm pretty sure some people will skip this and it's important. So I'll talk about this at the beginning of the next video. Hang on tight and I'll see you back on the next one. Bye bye. 55. Chainsaw Exhaust Details: Hey guys, Today we are going to continue with the exhaust. We're gonna be doing this thing. We've finished the nasal. Like what's the word? The net? This guy. Now it's time to move on with the main thing right here, which is following this main section. So if you remember when we created the cylinder, we used a 24 sided cylinder. So I'm gonna do the exact same thing. Let's find the poof point. There we go. Just move this thing, wrote to this 90 degrees. And this is going to be 24 sided cylinder. We did you say 24, right? I think we did USE 24. Yeah, because as you can see, we pretty much have one light and matching to each one of those. We can rotate them a little bit slightly or was it 2020 is way too much, so not it looks to be a little bit better. There we go. And let's just rotate this a little bit. Because we need to do something very similar to what we did here. We need to stick it or create a connection point. Now, the good thing is this doesn't have to be perfectly cylindrical as you can see here. It's just a nice rounded thing and that's where this thing connects to the rest of the pieces. But we do need to have some sort of entry point. This is going to go right over there. And as you can see, this is of course thinner because we see a little bit of the net, probably something like that. Sitting right about there. We do have the edge loop right there which is a ventral you going to connect to the upper side, will see something like that. And then we have the beveled areas that will their segment and a small fraction that's like the main basic area. And then at the center I see another ring where the, where the brand of the, of the element this. So let's offset this. Grab this guy bevel fraction. Grab that face edge loop, extrude offset. There we go. Of course we are going to a couple of levels on this guys. We have a really, really tight element right there for our main, our main section. Then here's where things get interesting. Now we're going to grab the faces 123 and we're going to extrude all the way, all the way out until we hit the little points right there. Some of them we might need to move a little bit like they might not be perfectly straight. But yeah, that's pretty much it. Of course we are going to add a couple of edge loops. I'm going to add the one at the middle section. We still get that sort of Around the effect when we go into this character right there or element. And we're going to of course, other one line right there and one line on top. And that should give us the nice effect that we're looking for. Now this thing, we're going to push it. So they're like really, really standing on top of the element. Look at that nice, beautiful fit that we got there. And that was just a matter of again, moving this thing maybe slightly, a little bit. So we get the perfect fifth. Perfect. There we go. Now, we do have the bolts over there and there is a little bit of a whole. So the ideal thing would be to of course add that thing. We're gonna do one line right there and one right there. One land right there. One line right there. One more. Let's do four. So we get a nice little section for the bolt. One there, one there, and one there. Now, I just want to make sure that I think that line does not really affect the cylindrical, cylindrical net, the cylinder shape of the object. So it doesn't seem to be affecting it that much. Which has a great news for us. That's a nice little shape right there. Now, let's just grab this for guys. This four guys, in this four guys control E offset and we should be able to circularize all of them. And then of course, Do we have a radial offsets? There we go. Just make it smaller all at the same time. That's gonna save us a little bit of fine control ie, create the first one's control E, pushing them more control E. Again. Remember those three little guys who are gonna give us the nice doubled effect that we're going for. Look at that beautiful, isn't it? Pretty, pretty, pretty nice, I would say. Now for those ones, so we're gonna use bolts again, this guys. So Control D all the way over there. That's snap it to the middle section. Rotate this guy again, 180 degrees. Definitely make them bigger. This is how you recycle a lot of these guys. So Control D, That's not the point over here. Pushes out Control D. Snap to point over here, and push it out. There we go. That part is ready and it's looking quite nice if I may say so myself. So yeah, that's, that's pretty, pretty cool. Now let's take a look at the reference. And the only weird thing that they see on this guy is at the listing right here. As you can see, this thing goes all the way up there. I also see another cylinder over here which joins with the other elements on this, on this section. And of course, this pipe right here, That's important. Actually, I missed that one. I forgot about that one. But we'll add it real quick just now. So let's do that first bolt. There was like a boat over here on this, on this section. You can actually see it right there. Let's do, let's create our section there. Let's grab this four phases. Control the offset, circularize, scale it, move it there. Rather big, big one right there. So then just control ie. Let's give it another little offset just to hold the DH quite nicely. There we go. That's it. Flat area, no problems. We know that working nicely. Just grab this guy, literally snap to point right there. We don't have a central point there and no matter no problem, just move it and there we go. Like that. The main bolt of the body. And the, again, I did see where I'm seeing that we have a sort of cylinder on this area is kind of hidden. It's like this side. I'm not sure. It's very hidden. That one right there. I'm not sure we can we might be able to skip it. I mean, in other words, it's just a matter of like having this face right here and having a little bit of an extrusion to create a little sort of like cylindrical shape. We can add another one there. Something like that could work. I'm not sure. I really liked the shape right now. I really like how it's looking. So I might take just a little bit of artistic liberty right there and not do that specific piece. The one piece that we can't avoid though is the cylinder, as you can see, that one right there, which has word this thing is where you pull, you pulled this thing to start this thing like the machine. So I'm gonna start with a cylinder again. Let's go eight sites. And I know that this thing is gonna be like right around here. It's quite thick. We take a look at this thing, it's quite thick, so it goes about there. We need to make sure that this thing joins with this element right here. And I think the best way to do this as again, to create these sort of cylindrical shape on this side. This thus CMD or this whole shape seems to be a little bit bigger. You can see it here. So this cylinder fits a little bit better on this area. Or maybe this thing where it, where this one connects like all of this faces. It's a little bit thinner. So all of these phases are probably a little bit thinner because we have the cylinder there. And we don't want this to be like be affected by the other elements. This guy will be right about there. Again, we need to create a connection. So the easiest way to do this is to make sure that we have eight sites on this face. And one of the ones that where we had eight sites as this one right here. That's the perfect place for for the whole I think. I'm just going to grab these two guys. Leave them, grab this guy and this guy. And we should be able to breach just like that. Just reached now, I am going to give it a couple of divisions. Like Let's start with two divisions. Of course, let's change the offset. So this thing is like properly facing the way we want this to face. Because of course we smooth this out. It looks horrible. But this is where we're gonna grab. This edge is right here. We're gonna start giving them a little bit more volume. So this thing, it's actually pushing out of the surface like this. Now, here are some people and I didn't not saying that it's a bad thing, which needs to be very careful in how we do it. Some people might want to actually combine or well together a couple of phases here. So for instance, this face right here, you might be tempted to just delete it and say, hey, why not just combine these two things? Same for this one is right here. Let's delete this guys. We can say, hey, let's do a bubble or a bridge from here to here, so that this thing looks like it's more like another word. Combine are welded together. A little bit nicer. We can do it. It's no problem to do it. We just need to be very mindful of how we're welding these things together. So it looks nice, right? So for instance, that triangle right there, Let's fill the hole. There we go. That's the kind of thing that the order effect that we want to achieve. Here. I think this guy went a little bit too far out. Let's bring the faces. The backend. There we go. That looks a lot nicer. We do have sort of like a cap here, so I'm going to extrude this. Then of course we need some bubbles. There we go. You can see that we are missing some geometry pieces in there. So let's fix those. So let me isolate this. This is where it gets tricky, right? Because it's going to be pieces that don't really see where you can't see the other. Well. For instance, this protects right here. Let's move it over here. I'm not sure if this is a 20 edges, what the ****? Five edges. Okay, so let's delete this face. Let's immerses versus to the center. Then that triangle right there that we get there. Let's just fill it. And yes, there's gonna be a weird pinch slash like, well think we're there. But yeah, it's, it's, I mean, it's fine. It works, it works for forward doing. Let's go with this guy, control if 11. And we're going to extrude this in. There we go. Then we're going to bubble this thing. Given the fraction and two segments. We can even do the same for this inner one right there. Fraction into seconds, perfect. Because that's where this thing is going to be in. This is another piece that we need to model. Not difficult either. I would say it's, it's another simple, Easy-peasy. Let's go for it. The first thing we have is a cylinder. Now she got them all this on the outside. I'm also going to make this a, an eight-sided cylinder. You can see it has a couple of sections. Based on the sections we have like one sexual route here, and then it goes up. It goes up. There's a second section right here. This guy's, we extrude out. There we go. Perfect. So eventually what's going to happen here is we are going to be welding this to a square shape. And you can actually create this square-shaped from this element. We can just extrude this, create this thing right here. And this two phases are going to be flat, so we flatten them out. There's two phases are also going to be flat with Latin them at this are a little bit round so we keep them. We can just scrub this guy's this guy's Control E or Control E. Strip them out. Control. I'm just going to scale them out. There we go. And then this two guys flatten them out. These two guys flip them, blend them out as well. There we go. As you can see, we've got this sort of shape. Of course it has a little bit more curvature. So let's add one of the 50, 50% percent. And let's just do the same trick that we've done before, where we manually create the curvature off an object like this. Like that. As you can see, when we smooth this out, it looks quite nice. The topology is not helping. But here's, here's a cool thing. You can just go leave those ones. And that's a squared topology. So as you can see, that works pretty, pretty nice as well. Now one thing I am gonna do is I'm going to add a support that's right here to start like, I didn't like the hard edges that we need for the subdivision modeling. Aren't you glad that you took this course, my friends. Now you can do any single pieces you can imagine and look at this superfast and we're already created this nice little piece right here. I'm going to bevel the corners because I definitely want to have a harder surface edge. You can see it's it's kinda round on the bottom and then a little bit harsher on the top. So we might do it the other way around like this. Harsher on the top and then round at the bottom. Yeah, that kind of works. Great in this case, I'll probably just go mesh and smooth to give, to give it a permanent smooth. And it's gonna be like closer to the, to the shape that we want. Now I'm going to move the proof point down here. Then with this pivot point, snap it to that place right there. Rotate this so that we match the proper section. And then just scale it to the proper size. Wave way thinner. So let's make this a little bit smaller. If let's say that the thing here, like the black thing, that, that's good but the upper piece is not doing what we need. We could just grab the top faces here and scale them out a little bit. Now, let's take a look at how everything looks in contexts. That actually looks quite fine. I'm actually going to give it, I'm gonna freeze transformation. Yeah, perfect. Look at that. Fovea. Therefore, this is looking quite, quite nice guys. I think. I think we're really are doing ourselves from this one. Let's try another one bubble on this border, I think will really benefit from one bubble here. Okay, let's go down here. With the bubble. I know we're going to probably get an angle in or something. I want to see what we can get a hardship. In other words, it's not worth it. There we go. That's it. That's the exhaustive done Look at this, look at how many pieces with models so far. I think they were, were going a little bit faster with this one as well. Again, as we've mentioned, that it's not as specific or precise as the, as the camera. So that really helps us and move along a little bit faster. So yeah, this is it for this one guys. In the next one we're going to be modeling the bar. That's a really easy one. You see ECM model. As you can see, the only important thing is this connection that we have down here or up here. And then there's another connection that we can see down here. That one's gonna be actually really fast, that the only thing that might take a little while, this piece right here. But yeah, hang on tight and I'll see you back on the next one. Bye. 56. Chainsaw Support: Hey guys, welcome back to the next part of our series. Today we're going to continue. We did Chainsaw support, which is the little tube that we have going from one side to the other. And it's actually a really, really simple piece because we're gonna be using curves. We're kind of using curves to build that one as well. I'm going to go into, I'm actually going to show you what can I show you? Drink to think. If there's anything that we haven't seen yet? I don't think there is. I think most of the tools we've already covered. So yeah, we're just gonna go to create characters. We're gonna go epi curve. Let's go to our front view. And the thing starts right here. On this side. He goes up and then it goes around, and then it goes down and it goes over here. As you can see, the curve is super, super horrible. So here's where we're going to go, of course, into the control vertices and we're gonna start scaling them. We can scale them in the same way as if they were vertices. And this is going to, of course, I cleaned them up quite, quite a bit. Like all of these guys definitely have to be quite straight. And finally, this guy is quite strict. Now of course, if we see them from the right view, which is where our two bys and they're not matching the perspective. Here's where to abuse are gonna be really, really helpful. Because we can see this on this side. Let's go to the right view here. I know that this guys are gonna be, if we take a look at the reference there, like here on the side. So on this arrow right here, Let's move them all the way back here. Let's rotate them because that's the direction that they're going to have. And then the two here, all of the straight area, it goes like really straight in front of the elements right there. So little bit like Fort Worth. And then like this, there we go. Then on the other side you can see that it's pretty, pretty straight. So I would expect this guy to be like right above there. It goes to the side or one of the sides of the element. And then it just goes onto it and it finishes. You can see it ends right there. It's barely visible, but the tip ends right there with this thing that we haven't built yet, which is one of the rotor, rotor holders or something, which is also going to be an important part. Shortly. You might have a guess while we're gonna be using, we're gonna be using our sweet mesh. So just click sweep mesh and there we go. That's it. The only thing we need to do is of course, increasing the skill profile so that it follows the department size, which right now, right leg, that one looks pretty good. And that's it. Nothing else to do. The tube is ready. Let's just make sure to delete the history so that we don't have or we're not carrying any extra information that we don't need. And of course we need to finish some of the details here. So the first thing I'm gonna do, I'm gonna give this tube a little bit of thickness or Control E and give it some thickness in like that. And of course we're gonna mesh display and reverse the curve that we used. We don't need that anymore. You can save it if you want in a folder or something instead of the outliner, just in case you ever need to reference it again. But I didn't think were going to really be using it. There we go. That's sort of simple as Athens, you can see that already gives a chainsaw like a really, really nice profile. Overall. As you can see, we have a support here. It's something that's holding it and we're using some bolts and nuts as well. This is looking more like just like regular screws. To do that very quickly. I'm just going to grab this face is right here. It's going to say Edit, Mesh and duplicate. And we're going to extrude them out a little bit right there. Since we've already duplicated them, we're going to now bring them back in. So let's center the pivot point. Scale them back in control E to extrude everything, give them the element. And then I'm going to grab this centroid here. I'm going to bevel this. I'm going to erase it. That way. This looks like a little thing that holds the elements, so grab everything. Not feel whole, sorry. Yeah. 123456. Rich. Decided 123456. And the bridge. There we go. Now it's just a matter of grabbing the outer edges. Outer edges, outer edges among Maya helped me out with this. It's really late. There we go. That looks a lot nicer. And they looked like this actually holding onto the, onto the element like tightly right? Now the only thing we need to add are those little bolts. We're elements right there that are. What's the word? Like hooking up to the to the other. Thanks. So we can actually, I think we can't recycle this one. Let's start with the POC point. Just bring one of these ones in. It's going to do one right there. This is one of those situations where yes, we could like modeling new one, but why bother if we already have this one thing I might do is just to push the same, like a little bit closer there. This will not only save me some modeling time when we go into texturing, we're not gonna go into texturing in this series unfortunately. But if you were to texture this having the same element like repeated several times will save you some texture space because we can picture them in the same way. And it's very difficult for anyone to notice that this thing is doing some sort of thing. Now, the only other thing that we're missing is this is the thing that holds the tube, but there's another piece that combines the two with the section right here. So right now we're not combining and thing. And again, we can just duplicate this thing, scale it up a little bit. If we go to this camera view, we can use the yellow ring to move this thing around and make sure that this thing kind of like hold hold this thing, holds this thing together with the plate like this. That makes it look a lot more interesting. You can scale this up. So it'd be weird that the PUC point, it's not following the object. That's unfortunate. Let's see what else can we try? Because there's not a lot of information there. Let me see if there's if there's something in the others. Now see it's just a, it's just like a welded piece. No love, no love. Interesting elements. It's just a it's just a simple welded piece. So yeah, no, I don't think we need to do anything then. I think this guy is right here should be more than enough. The only thing we might need to do is just move like everything here, like closer to the elements so that when we add the thickness, which we will add later on, everything like false nicely into place. Short one today, guys. So we're not today in this in this video. I'm not sure if you guys are seeing it everything in the same day or not, but if you're doing this in separate sessions, then this is just a short session. I'm actually going to want to extract this thing as well. So let's extract or not extract a duplicate. Push this out. Let's extrude this thing out. So well, I just want to have something extra at the end because otherwise it looks gonna kinda empty. So some sort of support or something. There we go. That's pretty much it for this one. So on the next part of this series, make sure to say increments and save as well to make sure that we have a couple of copies. On the next one, we're gonna be doing this remaining piece that we have right here, which is have this really big spikes. This one started here, see that? And then there's this, we're we're piece with well-off would like mechanical stops and supports. That's where this thing is actually like going into. Like this thing stops right there. And I guess this thing is it doesn't seem to be welded with anything else. It's important part you can see it right here. Let me see if we have it on the left view. Let's go to the left view right here. And let's see, we have the profile, yeah, yeah, we have the provost, so it's this down perfect right here that goes all over the plate on the other side. And it's gonna be important for this part that we're here. After that, it's just a matter of filling in the insights of this element with the remaining pieces. And we're pretty much going to be done, I think probably a couple of hours with this one. And we should be we should be over with hang on, tight guys. And I'll see you back on the next one. Bye. 57. Chainsaw Blade Interior: Hi guys, welcome back to the next part of our series. Today we're going to continue with the blade. I'm calling it the blade interior, which is this part that we mentioned that we're gonna have over here, which we can see on the left ear right here. So it's this plate, this blue plate. It has an interesting thing right here, which is the sort of spiky things. Maybe if something gets stuck, it destroys it before it goes into the interior of the element. I'm not completely sure. But yeah, let's just grab everything here again, just right-click and add the objects here. You can see that we have that right here. So I think it's a pretty straightforward shape, as you can see, it has this round sort of effect. I have a couple of circles over here, like there and there, then the right view. And this is really, really important. I can see on the inside maybe not here, like not on this picture right here, but we can see it here on the pure file. Whereas B riff, sorry, how about the other screen? There we go. So there was a shot right there. See, so you can see that we have this row like thick thin effect. And this is something that they do to metals like quite often where they will kind of hollow them out and that's to make the things lightweight while at the same time retaining some shapes. So as you can see, this goes pretty far in this whole support that goes really far in, I know it's not the same one, but it's similar. It's a similar model. So you can see it here. It goes all the way over there and there's like one side on that side and another side on this side, and then we have this borders right here. It's a nice shape. I don't think it's complicated, so yeah, let's go, let's go to it. You're going to go to the left view again. And here's what we're going to start creating the thing. Again. I think this is a perfect job for the quadro, so I'm gonna go Mesh tools. Let's do a Create polygon tool. Let's start right here. Right-click that's selected. There we go. So 1234. There we go, and we jump onto quadrant. Again, big shape for it here. For instance, here I know that we're going to need a circle, so I might as well start drawing the eight sides that we already know. And as soon as we do a nice little, what's the word security? It should flow nicely. Now, I don't want this thing to flow into the circle. So let's bring the topology outside of the circle so that when we tighten this up, we don't affect the circle which is going to go over it. We're just go over here. And then there's this thing right here. Then we have all of these things are very straight all the way, all the way to the top. Unlike a really straight line over there. Then they can see a little bit for bumper there. Then we, since we have those four lines, might as well just use them and continue this all the way to the top. So imagine we're working on the inside part of this thing first. And then we're gonna do the extrusions like you can see this. Imagine we're going through that middle section like this plate right here. And then we're going to extrude this things out. So we'll just continue this thing right here again, keep it that simple. We don't want to use too many, too many polygons. We have a circular cylinder here as well. So this one actually does. You can see the typology does go through it. We might need to capture the topology going through it. So we know that we need at least eight sides. Let's do this, this, this, this, this, this. I know it looks super jury right now. Don't worry, we're going to fix it. But I didn't know. I mean, I guess it's bulgy has to go through it. I don't really like it to be honest because I think it's going to create some problems later on. We might as well just follow what we have there under other concept. Yeah, there we go. Now, we just fill in all of these elements. Again, keeping it straight and nice, as nice as possible. Working with Vic shapes first. And as soon as we start getting into these areas, we'll start adding more and more supports. Here. Triangle right there. I think it's perfectly valid, perfectly fine. One more square there, there. Here we're gonna have a little bit of a tricky situation. I mean, we have three-to-one so we can if we want create the I'm like a connection here. I don't think it's a good idea to be honest. Actually like one of these parts are like this, this under, I think we would benefit from having overlaps. I know we haven't done a lot of overlaps. But I think for this particular piece, having an overlap, it will be better because otherwise it will look a little bit weird. And the overlap we can make it look like it's wealth or something. And that should make it look a lot nicer than, than what we have right there. We're gonna go for an overlap there. Let's clear the dots and there we go. Now we're just smooths things out so that the mesh is a little bit like nicer and smoother, especially here on the top. Wanted to make sure that this thing is like really, really nice, really clean. Number three. Yeah, that looks, that looks pretty cool. Now, I would imagine that this thing where the big chainsaw is holding onto will be like really, really straight. I know here we are seeing a little bit of perspective. So I'm going to snap this like this. And probably like this one over here as well. There we go. And that way we have this nice straight edge. As you can see, the depth is not properly laid out. Sometimes happens. I'm not sure why it happens to be honest. Because technically we're working on Blaine and we're not using any sort of live surface or anything. It was just a matter of like pushing this thing into the same x square a couple of times. And then it will flatten the whole, the whole thing. Now what I'm gonna do is I'm going to create first the vase of the object. So let's give it a little bit of thickness. There we go. And then you can see that we have this actual like hoods. There's a line that goes across the whole element. And then we have this sort of hold. I think this is a little bit thicker. So I'm gonna make a little bit thicker for this plate. Then I'm going to insert an edge loop going around this edge right there. Perfect. And we're going to grab that edge loop that we just created. I'm going to hit Control E. We're going to scale it out. Because that's like the, again, the hood that we're creating. Now you can see that on this side it's a little bit like It's not going all the way through. And then on this side is kinda Rex rounds off. I don't have the other view. I mean, we kind of have it right there. So a little bit difficult to appreciate how that thing is working. Just a little bit better, better effect. But yeah, you can see how this thing is just like flows and it creates, creates this interesting looking shape. Trying to see, yeah, the hook goes all the way over there. Perfect. Now, this face right here, it goes down. And this phase will also create its own little like a hood going like it will corrupt outside, right? So we're getting control E, we're going to extrude this out. Let's rotate a little bit. A couple of caught lines here, like here and here. Let's go to the left view or the left view again. Now we're going to use this points here to curve this out a little bit. Tried to keep the same amount of volume that we have. There we go. That's the that's the hood that we have there. I can also see that this thing actually that one remains right there. Yeah, this is pretty much it. This is the shape. There's a little bit of a cut here. So to keep things easy or simpler, just going to push this out. As you can see, we have a little bit of a weird topology over there. I mean, it's not impossible to work with, but it can get a little bit complicated. So I'm just going to go up all of these guys right here and delete them. And then flatten this guys again. Bridge. Of course, that pretty much breaks the, the edge flow, which is fine because now we can grab these two guys and extrude them forward like this. I think I grabbed like something else, scrub that one that one and extra this one's sure whether I was That's a little extra extra little piece that we have there. There we go. That's pretty much it now I didn't see I didn't remember in which image because I remember seeing it yesterday. I was recording this yesterday as well. And so it's a little bit difficult to Show which the recording. But sometimes there are a couple of like again, there we go. Here. On this side you can see that on the inside of this element, we also have this hoodie that they actually goes all the way around which we might need to add. And then we have all of the supports. And all of these reports are going to be important because they're going to be adding more support to the whole thing. So that of course, as I mentioned, is happening on this side over here. Let's create that little thing that we need. And it's actually very simple to create, even though we already did the Scott, because the only thing we need to do is grab this actual right here, Control E and bring this thing out. Just snap it to the same like this, this over here. And then of course, like, I mean, there's a couple of different ways, but we can just delete these faces and delete that phase right there. Grab 123123, Rich. Rich. Why is it not letting me out? Because I forgot to delete that face. Sorry. I was trying to do something that can't be done which are non-managerial geometries. There we go. That's it. Now we would pretty much bridge the whole thing. So now this looks like what we have right here. As you can see, there's a lot of cylinders right there and they create this sort of connections to other cylinders. They create a net and that net reinforces the material, makes it a lot more sturdier. And it also allows it to, what's the word? It allows you to be lightweight because you don't feel everything with metals. So I can definitely see that this guy right here, which we need to circularize. By the way, let me see if we can circularize that one. We're going to have to do this 1 first. So you can arise and that one, there we go. So technically that should be pretty nice. Circle. Grab this one. Let me give it a little. Unlike a nice little extrusion, super small, just a little bit of fun, fun. Offset. Just with scale, just a skill it in, but not on the x-axis like that. There we go. Because I want to bring this. You can see there's like a cylinder over there. This one's a little bit thicker on this side, so let's make a little bit thicker. This one also goes all the way to the front like this. That's the beginning of the net. Now, for the net that we need to create, yes, of course we could make it again in such a way that this thing follows the net and it has holes and cylinders all over the place like this and this and this, however, this or one of those things that I don't think it's really necessary to make them a single geometry. We can, we can simulate the welding of the effects or the elements without really compromising the way this thing is going to look. Let me show you how we're gonna do is we're gonna start, of course, with the cylinder. Let's rotate this 90 degrees so that's facing us. And we're gonna change this to eight sides. Then I am going to grab the outer edges, control E, give it a little bit of thickness. Delete the interfaces. There we go. And then go from here to here and rich, Let's offset until we get the proper element. There we go. I'm gonna move the proof points to the base. Then I'm going to snap this guy to that base right there. We can create the proper height, which is the high that we're seeing right there. Seemed to be a little bit smaller though, so I'm probably going to make them a little bit smaller. I'm not sure. Let's keep it keep the big. I think this one's a little bit smaller. Now. It's weird. I think this one is smaller right about there. Now we're going to place them or replace this one that where we see some of them. For instance, I see that there's one like right around here. Then there's another one at the side. Here and here it's a little bit bigger. Let's make it a little bit chunkier. And then there's another one like up here. Then I see a line going there on the line going there. So I would imagine that there's gonna be another one over here. And here I'm just taking some artistic liberties to create this, this piece. Let's do a couple of small ones. A combining some of the elements like there. Then maybe another one over there. Cool. Now I'm going to grab all of those guys and we're going to combine them into a single object. So Mesh, Combine. We're gonna start deleting some phases so that we can pretty much like connect them together. So for instance, this one right here, I'm gonna wrote it a little bit. So this face is facing backwards, say for this one. And we can delete that face and that face bridge from here to here, creating a sort of a webbing effect. I know that when we smooth, we're gonna get this sort of like interesting effects from all of them. For instance, this one, like I'm going to delete this face right here. And then this one, Let's wrote it a little bit so that it's facing this guy. Delete that one. And we're gonna be able to go from here to here in the desert. They all measure the same distance. We should be able to create this very nice effect. Same like here. We can delete that face and that face and go from there to there. Bridge. There we go. And then I'll probably delete that face and that face. Go from there to there bridge. And then we'll probably going to go from here to here. Same deal. Just grab this elements and the rich. Then this one. Let's go from here to here. And to make a little bit more interesting, Let's go from here to here. Then from here to here. Like I'm not going to connect this guy's to the bottom once again, just to make it a little bit more interesting, this is where you can improvise a little bit because it's just going to add noise and complexity to the object without unless you're doing a product render weight needs to be perfect. And those cases, you definitely want to follow a blueprint. But in this case, since we don't have a lot of information, we can actually start improvising a little bit on areas that we don't see to create this very cool shapes right here. Finally, let's grab this guy and let's say that guy, bridge. And I think we do need to have, because I do see one line going there. So we might need to have this one right here, going there. Comb, which is perfect. Now we have this very cool effect. And as you can see when we place it on top of the element, that's going to look quite, quite nice. You can also see that this guy throws one line, this one right here, to the main pipe, right there. I'm just going to extrude it and leave it like that. I mean, we can even delete that phasor when we smooth, we didn't have any issues. And you can see how this thing starts looking quite, quite nice. Now let's add components or support edges. But I'm gonna show you one quick trick here. I'm going to go to a top view. Instead of going to each little element, I'm just going to grab my cartoon press Shift and got all the way across. And that should go through the inside and the outside of the elements. And as you can see, that's gonna give me a nicer, nicer effect, which is that one that I have right there. And I definitely want to add supported that just on this part right here. Which are going to make it look a lot, a lot nicer now that's a soft going to give me this very nice hard edge look to the whole connections. We go. There we go, and there we go. Perfect. So that's looking good. And again, when we, when we see it with the rest of the elements, as you can see, when we move this thing out, it should look quite nice. Now if we want this to look even better, I'm just going to push it slightly in the now. It should look like It's wallet and imagine we texture and Ross and stuff like this. No one would ever notice that this is not part of the same of the same model. Now we definitely need to start adding some support edges over here. So for instance, that guy, Let's add support edges right there. Now let's go to this guy. This whole guy right here. When we smooth, of course we get some nice sharp lines. That's the one there. One there, and there we go. That's looking, it's looking quite nice because you can see that's a really nice platform. Little bit of a weird pinch over there. I mean, it's not the end of the world. It's due to the topology, of course. The other thing is, I don't think it's the end of the world for that one. That's pretty much it. So now this one, of course, we need to position in the word supposed to be, which it does seem to be there, does seem to be the proper place. You can see the reference images here. That's a little bit like the same distance or really, really close to the main bridge. So it will be like like right about there, like following the sort of like the same shape. I like it right there. I think it looks, it looks quite nice. Then we need one more support niche right there. But now one thing that's not matching anymore is this little thing that we had right here, the, the tube. Because this thing right here, it's supposed to be I think it's supposed to be where the tube connects to. So I'm not sure what we're doing wrong there. Are we wait too high? I'm not sure where is this thing supposed to go like there. Maybe rotate it a little bit. Based on my on my calculations. It shouldn't be like right there. I think that's probably means that all of these elements need to go a little bit like further out. Again, Let's first transformations, which just move this guy a little bit out like this. Probably a little bit forward as well because we can see a little bit of space. Yeah, I'm concerned about this guy right here. We have a really nice tube on this upper side. But then once we hit this section right here, that's not lining up. Now, there's a relatively easy way to fix this one. Let me, let me do a real quick because we really need to bring this one up. It's weird though. I really thought really thought the things we're going to match. Let's go to the left view and take a look at the oh, yeah, No, no, my two is the one that's wrong apparently has really, really long. I mean, we can try to scale this down and move it up. I think to be honest, the easiest way would be to just rebuild occur. So I'm gonna do I'm gonna do this off camera, I guess I'm just gonna rebuild the curve, grading your curve. Make it go probably a little bit further here and then make sure that it gets it gets all the way over there. This also tells me that this thing should probably be like a little bit further towards the front seats down here. I think it's it's down here. That will mean they will also mean that the chainsaw, it needs to sit lower. Maybe my chances of way too high. There we go. That looks a little bit nicer. And now the tube is not as far away from the, from the pieces. I thought. This is also like closer to the mainframe of the element. Yeah, I think this is a little bit better. Of course, we need to move this thing as well. Make it match this inner side of this elements that we're using to, to create the support and their score and all of the engine block the worst still missing on this. But yeah, I think this is the proper proportion. I still don't like it because you can see the tube can't really go there without going through this thing. Like even lower, move this thing you've been lower? I don't think so. Because again, as you can see, the tube will look like this is as far up as I can go with the tube. Maybe bring this forward. But then if we bring this forward, everything that's gonna move as well. Because if we move this thing right here, that's really, really far away, I think from the, from the other pieces sudden no, I'm gonna I'm gonna keep this. Where was I think, I think we weren't the right, the right section. I think following the curvature here of the object like this. I think that's, I think that's the right object is I can also see where this thing ends and where this thing starts. So this is, I think this is the proper distance. The tip also seems to be in the appropriate distance like up here. I'm not sure if that's like an extra support. I didn't think so. Maybe maybe that's something I'm not considering. Maybe district does have like because I'm guessing that the tube has like a flat surface over here, but maybe it's going up, right? So maybe we're on the proper space and it will just go like to the side like this. So I'm gonna rebuild the curve creating on YouTube and see how it looks. And then, and then we'll, I'll show it on the next video. Okay, guys. That's it for this one, guys in the next one, we are now going to jump onto the details. I think we're going to start working on the details. So we need to do the spikes right here. This spikes that we see on this arrow right here, and all of the inner components, cables and like this little electrical blog or something. Yeah, hang on tight and I'll see you back on the next one. Bye bye. 58. Chainsaw Blade Spikes: Hey guys, welcome back to the next part of the series. So today we're gonna be doing the blade spikes and you're not gonna believe what just happened. I actually just finished them. And I forgot to turn off the little screen capture thing or the cupboard thing that I normally turn off to show you. So don't worry, let me let me just go very quickly over how we did this. I think we can save a little bit of time. Hopefully you guys can execute that one. That quick timescale over here. Our first, as you can see, what I did here is I duplicated this bulge right here, and I'm just deleting the rings of the elements. All of these ranks that we're only seeing the bolt and the ending not of the object. I also did change this guy right here, as I mentioned that we used in YouTube or a new curvature. You can see that we pretty much follow the exact same shape over here, going all the way down here. The only thing that changed was this S-shaped right here that I modify. This thing could go around the object and into our element without the, without cutting causing too much issues. Now for this part right here, this wasn't going to be a short video, just looks just like four or five minutes. Let me just very quickly show you how I did this. As you can see, it's a very flat surface thing. I'm just gonna go to my left view and I'm just going to replicate it on this side. What I did is I went with my mesh tools. I created a polygon tool, and first I created the the path. So you can see here we have 123456 phases right here. With my quadrant, I created this one and the quadro, we created a 123456. And then all of the vertices of my object, we align them to create a nice little shape. And then they grab each individual face. Or you can also do it with the, with the quadro. And I created the spikes just like this. Now you might be thinking, why not triangles? Why are we not doing triangles? Where are we doing squares? Because triangles can be a little bit difficult to work with. I mean, yes, we can do it and it will give us similar result. Here. I'll do three triangles on the top and then we'll do squares on the bottom. On the bottom, I'm just going to keep the points of the square slag or really, really close together. As you can see there. That's it. Of course you're going to match the actual leg out like silhouette of that guy. And after that is just extruding this, pushing them there. And then giving this everything a bevel. So two segments. I'm going to grab the whole, the whole object. We're going to do this and two segments. Now when we are actually the triangles don't look that bad. But the secret to this piece right here is to grab all of the points of the tips and then just scale them down to give them the sharp look effect. And if we do this properly when we smooth, we should have this very nice sharp effect, which is exactly what I have right here. The only difference is this one matches the spikes that we have here on the reference. And this one's just a quick demo. But that's it. That's pretty much it guys. That's the, that's the way to do this little piece right here, this like a metal bits and the, yeah, I think it's looking quite, quite nice now, one thing that I do want to add, because this thing looks very like cooling complex on this inner side, but on the outside it doesn't look like as complex. I would imagine that we're still missing a couple of pieces here, but I would also imagine that we might have a couple of these bolts over here like this. Things should match like the thing. So we're here, right? So for instance, this big one right here, I would expect to have the not going through it so it will match something. So when we see it from the side like this, we're going to see something a little bit like nicer, same thing down here. So I'm gonna grab one of these guys, bring this thing down and then got there. Just thinking a little bit of artistic liberties here. Just to make this piece look a little bit nicer, because I just want to have something everywhere so that the overall height of the object, this as interesting as possible. And yeah, that's it guys. This is a very, very short video, probably one of the shortest v. This will be fired into the series. But I'm going to stop right here. And then the next one we're gonna be talking about the inner components. We're gonna do the engine. We're gonna start doing some of the cables and just filling all of these things in so that we have our our chainsaw already ready to go. So hang on tight and I'll see you back on the next one. Bye bye. 59. Chainswa Engine: Hey guys, welcome back to the next part of our series. Today we're going to continue with the chainsaw engine. And one of the final parts of this very, very cool model the women are working on. So again, if we open pure, if I felt I had it open, let me just 1 second. There we go. Which by the way, I know I didn't mention this, but it's I think it's pretty obvious you do have the pure ref files on your folders as well. So if you want to just open them, you've probably already did. Where did they go now into a part of the model that we don't have enough information about. And even if we were to analyze it, I mean, it's just not there. There's nothing there. I can see this piece right here, and I can see this other piece right here. I see like a nice connector over here and then some sort of element. I can see this blog over here as well. So there are a couple of things that I see and I understand how they're behaving and I can kind of guess like how things are gonna be working, right? But unfortunately, we don't have all of the information. If here's where we can use one concept called a kid bashing or sometimes also known as the sci-fi world. They call this concept gribble. It sounds really, really weird. I remember the first time I learned about it was it was weird. So it's called grieve or the gribble is just nice. Whenever you do a hard surface gribble, there we go. It's when you're doing this sort of things and you just add like indentations and little things and little clips here and there. And it makes an object look complex without actually being complex. There's no rhyme or reason of why those things should be there, but they just look cool. The cool factor and the best example I can give you about gribble being applied to the something is of course, the Millennium Falcon. We've all seen the Millenium Falcon, a really, really cool ship. But most of the pipes and things and elements that are on the top here are useless. I mean, they don't really serve as a specific purpose rather than to just look cool. This is something that they did quite a bit in sci-fi movies. They still do because it's a very easy technique to add complexity to something without actually having to overthink it or open or engineering. Since we're kind of seeing this object before, like animals like a beat the game to the magnetic or something, we can get away with doing this or gradeable thing. So the first thing I see is this sort of like this like shape, which has this thing right here. So to me it looks like a disk like this. You can see that this thing plucks into there. So it's line up to this hole right here. And there's a lot of ways to do it. I'm just going to keep it really, really simple. I think the simplest way to do that would be to just create one of those ranks. So I'm just going to create one. I think 20 sides is fine. Let's give it the bevel. Think that that's fine. I'm going to make it even like there. And then I'm going to have all of this hedges as well. So that when we smooth this out, mole fraction, there we go, we get this effect. Now, let's count how many we have here on the reference. It's 123456789101112131415. So it's 15. Really cool. Quick trick Control D. And just move this down and then shift the and that's going to create a new duplicate, this 56789101112131415. It's going to be the new duplicated with the same distance that you had before. So it's a really, really easy way to duplicate something in a specific order. Now all of these guys, we're just gonna combine them. Let's go to the left view. This thing should be like right there, increase the size, of course, rotate them around so they're born are supposed to be. We need to make this thing bigger. We just make it bigger element, I guess we don't ask questions. That's just the way this thing is. Now, I know that this thing should be aligned to right about there because that's where the block is gonna be coming from. We can align it as best as possible. There we go, because we're going to have something coming in there. Now, do we need to add in another cylinder on the inside to give this thing for yes, we can, and I think in this case we should. So I'm just going to press Control of beaches, not this to the vertex right there. And since we haven't the transformations here, I can see that the rotation, Let's say it's going to be 45 degree angle. So we'll just grab this guy. We rotate this at 45 degree angle and now it should match all of them. Just make this thing a little bit bigger. Let's make it smaller like this. And that's it. That's gonna be, again, just another piece that's going to add complexity to my, my object without actually without actually giving me a proper recent to why this is there. It's just a just a nice little detail. Again, you're going to find that a lot of this thing happens, especially in the, in the entertainment industry for B two games, movies and stuff, commercials, you're gonna have a lot of things that really don't make any sense, but they just look cool. And when something looks cool, we usually swirl with it. For instance, I also know that we need some sort of engine down here, like something like a block or a certain kind of element where the main motor is going to be contained. So I would imagine something like this, like right around there. That's why we have this whole housing, probably like there. And then we know that there's gonna be a wheel spinning the element that we're here. I'm just going to use this thing right here, this cylinder I just created to create a very basic blocking of how I imagine this sort of like engine to be like extruding, it's forced. So I would imagine this thing. It goes like this and then we just go right there. So as you can see that actually I can believe that exactly, but that, that matches our rotation. Therefore, the chain like quite, quite nicely. So we would see this thing right here, and that's the thing that will rotate the chain right? Now, we have this piece, we don't have any information. Let's give you the cool, cool effect. We could actually go for like a car accident and take a look at how the car axles look. So we can reference some of the axons and stuff and you can see the type of screening of connections that we would normally see on a car. And this thing we can just try to emulate it. So for instance, I think I'm going to go to this guy and this guy, Let's bevel it. A small fraction. I am going to add like a natural, right? They're gonna be like two caps. So let's do something like that. Let's bevel all of this guy's fraction. What we're creating our nice little engine element over there. There we go. Let's do another one of those borders right about there. Control E, extrude this out a little bit. Maybe add a section line right there at the center. Again, this is where we can apply all of our knowledge from hard surface, just start adding or creating a complex shape. That's going to again, the only function that we want for the shape is to look cool. We want the shape to look cool, to fill the space, the empty space that we have on our element. When we do our nice little render, everything looks super, super cool. Something like that. There we go. That's it. That looks a lot like an engine. We can even bubble this thing right here. And if it doesn't look like an edge in, it, at least looks like a mechanical device. So it's some sort of mechanical device that has a nice little effect over there. And we're gonna be able to utilize, let's push this guy up a little bit so they're above that thing. Now that things like appears to be connecting somewhere. So again, we can just grab this on the right here, Control D. Let's duplicate it. And let's just create another small cylinder that overlaps. So that way, it kind of makes sense that something is going into that specific element, that specific area. Here's where we have this thing right here. Remember, we've talked about the thickness of the element. So we need to decide what we're gonna be doing with that. Because I really like the position of the engine right here, but that thing right there, it looks a little bit out of place. Again, if we took a look at the reference impure, if we don't have any more information, we just see that there there's another cable going here. And that's it. It's a little bit tricky because normally those are the things that are hidden inside of the home and the only thing I can kind of see No, I actually don't see anything. There's one right here. This is like a box or a right ear box. So I know there's gonna be some sort of like a radiator box. We take a look at the reference. There we go. So it's following the same direction of this curvature. So we just look the same. It will be like right about there. This thing will be probably like connected to this thing like overlapping or something. We don't know. We don't have enough information, so we just need to make this thing look as cool as possible. I don't think it's going to be overlapping, so I am just going to have it attached to this side. Probably we'd like a screw or something. Maybe that's crew that we see right there that kind of holds it together somehow. I'm just going to push the sensor. We don't touch it. And yeah, that's that's the blocking. I kind of like this. I think it keeps it keeps it simple. Like down there. Let's let's take care of this guy before we move on because I really, I really need to figure out what we're gonna do here. For instance, the engine there, it's touching some of the areas and that might be something that I don't necessarily want. We had this elements before, but now I think it might be a good idea to delete at least some of them. Like maybe this intersection right here. The other way the engine can fit a little bit nicer. There we go. And now here's where I would start thinking what to do with this thing. So I think in this case, creating a sort of a thickness here might be the best, the best idea for us. Something like that. And then this guy is Control E. We extrude out those two guys. So let's center. There we go. See how we can create that border right there. Here. Kind of want to keep that like sharp effects. So let's go there. Merge those two borders. Then. These two guys, there we go. Let me isolate this so that we can work on that sort of like patching a little bit better. Same thing here, for instance, like on this edge right here. It might be a good idea to give it a little bit of thickness. So we're gonna keep it thin. We're not going to fill in the remaining of the gaps, but we're gonna give it a little bit of cover in certain areas. So for instance, that guy right there, that cover, I think that's going to help. So let's fill in this little block right here. I think this will be important to fill out. And the easiest way is just to snap this thing right here. He'd give it a nod edges because this stops right there on the other border. So even if we get or we create a lot, a lot of edges shouldn't be that much of a problem. Let's just grab all of these vertices. We go Control E there. That guy, that guy, that guy like this guy and this guy and this guy immersed center. Then here we need one more line. One more line. Bridge. Bridge. Perfect. Yes, we're gonna get that soft edge. We can try to harden this. Hardened or this is going to harden a little bit of that guy. And I really don't want to do that. Or we can just go here. That shouldn't really affect the curvature. That's much cleaner. Yeah, I mean, this looks good. I'm not really concerned about this like other area that area over there because for that area we actually have distinct cover. Yeah, that's pretty much it for the, for the object here, we probably are going to have one line like right there, which again, shouldn't really change that much. Again, don't don't be too concerned about just adding what I just mentioned, the degree will think. Now let's go back to this guy in this radiator. Interesting shape. I'm going to bevel the corners. I know that this is going to create an angle. Don't worry. I'm actually going to delete those faces. Then I'm going to add a couple of lines right here. Grab, let's grab the edge loops. Bubble Control B is also a shortcut and think we've used it, that one. We've used that one that as much grab. This one's right here. Again. There we go. Wait. I'm not sure why I am. I'm in multi-select. Another query option. If it's a view, you can select the faces like easier. Just select everything and then de-select what you don't want. A very nice trick. Just put us in a little bit of offset. So when we smoke, we get that it's perfect. I am going to duplicate this face. Edit Mesh, duplicate. Let's add a little bit. That's gonna be the cap. Work out with this guy pushed it up, control ie. Thinking this to the inside. Then mesh, edit, mesh and poke. Probably need to do the same thing on the other side. Grab this guy is Control E, thickness, then mesh feel whole. Mesh. Polk. There we go. Grab this thing. Bevel. The borders. Two segments is mole fraction. Then I'm actually also going to bubble this guy. So we're just going to create a mess on the central point. That's fine. So pebble because it's a flat area. So just pizza we want control D is going to be on the other side as well. Then this thing, of course, we're going to bubble all of the corners as well. We get this very nice hard surface thing. Bevel, two segments and small fraction. There we go. And we get this effect. And that's it. We'll grab this three guys. Let's combine it and against society, since I liked the shape and it looks kind of cool, we can just duplicate it and bring it here on the inside, like filled that gap that we have over here. Might look weird and might look interesting. But the good thing is, unless someone created this machinery, like an expert at the, what's the word? The chain sauce. It's fine. Like no one's going to ever know that that thing is not supposed to be there. Let's modify this pivot point. And I don't want to scale this one in a little bit. Then what's going a little bit too far out? Then on the reference, I see that it has a couple of bolts. So again, here's where we can add some complexity. Because by adding just like a random stuff that's not actually engineered anything but just looks cool. We're going to make this thing look cool as well. Again, it's, it's really, even if it's asymmetrical, it's perfectly fine to look at that gets cool little things that make the whole element that Hopi is look even, even better. You can see that right now we do have this ambient occlusion and turn on, which is giving us those nice shadows. That's exactly what we need because those shutters are gonna help us create the complexity and the depth that we, that we want here for our element. So that's it for this one guys. I'm going to stop it right here. And we're gonna have one more video, one final video. We're going to do this like cable thing that goes here, just a couple of other cables I see here that a little hose that goes over here. So it's just small little details that we need to finish this thing and make sure that this looks as nice as possible. That's it. Hang on tight and I'll see you back on the next one. Bye bye. 60. Chainsaw Details: Hey guys, welcome back to the last part of this chapter or the final chapter, the final countdown. We're now into the details of the chainsaw and there's just a couple of things that we need to add to make sure that this thing looks as nice as possible. There was a couple of connections and there's a lot of cables. Cables. We already know how to do them. We're going to be doing them like super, super fast. If we take again a look at the pure file, I can see that we have three main cables that I want to add. We have this cable right here, goes into there and there's a sort of like a cylindrical shape there and the plug, there's this cable right here with another kid will go into the site. And then there's another cable right here. So it's those three cables that I think are going to really add the final details to the whole thing. Since we have some sort of like cylindrical shape over here, I'm just gonna move my little box right there, my extra little agreeable thing. And again, don't overthink it just like we have this nice little cylindrical shape here as well, might as well just read through, recycle it and use it to create a little plug thing that we're gonna have like over here. Especially because it's one of those pieces that we don't have a lot of information about, which is known that this thing is coming from this side right here. And we're going to have some sort of like cable, like Codman farm it, right. So there's going to be that cable going here and it goes like down here now, where does this thing going to be connecting? I don't know either, but why not just add another little piece here? That again is going to have complexity and the, a cool element to the whole thing. So maybe this thing goes like right there. Again. Don't overthink it here where we're improvising. We're taking some artistic liberty, which is part of the job, as well as some things you're gonna be giving concepts that are not super clear. And that's where you're going to have to be like, okay, what can I do to make this thing look cool? Now we go for that, for the MNC LOG right here. And this does have a nice little shape, but the metal part there, it's really similar to these pieces. I'm going to recycle this piece. Again. It's just snap it to the tube right there. And I'm going to use this as a connector base on this area. So this is the thing where we connect the element two. So it's going to be like my little cap. And then on top of this cap, we're gonna play as the other elements. So let's make this a little bit smaller. So we go through the whole very nicely. Maybe not that much. There we go. That's a little plug again. And now it's like an elbow sort of shape. And then there's a little a little pipe that goes all the way over here. Again, we don't see it on the right view like here. Like I don't see where this thing goes. This area, like I know that there's something in there. It kind of goes in this area. So there's probably gonna be like another sort of plug right over here. There's going to be like a movement there. To create that little thing. I'm going to use a cube. I'm going to use, actually, I think we can just know, yeah, I'm gonna use a cube and I'm gonna explain why in just a second. I'm gonna use a cube. And the reason why I'm gonna use a cube is because that has a very sharp 90 degree angle churn. So let's make this cube a little bit bigger because we know when we move the cube, we're gonna get a very round effect, even though we add once report that right there, you can see that we get that nice effect. I'm going to go to this Kube Control E, push it up. Control E again, push it up. And then here's where we're gonna get the elbow shape. There we go. Now again, when we smooth this out, we're going to get the very around like hard surface he thing right here which is the elbow sort of thing. I think that's a little bit thinner. The only important thing is we need to make sure that the faces are asked of squares possible. This thing looks the way it's supposed to be looking. I do want to add like a base on both sides, kind of like a cap. So let me delete these border right here. Insert edge loop there, grab this face. This face is Control E and the X truth. And then this ones as well, control E. Let's give it a little bit of an offset to hold things a little bit nicer and then just push them in. There we go. We have this nice little shape which is like a, I've seen this guy. So this plastic key, things that make a nice tight grip on the elements. I think that one's going to look quite, quite nice. Again, we have a cable that goes over there. Let's create the cables. There's gonna be a couple of them. So I'm gonna go create crypto beaker. Let's go to the front view. Let's start with this one. So I know that we're gonna start right there and we're gonna flow into there. If we go to the side view. Let's center points for this cable and position in the word supposed to be. The boat. They're controlled brushes, Let's move them down. You can make this cable will be like a little bit looser and maybe it's like, I mean, it's probably relatively tight or relatively stiff, but not super, super stiff. So something like that works perfectly fine. Then we have another one over here. So let's go to the left view. And we're going to go again create curb Tools, EP Curve. And we're gonna go from here, like down here. So. So we grab some of this controlled vertices right here, rotate them around. And this cable is going to be going into this pipe right there. Again, we'll just grab some of this point right here, push them out. Wherever like this one right here, push it up and make sure this cable is like traveling in a believable way right from that point. In doing that, there we go. So it was like a like a nice little hose is going all the way over here. If there is a couple of extra points, remember you can delete them and that's also going to clean up the curvature a little bit better. So super, super helpful there. Finally we have another connection down here, which again, it's just like a natural host that goes from top to the inside of the element. So we need some sort of connection there. Let's again recycle one of those guys. Like no need to reinvent the wheel. And we've been, as we've been saying it. So we're going to have one of those guys, maybe this one, we flatten it out a little bit more. We're going to have it like right about there. I think. Push it out. There we go. And the connection points probably going to be like it goes down and forward. It's probably gonna be like a point on the engine. Let's rotate this 90 degrees. And this thing maybe it's like welled up there on the, on the edge like that. From here, maybe it goes at an angle and ejects some sort of fuel or gasoline or something. So again, let's go to the left for you. Let's find the points. So it's that one right there and this one right here. So create Curve Tools EP Curve. We go there, there, there, there, there, there, and there. And that way we're gonna have another piece. Let's send to the pivot point. Rotate this so that's going where it's supposed to be going, which is right about there. Perfect. Now we can grab all of the curves at the same time, all of the cables that we just created and just say a mesh, sorry, create sweep mesh. Of course this are gonna be way with thinner because they're just like cables, like connection elements. That one looks cool. I'm not sure if we can do specific size for the elements now, since all of this are the same strip mesh, we can't do that. So I think this one's a little bit thicker, which means that I'm gonna go back and I'm going to select this 2 first, which are like small thin cables. So create sweep mesh. I think something like that works perfectly fine. That works fine. Let's select the objects and hit Delete history, saying for it, for this one, delete history. And now we'll grab this one, create sweep mesh. And that one's a little bit thicker. Let's increase the precision so we have a nice little transition over there. Maybe even increase the scale just a little bit more. Here's where I would probably grab that last curve that we created. Let's go into the, into the points here and just move them a little bit so they match the element a little bit closer. There we go. A lot, lot closer. Perfect, Cool. So yeah, just grab everything here, delete the history, and we're good to go. We just only history of freeze transformation and look at this view, the full chain saw. So congratulations guys, guys have, you've made it all the way to this point, then you would say, are perfectly prepared to model any single hard surface thing that you might encounter? Yes, there are a couple of things that aren't even more complex than the ones that we've modeled throughout this series. However, I do think you now have all of the necessary tools to create amazing models as the ones that we've done throughout this whole series. It seems like this thing is right here. Got a little bit. Forward. We go, we move something else. I think this is it now, one thing that definitely needs to be done is make sure that this is all cleaned up. So make sure that needed to go into your Hypershade and delete all of the things. I'm gonna show you here something real quick. So first, as you can see, there's a couple of floating cameras. I'm just going to delete all of the floating cameras. You can grab everything. And again, I don't want to center the bullet points. I just want to delete the history and freeze transformation. You can see all of the side Thompson ones. It's just delete them. We don't need the image planes anymore on this on the scene, so I'm just going to delete those as well. All those extra cameras. They get created whenever I press Space-bar and hit this option right here, which is new camera and whatever camera you're Andrew can include extra cameras. So as you can see, we have a lot of extra cameras that I've been creating throughout the, throughout the course. We don't need the curves anymore, so all of the curse can go. There we go. Cameras can go. And you can see we have all of this poly surfaces. So the worst thing you can do is keep a poly surfaces. What I'm gonna do here, so I'm gonna grab everything, I hit Shift P. Now every single objects should be outside of a parent group. So there shouldn't be any parent groups. All of these groups like this sweep group. This poly surface, the supply chain. So saw those. Let's get rid of and let's get rid of the directional light swell. And we should only be left with all of these pieces. Now, we did rename some of the pieces from the chain saw before. But as you can see, there's a lot of other pieces that are not renamed. My best advice is to of course, go and select a specific group, like groups, sections of the object, group them and make sure that they all work. What I'm gonna do here is I'm going to do a, let's call it a general grouping of the ons. So here let me show you. First, I'm gonna go like all of those guys, like the blade guys. And I'm gonna go up here. And there's this option right here hidden called the rename function. And I'm gonna call this saw on their score. So the JI JO underscore, I'm not I'm not giving it a specific names is just solved. Goce 123 and all of those I'm going to Control G to, I know. And then sent to the Pope. I know that that's my soul, my soul group. So let's hide it so that we can clear things up. Then let's grab all of these pieces right here. Like all of those sections, all of those elements here, I think that's, that's another good group. We're going to call this housing. Housing underscore. Underscore. It's gonna be against so a haunting underscore 012345 group this and this is gonna be saw housing group. This is not the right way to do it. The right way is to actually name all of the things that we need. In this case, since I just want to do a quick grouping because we're gonna be talking about are rendering next. I want to show you a quick, a quick or your history. All of the elements here, all of this engine elements, like all of these things right here. As long as the things are connected to something, I think it's worth to have it on the, unlike in the same section. All of the settlements. So those guys, that guy right there, that guy right there. I think all of that should be like another group. We're gonna call this engine block. Engine block, underscore. Underscore, and then Control G. This is gonna be the engine block on Discord group. Then we're gonna have all of them will actually like this guys right here. These guys right here, like all of those bolts and stuff, Let's call this bolts underscore. Underscore should also be inside the engine block. And now all of these guys I'm gonna call it supports engines are gonna be Engine supports underscore, GO, underscore, Control G, and that's the engine support. Hide this. As you can see, we have other stuff here. I didn't even know what those things are. I don't know what they are. It's probably the basement shafts, the base mesh. So yeah, just just delete the base mesh. We don't need it. I'm not going to delete it because I want to show you look at how far we came. We went from having this right here. Was her blocking this right here, which is our final mile. And look at how nice this looks. So, yeah, this is the beauty of 3D modeling. This is why I loved this job and the way he loved my career. Because you're able to create amazing stuffs from pretty much nothing. However, yes, it takes time. Yes, it is complicated and it will take some amount of effort to be able to achieve amazing results such as this one. But as you can see, you're gonna be able to create some really, really cool stuffs. Yeah, that's it guys. Thank you very much for following along in this chapter, chapter number prime, we have one more chapter, however, the next chapter is actually really, really short. We're just going to take a quick overview at rendering and how to best present a juror works. I'm not going to be doing the rendering for this piece or the camera. We're actually going to be using the toaster, which was the first element. We're going to use the toaster us, an example of how to properly prepare a scene. And then we're gonna be talking about certain lighting situations and how to render a turntable and all of the things that you might need to create a very cool looking elements. So hang on tight and I'll see you back on the next chapter. Bye bye. 61. Clay Render: Hey guys, welcome back to the next and final chapter of our series today we're gonna be talking about are rendering. And I wanted to include this boneless chapter or I considered kind of a bonus chapter because we've been doing so much work creating amazing props, amazing concepts. We might as well. We'll show them off. And the best way to show a nice model off is with a nice render. I'm gonna be showing you one of the most basic and the most like, nice-looking our renders that you can do, and it's called a clay render. Clear renders our renders where you don't need to worry about materials. Now, don't worry, I will show you how to do materials in a later video. But today we're gonna be focusing on this or a renders. And as you can see, Clay renders allow you to appreciate the modeling. Modeling. You don't get distracted by any like specific lights or any specific materials. We just focused on the modeling and we can appreciate all of the hard work that we did, something like this. First of all, let's import our toaster. So I'm gonna go here. I'm gonna say Import. I'm gonna go to the final element of our toaster, which is this toaster for import. And this is the final result we have. Now if you remember, I did show you a little bit of a render here, but we're gonna start from scratch. So I'm just going to delete everything here. Let's leave the HDR. Let's delete the image planes. And I'm actually going to select all of my objects or right-click and assign an existing material and just lambda one. So it's pretty much back to basics. And I'm actually going to save this scene for you guys because you have a lot of cameras as well. Very common for me to create cameras, even though I don't want them. There we go. So to clean everything in the scene, you can go here into the Hypershade and hit Edit, Delete on the US notes. And that's going to delete everything that we're not using, which in this case it should be all of this. I don't know why we still got some of those elements. The volume we don't need anymore, and there we go. So this is the actual toaster. So let's freeze transformations to make sure that we don't have anything delay history. And there we go. We should only have the main things. They definitely need to clean this up. I would recommend that you do whenever you are finalizing a model just to make sure everything is nice and clean. But let's create the first of all are infinite background. And the infinite backgrounds gonna be really important because it's going to ensure that we have a nice surface to light our object from. So I'm gonna select this edge right here, more of it up. Select this edge right here with up the saturation, a little bit up and there we go. Smooth this out. As you can see, that's our infinite background. There we go. Now if you want the shadows to be close, you can push this closer so that the wall is a little bit closer to the object. If not, we can just push it back. Now we need to create our shot cam, which is going to be the main camera that we're gonna be using. I'm going to go to the rendering section right here. Do we have Karnak Denon? We do, right? Yeah. I'm gonna select the camera. Angle panels will look through selected so we jump inside of the camera. We've done this before as well. Let's find a nice little render it in elementary lip right here. Actually, whenever you're doing a clay render, one thing that I recommend is you can grab the object, the group it, and have a couple of copies for the objects. So this is gonna be the main side view. And then we can duplicate the group Control D, the toaster to this side. Let's move it to the other side so that we can see the logo. Right, the boat there. We can even do one more duplicate all the other way around. So we can see the back view. Let's have more space to all of them. There we go. Maybe we can grab the first one and let's push it forward because that's the that's the main one. There we go. That looks like a like a nice little collection there. I'm going to open the shutter little bit more and just move things a little bit to the side so that we can see them a little bit clearer and we have some empty space in here. Let's close the shutter a little bit more. There we go. Now, this guy right here, let's open it up. That's a little piece that we, it took a little bit of time to model, so let's show it off as well. There we go. We have our nice little setup here. So I'm gonna go again to this camera. I'm going to rename it and call it shot camp. This is the camera from where we're gonna be doing our shot now, to save this position, there's a couple of ways to do it. I like to do a keyframe, so I'm going to just go and press S to keyframe this thing and make sure that this stays safe. So if at any point I move this thing around, as long as you are going to have all the keyframes turn on. Like if you move this thing around, folks again, that's our shot. Hit S out of your friend turn off and then you can just move this thing around. And if you just go back and you're going to go back to this, another option is you can go here BYU bookmarks, and you can add a new bookmark with this little shortcut right here, this one. Now at any point I can go to the bookmark and that's the camera view one, which is this one. So if I'm lost and I wanted to go there just BYU bookmark camera view one. There we go. Now we need something called an HDR. And I'm not gonna go too much into the details of what an HDR, high dynamic range image. It has a lot of light information baked into it. It's a very specialized image and we use this site called poly haven, which shares with us free HDR. So they are really, really good. And they actually have some studio HDRI that are perfectly suitable for this kind of product, product rendering. I liked the warm scenes like this Christmas photo studio or there's a studio country hall, because you believe with more warmth to the scene, it's not that's artificial as the other ones. But if you want to have like an artificial studio light, that's fine. Let's go with this one, Christmas studio 04, which is. It's not as warm. There's a little bit of colors here. I'm gonna click this Download button right here. And this one, we're going to move it to your source images folder. So I'm going to Control X to copy, go into my projects real quick of camera. You're going to drop this in your, in your source image. You can see we already have a couple of studios here that I've been using for some render tests. But we're gonna using this one Christmas photo studio for now inside of Maya, what I'm gonna do is I'm gonna go into my Arnold section. I need to make sure that the Arnold render engine is turned on. If it's not sure NADH you're gonna go Windows, Settings and Preferences Plug-in Manager. And you're gonna write here m c0, which is Maya to our node, which is the blogging that converts the scene from my yet well to our notes and we'll just load it. I have it set to overload so that we always have it here. I'm gonna go into Arnold lights and I'm going to create a sky dome light, which is this big main light that's going to use the image that we just imported or added into our source images to bring delight information into the scene. So control a to go into the attribute editor, which is this one right here. And on the color option, I'm going to click this little button to input a node. And we're going to use in a final note. On that final note, I'm going to plug in the Christmas a studio photo, and that's it. You don't have to do anything else. The only thing you need to do now is going to are known and hit the Render button. And if everything is set up correctly, you should see the Arnold window pop up in just a second. There we go. And after it converts the image texture because it does a little bit of conversion under the hood. Or conversely, the image section we should see here the r elements. So let's just give you a couple of seconds. We are getting error there. Kind of weird. Open something that gets different etched apology to Maya poly fill two. Interesting, Let's try it again. Okay. I'm really concerned about that one. Let's close this up. I'm not sure if it has a setup that I don't want. Everything seems to be working fine. The only thing that I might be worried about is for there to be like an angle. I'm going to select. Show you a quick way to check if there's an angle, because sometimes angles do break up the topology that you have on your, on your scene. You select an object like let's select the toaster right there. I'm going to go into mesh cleanup. And I'm going to change the option here to select matching polygons. And I'm going to select faces with more than four sides and hit Apply. Okay? Yeah, there we go. So that means that we haven't gone. You can see it's right there. Actually we have a couple of angles, so we'll have one angle and right there, and another angle right here. So this object right here and the upper object are objects which we know how to fix, just mesh and smooth. Mesh and smooth too. If you just make everything squared, grab both objects on the other guys as well. Just hit the mesh and smooth. Now we should be able to grab everything. He had some old again to get this very nice effect. And technically we shouldn't have any more anions. Let's try it. Render. There we go. So it's probably, it was probably a bad morning. Usually Angolans do render like it's very aware when they don't, but that's why you don't want to angle in turn your objects. However, we were able to nicely solve it. Let's just wait for the render here and we should see it really, really shortly. There we go. So our torts trusts are right there. Of course, this is not the camera. I'm going to stop the render, go to my shotgun and render again. And this is where we get usually the HDR. So you're gonna give you in the very nice soft image, but it's not perfect. It's also very noisy. We're going to fix that, don't worry. But this is not perfect. The HDR tend to give a very light, ambient light illuminating everything. And this is where we need to go in and add a couple of specific or hand place lights. I'm gonna go Arnold lights and I'm going to create an area like this area light. We're going to position it to the right of the object. This is something called a tree point light setup. And this is super, super common lighting sub that we can use to generate a very nice effect. So we're gonna go here. Let's increase the exposure. Let's go for a twelv for something and let's give this a try. So not enough. Sometimes the lights need like really, really high exposure. Let's start like 15. There you go. You can see that now we're getting a little bit more light. I usually my key light, which is this one to be a lot more intense. Let's go waiting. That's way too much. Stop. And we're going to go 17. Still too much. Let's go 16. There we go. Another thing we can do if we were really close to the amount that we want, we can just bring this thing back or make it a little bit bigger. If you make it bigger, the shadows are going to be softer and the light is gonna be, of course, a little bit dimmer. So this one works a little bit better. I think I want to increase it just a tad bit. Let's go 17. There we go. That's a lot nicer. Now one thing I definitely want to do is I want to add a little bit of temperature to the light and they're very common color combination is blue and orange. That's like a, again, we call it in Spanish labia comfortably from SpongeBob. You guys remember the episode where he grabs like a special net, that's the trustee. The trustee won't like, it never fails. This technique never fails this. We're gonna use colder temperature and we're gonna make it slightly warmer. So this is going to be my warm light, as you can see right there, because we already have a very nice cool light on the other parts of our, of our scene. This is giving us a very nice effect right here. Let's stop it there. I wanted to change my, my effect here. I think I want to push a little bit closer. One thing we can do is we can actually increase the focal length or decrease the focal industry like a 24. That's gonna make them look a little bit more like epic. Like a nice little product right here. There we go. Instead of looking like flat like this, now they're gonna look like, Wow, boom, like the product placement. A lot, lot nicer. Now, we already have our main light, which is the one that we just placed. We already have our field light, which is making sure that the shadows are not as intense. Now we need to create something called a rim light, which is a light that is going to be giving us some very nice light shines on the back corners right here. So I'm going to grab another Arnold light in another area light. We're going to move this thing to the site and position it right here. Now this one that's also needs to be really intentional as good like 16. And this one's gonna be cool. So let's push the temperature up. And if we take a look now, you're going to see that we have this very nice rim light over here. Now, this is not exactly where I want it. I'll probably want it hitting the sides of the elements like this. Now if we run there, there we go, we get this very, very nice effect. I think that's a little bit too much. So I'm going to push it back a little bit more like that. We render look at that. So we get this nice little shines on the corner of the objects, on the rims of the object. And that's going to allow me to appreciate the form a lot better. This is it, this is a clay render. However, as you can see, we have a couple of problems. First of all, this is not the correct size. I would like a full HD. Full HD, usually the size that you want to go for whenever you're doing this kind of renders. And there's a lot of noise, a lot of those noises. So we need to fix that. There's a couple of ways to do this. First, if you're gonna go here to come on and we're gonna change the presets from HDF5, 42 hg19, 80. Now when we render, the image is going to be rendering at ten hundredths. It's gonna be a lot bigger In a bigger image, of course, it's gonna be a smaller noise. So the noise won't be as noticeable as what we had before. Now, if you have an NVIDIA GPU on your system, in my case, I have this a G4, GTX 1080. If you had, if you have an immediate G4 NVIDIA GPU, you're gonna be able to change the render device to GPU, and that sometimes speeds things up a little bit. So let's render this thing real quick. Will be a little bit more, more noisy at first, but the render time should be, should be shorter. So let's give this a go. The first time you run it though, it will be a little bit slow. Just keep that in mind. It always takes a couple of minutes to like kick off. Again, compresses everything and make sure that things are working the way they're supposed to be working. And then it does the render. Sometimes I even like to stop it and then restart it. It kind of like it's not a bug, It's just, it just takes a little bit too long. So I'm going to stop this real quick guys. Let me, let me wait for the render to finish and I'll show you that the result. There we go. Now we're rendering with GPU. You can see it's a lot faster. It took only six seconds to render the whole thing. We can stop it and play it again and you can see how fast that it's salts the samples. However, it's a little bit noisy, noisier than the CPU because it's not as exact. Gpu tends to be a little bit less less exact. However, in the newest version of Maya, Maya 2022, we have this very cool thing called an imager. And imagers are a post-processing thing that we can do after the rendering is done to render or to polish the image a little bit more. And there was a very cool image, imagery called the denoise or optics, which uses nicer to work very nicely. Now down here, it says forcing bucks filter. There we go. And that's it. I didn't even have to rerender, as you can see that now my image is like super, super clean, especially since this is a clay render, it's very easy to clean up all of the noisy that we have. Again, we play, it renders, it starts doing the render that we want. And then as soon as you let it run for a little bit more, the optics kicks in. This is what you get. So you get this very nice final render off your elements. So I'm just going to say File Save image. And you can see this image as, as any kind of image that you want. So here I'm going to call this, let's call this toaster clay, render dot JPEG. Now you can share this, upload, this to your portfolio, do whatever you want with it, and you are going to be in possession of a really nice clear render setup. Now, what else can you do with this? Well, of course you can just group this guy's into a single object called as toaster. And you can import more stuff. You can import the chainsaw, you can import the camera, you can import all of the different objects that we've done and use this scene as your render files. So I'm actually going to save the scene for you guys in case you want to use it for your, your own renders. This is gonna be called clay. Render a scene. And if you want to use it for any objects like it could be the ones that we model here in this course or any objects that new model later on. This is already set up for you as long as you have the proper HDR, things should be looking good and you should be getting a really, really clearly clean result like what you're seeing right here. Yeah, this is it for this video guys, in the next one we're gonna be talking about are no materials like, okay, we have a nice effect right here. But what if I wanted to add materials to make this thing look even better? Well, that's what we're gonna be SE so hang on tight and I'll see you back on the next one. Bye. 62. Arnold Materials: Hey guys, welcome back to the next part of our series. Today we're gonna continue we'd rendering and we're gonna be talking about are known materials. So yeah, let's get to it. Now. As you can see, we're in the same clay render scene. We're gonna stay here. I'm going to open toaster groups and I'm gonna delete group 23. I'm going to save the scene. So you also have access to this, as let's call this materials render scene. The wind materials work inside of Maya is through this thing called the Hypershade. The hyper sheath is this area where we're gonna be building our materials if you're used to Blender, this is very similar to the shading parts of the winter interface. In the Arnold section, in the shader section, we have all the different materials that aren't all Hess, the most basic one, the one that you're gonna be using the most is this one called the AI standard surface. I'm just going to click it here. And once we go into this AI standard surface, you can see all of the different things that we have here inside of the elements. This thing right here is the material viewer, which will give you a nice little preview. If you want to see like a realistic preview, you need to change this to Arnold. And this is actually gonna be rendered in real-time. You're gonna see the Reynold going on here and you're gonna get the exact result of how this thing is going to look inside of a scene. I usually like to keep it in the hardware. It's not act as exact, but they will give you a nice approximation. If you've never, ever done any sort of like shaving injure life. If this is the first time you're learning modeling and you want to create some very basic stuff. The only thing you need to understand is that every single material in the world, everything plastics, wood, paper, foam, like every single material, as long as it's not transparent, as long as it doesn't let light through. We'll have two properties. The color, which is this base thing right here, and the specularity, which is how the light is reflected from the surface. So let's say we want to have a read toaster. Well, the only thing I need to do is change the color, select a red color, like this, dark red color for the toaster. And then we need to select how the specularity is going to be working. So if the specularity, that means if the light that hits the object is going to be reflected like perfectly dendrite going to have a really high color. However, if you start lowering this and you're gonna see how we lose light. And now this becomes like a mat object, usually specularity, there's gonna be all the way to the top. And the thing that you're gonna be changing the most is this thing called the roughness. If you increase the roughness, the light that's being reflected will be more diffuse as you can see right there. So we're gonna get this or like bell but he look like plastic. And then Belbin, this is more like polish plastic. And if you bring the roughness all the way down, this is pretty much like a mirror ball, which is probably something that we're looking or something that we're looking for in our toaster. There's one more thing that we might need to change, but I'm going to talk about that one for the metal bits. So let's say this is our red, red materials. I'm just going to call this m underscore red plastic. The only thing you need to do is select the pieces of your object that you want to be read. So in this case it's gonna be like this whole thing, this little thing right here, and that thing right there, assign existing material, and we assign the red plastic. And you're gonna see the red plastic here in the viewport as well. Now if we go into our rendering, Let's close that for a second. And if we go into the render and we render, this is what we're going to get. Let's just wait for the whole thing to update. Oh, ****. Maya did not like that. Yeah. Unfortunately, that can happen sometimes. Nothing else we can do. So just let's open up this up against, let me set the project real quick and I'll be right. Now. The good thing is that we did save the scene as the material render scene. So technically we should have this right here. We don't have the element, so let's create them. Let's go Arnold. Ai standard surface shader. And then here, AI standard surface, we selected our dark red material right there. And we lowered the rough as to how like a really nice like almost mirror-like surface. Let's bring it a little bit off because I don't want this to be like super, super perfect, but something like that should work fine. Let's call this m toaster. One thing that we can do, let's assign this material real quick, existing material or a toaster. Let's save the scene real quick, of course, before anything bad happens, Let's go to our shop cam and let's take a look at the framing. So definitely let's bring this closer so we can see this in a more of a nicer view like something like this. There we go. The one thing I'm gonna do is I'm going to edit or sorry, File. And I'm going to use this, which is called Optimized scene size. And this will delete and remove anything that we're not using. In this case, any empty groups, empty selections, anything that we don't want, it's gonna be deleted. Let's delete the history as well to make sure that we were super, super clean. Let's save again just for good measure, let's open the render view right here, and let's hit Render so that the noise is activated. We left it on from the other part of the modeling we are rendering with GPU, which if GPU is causing you to many problems, just change it back to CPU and you should be fine. There we go. You can see that the denoise or kicked in and we're already getting a really, really clean image. The longer this spends, the nicer the image will look and the toaster is looking a lot nicer. Now I think that breadth is a little bit too intense. So let's go back to the material and let's bring this color down a notch like this that we go and hit Render. That's a lot closer, that's a lot nicer than they look, looks a lot better. Now you can see that the denominator is a little bit aggressive, so guess it will get cleaner and cleaner as we, as we push this order. If the denominator is a little bit too much and you can't go here to the nicer and either disabled it. So she didn't have that the nicer or reduce the blend mode right here. So the blend is how much you're actually getting. So if you go to like half of it, you're gonna get a little bit of green, which might be good to get like a nice sort of sparkly effect. Now, let's say we wanted this to look a lot more metallic. What can we do to get this mud tubes will be metallic. There's two ways to do it. There's the proper way or the scientific way, if you wish, which is what this thing called the index of refraction. And there's the ISI artistic way. The easier artistic way is just this metal necessary if we turn this all the way up, now this is a metal and it will shape as a metal. So as you can see, it just looks like ligamentum. Nothing else we need to do. We will control the shininess of the metal with the roughness of the element, and that's pretty much it. So in this case, we can turn this up a little bit more. Let's do render, and that looks pretty, pretty, pretty good. So if you wanted to just like a quick simple metal, just hit that button right there and you're gonna get this super nice effect on earth. Cool thing about the materials here instead of Arnold is that there's actually some presets that you can use. So if you select shader, and again, let's do another AI standard surface, and this is gonna be our chrome material, M Chrome. We can go here to the presets and you can see there's a lot of different presets that we can use. One of them is gonna be the, I think we do have a Chrome. No, we don't have a Chrome. That's weird. There's usually like a Chrome. But if there's no Chrome, no worries, we can make our own. What I'm gonna just gonna make this a metal. It's completely white and bring the roughness all the way down. That's it. We have a Chrome. So let's go into our element. Let's not move our render. Let's, let's select the camera and just hit S on the scene that we saved that position in case we lose it. And the Chrome parts that are, of course is going to be all of the insight elements. I think the buttons were crammed. And this guy, right? Where this guy says, well, I think this one guys, we're as well. We're gonna do all of those, assign existing material, Chrome. The Chrome will look black on the viewport, which has a little bit annoying, but they will look really, really nice over here. Look at that beautiful looking Chrome, realistic. The reflections and everything should match perfectly with everything that we're doing. There seems to be like a duplicate. You know why this looks like super white because it's reflecting the lower portion there. Let's grab this guy, assign existing material, Chrome as well. Just render, and that's gonna give us a nice chrome effect. There we go. That's our chrome material, are ready to go and as you can see, it's reflecting the HDR. So the studio lights that we have, it's making this look quite, quite nice, and it's also reflecting the floor. Let's pause this real quick. And then now we just need to add the plastic like this sort of beige plastic material that we have over here. Actually, this thing right here should also have the chrome material for that plastic one. I'm actually going to show you another type of material that we have here with the Harland Sanders Shea there, which is going to give us a little bit of this surface effect. For those of you that are unaware of what subsurface is. Surface is. The fact where light goes through an object but not like, like if it's going through glass of water, it just bleeds into the material of the object. So you see this in the marble, in certain types of plastics, in wax, in skin. And it's a really, really cool effect that I think we can add here to our elements. So this one, we're going to call this SSS, which is subsurface plastic. Now, we're not going to be using our base color. We're actually going to turn this off the weight value here in the shaders. It's like an on and off switch. So if it's at 0, there's no color information being insured into this shader. We're gonna go down here to the subsurface and we're going to turn this on. Now here, the subsurface color, we're going to select the sort of like a beige color. So let's go for like beige color right there. And you're gonna see immediately once we, once we add this to the plate right here, the That's the SSS plastic. When we render, what's going to happen is we're gonna get a lot of noise. So surfaces, one of those things, it's quite noisy. But the object will look like it's bleeding a little bit of light. Right now I think it's a little bit too shiny because it is inheriting things from the specular channel. I'm going to increase the roughness a little bit more, so that's a little bit more Matt. There we go. Now, the subsurface is a little bit more obvious when there's a direct light behind the object, the object, but you're gonna be able to see that they're right there on the border of the object. And they will look like a really nice matte plastic that's gonna blend super, super nicely with the rest of the elements. So yeah, that's, that's pretty much it for material shaders, my friends. You can play around, you can add as many materials as you wanted. You can't plastics, different kinds of metals, rough metal, soft metals like there's still so many things that you can do. You probably saw the renders that we have on the intro video where it with the game controller and the chainsaw and everything. This is the exact same meant that we're not using the UBE is this time everything is modeled, so we're just procedural shaders to do this. Now I'm going to stop the image right here. We're going to bring the blend color all the way up. There we go. So now you can see super, super clean that are nice effect right here. And this is also a great way to present your work, to present your renders not only with the clay render, but also with this sort of the word with this sort of final elements, final touches. Yeah, that's it, guys. This is it for this chapter. This is the materials, the Arnold materials section. Again, given your given the, given the goal, I try different things, move sliders around, see what kind of effects you get and you're gonna be able to explore this. However, with this basic things that I just shared with you, you should be able to get this very nice pre-render is quite fast. That's it. I'll see you back on the next 11 more video. We're just going to talk about animation now. So hang on tight and I'll see you back on the next one. Bye. 63. Turntable Animations: Hey guys, welcome back to the final part of this chapter, chapter six. Today we're gonna be talking about animation now, how can we create an animation with this very nice element or any object that we decided and present this as a turntable. It's actually very, very simple. There's a lot of ways to do it. Of course, there's lots of weights to animate MongoDB showing you something very, very easy that you're gonna be able to recycle for a lot of things. That's actually one of the ways that I was able to create the renders for the intro video that you saw. I'm gonna go here to Create, and I'm going to create a locator. This locator is gonna be the object that's gonna be moving. Our scene are rotating RC. Now we need to define how long we want the scene to take. Usually, usually a turntable takes about ten seconds. Five seconds is a little bit too fast at ten seconds, it's sometimes a little bit too slow. But I think ten seconds, it's like an ideal thing. Now if we were rendering at 220 frames, 24 frames per second, then that means that we're gonna have to have 2040 frames right here. So very important, we need to move our toaster like the PUC points of a toaster. We need to move it to the center of the grid right now it's off-center show we do the turntable. This thing is gonna rotate from that point and that's not what we want. So we're gonna go to the group and I'm gonna say center pivot. And then I'm gonna go to the top view. And I'm going to snap to point right there on the center of the grid or on the center of wherever the locator is. And we're going to take this group and we're going to parent it to the locator. Now wherever it is located goes, the object is going to follow as well. The reason we're using a locator instead of a group is just to have a visual indicator of where to locate or is in the world, we're not actually going to be seeing the locator on the under anywhere, anywhere else. It's just gonna be right here. So I'm actually going to show you a nice little variation. You can do this with 10th friends or ten seconds, but I'm going to do five seconds of the object turn table. And then we're gonna do five seconds of the light trend table, which is also something that you see frequently. The locator then we'll rotate in frame one, I'm going to hit S to set a keyframe right here on my timeline, and it will rotate 360 degrees until frame 120. So I'm going to jump all the way to frame a 120. And we're going to change the rotation and y to 360 degrees. There we go. So you're not gonna see any difference. It's gonna be exactly the same work in that. Select the locator again and hit S to save this new keyframe. But if we scroll through the timelines, you're gonna see that this thing is actually rotating. So we hit Play. You're going to see this thing rotating as it's supposed to be. Now if feed, if the animation is playing like super, super, super-fast, and that's probably because you have the playback set to free. You're gonna right-click here on the timeframe and you're gonna set playback speed real-time, and that should give you the 24 frames per second. So again, if I play, you can see that we get this. However, there's something that's happening right now on the animation that I don't like. And it's actually going to make the animation look a little bit weird. And that's the fact that there's a little bit of a slow in and slow out in the animation. You can start slow and then speeds up. And then once it's about to finish, it goes back to normal. Usually in a Trinity, especially if you want to recycle your keyframes and do like several turntables, like two or three turntables, you want to keep the speed of the elements consistent. So what I'm going to do something that grabbed the locator and I'm gonna go into Windows animation Editors, Graph Editor at this curve right here, the rotation white curve is telling us how we're moving from 0.02.360 in our wire rotation. And as you can see, we have this slow in and slow out. We don't want that. So we're gonna grab both the little icons right there. And we're going to click this button right here, which is called linear tangents. Now, the interpolation, the way we go from point a to point B will be linear, meaning that if we hit Play, the speed will always be the same. This is really, really helpful because we can have frame one and just hold the frame on. Like video editing software like After Effects and the whole data frame for like two seconds. And then the spin starts and then it stops. And we're not gonna have a slow in, slow out. If you want to have this low in and slow out, very easy thing to do, just grab these two guys right here and hit this thing which is the spline or sorry, the other tangent, that's all right here. It will give you a slow in and slow out. Very simple. In my case, I'm going to keep it. There we go. Now in frame a 120, what I want to do now is I want to animate the light, the HDR light, especially the HDR light. But we can also animate this case right here. Like all of these guys, we could animate them and make them go around the object. That's another, another thing we can do. And I'm thinking whether we want to move everything or just the, just the HDR. I think we might want to move everything. However, I'm a little bit concerned that when we wrote it, this guy's, they're going to collide with the main element right here. Let's take, let's give it a shot. I'm going to grab all of the lights, all of this tree lights, and I'm going to group them, control G. Now the group, as you can see, it's on the center of the world as well. And we can do the same thing. We hit S on that group on frame 120 and then a hundred and twenty two hundred and forty sorry, we wrote to this whole thing around. It doesn't collide, so that's perfect. And we wrote to this 360 degrees. And we also need to go to the Animation graph. So we're gonna go again Windows animation Editors, Graph Editor. Grab this two guys and heat linear. There we go. Now, let's take a look. So let's go into our render view. And unfortunately, we can't even though I would love to see this, if you have a strong enough computer, you can actually turn this little icon right here, which is that the lights. And it will give you a slight preview of how this looks. This is viewport to 0 and it's giving us a slight previous. Technically, if we go to our shot camp panels, Luther selected, we should be able to see it. So it will be something like this. Toaster rotates. Then after the toaster finishes his first rotation, last row to this wall. And we can see how the lights reflect throughout the whole thing. You can see there's a weird shadow in certain areas, but that's fine. Yeah, this shrink table looks quite nice. Now before we render though, one advice that I like to give my students is try to grab, let's say, five points throughout the animation. So middle 0.1-fifth, two-fifths, three-fifths, and so on. So that you can see how the animation is looking throughout the frames because sometimes things might not look exactly like you want. So let's go to frame one and let's see Arnaud and let's hit Render. Let's take a look at how this render looks, which is the, usually we had from Busby different materials video. So let's give it a look for this finish. Hopefully in my I won't crash. There we go. There we go. So yeah, that's a render. I think we're a little bit far away from the object. So let's go to the camera panels. Little selected. I'm going to punch in right here. I'm going to hit S. I'm going to select the camera and hit S, So that's my new location. And that's where we're going to see the whole thing happening. Let me save this in a real quick for you guys as well. So this is gonna be called turntable render scene. There we go. Yes, so this is frame number one. Frame number one, looks good. This is the frame that we have. Perfect. Now let's go to frame 60. That's surrender. We're gonna see the back of the element looking good. I like how this is looking perfect. It did forgot to add a material to this little guy right here. We did that, the chrome material, but I think it's supposed to be red. So I'm gonna grab this guy right here. Let's go. My grabbing it. I made this. There we go. Right-click assign existing material, and let's do the Chrome. There we go. Now if we render this thing should look like Chrome. It's got to look very, very similar, but it's gonna look like perfect. Now let's go to a frame of a 120, or in this case like a 100, which is when this thing is finishing the turn, looks good, perfectly fine. And then we're gonna go to frame a 160, which is the toaster is going to give back to the origin, but the lights are gonna be like a rotating around as you can see right here. Let's go to frame like 200th. The lights aren't gonna still rotate around and this is where we're gonna get the, uh, yeah. I mean, the render is looking fine. So I know even though I can't see it right now, I can't see the final result just yet. I know that the renderer is gonna be looking fine. So now we need to setup a couple of things to make sure that this thing renders the image sequence that we're eventually going to combine into a video in another software. To do that, we're gonna go to this little option right here, which is the Render Settings. And on the common tab is where we're gonna be doing auto magic. First, we need to select the format that we want to export this image is into. And if you don't want to mess up with color correction or any other things. Jpeg is fine, PNG is fine, teeth is fine. Those are the three basic file formats. I actually really like tiff if, especially if you're using transparency, but in this case, JPEG would be perfectly fine because we just want the image sequence. If you're gonna be doing more intense post-processing and things like that, then you definitely want to do ESR, which is like the most advanced or one of the most advanced image types that holds a lot of information, but also the images are gonna be a little bit heavier. Makers, we're going to do JPEG right here. And this is the most important part. This is where a lot of my students screw up. So make sure to, to make a little note here, you need to change the frame animation extension. Right now as you can see, it says single frame. So even if I set up the frame branches and stuff, I won't be rendering the sequence because it's only rendering a single frame. So you'll want to click this right here and select name dot hashtag or number dot extension. So as you can see up here, of course you need to set your project. Don't forget that. And you're gonna see that the render that we're gonna get is gonna be called turntable render scene dot 0, CO1 dot JPEG. And it's gonna go from frame one to frame ten. Now how do we change the range right here? Don't forget to change the range. There's some other very important part of where people mess it up. So in this case we have two quadrant and 40 frames where we go from frame one. To train 240. And then we need to select which camera we want to do the render from which in this case a shotgun, another important feature of the law that people miss. And then you go to sleep where you leave your computer rendering. You come back after the render is done and you're completely the moralized because you forgot to set the proper camera and you'd get something completely different to what you thought you were getting. So make sure you set the proper camera right here. Finally, the preset, this is the size of the image if you want to make it bigger or smaller, this is where you change it on the image size and that's it. That's pretty much it. The last thing that you need to do is render a sequence. Back in the day we used to do something called Batch Render and it still exists if you go here into the rendering tab and you tried to do here render in Batch Render is two works. However, if you do it right here, you're gonna get the watermark. And the reason is when you buy Maya or when you're a student and you're using Maya, you are not allowed to use Batch Render to render on multiple computers or use multiple servers to render your image. You can only render locally on your machine, on your machine. So a Batch Render will give you a watermark unless you buy an Arnold licensed like a proper or no lights up. It's really expensive and we really don't need that, especially if you're just randomly words your computer, you can do something called a sequence render sequence, which is the exact same thing, the only difference that it's being done locally in this case, to keep this short and show you how this thing is going to work. I'm just going to do ten frames for now. So just the first ten francs, I'm going to click this little icon right here, which is the render view from my job, I'm gonna say render, render. And I like to do a test here in this render view because there's render B is different than the RNA one you're gonna see that even goes through the process in a slightly different way. But this is going to give me a render time. The render time is going to be really important because that render time will tell me of course, how long the render will take, as you can see, it took ten seconds. So here's where we bring our calculator and do a little bit of math. So that's ten seconds. And if we multiply that by 240 frames, that means that it's gonna take 2400 seconds, which if we divide by 16, it's gonna take 40 minutes. So my whole animation is going to take 40 minutes of render time with the current settings that I have a turn on. Now, this is not accounting for the light movement or the animation. So sometimes depending on the angle of the object and depending on the ly, depending on the complexity of the scene, certain frames we will take longer than others. So even though my calculation says, yeah, it's gonna be 40 minutes, it could be less. It could be like 35 minutes or it could be a little bit more like 15 minutes. So use this time as a sort of approximation, but it doesn't mean that that's gonna be your final time. After that, you're just gonna go render and he'd Render Sequence little square right here. Very important because we want to make sure that we're using the shotgun. Otherwise, you're gonna get something that you don't want and just hit render sequencing close. What's going to happen is we're gonna go to frame one. We're gonna render frame one. And as soon as he finishes rendering frame one, it will jump to frame two. And they will continue rendering frame two. And it will continue doing that until it goes through all of the ten frames that, that we have. As you can see, it took 11 seconds there and it usually takes a little bit more because it needs to finish the render, save the image, and then jump to the next frame and start to render it again. So it's not gonna be perfect. That's why the time is only an approximation. But this is how it goes. And this is a part of where you go and grab a coffee or go for some food or something because you are not supposed to use your computer during this time because your computer is using all of its processing power, all of its graphics power to get you the best possible render. So you don't want to be playing any games. You're the one that would be like watching YouTube or anything. Just let the computer do his job and wait for it to be, to be finished. Of course, the more powerful your computer, the better it's gonna be. And yeah, that's it guys, would this where we're now at the end of this series. It's been an honor for me to teach you all of this techniques and all of these tricks, we've learned a lot. We got frustrated as well. We have challenges and we overcome, overcame them. So yeah, hopefully you guys learned a lot of different cool tips and tricks. Make sure to do the exercises. One of the main things that people do is they buy a tutorial, they watched it grow and then they don't do the exercises. It's like you didn't do anything. It might seem like just by watching it you're learning and yes, you are learning a little bit, but you need to put it into practice. Otherwise, you're not going to be really sure if you really learned the things that you need to know. We're still gonna have one more final video, final words video. We're gonna talk about what's next. What would, what would I recommend that in a couple of extra things that I want to mention. But for now, this is it, hopefully this animation in this rendering extra chapter that we just had is helpful for you guys. I can't wait to see all of the amazing things that you do remember that we have, of course, the YouTube channel that portfolio reviews and everything makes sure to stay tuned. And I'll see you back in the next video. It's not Albert's just one more video and then we'll be out of here. We'll be ready to start our next course. So hang on tight and I'll see you back on the next one. 64. Final Words: Hey guys, welcome back to the final video in this series. And this is the final video, the final words. So the very first thing I want to say is thank you, thank you very much for being part of this, for supporting us, supporting the channel super next stood for, well, having watched like all of these videos, hopefully you did the exercises, adopt, go back and do them. That's the way you're gonna be learning. I just wanted to take a couple of minutes to again, thank you for the support and let you know that one of the ways that you can help us and help us improve is by giving us the feedback. So if you have already seen the whole course and there are things that you liked, things that you didn't like. Please leave a feedback, honest feedback. You can leave, of course, wherever you feel, it's right in any of the platforms that you got this course at. And that's gonna help us quite, quite a bit. So that's something that we always ask from our students because we really, really appreciate your feedback. Intense, thanks to that feedback is that we can improve, that, that's the way we improve and that's the way we grow. I only want to give you a little bit of a hint on what to do next. Let's say you are already finished this course and you want to know what's next. Well, what else should I learn? I would like to recommend to our courses to you if you've never done ZBrush before, we just released not so long ago, The Complete Guide to see verse 2022, which is in a very similar fashion, a really complete guide to all of the tools and features inside of servers. That one, I believe has ten chapters. So it's ten chapters covering a lot of different tools throughout ZBrush. And if you've never used sewers before, That's one of the best ways to start. It will teach you all of the basics and see where she plays really well with Maya inside the production pipeline because you can create amazing models because I like the ones we did throughout the series and then bring them to ZBrush and damage them or add some details from surface stuff that will make them look even better. So that's the first course I want to recommend. The second course that I would like to recommend would be deem rigging course that we released a couple of months ago. We'll go as well. The reason course is a real good next step for whenever you already know a lot about Maya, if you already know how to model texture and render, then a very natural next approach is to learn how to rake, because you are gonna be able to rake all of the elements that we just saw. If you want to do an animation where the game controller moves the stakes, the balance and stuff. You can create a rig for that one is really easy. You can do a report the toaster, and we even go and do a refer a full character. So if you're looking for anything else to continue and anything else, learn more about Maya. We have DAG one as well, the reading course. And that's it, guys, remember that we do have our next two YouTube channels. So make sure to go there, subscribe, share, of course. And we upload videos every day so that you can learn more and more cool stuff about 3D. Again, thank you very much for your support. Thank you for being part of this course and that's it for me. I'll see you back on the next course. Bye bye.