In this video, we'll be modeling a high polygon version of our eye piece. Now I'm ready to move on to these eye pieces here. I'm only building one of these at a time. Of course, I wouldn't bother going through the whole process of remodeling all of that twice, since they are symmetrical. So I'm just deleting the ones on the left side and now I'm going to focus on this eye piece on the right side. I looked in my reference and I see okay, couple of the features didn't line up exactly with my reference. At each stage, there's always the opportunity to go back and do a better job with some of the form you have here. I'm taking the parts for the lens and I'm detaching them from the rest of the eye piece, because at this point especially in the high poly model, I want to start separating out the lenses, small features like the buttons out. Because if I can extrude a little side like this, a few of these edges back, I get that curvature that I'm going to expect to see on my lenses. Now, we're running into one of the problems, you're going to see whenever you get what's called a high valence vert. The vert in the center is connected to so many different verts. It always is going to have that weird pinching ballooning triangulating thing in here. So instead, I have to figure out a way of making the center quads. So what I did is I counted up the number of edges that were present there on the surface. I'm including a little polygon disk, with the same number of edges on it. I'm snapping it to the middle of my model, and trying to get it to fit in. So by adjusting the signs and the way this is calculating, I can get something that's going to line up nicely with the rest of my lens, so I can have a quad on the end of my lens instead of something that's going to have that weird pinching. I'm going to get some pinching in the corners of this quad shaped. I'm going to get a couple spots where it does that. But it's going to be much easier control and a lot less noticeable. So now, we can combine all this together, and do emerge vert and just increase our threshold enough told all combines in. Now of course, this is now flat as opposed to before I was looking at it. So I take this vert, and by shift greater than, and less than symbol, I can control the size of it. I use an average vertices function to smooth everything out. So now I see, if I reflect over it, you can't see the little poles and there's no more high valence for it. I go back and forth between the one and three and my keyboard a lot, even as I'm adding functions and I'm doing these little detach components, because I know I want there to be a seam there. So really anywhere you see that it looks like it's the same object, but it's wrapped around. That's when you need to add control edges using like a bevel or an extruded the multi cut. But anywhere you feel like it's two separate objects, you need to use something like detach components or separate the objects altogether, especially on the low poly model we want to say, as few vertices we can possibly have. On a high polygon model, it's more important to say, if it's together, keep it together, if it's separate, keep it separate. So just going through the model and using a lot of pebbles and a lot of my Multi Cut tool, and just scaling things in and looking at the curvature they're going to create. I'm thinking about the shape of this little rubber cap on here, and how it's wrapped around a tubular structure underneath. A couple little extra edges here will help me control the turns. So it doesn't look like it's collapsing. I want to give a nice round thickness to the end of this eye cap. Back here, I have this little transition piece. This is the tube that this end cap is sitting on, so a detaches completely appropriate here, and let's do another little cap on the end. There we go. So now it looks like two separate pieces because they're actually physically detached from each other. So there's the eyepiece. I'm not going to model the other floater pieces on top of it yet. But overall, just a little, tucking here to get a sense that it bends, I want to get the idea of it. It's flexing and sitting on top of a little tube here. All right. So we're ready to move on to the next piece.
