In this video, we'll be modeling a high polygon version of the swivel mount. [MUSIC] Moving up the model now, I'm going to take a look at this little swivel mount that the eye pieces are connected to. This is pretty similar to the stuff we've been doing so far. So I'm going to try to keep my narration pretty brief and higher level to the kind of things that I'm doing here. I usually start by trying to define what I think are the most important edges in a feature. The most important bevels to have and especially on as high poly model, I'm always thinking as much as possible about three bevels at a time. So I deleted some of those edges because you saw it was interrupting this sort of little notch corner I was trying to build here, this curve over. And now I'm thinking about getting rid of any of these extra edges that are going to get in the way of especially some of these finer bevels. So just making clean fine little lines and the broader ones as I go. So it looks like somewhere in the mirroring process and merging process, I lost some of the verts along the back. Simply just grab those edges, drag it back, and then we can merge all those together with a little version merge. So this is sped up a little bit, this is like 200% speed, because I just want to show you like my process as I work through it. One of the things it's really important to do is to go through a model at this high poly stage and make sure that all of the edges that we think should be seemed together are in fact connected together. Sometimes I get to throw in that little few extra lines like right in there to help control how it's going to curve over. So now I'm choosing all of these edges on the outside and I want to do this whole bevel all in one piece. And just like before when I model this, it's symmetrical, so I really only need to work on half of this at a time. I could just do a lot of this modelling in symmetry, but for a process like this I find it's easier for me to just literally work on one half at a time. So we can see that Maya is having a little trouble controlling some of these edges without having extra vertes to help me. So I just need to make a few connections, and there we go, it's providing a nice surface for us. Again, plainer surfaces can be really messy when it comes to geometry, but anything that's going to turn or twist should all be four sided objects. So let's take a little look at the backside here and make sure that it's got the little rounded edges we're looking for. Maybe give it a little support so that it doesn't move too far. Adding edges as I go and taking look at from my key views does it feel like it's hitting the features that I need. So here I'm just adding more edges because it's actually helping to control the little corners all the way at the edges just by adding a few more lines to our model. We go ahead and mirror it again. And I'm in a case here where it looks like there's too many points coming into one spot there. So instead I'm adding another vert in the middle just because I don't want too many verts coming together. All right, so that looks pretty good. Now as I'm modelling these, I want to be renaming them as well to keep track of the parts that I have to differentiate the high from the low polys and it just organize my project as I go. And I've been detaching a few pieces, I've changed up some of the materials, and I want to make sure that my high poly is the only thing with this shiny material. And we can see as we separated and duplicated objects, they got removed or split from the high poly groove. So making a few adjustments to the lenses here. But now I'm going to start renaming all these. So this is going to be my Right View Lens. And I'm going to rename this right eye piece, so we could see there's actually poly surfaces under this empty groove. So I have to delete the history, I have to unparent things. There's a lot we have to do especially when we take an object. We'd separate it into two objects that we have to disconnect them from each other. Right now what I name things isn't important so long as I keep it consistent, but you notice as I'm finishing these high polygon pieces, I'm using the underscore high with everything. This is going to help my baking process later, and it's going to let me know which are my high pieces, and which are my low pieces. But as I work it also lets me know, just by looking the out liner, what I finished doing the high poly version of and what I still have left to go. [MUSIC]
