In this video, we're going to model the high polygon version of the objective lens. So now I'm going to take a look at this objective lens and just like the view lenses, I have quite a few more features to work in here that weren't included in the block-out. I'll be working later to match these changes in the low poly. But for now, I just care about how light reflects across this surface. So I'm working in symmetry here and just making adjustments on one side, and making sure everything lines up on the other. Since this is such a symmetrical object, this is a process I can use. I can't really do this on something like the body where there isn't any symmetry happening. It's often difficult to tell from your reference images like what angles things are at. The best thing you can do is just look at it a lot, try a couple of things out and see what your results you're getting, and how that looks. Of course with these lenses, I'm going to do the same thing that I did in the back, where I'm going to need to detach them and turn them into an individual object. So just like before, I'm deleting these parts from the center of this little lens and I'm going to replace it with some quad geometry. It looks to me like there's a couple different pieces happening inside here. Couple different parts, maybe they're part of the same plastic molding. Maybe they are different rings designed to seal everything in. I'm not exactly sure and I don't have reference that really shows me exactly what's happening here. So what I'm going to do instead is just make a couple choices that are going to look like what I can see here. Just like before, I want to detach anything that feels like it should be a separate material, and if it's the same object, I want to put a little bevel on it to control those edges and corners. So the inside of this shape should be pretty tight of that little outer ring. Then I'm going to attach this because it looks like the inside part right here, is a separate object. A little overlap here but it doesn't really matter on my geometry. I just need to see it clearly. So that should work just fine. What matters is, when I smooth it, what kind of seam does it create for me. So I'm going to take the Connect tool and add a couple edges here before I bevel them to control the size of these grooves. Then I shift double-click each of these face rings, before I run an extrude on them and I take a look them in the smooth preview. We can see it's giving me that little ridged rippled look here. If I up the number of divisions on my extrusion, it's going to put an extra edge right in there instead of me having to go in manually, and place it in the object. So now I want to start putting in grooves for this part of the ring. Use my Connect tool to get the right number of edges, and instead of extruding these, I'm selecting every other one, and I'm just going to do a little scale with everything. Now I select all of these edge rings, and I can do a bevel on them to give it that real sharp edge quality to it. When measured, this is a relatively hard plastic. So it should be able to maintain a pretty sharp edge because that's the kind of reflections I'm seeing in my reference images. Using my slide edge tool just to get that edge loop into the right position. Looks like I accidentally selected some of the stuff on one side of this object and pulled it out without realizing it, but it's okay because it's mirror-able. So it's pretty easy to bring back over, and in fact, let's just get rid of half of it. I delete my history a lot as I work through a model like this especially as it starts to get really complicated. You can either go to the Delete History tab or what I do is just shift alt D or shift option D, which is the shortcut for delete by history. So just like the lens on the view port, we want to set the number of sides, we want it to be quads and we want to make sure everything lines up before we combine them together, and run a merge. Then we select this middle vert and we shift, greater than and less than to adjust the sizing of it. We do that average vertices and take a look at how it is smoothing everything out. Using my Smooth tool a little bit here by Smooth Select tool. Just as always, taking a look at what its reflection looks like. Looks like I have an extra little face or vert in here, somehow. So I am just snapping those together and making sure I've got what I was looking for. Okay, and I stretch that back, but of course now that I've moved the lens back and it's going to curve inward. I need to account for that on the objective lens. So I pull this back a little bit too, just enough so everything has enough overlapping that I don't get any seams or open gaps through anything. Now I'm ready to move on to the rest of the actual objective lens piece. All these features on the outside and how it can control some of these pretty strange end guns. Just like with the little swivel, I want to put down extra edges that are going to help me connect everything up and control using quads. How everything's going to interpret. In my low poly, I would never do this but like I said, it's my high poly so I can get away with a lot more edges than I otherwise would have. I'm using the G key to repeat my connect function, my connect component function and then just one more cut through everything. So now I'm choosing these edges that run along the top and bottom. I want to add a bevel to all of them, and I want it to be the same size bevel. I'm going to be building this bevel out by hand throughout the other part of the model. So we can see here, I just use a couple of multi-cuts and it's not going anywhere because it's stopping whenever it doesn't see a quad. But I can get this same line to run all the way through the model. Merge these two verts together, we can see now it's like a nice clean line that heads in both the directions that I wanted to. Because of this particular end gone, I'm going to get a weird pinching because of how close everything is together. So I just need a couple extroverts, and that'll control it just fine. Continuing from this corner, pulling out more edges to help me define this shape. Here I'm going across because I know I'm going to need a corner vert in order to help define this edge. This is actually the same shape, I would have gotten if I had extruded those faces with an offset. I'm just doing it here manually. Merging that vertice to a few of vert will create less pinching in that area. Now I'm continuing over these mount clips. I'm using a combination of things like the extrude tool there with an offset to give me a good start, multi-cut tool, insert edge loop, anything that I can use to just draw out edges. Any of these tools will work here, it's just whatever you're most comfortable with. What I'm looking for is just a nice line of edges that are going to work all the way around both sides of my object. So it's often had to take a lot of connecting in. Sometimes little corners like that can be tricky. I'm going to leave these out for now. We won't want these verts in the very end to be just sitting out by themselves like that. We'll want to connect them all up. But for now, it's fine to leave them there. So because of how many edges I have along there, I find it's easier to just extrude it, make the cut and then get rid of the extra verts and edges that I end up producing from that extrusion. Always adding three in my keyboard to just check what it's going to look like, and taking a closer look to make sure that it fits the shape that I'm looking for. So I figured I need an extra level bevel in there to make that slope a little bit tighter than I otherwise was going to get. Somebody to do an extrude face with an offset on all of these edges together at the same time. Then it's a matter using multi-cut to connect up the edges. When you do a lot of sub-D modelling over the years, you get used to the little patterns of how do I get this corner, how do I solve this shape? While I'm just trying to make sure that I have two edges supporting each edge. There is something that I know roughly, okay, if I have this corner and I put this edge into this vert, it's going to give me this result. A lot of that just comes with practice. But the best thing you can do if you're not sure is, try some things out, smooth it, see how it looks, look for any seams, and then sometimes it might take a little playing with to find the exact result you're looking for. The main goal as I mentioned here is we're just looking for a nice clean reflection on the edges of every object. Think about your edge flow is having a direction that it wants to go in it. If we want to turn it, we need enough edges to make that turn makes sense. When we look at it, we can see we're following a path of least resistance for the way that these edges are going to flow into each other. This is what a good quad topology should look like when you're done. So looking around just seeing which reflections do and don't look good. I can see the pinching than I'm getting there. So I'm going to try just welding these into the corners. Do the same over here, and let's take a look at it. On a cylinder, I want to avoid adding any extra edges to the cylinder itself because that's going to really throughout its shape. So as much as I can, I want to make my edge is perpendicular to the cylinder. In this case, I can make as many edges as I want running along the cylinder without affecting its shape. So if I have some extra edges like this to resolve some weird pinching, it's easier for me to just create another edge running this way for me to take those extroverts into. So you can see now, I can take those into those corners using my Connect tool, and it's a less pension and it looks a lot better. So this is a good time to delete my history and start organizing the rest of my project. Remembering to either unpaired things that are in those little transport groups, doing a lot of delete histories because when we extrude or extract from things do a lot of mirrors and duplicate it can often make our geometry a little messy. I still think these aren't quite as clean as they could be. So I'm taking this opportunity to look at them outside of the objective lens and do a little average vertices here. It works basically just like the same thing as the smoothing function. It just tries to push the verts away from each other. We do emerge and take a look. All right. So the objective lenses are done. It's time to move on to the next piece.
