In this video we'll continue using ZBrush, this time to create a high polygon version of the cap to our body. [MUSIC] [SOUND] Now that I've done the battery pack, I'm going to draw my attention to the body. Now, just like with the battery pack, I need to separate any objects that should be separated, like the cap from the rest of the body. And I'm going to need to add some definition to some of these rounded out edges, which will make things work a lot better in the Dynamesh method. So I'm selecting these edge rings that are defining some of the curvature here. And I'm going down to my Connect Components and I'm turning Insert With Edge Flow On. This is going to make sure that it adds an extra edge in between all of my edges, and it tries to assume the kind of roundness that I've created here. So I need to do a little clean up. Now that I've added some divisions and edges, I have a couple of tricky sports back here. I find a good way to use this vert selection, this vert faces Is if I select the faces there and I do my little selection to faces, it's pretty easy to get rid of them. So I delete that whole face and I can fill back in. Let's draw our attention to these little mounts. And just like before, I'm trying to select all the edges on both sides and do connect components before I fill these holes back in, giving us lot more edges to help define that shape. So continuing on the other side, doing the same thing, just doing my connect components. I like to do it twice here, just enough times that I can get lots of edges, just to make sure that when I put it into ZBrush, it's really clear how I want this shape to look. So I'm doing a Detach Components on all these edges here because I want to separate out the front from the back, turn them into two separate pieces because I want the cap to be separate from the body. I'm going to delete some of these flat planar faces because I want to just focus on the faces that will help defining the curvature of everything. It will make it a lot easier for me to work with. You can see when I do this Connect Components here, I just need to make sure I get all the right edges. Sometimes it moves things in little awkward directions. It's just a matter of scaling it and snap moving it back into place I'm going to get rid of these faces, too because it looks like it's creating extra faces for me around. Sometimes you gotta be careful with this process, and it's easier to get rid of some of these flat surfaces because they're pretty easy to replace. So make sure I get the same selection of edges that I need. And I can do Connect Components again. Here I'm just going to snap this together. I'm pulling out a single extrusion, just to give me some definition on there, which will make it possible for me to fill that hole. So just going through, looking for holes to fill up. And like I said, on the edges, it really helps when you can bridge things across first. So I can see here that I need to do the same thing that I did a little higher up there. I just need to create a single extrusion and snap it in, so that those create two separate holes that are then pretty easy to fill up. And then I just do that Connect Tool, this time with the Connect With Edge Flow Off. And there we go. Sometimes I need to straighten out a particular edge or something like that. So in this case, I can just set that pivot to the surface of the edge and it makes it easy to scale that back by itself. So I also need a little, there's a little notch near the bottom here, and I'm going to do this simply with a little poly bubble to model that in. And that gave me a little trouble in some of these edges, so I just get rid of that face and then fill the hole back in, and it makes sure that that face connects to every one of the verts there. So just going through and looking for any of those small little things that using that Connect Components Tool messed up little bit in some of the axis, just trying to straighten things out. Now I can fill this hole on the back And let's take a look at how this triangulates. Okay, that looks like it's going to fill everything right. I'm just looking for how it's all going to triangulate when I choose to do that. But just like with our battery pack, we want to do a couple of UV splits to everything, so that we can control the grooves inside of ZBrush. Sometimes you get this message, Fix Non-Manifold Geometry, especially when you're messing with stuff like this, there might be a couple of verts stacked on top of each other. It used to just say that it couldn't do it and that you hand to fix non-manifold geometry, but in more recent versions it gives you that option. If you're using an older version, all you have to do is go to the mesh clean up tools and check on fix non-manifold geometry and hit apply and it will do the same thing for you. So again, just like the battery pack, I'm just looking for anywhere that I want to UV seam, anywhere that I want a sharp or creased edge inside of my ZBrush version. Just like with the battery pack, the actual geometry, the actual UV unwrapping itself, is not going to be my final unwrap. In general, you don't have to unwrap the high poly object when you bake it. This is just a temporary thing that I throw in there to make it easier for ZBrush to understand what I'm trying to do. I'm really paying much more attention to the seams that I see in the view port, than the actual shells that I'm seeing in the UV window. All right, so Delete my history. And I'm going to make sure I do that, Clean Up Geometry, up there in the mesh Clean Up Geometry tab, before I triangulate everything. And let's Rename this object and export it. So before I take an export this, I can see I have a couple angles on things, like they're not exactly planer when they should be planer. So I'm going to Undo this triangulation and use my scale tool. You can see it just flattened out a couple of things that looked like it was planer, but it really wasn't. We can see that this would create some real issues for us later inside of ZBrush, where it would try to keep everything, the angles we initially created it, especially up in this little corner. It looks like a couple of extra faces got created, it there's a couple of verts that got pushed out of place. So I'm just going to push this backwards and there's missing a little edge here, so I'm just going to add a division to that edge. I snap them together, and just make sure that all these line up with each other. Maybe a little manual adjustment, but. There's a couple of things that are, flow-wise, I realized I need extra edges on when I brought it in there. And so I'm just trying to choose some of these extra features and connect up using Connect Components With Edge Flow. I just need a couple more edges and a couple of these corners because ZBrush was having a hard time telling what I was trying to do with it. So just beveling, connecting components. It will help us control a little bit better where we want smooth edges and where we want sharp edges. Let's do one. Let's take this whole thing and make sure we merge everything back together. And I need to probably recreate that back face. And let's add some more extra edges to this inside edge, running along the corner there. Let's do the same thing over here. I've got a couple of extra little faces and a couple of things to clean up before we're quite ready. Let's triangulate all of that, and make sure we delete the history, and let's export it. Now, inside of ZBrush, let's bring in a fresh version. Let's go to Import and bring that cap in. Polygroups Autogrow with DPUV. This is Dynamesh at 360. Go down to Deformation, and let's polish a little bit to start. And then I'm going to do a Polish By Features to help sharpen up some of the edges where there are groups. Another thing I can do here is by clicking Mask Per Feature and turning on By Group, and I can grow and edit this mask. I can get a mask just around where I want my edges to be sharp. This let's me polish the whole the surface without affecting the corners, and then I can polish the edges by themselves to get it a little bit more a chamfer there. So it looks like it's going to reflect the light the way I want it. Again, the surface isn't perfect, but this is pretty common with this technique. So let's go ahead and pre-process and decimate this object. What I'm really looking for, as I mentioned before, is I just need a little edge to help me reflect. And this is going to help when we make our normal map, create an object that gives us that little Fresnel edge reflection on something. So the super close up details for the kind of thing I'm doing here aren't super essential. Name it Cap I, and it's finally time to move on to the body. [MUSIC]
