In this video, I'll be starting the process of creating low poly versions of all of the objects from my model by starting with the simple focusing dial. So like with the high poly, I'm going to start the process of making the low poly versions of my mesh with this dial because it's really simple and it'll introduce you to some of the things we need to check out. So we can see with both the low and high poly geometry turned on, they overlap each other pretty well. I'm going to start by hiding everything within the high poly group. You saw I did that by, instead of selecting in hiding group, I just selected everything in it because I want to be able to pull up just the same two objects corresponding the low and high poly at the same time. So I'm going to start by bringing up just this dial. I'm moving up to the top because I'm doing that one first. Shift-H will bring it back, and then let's bring back the high poly focus style as well. So I can see how these two overlap, but nothing about the shapes really needs to change. Everything looks like it lines up pretty well. But I just want enough overlap, just something so that I see something in-between. Basically, these two shapes is pretty ideal for the low poly. I think here, a little bevel will help. Before, I had it just as a pure 90 degree, but this is going to help. Really, that make that bait come in nice. Especially on an angle like that, this is soft as it is from this perspective. So I'm going to do soften edge on the edges here because I'm going to want them. Basically, I only want a hard edge, where I have a very distinctive sharp marking. So this is going to be the low poly version that I used for my dial. Nothing really else will change, but I am going to pop into my UV editing tool. We see we have a seam running along the side here. I'd much rather have the cut be right at the bottom of this bevel, little further down. I also don't need this face on the back. So I just select the vert and two faces, and then I can delete it because I'm not really going to see that on my model. I'm going to select all these edges and delete them because I don't need that extra vert in the center. I can just use a flat piece here, because when I triangulate it, you can see it all comes into the corner anyway. So that will work just fine for me. So I use control greater than or less than to change the size of my selection, and I can do a planar from the front by right-clicking on it. Then I'm going to do a cylindrical unwrap, clicking the little red t, that science circle, and then rotating it down so that I have the seam running along the bottom, which is probably a good side for it because I'm not really going to see that from my final bake of my model. I'm going to do the straight new Vs to make sure everything lines up left to right, especially with normal map baking. Just a few pixels really make a huge difference. So having them straight. The straighter I can make them, the better my normal map is going to look. Then I'm just going to do a quick packing with everything here. It's just temporary because I'm going to be unwrapping and packing all of these parts into chunks. So if I come to this move under transform and I set it to move by one, it's going to move this exactly one unit away from everything else. That way, as I'm unwrapping things, I can move them off to the side. I can still keep track of what is and isn't unwrapped. I can keep track of what is and isn't unwrapped, and then I know what I still have left to work on for this model. So that's it for the dial. Really short. Of course, very simple. As we get through the next pieces, we're going to see how to do a little bit more in terms of cleanup, optimization, and lining up with the high poly. As a last step with all these low poly pieces, I'm going to just change its name to underscore low. This lets me know that I've optimized it, and I've made the UVs for it, and it helps me keep track of which pieces I still have left to go.
