In this video, I'll show you how you can make high polygon floaters that we can use to make details in our normal map later. [MUSIC] So now I'm going to do a little clean up and finish a couple final high poly pieces. What I'm going to be doing here is building a lot of different little floaters, but for right now, I'm just renaming things, especially objects that got separated from each other. Making sure I have the right underscore, and placing those into the high poly group. So am going to bring in that body that I made from Z brush my battery pack and my cap just so I can start seeing what I have throwing it into the high poly. Taking a look at how my model's coming together and are the edges reading the way I want them to. So as you can see this video is sped up by about 400% just a lot of fiddling back and forth with things here. I'm going to take my eyepiece which of course I only made one side of, So here I'm going to take my eye piece. So I'm going to put a cube here, I'm going to smooth it twice, and then just shrink it down, set my pivot, and this will create a little pad that goes on the bottom of my battery pack. And this is just going to sit right on top of everything, because it's a separate piece of geometry in the actual object itself, I don't need to integrate this into the model in any way. It's just going to sit right on top of the geometry, and it doesn't need to be in the low poly. But, I do want to combine them together, rename it battery pack hi. I'm going to start hiding other things because I want to see just this switch here. And I'm going to use a similar technique for making the little nubs that go on to the switch that help define the little grips on the switch itself that help your thumb keep from sticking on it. That helped your thumb actually grip the switch and activate it. So just taking a quick plane, and making some simple geometry out of everything. And just enough edges that is going to help create a definition, enough beveling, a lot of smooth preview. This is a very small object when it's finished, so I don't have to go too nuts with the detail here. And just like with the little pads at the bottom, I'm just going to stick it directly on the surface anyway. It's so small I won't be able to see those transitions coming out, so something like this is fine. Let's take this eye lens, duplicate it so I have a left and a right side. Just looking around the model, checking the edges, seeing how everything's looking. Pull the cap into my group. And let's also smooth out those little bars. So I'm going to take a look at the whole object here, I know I need to smooth out some of the pieces that are in sub D preview, to make sure that they are going to be properly smooth in the final version. So I'm just using the faces and smoothing just the faces themselves. So, I'm going to take this pads, and I'm going to make them a separate object, because I'm eventually going to turn this into floaters. Same with the little switch pads, I combined them together earlier, but I sort of change my mind because, I think that the battery pack, switch, the cap, basically everything I did in Z-brush is too high of a piece of geometry for me to be able to export from my LT. So, I'm going to need to put those together separately, fortunately, Marmoset makes that really easy for us. Now what I'm doing here, is applying a red material to all of my high poly, which is going to help me get a nice read on it. No I'm not going to do that. So now I need to build these little twisting knobs and nubs again, I didn't build this into the actual geometry of everything. It's going to be easier for me, especially because of how sharp and small this angle is. For me to create enough of these ridges by hand and just stick them directly on top as an intersecting piece of geometry. So here I'm just counting up, how many of these I think come out, from as many different angles as I can get, so I get a sense of how many of these I need overall, just doing a little math in my head. So I'm going to take this piece of geometry that exists on my high poly. I'm going to duplicate that face and give it a little offset, isolate it by itself. I want to remove these extra edges that I don't need, so I'm going to pull out a new piece of geometry, and I'm going to give it 36 subdivisions. Because that seems to be right about how many of those little tabs that I need. Now I'm just trying to snap it to the center using the geometry that exists here. And then scaling it up so it more or less wraps around the surface. The most important thing is that it's centred with everything. Now I use my reference to get the ends of the caps, I take all of the edges running along the side. And now I do a bevel on them to give me the thickness that I'm looking for. So I'm just going to make one face here because I know how many it should be and I know it will rotate evenly around my model. so I'm going to make just one of these little nobs and I'm going to duplicate it around, just like the battery switch little knob kind of thing. I'm going to be making one of them in a pretty simple sub div method. And now I can come to Duplicate Special, and since my pivot is around the center, I can rotate each of these by 10 degrees because 360 divided by 10 make 35 more of them, and it's going to give me a perfect ring. These ones I know need to be the little bottom area, so I'm getting rid of those, those need to be a little shorter. So I'm going to take just the ones that are the shorter area that I'm looking for. And in combining objects, I want to turn off the merge the origin point to center and I want to keep the origin point that it originally had, so it's changing my combined options here. So I can adjust just these bottom little knobs and that gives me room for the plus, minus and circle. So I'm going to be building that plus minus in circle, I'll just add some simple geometry. I have a couple eight sided cylinders I'm going to be using. It's so small, I don't need very complex geometry to work with everything. And here I'm going to use this grid to help me out, so I'm using a lot of grid snapping. And we can see I'm just drawing out a couple edges, and there's my minus, I take these edges and let's extrude these out. Using again the grid to help me control the distance of everything, it's going to make my plus here. And scale it relative to the little minus. So they feel like they're relatively the same size and width. Take my circle give it a couple and make sure we do get the bottom one. And then I can bevel everything, see how it looks smooth? Do the same thing here, extrude it. Trying to get the heights to line up using vert snapping. Same thing, just using vert snapping to make sure my heights of everything line up. And check it from the side view, I see that I didn't quite have everything lined up here so it's good time to do that. Fill our whole do a bevel and turnoff chamfering. Do the same thing, I just want to delete the top and bottom, and I want to bevel out these corners as well. Little bit more control in some of these edges, so just doing a quick bevel. Okay, this is a really small detail that will only be in my normal map, so I don't have to be super precise about because it's just going to be a couple pixels in my normal map. When I see something I like I can combine them and I can rotate them together. And now I want to line it up with the rest of the models here, so I'm going to put them together in a group just Ctrl or Cmd + G. Let's move them into position. So I realize the plus and minus need to go on the other side because I'm, Looking at my reference from upside down. Anytime you want to get to the entire group, you can just press up on your keyboard. And that will take any individual object and it will select whatever group they're in. So I'm just vert snapping it to the surface of the object, and trying to rotate it into place. I'm doing the same thing with the plus and minus, and paying close attention to making sure they line up with each other. But that they line up right with the popular, that they line up properly with the other little nubs I see in the reference, so everything's all lined up. And then I take all these together, we combine them into a single object. And we'll name this like ipsnarling_high. Anytime something turns green like that it just means you got separated from a shader group and you just have to reapply whatever material you want to put on there. So the next bit I need is the little inset grips on the body itself. I won't be able to build out of my high poly because there's too much geometry, which is one of the reasons we have this block in still. So I can go into my block in I can extract those particular faces that I want to use, and I can separate it from the block end, it's always nice to have that backup. Let's combine these objects together, lift them out of the way a little bit. And then, I'm looking at it from this orthographic view, I can change my top view to a bottom view. Just by holding the spacebar and changing from the center menu which view I'm looking at. I'll put a quick read material and everything else so that it's easy to see what's my high poly and what is little floater I'm making. And I'm just making some adjustments from the bottom to make sure that my geometry properly lines up with where the grip is going to be. So using the multi cut tool to drag out the correct angle, and then I can delete the faces that I don't need. We can extract now these edges, little thickness and a little offset. Smooth out the corners with a bevel. And then give all the edges that you just used sharp a little bit at the extra bevel. So I think here it was just a little too large that actual inset so, I used my multi cut to get rid of some of these extra faces. And now we can see if you rotate around the model, even though it's just sitting on top of everything, this is what we called a floater. It looks like an inset into geometry and that's exactly how the normal map will bake later. Without this actually having to go to the complicated process of creating that little inset. So now we make which is the last few couple details, these are tiny tiny little inserts on the top and bottom of the little. These are going to be tiny little inserts that run just on the top and bottom of the bars that connect to the straps. So using all the same technique cited before just, making some simple geometry that's going to read really nicely when I'm in my final view. And this isn't going to be integrated into geometry, it's just going to sit directly on top of everything as a floater. So that it will give my normal map when I bake it, the right kind of edge definition. And since it's a floater, I sort of bake into it, its own sense of an inset, and I want to put the edges in there. So it has that kind of curve over? Then I can line it up. And just push it in far enough, I don't want it to intersect, I want it just sitting in as close to the top as I can get it, without going over or into the model. Let's combine these together. And let's do a couple for the top piece, now. So it's a different piece of detail on the top and bottom of these. So, I'm making a quick cylinder, cutting off some of the sides. And I'm going to work on just half of it at a time. Because it is so symmetrical, I can save myself a little time that way. So just like before, combine everything together. And create the little runover edge that implies that there's an inset into my model. Changes to orthographic top. And then line everything up from this top view. Scaling down a little bit, they're just a little too strong, something like this should be pretty good though. And now I combine all of those floater pieces together, I can name the strap bar float_high. And we can see if we apply that red material to it, it looks like it's just part of the model. So now we see that with this red material on it and the low poly group turned back on, where everything's going to overlap. This ends our high poly modeling part of the process, our next stage is actually to build our low poly or game ready version. This is the one that is going to be low enough geometry that it can go into a real time a game engine, a VR project, or maybe a browser based viewer. And then we'll be baking that all of that detail from the high poly version of this model on top of the low poly one. [MUSIC]
