In this video, we're going to continue on modeling out parts of our model in the high poly fashion by moving on to the eye piece swivel. Now that I've finished with the little dial piece, I want to move on to the eye pieces. So, I'm going to start out of the two of these with a little swivel mount that we use to connect the eyepiece overall onto the body itself. Now remember when we modeled this at first we paid really close attention to where the edges needed to line up to help us create the definition of some of those unique edges this feature has. Especially when we're doing the high poly what really matters is the edges that we see. We're looking for that little, tiny seem of reflection on something. So we're going to take these back faces. We're going to turn Cham for off with our poly, with our poly babble and we see when we do that it creates two levels of edge control edges on either side of an object. Remember, three edges is sort of the rule for helping control a turn and being able to get it nice and tight. The closer we make it, the tighter that will be. Now we want to build the control the seam running along these edges. So I select these faces and go to edge perimeter because it's just quicker than selecting those edges individually. I could have done it that way but it's quicker to select the face and then de-select when I don't need. Then I'm going to do the same thing with these edges. So I'm going to select these edges on this seam. Again turn chamfers off. In smooth preview, I can see how changing the fraction will change the seam that I'm going to get. Next, I want to select all the edges that are part of this middle seam. It's easier to just go face two edges because then I'll just be able to select all of them in a group instead of having to select them individually. I could select them one at a time, it's just quicker that way. Then I bevel on all together and take a quick look at how it looks like the lights reflecting off of it. Let's do a little target well to clean some of these edges up, connect up some of these verts in the middle. Okay. That's starting to come together. I can see a couple of weird little scenes happening especially up at the top of this. That happens when I'm trying to smooth something that is on an end gun. If an end gun on a planar surface, it's usually fine. But on a surface like this it can be difficult. Right now, I'm changing my material the default font. I want to turn up the specular color and adjust the cosine power and reflectivity, mostly the cosine powers what matters here but I'm just looking to change up the materials so it gives me shinier edges. This is going to make it easier for me to tell, compared to the regular sort of more diffused looking form exactly how these edges are going to reflect so I can see that there's some weird surface stuff going on near the top of this model that I'm going to need to fix. So I'm putting an extra edge in here to help me control everything. I'm going to run a seam down the middle of this whole thing. Since this is going to be the high poly, we don't care about how many verts we really use here. It's fine for us to use plenty. So with the Connect tool I can throw in a couple of hertz and connect these altogether. Because especially when something's on a curving surface we want it to be in quads that works much better for sub-division. So now you see when I smooth this out that weird artifacting I was getting up there has gone. Okay. But now I have something strange going out near the top of the model here that I need to fix. So now I can take this whole shape and I'm going to do an extrude face with an offset. This gives me another line of edges to help control the curvature of the surface. Again just looking around seeing how does the light reflect off of it. It's looking pretty nice and a lot like the reference that I have. So I'm using the edges here to give me just a little bit more control so that I have a little bit more bend to this feature instead of it being so straight ahead like I have it in my existing version of my model. This is the kind of little details that will really come through in the bake. Here I'm adding another set of edges running along the side to help control this particular curve I have here, this particular part or edge I have in the bevle, I was getting a little pinching in the corners and so just connecting these pieces up together using our target weld is going to it work a lot better. So we see we get a little bit more control in that corner. We get less pronounced version of that pinching we were getting before. So we take a look at it, we let the light reflect over it and decide whether or not we like what we're seeing. But it looks like these features are working pretty well. Seeing the kind of light I want reflected on to everything. I think now I'm ready to move on to the eye piece.
