In this video, we'll be using ZBrush to create a high Poly version of the body for our binoculars. So continue here with the body, we need to do the same trick we did with the cap and battery pack, and we're going to create some temporary UVs that are going to help us define which edges we want to be hard and which edges need to be smooth. Basically, anywhere that I know I'm going to want something like a 90 degree angle that I'm going to want to be able to control, that's where I want my UV seams. So I'm trying to select things in groups like this so that as I create seams, I can be guaranteed that they're going to work properly. I still as you noticed have this top piece as a separate object. I've decided that I'm actually going to combine these objects together inside of ZBrush. I'm going to use the ZBrushes Boolean tools rather than trusting the ones in Maya here. It's going to give me a result that I'm going to have a little bit more control in because I'm going to be able to polish this top and bottom piece in ZBrush in two separate passes, and then combine them back together later. So just going into my channel box and controlling how much that offset goes get just need enough thickness, and it's going to intersect with the rest of the body not so much that it pokes out anywhere. Given those buttons out from the group, just separating them from everything else so that I'm only looking at the body pieces because I'm going to be doing the buttons separately. So I'm going to need a few more edges and vertices running along this little corner here. Making some adjustments, I want to make sure this curve describes the right kind of shape for me. So I take these edges and I bevel them to add more geometry. So I'm going to take these edges along the bottom and the sides, and I'm going to bevel them with enough geometry and enough definition to give me a nice smooth edge. Fill the holes back in and delete my history. So I want a 90 degrees seam on these, so a quick planar on [inaudible]. Now, I have to look at especially right under this round cap. I want a pretty strong seam there to help define where that edge is. Make a few extra connections from here to here to sort of soften up, it's a little too tight in terms of the approach of that angle, one and more mirror what I have on the other side. Just checking my reference to make sure everything is more or less at the angles that I'm looking for. The high poly is like my sort of second chance to take some of these edges that I had in my block in and make sure that they really fit what's happening in the model overall. By the time it gets the low poly, I really want to be basing that off of what I have in the high poly. Just making sure the surfaces that are supposed to be flat are flat. Give me an extra edge or two in here to help control how this thing's triangulating. Especially on a curve like this, I don't want triangles going behind the shape. Looking for anything I might have missed in terms of where the UV seam should and shouldn't be. You can actually see it's the fourth button up in the UV toolkit along the top that turns on and off UVC images. I'm just making a couple of cuts and some key locations. So I'm going to do a quick unfold and it's also going to fix that non manifold geometry for me, and a quick layout just to make sure nothing overlaps. So we're going to import, bring my bondian. Let's split to parts and it looks like I have a couple of duplicates in here, again I just delete those auto groups with UV. Let's DynaMesh just the body at 360. I'm going to be doing the top buttons separate from the rest of the body. I do polish by features with the little circle open and we can see it gives me a nice sharp edge that I can now control polish. But I'm going to go to my masking tab, do that mask by features groups, a little glow, a little blur, a little sharpen. Well, let me Polish just those edges that are going to be my little 90 degree edges, that's going to give me just the right amount of shine on everything. So just playing with blur and sharpen and glow and shrink to make sure I have the kind of width of curve that I'm looking for. The wider it is, the software that curve will be when I apply the Polish. I can turn off view mask and I can still apply the mask, I just can't see it. This helps me really tell what's happening to the curvature, helps me read it better visually here. So the mask is still there, I just can't see it. Seems like polish is really the trick here though. I'm doing it with the circle open which is going to give me the kind of roundness I'm looking for. Turn view mask back on, and then we can clear the mask. Let's do a quick polished everything help me smooth out the form, and let's do the same thing to this top piece. So geometry and DynaMesh we're probably going to need to go quite a bit higher because of how much small detail we have here. Got to get rid of this extra piece. So again, pretty high above 1K here in terms of my dynamite resolution just because I have so many small curves in here. Polish by features, and then I can run a Polish on the whole thing. Now, I come down to merge, merge downs, they're all part of the same object. So we can see here they're all unified together, and let's set the DynaMesh [inaudible] about 900. Before I'd do a big DynaMesh like this, I like to save my project. I haven't really been saving my files much because I just been exporting them. But I'd like to do is save if I'm going to be doing meshing two pieces together because you just never know when something's going to crash especially when you're working with millions of points like this. So I'm going to turn down the mesh off and I'm going to just make sure everything is unmasked. It looks almost like this button thing is masked, it's just so much higher resolution that aligns present makes it a lot darker. So I'm going to save this. Let's set the DynaMesh to around 500 and see if you can handle that. Seem to work pretty well, and then I'm just going to run a quick Polish and everything, and it blends everything together nicely. This is going to work really well for my high poly. Of course last step is decimation master preprocess, and then I find the default setting of about 20 percent decimation the one they leave on works pretty well for this. Decimate current and we can see we're now under half a million points with this whole thing. So I'm going to export this as body_high. I'm ready to move on to the last of my hi poly pieces.
