In this video, we're going to continue blocking in pieces, next moving on to the eyes swivel piece. So we can see from our images here on our back section of the PRF board, what we have to make is a couple of separate pieces. This little middle part that says Fujinon on it, I'm going to leave this alone for now. We're going to have to build this into this cam piece on the binoculars. What I'm really concerned with right now, are the eye cups, the lenses, and then these transition pieces. Often, the hardest thing about modeling something like this is just understanding it. Well, we can see is that there's a pivot somewhere in here that lets you rotate them in towards the center and outside because everyone has slightly different distance between their eyes, and they want to make sure that binoculars work equally well for everyone. So we see here that it can go into a low position like this. For instance, these are straight down or a more natural relax position out to the side. So for us, being able to get this object to move and slide back and forth, it's going to be really essential, as well as getting some of these interesting curves here that look challenging but are actually a little easier than they seem. So let's take a look at what we have here for the eye stocks. We have something pretty simple but we're missing a lot of the key features of the object. I'm going to delete one of these to get it out of the way. I'm going to hide everything but this piece in all of these views. So this top view gives us a lot of clues about where things stop and end and in fact, where we need to transition into the flat part of this. So this little piece here, that's the transition piece, worked well for our initial block in. But I want to build something a little nicer. So I'm going to leave this and take another look at this top view. We see it comprises of a few pieces. We've got this flat to the side area where it's perpendicular along here. It seems to taper in along all the angles. Then, we have this transition here, this little slope. Often understanding modeling is really understanding light and trying to understand from as many views as possible, why is it making these changes and the why light is reflecting off of it, because that's ultimately what we're trying to recreate in our final piece. So I'm going to take this face here and we're going to go ahead and duplicate it. We move it a little further away just to give us enough space to work with, and I'm going to extrude it. Let's hold vert snap and pull it a little further away and I want to give enough space for that little divot in between these two, so right about there. So I'm going to take these two pieces. I'm going to select the pieces I have here. Let's do a quick isolate select to get it out of the way. What I want to do is take half of this circle here and pull it up before I scale anything out. So first I'm going to take this back piece, I'm going to scale it out a little bit in this direction, get that sense that it's widening as it goes. Then, I take these two verts to the middle, shift right mouse and connect components to put these together. This means if I drag this up now, I can get that slope piece that I'm looking for, the angle exactly that I want. So I'm dragging up till it about hits that spot right here, right at the top. Then, I can take all these and pull them back, turn off isolate, select, hold my vert snap key for V, and it gives me this basic piece right here. This phase here as you can see is completely black, whereas the other ones are all gray. This one got flipped because we duplicated it from another surface. So we actually are looking at the backside of it. We can fix that by shift, right mouse, face normal, reverse normal is on it, conforms everything, nice for us. Let's do a quick check on this and the side view and say does it feel like it has the overall right profile? Of course, if we move this into place, it's feels like it fits a little bit better here. I want to make sure it hits on all angles. Then, I actually want to give this object a pivot that feels more like it's rotating along this object. Now, since there's a round curve here and there's a round curve here, I'm going to surmise that probably what's happening is the pivot is somewhere right in here. So I'll hit D, hold V and snap it up till this line right here, then vert snap it into the back. This means when I want to rotate it, it's going to rotate from the place that the object itself should rotate from. It's going to be important for positioning it later, as well as for animating it. The next part I need to get is this sense of this flatness along here. It seems to go from a narrower point out to a wider point and then flatten along it. So I feel like it's about I need to get rid of some of these edges here, helping me flatten everything out. I want it to be about four edges across here, and then another additional edge along here. So after that, I'm going to delete these edges and then I'm going to start connecting some verts. So I'm going to go from this vert to this vert, connect component, do the same thing on the other side. Then, I need the sense that this comes up in between and it's going to slope over. I'm going to fix some of these other pieces in a second. Take these verts, lift them up to create a smoother transition, and then I can use my bevel edge. Just do one segment here to get a better transition there. Then, I can do a soft and harden edges on the whole thing. Let's do a little clean up. Third target weld tool, then I can take these edges running along here, control, right mouse, two edges, two edge perimeter, and let's do a harden edge in all of those. So we're getting a much stronger sense of that kind of shape. We're going to play with this a lot more, especially in a high poly to get this definition exactly right. But for what we have right here, this is a nice readability too. It's certainly reads like the shape what we see here.
