In this lesson, we will continue to create detail on this Ghostbuster trap, so in the previous one,
we did some beveling of the edges.
Let's finish that up a first.
I noticed that at some point my model got uncensored.
You can see that it's not totally centered up here.
So all I need to do that happens is hold down spacebar, click in the middle here, go to my right view
and I can see that it is not lined up with the handle.
So I can just hold down X and with the move tool selected, I can just snap it to the middle.
So now that I can tell that it is set it up with everything and we're ready to continue.
So if anything like that happens, it's no big deal.
You know, just figure it out and snap it back to the center.
You can, you know, change the pivot if you need to, all that kind of stuff.
So don't feel like you're always stuck or, you know, you can't, you know, change something or whatever.
You know, it's just a matter of getting comfortable with these tools and starting to use them.
So one thing I want to do is add this type of a Bevell here to more areas quickly.
So it looks like maybe that's what I did.
I middle mouse dragged this while the well, I had the manipulator tool selected is probably how I got
off centered.
So just be careful about that and you can always fix that.
So let's select the edges here.
Right.
Clicking Going up to edge and we will go through and shift select the edges that we would like to bevel
and double clicking.
It looks like I accidentally didn't have reshift held down.
So hold on shift and just double clicking these in these corners.
I'm going to do the bottom corner separate because I want those to have a different kind of Bevell Andsnes
to this one as well.
And this one.
And these might not be super clean because we're doing them separate from the sides, ideally we do
these together because their intersection might be kind of dirty.
So we'll see if that works at all.
If it doesn't, we can just skip that.
And, you know, you can undo the belt from earlier and get back to that.
So now we have that selected.
We can go to Bevell and.
Yeah, you can see on these corners, if we don't do this together, then they're kind of wonky a little
bit.
We can always fix that if we need to.
And it looks like I missed one edge here as well.
So let's go back to Bevell and then let's go to the Polly Bevell input here that we created.
We can hit T to bring up the options here if we like, and resize this to make it more clear.
And let's go to a higher fraction here and add at least one segment and it's going to object mode so
we can see that and deselect it looks like it did a pretty good job.
The only thing we need to fix down here is this kind of intersection.
So if you know, you happen to do these Bevell separately and there's some wonky thing like this, you
know, this is modeling.
This is, you know, creating things on the fly, making different decisions and then fixing things
when they're not working.
So what we can do is just add a little multicultural here and we can add that edge and we can do that
to the bottom here as well.
And hit enter and if I go to the verb to see.
Mode here and zoom in here just so I can hit, have to have something to focus in on, we're so close
to it that it's kind of hard to see.
Let's go to the edge mode and let's just delete these edges that we don't need.
Actually, we need these.
And the center, some control clicking and dragging those.
So now I'm going to go shift right, click delete EDG.
And now we have that.
So let's go to the vertex mode and just drag this up, and if we want to make it precise, we can go
to a camera view that's orthographic so we can see it in line with everything else and we can just drag
it up.
So it's in line with this line here.
We could also vertex snap it, holding down V and now we know it's in line.
We can see the ones down here also need to be fixed.
I'm going to leave that for now and let you fix that if you'd like.
But that's how you fix, you know, intersection like intersections like that.
It looks like that one needs to be fixed as well.
So I'm just holding on spacebar and clicking in the center to get to the right camera and holding down
V to drag that to the right spot.
And then going back to perspective with the holding down space bar dragging, clicking and dragging.
So that's how we fix intersections like that.
When that thing occur, when something like that occurs.
And again, that's just part of modeling being flexible because you say you had a supervisor and now
they want to add more bevels and you've already done all this beveling.
You know, things don't happen perfectly from one step to another.
So you need to be able to adapt to know the tools well enough to adjust the model as needed.
And again, I'm going to leave that one now for time's sake.
It looks like we need to do that on every corner.
But for time's sake, let's just leave that and let's look at these edges here.
I want to just select the corner pieces and I want to I want it to go all the way to the edge there
on the inside.
So let's control click these select areas that we don't need and double check that we have everything
selected.
Now, let's get the side as well, just double clicking and control clicking it to deselect oops, looks
like I zoomed out in the wrong spot.
So one thing I just did sorry, it's a habit.
I'm used to using these tools, so I'll have to slow down here.
I'm not entirely sure what just happened.
The View just went away.
So the first thing I did was hit the bracket button on the keyboard.
And so that'll just go back to your previous camera view.
And so we can toggle between wherever the camera went.
I'm not entirely sure I might have hit a which is frame everything and you know, who knows why it went
that way.
That's just part of working in 3-D sometimes.
But yeah, just hit bracket and you can get back to the previous camera view if you're ever, you know,
missed where you went or something like that.
Things go haywire sometimes.
And yeah, you know the tools well enough.
It's not that big a deal to just get back to where you were.
OK, so we have those done.
So I did those separately because I want to go back to Polly Bevell here at TI.
We can also do it from this menu.
But I just like it just looks better to me to use this one floating one.
Let's increase the fraction.
And I did this separately because I wanted to do these separately.
And it looks like we're going to be prohibited by this interior piece here.
So it's it's getting stuck right here.
I can't go any wider than that.
So let's undo this.
And we have the selection.
Instead of remaking the selection, let's create a quick select set.
So that's just a way that we can get that selection back without having to redo that all over again.
So we'll go to create go down to sets and quick select set and we'll just say level edges.
We don't even have to name this because we'll probably just delete it here in a minute and we'll say,
OK, so now we can select it and we can say that selection for later.
So let's delete these kind of edges here
so that we can have a greater range in the Bevell.
And again, you know, this is may seem like tedious work, but this is just modeling.
This is part of modeling if you want to get into modeling.
Well, what's happening here?
If you want to get into modeling, this is just part of modeling to, you know, like I was saying a
minute ago, to kind of run into problems and then solve them.
So we have all those selected.
So hit shift, hold down shift and right click get to delete edge.
So now when we go to the bevel edges.
Let's just go to select quick, select sets of pledges now we had a selection, so we learned something
in that process of problem solving.
So now that we have that, we can go back to the Bevell tool and when we pull the fraction here.
We should be able to go a lot further.
Oh, no, we're stuck by those, so I think what we have to do here is because we're still stuck by
this these interior pieces.
We are going to have to create.
Or sorry, we're going to have to deselect this line here, so let's just undo this and control drag
that.
So, again, you know, any time I'm modeling something in my head, I have an idea of how it should
work, but, you know, it's not entirely certain that's going to be the case.
So let's go to Polly Bevell now.
Here we go.
So let's zoom in and.
Let's see if we can increase the segments here.
And.
Let's go to object mode and see how that looks.
It's looking pretty good.
So one thing you might notice is this kind of line here.
And I think that's because we don't have the geometry here to support this area.
So one thing we can do is go to the multicar tool and click here and go to the edge.
It's missing.
Do the same for this side.
And now when we go to the object mode and click off, still there, I mean, not as bad.
So now we have the corners beveled here.
Let's move on to creating the panel on the right side.
So let's go and create a new object.
We'll go to poly modeling shelf, create a cube, bring it up.
Most things that ever start to get modeled in Maya, start with a cube or sphere or something like something
simple, and then you add complexity to it later.
So I'm just using the scale tool to change the size and get it roughly in the right spot.
So we can just actually we can do the same thing that we did before.
So don't hold down D and V and Vertex, snap it to the edge, to its farthest edge, and then go back
to the manipulator mode and then hold down V with just the normal move tool and it'll snap right to
that face.
And so now also, when we scale it, it should scale from that face.
We don't have to worry about it, like going inside of the inside of the trap itself.
And this is important to do to have a separate piece, because when we add materials later, we want
to have a different object.
You can see over here, it's called P Cube three, and we can start naming these things if we want to
to clean this up.
But basically, this is a separate object.
We can see it in the outliner.
So we know it's a separate object.
So it can have a different material, because if we look at the reference, this is a kind of aluminum
metal and this is like a painted black or something.
So it's good to have those separated out.
OK, so let's go to the edges here.
Let's right click go to edge mode.
I'll just select everything and Bevell everything together.
And if we go back I can click it here, but I like to go back to the custom shelf.
So she's everything a little organized and go to poly level and let's just increase the segments to
two.
And right click to go to object mode and clicking and dragging, of course, to the object mode option
here.
And let him go.
So now we have that.
Let's look at creating the the screws here, we have these kind of semicircular ends that go in and
then this looks like a cylinder type of a screw.
So let's create this and show you one other tool called a boolean.
So let's go to the poly malling shelf, create a sphere, and let's just group all of this and some
shifts, selecting everything in the outliner and hitting command.
And that will group everything we can call this trap or Gbps trap.
And hit enter and now I can with that selected, I can hit command H or sorry I can control age and
then I'll hide it.
So now I can focus on what I'm working on here.
You can see kind of graded out here so we know it's hidden.
And to get that back we can just hit shift H.
OK, so with this fear, let's create its screw and set here.
So let's scale this down, hitting our scale it down and I want to select all the faces on the outside
here.
So I'm going to click and drag and select all those faces.
I'm going to go to the custom shelf and go to extrude and with faces together off, I'm going to increase
the thickness and I'm going to hit the little pie chart here to make that go slower.
And I can actually look at this from a top down view, holding down space, clicking and going to top
view.
And I can see how far out I want this to actually affect the screw head here.
So something like that.
I think I'm gonna go back to perspective and right.
Click to Object Mode.
Hit the R for scale and scale up and the Y here, drag this down and we want this to go in as far as
we think we need the screw to go.
So maybe pretty far, something like that.
We can get a wireframe mode waiting for.
I can see it doesn't go all the way to half.
So, you know, because this is sticking out at least half, it's more pancake shape.
We could actually just go ahead and do that with the sphere.
Let's go into the right view and let's go to face mode.
Right.
Clicking on the sphere and going to face.
And also, if that ever happens, we're actually going to move mode.
And now you're in a whole new menu.
You can just hover back over the one were in the little greyed out here and we'll go back to that menu.
Or you can just let go of right click while you don't have anything selected.
And I'll get you back to this.
So let's go to the faces, click and drag all the faces below the half.
Here we can see this is kind of our ground, plain or zero.
So we can hit just delete on that four faces.
You don't have to do anything special.
You can just delete them with the delete button on the keyboard.
So let's go back to object mode and then we can scale this down, hitting our scale this down to be
more pancake shaped.
Now we can move this down to be something like this.
We don't want to go all the way through, so we want to leave a little gap here at the bottom.
So let's go back to perspective, holding down space bar and then let's have five to go back to shaded
and with the sphere selected here and then this one selected, we can go to mesh bullion and booleans
are basically a way to subtract or add one object to another.
So now that we have that done, we want a difference.
So let's click that and boom, we have a difference and we have our screw.
So that's super helpful.
You don't have to model every little corner and it's like, you know what, these edges on a sphere,
how do you actually even get that?
So it's nice to have a boolean every once in a while.
They can they can be kind of wonky and you do have to select things in the correct order.
So if I didn't do it in that order, if I selected, let me queue to get back to my tool.
And sometimes my mind has a little buggy thing where I need to shake the viewport a little bit or use
the viewport and it'll let me start use tools again.
So you might run into similar bugs when you're using it.
So I'll shift select in a different way.
Now you can see it does the reverse, so you want to make sure you're selecting it in the proper order
and that you're using the right boolean.
And that's why I tore off the menu here, because it's nice to have it case you screw up to, you know,
just go ahead and use it again and again so we can close that out.
We have this made and now let's bring our trap back.
And also, now that we're looking at the Aulani, you can see it creates all this history when you do
a boolean.
You know, if we look at the input over here, we deleted the faces.
So it says delete component.
We extruded.
You know, it's combining the inputs from the two pieces and then you have this boolean.
So it gets really messy and then it creates these empty shapes and those are quite useless and can actually
be harmful in the future.
So when you do a boolean and you know you've you've done it and it's you know, you're done using it,
it's good to go ahead and clean up that piece of geometry and delete the history.
So go to edit, delete by type in history.
You want to make sure you do not do delete all by type.
When it says delete all, it means everything in your scene, not just what you have selected.
So this is a very important distinction right now.
These are not the same thing.
OK, delete by type is what you have selected.
Delete all by type.
Is everything in your scene we just want to do it.
We have selected so we're going to go to delete by type and go to history and you see all those inputs
are gone and all those empty groups over here are gone.
So it's much cleaner to do once you do a boolean like that.
So let's click this and it shift to bring it back and hide it and click the sphere here and let's bring
it over and rotate it 90 degrees by clicking.
That's typing it in in the channel box.
And let's vertex snap on the pivot holding down down to the bottom here so then we can vertex snap holding
down B to the front face of the object.
So now we can slide it around knowing it's on the front.
And because we have aimbot inclusion on up here, we can see it kind of has a shadow effect around.
So we know, you know, kind of where it is in space a little better.
Most of it just going to say real quickly, because it's doing crazy things any time, Miles, doing
crazy things.
That's good to save.
And of course, you can follow along with all these lessons in the according numbered scene.
So we're a number four right now.
So you can pick up where we left off there and use the same model in the same scene.
So I'm just going to bring that up here somewhere and scale it down.
And that works pretty good for me.
So now we've started to add this panel and we can add a couple more details, like these cylinders are
something super easy to do.
Let's just create a cylinder and bring it over, rotate it down 90 degrees.
So I like to do it here first.
So it tells me which axis I'm doing it axes.
I'm doing it over here.
So then I know which one I need to type it into up there.
The other thing I want to do is add more subdivisions to the caps.
So I'm under on toggle down the input here for the cylinder and go to subdivision caps and just say,
you know, let's just say three for fun.
And the reason I'll show you here in a second, because we need to adjust the model a little bit and
drag this out, scale it down, move it over, move it up, do all this fun stuff that's, you know,
how to do now.
And let's just scale it down and then drag it out and see how they're kind of far apart and maybe a
little thicker.
One really interesting thing is isolating where you're scaling from.
This is something I use all the time.
And I didn't know years later until I was using my ISO into using my I didn't know that.
So so say I want to scale the radius of this thing.
You know, I could do this and then I could do this and I could do this and do this.
And I'm not entirely sure if it's keeping the right circle shape.
So, you know, if I don't want to scale in this direction, but I want to scale and the other two directions
I'll have to do is it control and click and use that.
And now it's isolating those other two ones.
You can see those the red and blue things are going up and down.
But the one I'm clicking on isn't is a huge, huge, helpful little tip that took me a couple of years
to figure out.
And now, you know, in the first, you know, hour of learning mile.
So this is the benefit of taking these kinds of classes.
You can learn what took me quite some time to learn.
So the next thing I want to do is going to edge mode.
And the reason why we of these caps is I'm just shift and double clicking them to to get the edge loops
is if you look here, you can see it kind of has this beveling that we can actually bevell it if we
wanted to.
But let's just have a little more control over it in our own way and scale.
Lupe's scale, these to edge loops and a little bit.
And it does pretty much the same thing.
So now we've added that detail ourselves and we could even go further and beveled these two edges,
now that we've done the kind of larger move, why don't we just select these shift clicking, double
clicking and then if we go to Bevell.
And I want to look super rounded out somewhere to reduce the fraction quite a bit.
And right, click and go to object mode so I can kind of see it looks a lot better and I'm going to
duplicate this by hitting Kamandi on the keyboard and the manipulator tool by hitting W and his drag,
another one down.
And now we have those two red things that are knows what they are, onsides Ghostbuster trap.
So you can also see we have another screw down here in the bottom.
Right.
So let's just duplicate this command and we'll just drag this down and over here.
And now we have that, so the next thing we're going to do is create the knob here that's in the centerpiece
and you can see it has these kind of ribs around that is going to create a we're going to need a special
type of technique to model that in a repeating pattern over a kind of curved surface.
And so in the next lesson, we'll cover that and add more detail to this.
Thanks for watching and hope you learned quite a bit in this lesson.
All right.
See you then.