Add transcription for: frames_zips/HardSurfaceModelingBlender_DownloadPirate.com.part4_B_06_1_MeshDoctor_frames.zip

transcriptions/frames_zips/HardSurfaceModelingBlender_DownloadPirate.com.part4_B_06_1_MeshDoctor_frames_transcription.json

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+  "text": " Alright, so we've made it to the end. We've finished our modelling. Let's just take a moment to savor it before we realise two things. One, art is never really ever finished, merely abandoned. And two, there will undoubtedly be little bugs that we should check for and see if we can squash them before declaring it really the end. For example, on this footplating piece, zooming right in, we can see it looks like a small part of it is invisible. This is a classic bug and this is just the Boolean object for it and it's the very top modifier which will rename underscore T at the end and let's see if we can fix this by simply moving it lower in the modifier stack. Once it's below the mirror that actually looks like it's working well now. Let's move on to another thing we'll need to keep our eye on which is the poly count. We'll see it's into the millions as the readout shows at the top of the screen there. For a high poly model that's totally reasonable, however we shouldn't just throw hundreds of thousands of polygons away at odd little details. This is surprisingly easy to do though with our subdivision surface modifier. Let's see if we can detect such poly count anomalies and fix them. A good way to do this is to zoom way out and check the wireframe and just look for small completely black areas. The subdivision modifier is very easy to get completely out of hand, even on one small simple prop. With a few levels of subdivisions on this one object, we've managed to double our polycount of the whole scene. That's conclusive evidence that small things can make a big difference, and don't let anyone else tell you what the wire is. You'll also see how we can only see the wireframe on that now, it's so dense, so clearly we'll want to remove the modifier from those tiny details. To help us in our mission as mesh doctor we'll need some organizing. Some parts of the robot we've tried to keep together on one layer mostly grouped together by proximity so parts next to each other are getting grouped together basically and it looks like that top piece would be better suited living with the other top pieces in the layer that they live in so we can move them around using the M for move shortcut. The Boolean objects are on layer three and it looks like there are a a couple of objects there that are unnecessary and we can just delete them with X. And then a little more check in through the layers making sure objects are sensibly grouped together on a layer that makes sense. We have some objects that were useful for a while, whether they were proxies, stand-ins, prototypes, whatever the case, we can delete them and thank them for their service. A little tweak of one of the cables positioning on the cables layer. And also a good organization is to have good naming practices. Keep it clean and obvious, probably not best to go with underscore details, underscore rubber, underscore thingy, underscore 01, underscore 1B, underscore final. But with about 500 objects, there's gonna be a whole lot of.001 and.002 and so on. So don't worry about that. It also makes it easier to find and select areas too, since we'll be able to use a decent name search. Continuing on with some more subdivision checks, we want the view and the render to be equal, if the viewport can handle it anyway. That way what we see in the viewport will be what we get at render time. Something that can cause a real head scratcher as to why something may not be rendering is a checkbox that might be off in the cycle settings of the object tab in the properties window. These are per object, so each object could have its own unique setting here. We'll be wanting all of these on. In the render, it looks like not everything is sharing the same preview material, so we'll fix that by selecting everything and then choosing copy material to others in the material pull down options on the right. Assuming our cycle settings per object are set to render, we can also check we have everything we need enabled in the Outliner. A quick way to make the Outliner full screen is hover over it and go Ship Space. Another check we need to make is whether all the objects are mirrored, that should be. To fix anything that is missing, it might just be a case of making sure the mirror is lower in the modifier stack. We can see a little piece missing here. This object on the other side is missing its mirror modifier, so to fix this we can select it, Shift select one of the other objects and copy its mirror from it with Ctrl C, thanks to the copy attribute add-on. We can just select the mirror from the list and hit OK. Then we can just find any others and do the same again with Ctrl C. Sometimes the Auto Smooth setting is sharpening some edges we want as smooth, so we can check that we've completely smoothed the object in the tool shelf which we have. Next we can head over to the object data tab in the properties window and increase the angle until only the more extreme angles become hardened. Around 60 degrees seems to work quite well with this piece. Of course there will be a few last-minute geometry fixes required. Some objects next to each other might not quite have the right perimeter shape which we can tweak. we can create some extra loops to help with the shaping and we can take the edges and verts and slide them around and try some new positions to get them to cooperate. A little extra geometry will help with booleans too and this piece needs the boolean object cutting out so using the bool tool add on we can just select it, shift select the main panel piece and go control and numpad minus to subtract that shape. Then we can try something similar with the piece below this, just reshaping until the line feels like it matches the pieces to the right a little more closely. And then more of the same on the piece below that, sliding by double tapping G and then hitting C to constrain along that edge and then we can take that vertex beyond the original extents of its position. Here we'll take the sockets of these cables and wires that attach into this venting area and try to place them so that they fit even better. We can even adjust the radius to make them not quite as fat and they'll clip less against that entry point. Next we'll apply the mirror modifier on this piece and we'll enhance the asymmetry here. After that's applied we'll only make changes to this side so we'll select it and separate it into its own object with P. Then we'll hover over these parts and press L and then Ctrl I to invert it and then again P to separate that piece. We'll then press M to move that over to layer 20 so it's out of the way from here and we can make this entry point way deeper by selecting that piece and pressing G Z Z to move it on the local Z axis. With that done we can check the other side and just make a little tweak to the top edge to help that sit a little bit better while we're here. Next we want to check for holes in the mesh that we didn't mean to be there so in other words we don't want from some angles to be able to see right the way through this mesh. We'll split the view so that we can set one of the viewports rendering while we change the position of lamp in the other, so that it doesn't have such a sharp, sharp shadow to it, we can turn up the size. Also, we'll give this an obvious colour and crank up the intensity of it. Once we position it inside the robot, we'll start to see those areas where we're leaking, basically. This is not a watertight mesh, that's for sure. Seeing how this is only diffuse materials, we can just up the diffuse bounces of light, and that should make it a bit brighter overall, probably slightly faster as well. One One of the areas that has been exposed as a potential issue is this panel here, especially at the top. So we can try tucking that in a little better using O for the proportional editing tool and scaling the size of the brush up quite large with the middle mouse button. With that done, one of the simplest solutions to avoid being able to see through the mesh is to just build another very simple mesh that we actually already have on layer 14. So shift clicking that, we can see it. And then tabbing into edit mode, you'll see just how simple that actually is. And this has been designed to fit roughly inside and its only purpose basically is to just plug all those gaps. We know on a real robot, sort of inside, you'd have lots of internal machinery, blocking light coming through from the other side and so on. So this is basically just gonna act like that. To select that light, we'll now just hide objects with H until it becomes clear where it is. Once we can see it again, we can just select that and then just delete it. We've used light to help us. Now it's time to use shadow for the full Yin and Yang effect. So we can set the bounces down to zero for this. It'll help us find jagged, inconsistent edges and some gaps and overlapping faces. The parts here, for example, are quite close together, but the area here towards the bottom right has a larger gap. So starting with the lower area and with the proportional editing tool, we can try moving this bit of geometry just over just to close that gap there. And that's looking better now. A section here clearly has a very dark area where we have some overlapping faces. That's simply due to the position of the Boolean object, so it can tweak the position until that sits better. Now we can go hunting around the model for more dark areas. Here's another area with the sloped rounded vent cutouts. That's another Boolean operation, that with a little position change we can find a slightly better location for it, so that it doesn't generate those overlapping faces. Again, here is another part that due to the way the Boolean and Bevel modifiers are into playing, we have some overlapping faces creating more occlusion issues. With those tests done, let's move on to checking whether we can exaggerate any problems in the curvy large parts of the mesh. One easy way to do this is with a shiny matcap material, trying some of these and rotating around the view to watch the highlights move across the surface. We're basically looking for any shading that isn't to our tastes, any lumps and bumps sort of feel out of place. So on this front piece we can remove the creases here with Shift E minus 1. Adding in a few more loops with Ctrl R seems to be helping that general area. The piece below this could benefit from another few loops too, especially around the boolean object we have inserted in there. On the back it looks like there's a crease running along horizontally, that doesn't really need to be there, so we'll select that and remove it with Shift E negative one. The render test. We'll snap the camera into this position with control alt and zero on the numpad. This material is very simple, just a diffuse and glossy shader going into a mixed shader, the factor of which is just a Fresnel node. After a little positioning we can hit the render button. As the tile spirals around the screen we're looking for anything that strikes us as out of the ordinary. It doesn't take long to spot that. Apparently we modeled some spiky here for this thing, only except we didn't. And on the right side there is a long shadowy area where something appears to be missing. For the crazy spikes at the top, it looks like this object doesn't have the bevel modifier visibility showing in the view, so let's show it. And yup, that looks like the problem. Simple solution, we'll just delete that modifier. And it looks like the array modifier isn't doing anything for us here either, so we can free ourselves from its potential tyranny. As for this side piece, there are a couple of boolean modifiers and a shrink wrap modifier not visible in the view. Looks like they aren't actually doing anything we want anymore so we can just delete them. With that let's take a really good look around the render, hoping to spot any other issues. This is where looking at all those where's Wally images is going to pay off. After a good snoop about let's give it another render and check out if those changes have helped. Once the test results come back it looks like good news. In some parts we might need to break out some drastic measures. Make a commitment and settle down. For example investigating the unusual shading running across this mesh around the sloped event inserts. We can see if we turn down the angle to zero on our auto smoothing, that shading issue basically goes away. But we do introduce a new faceted problem into it of course. So let's get into the modifier stack and get making a more permanent commitment. We'll apply the subdivision surface modifier, the solidify modifier and the first boolean modifier. At the bottom we'll delete the bevel modifier, which immediately helps the shading a lot there. Moving that final boolean modifier up, we'll then delete the mirror and go alt C to essentially apply the remaining modifiers all in one go. Now that's converted, we can shift select another mesh that has some modifiers that we can safely add back, such as the mirror and bevel modifiers, only now we have more control over the topology. Let's go around and select all edges at the inside rim of these inserts. A quick way is to hit spacebar and search for the sharp angle select tool, which does a perfect job for us there. We can then easily go control E and mark those edges as sharp. And then on top of that, also go control E and then change the edge bevel weight up to a full one. There's still a little issue there, so let's try tweaking the global width on the modifier itself. We have something basically okay now, aside from a bit of a shading issue due to almost overlapping vertices, so we can slide this one into its neighbour and go W to remove doubles. It also looks like if we can contain this with another edge loop and join them up with J, we can reduce any poor shading even further. We can also dissolve some excess loops by alt clicking and then shift alt clicking to add to the selection and then press X. Switching over to sculpt mode, let's smooth out that hard edge going vertically down this piece. For a smooth brush we can have any selected and toggle the smooth tool just by holding down shift while we click over our mesh. Then we can get all therapeutic on this mesh and massage any hard tense angles right away. Once we feel like that's enough we can switch back out of sculpt mode. Next up there's a mirror seam down the central mirror line that would stubbornly resist any attempt to loosen up from a sculpt massage. We can apply this modifier if we like and then delete the internal faces at the center. Then we'll use our Ctrl E edges menu to clear sharp edges and set the edge weight to zero by selecting from the menu and then keying in negative one. Checking the shading reflecting in the light now shows our much smoother central line in that top front panel now. This corner robotic shoulder pad of sorts needs a little attention. Removing the bevel modifier helps a lot. Next we'll apply all of those modifiers in one go. Then we'll Shift select the neighbouring piece and go Ctrl C to copy the mirror and bevel modifiers across. Next we'll use our spacebar search menu to find the Select Sharp Edges tool. Then we can go Ctrl E to mark all those guys as sharp. Also we'll set the bevel weight up to 1 from the same menu. And also set the modifier limit to be the weight method. These large, almost flat faces will need to be completely flat to fix the shading there. We've got a few options but simplest is probably our Loop Tools add-on, which we'll find in our specials menu of course with W. Checking the reflection across that piece now shows the shading on that working much better. In a similar way on this top piece we can fix what the bevel modifier is doing by just applying everything, set the bevel and mirror modifiers and then select the sharp edges and in edge mode select any other edges that might have gotten missed that we want to manually give some bevel weight to. Then as we did before we can go ctrl E to make them as sharp and then again ctrl E to click on the bevel weight and set that as a full one. Once we change the bevel limit method over to weight that looks like it's shading a lot nicer now. Moving around the mesh after the modifiers have been enabled we can then also correct any bad geometry affecting shading like this section just sliding the extra vertices into their neighbors with W and then W to remove doubles from the specials menu. And while we're here let's dissolve that edge loop with X since we don't need it and to help with these edges we can give them some sharpness and bevel weight again using our I control E menu. There's a bit of a noticeable hard edge running vertically there. We can fix that by manually altering where those more vertical edges are connecting. So we can dissolve or slide around the ones we don't want or just cut in new ones or use J to join two selected verts. After that's done, just making sure we remove any verts sat on top of each other with W remove doubles. With that done, we edge ever closer to being comfortable enough to call all of this completed. Now on to our final procedure for fixing this thing up, ready to take on the world. For this last step we'll break out the smooth modifier, kind of like we did smooth sculpting across the mesh earlier, here we can apply the same kind of idea to the whole mesh. However, here we can be a little less destructive and a bit more choosy as to what exactly we are going to smooth. So let's start by selecting all the sharp edges in the mesh from the spacebar search menu. We'll then head over to the object data tab and create a new vertex group called smooth which we're going to assign these vertices to with a full weight of one. Let's go over to the modifiers now and then add a smooth modifier from the deform column. Move it to the top and crank up how much this repeats the smoothing operation up to about 15 or maybe even actually up to 25. It's looking really nice and smooth across the main surfaces now but the edges are a bit all a bit spongy though so this is why we created that vertex group so that we can leave the edges alone. We could do with an invert button on this though as we want to reverse all of this. No problem though we'll just set those vertices we have selected to a weight of zero and then invert our selection with control i and then set all those to a weight of one instead. Checking out the modifier now we still have a bit of a crease down the center since we didn't have them in our selection earlier. So adding them into it now and setting them to a weight of one should help that area smooth out perfectly well. Checking it out in object mode and it's looking much nicer now if we watch the before and after by toggling the visibility of the modifier. A repeat value of 25 looks like it's working pretty well. If we go too high with say 55 we get some other artifacts starting to creep in. So we'll just keep it at 25 for this piece. And that is it, we made it to the end. Hopefully you can see how this process and these techniques can help you create your own curious hard surface designs. And watch more, we can't wait to meet them. So from me and Gleb, thanks for joining us on this hard surface journey and we'll see you out there.",
+  "segments": [
+    {
+      "text": " Alright, so we've made it to the end. We've finished our modelling. Let's just take a moment to savor it before we realise two things. One, art is never really ever finished, merely abandoned. And two, there will undoubtedly be little bugs that we should check for and see if we can squash them before declaring it really the end. For example, on this footplating piece, zooming right in, we can see it looks like a small part of it is invisible. This is a classic bug and this is just the Boolean object for it and it's the very top modifier which will rename underscore T at the end and let's see if we can fix this by simply moving it lower in the modifier stack. Once it's below the mirror that actually looks like it's working well now. Let's move on to another thing we'll need to keep our eye on which is the poly count. We'll see it's into the millions as the readout shows at the top of the screen there. For a high poly model that's totally reasonable, however we shouldn't just throw hundreds of thousands of polygons away at odd little details. This is surprisingly easy to do though with our subdivision surface modifier. Let's see if we can detect such poly count anomalies and fix them. A good way to do this is to zoom way out and check the wireframe and just look for small completely black areas. The subdivision modifier is very easy to get completely out of hand, even on one small simple prop. With a few levels of subdivisions on this one object, we've managed to double our polycount of the whole scene. That's conclusive evidence that small things can make a big difference, and don't let anyone else tell you what the wire is. You'll also see how we can only see the wireframe on that now, it's so dense, so clearly we'll want to remove the modifier from those tiny details. To help us in our mission as mesh doctor we'll need some organizing. Some parts of the robot we've tried to keep together on one layer mostly grouped together by proximity so parts next to each other are getting grouped together basically and it looks like that top piece would be better suited living with the other top pieces in the layer that they live in so we can move them around using the M for move shortcut. The Boolean objects are on layer three and it looks like there are a a couple of objects there that are unnecessary and we can just delete them with X. And then a little more check in through the layers making sure objects are sensibly grouped together on a layer that makes sense. We have some objects that were useful for a while, whether they were proxies, stand-ins, prototypes, whatever the case, we can delete them and thank them for their service. A little tweak of one of the cables positioning on the cables layer. And also a good organization is to have good naming practices. Keep it clean and obvious, probably not best to go with underscore details, underscore rubber, underscore thingy, underscore 01, underscore 1B, underscore final. But with about 500 objects, there's gonna be a whole lot of.001 and.002 and so on. So don't worry about that. It also makes it easier to find and select areas too, since we'll be able to use a decent name search. Continuing on with some more subdivision checks, we want the view and the render to be equal, if the viewport can handle it anyway. That way what we see in the viewport will be what we get at render time. Something that can cause a real head scratcher as to why something may not be rendering is a checkbox that might be off in the cycle settings of the object tab in the properties window. These are per object, so each object could have its own unique setting here. We'll be wanting all of these on. In the render, it looks like not everything is sharing the same preview material, so we'll fix that by selecting everything and then choosing copy material to others in the material pull down options on the right. Assuming our cycle settings per object are set to render, we can also check we have everything we need enabled in the Outliner. A quick way to make the Outliner full screen is hover over it and go Ship Space. Another check we need to make is whether all the objects are mirrored, that should be. To fix anything that is missing, it might just be a case of making sure the mirror is lower in the modifier stack. We can see a little piece missing here. This object on the other side is missing its mirror modifier, so to fix this we can select it, Shift select one of the other objects and copy its mirror from it with Ctrl C, thanks to the copy attribute add-on. We can just select the mirror from the list and hit OK. Then we can just find any others and do the same again with Ctrl C. Sometimes the Auto Smooth setting is sharpening some edges we want as smooth, so we can check that we've completely smoothed the object in the tool shelf which we have. Next we can head over to the object data tab in the properties window and increase the angle until only the more extreme angles become hardened. Around 60 degrees seems to work quite well with this piece. Of course there will be a few last-minute geometry fixes required. Some objects next to each other might not quite have the right perimeter shape which we can tweak. we can create some extra loops to help with the shaping and we can take the edges and verts and slide them around and try some new positions to get them to cooperate. A little extra geometry will help with booleans too and this piece needs the boolean object cutting out so using the bool tool add on we can just select it, shift select the main panel piece and go control and numpad minus to subtract that shape. Then we can try something similar with the piece below this, just reshaping until the line feels like it matches the pieces to the right a little more closely. And then more of the same on the piece below that, sliding by double tapping G and then hitting C to constrain along that edge and then we can take that vertex beyond the original extents of its position. Here we'll take the sockets of these cables and wires that attach into this venting area and try to place them so that they fit even better. We can even adjust the radius to make them not quite as fat and they'll clip less against that entry point. Next we'll apply the mirror modifier on this piece and we'll enhance the asymmetry here. After that's applied we'll only make changes to this side so we'll select it and separate it into its own object with P. Then we'll hover over these parts and press L and then Ctrl I to invert it and then again P to separate that piece. We'll then press M to move that over to layer 20 so it's out of the way from here and we can make this entry point way deeper by selecting that piece and pressing G Z Z to move it on the local Z axis. With that done we can check the other side and just make a little tweak to the top edge to help that sit a little bit better while we're here. Next we want to check for holes in the mesh that we didn't mean to be there so in other words we don't want from some angles to be able to see right the way through this mesh. We'll split the view so that we can set one of the viewports rendering while we change the position of lamp in the other, so that it doesn't have such a sharp, sharp shadow to it, we can turn up the size. Also, we'll give this an obvious colour and crank up the intensity of it. Once we position it inside the robot, we'll start to see those areas where we're leaking, basically. This is not a watertight mesh, that's for sure. Seeing how this is only diffuse materials, we can just up the diffuse bounces of light, and that should make it a bit brighter overall, probably slightly faster as well. One One of the areas that has been exposed as a potential issue is this panel here, especially at the top. So we can try tucking that in a little better using O for the proportional editing tool and scaling the size of the brush up quite large with the middle mouse button. With that done, one of the simplest solutions to avoid being able to see through the mesh is to just build another very simple mesh that we actually already have on layer 14. So shift clicking that, we can see it. And then tabbing into edit mode, you'll see just how simple that actually is. And this has been designed to fit roughly inside and its only purpose basically is to just plug all those gaps. We know on a real robot, sort of inside, you'd have lots of internal machinery, blocking light coming through from the other side and so on. So this is basically just gonna act like that. To select that light, we'll now just hide objects with H until it becomes clear where it is. Once we can see it again, we can just select that and then just delete it. We've used light to help us. Now it's time to use shadow for the full Yin and Yang effect. So we can set the bounces down to zero for this. It'll help us find jagged, inconsistent edges and some gaps and overlapping faces. The parts here, for example, are quite close together, but the area here towards the bottom right has a larger gap. So starting with the lower area and with the proportional editing tool, we can try moving this bit of geometry just over just to close that gap there. And that's looking better now. A section here clearly has a very dark area where we have some overlapping faces. That's simply due to the position of the Boolean object, so it can tweak the position until that sits better. Now we can go hunting around the model for more dark areas. Here's another area with the sloped rounded vent cutouts. That's another Boolean operation, that with a little position change we can find a slightly better location for it, so that it doesn't generate those overlapping faces. Again, here is another part that due to the way the Boolean and Bevel modifiers are into playing, we have some overlapping faces creating more occlusion issues. With those tests done, let's move on to checking whether we can exaggerate any problems in the curvy large parts of the mesh. One easy way to do this is with a shiny matcap material, trying some of these and rotating around the view to watch the highlights move across the surface. We're basically looking for any shading that isn't to our tastes, any lumps and bumps sort of feel out of place. So on this front piece we can remove the creases here with Shift E minus 1. Adding in a few more loops with Ctrl R seems to be helping that general area. The piece below this could benefit from another few loops too, especially around the boolean object we have inserted in there. On the back it looks like there's a crease running along horizontally, that doesn't really need to be there, so we'll select that and remove it with Shift E negative one. The render test. We'll snap the camera into this position with control alt and zero on the numpad. This material is very simple, just a diffuse and glossy shader going into a mixed shader, the factor of which is just a Fresnel node. After a little positioning we can hit the render button. As the tile spirals around the screen we're looking for anything that strikes us as out of the ordinary. It doesn't take long to spot that. Apparently we modeled some spiky here for this thing, only except we didn't. And on the right side there is a long shadowy area where something appears to be missing. For the crazy spikes at the top, it looks like this object doesn't have the bevel modifier visibility showing in the view, so let's show it. And yup, that looks like the problem. Simple solution, we'll just delete that modifier. And it looks like the array modifier isn't doing anything for us here either, so we can free ourselves from its potential tyranny. As for this side piece, there are a couple of boolean modifiers and a shrink wrap modifier not visible in the view. Looks like they aren't actually doing anything we want anymore so we can just delete them. With that let's take a really good look around the render, hoping to spot any other issues. This is where looking at all those where's Wally images is going to pay off. After a good snoop about let's give it another render and check out if those changes have helped. Once the test results come back it looks like good news. In some parts we might need to break out some drastic measures. Make a commitment and settle down. For example investigating the unusual shading running across this mesh around the sloped event inserts. We can see if we turn down the angle to zero on our auto smoothing, that shading issue basically goes away. But we do introduce a new faceted problem into it of course. So let's get into the modifier stack and get making a more permanent commitment. We'll apply the subdivision surface modifier, the solidify modifier and the first boolean modifier. At the bottom we'll delete the bevel modifier, which immediately helps the shading a lot there. Moving that final boolean modifier up, we'll then delete the mirror and go alt C to essentially apply the remaining modifiers all in one go. Now that's converted, we can shift select another mesh that has some modifiers that we can safely add back, such as the mirror and bevel modifiers, only now we have more control over the topology. Let's go around and select all edges at the inside rim of these inserts. A quick way is to hit spacebar and search for the sharp angle select tool, which does a perfect job for us there. We can then easily go control E and mark those edges as sharp. And then on top of that, also go control E and then change the edge bevel weight up to a full one. There's still a little issue there, so let's try tweaking the global width on the modifier itself. We have something basically okay now, aside from a bit of a shading issue due to almost overlapping vertices, so we can slide this one into its neighbour and go W to remove doubles. It also looks like if we can contain this with another edge loop and join them up with J, we can reduce any poor shading even further. We can also dissolve some excess loops by alt clicking and then shift alt clicking to add to the selection and then press X. Switching over to sculpt mode, let's smooth out that hard edge going vertically down this piece. For a smooth brush we can have any selected and toggle the smooth tool just by holding down shift while we click over our mesh. Then we can get all therapeutic on this mesh and massage any hard tense angles right away. Once we feel like that's enough we can switch back out of sculpt mode. Next up there's a mirror seam down the central mirror line that would stubbornly resist any attempt to loosen up from a sculpt massage. We can apply this modifier if we like and then delete the internal faces at the center. Then we'll use our Ctrl E edges menu to clear sharp edges and set the edge weight to zero by selecting from the menu and then keying in negative one. Checking the shading reflecting in the light now shows our much smoother central line in that top front panel now. This corner robotic shoulder pad of sorts needs a little attention. Removing the bevel modifier helps a lot. Next we'll apply all of those modifiers in one go. Then we'll Shift select the neighbouring piece and go Ctrl C to copy the mirror and bevel modifiers across. Next we'll use our spacebar search menu to find the Select Sharp Edges tool. Then we can go Ctrl E to mark all those guys as sharp. Also we'll set the bevel weight up to 1 from the same menu. And also set the modifier limit to be the weight method. These large, almost flat faces will need to be completely flat to fix the shading there. We've got a few options but simplest is probably our Loop Tools add-on, which we'll find in our specials menu of course with W. Checking the reflection across that piece now shows the shading on that working much better. In a similar way on this top piece we can fix what the bevel modifier is doing by just applying everything, set the bevel and mirror modifiers and then select the sharp edges and in edge mode select any other edges that might have gotten missed that we want to manually give some bevel weight to. Then as we did before we can go ctrl E to make them as sharp and then again ctrl E to click on the bevel weight and set that as a full one. Once we change the bevel limit method over to weight that looks like it's shading a lot nicer now. Moving around the mesh after the modifiers have been enabled we can then also correct any bad geometry affecting shading like this section just sliding the extra vertices into their neighbors with W and then W to remove doubles from the specials menu. And while we're here let's dissolve that edge loop with X since we don't need it and to help with these edges we can give them some sharpness and bevel weight again using our I control E menu. There's a bit of a noticeable hard edge running vertically there. We can fix that by manually altering where those more vertical edges are connecting. So we can dissolve or slide around the ones we don't want or just cut in new ones or use J to join two selected verts. After that's done, just making sure we remove any verts sat on top of each other with W remove doubles. With that done, we edge ever closer to being comfortable enough to call all of this completed. Now on to our final procedure for fixing this thing up, ready to take on the world. For this last step we'll break out the smooth modifier, kind of like we did smooth sculpting across the mesh earlier, here we can apply the same kind of idea to the whole mesh. However, here we can be a little less destructive and a bit more choosy as to what exactly we are going to smooth. So let's start by selecting all the sharp edges in the mesh from the spacebar search menu. We'll then head over to the object data tab and create a new vertex group called smooth which we're going to assign these vertices to with a full weight of one. Let's go over to the modifiers now and then add a smooth modifier from the deform column. Move it to the top and crank up how much this repeats the smoothing operation up to about 15 or maybe even actually up to 25. It's looking really nice and smooth across the main surfaces now but the edges are a bit all a bit spongy though so this is why we created that vertex group so that we can leave the edges alone. We could do with an invert button on this though as we want to reverse all of this. No problem though we'll just set those vertices we have selected to a weight of zero and then invert our selection with control i and then set all those to a weight of one instead. Checking out the modifier now we still have a bit of a crease down the center since we didn't have them in our selection earlier. So adding them into it now and setting them to a weight of one should help that area smooth out perfectly well. Checking it out in object mode and it's looking much nicer now if we watch the before and after by toggling the visibility of the modifier. A repeat value of 25 looks like it's working pretty well. If we go too high with say 55 we get some other artifacts starting to creep in. So we'll just keep it at 25 for this piece. And that is it, we made it to the end. Hopefully you can see how this process and these techniques can help you create your own curious hard surface designs. And watch more, we can't wait to meet them. So from me and Gleb, thanks for joining us on this hard surface journey and we'll see you out there."
+    }
+  ]
+}