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Deke's Techniques
Illustration by John Hersey

018 Adjusting 3D light sources


From:

Deke's Techniques

with Deke McClelland

Video: 018 Adjusting 3D light sources

In this movie, I am going to show you how to adjust 3D light sources inside Photoshop CS5 Extended. Now, it's a little bit tricky, as you're about to see, and it's the kind of thing that will become easier as you gain more experience with the program, but it's incredibly important. Just as photography is ultimately the art of capturing light, so, too, when you're trying to create a natural credible 3D scene inside of Photoshop, the success of that scene really hinges on how you light it. So I am going to be showing you ultimately three things: how to convert the default infinite lights that Photoshop gives you to more dramatic spotlights, how to move lights in 3D space-- that's the tricky part--and then finally, how to adjust the softness of shadows.
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  1. 18m 1s
    1. 336 Drawing a hand (clenched in a fist)
      11m 44s
    2. 337 Cleaning up a sketch captured with a phone
      6m 17s
  2. 10h 39m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
    53. 334 Straightening and “uncropping” a photo
      16m 17s
    54. 335 Restoring a missing photograph detail
      11m 26s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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Deke's Techniques
56h 1m Intermediate Jan 11, 2011 Updated Jul 29, 2014

Viewers: in countries Watching now:

This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.

Subjects:
Design Raw Processing Design Techniques
Software:
Illustrator Photoshop
Author:
Deke McClelland

018 Adjusting 3D light sources

In this movie, I am going to show you how to adjust 3D light sources inside Photoshop CS5 Extended. Now, it's a little bit tricky, as you're about to see, and it's the kind of thing that will become easier as you gain more experience with the program, but it's incredibly important. Just as photography is ultimately the art of capturing light, so, too, when you're trying to create a natural credible 3D scene inside of Photoshop, the success of that scene really hinges on how you light it. So I am going to be showing you ultimately three things: how to convert the default infinite lights that Photoshop gives you to more dramatic spotlights, how to move lights in 3D space-- that's the tricky part--and then finally, how to adjust the softness of shadows.

And over time we'll take this scene that we've managed to create so far, with these very hard shadows--notice that-- to this much more dramatic scene I think, with these softly dropping off shadows that also do a great job of communicating the texture in your materials. All right! So I am going to switch to our image at hand here. I am going to go ahead and press the F key in order to switch to the Full Screen mode, so that I have a lot of room to work, because I am going to need it, because your lights are going to be way out there. Then I am going to press Shift+Tab to bring up my right-side panels and double-click on the thumbnail for my 3D layer in order to bring up the 3D panel.

Notice down here at the bottom, I've got a handful of lights, three lights in all. These are the default lights that Photoshop gives you, and they are all infinite lights, as you can see. I've got one of them turned off currently. Now, first thing I need to do is go ahead and switch out of Ray Tracing, because if I try to edit my lights while Ray Tracing is on, then I am going to have a ton of delays. So I'll go ahead and scroll up to the top of the list, click on Scene, then change the Quality Setting from Ray Traced to Interactive (Painting). All right! Next, I am going to go ahead and scroll down the list and click on the final light, Infinite Light 3, and I am also going to turned off Infinite Light 1, just so I can focus on this one and only one light, so I can figure out what I'm doing here.

Notice if I go ahead and switch to one of the lighting tools--so this is the Light Rotate tool by default, and this will be the fourth tool in the list. That's where your Lining tools are. Go ahead and click on that guy in order to make it active, and you will see your light sources out here in the Image window. I am going to go ahead and collapse the Layers panel here so I have a little more room to work, and this guy, I am not even sure where it is. Oh, it's this one right here, and I can tell because it's the only one that's turned on. It has this ray coming out from it, which shows me that it is the active light right now.

I am going to go ahead and switch the Light Type from Infinite to Spot, so I have got a spotlight going, and spotlights give you the best interaction when you're working with them, inside of the Image window. So that you can see how they're actually hitting the object itself. You can see how the light is ultimately intersecting with the object to a point. Now, we are not getting too much light on the scene. We'll address that in a moment. Let's go ahead and increase that intensity value from 0.3 to 0.6, and I'm also going to change the softness. So, I'll click on the word Softness there to highlight that value, and I'll change it to 22%. These are just values that I came up with as I was working inside the scene.

Feel free to go your own way. Then I'll press the Enter key to accept that setting. Now this guy is way out here, over to the side. I am going to have to zoom out a little farther to even find it. There is my spotlight, and right now I have got my Light Rotate tool. And so I can drag around in order to rotate that light if I want to. I can also try to move it using one of these tools up here, either the Drag tool or I can use the Slide tool instead. And Drag, as you may recall, that tools can let you move the light back and forth, so left and right, as well as up and down.

So I will go ahead and try to drag it around and see what I come up with. That's better, but I really want it to be highlighting the left side of the scene. So I am going to try using the Slide tool for a moment here, and I'll go ahead and drag it either forward in order to bring the light out, or I could move upward in order to bring the light in, like so. You can also use this widget if you want to, either by dragging on the cones in order to move the light, or you can drag on these little arcs right here in order to rotate the light. What I am going to tell you is that you'll get a lot of use out of the X-rotate, which is the red one, and the Z-rotate, which is the blue one.

Those are going to produce pretty big effects. You are not going to see much if you use the Y-rotate, which is the green one, because you are just basically rotating the light around in a circle there. Anyway, I came up with some numerical values, just to try to get the same results. So with either the Drag or the Slide tool selected here, I'm going to change the X value, for starters, to 400, and I will press the Enter key to accept that value. I'll click on Y to make it active, and I will change this value to -700, and press Enter again, and then I will click on the Z value and change it to -50.

And I'll end up getting this placement right here. Now, the light is not rotated in the right position, so I will switch over to the Rotate tool here in the options bar, and then I'll click on the X value once again. It's a little bit ponderous, I have to warn you, but if you've ever lit a real-life scene, you know how much time you spend doing it. I'll go ahead and change that X value to 0 and press Enter once again. I'll click on Y, and I will change that guy to 1200, and then I'll click on Z, and I'll change this one to -600, and in case you're wondering where in heck I got these values, of course, trial and error. I just worked with the scene in order to figure this out. All right! Now, let's go ahead and turn on what is called Infinite Light 1.

We are going to switch it to a spotlight. I'll go ahead and click on the eyeball to turn it on there, and there is that light. Let's go ahead and switch it out to a spotlight as well, like so, and its Intensity is just fine, but I am going to change the Softness value to 28 for this guy. And then notice Hotspot, notice what happens when I hover over the Hotspot value. See that little icon over here to the right-hand side. It shows you what the hotspot is. If I just hover over Falloff, it shows me what the falloff is. So just pay special attention to that. I am going to raise that Falloff value to 55, in order to create a wider arc for that light, and then I'm going to enter some values up here in the Options bar once again.

I am going to click on that Slide tool-- or the Drag tool, either one--and I am going to enter an X value this time of 1,000. And for Y, I'll change that value to -550, and then for Z, let's go ahead and try a value of 200 here. And I am working from piece of paper, of course. I wrote these things down, so forgive me. Now I am going to switch over to the Rotate tool, because I want to enter the position, the coordinates for the Rotation. And I'll change that X value this time around to -100, and you can see that I went ahead and rounded off these values, just for the sake of convenience.

What little convenient it provides. I'll change the Y value to 500, and then I will go ahead and click on Z, and I'll change it to -500, like so. We end up getting some pretty good coverage on both the far left-hand side of the scene and the far right-hand side of the scene. We need a fill light for the middle, and it's going to be, of course, what was formerly Infinite Light 2. I will go ahead and turn that on. Now, this guy is in totally the wrong position. He is down here at the bottom of the scene. He's backlighting the scene as well, and that's not what we want. I want it to be coming down and in from the top, so I am going to have to do a fair amount of work here.

I will go ahead and change the Light type once again to Spot, and this time I am going to raise the Intensity to 0.8, and I'll change the Softness value to let's say 25%, and I'm going to slightly increase the Falloff from 45 degrees, which is the default, to 50 degrees. Now, comes the fun part. We have got to drag this guy around to figure out where in the world it is. Currently it's shining toward us, and that's not really very easy to figure out, but now he's I think he's shining away from me now, if I just kind of rotate this guy around.

I am just dragging around with the Rotate tool. I am not sure I am doing the scene that much good, but let's go ahead and try to drag it to a different location. I'll go ahead and get that Drag tool up there in the Options bar, and I'll move this light upward, and notice it's rotating around as I move it, and now let's go ahead and try to work with the Slide tool. See if we drag it forward or backward, that's going to do any good. This guy is a problem so far, so I'll go ahead and rotate it around using the widget here. So I just did an X-rotate. Now let's try doing a Z-rotate and see if that gets us anywhere.

The light is too far out is the problem. So it's too far away from the scene. Let's go ahead and change its positioning here. So notice that my Slide tool is active. I will go ahead and enter an X-value this time around of 600-- let's try that out--and a Y value of -650. Then finally, watch me jump in the air there. Now, I have got the Z value selected, and I'll change it to 0 and see if that brings it down to earth a little bit. It does. I'm very optimistic at this point. I'm going to go ahead and switch over to my Rotate tool, and I'll highlight that X value, and I'll change it to 0, and then I'll highlight the Y value, and I'll change that guy to 600.

That should help us out, and then I'll go ahead and click on Z to make it active. And I will change this value to -300, and we end up lighting the middle of the scene. That's awesome. All right! So at this point if you want to, you could tidy things up by renaming your lights. They shouldn't be called infinite lights really, because they are not. They're all spotlights. So you could just double- click on one of these guys. It's just like renaming a layer. Just change this one. I will go ahead and double-click on the words, and change it to spot 1 and then I will double-click and the other one and change it to spot 2.

So it's up to you if you want to do this kind of housekeeping, but it might help you out in the future if you're trying to keep track of what's going on. So I will change this one to spot 3, and then I will scroll up the list to the top here, click on Scene, and of course what we need to do is ray trace. So I am going to switch to my Rectangular Marquee tool to get rid of those wireframes that indicate my lights. And now I'll go to the Quality Setting and change it from Interactive to Ray Traced. And you can see now as Photoshop is going through in ray tracing the scene, that we are getting these nice diffuse shadows.

It's a much better effect. I also think it's a more dramatic effect and a more credible effect as well. Now, as usual, ray tracing takes a few minutes, so you'll just have to sit back and watch it happen, or leave the room and get a cup of coffee. We, of course, are going to go ahead and speed up this process. And here is the final ray tracing according to Photoshop. Now, it still needs a little extra drama in my opinion. I'll go ahead and zoom in here. I would like these shadows to be a little darker. Not quite as gray, either. So I am going to hide my 3D panel, bring back my Layers panel here, and notice that I've gone ahead and created a gradient overlay effect in advance.

And I find effects and adjustment layers to be exceedingly useful in combination with these 3D effects. So I will go ahead and turn on the gradient overlay and notice that we get these very nice dark shadows as a result, and that's it. I'm going to press the F key in order to switch to the Full Screen mode, and here is my final 3D scene with more dramatic spotlights--differently positioned lights of course, as well--and finally, softly focused shadows, here inside Photoshop CS5 Extended.

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