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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.
All right, gang. Here I am, looking at that 3D anaglyph that I created in the previous movie, and in order to see what I'm talking about, you'll need to be wearing a pair of 3D glasses, specifically the kind with the red lens on the left and cyan lens on right. These pretty much most popular variety of color 3D glasses out there. If you don't have a pair, by the way, there are all kinds of sites that sell them, including this site, which is called 3dglassesonline.com, and you see, right there are the anaglyphic glasses that I am talking about. These are exactly the ones you need. If you want to get fancy, you can even order plastic versions if you so desire.
But they are very useful to have around, and it opens up this entire world of 3D photography inside of Photoshop. But notice that image that I created in the previous movie, while it looks just intense-- the depth is awesome, it looks really great-- notice that the entire scene appears in the back of the screen plane. So in other words nothing about the scene violates the screen. I'm in back of the screen plane and everything else recedes into the background. What if you don't want to work that way? What if you want that 3D scene to come out and grab you? For example, I have this image right here.
It's a photograph of Shea Hansen, one of the beautiful people that work here at lynda.com, as captured once again by Jacob Cunningham. And notice that she's extending her arm and offering us an apple, and I want that arm to extend outward. So let's go ahead and take a look at what we have to work with. I have got two layers inside of this image: one is called Shea left, one is called Shea right. The Shea left layer represents the left-eye view. The Shea right layers represents the right-eye view. So this is the left-eye view we are seeing right now. If I turn off that layer then we can see the right-eye view. Jacob captured this image in exactly the same way he captured me--that is, he shot the left- eye version first. Then he moved over slightly just a couple of inches and captured the right-eye version. And in both cases, these images are converging at a common point.
So he is aligning the shot at that right eye there-- that would be her left of course. And that's very important because that's going to permit us to set her eye at the screen plane. Now right now that's not the way I have things set up. For the sake of demonstration, I've gone ahead and aligned this forward knuckle, as you can see. So I will go ahead and select it. This is where it appears in right-eye view. If I turn on Shea left, then you can see that that knuckle falls inside the selected area inside the left-eye view as well. All right, let's go ahead and convert this image to a 3D anaglyph by first going up to the Image menu, choosing Mode, and then choosing RGB Color to reintroduce color into this image.
We will get this alert message. You say Don't Rasterize and Don't Merge. There's no excuse for doing otherwise; it doesn't do you any good to merge layers or rasterize the Smart Objects because all we're doing is introducing more channels into the scene. The next step is to double-click in an empty portion of the Shea left layer and then go ahead and turn off the green channel and the blue channel by clicking on those G and B check boxes and click OK. Now notice that the knuckle and portions of the hand go neutral when you have your 3D glasses off.
If you now put your 3D glasses on, you will see that the entire scene recedes away from the screen. And in order to test that theory out, here's what you do. Try to reach out and touch that knuckle that I was talking about there and you should find yourself either very narrowly or exactly touching your monitor. That's not what we want. We want the apple to come far forward, so what we are going to need to do is realign the scene. That means taking off your 3D glasses, so you can actually see the differently colored versions of the image.
Now I am going to ahead and zoom in here quite a bit and scroll down, so that I can see the eyes--that's what I am looking for--and I will go ahead and select the Move tool, so that I can drag the active layer around, which happens to be Shea left--that's the one that I want to move. And you're going to be dragging the red version of the image, as you can see here. And I want to make sure that we are as exactly as possible aligning that right hand eye. And it may be necessary to press the arrow keys a few times to make that occur. And at some point that I should go pretty much completely gray as you're seeing here, with just a little bit of color fringing.
All right, let's go ahead and zoom back out and see what we've done. Go ahead and put your 3D glasses back on, and now reach out and touch that knuckle. And if you now lift your glasses, you should see that your finger is a few inches away from the screen. Another test is to move your head back and forth and you should see that arm wave back and forth as well. And what we have is an extremely successful scene, in my estimation, in which of course that arm is extending forward and offering us the apple. One more thing that I want to go ahead and show you. I am going the fill the screen with the image here by pressing F key a couple of times, zoom on in, and I am going to press Shift+Tab to bring back the right-side panels, and I am going to turn on this text layers group right there, which contains a couple of different text layers. And if you were to raise your glasses, you are going to see that the text is solid white.
There is no fringing going on whatsoever, which means because it is white and because there is no interaction between red text and cyan text, for example, that text rests exactly all in the screen plane. So there's just a short little distance here, if you have got your glasses on once again, this very narrow distance between that screen plane and between Shea's hair, because her head is just ever so slightly in the background where her arm of course is extending forward. If we were to move her farther forward, then we'd end up violating that screen plane, and of course the composition would make a lot less sense.
One more thing you may notice is a kind of lack of convergence over here near the apple. That's caused because ultimately the filtering system is not quite perfect. If you close your right eye and look through the red lens with your left eye, you'll see a little bit of a blue knuckle showing up, and that's some residue from the green channel showing through. It doesn't really happens so much with the cyan lens. If you close your left lens and look through the cyan lens with right eye, the red channel is filtered a lot better. Anyway it is an imperfect solution. My solution is not imperfect.
That's I am doing things exactly the way they are supposed to be done. It's the 3D glasses that are little bit imperfect. However, otherwise we have a beautiful scene in which we are able to violate the screen plane with a 3D anaglyph here inside Photoshop.
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