IntroductionWelcome to One-on-One| 00:04 | Hi! I am Deke McClelland.
| | 00:05 | Hello and welcome to Photoshop CS5
Extended One-on-One: 3D Fundamentals,
| | 00:12 | the first installment in my four
part series on 3D in Photoshop.
| | 00:18 | My purpose is to walk you through
Photoshop's 3D features as if I were teaching
| | 00:23 | them to you in a classroom or
corporate consulting environment, except that
| | 00:27 | instead of either of us getting lost in a sea
of students, it's just you and me, one-on-one.
| | 00:34 | Adobe sells two varieties of Photoshop CS5.
| | 00:38 | The standard version, which offers no
3D features whatsoever, and the more
| | 00:43 | expensive Extended version, which
includes an astonishing wealth of 3D.
| | 00:48 | You will need Photoshop CS5
Extended to follow along with this course.
| | 00:54 | In this course, I will show you how
to assemble and create 3D objects, light
| | 01:00 | those objects and wrap them in materials,
| | 01:03 | combine objects into scenes and raytrace
the scenes to create shadows and reflections.
| | 01:09 | I will also show you how you can
blend and mask your 3D scenes against
| | 01:15 | photographic environments to
create exquisitely realistic effects.
| | 01:20 | In the mean time, the following
introductory exercises are all about setting up
| | 01:25 | Photoshop so that you and
I achieve the same results.
| | 01:28 | If you haven't yet worked your way
through one of my standard Photoshop CS5
| | 01:33 | One-on-One series, please
follow along with these movies.
| | 01:36 | If you're a One-on-one veteran, you can
skip these movies and make your way to
| | 01:41 | Chapter 1, which is called
"What Photoshop CS5 Extended can do".
| | 01:46 | And that frankly is where the real fun begins.
| | 01:50 | In either case, prepare yourself
for a whole new world of opportunity in Photoshop.
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| Making Photoshop your default image editor on a PC| 00:00 | Now the purpose of this movie is to
show you how to make Photoshop your default
| | 00:03 | image editor, so you can double click
on an image file at the desktop level and
| | 00:07 | have it open by default inside Photoshop.
| | 00:10 | Now, this specific movie is designed for you
Windows users. I am working on a PC right now.
| | 00:15 | If you are a Macintosh user, skip to the
next movie instead, where I show you how
| | 00:19 | to do the exact same thing on the Mac.
| | 00:21 | Now, I am looking at the contents of
the 00_setup folder found inside the
| | 00:24 | exercise_files folder that's available
to those of you who are Premium members
| | 00:28 | or have access to the DVD. You can
see we have got three files all of which
| | 00:32 | seem to be called Welcome. Well they
actually have different extensions.
| | 00:36 | To see those extensions, you have to
go over to the Organize menu here under
| | 00:40 | Windows 7 and choose Folder and search options.
| | 00:42 | If you're using an older version of
Windows then just go ahead and tap the
| | 00:46 | Alt key and that will force the display of
this little menu here inside of the folder.
| | 00:51 | Click on Tools and then choose Folder options.
| | 00:53 | Then inside the Folder Options dialog
box click on the View tab and then drop
| | 00:58 | down here to the checkbox, Hide
extensions for known file types, and turn it off
| | 01:02 | so that you can see the extensions.
And now click the OK button and you will see
| | 01:06 | the extensions after
every one of these filenames.
| | 01:09 | Now, it's time make Photoshop our
default imaging application and we have to
| | 01:13 | repeat the process that I am about to
show you for each one of these file types:
| | 01:17 | for JPEG files, TIF files, and PSD files.
| | 01:20 | So, I am going to go the JPEG file first,
right-click on it and then choose Open with.
| | 01:25 | Now, you could choose Adobe Photoshop
CS5 at this point, but if you do that,
| | 01:29 | you'll open the JPEG image inside of
Photoshop this time and this time only.
| | 01:33 | Instead what you want to do
is Choose default program.
| | 01:36 | Then inside the ensuing dialog box,
hopefully you'll see Photoshop at the top here.
| | 01:40 | If so, just go and click on it.
| | 01:42 | If you don't see it, then click on this
down pointing arrowhead next to Other
| | 01:46 | Program, scroll down the list,
and see if you can find Photoshop.
| | 01:49 | If you still can't find it, you have
to click on this Browse button and locate
| | 01:53 | Photoshop on your hard drive.
| | 01:55 | In my case, I can see it at the top of
the list, so I will go ahead and click on
| | 01:58 | it then make sure this checkbox, Always
use the selected program to open this
| | 02:02 | kind of file, is turned on and click OK.
| | 02:06 | And now we will go ahead and
automatically open the image inside the Photoshop
| | 02:09 | then I will press Ctrl+Plus
to zoom in on the image.
| | 02:12 | All right let's go ahead and
replay that step for the TIFF image.
| | 02:15 | I will minimize Photoshop, right-click
on Welcome.tif-- and you can do this by the
| | 02:19 | way with any JPEG image, any TIFF image,
any PSD image. You don't have use to mine.
| | 02:24 | Choose Open with, go down here to
Choose default program, and then locate
| | 02:28 | Photoshop on the list, make sure
the checkbox is turned on, click OK.
| | 02:32 | Same thing happens again.
| | 02:33 | You will go ahead and zoom in on
the image if you want to, to see it up
| | 02:36 | close and personal.
| | 02:37 | All right, so now it's time to
repeat that step for the PSD file.
| | 02:40 | I am going to go and
minimize Photoshop once again.
| | 02:42 | Right click on Welcome.psd.
| | 02:45 | Choose Open with. Choose default program.
| | 02:47 | Find Adobe Photoshop CS5 inside the
dialog box, make sure the checkbox is
| | 02:51 | turned on, and click OK.
| | 02:53 | Now, this time we are going to receive a
special error message inside the Photoshop.
| | 02:58 | Then here it is.
| | 02:59 | It's telling us that some of the
text layers contain missing fonts.
| | 03:02 | So, it's very likely that your system
doesn't have the fonts that I used to
| | 03:05 | create this layered PSD file.
| | 03:07 | Turns out that's not a problem.
Just go ahead and click OK.
| | 03:10 | And you'll notice if you zoom in on
this file that even though here on the
| | 03:14 | Layers panel, we have got three layers
in all that have little warning icons
| | 03:18 | next to them and that's telling us
the fonts are missing. Even so, all of the
| | 03:23 | fonts look great on screen.
| | 03:24 | And that's because Photoshop is that
one application out there that even if
| | 03:28 | you're missing a font, as long as you
don't edit the type, everything is hunky dory.
| | 03:31 | Because you're seeing the
pixel equivalent of that type as well.
| | 03:35 | The final thing I want to mention
is that this is a four-part series.
| | 03:40 | We've got Part 1 Fundamentals, Part 2
Objects, Part 3 Scenes and Part 4 Type Effects.
| | 03:45 | I just want you to be aware of that.
| | 03:47 | In the next movie, I'm going to show yo,
Macintosh people, if you are still with
| | 03:50 | me for some reason, how to do the
exact same thing we saw here. You Windows
| | 03:54 | people don't want to see that, so go
ahead and skip to the movie after that in
| | 03:57 | which I show you how to install my
custom dekeKeys keyboard shortcuts.
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| Making Photoshop your default image editor on a Mac| 00:00 | The purpose of this movie is to show
you Macintosh people how to establish
| | 00:04 | Photoshop as your default image editor,
so that you can double-click on a JPEG file,
| | 00:08 | a TIF file, or a native PSD file
and have it open up inside Photoshop and
| | 00:13 | not the wrong application.
| | 00:14 | I am looking at the contents of my 00_
setup folder, which is found inside the
| | 00:18 | exercise_files folder that's available
to those of you who are Premium members
| | 00:22 | or have access to the DVD.
| | 00:25 | And you'll notice if you have this
folder that I've got three files all of
| | 00:28 | which are called Welcome.
| | 00:30 | This Welcome.jpg, Welcome.tif, Welcome.psd.
| | 00:33 | If you can't see those three letter
extensions, then go to your Finder level,
| | 00:37 | which is the desktop level of the Mac.
| | 00:39 | Go to the Finder menu and
choose the Preferences command.
| | 00:42 | Then go ahead and click on this little
gear icon that takes you to the Advanced
| | 00:46 | panel and turn on this checkbox,
Show all filename extensions.
| | 00:51 | You might also, if you work the way
I do, you might want to turn off
| | 00:54 | Show warning before emptying the trash,
just because I think that is stupid.
| | 00:58 | How often do you accidentally empty the
trash? You don't need a warning, but that's
| | 01:01 | entirely up to you. It has
nothing to do with this course.
| | 01:04 | Then when you're done, go ahead and
click the Close box in order to close the
| | 01:08 | dialog box and save your changes,
and you should now see the extensions.
| | 01:12 | So, here's the big problem, and this
must be our most common tech-support
| | 01:15 | question where Photoshop is concerned.
| | 01:17 | Somebody wants to just double-
click on one of these files.
| | 01:20 | For example, I will double-click on
Welcome.jpg and it opens up inside, in my
| | 01:25 | case, the Preview application.
| | 01:27 | Well, that's obviously not what I want.
It gives me a chance to see the file,
| | 01:31 | but I can't work on the file and I'm
certainly not going to come to terms with
| | 01:34 | 3D inside Photoshop CS5 Extended, if
I'm not using Photoshop CS5 Extended.
| | 01:40 | So, here's how to cure the problem.
| | 01:41 | Go up to the Preview menu and choose
Quit Preview to get out of that program.
| | 01:45 | Then we are going to have to perform this
step incidentally on each of these three files.
| | 01:50 | Right click on Welcome.jpg or any JPEG file
you have lying around. It doesn't matter.
| | 01:56 | And then choose the Get Info command,
or you can press Command+1,
| | 02:00 | the Command key being that key that
has a little cloverleaf/propeller on it.
| | 02:04 | I am going to choose the Get Info
command. It brings up this file info strip.
| | 02:08 | Make sure you can see the
contents of this Open with area.
| | 02:11 | If Open with is collapsed like so, then
you need to click on that little twirly
| | 02:15 | triangle to twirl it open.
| | 02:17 | Then go ahead and click on whatever the
name of the wrong application is there,
| | 02:22 | and choose Adobe
Photoshop CS5.app from the list.
| | 02:26 | Now, if you don't see Photoshop CS5
in this list, you are going to have to
| | 02:30 | choose Other and then locate
Photoshop on your hard drive.
| | 02:32 | In any case, I am going to go ahead and
choose the application, because there it is.
| | 02:37 | And then you click on the Change All
button to make sure all JPEG files open
| | 02:41 | inside Photoshop for all time.
And when you do, you'll get this alert message.
| | 02:46 | Fine. Click Continue and you're done.
| | 02:48 | And then you can close out of Get
Info, and if you want, just to make sure
| | 02:52 | it works, you can double-click on that JPEG
file in order to open it up inside Photoshop.
| | 02:57 | I am going to go ahead and press
Command+Plus in order to zoom in on the image.
| | 03:01 | Let's switch back to the Finder here,
and just so that I'm not seeing Photoshop
| | 03:05 | in the background, I'm going to go up
to the Finder menu and choose Hide Others,
| | 03:09 | or press Command+Option+H, and then
I'll drop down to the Welcome.tif file,
| | 03:14 | right-click on it, choose Get Info,
| | 03:16 | and do that exact same thing again.
Here inside the Open with area click on
| | 03:20 | Preview.app, in my case, choose Adobe
Photoshop CS5.app instead, click on the
| | 03:25 | Change All button, and then click Continue.
| | 03:27 | You can open the file if you want to;
you don't really need to at this point.
| | 03:30 | I'm going to click the close box and
then run that step one last time for Welcome.psd.
| | 03:35 | Right-click on it. Choose Get Info.
| | 03:37 | Inside the file info strip, go
ahead and click on the name of the wrong
| | 03:40 | application. Coose Adobe Photoshop CS5.app.
| | 03:44 | Click on Change All, click Continue,
and then close file info once again.
| | 03:49 | Now, this time I am going to open
this document because I want to show you
| | 03:52 | another error message you might
encounter, and once it opens inside of
| | 03:56 | Photoshop, notice the program tells
you, "Hey, wait a second, there is text
| | 03:59 | layers inside this file for
which I don't have the right fonts."
| | 04:02 | In other words, I used fonts that
are not available on your system.
| | 04:05 | That's not a problem.
| | 04:06 | You go ahead and click OK.
| | 04:08 | Zoom in on the image if you want to,
and notice here on the Layers panel there
| | 04:12 | is all kinds of text layers that have
little warnings next to them,
| | 04:14 | little caution icons, and that's telling me
every single one of my text layers in this
| | 04:18 | case doesn't have an equivalent
font here on this particular system.
| | 04:23 | And yet notice that all my
text looks great here on screen.
| | 04:26 | Well, that's because unless you are going
to edit the text, you don't need the font.
| | 04:30 | Photoshop is that rare application
that goes ahead and shows you your text
| | 04:33 | just fine, because it has a pixel-
based equivalent of those letters saved
| | 04:37 | along with the file.
| | 04:39 | One other thing I want to show you is
that we're seeing things different on the
| | 04:42 | Mac than we do on a PC.
| | 04:43 | Most of my movies will be recorded on the PC.
| | 04:45 | It's not because of any preference
for the PC over the Mac. Not at all.
| | 04:50 | It's a preference for the movie editing
software that I use on the PC, and that's it.
| | 04:55 | But you will notice that the background
is all covered up, and that's because of
| | 04:59 | this thing called the application
frame that runs by default on the PC.
| | 05:03 | If you want that same feel on your
Macintosh system, then go up to the Window
| | 05:08 | menu and choose Application Frame,
and then you'll have one big application
| | 05:13 | frame that seals you essentially
inside of Photoshop and covers up all the
| | 05:17 | background applications.
| | 05:19 | If you don't like that, which most
Macintosh people don't, I should say, you go
| | 05:23 | up to the Window menu and you turn
Application Frame off. And that's it.
| | 05:28 | Just want you to know that there is one
more thing. This series, Photoshop CS5
| | 05:31 | Extended One-on-One 3D,
is divided into four parts.
| | 05:35 | There is Part 1 Fundamentals, Part 2 Objects,
Part 3 Scenes, and finally Part 4 Type Effects.
| | 05:41 | So, that's how you establish
Photoshop as your default image editor.
| | 05:45 | In the next movie, I'll show both
Macintosh and Windows people how to install my
| | 05:49 | custom dekeKeys keyboard shortcuts.
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| Installing the dekeKeys keyboard shortcuts| 00:00 | In this movie I am going to show you
how to install my custom dekeKeys keyboard
| | 00:03 | shortcuts and these are the exact
same steps that you take whether you're
| | 00:06 | working on the Mac or the PC.
| | 00:08 | Now I should stress something. If
you've worked on one of my previous courses,
| | 00:11 | whether it's Photoshop CS5 One on One
Fundamentals, Advanced, or Mastery, then
| | 00:16 | you do not need to reinstall dekeKeys.
| | 00:19 | These are the exact same
dekeKeys included with those movies.
| | 00:21 | I included them here just for those of
you who have not installed them in the past.
| | 00:25 | Inside the 00_setup folder you're
going to find a subfolder called
| | 00:29 | dekeKeysPsCS51on1.
| | 00:31 | Go ahead and open it up.
| | 00:33 | And then at the bottom of the list
you'll see dekeKeysPsCS51on1.kys.
| | 00:38 | You want that .kys file whether
you're working on the Mac or the PC.
| | 00:42 | Right-click on it and then choose Open
with and be sure to choose Photoshop CS5.
| | 00:48 | Here's the problem.
| | 00:49 | Premiere and Premiere Pro both also
recognize the .kys file format, and so
| | 00:54 | does Photoshop Elements.
| | 00:56 | And so you don't want to
open up the wrong program.
| | 00:58 | Anyway, make sure to choose Adobe Photoshop CS5.
| | 01:01 | And now we'll go ahead and launch the
program if it's not already running and
| | 01:04 | we'll also bring it to the foreground.
| | 01:05 | It will not show you the .kys
file because it's not an image file.
| | 01:10 | However, you did just change your
keyboard shortcuts, even though Photoshop
| | 01:14 | isn't giving you any
indication that any thing has happened.
| | 01:16 | Here's what you do.
| | 01:18 | You go up to the Edit menu and you
choose the Keyboard Shortcuts command or you
| | 01:21 | press Ctrl+Shift+Alt+K,
Command+Shift+Option+K on the Mac.
| | 01:25 | And I want to mention something.
| | 01:26 | Throughout this series I mentioned
the keyboard shortcuts in exactly the
| | 01:29 | opposite order that they appear in the menus.
| | 01:32 | You may wonder why I do that,
because that is the standard convention.
| | 01:36 | That's what everybody does.
| | 01:38 | It's just the operating systems that
decides to show them to you backwards.
| | 01:41 | Anyway, I am going to go
ahead and choose the command.
| | 01:43 | And you'll notice that the Set now
reads Photoshop Defaults in my case.
| | 01:48 | It may say something different for you.
| | 01:49 | But you'll see the word "modified" in parentheses.
| | 01:52 | That shows you that your
keyboard shortcuts just got changed.
| | 01:55 | To confirm that they got changed in a
right way, twirl open File by clicking in
| | 02:00 | that little twirly triangle, and then scroll
down the list until you come to the Place command.
| | 02:05 | It should have a keyboard
shortcut now of Ctrl+Shift+Alt+D or
| | 02:09 | Command+Shift+Option+D on the Mac.
| | 02:11 | Now assuming that it does, this is a
good time to go ahead and back up your
| | 02:15 | keyboard shortcuts so that they're safe.
| | 02:17 | You do that by clicking on
this little floppy disk icon.
| | 02:19 | Then go ahead and name the file.
| | 02:21 | I am going to call mine dekeKeys PsCS5
1on1 like so, and then click the Save button.
| | 02:28 | Now you'll see that name up
here and set. You're done.
| | 02:32 | You can click OK in order
to accept your modifications.
| | 02:35 | Now one other thing I want to mention.
I am going to go ahead and minimize
| | 02:38 | Photoshop so I can see my folder once again.
| | 02:41 | Notice that I've gone ahead and
included these little htm files which you can
| | 02:44 | open inside your favorite browser,
ones for Windows and ones for Mac.
| | 02:49 | So I've listed the Macintosh and
Windows keyboard shortcuts independently.
| | 02:52 | I'll double-click on the Windows file
because after all I am working on the PC.
| | 02:56 | Notice that I've listed
all of Photoshop shortcuts,
| | 02:59 | Photoshop's default shortcuts, in black
and all of my revised shortcuts in red.
| | 03:03 | And if you scroll down the list you'll see
that Place has a revised shortcut and so forth.
| | 03:08 | One of the ones that I want to
mention to you just because it becomes very
| | 03:11 | important in the series, in addition
to Levels and Curves down here under
| | 03:15 | Adjustments, having their default more
shortcuts of Ctrl+L, Command+L on the
| | 03:19 | Mac, Ctrl+M for curves or Command+M on
the Mac, those apply static adjustments.
| | 03:24 | Well, static adjustments are going to
come in too handy when you're working with
| | 03:28 | 3D layers inside of Photoshop.
| | 03:30 | We're going to be applying those
commands but as adjustment layers, which is
| | 03:33 | why I've also gone ahead and given you
keyboard shortcuts for those adjustment layers.
| | 03:38 | Ctrl+Shift+L or Command+Shift+L on the
Mac gives you a Levels adjustment layer.
| | 03:42 | Ctrl+Shift+M or Command+Shift+M on
the Mac gives you a Curves layer and so forth.
| | 03:46 | All right, so that's how you go about
installing my custom dekeKeys keyboard
| | 03:50 | shortcuts inside Photoshop.
| | 03:52 | For those of you who are working
on the Mac you have one more step.
| | 03:55 | You need to go ahead and change your
operating system-level shortcuts and I'll
| | 03:59 | show you how to do that in the very next movie.
| | 04:01 | It's only for Macintosh people.
| | 04:03 | If you're working on Windows you don't
have this problem and you can go ahead
| | 04:06 | and skip ahead to the movie on color settings.
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| Remapping Mac OS shortcuts| 00:00 | All right, so presumably by now
you've gone ahead and installed my custom
| | 00:04 | dekeKeys keyboard shortcuts into Photoshop.
| | 00:06 | However if you're working on the Mac,
you need to change some of Apple's OS
| | 00:09 | level keyboard shortcuts, not to
avoid conflict with my custom keyboard
| | 00:13 | shortcuts, but rather to avoid
conflict with Photoshop's native shortcuts,
| | 00:18 | and we're going to be taking advantage of
those shortcuts in awful lot inside the series.
| | 00:22 | Now these are my recommended changes.
You can of course go your own way.
| | 00:25 | Step one is to go up to the Apple menu
and choose the System Preferences command.
| | 00:30 | Next you locate the keyboard icon right
there and click on it in order to access
| | 00:34 | the keyboard functions.
| | 00:35 | Notice this checkbox right here. If you
want to take advantage of function keys
| | 00:39 | inside a Photoshop, which I recommend
you do, then you need to turn on this
| | 00:43 | checkbox, the one that says
use all F1, F2, etcetera keys,
| | 00:47 | standard function keys that way
they won't turn the volume up and down and
| | 00:51 | change the brightness of
your monitor and all that jazz.
| | 00:54 | You can still get to those features,
however, by pressing the Fn key that's in the
| | 00:58 | bottom left corner of American
keyboards, while pressing a function key.
| | 01:02 | And notice if you're missing this checkbox
it's because you're using a keyboard that
| | 01:06 | doesn't have function keys just note that.
| | 01:08 | All right, next switch over to Keyboard
Shortcuts and I'm working, I should tell you,
| | 01:13 | inside of snow leopard that is OS
X 10.6, which is little different than
| | 01:19 | previous operating systems, so
I just want you to know that.
| | 01:21 | We'll start off here at Dashboard &
Dock and we're going to change this first
| | 01:25 | keyboard shortcut by clicking on it and
clicking on it again and that's goes
| | 01:29 | and highlights a shortcut. Then I want you
to press Control+D. That is the Control key in
| | 01:35 | the bottom left corner of your
keyboard by the way. Not Command.
| | 01:39 | Next go to Dashboard. Click on it, click
on it a second time, and press Ctrl+F12.
| | 01:45 | All right now let's switch over to
Expose & Spaces. If you don't want expose
| | 01:50 | I'm not the biggest fan of it these
days. You can just turn it off just to get
| | 01:53 | rid of that functionality.
| | 01:55 | However if you want to leave it on
that's fine. If you use it, great. You go ahead
| | 01:59 | and change the shortcuts however.
| | 02:00 | What I recommend for each one of
these is you just stick with the default
| | 02:03 | keyboard shortcuts. Almost. We'll just add
Control. So Control+F9 for the first one.
| | 02:09 | For Application windows we'll change
that to Control +F10 and for Desktop we'll
| | 02:13 | change that one to Control+F11.
| | 02:15 | All right next you can go ahead and drop
all the way down the Spotlight and note
| | 02:18 | that of all the keyboard shortcuts
these are the ones of the most important to
| | 02:22 | change, because Spotlight uses the same
shortcuts that Adobe uses for zooming in
| | 02:27 | and out inside a Photoshop.
| | 02:29 | So I'll go and change Show
Spotlight search field from Command+Space to
| | 02:33 | Command+Control+F1, so a
totally different shortcut.
| | 02:36 | Again you can choose something
different if you like, but you got to get away
| | 02:39 | from that spacebar. Then go ahead and
click on the second item right there and
| | 02:43 | I'm going to change it to
Command+Ctrl+Option+F1 like so.
| | 02:47 | All right having done that now I'm
going to drop down to universal access and
| | 02:51 | there is not really any reason to turn
the zoom on or off. So you can go ahead
| | 02:54 | and turn off that checkbox if you want
to. I really love the Zoom out and Zoom in
| | 02:58 | functions. I think they rock as
they allow you to zoom in on your screen
| | 03:01 | display and make works larger if you
can't see an interface item or something
| | 03:05 | like that, but these keyboard
shortcuts once again step all over Photoshop.
| | 03:10 | So here's the changes I'm going to
make I'm going to click on the Zoom out
| | 03:13 | shortcut and I'm going to change it to
Command+Control+Option+Minus and then I'm
| | 03:18 | going to click on the zoom
in shortcut and change it to
| | 03:21 | Command+ Control+Option+Plus, and it's
going to show up the equals because it's
| | 03:25 | really the equals key, but we're
thinking plus that we're using it.
| | 03:29 | All right presumably after that
you're going to want to turn off Reverse
| | 03:32 | black and white and turn off VoiceOver.
Those are both items for hard of seeing people.
| | 03:36 | If you're hard of seeing yourself,
perhaps you want to leave them turned on,
| | 03:39 | but Photoshop doesn't really lend
itself to hard of seeing folks,
| | 03:42 | so my guess is you want to turn
both of them off and that is it.
| | 03:46 | Now at this point you go ahead and
close out of system preferences by clicking
| | 03:50 | on Close button and you are now ready to
use all the keyboard shortcuts inside of
| | 03:54 | Photoshop, both the native ones and the
ones I gave you, without any interference
| | 03:58 | from your operating system.
| | Collapse this transcript |
| Establishing the best color settings| 00:00 | In this movie I'm going to review my
recommended color settings for achieving
| | 00:03 | the best results when working
inside Photoshop CS5 Extended.
| | 00:07 | Now these are the exact same color
settings I've recommended in my previous
| | 00:10 | one-on-one courses, so once again if you
done in the past you don't need to do it again.
| | 00:14 | Otherwise, go up to the Edit menu and
choose the Color Settings command or you
| | 00:19 | can press Ctrl+Shift+K, Command+Shift+
K on the Mac in order to bring up this
| | 00:23 | dialog box and the first change we're
going to make is to switch the RGB space.
| | 00:27 | Now by default its set to sRGB, which is
a consumer color space. It's designed to
| | 00:32 | simulate a worst-case scenario monitor.
It is not for us. We're going to get much
| | 00:37 | better results wider color gamut, if we
switch from sRGB to Adobe RGB like so.
| | 00:43 | CMYK is between you and your
commercial print house, so if you work with a
| | 00:47 | pre-press group then go ahead and
contact them and find out what CMYK
| | 00:51 | settings you should be using.
| | 00:53 | Next go over to the More Options button
and click on it and there is two changes
| | 00:57 | I recommend down here.
| | 00:59 | First of all I turn off Use Dither
and what that means is when you're
| | 01:02 | converting between color spaces by
default Photoshop going to add a little bit
| | 01:06 | of noise, it going to rough up the colors, in
order to basically achieve closer color equivalents.
| | 01:12 | However, that also means if you
specifically decided in area color needed to
| | 01:16 | be one flat color, one solid color.
And in my opinion it's just not worth it.
| | 01:21 | You don't really achieve tremendously
better results with Dither on so I turned it off.
| | 01:26 | Next I go ahead and change intent from
Relative calorimetric, which is actually
| | 01:30 | great for graphical work and we will
be doing graphical work in this series.
| | 01:34 | However for photographic work Perceptual
tends to be better and it does a better
| | 01:39 | job of preserving gradual transitions
between colors and we're going to have a
| | 01:43 | lot of that inside of our 3D artwork as well.
| | 01:46 | All right once you've done that then go
ahead and click on the Save button and I
| | 01:51 | recommend that you call this file,
and by the way you want to save it exactly
| | 01:54 | where Photoshop sends you.
Don't go to a different folder.
| | 01:57 | I like to call this file best
workflow CS5. It will work across all the CS5
| | 02:03 | applications including
Illustrator and InDesign and so forth.
| | 02:07 | Then click the Save button.
| | 02:09 | You'll get this description field right here.
| | 02:11 | You can type in your own
description if you want to.
| | 02:13 | If you want to add my description,
I've already crated one in advance.
| | 02:16 | Then you can go ahead and switch over to
this file which is called Best Workflow
| | 02:21 | description.txt. Open it inside of any
text editor. Go ahead and grab that text
| | 02:25 | and copy it like so.
| | 02:27 | You can press Ctrl+C, Command+C on the Mac.
| | 02:30 | Then go back to Photoshop and just
press Ctrl+V or Command+V on a Mac in order
| | 02:34 | to paste, click OK, and the deed is done. You now
have your settings saved as best workflow CS5.
| | 02:40 | Initially your colors will be
unsynchronized between the various applications.
| | 02:45 | If you have the entire Creative Suite and
you've got the Adobe Bridge then you would
| | 02:49 | go ahead and load this best workflow
CS5 file inside the Bridge using the
| | 02:53 | Bridge's Color Settings command.
| | 02:56 | In any case I'm just going to leave
it to the Photoshop here. I'll click OK
| | 03:00 | and we have now applied what I
believe to be the best color settings for
| | 03:02 | working inside Photoshop.
| | 03:04 | Now if this in any way, shape, or form
messes you up, if you end up getting colors
| | 03:10 | that you don't like, if all your images
start looking different, if your images
| | 03:14 | start printing different, there is a
very slight chance that kind of stuff that
| | 03:17 | going to happen, but if it does then
you can reset back to the previous color
| | 03:22 | settings easy as pie.
| | 03:23 | All you do is you go up to the Edit
menu, you choose the Color Settings command
| | 03:27 | again, and then you switch your
settings from Best Workflow CS5 back to the
| | 03:32 | defaults, which in this country are
North America General Purpose 2.
| | 03:36 | That will take you back to be sRGB
space which as I say big mistake but you can
| | 03:41 | do it and things will look the way that
they used to. Then go ahead and click OK.
| | 03:45 | I don't recommend that though so I'm
going to click Cancel. Just way you to know
| | 03:48 | that option is available to you.
| | 03:50 | In the next movie I'm going to
show you how to set up your workspace.
| | Collapse this transcript |
| Constructing the ideal workspace| 00:00 | In this movie I'll show you how I
recommend you set up your panels inside of
| | 00:03 | Photoshop and how you save
that out as a custom workspace.
| | 00:07 | Now we'll be starting from
the Essentials workspace.
| | 00:10 | So if the word Essentials is not
already highlighted in the top right corner of
| | 00:13 | the screen, go ahead and click on it.
| | 00:16 | You may even want to go over to
this double arrow icon right there and
| | 00:19 | choose Reset Essentials.
| | 00:21 | That way you'll be starting from the
same point as me, which is hoe you get to
| | 00:24 | all the panels inside of
Photoshop. And choose Actions.
| | 00:27 | That will automatically drop the
Actions panel into the proper place.
| | 00:31 | Now go up to the Window menu and choose
Brush, or you can press the F5 key if you
| | 00:36 | prefer, and that'll drop those
panels into the desired place as well.
| | 00:40 | Now go up to the Window
menu and choose Character.
| | 00:43 | That will drop those panels
exactly where I want them to be.
| | 00:47 | Then go up to the Window
menu and choose Layer Comps.
| | 00:50 | That will bring up the Layer
Comps panel and the Notes panel.
| | 00:54 | Now I might guess since you're not
getting need the Notes panel so you can go
| | 00:57 | ahead and drag that guy out
and close them like so.
| | 01:00 | Next though, we do need the
Presets panel and the Navigator.
| | 01:03 | So go up to the Window
menu and choose Tool Presets.
| | 01:06 | Notice that automatically opens the 3D
panel as well, which we'll obviously be
| | 01:10 | using quite a bit inside of this series.
| | 01:13 | Finally, go up to the
Window menu and choose Navigator.
| | 01:16 | Now I happen to move these around a little bit.
| | 01:20 | I don't really like the way
that they're organized by default.
| | 01:22 | So I grab Navigator and I drop it
down into the Layer Comps group.
| | 01:27 | It's totally up to you if
you decide to go this way.
| | 01:29 | It is important that you get all
these panels open though so you have
| | 01:32 | easy access to them.
| | 01:33 | But exactly how they're organized is up to you.
| | 01:35 | I am going to drag
Navigator to that point like so.
| | 01:38 | Then I am going to grab Tool Presets,
| | 01:40 | these little tools, and I am going to
drag them and drop them between Layer
| | 01:43 | Comps and Navigator.
| | 01:45 | We end up with this effect and that
separates the 3D panel from everybody else.
| | 01:49 | So it's in its own little container.
| | 01:51 | I just do this for screen real estate
reasons, because I am working on this tiny screen.
| | 01:55 | I switch the placement of the Adjustment and
Masks panel with the Histogram and Info panel.
| | 02:01 | I am mentioning this and showing it to
you just so that you know why my screen
| | 02:05 | might look differently than yours.
| | 02:07 | All right, so I am going to go ahead and
grab this guy by this little top right there.
| | 02:11 | That sort of scrubby top to the panel.
| | 02:13 | I am going to go ahead and drag it and
drop it just below Adjustments and Masks
| | 02:18 | like so, so that I get that horizontal
blue line, because I want to combine it
| | 02:22 | with a bunch of other panels
and we end up getting this.
| | 02:24 | Then I go ahead and collapse those panels just
by double-clicking that dark gray area there.
| | 02:29 | Then I grab Adjustments and Masks by
its empty gray area and I drag it to this
| | 02:35 | position right there.
| | 02:36 | So it's directly below the
Actions panel and above Brushes.
| | 02:39 | All right, having done that, that's
all the panel adjustments I need to make,
| | 02:42 | now I am going to go up to this double arrow
icon, click on it, and choose New Workspace.
| | 02:47 | I invite you to do the same thing
if you're working along with me.
| | 02:49 | I am going to go ahead and call this One-on-One.
| | 02:52 | We don't need to say the keyboard
shortcuts or menus as part of workspace.
| | 02:55 | Just go ahead and click the
Save button and you are done.
| | 02:58 | You now have your own custom One-on-One
space and you still have access to the
| | 03:02 | Essentials space if you end
up wanting to go back to it.
| | 03:04 | So if you click on Essentials and then
click on the double arrow icon and choose
| | 03:09 | Reset Essentials, you'll end up
back roughly where we started.
| | 03:12 | Then if I click on One-on-One again
then I'll end up with the workspace I
| | 03:16 | created just a moment ago.
| | 03:17 | That's how you go back constructing
what I consider to be the best workspace
| | 03:21 | when working inside Photoshop CS5 Extended.
| | Collapse this transcript |
| Adjusting the interface settings| 00:00 | These few remaining movies are all
about my recommended preference settings.
| | 00:04 | There's two reasons to take my advice, frankly.
| | 00:06 | One is because you'll get
better results out of Photoshop.
| | 00:09 | The other is so that you and I are on
the same page and we eliminate as much
| | 00:13 | opportunity for confusion as possible.
| | 00:15 | So this movie is all about my panel preferences.
| | 00:19 | Assuming you went ahead and set up
the one-on-one workspace go to the Color
| | 00:23 | panel and switch it from RGB to HSB.
| | 00:26 | It's a better way of dialing any color so
in my opinion. It's a lot easier to predict.
| | 00:30 | Then drop-down here to the Layers panel,
click on this flyout menu icon in the
| | 00:35 | upper right-hand corner,
and choose Panel Options.
| | 00:38 | Then inside of this dialog box switch to
the large thumbnail display so that you
| | 00:43 | can see big thumbnails inside the Layers panel.
| | 00:46 | Also I recommend you turn off
a couple of checkboxes here.
| | 00:49 | First turn off Use Default Masks on Fill Layers.
| | 00:52 | Then turn off Add "copy"
to Copied Layers and Groups.
| | 00:55 | You just don't need the word
"copy" every time you copy something.
| | 00:58 | Then click OK and you'll
end up with this effect here.
| | 01:02 | Now switch to the Channels panel.
| | 01:04 | In this case you can just right-click
below the names of the channels like so
| | 01:08 | and switch from Small to Large.
| | 01:10 | Next go to the Paths panel, right-
click anywhere inside of it, assuming that
| | 01:15 | you don't have any paths inside your open
document, and switch from Small to Large as well.
| | 01:20 | All right, then switch back to Layers
because that's where you're going to
| | 01:22 | spend most of your time.
| | 01:24 | Over here inside the Adjustments panel
I'll click on this Adjustments icon to
| | 01:28 | bring up the Adjustments panel, and
then I'll click on the flyout menu.
| | 01:31 | This assumes, by the way, that you do
not have an adjustment layer active
| | 01:35 | inside the Layers panel.
| | 01:37 | Otherwise you'll see the specifics of
that adjustment layer and you'll need to
| | 01:41 | switch either to a different layer or
click the arrow icon down here in the
| | 01:45 | bottom-left corner of the panel.
| | 01:47 | However, if you can see all 15 of
the Adjustment icons, then click on the
| | 01:51 | panel's flyout menu icon there and go
ahead and turn off this command, Add
| | 01:55 | Mask by Default. It serves no function.
| | 01:57 | You can always add masks later to
adjustment layers if you want to.
| | 02:01 | Also this is a personal preference.
| | 02:03 | I'll click on the flyout menu again
and I'll choose Auto-Select Parameter,
| | 02:07 | because I like to be able to
automatically select the first parameter when I am
| | 02:10 | creating a new adjustment layer.
| | 02:12 | All right, just a couple more changes left.
| | 02:14 | I am going to go ahead and switch to
the Info panel and then I am going to
| | 02:17 | click on this little plus sign there
that's got a tiny little arrowhead next to it.
| | 02:21 | I am going to switch from Inches or
Millimeters or whatever it's set to for you, to Pixels.
| | 02:26 | Because Pixels serves you much better
when you're working in Photoshop than some
| | 02:30 | other arbitrary unit of measure.
| | 02:31 | And then finally, I'll go ahead and
close the Adjustments panel just to hide it
| | 02:35 | on screen, and I'll go up to the 3D
menu and turn off this command, Auto-Hide
| | 02:40 | Layers For Performance.
| | 02:42 | What that's going to allow you to do
is see your entire layered composition
| | 02:46 | while you're adjusting a
3D layer inside Photoshop.
| | 02:49 | Otherwise, the application goes ahead
and hides the other layers in the name of
| | 02:53 | better performance, but I have yet
to see it make much of a difference.
| | 02:56 | So I am going to go ahead and
choose that command to turn it off.
| | 02:59 | So those are the interface level
preference changes that I recommend.
| | 03:02 | In the next movie we'll
visit the Preferences dialog box.
| | Collapse this transcript |
| Establishing the best preference settings| 00:00 | In this final movie I'll review the
settings that I recommend you change inside
| | 00:03 | the Preferences dialog box.
| | 00:05 | Assuming that you have Photoshop open, go to
the Edit menu if you're working on the PC.
| | 00:10 | That would be the Photoshop
menu if you're working on a Mac.
| | 00:12 | Then choose the Preferences command
which is much higher in the menu on the
| | 00:16 | Macintosh side and then choose General,
or even more simply you can press the
| | 00:20 | keyboard shortcut Ctrl+K here
on a PC or Command+K on the Mac.
| | 00:23 | You definitely want to turn off
Export Clipboard and the reason that this
| | 00:28 | option should not be on is because you
routinely end up copying extremely large
| | 00:33 | images inside a Photoshop.
| | 00:34 | Now that doesn't present Photoshop
with a problem. You can copy and paste
| | 00:37 | inside Photoshop all you want, but
then when you switch to a different
| | 00:40 | application Photoshop by default tries
to export that gargantuan clipboard
| | 00:45 | information to the operating system and
at best that creates the huge slowdown
| | 00:49 | and at worst the operating
system ends up choking on it.
| | 00:52 | So unless you're just copying the
little graphics that you're then turning
| | 00:55 | around and pasting in a Microsoft
Word or some weird workflow like that,
| | 00:59 | turn this check box off.
| | 01:01 | I also turn off Use Shift key for
tool switch that way you can switch
| | 01:05 | between the Marquee tool, for example,
by pressing the M key instead of having
| | 01:08 | to press Shift+M. Zoom resizes windows,
that's turned off by default on the PC
| | 01:13 | and on by default on the Mac.
I recommend you Macintosh people turn it off and
| | 01:18 | the reason is this way you get consistent
behavior between the Zoom tool and the zoom command.
| | 01:23 | So then if you want to zoom without
resizing the window you press Ctrl+Plus
| | 01:26 | or Ctrl+Minus on the PC, that's Command
+Plus or Command+Minus on the Mac,
| | 01:30 | and if you want to zoom and resize the
window with this check box off, you just
| | 01:35 | press Ctrl+Alt+Plus or Ctrl+Minus
on the PC. That's Command+Option+Plus
| | 01:40 | or Command+Option+Minus on the Mac.
| | 01:42 | All right next we'll switch over to
interface and by default when you're
| | 01:45 | reviewing an image in the standard or
full screen modes, you'll see this light
| | 01:50 | gray background behind the image
which I don't think offsets the image
| | 01:53 | nearly well enough.
| | 01:54 | So I recommend you darken that up by
clicking on this pop up menu here, select
| | 01:58 | Custom Color. For some reason
it comes up blue which is weird.
| | 02:02 | Anyway change the H and S values to
zero and then I recommend a brightness
| | 02:06 | value of 35%. Cick OK.
| | 02:09 | Do the exact same things for Full Screen
with Menus. So click on the popup menu
| | 02:13 | choose Select Custom Color and dial in
0/0 for Hue/Saturation and then 35 for
| | 02:18 | brightness. Click OK and I also recommend
that you change this second drop shadow
| | 02:24 | setting to None, because we don't
need drop shadows in full screen.
| | 02:28 | Again that's my opinion. You can go your way.
| | 02:31 | On a PC we're pretty used to opening
documents as tabs and that's the way a lot
| | 02:35 | of PC people prefer to work and that's
the way I will be working. Most Macintosh people
| | 02:40 | prefer this option to be turned
off and if so if you have Open Documents
| | 02:45 | as Tabs turned off I also recommend you
turn off this second one, Enable Floating
| | 02:49 | Document Window Docking. That way your
image windows don't tend to glom together
| | 02:53 | when you're dragging them around.
| | 02:54 | In my case I'm going to
leave the checkbox on though.
| | 02:56 | So I'm saying that you either turn
both of them on or both of them off. On the
| | 03:00 | Windows side both on, on a Mac
side both off. Just a recommendation.
| | 03:04 | I'm going to switch to File Handling
now. This I really wanted to do.
| | 03:09 | Change Maximize PSD and PSB File
Compatibility from Ask to Never.
| | 03:14 | Now this specifically a recommendation
for keeping your file sizes down. Otherwise
| | 03:18 | you're going to have gargantuan huge images.
| | 03:20 | The only reason not to do this is if you
work with Lightroom a lot and you want
| | 03:23 | to be able to see the
previews inside Lightroom.
| | 03:26 | This way you won't see previews
inside Lightroom. You will inside the
| | 03:29 | Bridge, but not inside Lightroom, but I
think it's worth it because you get smaller files.
| | 03:33 | All right, now I'm going to switch to
Performance and I just want you to make
| | 03:36 | sure that Enable OpenGL Drawing is
turned on and that a video card is detected.
| | 03:41 | If not and you're sure that you have a
video card that supports OpenGL, which is
| | 03:45 | important for getting any kind of
reasonable work done inside a Photoshop, then
| | 03:49 | you should quit out of the program and
either restart the program or restart
| | 03:52 | your computer and try again and see if
you can get Photoshop to recognize what's
| | 03:56 | going on. Otherwise you may have
to call your video card vendor.
| | 04:00 | All right now I'm going to
switch over to Cursors and I'm going to turn on
| | 04:03 | Show Crosshair in Brush Tip, just a personal
preference. I want you to know that I'm doing it.
| | 04:08 | If you like big huge font previews
when you're trying to switch between
| | 04:11 | typefaces to figure out which face
to use, then click on the word Type there
| | 04:16 | and change the Font Preview Size from
medium to one of these other sizes, either
| | 04:20 | large or extra large or huge. I'm
going to go with extra large in my case
| | 04:24 | because I have a fairly small screen work with.
| | 04:26 | Then finally clicked on 3D and make sure
up here that OpenGL is turned on so you'll
| | 04:32 | get the best performance. You should
have Allow Direct To Screen turn on as
| | 04:35 | well. Auto-Hide Layers was that option
that we just turn off at the end of the
| | 04:39 | previous video. It should still be off for you.
| | 04:42 | Well I'll anticipate that one of your
initial frustrations as you're working
| | 04:45 | with 3D inside of Photoshop is that as
you're creating your 3D objects, they don't
| | 04:50 | seem to cast shadows onto each other
and that's because you have to raytrace
| | 04:54 | the objects in order to see the shadows.
| | 04:56 | If you want to get a rough sense of the
shadows while you're working, you would
| | 05:00 | switch to Ray Tracer and
make sure Shadows is turned on.
| | 05:03 | However, that is going to really
degrade Photoshop's performance. I just want
| | 05:07 | you to know that. You get a sense of your
shadows as you work, but you have to be
| | 05:11 | very, very patient as you work as well,
which is why I'm going to suggest we
| | 05:14 | leave the set to OpenGL, first checkbox
on, second checkbox off, and that is it.
| | 05:20 | Pretty tedious I know, but we're now
on the same page. Click the OK button.
| | 05:24 | Now there is just one more thing we need
to do. In order to save those changes we
| | 05:28 | made inside the Preferences dialog box
as well as those interface changes that
| | 05:32 | we applied in the previous movie, we
need to quit the program. Because if we
| | 05:35 | crashed right now then we'd
end up losing all that work.
| | 05:39 | So what I like you do, if you're
working on a PC, go up to the File menu and
| | 05:43 | choose the Exit command or you can press
that keyboard shortcut Ctrl+Q for quit.
| | 05:48 | On a Mac you go to the Photoshop
menu and choose Quit Photoshop or you
| | 05:51 | press Command+Q and that will go
ahead and quit the program. It'll also save
| | 05:55 | all of your preferences.
| | 05:57 | If you have any unsaved changes to your
images you'll have to decide whether to
| | 06:00 | save those changes or not.
| | 06:02 | All right now that you and I are on the same
page I recommend you advance to the next
| | 06:06 | chapter, so we can get some real 3D work done.
| | Collapse this transcript |
|
|
1. What Photoshop CS5 Extended Can DoMaking Saturn| 00:00 | Getting started with 3D in
Photoshop Extended is anything but obvious.
| | 00:05 | That is, if you're like me you start
investigating the features and you end
| | 00:09 | up ever so slowly dismayed by the
results, which is a drag frankly because
| | 00:15 | it means you take a long time to hate what
you get, which is why I made this chapter.
| | 00:20 | The following exercises are all about
achieving great results the first time,
| | 00:26 | which is entirely possible.
| | 00:28 | You just have to rewire your brain.
| | 00:31 | See, 3D in Photoshop is like a new program.
| | 00:34 | It doesn't work much like
Photoshop has worked in the past.
| | 00:37 | It requires a new vocabulary
and it involves new disciplines.
| | 00:42 | In these exercises I show
you how to build an entire planet.
| | 00:46 | The best looking planet there is, Saturn,
using nothing more than a sphere and a
| | 00:52 | vector-based shape layer.
| | 00:54 | What's amazing, the end result is
photorealistic, by which I mean scientifically
| | 01:00 | accurate, replete with planet
texture and opacity data for the rings.
| | 01:05 | In the end we ray trace the scene. This is key.
| | 01:09 | Ray tracing is how you output 3D artwork to
render the highlights, edges, and shadows.
| | 01:16 | I swear to you, it's like you shot a
photograph of Saturn at the window at
| | 01:20 | the Voyager spacecraft. It's so beautiful.
| | 01:23 | And once you're done, it's an actual
thing that you can photograph over and over
| | 01:29 | again from any angle you like.
| | 01:31 | This is how you use 3D in Photoshop.
| | Collapse this transcript |
| Creating a basic 3D shape| 00:00 | Here's the final Saturn image.
| | 00:02 | It's ultimately a digital painting
created inside of Photoshop CS5 Extended.
| | 00:07 | WHich is to say it's not a photograph,
in other words, captured by a Voyager
| | 00:11 | spacecraft or something along those lines.
| | 00:13 | Even though it is pretty
darn scientifically accurate.
| | 00:16 | It's based on some data I was able
to find in the NASA and JPL sites.
| | 00:20 | A few others as well.
| | 00:22 | And the wonderful thing is it's
actually pretty darn easy to throw together,
| | 00:25 | because ultimately we've got a
sphere surrounded by these rings.
| | 00:29 | The rings have varying levels of opacity.
| | 00:31 | But we'll solve that problem
pretty quickly as you'll see.
| | 00:34 | The toughest thing is just working in
3D space inside of Photoshop because it's
| | 00:38 | a very different space than you
Photoshop users have been working in before.
| | 00:43 | We have to make sure that these various
3D objects are fitting together properly.
| | 00:47 | Specifically the sphere
needs to be inside the rings,
| | 00:50 | not several million miles away.
| | 00:52 | Anyway, let's get started by
creating that basic sphere shape.
| | 00:56 | So I am going to switch to this image here.
| | 00:58 | It's called Space painting.psd and it
comes to us from T. Jefferson of the
| | 01:02 | Fotolia Image Library.
| | 01:04 | You'll notice that there are two
layers here. One is called universe and the
| | 01:06 | other is called ring.
| | 01:07 | So I'll go ahead and turn it on.
| | 01:08 | And it's very simple shape layer
that is created using the 2D shape tools
| | 01:12 | inside of Photoshop.
| | 01:15 | Specifically, the tool I
used was the Ellipse tool here.
| | 01:17 | So I drew a big circle and then I drew
a smaller circle inside of it, and set
| | 01:21 | it to the Subtract mode so the smaller
circle ended up cutting a hole in the larger one.
| | 01:26 | Now if I was to go up-- which I could.
| | 01:28 | I could go up right now to the 3D
menu and choose New Shape From Layer.
| | 01:33 | Before I do this I should caution you.
If you don't see a 3D menu, then you're
| | 01:37 | working in a standard version of Photoshop.
| | 01:39 | You have to have Photoshop CS5
Extended in order to follow along with
| | 01:43 | this entire course.
| | 01:45 | Now if I was to go up here to New
Shape From Layer, which is how you access
| | 01:49 | the basic 3D objects that are
included with Photoshop, and I were to choose
| | 01:53 | Sphere, which is the shape that I am
looking for, I would wrap this universe
| | 01:57 | layer around that sphere.
| | 01:59 | That's not what I want to do.
| | 02:00 | So I'll press Ctrl+Z,
or Command+Z on the Mac.
| | 02:03 | Instead what I want to do is create a new layer.
| | 02:05 | I am going to do that by pressing Ctrl+
Shift+N or Command+Shift+N on the Mac.
| | 02:09 | I'll call this new layer
planet and I'll click OK.
| | 02:12 | Now I revisit that command again.
| | 02:14 | I'll go up to the 3D menu, choose New
Shape From Layer, and then choose Sphere.
| | 02:18 | That ends up creating this
basic spherical shape right here.
| | 02:21 | It's currently behind the rings.
| | 02:23 | That's why it looks like it's
kind of trapped inside the rings.
| | 02:25 | Just to make it easier to work with for the
moment anyway, I am going to make it smaller.
| | 02:29 | I am going to do that by
dropping down to this 3D tool here.
| | 02:33 | By default it's the Object Rotate tool,
but it really doesn't matter which of
| | 02:36 | these five tools are selected.
| | 02:38 | All of them affect the entire scene
and that's what we're looking for.
| | 02:42 | And we're not actually getting use the
tool, because I want you to get it in the habit.
| | 02:45 | It's just hard to figure out these
tools when you're working on a 2D screen,
| | 02:50 | which allows you to drag up
and down and side to side.
| | 02:53 | But how do you drag in and out of 3D space?
| | 02:56 | Well, obviously you can't.
| | 02:58 | So Photoshop has to figure out the
difference and as a result the tools don't
| | 03:01 | always behave the way that you think they would.
| | 03:03 | So it's easier to start in my opinion
by editing the objects using this 3D
| | 03:08 | widget right here that includes these red,
green, and blue arrows, as you can see.
| | 03:12 | Now if you don't see the 3D widget on
screen, which Photoshop calls the 3D Axis,
| | 03:17 | then go to the View menu, choose
Show, and choose 3D Axis right there.
| | 03:22 | And that should bring it up on screen.
| | 03:23 | All right, so mine is already available.
| | 03:25 | Notice right here at the intersection
of these various axes we have this cube.
| | 03:31 | And if you hover over the
cube it's going to turn yellow.
| | 03:33 | You might see some other
things pop up on screen there.
| | 03:36 | But once it turns yellow you're good to go.
| | 03:38 | If you look very closely at the video
you can see that the cursor changes to
| | 03:41 | these three arrowheads
pointing in opposite directions.
| | 03:44 | And what it's telling you is you're
going to scale the object proportionally.
| | 03:48 | So if you drag up you're
going to make the object larger.
| | 03:50 | If you drag down you're
going to make it smaller.
| | 03:52 | Obviously, we want it smaller in this
case so I'll drag down and we end up with
| | 03:56 | this effect here.
| | 03:57 | So we now have a 3D sphere
set inside some 2D rings.
| | 04:00 | In the next exercise I'll show you
have to wrap a texture around that sphere.
| | Collapse this transcript |
| Mapping texture onto a 3D shape| 00:00 | I've saved my changes as Basic sphere.psd.
It's found inside the 01_3D_demo folder.
| | 00:05 | And in this exercise I'm going to show
to wrap a texture around a 3D object.
| | 00:09 | I'm also going to introduce you to the
3D panel, which is control central for
| | 00:14 | everything you do in the way of 3D
inside Photoshop, and there are three ways
| | 00:17 | to get to the panel.
| | 00:19 | One is to go up to the Window menu and
choose the 3D command. The other way, if
| | 00:23 | you set up your panels as I suggested
in the introduction, is to drop down here
| | 00:27 | to the bottom of this column strip
and click on this little RGB cube, which
| | 00:32 | brings up the 3D panel as you can see.
| | 00:34 | But the best way in my opinion is to
locate a 3D object inside the Layers panel
| | 00:39 | and you can identify 3D objects by the
appearance of this little cube in the
| | 00:43 | lower right-hand corner of the thumbnail.
| | 00:45 | Then you go ahead and double-click on
that 3D object's thumbnail in order to
| | 00:49 | bring up the 3D panel.
| | 00:51 | I've stretched the top of my panel
upward to give myself more room to work,
| | 00:55 | because we're going to be piling a lot
of stuff in the scene. Then I want you to
| | 00:59 | click on Sphere Material.
| | 01:00 | Now every 3D object inside a Photoshop
is assigned a default material and that
| | 01:05 | material defines the color of the
object, the opacity of specific faces, the
| | 01:10 | bump map, which determines hills and
valleys and the shape. You've got various
| | 01:15 | parameters for Reflection,
Gloss and Shine and so forth.
| | 01:19 | Now the most important of these
options or at least the most fundamental, is
| | 01:22 | these guy rights there, Diffuse.
| | 01:24 | Now Diffuse defines the color of the
object, which might make you wonder why in
| | 01:28 | the world they don't just call it color?
| | 01:29 | Well, there are different kinds of
colors associated with objects inside of the
| | 01:33 | world of 3D and Diffuse is the core color.
| | 01:37 | Notice, if I hover over Diffuse, we're
seeing that the color is white, so we see
| | 01:42 | the texture that's currently
wrapped around this object.
| | 01:45 | The object, however, does not appear
white except under white light; otherwise,
| | 01:50 | especially in the shadows in this case,
the object starts declining toward gray
| | 01:55 | or even black if it gets dark enough,
and that's why Diffuse is just one of the
| | 01:59 | many colors you might find on an object.
Even though the entire object is white.
| | 02:03 | In other words, not all pixels in the
3D rendering of the object turn white.
| | 02:08 | Diffuse is how we go about wrapping
textures around the object, and before we
| | 02:12 | apply a texture, let me
show you what it looks like.
| | 02:15 | I've got it open right here. It's called
NASA texture.jpg and it really truly is
| | 02:19 | a surface map of the planet of Saturn.
| | 02:22 | Having seen the image, I'm going to
return to our composition in progress and
| | 02:26 | in order to load it onto the planet,
you click on the little page icon to the
| | 02:29 | right of the word Diffuse and then choose Load
Texture and that brings up the Open dialog box.
| | 02:36 | Now I want to locate NASA texture.
jpg inside the 01_3D_demo folder and go
| | 02:41 | ahead and click Open, and just like
that Photoshop goes ahead and maps that
| | 02:45 | texture onto the sphere.
| | 02:47 | I'll go and zoom in so that we
can see it up close and personal.
| | 02:50 | It looks great with one big exception:
it lacks color. And there are colors
| | 02:55 | associated with the various strata
of gas on Saturn. We're going to add
| | 02:59 | those colors when we take a look at
how to modify a diffused texture in the next exercise.
| | Collapse this transcript |
| Editing a diffuse texture| 00:00 | I've saved my progress as
Grayscale textured.psd. It's found inside
| | 00:03 | the 01_3D_demo folder.
| | 00:05 | In this exercise I'm going to show you
how to modify a texture assigned to a 3D
| | 00:09 | object and there is a couple of ways to do it.
| | 00:12 | One is inside the 3D Panel you can
click on this little page icon to the right
| | 00:16 | of the word Diffuse and choose Open Texture.
| | 00:18 | But the easiest way to work in my
opinion is to go to the Layers panel once
| | 00:23 | again and notice that your 3D object
now has some properties assigned to it.
| | 00:27 | Namely it's got this Diffuse texture and
it happens to be NASA texture, which is
| | 00:33 | an image that is now embedded
inside this larger composition.
| | 00:37 | To get to it, just double-click on NASA texture
and it will open that image in a separate window.
| | 00:42 | All right I'm going to go ahead and
zoom in and hide that 3D panel, because the
| | 00:46 | work we're going to do now is
pretty traditional Photoshop fair.
| | 00:49 | For starters I'm going to convert this
background into an independent layer by
| | 00:53 | double-clicking on it, and then I'll
call this layer luminance because it's
| | 00:56 | going to serve as our
luminance data. Click OK.
| | 00:59 | Now I want to create a new layer of
color below the luminance layer and I'm
| | 01:03 | going to do that by dropping down to
little page icon at the bottom of the
| | 01:06 | Layers panel and Ctrl+Clicking on it,
or on the Mac Command+Clicking on it.
| | 01:10 | Then I'll go ahead and rename that
layer color, like so, and let's hide the
| | 01:15 | luminance layer so we can see what we're doing.
| | 01:17 | We're going to add the colors as a
gradient that I've created for you in advance.
| | 01:21 | So go ahead and switch to the Gradient
tool either by clicking on it or pressing
| | 01:24 | the G key, then go up here to the
Options bar, click the down-pointing
| | 01:28 | arrowhead, click the right-pointing
arrowhead, and choose Load Gradients.
| | 01:32 | Navigate your way to the 01_3D_demo
folder and therein you'll find this file
| | 01:37 | called Saturn gradients.grd.
Go ahead and load it up.
| | 01:40 | Now that adds two gradients.
| | 01:42 | The first of which is called Saturn
Gradient; the other one is called Rings Gradient.
| | 01:46 | Go ahead and click on Saturn Gradient
there and then what I want you to do--
| | 01:50 | I'm going to zoom out a little bit here.
| | 01:52 | I want you to drag from the top of the
image down to the bottom while pressing
| | 01:56 | the Shift key to constrain
that angle to exactly vertical.
| | 01:59 | That ends up giving us these
colors here, which look pretty great.
| | 02:03 | I felt like there ought to be a little
bit of variety associated with these colors.
| | 02:08 | So I'm going to zoom in once again
and I'm going to convert this layer to a
| | 02:11 | Smart Object so I can apply some
editable Smart Filters by going up here to the
| | 02:16 | Layers panel fly-out menu and
choosing Convert to Smart Object.
| | 02:20 | Next you can apply Smart Filter from
the Filter menu, and the one I'm going to
| | 02:23 | apply is Noise > Add Noise, and
these are the settings I applied.
| | 02:28 | An Amount of 12.5%, Distribution set to
Uniform and the Monochromatic checkbox
| | 02:33 | turned on. Then click OK.
| | 02:36 | Now we've got quite a bit of noise
associated with our color as you can see here.
| | 02:40 | I want this noise to be distributed
horizontally, so I'll go back up to the
| | 02:44 | Filter menu, choose Blur,
and then choose Motion Blur.
| | 02:48 | And here is my settings this time-around:
an Angle of 0 degrees and a Distance
| | 02:52 | value of a 100 pixels. Then click OK.
| | 02:55 | And you end up getting this effect here,
and it looks to me like we've got these
| | 02:59 | sort of storms of color moving
through the surface of the planet.
| | 03:02 | Now I'm going to go and zoom out here
for a moment and you can see that we have
| | 03:06 | a little bit of a problem over
here on the right and left-hand sides.
| | 03:10 | The Motion Blur isn't quite working
out right, so we need to scale this layer
| | 03:14 | and I'm going to do that by first of
all switching back to my Rectangle Marquee
| | 03:17 | tool, so I don't see that Ghostbusters cursor.
| | 03:20 | And next I'll go up to the Edit menu
and choose the Free Transform command or
| | 03:23 | you can press Ctrl+T, Command+T on the Mac.
| | 03:26 | Now you may end up seeing an error
message. All it's telling you is that during
| | 03:30 | the course of the transformation
you're not going to see your Smart Filters.
| | 03:33 | Go ahead and click OK, and then change
the W value for Width to 120% and press
| | 03:40 | the Enter key a couple of times in
order to apply that modification.
| | 03:43 | I also, if I'm not using my Filter
Mask, I like to just go ahead and get rid
| | 03:47 | of it by right-clicking on it
and choosing Delete Filter Mask.
| | 03:50 | That wasn't quite sufficient. This is
how I actually started this project was
| | 03:54 | with just this gradient, it ended up
looking pretty darn good, but once I
| | 03:58 | found this surface map, things worked out
impeccably well and I'll show you what it looks like.
| | 04:02 | I'll go ahead and turn on the
luminance layer now, click on it to make it
| | 04:06 | active, change the blend mode from
Normal to Luminosity, and then go ahead and
| | 04:11 | press the Escape key here on the
PC so that the blend mode is no longer
| | 04:14 | active and press the 5 key in order to
reduce the Opacity value to 50% and we
| | 04:20 | end up getting this effect here,
which I think looks just great.
| | 04:23 | Now I'm going to go ahead and close my
texture by clicking on the close box,
| | 04:26 | and then I'll click on the Yes button
in order to save my changes here on the
| | 04:30 | PC, that would be the Save button on the
Mac, and that goes ahead and saves your
| | 04:35 | changes back inside of-- in my case
this Grayscale texture.psd document.
| | 04:41 | And just to get a sense of the change
we've made I'll press Ctrl or Command+Z in
| | 04:45 | order to see a before version of the image and
Ctrl or Command+Z again to see an after version.
| | 04:50 | And that's how you modify a texture
assigned to a 3D object inside Photoshop.
| | Collapse this transcript |
| Converting 2D art to 3D| 00:00 | In this exercise I am going to show you
how to turn the 2D rings layer into a
| | 00:04 | 3D object using Repousse.
| | 00:06 | I have saved my progress as Little planet.psd.
| | 00:09 | It's found inside the 01_3D_demo folder.
| | 00:11 | I want you to go ahead and select the
rings layer to make it active, then go up
| | 00:15 | to the 3D menu and before I show you
the proper command here, you might wonder
| | 00:19 | why don't we go to New Shape
From Layer and choose Ring?
| | 00:22 | After all that's what
we're trying to create is a ring.
| | 00:24 | Well, this ring is a wedding ring and it
wouldn't give us the right result at all.
| | 00:29 | So we're going to Repousse right there
and then choose Layer Mask in order to
| | 00:34 | convert the layer mask into a 3D object.
| | 00:36 | As soon as you do that you'll get an
alert message that says this shape must be
| | 00:40 | rasterized before proceeding.
| | 00:42 | Normally, the process of rasterization is the
conversion of vectors in this case to pixels.
| | 00:49 | We are in no way shape or form
converting this object to pixels. We're converting
| | 00:54 | it to vertices, but we will no longer have the
option to edit the shape in a traditional sense.
| | 00:59 | In any case, you have to click the
Yes button if you want to move forward.
| | 01:03 | So go ahead and click Yes and then we
arrive at the gianormous Repousse dialog box.
| | 01:08 | Now I am going to explain what's going
on inside this dialog box in the next
| | 01:12 | chapter, but for now we're
going to make quick work of it.
| | 01:15 | First of all, notice that the hole has
become filled in with gray. That's because
| | 01:19 | my Internal Constraints is set incorrectly.
| | 01:21 | What you want to do is change type
from Inactive to Hole so that the hole is
| | 01:26 | treated like a hole.
| | 01:28 | Now we can see these edges and those
are the extruded edges. So that's all the
| | 01:32 | Repousse is fundamentally doing is
extruding an object. Think of 3D type for
| | 01:37 | example and again we'll be discussing
that in more detail in the next chapter.
| | 01:41 | But for now I don't want an extrusion.
I actually want a flat object here.
| | 01:45 | So I am going to change the
Depth value to zero and that's it.
| | 01:49 | Then click OK and we are
done inside of this dialog box.
| | 01:53 | We now have a 3D object.
| | 01:55 | It doesn't look much
different than it did before.
| | 01:57 | The edges are little more jagged, but
that's because we haven't rendered the object.
| | 02:01 | Notice, however, that we do have the cube
icon here in the bottom right corner of
| | 02:05 | the rings thumbnail.
| | 02:06 | So we know we are now working in 3D.
| | 02:09 | In fact, you can go ahead and rotate
this object in 3D space if you want to by
| | 02:13 | switching over to the Object Rotate tool
or whatever tool is the occupant at the
| | 02:17 | slot and then going up here to the
widget and notice that I'm hovering over the
| | 02:22 | second control down on the blue arrow.
So just below the blue arrowhead there is
| | 02:27 | this other little guy there and when I
hover over it, I see this vertical yellow
| | 02:31 | line and if I start to drag, I will
rotate this object up and down like so.
| | 02:37 | So you can see that it is truly a 3D object.
| | 02:40 | I'm just demonstrating that.
| | 02:41 | I don't want you to do it at this point.
| | 02:43 | I want you to leave the
ring straight up and down.
| | 02:46 | So if you've been fooling around with it,
just go ahead and undo your way back.
| | 02:49 | I am going to press Ctrl+Z or Command+Z
on the Mac to leave those rings in place.
| | 02:53 | That will become very important later when
we start to merge these objects together.
| | 02:58 | All right, I am going to switch
back to my Rectangle Marquee tool.
| | 03:01 | Now at this point I'd like to go ahead
and add the colors to the rings and I am
| | 03:04 | going to do that from the Layers panel
by double-clicking on this item right here,
| | 03:08 | the one that's called Rings, and
that will go ahead and open that diffuse
| | 03:11 | texture that's currently assigned to the object.
| | 03:14 | It looks like a white donut and we're
going to change it to a very colorful
| | 03:18 | donut by dropping down to the eX icon,
clicking on it and choosing Gradient
| | 03:23 | Overlay and then inside the Gradient
Overlay dialog box, go ahead and click
| | 03:27 | the down-pointing arrowhead next to
the Gradient bar and click that final
| | 03:30 | gradient which is called Ring's
gradient, if I could see my tips right now and
| | 03:34 | it ends up looking like this.
| | 03:36 | Go ahead and hide that pop-up panel and
change the Style from Linear to Radial
| | 03:41 | and you'll end up with this
effect here. Then click OK.
| | 03:44 | After playing with this gradient, I
decide it wasn't bright and vivid enough and
| | 03:48 | I could've gone in and modified every
single color stop that's associated with
| | 03:53 | the gradient, but that
would have taken me forever.
| | 03:55 | Notice if I double-click on Gradient
Overlay and then I click on this Gradient
| | 03:58 | bar that there are a ton of color
stops to work with here and they are all
| | 04:02 | smooshed together so that's no fun.
| | 04:06 | I am going to cancel out
of there a couple of times.
| | 04:07 | What I decided to do instead
was assign some adjustment layers.
| | 04:10 | So I am going to press the Alt key or
the Option key on the Mac, click this
| | 04:13 | black-white icon, and choose Vibrance.
And because I had Alt or Option down I can
| | 04:19 | go ahead and name this layer and I am
going to call it vivid and then click OK.
| | 04:23 | And I am going to
increase the Vibrance vale to 90.
| | 04:26 | Next, I am going to press that keyboard
shortcut that I gave you when you loaded
| | 04:29 | dekeKeys back in the Introduction, Ctrl+
Shift+L or Command+Shift+L on the Mac to
| | 04:34 | create a Levels adjustment layer, and
I'm going to call this one brighten.
| | 04:38 | The great thing about those shortcuts is
that they automatically invoke the dialog
| | 04:42 | box so you can go ahead and
name your layer as you create it.
| | 04:46 | All right, I'll click OK and I took
this white point value right there and I
| | 04:50 | reduced it to 225 by pressing Shift+
Down Arrow three times in a row and then I
| | 04:55 | press Shift+Tab in order to scoot back
to the Gamma value and I press Shift+Up
| | 05:00 | Arrow in order to increase that Gamma value
to 1.1, just to brighten things up a little.
| | 05:05 | All right, that's it.
| | 05:06 | Now I am ready to apply my changes.
| | 05:08 | So I'll go ahead and close this
document, click the Yes button on the PC, the
| | 05:12 | Save button on the Mac, and that goes ahead
and assigns that colorful gradient to the rings.
| | 05:16 | The rings don't look right at all and
that's because we have one uniform opacity level.
| | 05:22 | We are going to change that by
assigning an opacity map in the next exercise.
| | Collapse this transcript |
| Defining an opacity map| 00:00 | So here I am looking at the
final version of Saturn again.
| | 00:03 | And you can see how these rings
have varying levels of opacity.
| | 00:06 | Now I suppose one way of representing
those different rings would be to draw
| | 00:09 | each and every one of them independently.
| | 00:11 | But that would be madness.
| | 00:13 | The much easier way is to create an
opacity map and let Photoshop do the work for us.
| | 00:18 | I've gone ahead and saved my
changes as Colorful rings.psd found inside
| | 00:22 | the 01_3D_demo folder.
| | 00:25 | And I also have open this image called Ring
opacity texture.psd found in the same folder.
| | 00:30 | When you're creating an opacity map,
black represents transparency and white
| | 00:34 | represents opacity, just as
when you're creating a layer mask.
| | 00:37 | Now you couldn't use a layer mask in
this case, because a layer mask can't
| | 00:41 | rotate in 3D space along with the object.
| | 00:43 | So you go ahead and
create an opacity map instead.
| | 00:47 | I want to show you how I made this
however, because it involves a great trick
| | 00:50 | and I just want to pass it along to you.
| | 00:52 | The image that I actually found was this
one right here, which is just this little
| | 00:57 | sliver that shows off the
varying levels of opacity of the rings,
| | 01:02 | from left representing the inside,
to right representing the outside.
| | 01:06 | But somehow I had to take this linear
gradient, which is essentially what it is,
| | 01:10 | and turn it into a kind of radial gradient.
| | 01:13 | Well, I guess I could have
defined it actually as a gradient.
| | 01:16 | However, there is so many color stops
in terms of these luminance levels here,
| | 01:19 | that it would've taken forever and
there's a much easier way to do it.
| | 01:23 | Let me show you how it works.
| | 01:23 | I'll go ahead and select this sliver
layer and I am going to zoom out so that I
| | 01:27 | can take in the entire composition.
| | 01:29 | And I'll go on to the Edit menu
and choose Free Transform or press
| | 01:33 | Ctrl+T/Command+T on a Mac.
| | 01:35 | And then, while I am in the Free
Transform, I'll right-click on this object and
| | 01:40 | choose Rotate 90 degrees CW, for clockwise.
| | 01:43 | And then I am just going to drag these
corner handles like so, until I expand
| | 01:48 | the gradient to fill the entire image,
and then I'll press the Enter key or the
| | 01:52 | Return key on the Mac.
| | 01:53 | So this is really just a two-step process.
| | 01:55 | The next step is to go up to the Filter
menu, choose Distort, and choose Polar
| | 02:00 | Coordinates, which is not a filter I
use very often, but it's exactly the
| | 02:04 | filter we need here.
| | 02:05 | And what it allows you to do is
essentially convert a Mercado projection into a
| | 02:10 | polar projection, or vice versa.
| | 02:12 | In this case, we want to go
from Rectangular to Polar.
| | 02:15 | And you can see how well it's going
to work if I zoom out of the preview.
| | 02:18 | Then I'll go ahead and
click OK and the job is done.
| | 02:21 | So that's how I went back getting those rings.
| | 02:23 | Now let's go ahead and load them up.
| | 02:25 | I'll switch back to Colorful rings.psd
and then I'll double-click on a thumbnail
| | 02:29 | for the rings layer to
bring up the 3D Scene panel.
| | 02:32 | And I am going to click on this first
material, which is called rings Front
| | 02:35 | Inflation Material, and I am going to
go ahead and load that opacity map by
| | 02:40 | clicking on this little folder
icon next to the word Opacity and then
| | 02:43 | choosing Load Texture.
| | 02:45 | And then inside the 01_3D_demo folder
I'll find Ring opacity texture.psd and
| | 02:50 | go ahead and open it.
| | 02:51 | Ideally that would take care of everything.
| | 02:53 | We would now see the various
levels of opacity rendered on screen.
| | 02:57 | The problem is we're seeing through the
Front Inflation to the Back Inflation.
| | 03:02 | And that's because we have an
extruded object with multiple sides.
| | 03:05 | I asked for no extrusion
whatsoever so we don't have any edges.
| | 03:08 | And I didn't define a bevel either
so our Front Bevel and Back Bevel
| | 03:12 | are essentially empty.
| | 03:13 | But we do have a Back Inflation material.
| | 03:16 | So I am going to click on it to make
it active and then I am going to change
| | 03:19 | its Opacity value to 0 degrees.
| | 03:21 | And as soon as I press the Enter key
or the Return key on a Mac, we end up
| | 03:25 | getting the desired effect right there.
| | 03:27 | And that's how you take one 3D ring and
turn it into several thousand using an
| | 03:32 | Opacity Map inside Photoshop.
| | Collapse this transcript |
| Merging two 3D layers into one| 00:00 | In this exercise I'm going to show you
how to merge two 3D layers together to
| | 00:03 | create a cohesive scene.
| | 00:05 | I've saved my progress as
Thousands of rings.psd. It's found inside
| | 00:09 | the 01_3D_demo folder.
| | 00:11 | And let's say I wanted to take these
rings and wrap them around Saturn. I'd make
| | 00:15 | sure the Rings layer is active, which
it is, then I would switch over to my
| | 00:18 | Object Rotate tool and I'd hover over this blue
axis until I end up getting the rotate symbol.
| | 00:24 | And I'll go ahead and drag this guy
up in order to rotate the rings upward,
| | 00:29 | which is good. They are also rotating
backward but they're way up there now.
| | 00:34 | They are off the canvas entirely.
| | 00:36 | So I'll go ahead and drag down on this
green arrowhead and I'll go ahead and
| | 00:40 | back off that Z-axis rotation a little
bit, and at this point it might just be
| | 00:44 | easier to grab my Slide tool, which
allows me to move the object along the
| | 00:49 | Z-axis, and I'm now currently
moving it away from me as I drag upward.
| | 00:53 | However, it's never going to touch
Saturn, nor is it going to wraparound
| | 00:57 | Saturn. It's always going to be on top
of it because the Rings layer is on top
| | 01:00 | of the Planet layer and they're both
floating around in their own independent universes.
| | 01:05 | If I want them to be together I have
to merge them into a single 3D scene.
| | 01:09 | So the first thing I'm going to do is
go to the File menu, because I've made
| | 01:13 | such a mess of this, and choose the
Revert command or press the F12 key in order
| | 01:17 | to restore the original orientation of my rings.
| | 01:20 | And now I'm going to click on the
Planet layer to make it active and I'll go up
| | 01:23 | to the Options bar and noticed
this Position option right there.
| | 01:26 | I'm going to set the Position to
Top so that we're looking at Saturn from
| | 01:30 | the top down with the rings presumably
around it. So in other words they're both
| | 01:35 | set to approximately the same orientation.
| | 01:37 | Now I'll Shift+Click on the Rings
layer to make it active, so both Rings and
| | 01:41 | Planet are selected, and I'll go up
to the 3D menu and choose Merge 3D
| | 01:45 | Layers, and that will go ahead and
combine those two layers into a single 3D
| | 01:51 | layer as you see here.
| | 01:53 | And now we have an interaction between
Saturn and its rings. It's not the right
| | 01:56 | interaction of course but it is a start.
| | 01:59 | Now I'll go over to my little widget
here and I'm going to hover above it, like so,
| | 02:03 | so that I get that yellow rotate line.
| | 02:06 | And I'll go ahead and drag up and you
can see the rings are still much higher
| | 02:09 | than Saturn, and I'm going to drag up
even more on that little rotate gizmo, and
| | 02:15 | then I need to move the rings
independently of the planet.
| | 02:18 | Well, that cannot be done with the tool
that I've selected here or any of these
| | 02:23 | tools that are available to
me up here in the Options bar.
| | 02:26 | Instead what I have to do is bring
up my 3D panel and I'll do that by
| | 02:30 | double-clicking on the planet
thumbnail, and notice that you can see the
| | 02:34 | individual meshes as they're known.
| | 02:36 | So we've got one for Sphere and we've
got another one for Rings, and they're
| | 02:40 | indicated by these little wire
cylinders which look a lot like trashcans but
| | 02:45 | they are supposed to be little columns.
| | 02:47 | And what you want to do is click on
Rings to make it active, and then go down to
| | 02:51 | this tool here, the third
tool down inside of the 3D panel.
| | 02:55 | It's the Mesh Rotate tool. There is a
bunch of Mesh tool variations here and it
| | 02:58 | doesn't particularly matter which
one you select. Just grab one of them.
| | 03:02 | And then with Rings selected once
again, don't drag inside the image window.
| | 03:06 | Rather drag down on that green arrowhead,
and if you drag all the way down the
| | 03:12 | screen you will eventually get
the rings to intersect the planet.
| | 03:16 | And they actually kind of go inside
of the gas of Saturn, and that's
| | 03:20 | because they're too small.
| | 03:21 | So to increase their size go ahead and
drag up on that cube right there, the
| | 03:25 | cube at the intersection of the axes
lines and I'm going to make the rings
| | 03:29 | larger still until they get
let's say about this big right here.
| | 03:33 | And now let's make sure that
everything centered the way that it needs to be.
| | 03:37 | I'm going to switch back to one of my
Object tools here, and it might as well be
| | 03:41 | the 3D Object Rotate tool.
| | 03:43 | And then I'm going to go ahead and
drag up on the Z-axis rotate gizmo until I
| | 03:48 | can see my rings slice right
through the center of Saturn.
| | 03:51 | Then I'll click on Sphere to make it
active, then I'll drop down to my Mesh
| | 03:54 | tool, click on it to make it active, and
then go ahead and drag up on that blue arrow.
| | 03:59 | In my case just a little bit. I just
need to elevate the planet ever so slightly.
| | 04:03 | All right, now let's switch back to the
Object tool. I'll go ahead and click on
| | 04:06 | it to make it active and I'll grab that
Z rotation gizmo and drag down like so.
| | 04:12 | And this is approximately the
way I want the scene to look.
| | 04:15 | Although I want to raise it a little,
so I'll drag up on the blue arrow until I
| | 04:19 | get the whole scene more
or less centered like that.
| | 04:22 | And now I'm going to make it a
little bigger by dragging up on that cube
| | 04:25 | until we get approximately this effect here.
And actually I think this looks pretty darn good.
| | 04:31 | And so we now have the rings actually
wrapping around Saturn. What we don't have
| | 04:36 | is decent lighting, and the reason is
notice here we've got two lights.
| | 04:40 | We've got Infinite Light 1 and Infinite Light
2. It's fine that they're infinites and
| | 04:43 | I'll explain what that means.
| | 04:45 | But does it make sense that
there's two lights lighting Saturn?
| | 04:49 | Do we have a second sun in the neighborhood?
| | 04:52 | We don't, We have just one sun so we
need to pare it down to one light and I'll
| | 04:56 | show you how that works in the next exercise.
| | Collapse this transcript |
| Lighting a scene| 00:00 | All right gang, in this exercise
we'll take our first look at lighting a 3D
| | 00:03 | scene inside Photoshop.
| | 00:05 | I've gone ahead and saved my changes
as Merged 3D scene.psd, found inside the
| | 00:09 | 01_3D_demo folder, and notice here
inside the 3D panel, assuming that your
| | 00:14 | Planet layer is selected, you'll see a
couple of light sources: Infinite Light 1
| | 00:17 | and Infinite Light 2.
| | 00:19 | Now I'll be telling you lot more about
how lighting works in a future course,
| | 00:22 | but for now just know that there are
different types of lights and Infinite
| | 00:26 | Light, also known as directional light,
| | 00:28 | casts light in a certain direction.
You can change the direction of the lights,
| | 00:31 | but you can't change their position.
| | 00:33 | The idea is they are so far away and
they're are so enormous that the light
| | 00:39 | shines in parallel beams at a specific object.
| | 00:43 | Think of the sun. The sun is
the ultimate infinite light.
| | 00:47 | Problem is it's interesting to
have multiple infinite lights in a
| | 00:50 | scene sometimes I think.
| | 00:52 | However, it doesn't make sense
when you're lighting the solar system.
| | 00:55 | There is only one sun in our solar
system and we should have only one infinite
| | 00:59 | light; otherwise we're
going to cast realistic shadows.
| | 01:02 | So what I'm going to do is go ahead
and turn off Infinite Light number 2 and
| | 01:07 | just take a look at what we've got with
Infinite Light 1. Because I believe, if
| | 01:11 | I were to turn off Infinite Light 1,
| | 01:13 | that of course will turn off all
the lights in the solar system.
| | 01:16 | And then turn Infinite Light 2 back on, I
believe we have under lighting, which we do.
| | 01:21 | So Infinite Light 1 is closer to
what I'd like to see happen here.
| | 01:25 | So I'll go ahead and turn off 2, turn on 1.
| | 01:28 | You can even, if you want to, just go
ahead and rename that light source.
| | 01:31 | You can call the sun, if you like, and then
what you want to do switch to your light tool.
| | 01:37 | So notice down here fourth in the
list under the Mesh tool is the Light
| | 01:41 | Rotate tool by default.
| | 01:42 | Go ahead and grab it.
| | 01:43 | And now we've got a different kind
of widget and where this widget is
| | 01:47 | concerned, you're going to get the
biggest bang for the buck out of the
| | 01:50 | X-axis right there.
| | 01:52 | So notice how the shadows are changing
as I rotate the X-axis and notice that's
| | 01:56 | all you can do, by the way, is rotate.
| | 01:58 | You don't have any move controls
because it's an infinite light source.
| | 02:02 | And now I'll go ahead and drag the Z-
axis around like so, rotate it, and then I
| | 02:07 | might adjust the X-axis a little more until we
end up getting approximately this effect here.
| | 02:13 | So, so much for lighting the solar
system. It's not really that hard.
| | 02:17 | I'm going to switch back to my scene
and I'm also going to press the M key just
| | 02:20 | to switch back to my Rectangular Marquee tool.
| | 02:23 | When you take a look at what's going
on here the thing you're not seeing is
| | 02:27 | shadows and you might say, "Well, I do
see a shadow, you know, there is a shadow
| | 02:31 | on the right side of the planet right now." Yes,
| | 02:34 | but the planet should be casting a
shadow onto the rings and the ring sshould be
| | 02:39 | casting a shadow onto the planet.
| | 02:41 | There is no interplay of light
between these two objects going on.
| | 02:45 | You don't get that interplay until you
ray trace the scene, and so I'm going to
| | 02:50 | show you how that works.
| | 02:51 | I'll bring up the 3D panel once again,
and then you make sure Scene is selected.
| | 02:55 | This is very important.
| | 02:56 | You can't have a light source or a mesh
or a material selected; you've got to
| | 03:00 | have the entire scene selected.
| | 03:01 | Then you'll see down here there is this option
that says Quality, and it's easy to overlook.
| | 03:06 | It's probably the most important option
when you're trying to create a 3D scene,
| | 03:10 | because without it you end up
with pretty garbage-y results.
| | 03:14 | You can see these really jagged
edges around Saturn for example.
| | 03:17 | The rings look smooth, but
that's all because of the opacity map.
| | 03:20 | Anyway, if we want good results,
then you have to switch from Interactive
| | 03:24 | painting, which is a fast mode
that keeps up with you as you work.
| | 03:27 | You need to switch to Ray Traced, either
Draft, which goes fairly quickly, a few
| | 03:32 | minutes, or Final, which can
take a very very long time.
| | 03:36 | If you just try to check out the scene and
how it's working, I totally suggest Draft.
| | 03:40 | You don't go with Final
until you're absolutely done.
| | 03:43 | So I'll go ahead and choose Draft and
notice this is a progressive scan.
| | 03:47 | It's actually scanning the scene
and ray tracing as it goes.
| | 03:51 | What we're seeing now is
a very unpleasant result.
| | 03:55 | Notice all this weird garbage that's
appearing in the rings and what you do if
| | 04:00 | you notice that something just totally
wrong, you can stop the ray tracing by
| | 04:04 | clicking inside the scene.
| | 04:06 | And if it doesn't work the first time,
click again. Sometimes Photoshop needs a
| | 04:10 | couple of three clicks before it pays
attention, but a click will stop things.
| | 04:14 | Then I'll go ahead and hide the
panel so I can see what's going on.
| | 04:17 | I have this nice shadow coming
off of Saturn onto the rings.
| | 04:20 | The rings are a mess though and the
rings are not casting a shadow onto Saturn.
| | 04:24 | Well, what I'm going to tell you is
sometimes stuff like this happens and it's
| | 04:29 | Photoshop's fault. There is some problem
going on here, but it's not the kind of
| | 04:33 | thing where quitting program and
restarting it is going to help or
| | 04:36 | restarting your machine.
| | 04:38 | What I urge you to do when you run into
these kind of rendering issues is look
| | 04:42 | for ways to change some form of parameter.
| | 04:44 | In this case we know the
rings are in trouble, right?
| | 04:47 | That's where all the garbage is
appearing and the rings aren't casting a
| | 04:51 | shadow onto Saturn.
| | 04:53 | And I'm going to show you how to fix
this problem by changing just one parameter
| | 04:56 | assigned to the rings, in the next exercise.
| | Collapse this transcript |
| Troubleshooting and ray tracing| 00:00 | In this exercise I'm going to give you a
sense for how to troubleshoot a render gone bad.
| | 00:05 | I've saved my progress as Galactic garbage.
psd. It's found inside the 01_3D_demo folder.
| | 00:10 | What we know is that the planet looks
just fine; the rings look terrible and
| | 00:14 | they are not casting a shadow. So it must
be a problem with the way I set up the rings.
| | 00:19 | Now what I ended up doing was turning
on and off all the stuff associated with
| | 00:23 | the rings, which are the two rings
items right there and the rings opacity
| | 00:27 | texture here inside the Layers
panel, and that did not help.
| | 00:30 | Turning each one of these on and off
still resulted in the exact same garbage here.
| | 00:35 | So instead what I decided to do was
double-click on this planet thumbnail and
| | 00:40 | then click on the rings
mesh here inside the 3D panel.
| | 00:43 | Now I set up this mesh in the first
place using Repousse. I must be able to
| | 00:47 | modify those Repousse
settings, and I can, in two ways.
| | 00:51 | One is to go up to the 3D menu, choose
Repousse, and then choose Edit in Repousse.
| | 00:56 | Another way to do it is to drop down
to this little R icon near the bottom of
| | 01:01 | the panel and click on it, and that
will bring up the Repousse dialog box.
| | 01:07 | Then what I decided to do was to
experiment with this Depth value. Perhaps the
| | 01:11 | Depth of zero is creating a problem.
So I changed that depth value to 0.1 and
| | 01:17 | then I went ahead and clicked OK,
and notice now that I get this big huge
| | 01:21 | beveled edge around my rings.
| | 01:24 | However, as the scene renders, I can
see that it's in pretty good shape.
| | 01:28 | You know I don't want big thick edges
around my rings, it looks terrible, but
| | 01:32 | I'm not having those bits and pieces drop
out and I am casting a shadow onto the planet.
| | 01:36 | All right, I'm going to go ahead and
click inside the Image window in order to
| | 01:40 | stop the render and I'm going to click
on the rings Extrusion Material right
| | 01:44 | there inside the 3D panel and change the
opacity value from 100% to 0% and then
| | 01:51 | let the scene re-render again.
| | 01:53 | This time everything is looking good.
So basically as we see these passes on
| | 01:58 | screen, Photoshop is progressively
increasing the quality of the ray tracing.
| | 02:02 | So you can get a sense upfront if the
ray tracing is going to go well and then
| | 02:06 | if it is, you can either just sit tight
and watch it happen or you can walk away
| | 02:10 | from your machine for a few
minutes and come back later.
| | 02:12 | Now what we're going to go ahead and
do in the interest of respecting your
| | 02:15 | time is condense the amount of time it
takes to ray trace the scene, so we're
| | 02:19 | going to speed things up.
| | 02:21 | And there we have the ray tracing
complete with well rendered rings, shadows
| | 02:26 | from the rings, and a shadow cast
from the planet onto the rings as well.
| | 02:30 | I'll go ahead and hide the 3D panel, so
we can see what's going on a little better.
| | 02:33 | Now there are a few problems with
this rendering. For one thing, this is an
| | 02:37 | awfully light shadow being cast on the rings.
| | 02:39 | It suggests ambient light. Where would
ambient light be coming from in space?
| | 02:43 | We've got some weird action going on
here with the shadows and the rings,
| | 02:47 | and then we have these kinds of
micro rings going on over here in the
| | 02:50 | right-hand edge of the planet, and
I'll show you how to solve those issues
| | 02:54 | starting with the next exercise.
| | Collapse this transcript |
| Fixing ambient light and strange rings| 00:00 | In this exercise we're going to
correct for this overly light shadow that's
| | 00:03 | being cast by Saturn onto the rings
and we're also going to try to fix this
| | 00:07 | weird edge down here at the bottom of
the planet, where the rings appear to be
| | 00:11 | essentially ignoring the shadow around
the dark edge of Saturn. We should have a
| | 00:16 | dark edge going into a dark background
right there, but we have a light edge
| | 00:20 | going into a dark background.
| | 00:22 | So first thing's first, let's take care
of that shadow by double-clicking on the
| | 00:25 | thumbnail for the Planet layer to
bring up the 3D (Scene) panel, and then I'm
| | 00:29 | going to make a couple of adjustments to
the Sun, this light source right there.
| | 00:33 | I just want to brighten up the scene a
little bit, so I'm going to raise the
| | 00:36 | Intensity value to 1.1.
| | 00:38 | As soon as I press the Tab key to
invoke that change, I'll invoke another ray trace,
| | 00:42 | and I don't want that to happen,
because I'm just running through a
| | 00:46 | few adjustments here.
| | 00:47 | So I'll click inside the scene in
order to interrupt that ray trace.
| | 00:50 | I also want softer shadows, just
slightly softer, so I'm going to increase the
| | 00:55 | Softness value to 2% and that's going
to result in a softer transition around
| | 01:00 | the edges of the shadows, and then
I'll click again to stop the ray tracing.
| | 01:04 | And I'll click on Scene in order to
make it active, and I'll drop down to this
| | 01:09 | item, Global Ambient Color. Notice
it's a pretty light shade of gray.
| | 01:13 | So I'll click on that color swatch,
change it to black here inside the Color
| | 01:17 | Picker dialog box, and click OK, and
this time I'm going to let the ray tracing
| | 01:21 | go because this is the
final version of the scene.
| | 01:24 | We are going to go ahead and quicken
it up for you folks, so this'll take
| | 01:28 | just a moment inside the video.
It'll take a few minutes for you if you're
| | 01:31 | working along with me.
| | 01:33 | And now here's the final ray traced
version of the scene. I'm going to hide the
| | 01:36 | 3D panel and the reason that we're
getting this kind of aberrant edge down here
| | 01:41 | in the lower right-hand corner of
Saturn is because the background is not
| | 01:46 | integrated into the scene.
| | 01:48 | This universe background. And you can't.
| | 01:51 | Unless I turn it into another 3D object
I can't make it part of this 3D scene.
| | 01:55 | So if I were to turn it off for a
moment so we can see what's going on,
| | 01:59 | this is really the problem, is Photoshop
is trying to reconcile this area of the
| | 02:04 | image using a transparency mask and
it's not doing such a hot job. It's not
| | 02:08 | working all that well.
| | 02:10 | So here's the solution I came up with,
and this is a standard sort of image
| | 02:14 | troubleshooting you have to do inside Photoshop.
| | 02:16 | I'll go ahead and turn Universe back on
and with the Planet layer selected I'm
| | 02:20 | going to press Ctrl+J or Command+J
on the Mac to jump a new copy of it.
| | 02:24 | Then I'm going to go ahead and twirl
both of these layers closed, just to save
| | 02:27 | myself some room inside the Layers panel.
| | 02:29 | And I'm going to click on the background
planet and I'm going to right-click on
| | 02:33 | it and then choose Rasterize 3D.
| | 02:36 | And the reason I'm doing this, that
will create a rasterized version of this layer,
| | 02:40 | meaning that you'd have to re-
create this layer later if you decided to
| | 02:45 | modify Saturn in some way, shape, or form.
| | 02:47 | But the reason I'm doing it is because
otherwise I'll have two 3D layers that
| | 02:52 | I'd have to manipulate independently and
that would make for a much larger image file.
| | 02:57 | So I'm going to go ahead and rasterize
this layer and you can see that already
| | 03:01 | helps to reconcile the problem because
we can't see through the rings to nearly
| | 03:05 | the same extent we could before.
| | 03:07 | I'm going to go ahead and reduce the
Opacity of this layer by pressing the 8 key.
| | 03:11 | So I took the Opacity down to 80%
and now I'm going to mask it, because I
| | 03:16 | want to restore the translucency of
the rings out here in the background.
| | 03:19 | So I'll dropdown to the Add Layer
Mask icon down here at the bottom of the
| | 03:22 | Layers panel, click on it in order to
create a new layer mask, and then I'll
| | 03:26 | switch over to my Gradient tool either
by clicking on it or pressing the G key.
| | 03:30 | And I'm going to switch my gradient from
foreground to background right there, and
| | 03:35 | this is assuming by the way that
your foreground color is black and your
| | 03:37 | background color is white.
| | 03:39 | And I'll go ahead and press the Enter
key or the Return key on the Mac in order
| | 03:42 | to hide that panel and I'll drag down like so.
| | 03:46 | Just so that I'm biting into that edge
just a little bit, and that goes ahead
| | 03:51 | and adds a gradient layer mask.
| | 03:53 | Now I'm going to switch to the next
gradient in the list, which is Foreground to
| | 03:56 | Transparent. I could also by the
way just press the Period key.
| | 03:59 | in order to invoke that change.
| | 04:01 | And this time I'm going to drag down
like so, and again foreground color is
| | 04:05 | black. I want to make that clear.
| | 04:07 | And now I'm going to drag from about
here on the planet down here at the bottom
| | 04:11 | across to about this location and
release, and that will restore a lot of
| | 04:18 | translucency around the
larger area of the rings.
| | 04:20 | And we're just keeping this
additional level of opacity around this edge.
| | 04:24 | That takes care of those problems. We
still have one outstanding issue which is
| | 04:28 | these light lines, these light little
rings that are appearing only in front of
| | 04:33 | the planet and they're not appearing out
here in front of the universe. We're going
| | 04:36 | to have to paint those away manually
and we're going to add an adjustment layer
| | 04:40 | just to make the image pop
in the very next exercise.
| | Collapse this transcript |
| Traditional 2D edits in a 3D world| 00:00 | In this movie we're going to fix that little
edge the old fashioned way using the Brush tool.
| | 00:05 | And we're also going to throw on an
adjustment layer in order to increase the
| | 00:08 | overall vibrance of the scene.
| | 00:10 | I've saved my progress as Almost complete
.psd, found inside the 01_3D_demo folder.
| | 00:15 | And I am going to click on the planet
layer to make it active and I'll create
| | 00:18 | a new layer by pressing Ctrl+Shift+N
or Command+Shift+N on a Mac, and I'll
| | 00:22 | call this guy edge fix.
| | 00:24 | And what that does is create a new
layer that I can paint on, because I don't
| | 00:28 | want to paint directly onto the planet layer.
| | 00:30 | And now I need to set up a
kind of mask to paint inside of.
| | 00:33 | And I am going to do that using the
Elliptical Marquee tool, because everything
| | 00:37 | about this image is an ellipse.
| | 00:39 | All right, now I'll drag around the
interior of the rings like so and I'll use
| | 00:43 | the Spacebar in order to position that
marquee exactly where I need it to be.
| | 00:47 | And I want to select this area as
accurately as possible and that looks pretty good.
| | 00:52 | Then I'll press the Shift and Alt keys
or the Shift and Option keys on a
| | 00:56 | Mac, so that I can create an
intersection of two selections and I'll drag like
| | 01:01 | so around the planet.
| | 01:03 | And I can go ahead and release those
keys after I begin dragging so that I can
| | 01:07 | press the Spacebar in order to position
this marquee around the planet like so.
| | 01:12 | And it looks like I am doing pretty good here.
| | 01:15 | I want to make sure I select it as
accurately as I can, and right about there
| | 01:20 | looks like I am doing a pretty good job.
| | 01:22 | And as soon as I release I'll just
keep this area inside the planet that's
| | 01:26 | also inside the rings.
| | 01:28 | Now let's go ahead and zoom in so
that we can take in this abberant edge
| | 01:32 | right there, and I'll press Ctrl+H,
or Command+H on the Mac, so that I
| | 01:36 | hide that selection outline.
| | 01:37 | And now I am going to switch to the
Brush tool either by clicking on it here in
| | 01:40 | the toolbox or pressing the B key.
| | 01:43 | And if I right-click you can see
that I have a pretty small brush.
| | 01:47 | It's only 25 pixels and the Hardness 0%.
| | 01:49 | Very important so that we get a soft edge.
| | 01:52 | And I'll just paint with black.
| | 01:55 | You could lift a color from the planet,
but you'll find out this edge is black.
| | 01:59 | And so I'll just go ahead and paint
along that offending edge and that pretty
| | 02:02 | well takes care of the problem.
| | 02:04 | Why that problem is occurring I can't
really tell you because these rings are
| | 02:08 | not appearing outside in the universe.
| | 02:11 | So I am not sure exactly what's going on there.
| | 02:13 | But Photoshop does give us the option
to repair these things manually if need be,
| | 02:17 | because it's all about making the
pixels look the way they ought to look.
| | 02:21 | I am going to press Ctrl+0 or Command+
0 on a Mac to zoom out, and then Ctrl+1
| | 02:25 | or Command+1 on a Mac in order to zoom in.
| | 02:28 | Another great thing about Photoshop is
that you can apply adjustment layers.
| | 02:31 | So if you feel like a scene lacks
something, it should be brighter or it should
| | 02:36 | be darker or it should be more highly saturated,
| | 02:38 | what have you, then you don't have to go in
and modify your diffuse colors and all that jazz.
| | 02:44 | You can just heap an
adjustment layer on top of everything.
| | 02:47 | And I am going to do that by pressing
and holding the Alt key or the Option key
| | 02:50 | on the Mac, clicking this black white
icon down here at the bottom of Layers
| | 02:54 | panel, and choosing Vibrance.
| | 02:56 | And that'll bring up the New Layer dialog box.
| | 02:58 | I'll call this new layer vivid and click OK.
| | 03:01 | And because I still had my selection
outline active, I went and created a layer mask.
| | 03:05 | I don't want that.
| | 03:06 | And so I'll right-click in the
layer mask and choose Delete Layer Mask.
| | 03:09 | And now I am going to increase the
Vibrance value to 65 and I'll Tab to the
| | 03:14 | Saturation value and take it up to 25%
and then I'll hide the Adjustments panel
| | 03:18 | and this is my final scene.
| | 03:20 | Now, I want to show you just one more
thing, how you can take this 3D scene that
| | 03:24 | you created here, this 3D planet layer,
now that you've established it and set
| | 03:28 | it up, you can go for a more dramatic
orientation by adjusting your view of this 3D world.
| | 03:35 | And I'll show you exactly how
to do that in the next exercise.
| | Collapse this transcript |
| Using the Camera Rotate tool| 00:00 | In this final exercise of the chapter I
am going to show you how to change your
| | 00:03 | view into a 3D scene using the Camera tool.
| | 00:06 | I've saved my final version of the
illustration as Video final.psd, so as to
| | 00:11 | distinguish it from Final saturn.psd,
which was a version that I showed you at
| | 00:16 | the outside of this chapter. You can
they're slightly different and you will
| | 00:19 | achieve different results every
time you run through these steps.
| | 00:22 | All right, I am going to switch
back to the composition at hand though.
| | 00:25 | And before I modify this 3D planet layer,
you can see that I've got the 3D layer
| | 00:30 | selected because there's my little cube.
| | 00:32 | I am going to hide the static layers by
turning off edge fix and turning off the
| | 00:36 | bottom planet layer.
| | 00:37 | After all, those layers are not
going to update as I modify the 3D scene.
| | 00:42 | Down here towards the bottom of the
toolbox, you know about the Object tools.
| | 00:46 | They allow you to rotate and move a
scene in 3D space, but you're moving that
| | 00:50 | scene independently of the light sources.
| | 00:52 | If you want to modify the lights and
the scene and everything all together,
| | 00:57 | then you drop down here to the Camera tool.
| | 01:00 | And the first Camera tool you're
going to see is the Camera Rotate tool.
| | 01:03 | There is a bunch of other variations as well.
| | 01:05 | Go ahead and select that tool.
| | 01:07 | The camera is your eye into the world.
| | 01:09 | I am going to start things off by
just dragging inside the scene like so,
| | 01:14 | dragging inside the image window, which
doesn't provide me with altogether the
| | 01:18 | greatest control, but does allow me to
quickly and easily just modify that scene.
| | 01:24 | Then I'll go ahead and release and that
will invoke the progressive rendering.
| | 01:28 | I might go ahead and
rotate things just a little bit.
| | 01:30 | I am going to click in order to
interrupt that render and I am going to rotate
| | 01:33 | this X-axis like so in order to bring in that
shadowed edge of the planet just a little bit.
| | 01:38 | I am going to click again in order
to interrupt the rendering, and again.
| | 01:42 | If clicking the first time doesn't
work, try clicking a second time.
| | 01:45 | I am going to go ahead and perform a Z-
axis rotation as well, just so that I get
| | 01:50 | something a little more dramatic like
this and maybe one more. Let's go ahead
| | 01:54 | and click in order interrupt.
| | 01:55 | Let's try a Y-axis rotation. Might as well
send it this direction. This looks pretty good.
| | 02:00 | Nice jaunty planet, don't you know?
| | 02:02 | And then I'll go ahead and let
that ray tracing do its thing.
| | 02:05 | Now something I should mention
to you is this is not a big file.
| | 02:09 | It measures 900 pixels wide by 900 pixels tall.
| | 02:12 | That means your ray tracing is going
to go pretty quickly. Whereas if we were
| | 02:17 | working in a great, big, gargantuan
image that ray tracing would of course
| | 02:21 | go much more slowly.
| | 02:22 | So that's something to bear in mind
as you work inside your own images.
| | 02:26 | Something else I'll tell you is I've
gone ahead and rotated the planet so those
| | 02:31 | two problems don't occur.
| | 02:32 | That is, we're not interrupting the
shadow edge of the planet with the rings
| | 02:37 | and I also don't have that weird ring problem
along the bottom right-hand edge of the planet.
| | 02:42 | So I've basically cheated my way out of
those problems just by rotating that scene.
| | 02:48 | We're going to go ahead and
speed up this rendering process.
| | 02:51 | And there is the final, final, final
version of the rendered scene, created using
| | 02:57 | just a fraction of the 3D power
built in the Photoshop CS5 Extended.
| | Collapse this transcript |
|
|
2. Creating 3D Type with RepousséExtruding type| 00:00 | Arguably the most straightforward use for
Photoshop's 3D features is making 3D type.
| | 00:06 | And you make 3D type using Repousse.
| | 00:10 | In real life, repousse is a
metalworking technique in which an artist hammers
| | 00:15 | metal from the reverse side in
order to push out emboss details.
| | 00:19 | It's great for making shields and chalices.
| | 00:23 | In Photoshop, Repousse is a
command that lets you extrude a layer.
| | 00:28 | Think of a pasta maker.
| | 00:29 | You force the pasta, the substance, through a
mould in the shape of the layer, in our case type.
| | 00:36 | The individual letterforms receive
extruded sides so they appear to project
| | 00:41 | into the world of 3D.
| | 00:43 | But that's not all Repousse can do.
| | 00:45 | As if to demonstrate its amazing
capabilities, Repousse includes 18 mind
| | 00:50 | expanding presets, all of which I demonstrate
visually in the final movie of this chapter.
| | 00:56 | You know what you can do
with layer effects, right?
| | 00:59 | Drop Shadows, Glows, Bevel
and Emboss. That's nothing.
| | 01:03 | Just wait till you see what
you can do with Repousse.
| | Collapse this transcript |
| The special considerations of 3D type| 00:00 | Here is the final version of the
text effect that we are going to be
| | 00:03 | creating using Repousse inside of
Photoshop CS5 Extended and I want you to
| | 00:08 | note what's going on here.
| | 00:09 | We have some text obviously with
some extruded sides and these slight
| | 00:13 | beveled edges as well.
| | 00:16 | The text and the bevel and the
extrusion are all filled with this paper texture
| | 00:20 | from Stock Snapper of the Fotolia Image
Library, about which you can learn more
| | 00:24 | at fotolia.com/deke.
| | 00:26 | What's interesting about this
scene is it's a very simple scene.
| | 00:31 | All of it is is text and so if I go
over here to the Layers panel and
| | 00:35 | double-click on the 3D thumbnail you can
see the contents of the scene in the 3D panel.
| | 00:40 | We've got this mesh called 3D, so just
one mesh, that's it, and a single light source, the
| | 00:45 | other two are turned off.
| | 00:47 | So how in the world are the letters
casting a shadow on to the background?
| | 00:51 | Because you know you can only cast
shadows onto things inside of a single 3D scene.
| | 00:56 | You certainly can't cast shadows onto
a flat background layer. So what's going on?
| | 01:01 | Well, Photoshop offers this additional option
| | 01:05 | under the 3D menu. It's called the
Ground Plane Shadow Catcher and what it
| | 01:09 | does is it creates this layer of
transparency inside of the object onto which
| | 01:14 | it can cast a shadow.
| | 01:16 | So you'll note if I turn off all the
layers but the 3D layer, that the shadow is
| | 01:20 | actually included inside that 3D layer.
| | 01:23 | So we'll see more about the Ground
Plane Shadow Catcher coming up, but I just
| | 01:27 | want you to know that's what's going on.
| | 01:29 | Let's take a look at the composition itself.
| | 01:31 | We'll go and turn off the 3D
layer. Turn on the background.
| | 01:34 | This is the original paper texture.
| | 01:36 | I wanted to darken it up slightly at
the bottom so I added this gradient layer
| | 01:40 | that goes from black at the bottom to
transparent at the top and it's set to the
| | 01:44 | Soft Light blend mode.
| | 01:45 | So we have just a little bit of
shading going on to offset the letters.
| | 01:49 | Then I've got this layer of editable
type right here and it is set in Adobe
| | 01:53 | Caslon Pro, which is a font that
ships along with a full Creative Suite.
| | 01:57 | If you don't have it you can go
ahead and reassign any font you like.
| | 02:01 | However if you want to get similar
results to mine, make sure that your text has
| | 02:05 | rounded serifs and also make sure to
use the bold version of that font so that
| | 02:10 | we have room to work inside the letters.
| | 02:13 | This brings up a very important
point when you're creating 3D type.
| | 02:17 | You have to have everything
done to that type in advance.
| | 02:21 | You want to make sure there are no
typos of course, but also you've got a
| | 02:24 | determine exactly what fonts you are
using, the kerning, and all that stuff.
| | 02:28 | Pretty much everything but size,
because you can resize the letters later.
| | 02:32 | But as soon as you convert this type to 3D
you are going to lose the option to edit it.
| | 02:36 | It's no good converting
the text to a Smart Object.
| | 02:39 | That's not going to help you because
Repousse is not compatible with Smart Objects.
| | 02:43 | So what you may want to do before you
start in is press Ctrl+J or Command+J on a
| | 02:48 | Mac to create a copy of that layer, then
turn off the original, so it's safe and
| | 02:52 | sound in case you need to come back to it later.
| | 02:54 | But that's small recompense, I have to tell you.
| | 02:57 | Because in truth, if later you decide hey,
| | 02:59 | you know I really love this effect and
I want to change out the word, you've got to
| | 03:03 | have to go back to this text
and effectively start over.
| | 03:06 | You can lift the mesh placement from
another 3D layer, but otherwise you are
| | 03:12 | going to have to re-determine your
camera angle, your lighting, and so forth.
| | 03:16 | So you're in for some work and you
most certainly can't just go into the 3D
| | 03:19 | object and change out the text.
| | 03:21 | So make those determinations upfront.
| | 03:23 | Usually by the way, 3D works best with all caps.
| | 03:26 | We are now set to visit the Repousse
dialog box by going up to the 3D menu,
| | 03:32 | choosing Repousse, and then choosing
text layer and we will get that warning
| | 03:35 | that's telling us that the
text has to be rasterized.
| | 03:39 | And I was telling you in a previous
chapter it's not really getting rasterized to
| | 03:42 | pixels; rather it's
getting converted to vertices.
| | 03:44 | But still, we are going
to lose the option to edit.
| | 03:47 | Click Yes to go ahead and visit the dialog box.
| | 03:50 | Notice that Repousse automatically
assigns an extrusion depth and that's
| | 03:54 | measured relative to the size of the object.
| | 03:56 | We'll visit these numerical settings
in the next exercise but first I want to
| | 04:01 | introduce you to these tools right here.
| | 04:03 | Notice that you have a tool that allows
you to rotate the mesh in 3D space like so.
| | 04:08 | If you want a little more control over
your rotation you can switch to the Roll
| | 04:12 | tool, which allows you to roll the mesh
around the 3D axis, and then if you want
| | 04:17 | to move those letters then we have this
Pan tool right there and that allows you
| | 04:22 | to move the letters up and down or side to side.
| | 04:25 | If you want to move them back and forth,
then you switch to this next tool down,
| | 04:29 | which is the Slide Tool, and notice
if I drag up I move the text backward.
| | 04:33 | If I drag down, I move it forward.
| | 04:36 | So it appears to be changing size,
but it's really moving back and forth.
| | 04:39 | Then if you want to scale those letters why
then you take advantage of the Scale tool.
| | 04:44 | I don't really like to work with any of
these tools inside of this dialog box.
| | 04:48 | That's the reason I'm bringing
them up and I'll show you why.
| | 04:51 | I am going to make some additional
modifications here to the widget,
| | 04:55 | just by rotating this guy around a
little bit, and this is by no means the final
| | 05:00 | angle of my letters.
| | 05:01 | I am just trying to make a point.
| | 05:02 | Notice what the widget looks like.
| | 05:04 | So just kind of take a
little mental picture there.
| | 05:06 | I click OK in order to accept these settings.
| | 05:08 | You should know you can revisit the
Repousse dialog box anytime you like.
| | 05:13 | However, note now if I switch to my
Object Rotate tool that my widget is reset.
| | 05:18 | It's as if it didn't pay any attention
to what was going on inside of Repousse.
| | 05:22 | Well, the truth of the matter is that
this tool affects the entire scene whereas
| | 05:27 | the tools I was using inside the
dialog box affect the mesh inside that scene.
| | 05:31 | And let me show you what I'm talking about.
| | 05:33 | I'll double-click in the thumbnail for
this 3D layer to bring up the 3-D scene
| | 05:36 | dialog box and I'll switch to this tool,
any of the mesh tools here, the third
| | 05:41 | tool down and then
notice the angle of my widget.
| | 05:45 | Why is my widget missing?
| | 05:46 | If I go up here to the View menu and I
choose Show, it has got a check mark right
| | 05:51 | there in front of 3D Axis,
so it should be up on screen.
| | 05:54 | Well here's the problem.
| | 05:56 | I have the scene selected, not the mesh.
| | 05:59 | So you've got to pay attention to
what's selected here inside the panels.
| | 06:02 | So go ahead and click on 3D, that
mesh, and now you'll see the widget as it
| | 06:07 | appeared inside the Repousse dialog box.
| | 06:10 | So this is all a long-winded way of
saying that I really like Repousse.
| | 06:13 | I think it's fantastic. The numerical
options function beautifully. There is a
| | 06:18 | lot you can do with it.
| | 06:18 | However, I'll go ahead and adjust
those numerical parameters and lay down my
| | 06:23 | initial 3D type and then rotate it
outside in the image window after the fact.
| | 06:29 | I just think that's less confusing.
It gives you more control, especially if the one
| | 06:33 | thing that scene contains is text and only text.
| | 06:35 | I'm going to go ahead and press Ctrl+
Z or Command+Z on a Mac in order to
| | 06:39 | reinstate that live text and we will
once again visit the Repousse dialog box in
| | 06:44 | earnest in the next exercise.
| | Collapse this transcript |
| Using the Repoussé dialog box| 00:00 | Now for a real introduction to
Repousse inside of Photoshop.
| | 00:03 | I have gone ahead and
turned off that final 3D layer.
| | 00:06 | I have made a copy of my editable text.
| | 00:08 | It's selected and ready to go.
| | 00:10 | Now I'll go up to the 3D menu,
choose Repousse, and choose Text Layer.
| | 00:14 | If you get sick of this alert message, by all
means turn on the Don't show again checkbox.
| | 00:18 | I am going to leave it off though so
that we do see the alert message and I'll
| | 00:21 | click the Yes button in
order to bring up Repousse.
| | 00:25 | And I think the Depth value
is pretty straightforward.
| | 00:27 | You can crank this value up to 10 so that
you create this ridiculous amount of extrusion.
| | 00:33 | For now I am going to leave it set to 1,
and now let's discuss the other options
| | 00:37 | that are available to us.
| | 00:38 | We have these presets up at the top and you
can select one of those presets if you like.
| | 00:43 | However, I am going to tour you through
the presets in later exercise after we've
| | 00:46 | gained a little bit of
experience with this feature.
| | 00:49 | I've got a demonstration of every single
one of the 18 presets that are available.
| | 00:54 | The Scale value affects the
relative size of the back face.
| | 00:58 | At 1 it is 100% as large as the forward face.
| | 01:01 | If you set it to 1.6 then it's
160% as big as the forward face.
| | 01:06 | You can also make it smaller.
| | 01:08 | If I set it to .5, it's going to be
50% as big as the backspace and you'll
| | 01:13 | achieve the sense of forced perspective.
| | 01:15 | For now though I am
going to leave this set to 1.
| | 01:17 | You also have this Twist option.
| | 01:19 | Notice it goes ahead and rotates the
back face with respect to the forward one.
| | 01:23 | It can be useful if you're trying to
create sort of a twisting extrusion with an
| | 01:28 | object that is relatively as tall as it is wide.
| | 01:31 | As soon as you have a very wide object
like this one, it doesn't come off very well.
| | 01:35 | I am going to restore that value to 0.
| | 01:38 | I'll explain what's going on with
texture once we have a texture to work with.
| | 01:41 | Right now I am going to select the
Shear option, so that I can show you
| | 01:45 | if I change this X Angle value to 20
degrees, for example, we are creating a 20
| | 01:49 | degrees shear, that is a slant
associated with that extrusion.
| | 01:53 | I can also add a vertical slant if I like.
| | 01:55 | I'll go ahead and take the Y value down to 0.
| | 01:58 | And now I want to show Bend. If you
turn on Bend it's still controlled by these
| | 02:02 | X and Y Angle options here.
| | 02:04 | However, instead of slanting the
sides, you're rotating the sides.
| | 02:08 | So you're creating what's
known as a 3D revolution.
| | 02:11 | And to get a sense of what's going on
here let's try a 90 degree revolution
| | 02:15 | and see what happens.
| | 02:16 | Right now we are revolving right
into the D because I have this reference
| | 02:22 | point set to the center.
| | 02:23 | If I set it out here to the right-
hand edge then I'm revolving the letters
| | 02:27 | around this huge area,
thanks to the Depth value.
| | 02:30 | Let's go ahead and take that Depth
value down to let's say 0.1 and you get a
| | 02:35 | better sense for what's going on.
| | 02:36 | I'll change the X Angle value to 180
degrees as well and now you can see that
| | 02:40 | the letters are revolving all the way
around off the canvas so that we are
| | 02:45 | seeing just this right-hand edge of a
reflected D. Obviously we are not going
| | 02:49 | to use that with text, but it can be useful
with objects, as we'll see in the future chapter.
| | 02:54 | I am going to take that value down to 0.
| | 02:56 | Another interesting option is
this Inflate option down here.
| | 03:00 | If I increase the Angle to 90 degrees
we'll achieve puffy letters that puff out
| | 03:05 | evenly over the course of that forward face.
| | 03:08 | You can also puff out the back face
and we'll see examples of that later, as
| | 03:13 | well as both front and back in
order to create a kind of pillow effect.
| | 03:17 | Right now we're not seeing the back face
though, so it's not going to do us much good.
| | 03:20 | Now, once you change the Angle
value the Strength value should wake up.
| | 03:23 | If it doesn't, if your Strength
value is dimmed, then just go ahead and
| | 03:28 | incrementally change the slider value a
little bit by dragging on the slider and
| | 03:32 | that helps wake up that Strength value.
| | 03:34 | You can take it as high as 1.
| | 03:36 | And if you do take it up to 1, notice that
the inflation varies across these letters.
| | 03:41 | The large areas receive the most inflation and
then the smaller areas sort of tightened up.
| | 03:46 | So you get a very pillowy effect indeed.
| | 03:48 | Now I want you to go ahead and
take that Strength value down to 0.
| | 03:51 | You need to do that first if
you are following along with me.
| | 03:54 | And then I am going to change
the Angle value to 0 as well.
| | 03:57 | And now let's visit Bevel.
| | 03:59 | You have independent Height and Width values.
| | 04:01 | So it's as if you're looking at the
edge of that bevel. Width is going to
| | 04:05 | control the size of the bevel
when we are looking down at it.
| | 04:08 | I'll go ahead and change the Height
value, let's say to 2 in this case.
| | 04:12 | So Width is determining the size of
the size of the bevel when you're looking
| | 04:15 | straight ahead at it.
| | 04:16 | Height is determining the height of the
bevel were we to rotate the letters to
| | 04:20 | a different position.
| | 04:21 | However, even if you're not able to
really see the height it can be very useful
| | 04:26 | for catching an edge.
| | 04:27 | So if I increase that Height value I'll
get more of a dramatic lighting effect.
| | 04:32 | You also have control over the shape of
that edge, and you can change the shape
| | 04:36 | using this Contour option.
| | 04:37 | Right now we have a diagonal beveled edge.
| | 04:40 | However, if I change it to Cone right
here, then we'd have this edge that slopes
| | 04:45 | up and then back down into the letters
and so forth. And you can define your own
| | 04:50 | contour if you so desire
by clicking in this guy.
| | 04:54 | And that brings up the Contour Editor
dialog box. We will be visiting that
| | 04:58 | dialog box in the future exercise.
| | 05:00 | Right now I am just going to can
cancel out and I am going to switch my
| | 05:02 | Contour back to Linear.
| | 05:04 | And I am going to change for now both
Bevel values to 0 and I am going to take
| | 05:09 | up the Depth value to 0.2.
| | 05:10 | So really the only change I have made
from the default settings is to lower
| | 05:15 | the Depth value from 1 to 0.2 and
that's it. And that's all I am going to do
| | 05:19 | in a dialog box for now.
| | 05:21 | Now, I am going to click OK in
order to create my base object.
| | 05:25 | It's nothing to write home about yet, but
it will become very interesting indeed
| | 05:29 | once we apply a texture in the next exercise.
| | Collapse this transcript |
| Assign textures to surfaces| 00:00 | In this exercise, we'll assign a
texture to both the faces of the letters and
| | 00:04 | to the extruded sides.
| | 00:06 | And I am going to double-click on the
thumbnail for my 3D layer to bring up the 3D panel.
| | 00:10 | And notice what we have here.
| | 00:11 | We have a pane full of default lights.
And I am going to go ahead and turn off
| | 00:15 | Infinite Light 2 as well as Infinite
Light 3 so that we can keep our lighting as
| | 00:19 | straightforward as possible.
| | 00:21 | And I am going to click on Infinite
Light 1 and up the Intensity to 1.2, so that
| | 00:25 | we have brighter letters to work with.
| | 00:28 | And I am going to change my
shadows to a Softness value of 25%.
| | 00:31 | Even though so far we don't have any shadows,
but the future shadows will be nice and soft.
| | 00:37 | Having done that I am going to go
ahead and click on 3D and that is a 3D mesh
| | 00:41 | that we just got done
generating inside of Repousse.
| | 00:44 | Notice that we have a list of materials.
| | 00:46 | We're going to discuss materials in
more detail in a later chapter, but for now
| | 00:49 | note that they convey attributes such
as Color and Surface Variation, Shine,
| | 00:54 | Gloss, Reflectivity, and Texture,
which is what we're about to apply.
| | 00:59 | Now technically speaking there
are no materials applied so far.
| | 01:03 | We just have a color of white and
that's it, so why this list of five materials?
| | 01:08 | Well, those are the five possible
faces onto which we might need to wrap
| | 01:13 | materials on this 3D object.
| | 01:15 | The Front Inflation is the
front surface of the letters.
| | 01:18 | Back here at the bottom, the Back
Inflation is the back of the letters, which we
| | 01:22 | can't see currently.
| | 01:24 | We also have a potential Front Bevel
and Back Bevel, which are nonexistent at
| | 01:28 | this point because I set the Bevel values to 0.
| | 01:30 | And then we've got the extruded sides.
| | 01:32 | So all we need to change is the
Front Inflation and the Extrusion.
| | 01:36 | So I am going to go click on the Front
Inflation, then drop down here to this
| | 01:39 | little page icon to the right of
the word Diffuse, click on it and then
| | 01:43 | choose Load Texture.
| | 01:45 | Then navigate to the O2_repousse folder,
click on Paper texture.jpg, and open it up.
| | 01:50 | That will go ahead and assign
the Paper texture to the letters.
| | 01:53 | We want to do the same for Extrusion.
| | 01:55 | So if I clicked on the Extrusion
Material and clicked on the page icon, I could
| | 01:58 | choose Load Texture, but if I do
Photoshop gives me this bewildering alert
| | 02:03 | message in which it essentially says,
"Yes, I am well aware of that texture,
| | 02:07 | it's embedded into the file and I'll just go
ahead and use that if that's okay by you, buddy."
| | 02:11 | It would be nice if instead of doing
that it would actually list the texture
| | 02:15 | so I could select it.
| | 02:16 | But here is the better way to go.
| | 02:17 | You've got this great little tool
here called the Material Drop tool.
| | 02:20 | Go ahead and click on it to make it active.
| | 02:22 | And then move the cursor out into the
image window, press and hold the Alt key
| | 02:26 | or the Option key on the Mac to get the
Eyedropper, and click on the face of one
| | 02:31 | of the letters to lift that surface texture.
| | 02:34 | Then go ahead and release Alt or Option,
move the cursor over an extruded side,
| | 02:38 | and you'll see all of the sides light up
and then click inside of that extruded edge.
| | 02:43 | At this point we're not going to see
much in the way of texture along the
| | 02:46 | extruded sides because the
texture is getting compressed.
| | 02:49 | It's getting scaled inside those sides.
| | 02:51 | That's not what we want.
| | 02:52 | So go ahead and click on 3D
mesh in order to select it.
| | 02:56 | And what we need to do is revisit
Repousse and you can do that in two ways.
| | 03:00 | Either go up to the 3D menu, choose
Repousse, and then choose Edit in Repousse.
| | 03:05 | Or the other option is when a 3D mesh
that was created in Repousse is selected
| | 03:10 | you can drop down to this little R
icon down here, near the bottom of the 3D
| | 03:14 | panel and click on it.
| | 03:16 | Then inside the Repousse dialog box
we want to adjust this Texture setting.
| | 03:20 | Right now it's set to Scale which goes
ahead and disproportionately scales the
| | 03:24 | texture inside the side, so it
scales the texture to fit as needed.
| | 03:28 | You can also work with Fill,
which is another scaling option.
| | 03:32 | However, it's closer to a proportional scaling.
| | 03:34 | What it does is it increases the
smallest dimension of the texture to fit the
| | 03:38 | largest dimension of the 3D object.
| | 03:41 | But what we want is Tile.
| | 03:42 | Tile doesn't do any scaling.
| | 03:44 | If it runs out of the
texture, it repeats the texture.
| | 03:46 | But our texture has every
bit as big as the image.
| | 03:48 | So this is perfect.
| | 03:50 | So I'll go ahead and select Tile and
then click OK and the job is done.
| | 03:54 | And that is how you apply textures to
the various sides of an extruded object
| | 03:59 | here inside Photoshop.
| | Collapse this transcript |
| Using the Ground Plane Shadow Catcher| 00:00 | In this exercise I'm going to
introduce you to the Ground Plane Shadow Catcher,
| | 00:03 | because if I were you,
right about now I'd be wondering, is this
| | 00:07 | effect ever going to look good?
| | 00:09 | In fact, in this exercise things
are going to start getting pretty.
| | 00:12 | Make sure that your 3D layer is active
in the Layers panel, then go out to the
| | 00:15 | 3D menu and choose Ground
Plane Shadow Catcher to turn it on.
| | 00:19 | You'll get a warning in which
Photoshop tells you, okay, you've turned on
| | 00:23 | the feature, but you're not actually going to
see any shadows until you ray trace your scene.
| | 00:29 | Go ahead and click OK.
| | 00:31 | I suppose we got to go ahead and ray
trace the scene and see what it looks like.
| | 00:35 | So I'll double-click in the 3D object
thumbnail inside the Layers panel to
| | 00:38 | bring up the 3D panel.
| | 00:39 | Go ahead and click on your Scene to
make it active at the top of the list and
| | 00:43 | then change the Quality from
Interactive to Ray Traced Draft, and wait until it
| | 00:49 | starts tracing that shadow in the background.
| | 00:51 | Now the shadow is going to look
extremely noisy. Don't worry about that.
| | 00:54 | That's just because we set the
lighting so we have soft shadows.
| | 00:57 | The more times Photoshop traces over
that area, the better it will render.
| | 01:01 | Anyway, I'm going to go ahead and
interrupt the render by clicking inside
| | 01:04 | the image window, because I know enough now
to know that this is not the effect I want.
| | 01:08 | I want the letters laying
down on that ground plane.
| | 01:12 | Well, Photoshop automatically sets
the ground plane wherever Photoshop sets it,
| | 01:16 | right about here.
| | 01:17 | So it's essentially horizontal to
your line of sight. What we want to do
| | 01:21 | is change things up.
| | 01:22 | We want to make the letters parallel
to the ground and then we need to change
| | 01:25 | our view, so we're looking
directly down at the ground.
| | 01:28 | We'll start by rotating the entire
scene, so click on the Object Rotate tool
| | 01:32 | here in the toolbox and I want you to
drag that little blue rotate gadget there,
| | 01:37 | just below the arrow.
| | 01:38 | And I want you to drag down until you
really can't see the blue arrow anymore,
| | 01:44 | so that it's hidden behind the cube,
and your text will look like this.
| | 01:48 | Now you might think the text should
look like this, sort of straight on ahead,
| | 01:52 | but actually it's elevated in the world.
| | 01:54 | So we're kind of in-between the text and
the ground at this point looking at it.
| | 01:58 | That's why we can see the
underside of the letters.
| | 02:00 | So just make sure that blue
arrow disappears and then release.
| | 02:04 | And I'm cautioning you to make sure
to do all the work in that one swipe.
| | 02:08 | Because now it will be very
difficult to get to that little rotate gadget
| | 02:11 | there on the widget.
| | 02:13 | Things seem to be looking pretty good here.
| | 02:15 | I'm going to go ahead and click in a
scene in order to interrupt the render.
| | 02:18 | And now in order to put the letters
on the ground, you go up to the 3D menu
| | 02:23 | and you choose Snap Object To Ground
Plane, and that will go ahead and nail
| | 02:27 | those letters in place.
| | 02:28 | And it looks like I've got some
pretty parallel letters going on.
| | 02:32 | They might be a little high on the
side that facing us, but that's okay.
| | 02:36 | I can see the shadow. I've got it
figured out. I'm going to interrupt the
| | 02:39 | render, because I'm not interested in
the full render at this point. We're just
| | 02:42 | trying to get a sense of where we are.
| | 02:44 | Now let's go ahead and switch to the
Camera Rotate tool, so that we can look
| | 02:47 | directly down at those letters.
| | 02:49 | And I'm going to drag once again the
blue rotate gadget there, like so, until
| | 02:54 | the front of the letters are facing me.
| | 02:56 | And you can tell if you're looking at
the back of the letters because they're
| | 02:58 | unlit and they don't have textures on them.
| | 03:01 | And of course the text is upside-down. That
might clue you into what's going on as well.
| | 03:05 | Right about there is pretty good I
think and you'll end up with this
| | 03:08 | underlighting that's not what we want
eventually, but that's totally okay for now.
| | 03:13 | I'm going to click to
interrupt the render once again.
| | 03:14 | I'm going to adjust my view of the
scene just a little more here. I want to the
| | 03:19 | letters to be sort of sloping
away from us ever so slightly.
| | 03:22 | So I'm dragging that blue rotate gadget
and I'll go ahead and release and then
| | 03:27 | click on the screen to interrupt the render.
| | 03:29 | You can switch back to the interactive
mode if you want to, but it's nice to be
| | 03:32 | able to see where the shadows are as we work.
| | 03:34 | So I find it's very handy just to
getting in the habit of clicking when you get
| | 03:37 | sick and tired of watching the render.
| | 03:39 | Then I'll switch back over here to the
Object Rotate tool and I'm going to go
| | 03:43 | ahead and grab the X rotate option
right there, in order to rotate the letters
| | 03:48 | just to a kind of jaunty angle there,
and click in order to interrupt the render.
| | 03:53 | And now, let's drag on the cube in
order to make the letters bigger.
| | 03:56 | We want to make sure that we're
allowing room for the shadows, which will be
| | 04:00 | eventually under the letters, not over.
| | 04:02 | Now you can see that in modifying the
location of the scene here, we've managed
| | 04:08 | to lift the letters off the background,
because there is a gap between the
| | 04:11 | letters and the shadow.
| | 04:12 | So we need to go back up to the 3D menu,
click first to interrupt the render, and
| | 04:17 | then click again on the 3D menu to
bring it up, and then choose Snap Object To
| | 04:21 | Ground Plane to put that
object back down where it belongs.
| | 04:25 | And click yet again to interrupt the
render. And this is looking pretty darn good.
| | 04:29 | The only real problem at this point is
that we have this underlighting, and I'll
| | 04:32 | show you how to adjust the lighting so
we have better highlights and contours
| | 04:35 | and shadows, in the very next exercise.
| | Collapse this transcript |
| Adjusting and loading lights| 00:00 | In his very brief exercise I'm going to
give you a sense for how to adjust the
| | 00:03 | lighting of the scene, and with my 3D
layer still selected here in the Layers
| | 00:07 | panel, I'll double click on its
thumbnail to bring up the 3D panel and I'll
| | 00:11 | click on Infinite Light 1. This is the
only light that's turned on of course,
| | 00:14 | and we're going to manipulate it by dropping
down to this fourth tool, the Light Rotate tool.
| | 00:19 | Make sure you have the Light Rotate
tool selected, because we don't need to
| | 00:23 | move the light. We really can't move the
light, because it's an infinite light source.
| | 00:27 | It's very, very far away.
| | 00:28 | Instead, we're just going
to rotate its placement.
| | 00:31 | You could work from the widget if
you want to. In my opinion where this
| | 00:35 | exercise is concerned,
| | 00:36 | the widget is more of a
fine-tuning adjustment tool.
| | 00:39 | Instead, what we're going to do is
actually drag inside of the image window.
| | 00:44 | We want to take our shadows and send
them the opposite direction, so we need
| | 00:48 | to twist our light source all the way
around, and I'm going to do that using
| | 00:52 | this kind of gesture.
| | 00:53 | I just want you to see it before I do it.
| | 00:55 | I'm going to move my cursor for about
here around in half circle to about there
| | 01:00 | inside of the three.
| | 01:02 | So let's see if it worka out.
| | 01:03 | I'll go ahead and drag like so.
Because the strange thing about this is we're
| | 01:06 | employing a 2D gesture in
order to invoke a 3D modification.
| | 01:11 | This looks about right, however, so
I'll go ahead and release and sure enough
| | 01:15 | I got my shadows going the other direction
and we have a slight dropoff to the shadows.
| | 01:19 | They are not super huge shadows, in other words.
| | 01:22 | I'm going to go ahead and click inside
the scene in order to interrupt that ray tracing,
| | 01:25 | and I'm assuming your ray
tracing is still turned on as well if you're
| | 01:28 | working along with me.
| | 01:29 | Now I'm just going to make a slight
adjustment to the blue z-axis by dragging it
| | 01:34 | over to left a little bit and we
end up getting this effect here.
| | 01:37 | Now let's imagine that you're having
a hard time with this maneuvering and
| | 01:40 | you're not getting the same results as me.
| | 01:43 | Well, I'm going to go ahead and click in
the scene in order to interrupt the render.
| | 01:46 | The great news is that you can save
off your lights and reemploy them later.
| | 01:50 | So imagine for example that you'd
gotten a scene exactly the way you want it
| | 01:55 | and then you decide you have to edit the text.
| | 01:58 | After positioning the text the way
that we have, then you'd to relight it.
| | 02:02 | However, if you went ahead and saved
those lights, you can reapply the lights
| | 02:05 | and that's going save your
time. And here's how it works.
| | 02:08 | You go up to the 3D panel fly-out menu
and you choose Save Lights Preset and
| | 02:12 | that's not only going to save Infinite
Light 1 here, but it will also go ahead
| | 02:16 | and save off the lights that are turned off.
| | 02:18 | Just in case I've made some changes to
those lights that I was fond of,
| | 02:22 | they will still be there if I want to revisit them.
| | 02:24 | So I've already done that in advance for
you. If you want to go ahead and add my
| | 02:29 | lights to your current lighting, which
is not what you want to do, you'd choose
| | 02:32 | this command, Add Lights Preset.
In order to get rid of your lights and replace
| | 02:36 | them with mine, you choose Replace
Light Presets, and that's what I suggest you
| | 02:40 | do if you're having problems.
| | 02:42 | Then inside the 02_repousse folder,
you'll find a file called White type light.p3l.
| | 02:47 | That's a light file for Photoshop.
| | 02:49 | Go ahead and click the Load button in
order to load it up and you'll get the
| | 02:53 | exact same lighting as I have on screen.
Of course assuming that your objects
| | 02:58 | are in the same physical location
and that is how you go about adjusting,
| | 03:02 | saving, and loading
lights here inside Photoshop.
| | Collapse this transcript |
| Adding a custom-contoured bevel| 00:00 | In this exercise we're going to add a
custom bevel and we're also going to lift
| | 00:03 | the letters slightly off the background
by reducing the depth of the extrusion.
| | 00:08 | And with that 3D layer selected, I'm
going to go up to the 3D menu, choose
| | 00:12 | Repousse and choose Edit in Repousse,
but I do want to mention in passing this
| | 00:17 | Split Repousse Meshes command.
| | 00:18 | It's very useful. We're
not going to employ it now.
| | 00:21 | But what it does is it takes the
components inside of a mesh and splits them apart.
| | 00:25 | So if you wanted to split the 3 from
the D and manipulate them independently,
| | 00:30 | then you would choose this command.
| | 00:31 | However, that's not what we're doing.
W're going to choose Edit in Repousse in
| | 00:35 | order to bring up the Repousse dialog
box. And I'm going to change the Bevel
| | 00:38 | settings by increasing the Height
value to 1 and the Width value to 3.
| | 00:43 | That'll give us a slight diagonal bevel.
| | 00:45 | That's not what I want. What I want is a
flat beveled edge, a little tiny height
| | 00:50 | one cliff, and then we end up
with the face of the letters.
| | 00:54 | I'm going to do that by modifying the Contour.
| | 00:56 | So I'll go and click inside of this
little semaphore flag in order to bring up
| | 01:00 | the Contour Editor dialog box. Then I'll
click on the line to add a point to it,
| | 01:04 | and I'll drag that point down to the
very bottom, and what we're doing is we're
| | 01:09 | describing the angle of that beveled edge.
| | 01:12 | So we're seeing a flat surface upfront,
you can see that flat surface out here
| | 01:15 | in the image window, and then
that's our cliff right there.
| | 01:19 | Go ahead and click OK to
accept that modification.
| | 01:22 | Now I'm going to reduce the
Depth value from 0.2 to 0.1.
| | 01:26 | Now you might ask why the world am I doing this?
| | 01:29 | If I wanted a 0.1 extrusion upfront,
which I did, then I should've gone
| | 01:35 | ahead and dialed it in.
| | 01:36 | But what I really wanted was an extruded
edge that's every bit as big is the gap
| | 01:41 | between the letters and
the shadow in the background.
| | 01:44 | So I doubled my Depth value upfront
and then I was able to use that Snap to
| | 01:48 | Ground Plane command in order to snap
the letters right in the place, then I
| | 01:52 | go ahead and reduce the Depth by half and I
end up with the exact gap I was looking for.
| | 01:58 | So now I'm going to go and click OK
in order to accept that modification.
| | 02:03 | Now there's one thing still wrong here so I
am going to interrupt the render by clicking.
| | 02:07 | Notice that this beveled edge is white.
| | 02:10 | It should be filled with paper texture.
So I'm going to double-click on the
| | 02:13 | layer thumbnail to bring up the 3D panel
and I'm going to click on this Material
| | 02:17 | Drop tool in order to select it.
| | 02:19 | If you're working along with me, your
tool should still be loaded with a paper
| | 02:22 | texture, but if you're not sure just
go ahead and press the Alt key or the
| | 02:26 | Option key on the Mac and click
on the face of one of the letters.
| | 02:29 | Then release Alt or option and click
inside of one of the beveled edges in order
| | 02:33 | to fill all the beveled edges with that texture.
| | 02:37 | And now this time I'm actually going
to let the ray tracing run and you'll
| | 02:41 | see as it runs how the noise inside
of the shadows are smoothing away and
| | 02:46 | that's something that happens with every
single pass of this progressive rendering engine.
| | 02:51 | And the big difference by the way
between the two quality settings,
| | 02:54 | Ray Traced Draft and Ray Traced Final,
is the amount of noise you get inside
| | 02:58 | of your final image.
| | 02:59 | Ray Traced Draft is going to leave a
lot more noise, but it's like four or
| | 03:03 | five times quicker.
| | 03:05 | Whereas Ray Traced Draft is is going
to leave a lot more noise, Ray Traced Final
| | 03:08 | is going to smooth away most of that noise,
but it takes about four or five times longer.
| | 03:13 | All right, so there is the final
rendered version of the scene. I'll go ahead
| | 03:17 | and hide the 3D panel so we can see it.
| | 03:19 | But I've got one more exercise
waiting for you, in which I demonstrate the
| | 03:23 | appearance of every single one of those 18
presets inside the Repousse dialog box.
| | 03:28 | Stay tuned!
| | Collapse this transcript |
| The Repoussé presets| 00:00 | In this exercise I'm going to
demonstrate the appearance of every one of those
| | 00:04 | 18 presets that you find
inside of the Repousse dialog box.
| | 00:07 | I've gone ahead and saved this
version of the image by the way as
| | 00:11 | Video-final type.psd.
| | 00:12 | It's inside the 02_repousse folder and
so is this file right there, which is
| | 00:16 | called Repousse shape presets.psd.
| | 00:20 | What I've done-- I'll go ahead and press
the F key a couple of times to switch to
| | 00:23 | the Full Screen mode.
| | 00:24 | I've created half-sized versions of
that 3D type file, subject to each one of
| | 00:28 | the presets, and I've also included the
Presets icon and they're listed in the
| | 00:31 | exact same order. They are three wide inside
the panel and six lon,g just like this file.
| | 00:38 | The first option just ends up giving
you no bevel whatsoever. You have flat
| | 00:41 | letters, you have a standard extrusion.
| | 00:44 | I should tell you that the
depth is much deeper than this.
| | 00:46 | I went ahead and reduced the depth of
each one of these presets, just because
| | 00:50 | otherwise we'd interrupt the
ground plane and it'd look ridiculous.
| | 00:53 | The next one applies a
flat beveled edge, like so.
| | 00:57 | I've also reduced the size of the
bevel so it fits inside the letters.
| | 01:00 | Notice this guy right there.
He is the hilarious one.
| | 01:03 | I love this preset, because it's drawn wrong.
| | 01:07 | Notice it shows the bevel going out and
then the face coming back in and that's
| | 01:12 | actually the opposite of how the effect works.
| | 01:14 | It creates a dived bevel right there.
So the contour goes inward not outward.
| | 01:20 | Next we have this kind of flat beveled
edge with a round cliff associated with it
| | 01:24 | and it produces this effect here.
| | 01:26 | This is an inflation effect so a
standard inflation effect. The front
| | 01:30 | letters are inflated.
| | 01:31 | In the next preset both the front and
back surfaces are inflated and we've got
| | 01:35 | a little bit of strength going on too.
So we have some kind of pillow letters as
| | 01:39 | you can see, and I'll go ahead and
scoot this over a little bit so that you can
| | 01:43 | see everything that there is to
offer inside of this little image.
| | 01:46 | Notice I changed the angle of our view.
So I changed the camera setting so that
| | 01:50 | we can see a bit of the back of these
letters. There is no extrusion associated
| | 01:56 | with this effect, so you just end up
with these kind of pillowy objects.
| | 02:00 | Let's check the next group here.
This one inflates downward, so the inflation
| | 02:05 | actually goes inward instead of
outward, which is an option with Repousse.
| | 02:09 | This next preset goes ahead and
creates a back face that is bigger than
| | 02:12 | the front face, and the third
preset in the third row goes ahead and
| | 02:16 | creates a slanted extrusion.
| | 02:19 | Moving to the fourth row here, we
start getting into some pretty ridiculous
| | 02:23 | effects in my opinion,
especially when applying to text.
| | 02:26 | This one creates a big twirl as you can
see and the reason we have the shadows
| | 02:32 | midway is because we're cutting through
the ground plane at this point, which is
| | 02:37 | possible. It's something you have to watch out for.
| | 02:39 | I didn't correct for it, however,
because I wanted you to see what happens.
| | 02:42 | This guy corkscrews like crazy and
that might end up looking okay if I
| | 02:47 | applied it to just one of the letters.
Because I applied it to both letters
| | 02:50 | at a time, the letters are wider than they
are tall and we end up getting a very
| | 02:55 | peculiar effect indeed.
| | 02:56 | And if that wasn't weird enough for you,
why we've got an even weirder one right there.
| | 03:01 | So a ton of corkscrewing going on.
| | 03:04 | In this case I believe it's
a twist value of 560 degrees.
| | 03:08 | It's the same value for
both of these presets here.
| | 03:11 | However, we're twisting around in the
middle here in the middle image and we're
| | 03:14 | twisting around the right-hand
side on the right-hand image.
| | 03:18 | Next we have our Revolution options,
and in this case I went ahead and split
| | 03:22 | apart my letters and I hit the D
and just left the three visible because
| | 03:26 | otherwise you wouldn't believe what
weird looking effects we end up getting.
| | 03:30 | And in this case we're doing a 90
degree revolution with a lot of depth so it's
| | 03:35 | going way back there.
| | 03:37 | In the next one we have a 180 degree
revolution but there is not nearly so much
| | 03:41 | depth associated with it, so we end up
getting two letters that are reflected
| | 03:45 | neighbors to each other, and I went ahead and
assigned that paper texture to the rear surface.
| | 03:51 | In this next case we're
revolving again 180 degrees but around a
| | 03:54 | different reference point.
| | 03:56 | And this final revolution option,
I believe it's 185 degrees if you care,
| | 04:00 | so another 5 degrees worth, but
it's really a function of having a
| | 04:04 | different reference point.
| | 04:05 | That's why the three goes off the canvas.
This one is pretty interesting I think.
| | 04:09 | We have just a little bit of a gap left
over, as indicated by this 3D Pacman icon here.
| | 04:14 | And we end up getting a 3 that wraps
all the way around itself and creates a
| | 04:19 | kind of mushroom effect.
| | 04:20 | Now this isn't very useful for a
3 but these kinds of revolutions can be
| | 04:25 | extremely useful indeed.
| | 04:26 | Imagine if we started with kind of a
shape that indicates half an apple and
| | 04:30 | then you revolve it all the way
around and you've got yourself a 3D apple,
| | 04:33 | which is pretty awesome.
| | 04:35 | And then finally I went ahead and
reinstated the D and applied this 270
| | 04:38 | degree revolution, which revolves the
objects around their center which is
| | 04:42 | why the D bends in two.
| | 04:44 | For what it's worth, those are the
graphical depictions of the 18 presets that
| | 04:49 | are available to you in
the Repousse dialog box.
| | 04:53 | In the next chapter we'll take a look
at Repousse as applied to shape layers
| | 04:56 | and layer masks.
| | Collapse this transcript |
|
|
3. Drawing 3D Objects with RepousséTurning any 2D layer into 3D| 00:00 | It's easy to think of Repousse
exclusively as a tool for extruding type, but
| | 00:05 | where it really shines is in its ability
to generate 3D objects from 2D artwork.
| | 00:11 | See, generally speaking, Photoshop
is incapable of creating models,
| | 00:16 | the underlying wireframe
meshes that define 3D objects.
| | 00:20 | In other words you can texture,
light, and render a 3D scene, but you
| | 00:25 | can't really draw it. Which means you often
have to import models created in other programs.
| | 00:31 | But Repousse is the exception.
| | 00:33 | Repousse lets you take a 2D layer and
extrude, inflate, revolve, or even tug it
| | 00:41 | into something that has form and depth.
| | 00:44 | In this chapter, we'll create a
convincing antique metal sheriff's badge, in which
| | 00:49 | we cut holes in an extruded star and
convert circles into round balls at the
| | 00:55 | stars points, all based on simple shape layers.
| | 00:59 | I'd even show you how to take a sub
path, which Repousse calls a constraint, and
| | 01:04 | pull it outward to create a series of
remarkably organic ridges and valleys in
| | 01:09 | the 3D object. By which I mean here's
how to create 3D models in Photoshop.
| | Collapse this transcript |
| Creating the base shape layers| 00:00 | All right, just as a frame of reference,
here's the final version of the old
| | 00:03 | weathered sheriff badge that we'll be creating.
| | 00:05 | And it's our most complicated projects
so far, because it includes this time
| | 00:09 | around four meshes and
the meshes are as follows.
| | 00:12 | In the background we've got a big star shape
| | 00:15 | that's responsible for this dark
texture inside the lines and the type.
| | 00:18 | Then we've got another star shape
immediately in front of it that has the
| | 00:23 | stripes and the letters cut out of it.
| | 00:24 | The third mesh is this collection
of six balls that surrounds the star.
| | 00:29 | And then finally we have to represent
the interior of the R as an independent
| | 00:35 | mesh, for reasons that will become
clear as we work through this project.
| | 00:38 | The background is not part of the scene.
| | 00:40 | It's an independent stock image.
| | 00:42 | So we're once again taking advantage
of the Ground Plane Shadow Catcher, but
| | 00:45 | this time we have a couple of shadows
that we're casting using two spotlights.
| | 00:50 | Now, it's all built-- Even though it looks
like we have some text inside the scene,
| | 00:54 | it's all built from vector-
based shapes inside of Photoshop.
| | 00:58 | And we're going to start things off by
creating those shapes before we give them
| | 01:02 | depth and volume inside of Repousse.
| | 01:03 | So I'm going to switch to this image.
| | 01:06 | It's called Sheriff shapes.psd and
it's found inside the 03_shapes folder.
| | 01:10 | And you may see a couple of
guidelines on screen, if not, then
| | 01:14 | press Ctrl+Semicolon,
| | 01:15 | or Command+Semicolon on the Mac,
in order to bring those guidelines up.
| | 01:19 | This document also contains some live text.
| | 01:22 | And it's set in Birch Standard, which
is one of those fonts that should ship
| | 01:25 | along with the Creative Suite.
| | 01:26 | If you don't have it though, it
doesn't matter all because I've gone ahead
| | 01:30 | and represented all the letters as
a shape layer, and that's what we'll
| | 01:33 | eventually be working with. But I just wanted
you to see how this whole thing was put together.
| | 01:37 | All right, I'm going to start things
off by drawing a big star and I want that
| | 01:41 | star to be yellow, and it doesn't
matter at all. We're going to be covering up
| | 01:44 | the colors that are associated with
these base shapes, but I just want to be
| | 01:48 | able to tell all the shapes apart
from each other as we build them.
| | 01:51 | So I'm going to dial
yellow into the Color panel.
| | 01:53 | And that's a Hue of 60 degrees,
Saturation 100% and Brightness 100%.
| | 01:58 | Your star drawing tool inside
of Photoshop is the Polygon tool.
| | 02:02 | So drop down to whatever shape tool you
see down here toward the bottom of the
| | 02:05 | toolbox and select the Polygon tool.
| | 02:08 | Then change the number of Sides to 6
and finally click on this little down-
| | 02:13 | pointing arrowhead next to
the blob and turn on Star.
| | 02:16 | Now, it's hard to figure out exactly
how you need to indent the sides, but
| | 02:21 | if you go ahead and draw a star now,
you'll see that it's not a sheriff's star at all.
| | 02:25 | It's too spiky.
| | 02:26 | So I'll go ahead and undo that.
| | 02:28 | What you need to do is set
the Indent By value to 33.3.
| | 02:32 | And I just came up with that by
happenstance, but it works perfectly.
| | 02:36 | And then I want you to drag from the
intersection of those two guidelines up
| | 02:41 | into the center of the star.
| | 02:42 | And if you want to constrain the
shape so it's absolutely up and down, then
| | 02:46 | press the Shift key as you drag, and
then release like so and you will have
| | 02:50 | drawn the star shape that we need to work with.
| | 02:52 | Go ahead and rename this shape rear,
because it is going to be our rear star.
| | 02:56 | All right, the next step is to create
all the balls, and I hesitate to call them
| | 03:01 | spheres because they're not
ultimately spheres and they certainly aren't circles.
| | 03:05 | They are these sort of blobby
things, as you'll see, that we're going to
| | 03:08 | create using that Inflation
feature inside of Repousse.
| | 03:12 | Just because it's the easiest way to
work. If we were to use real spheres,
| | 03:16 | we would have precious little in the way
of positioning options available to us.
| | 03:20 | You don't have power duplication.
| | 03:22 | You can't rotate around a specific origin point.
| | 03:25 | It's a big pain in the neck.
| | 03:26 | Whereas if we get all our balls
arranged in advance and then go ahead and
| | 03:30 | extrude them, we're in much better shape.
| | 03:33 | So I've gone ahead and clicked on
the balls layer to make it active.
| | 03:35 | I am going to switch over to my Black
Arrow tool, which you can get by pressing
| | 03:39 | the A key, and then click
on that shape to select it.
| | 03:43 | Then you need to press a keyboard
shortcut. This is the only way to get to this.
| | 03:47 | Which is Ctrl+Alt+T or
Command+Option+T on the Mac.
| | 03:51 | It's a method for duplicating the
selected object and it's going to help us
| | 03:55 | make quick work of duplicating these circles.
| | 03:57 | Then, drag that little target right
there, which is the origin for the
| | 04:01 | transformation, go ahead and drag it
down to the intersection of the guidelines.
| | 04:05 | Then go up to the Options bar and
change the Rotate value to 60 and then press
| | 04:11 | the Enter key or the Return key on the Mac.
| | 04:12 | Now, I've got another keyboard
shortcut for you. You have to mash your fist
| | 04:17 | and press the T key. So that's Ctrl+Shift+
Alt+T or Command+Shift+Option+T on the Mac.
| | 04:22 | And keep doing it. You've got to do it
four times in a row there in order to
| | 04:26 | complete all the circles.
| | 04:28 | And that's your power duplication,
which is not necessarily the most intuitive
| | 04:33 | feature inside of Photoshop
because it's based on keyboard shortcuts.
| | 04:36 | However, it doesn't even begin
to exist inside the realm of 3D.
| | 04:40 | All right, now that we've created all
the balls, we need to create another
| | 04:44 | version of this star that has the text
and the stripes cut out of it, and
| | 04:48 | we haven't even made the stripes yet,
and we're going to create that shape in
| | 04:52 | the very next exercise.
| | Collapse this transcript |
| Cutting holes from shapes| 00:00 | In this exercise we are going to
complete our shape layers by creating a
| | 00:03 | duplicate of the star layer and then
cutting the letters and the bars that we
| | 00:07 | still have yet to create out of that star.
| | 00:10 | I've saved my progress as
Symmetrical circles.psd.
| | 00:13 | It's found inside the 03_shapes folder.
| | 00:15 | In order to cut the letters out of a
Shape layer the letters need to be a
| | 00:18 | Shape layer as well.
| | 00:20 | So if you have access to the font
Birch Std you would presumably go ahead and
| | 00:24 | click on this type layer here and press
Ctrl+J or Command+J on a Mac to create a
| | 00:28 | copy of it, so you don't
lose the original type layer.
| | 00:31 | Then you would right-click in an empty
portion of this layer like so and choose
| | 00:35 | Convert to Shape and that will
convert those letters to path outlines.
| | 00:40 | However, I've already
done it in advance for you.
| | 00:42 | So I am just going to press the
Backspace key or the Delete key on the Mac to
| | 00:44 | get rid of that layer.
| | 00:46 | Turn off the live editable type layer and turn on
the vector-based version of that same layer.
| | 00:50 | All right, now I am going to click on
the vector mask thumbnail in order to make
| | 00:54 | it active so we have access to the path
outlines and I am going to go ahead and
| | 00:57 | zoom-in to 100% by pressing
Ctrl+1 or Command+1 on the Mac.
| | 01:02 | Now the bars above and below the
text are copies of this I right here.
| | 01:07 | So you don't have to draw it or anything.
| | 01:08 | We'll create the bars
entirely using transformations.
| | 01:11 | So using your Black Arrow tool, which I
assume you still have selected, go ahead
| | 01:15 | and click on the outline of the I and
then press and hold the Alt key or the
| | 01:19 | Option key on the Mac and drag that I
to some other location, and because you
| | 01:23 | have the Alt or Option key
down you make a copy of the I.
| | 01:26 | Then go up to the Edit menu and
choose Free Transform Path or press
| | 01:30 | Ctrl+T, Command+T on a Mac, right-
click anywhere inside the image window,
| | 01:34 | and choose rotate 90e CW or CCW.
It doesn't matter which just as long as you
| | 01:39 | perform a 90e rotation.
| | 01:41 | Then I am going to go ahead and drag
this guy down and into the letter slightly
| | 01:46 | until it's about right there.
| | 01:47 | Notice the I is also centered
along that vertical guideline.
| | 01:51 | Okay, press and hold the Alt key once
again or the Option key on the Mac and
| | 01:55 | drag either the right or left handle
in order to scale the I equidistant away
| | 02:02 | from that vertical guideline like so
and I want to take the I until it's base
| | 02:06 | there is about midway into the first F.
| | 02:09 | Then finally I want to scoot the I up by
pressing Shift+Up Arrow five times in a row.
| | 02:13 | So one, two, three, four, five and that
looks like pretty good placement there.
| | 02:18 | Press the Enter key or the Return key on
the Mac in order to apply your changes.
| | 02:22 | Now I need to create a duplicate of the
I on the other side of this horizontal
| | 02:26 | guideline and I'll do that by pressing
Ctrl+Alt+T or Command+Option+T on the
| | 02:30 | Mac, which is a keyboard shortcut
that performs a transformation on the
| | 02:34 | duplicate of the path outline and then
I am going to take that little target
| | 02:39 | there and I am going to move it down
so that it snaps into alignment with the
| | 02:42 | horizontal guideline.
| | 02:44 | Then right-click anywhere inside the
image window and choose Flip Vertical and
| | 02:48 | you'll end up getting a bar underneath
the letters. Press the Enter key or the
| | 02:52 | Return key on the Mac in
order to apply your change.
| | 02:54 | All right, now we need to grab all
these guys and copy them so we can paste
| | 02:58 | them into the star.
| | 03:00 | Now that's pretty hard to do
with the star visible on screen.
| | 03:03 | So go ahead and turn off that rear
layer and then marquee all of the black
| | 03:08 | shapes with the black arrow tool.
| | 03:09 | Just avoid the circles and you'll be good
and that will select all of those shapes.
| | 03:14 | Then go up to the Edit menu and
choose the Copy command or press Ctrl+ C,
| | 03:17 | Command+C on the Mac.
| | 03:19 | All right, we are done with that
layer now, so go ahead and turn it off.
| | 03:22 | Turn the star layer on, click on it to
make it active and press Ctrl+Alt+J or
| | 03:28 | Command+Option+J on the Mac and let's
go ahead and call this duplicate layer
| | 03:32 | holes, because it's the version
of the star with the holes in it.
| | 03:35 | Click OK to create the duplicate layer.
| | 03:37 | Just so I can tell things apart I
need this layer to be a different color.
| | 03:41 | So I am going to double-click in this
color swatch to bring up the Color Picker
| | 03:44 | dialog box and I am going to
change the Hue value to 30.
| | 03:46 | So we are looking at bright orange. And click OK.
| | 03:49 | All right, make sure that your vector
mask thumbnail is selected here inside the
| | 03:53 | Layers panel, then go up to the Edit
menu and choose the Paste command or press
| | 03:58 | Ctrl+V, Command+V on the Mac, which goes
ahead and registers those path outlines
| | 04:02 | exactly in that same place
from which you copied them.
| | 04:05 | Now, we want these path outlines to cut
holes in the larger star shape, so go up
| | 04:09 | to the Options bar and click on the
Subtract from shape area icon and that'll go
| | 04:14 | ahead and express those
letters and bars as holes.
| | 04:17 | All right, those are our base shapes,
now what I advise you do-- you don't have
| | 04:21 | to do this-- but before you apply
Repousse to any of the shape layers which you
| | 04:26 | know basically busts up the shape layer
so you can no longer modify them as shapes,
| | 04:30 | you probably want to
grab all this stuff and protect it.
| | 04:35 | The way I recommend you do that is click on
the rear layer, Shift+click on the balls layer
| | 04:40 | in order to select all those layers.
You can also press Ctrl+Alt+A or
| | 04:44 | Command+Option+A on the Mac to select
all layers. And then go up to the Layers
| | 04:48 | panel fly-out menu and choose New Group
from Layers and go ahead and call this
| | 04:52 | new group originals and then click OK.
| | 04:55 | Now, twirl open that originals group,
click on balls in order to select it, and
| | 05:01 | then press the Ctrl key and click on
these other two visible layers, holes and rear,
| | 05:06 | and that's the Command key on the
Mac and very important: do not click on
| | 05:12 | the vector thumbnails because that
will just generate a selection outline.
| | 05:16 | And if you do accidentally generate a
selection press Ctrl+D or Command+D to deselect
| | 05:20 | the image then try again.
| | 05:22 | but basically you've got a Ctrl+
Click or Command+Click in an empty area.
| | 05:26 | Then if you're into these tricks we
got another one here. Press the Alt key
| | 05:30 | or the Option key on the Mac and drag in an
empty area of one of these selected layers.
| | 05:35 | Do not drag inside the vector
thumbnail or Photoshop things you are trying to
| | 05:38 | duplicate that vector mask. Instead
drag out here with the Alt or Option key down.
| | 05:43 | Drag all the way to the top of
the Layers panel so you get that black
| | 05:46 | horizontal bar and drop and that'll
create a copy of all three of those layers.
| | 05:52 | So you can see we now have copies of
these layers both outside the folder and
| | 05:56 | inside the folder as well and at this
point I'm going to go and twirl closed that
| | 06:01 | folder and turn it off so that
those objects are safe and sound.
| | 06:05 | So just a precaution. You can choose
to do it or not, totally up to you.
| | 06:08 | In the next exercise we're going to
extrude the six circles inside Repousse.
| | Collapse this transcript |
| From circles to "near spheres" in Repoussé| 00:00 | In this exercise I'm going to show you
how to use Repousse to turn circles into
| | 00:04 | very close approximations of spheres.
| | 00:07 | Now what in the world do I mean by that?
| | 00:08 | Well, I am back here inside the final
version of this 3D illustration and if you
| | 00:13 | look at each one of these balls that
surrounds the Sheriff's badge, it might
| | 00:17 | look at first glance like these are
perfect spheres. But check this out.
| | 00:21 | If I turn off the leather layer, then
you can get a better view of the shadow
| | 00:25 | and you can see that the balls of the
shadow have little edges cut out of them
| | 00:29 | here and there, and that they're
giving away the fact that we're looking at
| | 00:34 | very complicated polygons, and you can
even see something of a straight edge on
| | 00:38 | this ball down here.
| | 00:39 | Now you may wonder at this point, all
right, well, so if we don't get perfect
| | 00:43 | results out of Repousse, why use Repousse?
| | 00:45 | I mean you can create spheres.
You saw that when we're making Saturn.
| | 00:50 | Problem is if we represented each one
of these guys as an independent sphere,
| | 00:53 | then we would have to meticulously
position each and every one of them at the
| | 00:59 | endpoints of that star, and there's no
automation tools to help us out so we
| | 01:03 | would really have our work cut out for us.
| | 01:05 | Secondly, we want this sort of rough
approximated look, because after all,
| | 01:09 | the Sheriff's badge is made out of pounded
metal. So you don't always want exacting
| | 01:13 | perfect results from your 3D artwork.
| | 01:15 | Anyway, I'm going to go ahead and switch over to
our composition and progress. I'll press Ctrl+;
| | 01:20 | or Command+; on the Mac to hide those
guidelines, because we don't need them anymore.
| | 01:25 | Then make sure that the Balls layer
is active here inside the Layers panel,
| | 01:28 | and go up to the 3D menu, choose Repousse,
and choose either Layer Mask or Selected Path.
| | 01:34 | Now Selected Path may be dimmed for you.
| | 01:36 | It depends whether the
vector thumbnail is active or not.
| | 01:39 | But the two commands when both
available do exactly the same thing, even if you
| | 01:44 | only have a single path outlined
selected inside the shape layer.
| | 01:48 | The reason we have this duplicate layer
mask command is because you can also use
| | 01:52 | Repousse on layers that
have pixel-based layer masks.
| | 01:55 | In any event choose a command, you'll
get the warning, click Yes in order to
| | 01:59 | enter the dialog box, and then you'll
end up getting these sorts of extruded
| | 02:04 | logs by default. We don't want those at all.
| | 02:06 | In fact, we're going to take advantage
of one of the presets, and remember back
| | 02:10 | at the end of the previous chapter,
there was that one preset that turned the
| | 02:14 | text in to sort of fluffy pillows and
we had to view the text at a different
| | 02:18 | angle to see what I was talking about?
| | 02:20 | Well, that's this one right here,
Inflated Sides. Go ahead and click on it and
| | 02:24 | that will actually turn those circles
in the spheres, just like that. You don't
| | 02:28 | have to do anything else.
| | 02:29 | It gets rid of the extrusion by
setting the Depth value to zero.
| | 02:32 | It sets the Inflation to both the Front
and Back sides, the Angle is 90 degrees, and
| | 02:37 | the Strength is 0.15.
| | 02:39 | You could experiment with the Strength and
see if you came out with something better.
| | 02:42 | But this ends up looking great to me.
So all you need to do after clicking on
| | 02:46 | that preset is click OK
and you've done the deal.
| | 02:49 | that's how easy it is to convert
circles into spheres using Repousse.
| | 02:54 | All right, now we need to assign some
textures. So double-click in the 3D layer
| | 02:58 | thumbnail in order to bring up the
3D panel and then click on balls Front
| | 03:03 | Inflation, click the little page icon
next to Diffuse and choose Load Texture.
| | 03:08 | Navigate your way to the 03_
shapes folder and find the file called
| | 03:12 | weathered metal.jpg.
| | 03:13 | it's another image from
the Fotolia Image Library.
| | 03:16 | Click on the Open button and that will
go ahead and apply that texture to the
| | 03:20 | face of those six balls.
| | 03:22 | Now if you look closely at these guys,
you'll see that they have great edges,
| | 03:26 | either above or below them, and
that's the backs showing through.
| | 03:29 | So we should apply that
same texture to the backs.
| | 03:32 | I'll go ahead and click on balls Back Inflation.
| | 03:34 | You could try to use your Material Drop
tool, but it's hard to get into those areas.
| | 03:39 | So the better thing to do is to select
the Back Inflation, click the page icon
| | 03:42 | next to diffuse, choose the Load
Texture command, find that same file, weathered
| | 03:47 | metal.jpg, click the Open button, at
which point Photoshop will give you the
| | 03:52 | best error message I've
ever seen out of the program.
| | 03:55 | It tells me "You already have a
texture in the scene with the path and your
| | 03:59 | pathname will be different.
| | 04:01 | Proceeding will create a second reference
to your?" OK. Cancel. That's excellent.
| | 04:08 | Basically, that's a message I was
trying to avoid in the second chapter and it
| | 04:12 | is telling you that you
didn't need to work this way.
| | 04:16 | Sure, it gets the idea. You want to apply
the same weathered metal texture to the
| | 04:21 | backs as well, but really
it's the only option we had.
| | 04:24 | So I'll click OK in order to go ahead and
use that exact same weathered metal textures.
| | 04:30 | So it didn't create a duplicate copy of
it. We're still using the same one and
| | 04:34 | that's why there's just one that's
listed here inside the Layers panel.
| | 04:37 | All right, so that completes the
six balls around the Sheriff's badge.
| | 04:40 | In the next exercise we're going to
take on the orange star with the holes.
| | Collapse this transcript |
| Adding an active constraint| 00:00 | In this exercise, I'm going to
show you how to work with constraints.
| | 00:03 | Now, the most obvious example of a
constraint is a hole, such as the hole inside
| | 00:08 | of the R. However, there are other
applications for constraints as well.
| | 00:12 | You can basically, bend an object in a
specific direction, and that's what I'm
| | 00:16 | going to show you right now.
| | 00:18 | I have saved my progress as Six
approximate spheres.psd and I'm going to go
| | 00:23 | ahead and click on that
holes layer to make it active.
| | 00:26 | And then I'll go up to the 3D menu,
choose Repousse, and choose Layer Mask in
| | 00:30 | this case, because my vector mask is not active.
| | 00:34 | I'll get the error message. I'll click OK.
| | 00:36 | And then right away all of what were
formerly holes inside of this orange star
| | 00:40 | end up filling up with gray.
| | 00:42 | Now, here is the problem.
| | 00:43 | All of these internal constraints, as
they're known, all these internal path
| | 00:48 | outlines are Inactive by default.
| | 00:51 | You've got to wake them up one at a time.
| | 00:54 | You can either set them to Active or Hole.
| | 00:57 | Now you'll do this for one and only
one path outline initially, and it's hard
| | 01:01 | to predict which one.
| | 01:02 | I believe it's the one that's on top.
| | 01:04 | However, the best way to gain control
over things is to switch to one of these
| | 01:08 | Constraint tools down here.
| | 01:10 | I'm just going to go ahead and click on
the Rotate 3D Constraint tool, and
| | 01:14 | then click on one of these paths
and it gets a heavy dotted outline.
| | 01:18 | This is the craziest interface. And you can't
select more than one path outline at a time.
| | 01:23 | And then, you would change its Type
from Inactive, which is doing nothing.
| | 01:27 | The idea is you might just have a path
outline that you don't want to delete.
| | 01:32 | You just want to keep it around.
| | 01:33 | So it'll just be an Inactive
constraint. Or you make it Active.
| | 01:37 | I'm going to show you what that means
in just a moment. Or you make it a Hole,
| | 01:40 | which is a fairly obvious application
of things, and then you get a hole inside
| | 01:44 | of the star and so forth. All right!
| | 01:46 | I'm going to Cancel out of here.
| | 01:47 | We're going to do that, we're going to
set up the holes in the next exercise,
| | 01:50 | because first I want you to understand
what's going on with the larger world of
| | 01:55 | constraints in general.
| | 01:56 | I'm going to switch to this document
that's called Constraint demo.psd, and I
| | 02:01 | want you to go to your Paths panel
and click on this small star path.
| | 02:05 | And you can see that I've got a small
star inset inside of the larger one.
| | 02:09 | Now I'm going to switch back to my
Layers panel and I'm going to double-click
| | 02:14 | on the star layer to bring up the 3D
panel, and I'll click on star just to make
| | 02:18 | sure it's the active mesh. All right!
| | 02:20 | Now I'm going to go ahead and hide the panel.
| | 02:23 | I want you to go up to the 3D menu and
choose Repousse and at this point you
| | 02:27 | can add that path as a constraint
by choosing this command, or here is
| | 02:32 | another way to work.
| | 02:33 | That will open Repousse by the way.
| | 02:35 | The other way to work is to just
choose the Edit in Repousse command.
| | 02:38 | I just want you to see both options
that are available to you, because this is
| | 02:42 | pretty different stuff if you've never
worked with constraints before, and then
| | 02:46 | you drop down to this Add(Path)
button. And that's what we're going to do.
| | 02:49 | Just click on Add(Path) and that
will add that path as a constraint.
| | 02:52 | Now it starts off Active in this case,
because we manually added it. That's nice.
| | 02:57 | Go ahead and click on it with one of
these Constraint tools just to make sure
| | 03:01 | it's truly ready to go here, and
then let's make some modifications.
| | 03:05 | For example, let's say we
want to pull the star forward.
| | 03:08 | If we push it backward into the larger
star, then we're going to cut a hole in
| | 03:12 | the front face and reveal the yellow
with back face. It looks terrible.
| | 03:15 | So let's pull it forward instead, and you can
do that using your Slide tool if you want to.
| | 03:20 | You can actually drag this thing around.
| | 03:22 | However, what I'm going to do is I'm
going to change the Y value to -100, and
| | 03:26 | that pulls that path forward.
| | 03:29 | Positive Y values would push it backward.
| | 03:32 | And then I want to show you these
Angle and Strength values right here.
| | 03:35 | I'm going to set the Angle value to 90
degrees and that's creating 90 degrees
| | 03:39 | and that's creating a kind of chasm
right here along this constraint outline.
| | 03:43 | You can't see it so well because
we're looking straight down at it.
| | 03:47 | Then, I'm going to raise the
Strength value to its maximum, which is 1.
| | 03:50 | Strength has a range from 0
to 1 and that's it. All right!
| | 03:53 | Click OK.
| | 03:54 | It doesn't look like we've done all
that much except create this kind of
| | 03:57 | crease in the star.
| | 03:59 | But what we've done is create this amazing
mountainous growth in the middle of the star.
| | 04:04 | I'm going to click after we get done
with the first shadow paths there, in order
| | 04:08 | to interrupt the render.
| | 04:09 | Then, I'll go over to the Paths panel
and turn off the small star path by
| | 04:12 | clicking underneath it.
| | 04:14 | Switch back to the Layers panel.
| | 04:15 | I'm going to go ahead and select my
Camera tool and I'm going to rotate my view
| | 04:21 | of things like so, and you're beginning
to get an idea of what's going on here.
| | 04:25 | Check out that incredible mountain that
we've created in the middle of the star.
| | 04:30 | Before I go rendering it, I'm going to
drag it down by dragging up actually,
| | 04:35 | because I'm changing my view of things
upward. Dragging up on the green arrow head.
| | 04:41 | I'm also going to move this a little
bit forward by clicking to interrupt
| | 04:45 | things and dragging away from the
blue arrows so the thing comes toward me,
| | 04:50 | because I'm moving forward and
that's too much, a little too much of a
| | 04:54 | direct under view I think.
| | 04:56 | So I'm going to rotate the Z-axis
just a little bit like so, so I can see
| | 05:02 | about this amount here.
| | 05:03 | I suppose it'll be fine. All right!
| | 05:05 | I'll let the shadow go ahead and
sort of render in the background there.
| | 05:08 | That's good enough.
| | 05:09 | We don't need any more
detail or clarity than that.
| | 05:11 | Click in order to interrupt things.
| | 05:14 | Switch back to my Rectangular Marquee
tool to get the widget off screen and now
| | 05:19 | I assume we're still working on that same mesh.
| | 05:21 | So I'll go back to the 3D menu, choose
Repousse, and choose Edit in Repousse.
| | 05:25 | So you can get a better sense of
what's going on here now that we have this
| | 05:31 | better view of things. All right!
| | 05:32 | So I'll go ahead and find that
constraint, because currently it's not selected.
| | 05:37 | So I've got to grab one of my Constraint
tools and I'll click right in there in
| | 05:42 | order to select that constraint. And I got it.
| | 05:44 | Now I can switch to either one of my
movement tools here, either the Pan tool or
| | 05:49 | the Slide tool in order to find my -100 value.
| | 05:53 | And I could change that if I want to.
| | 05:54 | I could go ahead and reduce the height
of that constraint by lowering that value
| | 05:59 | to -50 for example, or I can increase
the height to -150, but -100 actually
| | 06:05 | works out pretty well.
| | 06:06 | I know there is tumorous growth here
isn't really an effect that you'd want.
| | 06:11 | But we're going to change it around here.
| | 06:12 | I just want you to see what happens now.
| | 06:14 | If I change the Strength value to 0,
everything settles down considerably.
| | 06:19 | If I raise it back up, let's say I
decided to take it to 0.4 then I add some
| | 06:24 | swelling to the tissues here, and if I
change my Angle value, let's say I take it
| | 06:30 | up to 120, and then I'm going to change
the angle of those edges in the angle at
| | 06:35 | which this growth occurs.
| | 06:37 | If I don't like to be a growth, if I want it
to go down, I would enter a negative value.
| | 06:41 | Let's try -45 and see
what we come up with there.
| | 06:44 | Actually, you know what,
| | 06:45 | I think I'll take it down even
farther. I'll take it to -90.
| | 06:49 | And so we get this nice valley right
here at the point of the inner star.
| | 06:54 | I might add a little bit of Inflation too.
| | 06:56 | I'll take the Inflation value up to
90 degrees and we end up with this
| | 06:59 | very interesting effect.
| | 07:01 | Now, it doesn't look anything like a
sheriff's badge, which is why we're not
| | 07:05 | going to apply it to our artwork.
| | 07:06 | But it is definitely intriguing,
and you do have that kind of control.
| | 07:11 | So you can use a path outline to grab
a specific portion of an extruded shape
| | 07:17 | and determine its location.
| | 07:18 | I could even spin this star around if I
wanted to by assigning that path outline
| | 07:24 | as an Active constraint, there
inside the Repousse dialog box.
| | 07:28 | In the next exercise, I'll show you
how to take those constraints and turn
| | 07:32 | them into holes.
| | Collapse this transcript |
| Converting constraints into holes| 00:00 | I went ahead and saved that file as
Alien star.psd and I decided that it needed
| | 00:05 | a kind of pearl in the center of that
sunken star and what's interesting about
| | 00:09 | this I think is it gives us a
preview of what's going on with materials.
| | 00:13 | The pearl itself is just a
sphere that I added to the scene.
| | 00:16 | But if you click this down-pointing
arrowhead next to this little sphere that
| | 00:21 | represents the material that I
applied and you click the right pointing
| | 00:24 | arrowhead and then you choose Default
(for Ray Tracer) and then click on the
| | 00:29 | Append button-- I've already
done it so I am not going to--
| | 00:32 | then you get a list of extra
materials that ship along with Photoshop.
| | 00:35 | I applied this one right here, which is
called Metal Silver (Brushed), and then I
| | 00:40 | turned around and increased the
Reflection value to 50% so that we get a ton of
| | 00:46 | reflection around that pearl.
| | 00:48 | Anyway that's a little bit of a
sidetrack, although the strange and
| | 00:51 | interesting one I think.
| | 00:52 | I'm going to return to my file in
progress, which is Six approximate spheres.psd,
| | 00:57 | and make sure your holes layer is
active, then go up to the 3-Dpanel, choose
| | 01:02 | Repousse and choose Layer Mask. Andd if
you get the alert message, click the Yes
| | 01:06 | button and then what I need you to
do is go ahead and select one of these
| | 01:10 | Internal Constraint tools and click on
the first path. Go ahead and click on the
| | 01:15 | bar above the text for now and then
change it from Inactive to Hole and you know what,
| | 01:20 | we don't need these big huge extrusions.
| | 01:22 | So I am going to set the Depth to zero
actually for the star and then I am going
| | 01:26 | to go ahead and assign a Bevel as well.
| | 01:28 | I am going to take the Height value
up to 1 and the Width to 0.5 so that we
| | 01:33 | have just a slight amount of edge around each
one of these holes and around the badge in general.
| | 01:39 | All right, next I am going to select
the bottom bar and I am going to change it
| | 01:43 | to hole and at this point you might be
asking, "Wait a second, you can't possibly
| | 01:48 | have to select each and every one of
these Internal Constraints independently of
| | 01:53 | each other" and the answer
is yes, I am afraid you do.
| | 01:56 | There is no method for selecting
many internal xonstraints at a time.
| | 02:00 | Now notice something peculiar here.
I've lost that little preview that tells me
| | 02:04 | that I'm hovering over a letter.
| | 02:06 | So I'm just going to have
to hope for the best here.
| | 02:09 | If I click on something and then
the Type changes to Inactive, that's a
| | 02:13 | good indicator that I have found a
hole or at least something that I want
| | 02:17 | to turn into a hole.
| | 02:18 | In this case I went ahead and got the H,
which is good, and then it tells me that
| | 02:22 | it's selected after the fact.
| | 02:24 | So, Repousse does-- especially if you're
starting to run a little low on memory--
| | 02:29 | It tends to be the problem and this
machine right now is not super cranked
| | 02:32 | in that department.
| | 02:33 | You may end up having
some screen refresh problems.
| | 02:36 | Anyway, just keep clicking on the
letters and sending them to the Hole mode.
| | 02:41 | I just clicked on the eye that time
because we're going to come back to R.
| | 02:44 | The R presents a little bit of a problem.
And then I'll grab the F and I'll change
| | 02:50 | it to Hole and then I'll wait for a moment and
grab the other F. I apologize on Repousse's behalf.
| | 02:57 | They should definitely have a
mechanism here for you to be able to marquee
| | 03:01 | multiple paths, because most certainly
this is the kind of thing you might be
| | 03:06 | doing on a regular basis.
| | 03:07 | The truth of the matter is that
Repousse is not a big fan of lots of
| | 03:11 | internal constraints.
| | 03:12 | Anyway, I just clicked on
the R. it's the only one left.
| | 03:14 | I am going to change its Type from
Inactive to Hole and the program is going to
| | 03:20 | bark at me and tell me you know you
can't change this constraint to a Hole
| | 03:24 | because it contains other constraints.
So the problem is this R would become a
| | 03:29 | hole with a hole inside of it.
| | 03:31 | Well what in the world
does Repousse do with that?
| | 03:34 | Well of course what it ought to do is that
same thing that the shape layer did automatically.
| | 03:38 | It ought to turn the whole inside of
the R back into an opaque area, but
| | 03:43 | Repousse is not capable of such sorcerer's magic.
| | 03:46 | So you have to click OK and you have to
click the inside of the letter in order
| | 03:51 | to select it and then you got to click
on the Delete button down here in the
| | 03:55 | bottom right-hand corner of the
Repousse dialog box and wait that out and
| | 04:00 | a moment later if the screen refresh is
working properly, we would see that the
| | 04:04 | inside of the R is gone. However, in our
case it's not really keeping up with us.
| | 04:08 | So I am going to click on the outside of the
R and change the Type from Inactive to Hole.
| | 04:13 | Now I could solve this problem by
the way, the problem with the screen
| | 04:16 | refresh, by either quitting the
software and restarting it or possibly
| | 04:20 | restarting my machine.
| | 04:21 | I am choosing not to do so because I
want you to see that sometimes we do have
| | 04:25 | screen refresh problems
when working with Repousse.
| | 04:27 | It's not the end of the world.
You can still work around it.
| | 04:30 | Anyway you now see that the entire R
is a hole and I'll go ahead and click on
| | 04:35 | the OK button in order to
accept those modifications.
| | 04:39 | So we now have an extruded object albeit
without a ton of extrusion going on.
| | 04:44 | And you know I did forget one
thing in all my griping there.
| | 04:48 | I am going to go back up to the 3D menu,
choose Repousse and choose Edit in Repousse.
| | 04:52 | I wanted to add just a slight bit of
inflation to the sheriff's badge and I am
| | 04:56 | going to do that by changing this Front
Angle value to 5 degrees. Nothing more.
| | 05:02 | So not a big change. Click OK.
| | 05:04 | At this point you are not even going to
see the results of it because it's not
| | 05:07 | filled with any kind of
meaningful texture. We just have orange.
| | 05:10 | All right, so far so good.
| | 05:12 | that was a fair amount of tedium, but it's
going to be worth the effort I assure you.
| | 05:16 | In next exercise we're going to
combine the holes and balls layer into a
| | 05:21 | single 3D scene.
| | Collapse this transcript |
| Merge, texture, gloss, and shine| 00:00 | In this exercise we're going to merge
and texture all portions of our star,
| | 00:04 | except for the interior of that R.
That will be the only thing outstanding.
| | 00:08 | And along the way I'll introduce
you to a couple of attributes that are
| | 00:11 | essential for creating metallic
effects and those are Gloss and Shine.
| | 00:16 | I've saved my progress as Extruded
orange star.psd and I've got my holes layer
| | 00:21 | selected here inside the Layers panel.
| | 00:22 | I'm going to Shift+Click on the balls
layer to select it as well, then go to the
| | 00:26 | 3D menu and choose Merge 3D Layers.
| | 00:28 | And something to note here. When
you're assembling a 3D scene with multiple
| | 00:32 | meshes, you have to merge those meshes
together, the way we are doing it right
| | 00:36 | now in pairs, so two at a time.
| | 00:39 | All right, I'll go ahead and choose
that command and Photoshop names the new
| | 00:42 | layer after the bottom one.
| | 00:43 | No sense in changing the layer name right
now, because we have more layers to merge.
| | 00:48 | I'm going to go ahead and zoom in,
and I want to copy that texture from the
| | 00:51 | balls and put it on the face of the
star, but first I want to change the
| | 00:54 | texture that I've assigned to the balls, by
clicking on the Front Inflation attribute there.
| | 01:00 | And notice the Gloss and Shine values.
They both control the highlight, so
| | 01:04 | they're both essentially shininess attributes.
| | 01:07 | However, Gloss controls the size and
spread of the highlight and Shine controls
| | 01:12 | the intensity of that highlight.
| | 01:13 | You're not going to get anything out of
Shine unless you raise the Gloss value.
| | 01:18 | So we'll start by taking the Gloss value up
to 100% and then I'll take the Shine value.
| | 01:24 | Notice what that does.
| | 01:25 | It turns those near
spheres almost absolutely white.
| | 01:28 | And I'm going to intensify and
isolate those highlights by taking the
| | 01:32 | Shine value up to 75%.
| | 01:35 | Notice then we get these small little
sharp highlights that look downright
| | 01:39 | metallic and you can see a little
preview here inside of the 3D panel.
| | 01:44 | All right, you could do the same for
the Back Inflation as well, but we're not
| | 01:47 | seeing enough of it to worry about.
| | 01:49 | So, I'm going to go ahead
and grab my Material Drop tool.
| | 01:52 | And I can mimic all that stuff the
texture, the Gloss and Shine values,
| | 01:56 | everything, by pressing the Alt key or
the Option key on the Mac and clicking
| | 02:01 | on one of those balls and then clicking inside
the face of the star in order to apply that effect.
| | 02:07 | Now you'll notice that there is a
fair amount of orange going on here and
| | 02:09 | you may reckon that somehow
Photoshop is merging this texture with the
| | 02:15 | previously orange fill.
| | 02:16 | And that's not the case.
| | 02:17 | It just coincidental that we're
sticking with this orange theme here.
| | 02:21 | All right, now I'm going to hover over
the Bevels and click inside of them in
| | 02:25 | order to apply the texture to the Bevels.
| | 02:27 | All right, we're done with that. Now
I'll press the M key in order to switch
| | 02:30 | back to the Rectangular Marquee tool
and I'll click on that Rear layer in order
| | 02:34 | to select it, the layer called Rear that is.
| | 02:36 | And we need to go ahead and extrude it as well.
| | 02:38 | So I'll go to 3D panel and choose
Repousse and choose Layer Mask and click the
| | 02:43 | Yes button and wait for
Repousse to come up on screen.
| | 02:46 | Now this time around I am going to
assign a Depth value, a very small
| | 02:50 | Depth value of 0.02.
| | 02:53 | Otherwise, during the render process
it's very possible we'll see through
| | 02:57 | the front material that we end up assigning
to this extruded shape, to the yellow below.
| | 03:03 | And we'll have a bunch of weird yellow
lines. So I want to avoid that problem.
| | 03:07 | Otherwise, there is nothing to
be done inside of this dialog box.
| | 03:11 | We don't need a Bevel, we don't need anything.
| | 03:12 | So just go ahead and click OK in
order to create that new 3D object.
| | 03:17 | Now this one, I'm going to go ahead
and assign a texture to in advance of
| | 03:21 | merging, because it won't
be using the same texture.
| | 03:24 | It's going to be using a darker
version of that same image that I've saved
| | 03:28 | in advance for you.
| | 03:29 | And to get to it, go ahead and click on
rear Front Inflation, which is the only
| | 03:33 | thing we have to worry about.
| | 03:35 | Click on little Page icon next to
the word Diffuse choose Load Texture,
| | 03:39 | navigate your way to the 3D shapes folder,
find this file, which is called Darker metal.psd,
| | 03:45 | it's the same image with an adjustment
layer piled on top of it, and click Open
| | 03:49 | in order to fill in that texture.
| | 03:51 | All right, now Shift+Click on the
Holes layer to select it, go out to the 3D
| | 03:54 | menu, and choose Merge 3D Layers.
| | 03:57 | As I say, we have to build things up
in pairs and we end up getting this
| | 04:02 | extraordinary effect.
| | 04:03 | Now, I know we still have to
render it and we still have to add some
| | 04:06 | background stuff and all that.
| | 04:08 | So it's nothing to whistle Dixie about
so far, but here is the thing. We don't
| | 04:12 | have any glaring errors.
| | 04:14 | This is what's remarkable about the
way that we're building this file.
| | 04:17 | Normally, if you were just sort of
working your way through a file, you can
| | 04:21 | expect that things are just going to
come apart at the seams, like this
| | 04:25 | rear face would be a front of the
front face and the balls would be in
| | 04:28 | totally the wrong position.
| | 04:29 | You won't even know where they went
because they would be so far in back of the
| | 04:32 | star that they'd be hidden.
| | 04:33 | And so that's the kind of stuff that you
want to keep an eye out for. That does happen.
| | 04:38 | In our case, miraculously, everything
just keeps plopping into the exact place.
| | 04:43 | And a lot of it has to do with the fact
| | 04:45 | we haven't rotated or moved a single mesh in
advance of merging the scene. That helps a lot.
| | 04:53 | If you start moving things
before the merges, then good luck!
| | 04:56 | Because they're going to be all over the place.
| | 04:58 | And you don't have any sense of
relative positioning until you perform the
| | 05:02 | merge. Before that all of the scenes
are completely independent of each other.
| | 05:05 | You might have different
camera angles and so forth.
| | 05:08 | Anyway, we're in pretty good shape here.
| | 05:10 | In the next exercise, we're going to
add the interior of the R and we'll deal
| | 05:14 | with some unexpected repercussions.
| | Collapse this transcript |
| Fixing texture and bevel| 00:00 | In this exercise we're going to create
the interior of the R, and along the way,
| | 00:04 | we're going to see what
can go wrong essentially.
| | 00:07 | Basically, how the texture can get
strangely scaled, how Bevel and Extrusion Depth
| | 00:13 | are both related to the size
of a specific object, and so forth.
| | 00:18 | I've saved my progress as Textured star.psd
and I'm going to go ahead and twirl
| | 00:23 | open originals there, because I need
to get back to some of my original shape
| | 00:27 | layers. Luckily I did not throw them
away or discard them or convert them into
| | 00:32 | Repousse objects that I can never get back.
| | 00:35 | The layer I specifically want is this
one, Sheriff, the shape layer that is.
| | 00:39 | I'm going to go ahead and scroll back
to the top here and I'm going to press
| | 00:43 | the Alt key or the Option key on the Mac
and drag from an empty portion of the
| | 00:47 | layer up like so to create a duplicate of it,
and all the way to the very top of the panel.
| | 00:52 | And then I'll release and then I'll go
ahead and twirl close Originals and then
| | 00:55 | I'll turn off this copy of the Sheriff layer.
| | 00:58 | Now I'll switch to your Black Arrow
tool. Make sure that you can see the path
| | 01:02 | outlines. If not, go ahead and click on
the vector mask thumbnail and I want you
| | 01:06 | to drag through the letters like so.
| | 01:08 | So you're dragging through all the
layers to create a marquee around them.
| | 01:11 | You're avoiding the two bars, because
the bars have a mistake, a fairly fortuitous
| | 01:16 | mistake as it turns out, that we will be
fixing in the next exercise, but I want
| | 01:20 | to keep them around.
| | 01:21 | Now that ends up selecting, because
we're using the Black Arrow tool, that ends up
| | 01:25 | selecting the interior of the R. So we
need to switch over to the White Arrow tool,
| | 01:29 | the so-called Direct
Selection tool, and then Shift+Alt+Click or
| | 01:33 | Shift+Option+Click on this path outline
to deselect it, then press the Backspace
| | 01:38 | key or the Delete key on the Mac in
order to get rid of everything but the bars
| | 01:43 | and the interior of the R.
| | 01:44 | All right, next what I want you to do
is switch back to the Black Arrow tool,
| | 01:49 | click on one of the bars and Shift+
Click on the other, and then go up to the
| | 01:53 | Edit menu and choose the Cut command or
you can press Ctrl+X or Command+X on the
| | 01:58 | Mac in order to cut those
shapes to the clipboard.
| | 02:00 | All right, let's go and rename this
layer Inner R, because that's what it is.
| | 02:05 | And then I'm going to the Paths panel
here and I'm going to create a new path
| | 02:09 | by dropping down to little page icon
and clicking on it, and I'll rename this
| | 02:13 | path Bars to fix, and I'll go ahead and
paste the bars in the place by going up
| | 02:18 | to the Edit menu and choosing the Paste
command or pressing Ctrl+V or Command+V
| | 02:23 | on the Mac, and that goes and pastes
those bars into that path container.
| | 02:27 | All right, now let's go back to the
inner R vector mask here in the Paths panel,
| | 02:30 | switch back to the Layers panel, and
then go on to the 3D menu, choose Repousse,
| | 02:36 | and choose Layer Mask or Selected Path,
doesn't matter which one, click the Yes
| | 02:40 | button, and wait for the extrude
dialog box to come up on screen.
| | 02:44 | All right, so I'm going to enter those
same settings we've been using. We have
| | 02:47 | no depth associated with the face of
the star, the one with the holes, so I'll
| | 02:52 | change that value to zero, and I had the
height up at 1, and I had the width set to 0.5.
| | 02:57 | All right, so click OK in order to accept
those exact same settings we employed before.
| | 03:04 | Now I'm going to Shift+Click in the
rear layer, so that both Inner R and Rear
| | 03:08 | are selected, go up to the 3D menu,
choose Merge 3D Layers, and wait for
| | 03:12 | those two layers to merge together, because
once again, we have to merge them in pairs.
| | 03:17 | Then once they do, go ahead
and bring up the Extrude panel.
| | 03:21 | Let's go and zoom in a little bit so
we can see what's going on more closely.
| | 03:25 | Notice you can barely see any bevel
at all. Just those random stray pixels.
| | 03:29 | that's our bevel right now.
| | 03:30 | All right, let's go ahead and grab
the Material Drop tool and Alt+Click or
| | 03:35 | Option+Click inside the face of the
star and then go ahead and click inside of
| | 03:40 | the R and we get this incredibly
scaled little itty-bitty texture inside of
| | 03:46 | that R area, and that has nothing to
do with that texture setting inside the
| | 03:51 | Repousse dialog box.
| | 03:53 | You can change it from Scale to
Tile to Fill, to whatever you want, and
| | 03:57 | that will not fix this problem, because
that option only addresses the extruded sides.
| | 04:01 | It doesn't address the face.
| | 04:03 | So our problem here is that we need to
press Ctrl+Z or Command+Z on the Mac to
| | 04:08 | undo that change, and I need to go ahead
and find here inside the 3D panel inner R,
| | 04:14 | click on its Front Inflation, and
then go ahead and click on the page icon
| | 04:19 | next to Diffuse, click Load Texture, go
to 03_shapes folder, go ahead and scroll
| | 04:24 | down the list to Weathered metal.jpg,
click the Open button, laugh at the
| | 04:28 | hilarious alert message, click OK in
order to apply a non-scaled version of the
| | 04:34 | texture that matches exactly
with the texture around it.
| | 04:38 | All right, now, we're still missing
the bevel. Okay, so what we need to do is
| | 04:43 | click on Inner R, the mesh in the 3D
panel, in order to select it. Drop down to
| | 04:48 | little R icon and click on it in
order bring up the Repousse dialog box.
| | 04:52 | And I believe I need to take this Width value.
| | 04:57 | That's where you should start, is
with the Width value. I believe I need to
| | 04:59 | take it up to 8, and that looks pretty darn
good. It looks like it's going to serve us okay.
| | 05:04 | Or let's try 10.
| | 05:06 | Actually I'm going to try 10, because
you may get different results from me,
| | 05:08 | because every time I do this I
get something slightly different.
| | 05:11 | So 10, all right, so what is 10 divided by 0.5?
| | 05:14 | You know, it's not an equation most
people are familiar with, but the answer is
| | 05:18 | 20, because you're dividing 10 by one half.
| | 05:21 | So we'd multiply the height value
times 20 as well and we'd end up getting
| | 05:25 | hopefully a comparable result.
Because darn it, these are not absolute values;
| | 05:29 | they're relative values that
are based on the size of the object that
| | 05:32 | we're working with.
| | 05:33 | All right, go ahead and click OK in
order to accept that modification and now
| | 05:38 | we can go ahead and use that Material Drop tool.
| | 05:41 | So it is still selected for me.
I'm going to go head and Alt+Click or
| | 05:44 | Option+Click inside the R, what the heck,
| | 05:47 | in order to lift that texture, just
to make sure I have it scaled right and
| | 05:50 | I'll click inside the bevel in order
to apply that texture, and we have now
| | 05:55 | textured everything.
| | 05:57 | The only problem that remains is the
fact that it didn't make the bars wide
| | 06:02 | enough and we're going to fix that
problem, because it helps demonstrate what
| | 06:06 | you do when things go
wrong, in the next exercise.
| | Collapse this transcript |
| Editing an internal constraint| 00:00 | In this exercise we're going to fix the
size of those bars above and below the
| | 00:04 | word Sheriff, because I messed up here.
The top or the bottom or whatever this
| | 00:09 | is of the sideways I is not supposed
to be aligning to the top of the first F,
| | 00:13 | but rather the top of the second F.
| | 00:14 | Now the reason I'm leaving this
mistake in place is because I want you to
| | 00:18 | understand how these internal
constraints work and how to fix problems like
| | 00:23 | these and how not to fix problems.
Because as you're about to see in a moment,
| | 00:27 | you can't do it directly inside
Repousse. You have to take two swings at it.
| | 00:32 | I've saved my progress as All
textures are go.psd, and I am going to
| | 00:36 | double-click on the 3D layer thumbnail
to bring up the 3D panel, and then I'll
| | 00:40 | click on the holes mesh to make sure
it's active, because that's the mesh that
| | 00:43 | contains these internal constraints.
| | 00:45 | Then I'll drop down to this little R
icon. Click on it in order to bring up the
| | 00:49 | Repousse dialog box.
| | 00:50 | And now let's see what happens if I go
ahead and scale one of these objects.
| | 00:55 | I am going to click on the Scale 3D
Constraint tool right there, and I am
| | 00:59 | going to click on this bottom line,
and I could just drag if I wanted to or I
| | 01:03 | could change that X value.
| | 01:04 | Let's say I decide to take it up to 1.5.
| | 01:07 | Notice what happens.
| | 01:08 | That scales this thing to 150% of its
former size, but it also plays with a texture.
| | 01:14 | It also moves the texture outward.
| | 01:16 | So we've turn the bar into a
kind of scary, strange mouth.
| | 01:20 | It's definitely not something we want.
| | 01:22 | So what you really want to do is click
on the Delete button in order to get rid
| | 01:27 | of that constraint and then we're going
to have to, in a separate path here, go
| | 01:31 | ahead and grab the top bar by
clicking on it. Make sure you don't drag or
| | 01:35 | anything like that, and then click
Delete in order to get rid of it as well.
| | 01:40 | Now you might say, "Well, there go our
bars, how on the world do we get them back?"
| | 01:44 | Well, that's why I say, we're going
to have to take a second pass. One pass
| | 01:48 | inside Repousse to get rid of the
bars, click OK, another path of editing
| | 01:52 | inside Repousse in order to put the
bars back in place. But first we need to
| | 01:57 | scale them as paths inside the Paths
panel, so that we're not doing any damage
| | 02:01 | whatsoever to our 3D scene.
| | 02:03 | So switch to the Paths panel. There
is my bars to fix path outline, sitting
| | 02:08 | there waiting for me.
| | 02:09 | Very hard to see them on screen
because of the way path outlines are
| | 02:13 | displayed in Photoshop CS5.
| | 02:15 | Many users, by the way if you think
this is crazy that they're basically
| | 02:19 | invisible, you're not the only one. Lots and
lots of users have complained about this one.
| | 02:23 | hopefully we'll see it addressed in the future.
| | 02:25 | I'm going to switch to the Direct
Selection or the White Arrow tool.
| | 02:29 | Now I can barely see the right side
of the top bar, so I am going to use my
| | 02:33 | White Arrow tool to marquee fully around
it like so, and then I'll drop all the
| | 02:38 | way down so I can't help but select the
right side of the bottom path as well.
| | 02:43 | And sure enough it's selected. You
could barely see it, once again, but
| | 02:46 | it's there. And now I am going to press Shift
+Right Arrow 1-2-3-4-5-6 times, let's say.
| | 02:54 | And I am counting because I need to make
sure to do the same thing on the other side.
| | 02:58 | I'll marquee from about her, so that I
can't help but snatch the left sides of
| | 03:04 | both of the bars, and drag all
the way down to this location.
| | 03:08 | And I do indeed have the left sides,
all those anchor points, and I'll press
| | 03:12 | Shift+Left Arrow this time, 1-2-3-4-5-6 times.
| | 03:17 | All righty, let's switch back to the
Black Arrow tool and I'll click on one of
| | 03:21 | the paths and-- Well, I can't even see it!
I'll just go ahead and marquee around both
| | 03:26 | the paths and hope for the best,
and I think I've selected them.
| | 03:28 | All right, now let's go back to Layers
panel. The Rear layer is selected, holes
| | 03:33 | is selected, the holes mesh. So now
I'll drop down once again to the little R
| | 03:38 | icon and click on it in order to
bring up the Repousse dialog box.
| | 03:42 | So very important that you have
your path outline selected, if you're
| | 03:45 | working along with me.
| | 03:46 | And then I want you to click on the
Add Path button in order to add both of
| | 03:52 | those paths to the internal
constraints. You'll have to wait a moment for
| | 03:56 | Repousse to do its thing.
| | 03:57 | Now it looks like they are coming
in these holes, but they're not.
| | 04:00 | They are coming in as active paths and
they are pressing into the star surface
| | 04:04 | and they're basically
digging into the background.
| | 04:07 | That's not what we want.
| | 04:08 | So using one of these tools, click on
a path outline. Be sure not to drag.
| | 04:13 | We don't want any little drag as that'll move it
around and mess up the texture and everything.
| | 04:18 | Even if it's a hole, if you move that
path around you're going to drag the
| | 04:22 | texture along with you. You're going
to get those kind of liquefy effects.
| | 04:25 | Anyway, I'm an going to change the Type
from Active to Hole and then wait for
| | 04:29 | that change to complete, and as soon as
I get my cursor back I'll click on the
| | 04:33 | top path like so, and then I'll change
its Type from Active to Hole as well, and
| | 04:38 | then I'll click the OK button in
order to apply my modifications.
| | 04:42 | So that's how-- just in case
something like this happens to you.
| | 04:46 | That's how you go about modifying
the size and shape of your internal
| | 04:50 | constraints when working with
Repousse inside Photoshop.
| | Collapse this transcript |
| Rotating and positioning by the numbers| 00:00 | All right, so we have got all of our
meshes aligned the way we want them.
| | 00:03 | We've set all the textures in place and
yet it still seems like we have a lot
| | 00:07 | of work before we end up
getting to our final piece of artwork.
| | 00:10 | For example, we have got to set in
place a Ground Plane Shadow Catcher.
| | 00:14 | We've got to light the scene and
we have to set the camera angle.
| | 00:18 | And that's the kind of stuff
that takes a while to do when you're
| | 00:21 | working through a project.
| | 00:22 | We are going to blaze through it
because I've done it in advance.
| | 00:25 | I have all the numbers. We'll be of
course investigating these themes in larger
| | 00:29 | detail in subsequent chapters.
| | 00:31 | But for now I want you to see
how you can do it by the numbers.
| | 00:35 | All right, so I am going to switch to my
image at hand and it's called Better bars.psd.
| | 00:40 | And for starters here I will go
ahead and turn on the Ground Plane Shadow
| | 00:44 | Catcher because we are going to need it
and Photoshop is going to say, hey, you
| | 00:47 | know, you need ray tracing in
order to see what's up there.
| | 00:50 | So, I will click OK.
| | 00:50 | All right, the next thing to do is to go
ahead and grab my Object Rotate tool or
| | 00:56 | whatever tool is living down
here underneath the Shape tools.
| | 01:00 | And now notice that we have these
orientation numbers that are available to us,
| | 01:06 | when either of the Rotate tools are selected.
| | 01:08 | Either rotate the 3D
object or roll the 3D object.
| | 01:12 | And then if you have drag the 3D
object selected or slide the 3D object,
| | 01:18 | then you get these position values.
| | 01:19 | And those six values together determine
the exact position of the object in 3D space.
| | 01:26 | Now, if ever you want to get a sense of
what 3D space is, I mean, is it ever diagramed
| | 01:33 | where we are in the world inside of Photoshop?
| | 01:36 | Yes, it is. And for a second, I
am going to go all Tron on you.
| | 01:40 | We are going to go up to the View menu,
choose the Show command, and then choose
| | 01:44 | 3D Ground Plane and now you can see
exactly what the ground plane looks like and
| | 01:49 | you can see your coordinates.
| | 01:50 | So, basically we are very close to the
center of the world here because that's
| | 01:54 | where the red line meets the green
line, where the X-axis meets the Y-axis, and
| | 01:59 | then the Z-axis is going up.
| | 02:01 | It serves as the depth of the scene.
| | 02:03 | All right, so my point of course is
that I went ahead and wrote down the values
| | 02:07 | associated with the star and here they
are. For position, because that's what I'm
| | 02:11 | looking at right now.
| | 02:12 | 450 is fine for the X-value.
| | 02:14 | That will do just great, but for the Y-
value, we want 590 and then for the Z
| | 02:19 | value, we want -820.
| | 02:20 | Go ahead and enter those values, press
the Enter key or the Return key on a Mac
| | 02:26 | in order to place the star there
right midway through the ground plane.
| | 02:31 | So, it's stabbing into the ground at this point.
| | 02:33 | Well, that's because its angle's wrong.
| | 02:35 | So, switch over to one of the Rotate
Tools and then we need to change one of
| | 02:39 | these orientation values.
| | 02:40 | Y and Z are fine at 0 on 0 piece
but X needs to be 50 and we'll end up
| | 02:46 | getting this result there.
| | 02:47 | And now we can check if it's
actually standing more or less on the ground.
| | 02:51 | It's actually raised just a little
bit above the ground and we can see what
| | 02:54 | that looks like by bringing up the 3D
panel, by double-clicking on the Layer thumbnail.
| | 02:59 | And with Scene selected, as it is,
I'll go ahead and change the quality from
| | 03:03 | Interactive to Ray Traced Draft and
just wait it out until we get the basic
| | 03:08 | shadow roughed out down there
at the bottom of the screen.
| | 03:11 | So, you can see where the ground plane is anyway.
| | 03:13 | Now, this lighting is
totally wrong and I don't like it at all.
| | 03:16 | But something else that I'm kind of
noticing here as well, is these interesting
| | 03:21 | sort of oblong balls that
are at the points of the star.
| | 03:24 | I'm noticing I didn't assign any
texture to my extrusion on the bottom
| | 03:28 | portion of the stars.
| | 03:29 | So, I could go ahead and select
that rear object to make it active.
| | 03:33 | And actually, you know what? I'm going
to use that Material Drop tool and I'll
| | 03:36 | go ahead and Alt+Click or
Option+Click inside the letters.
| | 03:39 | Hopefully that'll work for me. And then
I'll click along that edge in order to
| | 03:43 | hopefully applying that
little bit of darkness there.
| | 03:47 | All right, that looks fine.
| | 03:48 | Now, as I say, the lighting is
totally wrong, the camera angle is
| | 03:52 | altogether wrong as well.
| | 03:53 | So, I'm going to press the Escape key
this time in order to stop the render,
| | 03:57 | another way to work.
| | 03:59 | And let's go ahead and dial in those
camera values by switching to the Camera
| | 04:03 | tool and in this case,
it's a Camera Rotate tool.
| | 04:06 | So, we'll adjust the Orientation
values first and then we'll dial in
| | 04:09 | the Position values.
| | 04:11 | For X, it's -136, for Y, its
360, and then for Z it is -180.
| | 04:18 | All right, let's go ahead and give that a try.
| | 04:22 | Now, we might not be seeing anything at
this point, because we are pointing
| | 04:25 | the wrong direction.
| | 04:26 | It's very possible
| | 04:27 | we are just looking in a random piece of
ground, which does seem to be the case,
| | 04:32 | so we are pretty far away
from where we need to be here.
| | 04:35 | That's okay because we are going to
go ahead and change our position now by
| | 04:39 | clicking on either the Pan or this
Line tool. And I have got the Pan tool
| | 04:42 | selected and I am going to change the
X value not that much, just to 437, and
| | 04:48 | then I'll make that Y value -868.
| | 04:52 | And then finally, let's go
ahead and change the Z value to 700.
| | 04:56 | And miraculously that all of a sudden
takes us to exactly where we need to be.
| | 05:01 | So, just bear in mind, if you are trying
to find your way around, that's one way
| | 05:04 | to work. Another way by-the-
way is to save off a custom view.
| | 05:08 | So, if you like your view and you want
to come back to it later, then you can
| | 05:12 | save that view by clicking on this
little floppy disk right there and naming it
| | 05:17 | whatever, Perfect star view in
this case, and then clicking Ok.
| | 05:20 | In that way, you can just sort of zip
around the scene, figure out if everything
| | 05:26 | is where it needs to be, and then
come back to this view anytime you like.
| | 05:30 | All right, I am going to have to
click in order to stop the render and make
| | 05:33 | the dialog box go away.
| | 05:34 | The last thing we need to do
is to establish the lights.
| | 05:37 | Now, the lights are currently-- I am going
to go ahead and twirl closed all these meshes.
| | 05:41 | We currently have three different
Infinite Lights and I don't want Infinite
| | 05:45 | Lights this time. I want spot lights.
| | 05:47 | Rather than spending a lot of time
going through spotlight, because
| | 05:50 | that's really a subject better suited
to another chapter, I am going to go up
| | 05:53 | here to the fly-out menu and
choose Replace Lights Presets.
| | 05:57 | And then navigate your
way to the 03_shapes folder.
| | 06:00 | You'll find Star lights.p3l.
| | 06:03 | Go ahead and click Load in order to load
up those lights and now we'll go ahead
| | 06:06 | and let that ray trace do its thing
because we have now established exactly the scene.
| | 06:11 | Ooo, with one big exception.
| | 06:13 | I am going to click here to stop that ray trace.
| | 06:15 | The big exception is the interior of the R.
| | 06:18 | Because I did not use that Material
Drop tool in order to create that texture,
| | 06:22 | I do not have the right Gloss and Shine values.
| | 06:24 | So, I'm going to go ahead and twirl open
in our inner R. Click on the Front Inflation.
| | 06:29 | And by the way, if you ever have
problems with clicking on one of these items,
| | 06:32 | try clicking on a mesh and
then click on a material.
| | 06:35 | And I'll drop down here to Gloss and
I am going to change that Gloss value
| | 06:39 | to 100% and press Return and press
Escape after that in order to escape out of
| | 06:45 | the render and then I'll enter a
Shine value of 75% and that should take
| | 06:50 | care of that problem there.
| | 06:51 | Now, we have a nice shiny interior of the R
and we can let the ray tracing do its thing.
| | 06:56 | Naturally, this is not a particularly
long ray tracing process by the way.
| | 07:00 | It just takes a couple three minutes.
| | 07:02 | However, we are of course
for the sake of expediency
| | 07:05 | going to speed up the process.
| | 07:06 | All right, so, there is the final
scene. The object is rotated and
| | 07:09 | positioned properly.
| | 07:10 | We have two spotlights shining down
on the object, we've got perfect camera
| | 07:15 | position, and we fix the gloss
and the shine inside the art.
| | 07:19 | All that's left is to finish off the
composition with a few 2D layers and we'll
| | 07:23 | be doing precisely that in the next exercise.
| | Collapse this transcript |
| Sharpening and introducing a background| 00:00 | All right, in this exercise we're
going to go ahead and finish off the
| | 00:02 | composition with a few 2D layers and 2D effects.
| | 00:06 | Namely I am going to start by
sharpening this image because it seems to me to
| | 00:11 | be a little bit soft.
| | 00:12 | If we zoom in here, the focus is a
little softer than I would like to see it,
| | 00:16 | like some really nice sharp transitions.
| | 00:19 | I've saved my changes as
Perfect view.psd, and before I can apply a filter to a
| | 00:23 | 3D layer I need to convert
that 3D layer to a Smart Object.
| | 00:27 | And I can do that either by choosing
Convert for Smart Filters here or by going
| | 00:31 | over here to the Layers panel flyout
menu and choosing Convert to Smart Object.
| | 00:36 | Either is going to work out just fine.
| | 00:38 | Now what that does is it places the 3D
object inside a protective container.
| | 00:42 | You can always go back and modify
that 3D object anytime you like just by
| | 00:46 | double-clicking on its thumbnail, here
inside the Layers panel, and that'll open
| | 00:50 | the image in an independent window.
| | 00:52 | All right, now I am going to go to
the Filter menu, choose Sharpen, and
| | 00:56 | choose Smart Sharpen.
| | 00:57 | Or if you've loaded D keys,
you can press Shift+F6.
| | 01:00 | And these are the values I am going to apply.
| | 01:02 | A very high Amount value of 250%, a
Radius of 0.5 pixels, and I am going to set
| | 01:07 | Remove to Gaussian Blur. Because this
is an artificial scene as opposed to one
| | 01:12 | that was captured with an actual digital camera,
| | 01:14 | Gaussian Blur usually works best.
| | 01:16 | Not always, but typically works best.
| | 01:19 | All right, I'll click OK in
order to accept that modification.
| | 01:22 | Now, that is going to add
a little bit of haloing.
| | 01:25 | Notice that we are sharpening not only the
star but also the shadows in the background.
| | 01:30 | Now if that bothers you,
| | 01:31 | if you want to sharpen just this star
and nothing more, then you could modify
| | 01:34 | the contents of this Filter mask right there.
| | 01:37 | Anything that you paint to black is
going to become de-sharpened essentially,
| | 01:40 | and anything that remains
white is going to be sharp.
| | 01:44 | However, I am going to leave those
halos in place, because the effect of those
| | 01:47 | halos will be largely
eliminated by the 2D background.
| | 01:50 | So next what I am going to do is go up
to the Image menu and choose the Canvas
| | 01:55 | Size command, or you can press
Ctrl+Alt+C, Command+Option+C on a Mac.
| | 01:59 | And with Relative turned off I am going
to increase the Width value to 1400 pixels.
| | 02:04 | Now if I were working still with a 3D
object here, that could really mess up the scene.
| | 02:09 | However, because that 3D object is
safely stashed away inside a Smart Object,
| | 02:14 | we will get predictable results.
| | 02:15 | So I'll go ahead and click OK in
order to expand the canvas like so.
| | 02:19 | Let's go ahead and press Ctrl+0 to zoom
out a little bit, and then Ctrl+Plus
| | 02:23 | or Command+Plus on the Mac to zoom back in.
| | 02:26 | And now, I am going to bring over this
Rich leather.psd background that I've
| | 02:32 | also provided for you
inside the 03_shapes folder.
| | 02:35 | I'll go ahead and right-click on this
layer and choose Duplicate Layer and
| | 02:39 | inside the Duplicate Layer dialog box
I will choose Perfect view.psd, because
| | 02:43 | that's the name of the image that I am
working on, and I'll click OK and then
| | 02:48 | I'll switch back to that
image in progress there.
| | 02:51 | The leather layer came to the front.
| | 02:52 | That's not where I wanted.
| | 02:54 | I want it in back of the star of course,
and I end up getting this effect here.
| | 02:57 | And you can see, as I said,
that the halos mostly drop away.
| | 03:01 | Actually, I can't see them at
all with all this activity here.
| | 03:05 | And I think the star looks really good.
| | 03:07 | So you know what? I am just going
to get rid of that filter mask by
| | 03:09 | right-clicking inside of it
and choosing Delete Filter Mask.
| | 03:12 | You can always right-click on Smart
Filters and choose Add Filter Mask if you
| | 03:17 | want to ever bring the filter
mask back and do some work on it.
| | 03:20 | All right, that's good enough for this exercise.
| | 03:22 | In the next and final exercise, we'll go
ahead and enhance the color of the star
| | 03:28 | and we'll also adjust the
brightness of the entire scene.
| | Collapse this transcript |
| Enhancing the colors of a 3D scene| 00:00 | All right, so just a couple more things to do.
| | 00:02 | First of all I look at the star and I
think it looks like it's carved out of
| | 00:07 | some organic material. I think it
looks great, but it's a little granite-y for my taste,
| | 00:13 | as opposed to metallic, and also
some of it looks like there's some kind
| | 00:18 | of coating that's covering it a little
bit, and those are the kinds of problems
| | 00:22 | I could fix by going back in
examining the materials and changing out the
| | 00:25 | textures and all that jazz.
| | 00:27 | But here I am in Photoshop where I can
take a scene and modify it and that's what
| | 00:31 | I'm going to do it will save me a lot of time.
| | 00:33 | It's going to be a lot less work as you'll see.
| | 00:36 | And then we'll adjust the
overall contrast of the scene using a
| | 00:39 | Levels adjustment layer.
| | 00:41 | I've saved my progress to Star on leather
.psd, and I've got this other file open
| | 00:46 | as well. It's called Shiny metal.jpg,
yet another one of these textures from the
| | 00:50 | Fotolia Image Library. And what I'm
going to do is right-click on the background
| | 00:55 | layer, in an empty portion of the
background layer, inside the Layers panel
| | 00:57 | choose Duplicate Layer, and go ahead
and assign this new layer to star on
| | 01:03 | leather, and call this new layer
simply gold, and then click OK.
| | 01:07 | All right, now switch back to the Star
on leather.psd document and you can see
| | 01:11 | there is my golden place.
| | 01:13 | I'm going to press the Alt key or
the Option key on the Mac and click the
| | 01:17 | horizontal line between gold and rear, and
let's go ahead and change the name of rear there.
| | 01:22 | It should be star, because that's what
it is, and that goes ahead and creates a
| | 01:26 | clipping mask so that we're just seeing
the gold inside the star layer, and you
| | 01:30 | can see the star layer includes the
shadow as well. So we're golding up
| | 01:34 | everything at this point,
much too much of course.
| | 01:36 | I'm going to click on a gold layer and
switch out the blend mode from Normal to
| | 01:40 | Soft Light, which is the most delicate
of the contrast modes, so it's going to
| | 01:45 | apply a fairly subtle effect as you can
see here, but not nearly subtle enough.
| | 01:50 | So I'm going to double-click in this
empty area to the right of the word gold,
| | 01:55 | and what I want to do is just gold up
some of the highlights in the star and
| | 01:59 | leave the shadows as is.
| | 02:01 | So I'm going to drag this black
slider triangle that's associated with the
| | 02:04 | underlying layer slider to about 90 I
think works well, and what that's saying
| | 02:10 | is any place where the underlying
layers, all of them in the composition have a
| | 02:16 | Luminance level of 90 or darker, those
pixels will show through the active layer.
| | 02:20 | Now that ends up creating some harsh
transitions, so I'll press the Alt key or
| | 02:24 | the Option key on the Mac and drag
the left half of this triangle until the
| | 02:28 | first value there reads 60.
| | 02:30 | So anything with a Luminance level of
60 or darker is going to force its way
| | 02:34 | through. Anything from 90 to 255,
which is white, is going to defer to the
| | 02:40 | contents of the active layer, and
anything from 60 to 90 is going to become
| | 02:45 | gradually more opaque.
| | 02:46 | All right, next I'm going to take the
Opacity value down to 60% as you see up
| | 02:52 | here at the top of the dialog box and
I'll click OK. And we end up with this effect
| | 02:56 | here, which I quite like.
| | 02:57 | Now we are going to have some gritty
transitions between these non-yellow
| | 03:01 | shadows and the yellowish
highlights, but that's great.
| | 03:05 | That just adds to the signs of rust
and age and everything that's going on in
| | 03:09 | this old, but very well
preserved sheriff's badge.
| | 03:11 | All right, the final thing to do is to
adjust the lighting of the scene. Again,
| | 03:16 | I could have worked very, very hard
with my spotlights in order to get the
| | 03:20 | lighting exactly right. Or I could
just go ahead and had a Levels adjustment
| | 03:25 | layer, which is what I'm going to do.
| | 03:26 | So I'll press the Alt key or the Option
key on the Mac, click this black white icon,
| | 03:30 | choose Levels, I'll go ahead and
call this new layer Contrast because
| | 03:34 | that'll be its primary job, click
the OK button or press Enter or Return.
| | 03:38 | And I'm going to change the shadow
value to five and then I'll take the
| | 03:43 | highlights value, the white point value,
down to 239 and then I'll Shift+Tab over
| | 03:48 | to gamma and press Shift+Up Arrow to
raise it to 1.1, and we end up with this
| | 03:52 | final effect there and that is
the effect that we are looking for.
| | 03:56 | I'll go ahead and press the F key a
couple of times to switch to the full
| | 03:59 | screen mode and zoom in on the image,
and this is the final sheriff's star,
| | 04:03 | created by combining vector-based
shape layers with Repousse here inside
| | 04:07 | Photoshop CS5 Extended.
| | Collapse this transcript |
|
|
4. Mastering the Tools: Object, Camera, and MeshNavigating in 3D space| 00:00 | Photoshop CS5 Extended offers more than 20
tools devoted to 3D, which is a bit overwhelming.
| | 00:07 | To put it in context, Photoshop gives
you just 18 Brush tools and some of them
| | 00:13 | date back to the beginning of the program.
| | 00:15 | The 3D tools just showed up a few
years ago and yet they outnumber all other
| | 00:20 | categories of tools in Photoshop Extended.
| | 00:24 | Moreover, only 10 of the tools
are available from the toolbox.
| | 00:28 | The others are found only in
the 3D panel or the Options bar.
| | 00:32 | And yet every one of them is indispensable.
| | 00:35 | You need them to orient 3D objects,
determine your view of the world, and adjust
| | 00:41 | the position of independent wireframe meshes.
| | 00:45 | Plus you have the 3D widget, which
operates differently depending on whether
| | 00:50 | you're adjusting a scene, a camera
angle, a light source, or a mesh.
| | 00:56 | It's a lot to absorb, which is why I
am going to keep the sample file that we
| | 01:00 | use in this chapter very
simple. There is a chair.
| | 01:04 | There is a background.
| | 01:06 | Otherwise it's all about you
and how you navigate in 3D space.
| | Collapse this transcript |
| Importing a model from Google SketchUp| 00:00 | In this exercise I'm going to show you
how to take 3D model created inside of
| | 00:04 | Google SketchUp and import it into
Photoshop CS5 Extended. But first I want you
| | 00:09 | to have a sense of what we're trying
to accomplish inside of this chapter.
| | 00:12 | In the previous chapters we were building
these frankly beautiful 3D compositions.
| | 00:17 | In this chapter we're just going to take
this image right here, which comes to us
| | 00:21 | from Bart K of the Fotolia image library.
| | 00:23 | It's your standard everyday
average frankly low-quality photograph.
| | 00:27 | But what I like about it, it has this
obvious sense of two-point perspective,
| | 00:32 | and we're going to import a chair into
that photographic scene, and of course
| | 00:35 | we'll position the chair and light the chair
and so forth, but that's about the extent of it.
| | 00:39 | We'll ultimately end up switching out
this chair for this gargantuan chair right here,
| | 00:43 | as if it's an art installation or
something like that, just so we can get a
| | 00:47 | sense of some of the things that can
go wrong and how to fix those problems.
| | 00:50 | However, I'm keeping the project
simple because we've got a lot of tools that
| | 00:54 | we have to grapple with here and I want you
to have a firm sense of how these tools work.
| | 00:59 | Now I've mentioned to you that
Photoshop doesn't provide any modeling tools,
| | 01:02 | none whatsoever. You have Repousse,
which allows you to take 2D layers such as
| | 01:07 | text layers and vector-based shape
layers and convert them into 3D objects, but
| | 01:11 | that's the extent of it.
| | 01:12 | And while it might I suppose be possible
to fabricate this chair using Repousse,
| | 01:17 | you would be at it for an awfully long
time. There is much more efficient ways
| | 01:21 | to work and those ways are to work
with an independent modeling application.
| | 01:26 | Now I might go-to app is SketchUp, not
because Photoshop and SketchUp work all
| | 01:31 | that well together, they actually
kind of don't, but rather namely because
| | 01:36 | SketchUp is free. You can download it
from sketchup.google.com. For both the Mac
| | 01:41 | and the PC the standard edition of the
software is free, so you don't need any
| | 01:46 | 3D modeling experience to get started.
| | 01:48 | There is free videos at the Google site.
There's frankly even better SketchUp
| | 01:52 | videos from George Maestri here at
the lynda.com Online Training Library.
| | 01:57 | And finally SketchUp includes a
community site where folks can trade their
| | 02:01 | models and there is just thousands upon
thousands of these things to cull from.
| | 02:04 | So you can get started very quickly.
| | 02:06 | Problem is things can go wrong as
you bring these models into Photoshop.
| | 02:11 | Let me show you what I'm talking about.
| | 02:13 | I'll go ahead and switch to this file here.
| | 02:15 | It's called Low back.skp and I
created this model. And by the way I am not a
| | 02:20 | SketchUp aficionado, but I was able to
create this model here inside SketchUp.
| | 02:25 | And then what you do is you export
the file. You can't just save it because
| | 02:28 | Photoshop doesn't support SketchUp's
native SKP format. You have to go up to the
| | 02:32 | File menu, choose the Export
command, and then choose 3D Model.
| | 02:36 | Then make sure to set the export type to
the Collada file format, which is a DAE
| | 02:41 | extension, because that'll serve you best.
And then finally in this you only have
| | 02:46 | to do once, but you have to do it, click
on the Options button and turn off this
| | 02:50 | checkbox Preserve Component Hierarchies.
| | 02:52 | Now problem with turning this
checkbox off is without those component
| | 02:56 | hierarchies the meshes can kind of
drift away from each other, as we'll see.
| | 03:00 | However, if you turn a checkbox on,
why Photoshop really does a bad job of
| | 03:05 | interpreting the file.
| | 03:06 | So turn that checkbox off. This is a
known issue by the way; Adobe is aware of
| | 03:10 | it and Adobe in fact recommends the
checkbox be turned off. Then click OK.
| | 03:13 | You only have to do that once.
Then go ahead and export the file.
| | 03:17 | Now I want you to notice
something about this chair.
| | 03:19 | It is up-right. Now that may seem like
an obvious thing to point out to you but
| | 03:23 | in just a second you will
wonder if it really was.
| | 03:26 | But it is absolutely up-right. The
bottom of the chair is resting on the ground
| | 03:29 | plane and the legs are drifting below.
I could fix that if I wanted to, but
| | 03:33 | it is not really all that necessary.
| | 03:35 | However, despite the fact that it's
up-right, ready to go, it's absolutely
| | 03:39 | aligned to the X, Y and Z axes, when I
bring it into Photoshop it's a different matter.
| | 03:45 | So I'm going to switch back to that
original image, which is called Checkerboard
| | 03:49 | floor.jpg, and to import that file I'll
go to the 3D menu and choose New Layer
| | 03:54 | from 3D File, and then I'll go ahead and
locate that SketchUp model subfolder and
| | 03:59 | click on Low back.dae and click on Open
in order to open that file, and curiously
| | 04:05 | it arrives on its back.
| | 04:07 | So Photoshop has not
oriented the chair properly at all.
| | 04:11 | Well that's kind of a drag but it's
not that big of a problem, because we can
| | 04:14 | lift that chair and set it up-right in
no time whatsoever, and I'll show you how
| | 04:18 | to do exactly that in the next exercise.
| | Collapse this transcript |
| 3D explained: XYZ position and orientation| 00:00 | In this exercise I am going to introduce
you to the X, Y and Z axes, which define
| | 00:05 | 3D space inside Photoshop, and give you
a sense of how you might work with the
| | 00:09 | position and orientation options.
| | 00:11 | Now this gets a little bit
technical, I'll warn you up front, because we're
| | 00:15 | talking about spatial design, and some of you
are going to get it and some of you not so much.
| | 00:21 | I don't expect anyone to
completely take it in and remember every bit
| | 00:25 | of information here.
| | 00:26 | It's just a way of giving you a
sense of what's going on in the world of
| | 00:30 | 3D inside Photoshop.
| | 00:33 | So here we have the chair which
Photoshop has chosen to import on its back and
| | 00:36 | I've gone ahead and called
this file Poor chair.psd.
| | 00:40 | Now I am going to switch to the Camera
tool which is located directly above the
| | 00:43 | Hand tool inside the toolbox and
specifically you want to make sure if you're
| | 00:47 | working along with me that you have
the 3D Rotate Camera tool selected.
| | 00:51 | Also, notice up here in the Options
bar that the View is set to Default.
| | 00:55 | The Default camera angle is always in
place for every new 3D layer you create
| | 01:00 | inside of Photoshop.
| | 01:01 | That said, you can override it
using this tool anytime you like.
| | 01:05 | To get a sense of what that ground plane
looks like, let's go ahead and go to the
| | 01:08 | View menu chose Show and
then choose 3D Ground Plane.
| | 01:13 | Notice what's going on here.
| | 01:14 | The X-axis is red, the Y-axis
is green, the Z-axis is blue.
| | 01:19 | Well, we are not seeing the blue axis,
because the Z-axis is perpendicular
| | 01:23 | to the ground plane.
| | 01:24 | The ground plane itself is ultimately a
2-D plane like the ground and therefore
| | 01:29 | it is defined by just two axes, X
and Y. The strange thing is that with
| | 01:33 | Photoshop's Default view that Y defines
the horizon and X defines depth, which is
| | 01:38 | different than most programs.
| | 01:40 | Of course you can override that any
time you want using this tool, just by
| | 01:43 | dragging around inside the image window
and then I could go ahead and set that
| | 01:48 | red X-axis along the horizon
and now the Y-axis defines depth.
| | 01:53 | That still doesn't explain, however,
why the chair is on its back. We need
| | 01:56 | to modify that chair.
| | 01:58 | So how in the world do we do
that with some degree of accuracy?
| | 02:01 | Well, let me show you what's going
on inside this diagram, which I call
| | 02:04 | Photoshop 3D geometry.psd.
| | 02:07 | I am going to go ahead and turn off
that ground axis now by going to View menu,
| | 02:11 | choosing Show, and choosing Ground Plane.
And then I am going to turn on a layer
| | 02:15 | group here inside the Layers panel.
| | 02:17 | It's called the axes, this folder
right there, and we see not only each one of
| | 02:21 | these axes as it is angled according to
the default camera, but we also see the
| | 02:26 | direction of positive movement.
| | 02:28 | So for example, with the sphere layer
active here I'll go ahead and select from
| | 02:34 | this tool slot either the 3D Object
Pan tool or the 3D Object Slide tool.
| | 02:39 | Either one will do. I'll go
ahead and select Pan for now.
| | 02:42 | Then you can change any of
these three position values.
| | 02:45 | So if I change the X value to let's say
50 and press the Enter key or the Return
| | 02:50 | key on the Mac, quite strangely
the object moves away from us.
| | 02:55 | Again that's just subject to the
default camera angle, nothing more. We can
| | 02:58 | always change that but that is the
direction in which we are going to move that object.
| | 03:02 | All right, I'll press the Escape key and
then press Ctrl+Z, Command+Z on the Mac.
| | 03:06 | Esapec of course in order to
interrupt that rendering.
| | 03:09 | All right, now let's change the Y
value to 50 and watch it moves in the
| | 03:13 | direction of this line, which is
to say by default to the left.
| | 03:17 | All right, I am going to press the Escape
key and then press Ctrl+Z, Command+Z on
| | 03:20 | the Mac in order to reinstate that sphere.
| | 03:22 | Now let's change the Z value to
something not quite as big, because otherwise
| | 03:26 | the sphere is going to leap off the screen.
| | 03:28 | I'll change this value to 25 and
notice that goes ahead and moves this sphere
| | 03:31 | upward, which is what we would
naturally expect I think, in the direction once
| | 03:35 | again of those arrows in the diagram.
| | 03:37 | I'll go ahead and press the Escape key
and press Ctrl+Z, Command+Z on the Mac
| | 03:41 | to undo that movement.
| | 03:42 | Now for orientation, which might be the
part that really makes your brain hurt here.
| | 03:46 | But it's the information we need
in order to pick up that chair.
| | 03:50 | So we've got this sphere that's mostly
covered with black-and-white checks but
| | 03:53 | then we have some yellow and purple
checks down here at the bottom and that'll
| | 03:57 | help us track orientation.
| | 03:58 | In order to get to the numerical
orientation values, I need to switch to either
| | 04:02 | the Rotate tool or the Roll tool and
I'll switch to the Roll tool for now.
| | 04:07 | All right, now for the Orientation
options, which are the ones that are most
| | 04:09 | likely to make your brain hurt but
they're also the ones that we need to use in
| | 04:13 | order to pick up that chair.
| | 04:15 | Here inside the Layers panel I have
another group called 3-D rotations.
| | 04:18 | This is what it looks like when I turn it on.
| | 04:20 | Each one of these curving lines
represents the direction of a positive rotation
| | 04:25 | value, either X, Y or Z. So red is X,
green is Y, and then blue is Z and in each
| | 04:31 | case we are rotating
around the corresponding axes.
| | 04:34 | So it happens to be if the axis is
declining away from us, a positive X value
| | 04:39 | applies a counterclockwise rotation,
| | 04:41 | a positive Y value applies a
clockwise rotation, and then a positive Z value
| | 04:46 | another counterclockwise rotation.
| | 04:49 | Again, I do not expect you to
remember that but that is the way it works.
| | 04:53 | To see it in practice let's go ahead
and switch to one of these two tools here,
| | 04:56 | either the Rotate tool or the Roll tool.
I'll go ahead and click Roll and that
| | 05:00 | gives us access to the Orientation
values, and I will enter an X value of 90 degrees
| | 05:04 | and press the Enter key or the Return
key on the Mac, and sure enough we are
| | 05:08 | rotating the sphere in a
counterclockwise direction, which is why what was
| | 05:12 | formerly the bottom of the
sphere moves up into the right.
| | 05:15 | Now what I'd love to be able to tell
you is we could just keep a bunch of
| | 05:19 | different rotation values on top of each other.
| | 05:20 | But if you start doing that, it gets confusing.
| | 05:23 | Because as soon as I rotated that
sphere up into to the right I swap the angle
| | 05:27 | of the Y and Z axes.
| | 05:29 | It may be a little difficult to
understand, but that's what just happened.
| | 05:32 | So when you're applying these kinds of
rotations numerically you typically only
| | 05:36 | want to modify one or two axes of orientation.
| | 05:39 | So for example if I want to get a
sense of what's going on with Y and Z,
| | 05:43 | I should undo X by pressing
Ctrl+Z, Command+Z on a Mac.
| | 05:47 | Then let's change the Y value to 90e
and we'll see it move up and toward us in
| | 05:52 | accordance with the direction
of that green arrow right there.
| | 05:56 | Now as I say, we can go ahead and combine
two rotation values with each other and
| | 06:00 | still make sense of it.
| | 06:01 | So I'll press the Escape key to stop the
render and I'll change the Z value to 90 degrees
| | 06:05 | as well and as soon as I apply it,
we're going to rotate that sphere in a
| | 06:10 | direction of the blue arrow, so what
was formerly the front part of the sphere
| | 06:15 | becomes the left side.
| | 06:16 | All right, so that's all very well and good.
| | 06:18 | How do we take this very and apply it
to the task at tipping the chair upright?
| | 06:21 | I will explain exactly how in the next exercise.
| | Collapse this transcript |
| Adjusting orientation by the numbers| 00:00 | In this exercise I'm going to show you
how to take the information that you see
| | 00:03 | inside this diagram, which I've gone
ahead and updated it and called it
| | 00:07 | Elaborate diagram.psd, and apply it
to your 3D rotations inside Photoshop.
| | 00:13 | So I've gone ahead and reverted to the
saved version of Poor chair.psd, and this
| | 00:17 | is the one subject to the default camera angle.
| | 00:20 | Now what I'd like you to do is make
sure that you have the 3D Object Rotate
| | 00:25 | tool selected, so that you have access to your
orientation options up here in the Option bar.
| | 00:30 | Then take a look at your chair on its
back and think to yourself, what do I need
| | 00:35 | to do to make you go upright? And it
helps to actually trace, without dragging
| | 00:40 | inside the image window, just trace with
your cursor the direction in which you
| | 00:44 | would like to rotate this object.
| | 00:46 | In my case I want to rotate it up and
to the right. That would be a clockwise
| | 00:51 | rotation. Let's go ahead and
switch back to the diagram.
| | 00:54 | If I repeat that same gesture I can
see that I'm tracing in the opposite
| | 00:58 | direction of the red arrow.
| | 01:00 | So apparently what I need to do is
enter a negative X-orientation value,
| | 01:04 | presumably a variation of 90 degrees,
since the thing is directly on its back.
| | 01:10 | So let's go ahead and try that out.
| | 01:11 | I go to the Orientation options
here and I'll change the X value to -90
| | 01:16 | degrees and press the Enter key or the
Return key on the Mac and sure enough
| | 01:20 | that does the trick.
| | 01:21 | All right, we've got another problem though.
| | 01:23 | The chair is facing to the right, whereas
if I switch back to SketchUp we can see
| | 01:27 | that it's pointing to the left.
| | 01:29 | So apparently I need to apply
this sort of rotation this time.
| | 01:33 | Let's switch back to Photoshop. And if
I were to describe the orientation that
| | 01:38 | I'm drawing here inside the image
window it would be a kind of clockwise
| | 01:42 | orientation around a
clock that's lying on the floor.
| | 01:46 | All right, so let's switch back to
Elaborate diagram.psd and as I perform that
| | 01:51 | exact same gesture I'm tracing in
the direction of the blue arrow.
| | 01:55 | Now I was telling you that that's
actually a counterclockwise rotation, which it is,
| | 01:59 | but that's because it's along the Z-
axis declining away from us meaning the
| | 02:03 | clock would have to be on its face,
but who cares What really counts is I'm
| | 02:08 | tracing in the direction of the blue
arrow, so that needs to be a positive Z
| | 02:12 | orientation value and
presumably once again 90 degrees.
| | 02:17 | So let's go ahead and switch back to
the chair image and change the Z value
| | 02:21 | to 90 degrees and press the Enter key
or the Return key on the Mac in order
| | 02:25 | to apply that change.
| | 02:26 | Now the chair isn't exactly where it
needs to be because the ground plane
| | 02:29 | isn't oriented properly and that's
ultimately a function of the camera angle,
| | 02:33 | so I'll have to modify that
independently, but had the chair come in like this
| | 02:37 | in the first place,
| | 02:38 | I would have been happy,
so we have gotten it right.
| | 02:41 | Now then, that's one way to work.
That is to say, look at the image sort of
| | 02:46 | gesture around to determine what
direction you need to rotate the darn thing,
| | 02:50 | then go to my elaborate diagram and
check your gestures against the diagram.
| | 02:55 | It's going to work for some people; for
other people it's not going work so well.
| | 02:59 | So what I'm going to do in the next
exercise is show you an alternate way to
| | 03:02 | work with the 3D widget.
| | Collapse this transcript |
| Feeling your way through rotate and roll| 00:00 | In this exercise I am going to show
you how to tip that chair upright.
| | 00:03 | But this time rather than relying on a
diagram, we are going to feel our way
| | 00:07 | through the composition
using the Object Rotate tool.
| | 00:10 | I have reverted to the saved version of
Poor chair.psd once again, and I'd like you
| | 00:15 | if you're working along with me to
go ahead and select that 3D Object Rotate tool,
| | 00:19 | make sure the Low back 3D layer
is selected in the Layers panel and you
| | 00:23 | should see your colorful XYZ widget on screen.
| | 00:25 | If you don't, then go to the View
menu, choose Show, and choose 3D Axis.
| | 00:31 | All right, having done that you may
recall that each one of these colored axes
| | 00:35 | here features three gadgets: this arrow,
this little art, and then this block.
| | 00:40 | If you drag on the arrow-- and it
needs to turn yellow before you start
| | 00:44 | dragging by the way.
| | 00:46 | If you drag on the arrow then you're
going to move the object, in this case up
| | 00:50 | or down because we're
dragging along the blue Z-axis.
| | 00:53 | Now, I don't want that of course so
I'll press Ctrl+Z, Command+Z on a Mac.
| | 00:57 | If you drag on this lower block
then you'll scale the graphic.
| | 01:00 | So if I drag up I am going to
increase its height and I say that in quote
| | 01:04 | fingers because it's
really the depth of the chair.
| | 01:07 | It just happens to be on its back.
| | 01:09 | And if I drag down I'll reduce its height.
| | 01:11 | All right I'll go ahead and press Ctrl+
Z or Command+Z on the Mac to undo that
| | 01:15 | movement, and if you drag on the arc
then you are going to rotate the object.
| | 01:19 | That is change its orientation,
and that's what I want to do.
| | 01:22 | So I am going to drag down like so
in order to rotate the chair forward.
| | 01:26 | All right, now we need to spin the
chair toward us and that means changing one
| | 01:30 | of these red gadgets for the X-axis.
| | 01:32 | The problem is I just can't
get to them at this point.
| | 01:35 | And so I am going to go ahead and
rotate the Y-axis down a little bit like so,
| | 01:38 | just so I have greater access to the
red gadgets, and then I'll go ahead and
| | 01:42 | hover over its arc and drag around to
the right, like this, and then I'll go
| | 01:48 | back to the Z-axis and this may seem
strange. The reason the chair is tilting
| | 01:52 | forward is because I applied an X-axis rotation.
| | 01:56 | Problem is now all the axes have gotten
kind of mixed up and they are now in the
| | 02:00 | directions you see them.
| | 02:02 | So that's why I am saying we are just kind
of feeling our way through the modifications.
| | 02:06 | We are just going with what we see on screen.
| | 02:08 | So I'll go ahead and drag that blue
arc in order to tilt the chair backward.
| | 02:14 | Now at this point, you know that you want 90
degree rotations, because that just makes sense.
| | 02:20 | And also if you leave these weird
orientation values in place here, you can end
| | 02:24 | up compounding your rotations.
| | 02:27 | So if you've got a bunch of sort of
weird mesh rotations mixed in with a bunch
| | 02:31 | of weird object rotations then you
heap on some weird camera rotations,
| | 02:35 | it can get very confusing if you have
any desire to go back and change the
| | 02:38 | numerical values in the future.
| | 02:40 | So what I suggest you do at this point
is look at your orientation values and
| | 02:44 | round them either up or down to
the nearest 90 degree equivalent.
| | 02:49 | In the case of X1 I am seeing -94.9,
and so I think -90 degrees is closest.
| | 02:55 | Press the Enter key or
the Return key on the Mac.
| | 02:56 | Now for Y it's 5.1 degrees. Well 0 is
the closest in this case, so I'll go ahead
| | 03:02 | and enter 0 and press Enter or
Return in order to apply that value.
| | 03:06 | And then I look at Z and I see 101.6.
| | 03:09 | It's closest 90 degree equivalent
| | 03:11 | is going to be 90 degrees. Press
Enter or Return and the deed is done.
| | 03:15 | So that's a way just to feel your way
through it and still get very specific results.
| | 03:19 | All right maybe that's not what you
want either. I am going to go up to the
| | 03:22 | File menu and choose the Revert command in
order to restore that saved version of the file.
| | 03:28 | Here is another way to work.
| | 03:30 | Now you can just drag with this
Object Rotation tool if you want to.
| | 03:34 | And pretty much just drag
wherever you think you need to drag.
| | 03:37 | I can't really provide you with any
constructive tips here, because the original
| | 03:40 | direction of your drag and the end
of your drag all go toward determining
| | 03:44 | exactly what kind of 3D rotation you
apply, but you could just sit there and
| | 03:48 | sort of drag around until you think
you're about to get the results you want.
| | 03:53 | If you want a little help then you
have access to the Shift and Alt keys.
| | 03:58 | If you press-and-hold the Shift key
while you're dragging, then you're going to
| | 04:01 | rotate exactly back and forth.
| | 04:04 | So you're not rotating around a
specific axis; you are rotating in my case
| | 04:07 | around the perceived vertical axis.
| | 04:10 | So whatever that might be. You might
also try pressing Shift while you drag up
| | 04:14 | and down and then you are rotating
around the perceived horizontal axis, which is
| | 04:19 | being invented ultimately on the fly.
| | 04:21 | And then let's go ahead and put this guy
back up here like that so I can show you Roll.
| | 04:25 | Now you have a specific Roll
tool that you can take advantage of.
| | 04:29 | But another way to get to it is to
press-and-hold the Alt key or the Option key
| | 04:33 | on the Mac, and if you drag while
pressing the Alt key then you're rotating
| | 04:37 | around a perceived axis
that's coming directly at you.
| | 04:41 | So once again that's Shift if you want to
drag around a perceived vertical axis or
| | 04:46 | if you want to drag around a perceived
horizontal axis and then Alt or Option if
| | 04:50 | you want to rotate around an
axis that's coming directly at you.
| | 04:54 | After you take advantage of all these
wonderful tips and tricks and you end
| | 04:57 | up getting something that looks
reasonably good, then again you go up to
| | 05:01 | your values in the Options bar and you
change them to the nearest 90 degree equivalent.
| | 05:05 | So X in my case is -92.7; change it to
-90. Y in my case is 1.9 so change it to 0.
| | 05:14 | Press the Tab then Z in my case is
88.6 and change it to 90 degrees and I end
| | 05:20 | up getting that same result.
| | 05:21 | So pick your poison. You
can work anyway you like.
| | 05:24 | But as I say, when performing object
rotations, if you stick with multiples of
| | 05:28 | 90 degrees you are going to make
your edits a lot easier in the future.
| | Collapse this transcript |
| 3D movement: Drag, slide, pan, and walk| 00:00 | In this exercise I am going to show you
how to drag and slide inside Photoshop,
| | 00:04 | alternately known as panning and walking.
| | 00:07 | So you drag or slide a 3D object;
you pan or walk your camera.
| | 00:12 | I've saved my changes as Upright
chair.psd and I am going to start things off by
| | 00:16 | going to the 3D menu and choosing Ground
Plane Shadow Catcher, so that I can use
| | 00:21 | a chair to cast a shadow.
| | 00:22 | Photoshop tells me I need to
ray trace to see the shadow.
| | 00:25 | I say OK because of course I know that.
| | 00:28 | Now I want to go ahead and set my chair
down on the ground plane by going up to
| | 00:31 | the 3D menu and choosing Snap Object to
Ground Plane. And the ground plane seems
| | 00:36 | to be very high at that point.
| | 00:37 | We will lower it by adjusting the camera.
| | 00:39 | So what I want you to do is click and
hold on the Camera tool and choose 3D Pan
| | 00:43 | Camera, so that we can pan our scene.
| | 00:46 | Now the way this tool works is if you
pan to the right, notice I am dragging
| | 00:50 | to the right, then you're panning
the camera to the right which means the
| | 00:53 | scene shifts to left.
| | 00:54 | It's just like if you move your head to
the right everything around you appears
| | 00:58 | to move to the left, and then of course
if you pan to the left everything shifts
| | 01:02 | to the right, or you can pan upward, in
which case everything shifts downward or
| | 01:06 | pan downward, in which case
everything shifts upward.
| | 01:09 | Notice your view of the
perspective of the scene shifts as well.
| | 01:13 | That's very important and we'll see
what a difference that can make as we
| | 01:16 | work through the series.
| | 01:18 | The other option that's available
to you is this tool right there.
| | 01:21 | Notice that it's called the Walk with
3D Camera tool and what it means is you
| | 01:24 | can walk away from the scene and things
will get smaller or you can walk toward
| | 01:28 | the scene and the perceived size
of the objects will grow bigger.
| | 01:31 | Notice it's not called the Zoom tool,
because you're not changing the focal length.
| | 01:35 | You can change the focal length of a
camera inside of Photoshop and that is
| | 01:39 | something we'll discuss when we come to
the dedicated camera chapter in a later
| | 01:43 | course of this series. But while you
can take advantage of that tool if you
| | 01:47 | want to here is another way to work.
| | 01:48 | There is a couple of different keyboard
modifiers that you can take advantage of.
| | 01:52 | If you drag and press the Shift key
then you will constrain the angle of your
| | 01:56 | drag to perceived
horizontal or perceived vertical.
| | 01:59 | It has nothing to do with the X or Y axis.
| | 02:02 | It's the actual perceived horizontal
and vertical of the scene and then if you
| | 02:07 | press and hold the Alt key or the
Option key on the Mac and you drag down,
| | 02:10 | you will walk away from the scene. If you
have Alt or Option key down as you drag up
| | 02:15 | you'll walk toward the scene.
| | 02:17 | You can still pan side to side while you're
performing this operation, just not up and down.
| | 02:22 | All right, so what I am going to do is
Alt+drag or Option+drag away from the
| | 02:26 | scene and then I am going
to drag up a little bit.
| | 02:30 | Now at this point I'm noticing
the angle of my camera is wrong.
| | 02:33 | So I am going to go ahead and switch
over to my Orbit the 3D Camera tool and I'm
| | 02:39 | going to change these Orientation
values numerically, because we've already been
| | 02:42 | through orientation by now.
| | 02:44 | I am going to change the X value to
90.75 and that ends up setting the scene way
| | 02:49 | down, as you can see. It also ends up
flattening the seat of the chair, which is
| | 02:53 | definitely something I'm
interested in at this point.
| | 02:56 | Our Y value of 0 is just fine.
| | 02:57 | It's close to what it was. And then I
am going to change the Z value to -112.
| | 03:01 | Now you have to watch this because
these values, these orientation values, are
| | 03:06 | relative to the positioning values.
| | 03:08 | So if we go in now and change the
position of the camera, which we're going to
| | 03:11 | do, we've got to go back and
recheck our orientation values later.
| | 03:15 | So I'm going to switch back to the Pan
tool right there up in the Options bar
| | 03:20 | and then I'm going to Alt+drag down
in order to walk away from the scene a
| | 03:24 | little bit and it'd help if I Alt+drag
down a little farther up so that I have
| | 03:28 | more room to work, and that would be an
Option+drag of course on the Mac, and I
| | 03:32 | can go ahead and drag this guy
back and forth as much as I want.
| | 03:36 | I can drag it down if I want to in
order to raise that chair because
| | 03:40 | that's lowering my view.
| | 03:42 | I am also going to Alt+drag or
Option+drag up in order to step toward the
| | 03:46 | chair a little bit.
| | 03:47 | So you end up doing a
lot of back-and-forthing.
| | 03:49 | To make a long story short.
| | 03:51 | Here is the Position values that I came up with.
| | 03:53 | The X value is -130.
| | 03:56 | I am going to take the Y value down to
-47.2 and then the Z value down to 10.
| | 04:03 | Now that's still not quite right and
I suspect it is because I messed up my
| | 04:07 | orientation. So let's switch back to
the Orbit tool there and check our values.
| | 04:12 | -90.74, that's fine, but 112.57 that's not okay.
| | 04:17 | It should be -112 and we
end up getting this here.
| | 04:20 | All right, now let's do a little bit of
work on positioning the object itself.
| | 04:24 | I am going to click and hold on the
Object Rotate tool and I am going to choose
| | 04:27 | 3D Object Pan tool, which confusingly is
known up here in the Options bar as the
| | 04:33 | Drag the 3D Object tool.
| | 04:35 | But either way, whether we are dragging
or panning-- and I would argue that we're
| | 04:38 | dragging at this point--
| | 04:39 | we are moving the object
back and forth and up and down.
| | 04:42 | Now I don't want to move it up and down
too much because after all it should be
| | 04:46 | more or less on the ground plane.
| | 04:48 | So I'm going to Shift+drag it back and forth
here and you should know, check out the widget.
| | 04:53 | Green is now up and blue is coming at us.
| | 04:55 | So the green and blue axes ended up
changing places and I guess you could argue
| | 04:59 | that the blue and red axes change
places as well and that's because we
| | 05:03 | completely changed the orientation of
the chair and in doing so we changed the
| | 05:07 | orientation of the widget.
| | 05:09 | So everything becomes super-relative
when working in 3D here inside Photoshop.
| | 05:14 | All right, so I have position
values to enter as well. Oh!
| | 05:17 | I forgot to pass along a tip here,
which is if you want to move the object closer
| | 05:21 | to you or farther away then you can take
advantage of this Slide tool or you can
| | 05:26 | just press the Alt or Option key.
| | 05:28 | So if you Alt+drag upwards, you are
going to move the item farther way.
| | 05:31 | if you Alt+drag downwards, you
are going to move it towards you.
| | 05:34 | All right, once again I have
some specific values to add here.
| | 05:37 | I am going to change the X value to 13,
the Y value to 8.3, and then I'll change
| | 05:43 | the Z value only slightly to -3.79 and
press the Enter key, and you can just give
| | 05:48 | it a second check here by going up to
the 3D menu and choosing Snap Object to
| | 05:52 | Ground Plane. But it should be at
exactly the right location. And that's how you
| | 05:57 | go about dragging and sliding 3D
objects as well as panning and walking the
| | 06:02 | camera here inside Photoshop.
| | Collapse this transcript |
| Assigning materials and lights| 00:00 | In this exercise we're going to
finish off the scene by wrapping a material
| | 00:04 | around the chair, then we'll go ahead
and load a couple of spot lights, ray
| | 00:07 | trace the shadows, and finish off the
composition with a Gradient Map adjustment layer.
| | 00:13 | I've saved my progress as Small chair
in place.psd, and the first thing I'm
| | 00:18 | going to do is apply that material.
| | 00:19 | So I'll double-click on the 3D layer
thumbnail here inside the Layers panel and
| | 00:24 | notice that we have a group of meshes
called SketchUp, because they came from
| | 00:29 | SketchUp, and then we have a series of
these meshes that are indicated by the
| | 00:34 | sort of wireframe cylinders here.
| | 00:35 | So we've like ID3 and ID14 and so forth.
| | 00:39 | Then nested inside many of the meshes,
some of which are nested inside each other,
| | 00:43 | we have these materials, which
are indicated by these little squares, and
| | 00:48 | they're all named ID5. So we have one
surface texture across the entire chair
| | 00:53 | and that ID5 item is also
listed here inside the Layers panel.
| | 00:57 | If I switch at any one of these ID5s
with the material, they'll all be replaced.
| | 01:02 | And I'm going to do that right now by
clicking on one of the ID5s, clicking on
| | 01:06 | the down pointing arrowhead next to
this sphere that indicates some material,
| | 01:09 | and then scrolling down a list until
I find stone marble, clicking on stone marble,
| | 01:14 | and just like that every one of
the texture is replaced, ID5 is replaced
| | 01:20 | here inside the Layers panel with
Marble-1 Diffuse-1, and we have a chair
| | 01:24 | rendered in stone marble.
| | 01:26 | Now it's got a little bit of color as
you can see in the upper left hand corner.
| | 01:29 | We're gone a remedy that when we
apply that Gradient Map adjustment layer.
| | 01:33 | All right, the next thing to do is to go
ahead and twirl close SketchUp, so that
| | 01:37 | we can see the couple of
infinite lights that are applied.
| | 01:40 | I want to replace those lights with new
spotlights, but if I go up to the flyout menu,
| | 01:45 | that Replace command is dimmed.
| | 01:47 | Well, if you run into that situation,
then here's what you do. You click on
| | 01:50 | the lights you want to get rid of, so
I'll click on Infinite Light 1 drop down
| | 01:54 | to the bottom of the panel, click on
the little trash can icon, Infinite Light
| | 01:58 | 2 will become selected next
automatically, click on the trash can again.
| | 02:01 | We have no lights leftover.
| | 02:03 | So all we have is a little bit of
ambient light and the chair is very dark.
| | 02:07 | Now go up to the fly-out menu, choose
Add Lights Preset, navigate your way into
| | 02:11 | the 04_3D_tools folder, find the file
called Small chair lights.p3l, click Load,
| | 02:17 | and we now have a couple of spotlights.
| | 02:19 | All right, the next task is to click
on Scene to make sure it's active and
| | 02:23 | let's go ahead and ray trace this
scene by choosing Ray Traced Draft.
| | 02:27 | Now of course, this is going to run
the progressive render across the file.
| | 02:30 | Now this is a pretty small file.
| | 02:32 | It's not going to take a long time to
render. Just the same we're going to go
| | 02:35 | ahead and fast forward the process
and cut to the chase here. And now we're
| | 02:39 | looking at the final version of the
chair with all the ray trace shadows.
| | 02:43 | The final step is to apply that
Gradient Map adjustment layer.
| | 02:47 | So I'll close the 3D scene panel, so we
can see what we're doing, and I'll press
| | 02:50 | the Alt key or the Option key on the
Mac, click the black/white icon at the
| | 02:54 | bottom of the Layers panel, and
choose the Gradient Map command.
| | 02:58 | And because I had Alt or Option down,
the New Layer dialog box comes up.
| | 03:02 | I'm going to call this new layer
rubytone and click OK, and what the
| | 03:06 | Gradient Map adjustment layer does is
it replaces all the luminous levels in
| | 03:10 | the image with a gradient.
| | 03:11 | So right now we're saying anything
that's black make black, anything that's
| | 03:15 | white make white, anything that has
some level of gray in between make some
| | 03:19 | level of gray in between.
| | 03:20 | In another words, we're not
really doing much until we assign a
| | 03:23 | different gradient map.
| | 03:25 | And what I'd like you to do is click
the down-pointing arrowhead next to that
| | 03:28 | gradient and load a gradient that
I've created in advance for you.
| | 03:31 | So click the right-pointing
arrowhead and then choose the Load Gradients
| | 03:35 | command, and then here inside the 04_3D_
tools folder find a file that's called
| | 03:40 | Bathed in red.grd. Click the Load button.
| | 03:44 | That will load just one gradient whose
name not surprisingly is Bathed in red.
| | 03:48 | Go ahead and click on it to load it, and
now there we keeping black black, we're
| | 03:52 | keeping white white.
| | 03:53 | We're mapping the gray levels, the
various shades of red, in between and if you
| | 03:58 | want to see exactly what's going on
there, then you can click on the Gradient
| | 04:01 | bar and that will show you the
gradient that I've created for you.
| | 04:04 | Here inside the Gradient Editor,
you can also make modifications to that
| | 04:08 | gradient if you're so inclined.
| | 04:10 | I'll go ahead and click the Cancel
button, because I didn't do anything in that
| | 04:13 | dialog box and I'll hide the Adjustment
panel, and that is the final version of
| | 04:18 | the small chair layer.
| | 04:20 | In the next exercise we're going to
bring in a different version of the chair,
| | 04:23 | and we'll see that it not only lands on
its back, but the legs are broken off.
| | Collapse this transcript |
| Editing and replacing a model| 00:00 | I've saved my progress as Simple red scene.psd.
| | 00:03 | It's found inside the 04_3D_tools folder.
| | 00:06 | I figure this chair looks halfway
reasonable, especially if it's being lit
| | 00:10 | from lights inside of the structure.
It doesn't look at all like the light
| | 00:14 | streaming in from outside.
| | 00:16 | However, what doesn't look
right at all is its dimension.
| | 00:20 | After all if these are benches off to the side,
then this chair has no business being this big.
| | 00:25 | Also, what's it doing in the middle of
everything and why is it made of stone?
| | 00:29 | So then I started thinking,
wouldn't it be great if the chair was
| | 00:31 | an installation piece
| | 00:33 | and the whole purpose of this building
was to house this giant piece of marble?
| | 00:38 | So I ended up coming up with this
final composition here, but notice that
| | 00:42 | there is quite a few differences.
Not only is the chair in general larger, but
| | 00:47 | the back of the chair is much taller,
we have fewer columns and we have this
| | 00:52 | much thicker header at the top, which
means I need to go back in the Sketchup
| | 00:56 | and make some changes.
| | 00:57 | Well, there is no live link between what
I'm doing in SketchUp and Photoshop, so
| | 01:01 | I'm going to have to re-import the model.
| | 01:03 | So I'm going to switch to SketchUp
for a moment and you can see that this is
| | 01:06 | that version of the chair
that we've already imported.
| | 01:09 | Now I'm going to switch over to another
SketchUp image, which is this guy with a
| | 01:14 | taller back, the bigger header and so forth.
| | 01:17 | Now what I want you to really see here
is that's all I changed. I changed the
| | 01:21 | size and number of columns. I changed
the size of this header. I changed the
| | 01:25 | height of the columns.
| | 01:27 | That is it. I didn't do a darn thing to the
seat or the legs, didn't touch them at all.
| | 01:32 | And yet, watch what happen. The very
same export settings, the same Collada DAE
| | 01:37 | format, and yet we get pretty
significantly different results.
| | 01:41 | So let's switch back over to
Photoshop here. I'm going to go back to my
| | 01:45 | composition at hand and I'll
turn off that low back layer.
| | 01:48 | Let's create a new 3D layer by clicking
on the background layer, going up to the
| | 01:52 | 3D menu, and choosing New Layer from 3D File.
| | 01:55 | And then I'll enter that SketchUp models folder,
select Tall chair.dae, there it is, click Open.
| | 02:01 | And this time not only is the chair on
its back, but three of the four legs are
| | 02:07 | broken off of the chair and this is what
I was talking about with the occasional
| | 02:11 | hierarchal problems between SketchUp
and Photoshop, and I don't know which
| | 02:16 | programs' fault it is.
| | 02:17 | I don't know whether it's SketchUp
not providing the right data or
| | 02:20 | Photoshop's misreading the data.
| | 02:22 | It really doesn't matter.
| | 02:23 | It's still up to you to fix this problem.
| | 02:26 | Well, fortunately, righting the chair,
tipping it upright, is exactly the same as
| | 02:31 | it ever was and by the way
that is an actionable operation.
| | 02:35 | I'm going to go ahead and bring up my
Actions panel, which you can also get by
| | 02:39 | going into the Window menu and choosing
the Actions command, and then I'm going
| | 02:43 | to click on the fly-out menu icon and
choose Load Actions, and I've got this
| | 02:48 | Chair actions.atn file
right ready to go for you.
| | 02:51 | Click on the Load button and notice it
has two actions, Pick up chair and Repair
| | 02:55 | legs, and I'm going to show you both of them.
| | 02:57 | Click on Pick up chair, twirl open
the action, and you can see it's not many steps.
| | 03:02 | Basically we're transforming
the 3D object. So we're putting in exactly
| | 03:06 | where it needs to be,
making at upright, and so forth.
| | 03:08 | And I'm also transforming the camera and I'm
snapping the 3D object to the ground plane.
| | 03:13 | So to give it a shot, just go and
click on the Play button and there it is.
| | 03:17 | However, notice if I close the panel
for a moment that the legs are still
| | 03:21 | strewn willy-nilly here.
| | 03:22 | Well the other action actually takes
care of that. If you click on Repair legs,
| | 03:26 | also not that complicated of an
action. There are just six meshes that
| | 03:31 | are six independent pieces of this model
that need to be repositioned and glued together.
| | 03:36 | So if I go ahead and play this action
by clicking on the Play button down here
| | 03:39 | at the bottom of the Actions panel,
Photoshop goes ahead and puts all the legs
| | 03:43 | exactly where they need to be.
| | 03:45 | Well, that's all very well and good
and it's nice to know that you can record
| | 03:48 | an action of this kind of thing if you
need to, which proves to be especially
| | 03:51 | useful if you find yourself having to
re-import a model over and over again.
| | 03:56 | But what in the world did I just get done doing?
| | 03:59 | Well, I'm going to go ahead and back
step a few operations by bringing in my
| | 04:03 | History panel and clicking on Set 3D
Camera Position, because that was after we
| | 04:08 | got done righting the chair, that is tipping
it upright. We've already seen how that works.
| | 04:12 | Adjusting the camera position we've
already got a sense of what's going on there.
| | 04:17 | Now let's just go ahead and take care
of the legs, and to take care of the legs
| | 04:20 | what we need to do is we need to
adjust the independent meshes and you do that
| | 04:26 | by double clicking on the thumbnail
for the 3D object here inside the Layers
| | 04:29 | panel and figuring out what each one
of the meshes are. So we have a fair
| | 04:34 | amount of meshes to deal with here, although
it's not nearly as complicated as you think.
| | 04:38 | And we also have to address these
meshes using one of these mesh tools
| | 04:44 | that's available here in the third slot on
the left-hand column, here inside the 3D panel.
| | 04:50 | And that's just what we're going to
do starting in the following exercise.
| | Collapse this transcript |
| Repositioning independent meshes| 00:00 | In this exercise, I am going to show
you how to adjust and reinstate the
| | 00:03 | positions of individual
meshes inside of a model.
| | 00:07 | I've gone ahead and saved my
progress as Busted legs.psd found inside the
| | 00:12 | 04_3D_tools folder, and it features
this wonderfully fortuitous mistake in
| | 00:16 | which three of the four legs of my
chair model have fallen off the chair.
| | 00:20 | Now I called it a fortuitous mistake
because it's a kind of thing that might
| | 00:23 | happen to you and I want you to
have a sense of how to fix the mistake
| | 00:27 | particularly if you don't feel
like getting to the bottom of it.
| | 00:30 | We could spend a tone of time trying
to work out what happened and trying to
| | 00:34 | make changes in SketchUp.
| | 00:36 | But truth be told where this model is
concerned, it's very easy to fix the
| | 00:40 | problems, especially since it's
a really peculiar bug. Watch this.
| | 00:45 | If you went ahead and just opened this
Busted legs.psd file, one of the things
| | 00:50 | we need to do in order to see the
bottom of the chair is I need to switch over
| | 00:55 | to the Camera Rotate tool and then
I need to go ahead and rotate the chair.
| | 01:00 | And notice the second I do, the legs
spontaneously grab onto the chair and
| | 01:06 | that only happens by the way if you
back stepped in the History panel as I
| | 01:11 | showed you at the end of the previous exercise,
or if you went ahead and just opened this file.
| | 01:16 | Anyway, if you go back in time, if
you do any backstepping then, Photoshop
| | 01:20 | automatically reassembles the
legs the minute you move the camera.
| | 01:23 | So, talk about luck.
| | 01:25 | That's an awesome thing and I suppose that's
one way to sometimes to care of the problem.
| | 01:29 | But you may find that the
problems are a little stickier than that.
| | 01:32 | So, I do want you to know the manual
solution and I do want you to know how to
| | 01:36 | work with the mesh controls in general.
| | 01:38 | So, what I am going to do is I am
going to go ahead and get rid of this Tall
| | 01:42 | chair layer by pressing the
Backspace key or the Delete key on a Mac.
| | 01:45 | Then go up to the 3D menu,
choose New Layer from 3D File.
| | 01:49 | Locate that Tall chair.dae file, click Open
and then armed with my 3D rotate tool,
| | 01:55 | I am going to go ahead and
rotate this guy in 3D space like so.
| | 01:59 | And this time, the legs do not
automatically glom on, which is a good thing from
| | 02:05 | a teaching perspective of course. A bad
thing from trying to get worked on, but
| | 02:09 | again, I want you to understand what's going on.
| | 02:11 | Let's examine what's happening
with these various mesh items.
| | 02:14 | I am going to go ahead and pan the
camera to the right, so that I'm moving this
| | 02:17 | guy away from the panels.
| | 02:19 | And I am going to double-click in the 3D
thumbnail in order to bring up the 3D Scene panel.
| | 02:23 | And you can see that we have a ton of meshes.
| | 02:25 | Some meshes nested inside of other meshes.
| | 02:28 | And the best way to figure out what's
going on is to turn one of the meshes off
| | 02:31 | and then turn it back on.
| | 02:32 | Now, you might not be able to see this
happening in the background, but that's a
| | 02:35 | big header of the chair.
| | 02:36 | So, I am going to double-click on
the name here and change it to header.
| | 02:39 | And then this item right here,
I believe is the seat and indeed it is.
| | 02:42 | And so, I'll go ahead and rename
ID3 seat like so and twirl it close.
| | 02:47 | All right next I believe
we come up on the legs.
| | 02:50 | So, if I turn this guy off, it's going
to turn off this little item right there,
| | 02:55 | which is the front right leg. So, I'll go
ahead and turn it back on and rename it
| | 02:59 | leg FR, so that I am keeping track of
what's going on. Might as well twirl these
| | 03:04 | guys close for a moment.
| | 03:06 | ID39, if I turn it off and then back on,
that's the one leg that's in good shape.
| | 03:10 | So I'll call it leg FL for front left
and I'm going to twirl it completely
| | 03:14 | close because it's fine.
| | 03:16 | And then this one back here is
ID64, which is the back right leg.
| | 03:22 | So, let's go and name this guy leg
BR like so and then twirl closed the
| | 03:27 | individual meshes inside that mesh
because we need to come back to them.
| | 03:31 | Then this guy, I am willing to
bet is leg BL. Sure enough it is.
| | 03:35 | Go ahead and rename it as well.
| | 03:36 | Now, you don't have to do this naming.
| | 03:38 | I am just doing it to keep track of
what in the world I'm up to right now.
| | 03:42 | So, what's happening in the case of
each one of these guys, leg FR let's sa?
| | 03:47 | It's specifically is this little mesh
that's right there on the bottom of the
| | 03:51 | seat and it's in the right place, and
then we've got these other two items here
| | 03:55 | including ID30 which is the
easiest to see. I'll turn it off.
| | 03:59 | It's the BL leg.
| | 04:00 | It's in the wrong place
of course. Turn it back on.
| | 04:02 | Well, one of the things I could do
is I can switch to my Mesh tool and I
| | 04:07 | definitely need to switch
to the Mesh tool at anyway.
| | 04:09 | And I should mention, by the way, the
Object tool affects the entire object.
| | 04:12 | The entire contents of the 3D layer.
| | 04:15 | It appears at the top of
the list inside the 3D panel.
| | 04:18 | It also appears inside the toolbox.
| | 04:21 | Meanwhile the next tool down is the
Camera tool. That affects your view of the
| | 04:24 | entire scene so that you can move the
objects and the lights all at once and
| | 04:29 | that tool also appears here inside the toolbox.
| | 04:32 | The other tools only appear inside the
3D panel and they include the Mesh tool,
| | 04:37 | which allows you to modify the
individual meshes inside of a 3D layer, and then
| | 04:42 | you've got the Light tool as well which
lets you modify the lights and so forth.
| | 04:46 | Anyway, I am going to grab that Mesh
tool and you have got the option of
| | 04:51 | rotating the meshes. We don't want
to do that; we want to move them.
| | 04:54 | So, I am going to switch to the 3D Mesh
Pan tool, which allows you to move the
| | 04:58 | meshes back and forth, up and down.
| | 05:00 | If you want to move them in
and out, you use the Slide tool.
| | 05:02 | I am going to grab that Pan tool and I
am going to drag this little guy here to
| | 05:07 | a different location and hope at
some point that I get him in a place.
| | 05:11 | That's a little bit difficult. I can
press the Shift Key in order to constrain
| | 05:14 | my movement or I'll press Ctrl+Z Key,
Command+Z on a Mac to undo that movement.
| | 05:19 | I can also take advantage
of the widget. And notice
| | 05:22 | this guy here, if I drag on the right
arrow and I am going to go ahead and drag
| | 05:26 | to the left, as soon as I press Crtl+Z
or Command+Z Key on the Mac, Photoshop
| | 05:30 | automatically switched me to the wrong mesh there.
| | 05:32 | So I'll press Ctrl+Z Key, Command+Z Key
again. Grab the right mesh ID22 and then,
| | 05:38 | drag on that red arrow head.
| | 05:40 | And I go ahead and move that guy right
into place and at some point I'll go
| | 05:43 | ahead and release and then I'll look at my
value X 15.04 and I'll think, I bet it's an even value.
| | 05:50 | So, I will just go ahead and change it to 15.
| | 05:51 | Now, what makes me think it's an even value?
| | 05:54 | Well, I am guessing it's a whole number
mistake that was made somewhere along the line.
| | 05:57 | Although I really have no idea.
I am just kind of making that up.
| | 06:00 | But here's something else I could do.
| | 06:02 | I can click on that leg FR item
right there, which I know is in the right
| | 06:05 | position, and I can check its
position X: 15, Y: 0, Z: 0, by golly!
| | 06:12 | I bet if I just clicked on ID30,
which is this guy right there and I change
| | 06:16 | his position from X: 30 to X: 15,
| | 06:19 | then I've fixed the
problem and sure enough I do.
| | 06:22 | All right, you know what?
| | 06:24 | Let's check out the opposite leg
because it appears it just needs a Z-axis
| | 06:28 | modification and that would
be this guy down there, leg BL.
| | 06:32 | So, let's twirl close leg FR so that
we have a little more room to work.
| | 06:36 | And I am going to check out its
position and notice it says X: 0, Y: 0, Z:
| | 06:39 | -16 and that's the piece
that's in the right place.
| | 06:44 | If I turn off, there it is right
there. That's the guy that just left.
| | 06:47 | And I turn it back on.
| | 06:49 | Sure enough, he is in the right place.
| | 06:50 | So, let's go ahead and grab the cap there.
| | 06:53 | And notice its Z value.
| | 06:55 | Its X and Y values are 0 just as we
saw before but its Z value is -32.
| | 07:00 | So, it's off by twice.
| | 07:02 | So, I'll go ahead and change that to
-16 and it puts that right back in place.
| | 07:06 | Then I'll grab ID105 and I'll change
it to -16 as well and that goes ahead and
| | 07:12 | reinstates the position of that.
| | 07:14 | You know what? I bet this guy has X and
Z problems associated with it, because
| | 07:19 | he was in alignment with both
legs when he was out of place.
| | 07:23 | So, let's go ahead and try that.
| | 07:25 | That would be leg BR.
| | 07:26 | Notice the leg BR position, this is
the good item, this guy right there, is
| | 07:31 | everything we saw before.
It's X: 15, Y: 0, Z:
| | 07:33 | -16 and these guys say
exactly twice those values. So, X: 30, Y: 0,
| | 07:41 | two times 0 0 and then C: -32.
| | 07:45 | So, I will just go ahead and
set those guys the right value.
| | 07:48 | X: 15, tab over to the Z value and
change it to -16 like so. It puts that right
| | 07:53 | where it needs to be.
| | 07:54 | Let's click on ID80, same dif. Change the X
value to 15 and then change the Z value to -16.
| | 08:01 | And we go ahead and absolutely fixed
that chair. Totally awesome in my opinion.
| | 08:07 | Anyway, I am going to close that header
item because that includes the entire chair.
| | 08:11 | You know what? I'll just go ahead and name this
entire chair, because somehow or other it is that thing.
| | 08:17 | And I am going to grab my Camera
Rotate tool again and I am going to go ahead
| | 08:20 | and rotate the position of my view and I
might rotate it back and forth as well,
| | 08:26 | and maybe side-to-side here by
changing the Y orientation. And you know what?
| | 08:31 | This isn't anywhere near the effects we want.
| | 08:34 | So, on the next and final exercise, I
will show you how to change the camera,
| | 08:37 | the position, the size, the materials, the
lights and we'll retrace the shadows. Join me.
| | 08:42 | Won't you?
| | Collapse this transcript |
| Finishing the giant marble chair| 00:00 | All right gang, in this exercise
we're going to go ahead and finish off the scene.
| | 00:02 | We're going to set up the camera,
we're going to re-position the object,
| | 00:05 | we're going to enlarge it, because
it needs to be gargantuan of course.
| | 00:09 | We're going to set it down the ground
plane, we're going to turn on the shadow
| | 00:11 | catcher, we're going assign the
material, we're going to load some lights and
| | 00:15 | we're going to ray trace out those shadows.
| | 00:17 | I've saved my progress as Large floating
chair.psd, found inside the 04_3D_tools
| | 00:23 | layer, and let's start things up by
switching over to the Camera tool, and then
| | 00:27 | I am also going to hide
the 3D panel for a moment.
| | 00:29 | And I can currently see my orientation
values here and they are nothing like
| | 00:33 | what I want them to be.
| | 00:34 | So I'm going to change the X value to
-90.75 and then the Y value should be zero
| | 00:40 | and the Z value should be -112, and
you'll notice that the chair has completely
| | 00:45 | left the building. Don't
worry about that at all.
| | 00:47 | It's just because we're pointing the
camera entirely the wrong direction.
| | 00:51 | All right, let's go ahead and select
one of the positioning tools, specifically
| | 00:54 | the Pan tool in this case, and I'm
going to change the X value here in the
| | 00:58 | Options bar to -178.2, change the Y
value to -52.7, and I'll change the Z value
| | 01:06 | to 7, and we'll be done with it, and there
is the chair sitting there on its side.
| | 01:11 | Now this might be because I never
bothered to write the chair in the first
| | 01:15 | place, which I think is true. I think
I just re-imported and start work on it.
| | 01:18 | So why don't we take a look at the
object Rotate tool setting. Sure enough, the
| | 01:22 | orientation is the chair flat on its back.
| | 01:25 | So let's change the X value to -90 and
let's change the Z value to 90 and we
| | 01:31 | end up getting this little
dinky chair there. Fair enough.
| | 01:33 | All right, now I'm going to select
that Drag tool here in the options bar and
| | 01:37 | I'm to change the first position value
to 13, the Y value to 8, and the Z value
| | 01:44 | to 3.68, and that ends up
leaving this guy floating in the air.
| | 01:48 | I think if I choose 3D and Snap Object to
Ground Plane, it will go ahead and knock it down.
| | 01:53 | The problem is I still need to scale
this chair, so I'm going to switchover to
| | 01:56 | the Scale the 3D Object tool, because
this way I can keep track of my numerical
| | 02:01 | values there, and I'm going to drag
that cube until I increase the size of the
| | 02:06 | chair pretty significantly, and then
I'll release and see what I got going, and
| | 02:10 | really what I wanted is all
three of these values to be 1.76.
| | 02:14 | So I'll just go ahead and enter 1.76
for each of these, and of course you can
| | 02:20 | go your own way. These are
just the values I came up with.
| | 02:22 | Now my guess is that the chair is
sinking through the ground plane and so to
| | 02:27 | confirm whether it is and account for
that of course, go to the 3D menu and
| | 02:31 | choose Snap Object To Ground Plane.
| | 02:33 | That should go ahead and
raise that guy up there.
| | 02:35 | And I'm going to double check my
positioning options and there I find these
| | 02:39 | little different from
before, but it should work.
| | 02:41 | All right, now let's go ahead and make
sure that the Ground Plane Shadow Catcher
| | 02:43 | is turned on, which it
wasn't. Click the OK button.
| | 02:46 | It says you understand you've got the ray
trace. Let's bring up the 3D panel by
| | 02:51 | double-clicking on the 3D layer
thumbnail, and I'm going to twirl open entire
| | 02:55 | chair and find one of those ID5 items
here, because that's the one and only
| | 02:59 | one material and you can see ID5 default
texture listed here inside the Layers panel.
| | 03:03 | Click the down-pointing
arrowhead next to this sphere.
| | 03:06 | Go ahead and click on one of the
predefined materials in Photoshop, stone
| | 03:10 | marble, in order to assign that material
to the entire chair so that we have a
| | 03:14 | big chair sculpture.
| | 03:16 | All right, twirl entire chair closed.
| | 03:18 | Let's go up to the fly-out menu,. This
time we have the option of replacing the
| | 03:22 | lights. Don't know why, but it's there,
so let's go and choose that command.
| | 03:25 | Click on Big chair lights.p3l. This time
we load three different spotlights and
| | 03:30 | I set them up so that we're not
entirely brightly lining the top of the chair,
| | 03:34 | because it's so far up in the rafters.
| | 03:36 | Then finally I click on Scene and I drop
-down the Quality and I change it from
| | 03:41 | Interactive Painting to Ray Traced
Draft, and I let Photoshop do its thing.
| | 03:45 | Again, it shouldn't take that long in
order to lay down these shadows. We have
| | 03:49 | three sets of shadows going on.
They're very soft shadows, so it'll appear
| | 03:52 | little noisy at the draft setting,
however, they suit the scene just fine.
| | 03:57 | Now of course, we're going to
go ahead and speed things up.
| | 03:59 | All right, so there is the final
ray trace version of the scene.
| | 04:02 | I'm going to go ahead and hide the 3D
panel so we can take it in, press the
| | 04:05 | F key a couple of times, and zoom into
the hundred percent view level. Let's
| | 04:09 | get that widget off screen by pressing the M
key to switch to the Rectangular Marquee tool.
| | 04:13 | Well, what once was a humbled chair and
its back with broken legs is now the most
| | 04:18 | imposing marble chair you've ever seen.
| | 04:20 | Thanks to the wealth of 3D object
camera and mesh tools, here inside
| | 04:25 | Photoshop CS5 Extended.
| | Collapse this transcript |
|
|
5. Designing and Applying MaterialsThe stuff of the real world| 00:00 | Creating objects and setting up a
scene is all very well and good.
| | 00:04 | Otherwise how do you make 3D?
| | 00:07 | But in short order you'll
want to emulate the real world.
| | 00:12 | For example, how do you make metal?
| | 00:13 | Not some faux, pretend,
plasticky effect. Real metal.
| | 00:17 | How do you make glass?
| | 00:19 | How do you make the stuff of the real world?
| | 00:23 | The answer is materials.
| | 00:25 | A material is first and
foremost a diffuse color.
| | 00:29 | Now by diffuse, I mean the color of
the object before light, opacity, and
| | 00:34 | reflections are applied.
| | 00:36 | For example, gold is ultimately yellow,
but then it reflects everything around
| | 00:41 | it and becomes gold.
| | 00:44 | Material also conveys opacity, but on a
volumetric basis, meaning the front is
| | 00:50 | translucent, the back is translucent,
and the surfaces build on each other.
| | 00:55 | An object also reflects. It refracts.
| | 00:59 | Light comes off of it. Light absorbs.
| | 01:02 | There is shine and there is gloss.
| | 01:06 | And every one of these properties
you will know over the course of the next movies.
| | Collapse this transcript |
| Making a spherical panorama| 00:00 | All right gang. Here is the final version of
the composition that we'll be creating over the
| | 00:03 | course of this chapter.
| | 00:05 | As you can see we have these three
floating spheres, each of which is wrapped
| | 00:09 | in a variation of the metal chrome material
that ships along with Photoshop CS5 Extended.
| | 00:14 | Now quite amazingly I think, not only
do each of the Spheres reflect each other
| | 00:19 | but they also reflect the larger
scene and they reflect this guy in the
| | 00:23 | foreground that we can't even see.
| | 00:24 | Well the guy and the text above him
turn out to be behind us and miraculously,
| | 00:30 | Photoshop sees through us
to the thing in back of us.
| | 00:33 | Now that may seem obvious. Of course
the machine cannot see us, but just try to
| | 00:38 | imagine capturing a
reflected image using a camera.
| | 00:41 | It's very difficult to make sure that
either you as a photographer or the camera
| | 00:45 | are out of the frame.
| | 00:46 | But that kind of stuff is
absolutely routine in the world of 3D.
| | 00:50 | Now the larger scene around us is a
fourth mesh that's known as the spherical
| | 00:54 | panorama and there's this big sky and
grass scene that's wrapped inside of that
| | 00:59 | sphere. Let me show
you what I'm talking about.
| | 01:01 | I am going to turn off everything
but the 3D layer by Alt+Clicking or
| | 01:05 | Option+Clicking on the eyeball in
front of the scene layer here in the Layers
| | 01:08 | panel and I am also going to turn
off the layer mask by Shift+Clicking on
| | 01:12 | that layer mask there.
| | 01:13 | The layer mask by the way is
responsible for curtailing these aberrant masks
| | 01:17 | that are cast upon the ground plane.
| | 01:19 | Now the reason I am turning everything
off is because it's going to make a lot
| | 01:22 | more sense as we zoom in and out
of the scene using the Camera tool.
| | 01:26 | So I am going to click and hold on the
Camera tool here and select the 3D Walk tool.
| | 01:31 | You may recall that you drag up in
order to zoom into the scene like so and you
| | 01:36 | drag down to zoom out from the scene
and at a certain point right there we are
| | 01:40 | going to go out of the spherical panorama.
| | 01:43 | So we just went through the wall of
that larger sphere that holds the entire
| | 01:48 | scene and you can see here wrapped
onto the back of the sphere is
| | 01:51 | that guy and the text.
| | 01:53 | So that's what each one of those chrome
spheres was seeing. Now we're rendering
| | 01:58 | out that cash shadow on the ground
plane and of course that doesn't make any
| | 02:01 | sense outside of this large sphere.
| | 02:04 | Albeit it is kind of a
squished sphere as you can see here.
| | 02:07 | So I am going to go ahead and click to
interrupt the render and then I'll drag
| | 02:11 | up in order to walk my way back into
the scene. I walk through that wall.
| | 02:15 | Now note that I still having my mouse
button down so we are not ray tracing the
| | 02:18 | scene and I want you to notice that
ray tracing is not only responsible for
| | 02:22 | shadows but it's also
responsible for reflections.
| | 02:25 | Now you may take issue with that.
| | 02:28 | You might say, "I see reflections on each
one of these spheres," but here's the thing.
| | 02:32 | Those are actually environmental
textures which are another way of creating
| | 02:35 | reflections in materials and I'll
explain how those work in a future exercise.
| | 02:39 | But we are not seeing the guy and
we're not seeing the text, so we are not
| | 02:42 | seeing the true reflection of the scene.
| | 02:44 | As soon as I release, then the render
begins and at this point you can see that
| | 02:49 | the guy and the text and a different
version of the reflection start appearing
| | 02:54 | as well as the shadows
down here on the ground plane.
| | 02:57 | Anyway, now the question that
comes, how do we go about creating a
| | 03:00 | spherical panorama?
| | 03:01 | What I'd like you to do is go
ahead and interrupt the render and then
| | 03:05 | switch over to this image.
| | 03:06 | It is called Seamless scene.psd and
it's found inside the 05_materials folder.
| | 03:12 | Right now we are only
seeing the background image.
| | 03:14 | It comes to us by the way from
Galyna Andrushko of the Fotolia Image
| | 03:18 | Library, about which you can learn
more at fotolia.com/Deke, and it is in
| | 03:22 | fact not a seamless panorama.
| | 03:25 | In other words it doesn't repeat
seamlessly horizontally, which is something we
| | 03:28 | need if we are going to be able to
spin at leisure inside the scene.
| | 03:33 | So, let me show what I'm talking about.
| | 03:35 | With the background layer active I'll
go up to the Filter menu, choose Other,
| | 03:39 | and choose this final command Offset, which
allows us to wrap the image around itself.
| | 03:44 | So I've gone ahead and set the
horizontal value to 1166 pixels, the reason being
| | 03:50 | because that's half the overall image width.
| | 03:53 | So what's happening is we're shifting
the image 1166 pixels to the right and
| | 03:57 | those pixels that get lost in the right-hand
side of the image wrap back around onto
| | 04:02 | the left-hand side of the image and we
see that seam right through the center.
| | 04:05 | Now it's an awfully big scene.
| | 04:07 | It will become a problem later.
I just want you to know it's there.
| | 04:10 | All right, go ahead and click on the
Cancel button if you're working along with
| | 04:13 | me because we're going
to leave it alone for now.
| | 04:15 | Now I want you to go over to Layers
panel and I want you to double click on the
| | 04:19 | name of the top layer.
| | 04:20 | It's an adjustment layer that's called brighten.
| | 04:22 | I'm going to change its name however to scene.
| | 04:26 | The reason being that in just a moment
Photoshop is going to pick up the name of
| | 04:29 | that top layer, when it names the
new 3D layer inside this composition.
| | 04:34 | So now I am going to Shift+Click in the
background layer so that all of these
| | 04:37 | layers whether active or not are selected.
| | 04:39 | Then go up to the 3D menu, choose New
Shape from Layer, and choose Spherical
| | 04:44 | Panorama and that will automatically go
ahead and wrap this scene, all of these
| | 04:48 | layers in fact, inside of a large sphere.
| | 04:52 | Now we can't really see the sphere
because after all we're locked inside of it
| | 04:56 | and we're very close to one
of the walls at this point.
| | 04:59 | If I switch to the Orbit tool up here
in the Options bar and then I drag down
| | 05:03 | inside the image window, I'll see
upward inside of my spherical panorama.
| | 05:08 | If I want to look at something lower
in the scene then I'll go ahead and drag
| | 05:12 | upward like so and now I
can see the horizon line.
| | 05:15 | However, what I need to do in order
to get this scene right is I need to
| | 05:19 | position the 3D object and I need to
position this specific spherical panorama mesh.
| | 05:26 | Normally what you do is just drag around
with the various tools the way I showed
| | 05:30 | you back in a previous chapter.
| | 05:32 | However, to make quick work of things,
I am going to dial in a few numerical
| | 05:36 | values I advise you to do the same thing.
| | 05:38 | That way we can just make
some fast initial progress.
| | 05:41 | So for starters I want to set the angle
of my camera and I want to set the angle
| | 05:45 | so we have a reasonable
view of the ground plane.
| | 05:48 | So might as well go to the View menu,
choose Show and then choose 3D Ground Plane
| | 05:53 | in order to turn it on, and now here's
the values I want you to enter. With one of
| | 05:57 | the rotate tool selected, either the
Orbit tool or the Roll tool, go ahead and
| | 06:01 | change the orientation values as follows.
| | 06:03 | The X value should be -90, the Y value
should be zero, which it is for me, and the
| | 06:08 | Z value should be 90, which it also is from.
| | 06:11 | All right now I want you to select
either the Pan or the Walk tool here, once
| | 06:16 | again in the Options bar, and change the
X value to something very large, 4130.8
| | 06:22 | and then go ahead and press the
Enter key or the Return key on a Mac.
| | 06:26 | In my case we went ahead and changed the 4130.7.
| | 06:30 | That's not a significant
difference so it's not a problem.
| | 06:33 | The Y value should be 414.7. That's fine.
| | 06:36 | The value should be -2723 and then
press the Enter key or the Return key on the
| | 06:44 | Mac and you'll end up seeing something
like this, which is the back of the bottom
| | 06:48 | edge of the panorama and you
can clearly see one of the seams.
| | 06:51 | All right, so we've got the camera in
place. So let's go ahead and save off that
| | 06:55 | camera position by clicking on that
disk icon and I am going to go ahead and
| | 06:58 | call this guy Final view and click OK.
| | 07:01 | In that way we can come back to this
view anytime we like by selecting it
| | 07:05 | from this pop-up menu.
| | 07:06 | I should tell you that those saved
camera angles are stored along with the
| | 07:10 | document. They are not going to be
made available to other documents that you
| | 07:13 | work on inside of Photoshop, just FYI.
| | 07:17 | All right we still need to position the
overall object and we need to position
| | 07:20 | the spherical panorama mesh as we
will do exactly that in the next exercise.
| | Collapse this transcript |
| Setting orientation and position| 00:00 | All right, now that we've established
the final camera angle, we need to set the
| | 00:04 | location and the size of the
overall spherical panorama.
| | 00:08 | And that's a two-step process.
| | 00:10 | First, we have to establish the size
of the object itself and then we have to
| | 00:13 | establish the size of the
spherical mesh inside of that object.
| | 00:17 | We're going to do so entirely numerically.
| | 00:19 | Even though you would normally use the
tools, we're going to use numbers just so
| | 00:23 | that you and I achieve exactly the same results.
| | 00:26 | I've saved my progress as Makes no
sense so far.psd, found inside the
| | 00:29 | 05_materials folder.
| | 00:31 | You can see that we're outside
of the bottom seam of the sphere.
| | 00:35 | So first thing I want you to do is go
ahead and grab the 3D Object Rotate tool
| | 00:41 | from the toolbox and I want you to just
confirm that the Orientation options are
| | 00:46 | set to 0, 0, and 0, as
they should be by default.
| | 00:50 | All right, next let's go ahead and
select either the Drag tool or the Slide tool.
| | 00:53 | It doesn't matter which.
| | 00:54 | Now the X and Y values
should be set to 474.2 and 414.7.
| | 01:00 | Again, those are default settings, but
if you're not seeing those settings go
| | 01:03 | ahead and dial them in.
| | 01:04 | I am going to select the
Z value here and change it.
| | 01:08 | Now this is a big change, to -3002.9, and
then press the Enter key or the Return
| | 01:14 | key on the Mac in order
to establish that change.
| | 01:17 | Now you'll see that we've moved into the object.
| | 01:20 | The ground plane is now cutting through the sky.
| | 01:22 | Of course, the ground plane
should really cut through the ground.
| | 01:24 | So we're going to make
those changes to the mesh.
| | 01:27 | So go over here to the Layers panel,
double-click on the scene thumbnail to
| | 01:31 | bring up the 3D panel, click on the
Spherical Panorama mesh, which is indicated
| | 01:36 | by this little wireframe cylinder icon.
| | 01:39 | Then I want you to go ahead and select from
the third tool slot the 3D Mesh Rotate tool.
| | 01:44 | Let's go ahead and make some tiny
modifications here to the Orientation values.
| | 01:48 | First, I want you to change the X
value to -0.3 and then I am going to change
| | 01:54 | the Y value to 2, so very
slight modifications here.
| | 01:58 | And then finally this is the big change.
| | 02:00 | I am going to change the Z value to
80.7 and press the Enter key or the Return
| | 02:05 | key on the Mac to make that change.
| | 02:06 | Now what we're doing there is we're
spinning the sphere to get rid of the seam
| | 02:11 | so that seam is in back of us.
| | 02:12 | However, it's still going to show up as
a reflection later inside the spheres.
| | 02:16 | All right, next I want to you to
select either the Pan tool or the Slide tool
| | 02:20 | here in the Options bar.
| | 02:21 | The X value should already
be set once again to 474.2.
| | 02:24 | I don't know what's so magical
about that number but we're keeping it.
| | 02:28 | And I am going to change the Y value to
376.6 and then go ahead and change the
| | 02:35 | Z value to 1184.8, and press the Enter or
Return key in order to invoke that change.
| | 02:44 | Now the ground plane is cutting near
the ground but it's still cutting over it.
| | 02:48 | There's one more change I want to make.
| | 02:49 | You may recall in the previous exercise
that the spherical panorama, when we got
| | 02:53 | outside of it, was not a perfect sphere.
| | 02:56 | It was actually shorter
than it was wide or deep.
| | 02:59 | So we're going to have to go ahead and
scale this panorama in kind by clicking
| | 03:04 | on the Scale the Mesh
icon here in the Options bar.
| | 03:07 | You can leave the X and Y values as they are.
| | 03:09 | I am going to go ahead and change the
Z value to 0.8 and then the press the
| | 03:14 | Enter key or the Return key on the
Mac to bring up that ground level.
| | 03:18 | Now you'll notice if you're seeing the
ground plane-- and of course if you're not,
| | 03:21 | go to the View menu, choose Show, and
then choose 3D Ground Plane. But assuming
| | 03:25 | that you're seeing it, you'll notice
that the ground plane is still a little bit
| | 03:28 | higher than the ground level.
| | 03:30 | And there's a good reason for that.
| | 03:31 | Once you cast a shadow on the ground
plane when it's being cut like this by
| | 03:36 | another object, the end of the
shadow is going to be extremely abrupt.
| | 03:40 | It's not going to match this
very soft edge to the landscape.
| | 03:44 | So I decide to take the ground level a
little bit higher, which is defined by the
| | 03:47 | Camera view by the way.
| | 03:49 | And that way we had a little extra
wiggle room and then we'll turn around to use
| | 03:52 | a layer mask to get rid
of that extraneous shadow.
| | 03:55 | Now that might have seemed like a
lot a busywork, but it is good busywork
| | 03:59 | because it established our basic scene.
| | 04:01 | In the next exercise, we're going to
create our first sphere, import it into the
| | 04:04 | scene, and then move it inside of the panorama.
| | Collapse this transcript |
| Moving a sphere into a panorama| 00:00 | Now you may recall that a final
composition features three floating chrome spheres.
| | 00:05 | In this exercise we're going to create
the first sphere and we're going to move
| | 00:08 | it into the panorama and set it up
right here in the middle of the scene.
| | 00:12 | I've saved my progress as Base panorama.psd.
| | 00:15 | It's found inside the 05_materials folder.
| | 00:17 | And what I want you to do is create
a new layer by pressing Ctrl+Shift+N,
| | 00:21 | Command+Shift+N on the Mac, and call it
sphere 2 because it will be the middle sphere.
| | 00:25 | This is an empty layer so
it's ready to receive a new shape.
| | 00:29 | Go up to the 3D menu, choose New Shape
from Layer, and choose Sphere, and you'll
| | 00:33 | see a big white sphere there
in the middle of the scene.
| | 00:36 | Problem is it's not really part of the
scene and as I've been telling you so
| | 00:39 | far, unless your 3D models are all part of a
single scene they won't interact with each other.
| | 00:45 | So to get them to interact make sure
that sphere 2 is selected, Shift+click on
| | 00:49 | scene in order to select it as well.
| | 00:51 | And then go up to the 3D menu and
choose Merge 3D Layers in order to
| | 00:56 | combine them together.
| | 00:57 | You'll notice two things here. First of
all your 3D layer should still be called
| | 01:00 | scene because where 3D merges are
concerned Photoshop always grabs the name of
| | 01:04 | the lowest layer and you'll
also see your sphere disappear.
| | 01:08 | And that's fairly puzzling.
| | 01:09 | The problem is it went elsewhere.
| | 01:12 | Because we made those modifications to
the spherical panorama, the sphere has
| | 01:16 | basically landed in the wrong location.
| | 01:18 | So we have to go out and
find it. No problem though!
| | 01:20 | Go ahead and grab that 3D Walk Camera tool.
| | 01:23 | And then I want you to drag down so
you move out of the sphere and let's go
| | 01:27 | ahead and rotate the entire scene from
the 3D widget by dragging the orientation
| | 01:31 | gadget on the red X axis.
| | 01:33 | And notice as you do so you'll see that
black sphere emerge from the right side
| | 01:39 | of the spherical panorama.
| | 01:41 | Now the reason it is black is because
it's unlit. It doesn't have any light
| | 01:44 | source whatsoever so devoid of light,
| | 01:47 | it just appears black.
| | 01:48 | All right, what I want you to
eventually do is rotate the entire scene so the
| | 01:52 | red X axis on the ground plane
appears absolutely horizontal.
| | 01:57 | Then go to the Layers panel and double-click
on the Scene thumbnail to bring up the 3D panel.
| | 02:02 | Click on Sphere and you know what,
double-click on Sphere and go ahead and call
| | 02:06 | it Sphere_2, just so we can
keep track of these darn things.
| | 02:11 | With that mesh selected I want you to
drop down to the Mesh tools, the third
| | 02:15 | group of tools here inside the 3D panel, and
switch over to the 3D Mesh Pan tool like so.
| | 02:22 | And then you can drag inside the scene.
Or better yet if you want more control
| | 02:26 | go ahead and drag to the left from his
green arrowhead, which is associated of
| | 02:30 | course with the Y axis.
| | 02:32 | And it's probably going
to take a couple of drags.
| | 02:34 | So first time you drag, you probably won't
see the black sphere coming to the place.
| | 02:38 | So go ahead and drag a second time
and if that still doesn't work go ahead
| | 02:42 | and drag a third time. There it is.
| | 02:44 | It's enormous.
| | 02:45 | Notice that it's just huge and it's
started to gobble up our spherical panorama,
| | 02:50 | which was not small in the
first place I have to tell you.
| | 02:54 | Now we need to reduce the size of that
sphere, because this is a big problem.
| | 02:59 | And we're going to do that by
switching over to the Scale the Mesh tool here
| | 03:02 | inside the Options bar and we're
just going to dial in some settings.
| | 03:05 | So change the X value to 15 and then I
am afraid you are going to have to change
| | 03:10 | the Y value to 15 and the Z value to
15 as well manually like so and that
| | 03:16 | reduces the size of that sphere tremendously.
| | 03:19 | Now it's hard to tell where it is,
because it's inside the panorama.
| | 03:23 | So let's go ahead and reset our
camera angle by switching to the Camera
| | 03:27 | tool, it doesn't matter which one, and
then go out to the View popup menu there
| | 03:31 | in the Options bar and choose that final view
option that you saved in the first exercise.
| | 03:36 | That will go ahead and move us into the
scene and there is the sphere. Unbelievable!
| | 03:41 | Now you might not see the sphere
because it might be in back of you or it
| | 03:45 | might be on one of the far sides
where you can't quite get to it.
| | 03:48 | In any case you can sit there and drag
it around or you can use that 3D widget
| | 03:52 | in order to get it in the place.
| | 03:54 | However, don't do it using this tool.
| | 03:57 | You've got to switch to the proper tool.
| | 03:58 | I'm going to bring the 3D panel back up
and what you'd want to do is switch over
| | 04:02 | to one of the Mesh tools if you're going
to take advantage of the widget, or you
| | 04:07 | could just do as I do and
enter some more numerical values.
| | 04:10 | The Orientation value should be by
default 0, 0 and -90 for X, Y, Z respectively.
| | 04:16 | Let's change the position values by
clicking on the Pan tool and then the X
| | 04:21 | value I want you to enter, and again I
just came up with these values through
| | 04:24 | trial and error, is 600 even.
| | 04:27 | And you'll see later that when
you're trying to position multiple objects
| | 04:30 | symmetrically from one another it's
best to work with whole numbers and in my
| | 04:35 | case I'm working with
multiples of 10 as you'll see.
| | 04:38 | I'm going to change the Y value to 420
and press the Enter key or the Return
| | 04:42 | key on the Mac in order to apply that
value and then I'm going to change the Z
| | 04:46 | value to 100 and we end up with
this sphere placement right here.
| | 04:51 | Now the good news is the little sphere
is inside of the big spherical panorama.
| | 04:56 | The bad news is the scene
thus far is entirely unlit.
| | 05:00 | In the next exercise I'm going to show
you how to add yet another variety of
| | 05:03 | light source, one that
will light the entire scene.
| | Collapse this transcript |
| Adding and positioning a point light| 00:00 | In this exercise, we're going take
advantage of the third kind of light source
| | 00:04 | that's available to you inside of
Photoshop and that's the point light and
| | 00:07 | we are going to use a single point
light to illuminate this entire scene.
| | 00:12 | I've saved my progress as the Dark sphere.psd.
| | 00:14 | It's found inside the 05_materials
folder and I'm going to go ahead and zoom out
| | 00:18 | a few clicks and actually press the F
key to switch to the Full Screen mode so I
| | 00:23 | have a lot of room to work here.
| | 00:25 | I'm going to double-click on my
layer thumbnail to bring up the 3D panel.
| | 00:29 | See this infinite light source right
there? As I recall it's not even inside the
| | 00:32 | spherical panorama, so it's
not getting to our little sphere.
| | 00:35 | I am going to go ahead and get rid of it
by clicking on it to make it active and
| | 00:39 | then clicking on the trashcan
there at the bottom of the 3D panel.
| | 00:42 | All right, let's go ahead
and add a new light source.
| | 00:44 | But something I want you to notice.
See how I have two camera angles, one is
| | 00:48 | called Camera_1 and the
other is called final view?
| | 00:50 | Camera_1 was something that Photoshop
created automatically as we were working
| | 00:54 | along. I don't want it.
| | 00:55 | I just want to tidy things up.
| | 00:57 | So I'd like to drop down to the trashcan
icon, but it's not available. You can't
| | 01:00 | get rid of it that way.
| | 01:02 | If you want to get rid of saved views
then switch over to one of the Camera
| | 01:05 | tools, go up to the Options bar, go
ahead and choose the Offending view from the
| | 01:09 | pop-up menu, and you'll switch to that
view of course. Don't worry about that.
| | 01:13 | Then click the little trashcan icon
up here in the Options bar and now once
| | 01:18 | you've done that, you can switch
back to the view you were working with.
| | 01:21 | Hopefully custom view 2 will not be
saved when I switch to final view here.
| | 01:26 | All right we are not seeing it
inside the 3D panel, so that's good.
| | 01:29 | But I just want you to know the little
page icon and the trashcan icon, they
| | 01:33 | only work with light sources and nothing else.
| | 01:35 | All right, so let's create a new light
by clicking on the little page icon and
| | 01:39 | choosing New Point Light and
basically here's how it works.
| | 01:42 | An infinite light I was telling you
is a light that is so far away that it
| | 01:47 | illuminates the scene
with parallel rays of light.
| | 01:50 | So it's a big huge distant light.
| | 01:52 | You can't change its position,
but you can change its angle.
| | 01:56 | A spotlight of course is a directional
light whose rays go out in a kind of cone
| | 01:59 | and you can change both the
position of the light and its direction.
| | 02:04 | A point light is like a bare
bulb hanging from a ceiling.
| | 02:08 | You can change its position as much as
you like, but it's omnidirectional, so
| | 02:12 | you can't change the direction.
| | 02:14 | So in many ways it's the
opposite of an infinite light.
| | 02:17 | Anyway, I am going to go
ahead and choose the Point Light.
| | 02:19 | It's very easy to control.
| | 02:20 | However, notice here I can't
see where the darn thing is.
| | 02:23 | So I showed you how you can go up to
the View menu and choose Show and then
| | 02:28 | choose 3D Lights in order to see the lights.
| | 02:30 | However, here's another way to work as
long as we have the 3D panel open.
| | 02:33 | You can drop down to this little I icon
right there with a grid underneath it and it
| | 02:38 | says Toggle misc (miscellaneous) 3D
extras. Well, what it means is the same
| | 02:42 | options we see on the View menu.
| | 02:44 | So you can go ahead and turn on the
3D light or turn off the ground plane,
| | 02:47 | all that good stuff.
| | 02:48 | I am going to choose 3D Light and there
is my light source right there, all right.
| | 02:52 | Again, you can drag it around as much
as you want using one of the light tools.
| | 02:57 | And that would not be the 3D Light Rotate tool.
| | 03:00 | Even though it appears to be active here
inside the 3D panel, once you select it
| | 03:04 | you'll notice that it's inactive up
here in the Options bar and you do not have
| | 03:08 | access to the orientation values.
| | 03:10 | So what you need to do if you are
going to drag the light around is switch to
| | 03:13 | either the Drag tool or
the Slide tool. Up to you.
| | 03:16 | Then of course you can take advantage
of the widget as well if you want or you
| | 03:20 | can just go ahead and enter the
numerical values that I came up with 600 for the
| | 03:24 | X value and then we want to make sure
that light is poised directly above the
| | 03:30 | sphere and so the back-and-forth
axis at this point is the Y-axis.
| | 03:34 | So I'm going to match that
Y-axis value by changing Y to 420.
| | 03:38 | So in other words, both the light and
the sphere have a Y value of 420 and then
| | 03:44 | I'm going to change the Z value to
500, which lifts the light source.
| | 03:48 | All right, now I am going to drop down
here to the bottom portion of the 3D panel.
| | 03:51 | The intensity value by default is one.
| | 03:54 | The color of the light is white which
is normally what you want, unless you want
| | 03:57 | to add some colored gels to your lights.
| | 03:59 | Then I am going to leave Create
Shadows on and I am going to change the
| | 04:02 | softest value to 20%.
| | 04:03 | All right let's get a sense of what we've done.
| | 04:06 | You might as well go ahead and turn
off 3D light and I'd like you to turn off
| | 04:10 | the 3D Ground Plane as well and I'm
going to press Shift+F to switch back to the
| | 04:14 | Standard Window mode and I'm
zooming in here a little bit as well.
| | 04:17 | I'll go ahead and click on Sphere_
Material located under sphere 2 and I want you
| | 04:22 | to click the down-pointing arrowhead
and you'll see this long list of the
| | 04:25 | various materials that
ship along with Photoshop.
| | 04:27 | Now I want you to make sure
that you're seeing all of them.
| | 04:30 | I told you to do this in a previous chapter.
| | 04:32 | However, just to confirm, check to make
sure that your final material is called
| | 04:36 | Plastic Textured (Blue).
| | 04:38 | If it isn't, then click the right
pointing arrow head and choose Default (for
| | 04:42 | Ray Tracer) and then you get
this dialog box click on Append.
| | 04:46 | In my case, I am going to click Cancel
because I already have all the materials
| | 04:49 | loaded and I'd like you to select this
guy, Metal Silver (Brushed), in order to
| | 04:54 | apply that material. And now to see
how everything renders out, click on the
| | 04:58 | scene to make it active and let's change
the quality from Interactive (Painting)
| | 05:02 | to Ray Traced Draft and go ahead and let it rip.
| | 05:04 | Of course that very first pass is
going to show us most of the highlights and
| | 05:09 | shadows and so forth, as well as notice
we're beginning to see reflections and so
| | 05:15 | the sphere is reflecting the entire
3D scene as you can see, subject to the
| | 05:20 | reflect value that's
associated with the material.
| | 05:23 | Now, I don't have a shadow,
what happened to my shadow?
| | 05:25 | Well I didn't give Photoshop
anything to cast a shadow on to.
| | 05:29 | It might be casting a shadow way on
the bottom of the spherical panorama, but
| | 05:34 | that's too far away.
| | 05:35 | So press the Escape key if you're
working along with me to stop the render.
| | 05:39 | Then go up to the 3D menu, choose
Ground Plane Shadow Catcher, go ahead
| | 05:43 | and click OK in response to the
alert message, and the scene will
| | 05:47 | automatically render again.
| | 05:48 | Now we are going to speed up the
process of course, but you can see the
| | 05:51 | reflections building on the sphere and
you can also see the shadow appearing
| | 05:55 | underneath the sphere.
| | 05:57 | Anyway, that's good enough for now.
| | 05:58 | It gives us a sense of what's going on.
| | 05:59 | We don't have to see the entire render
take place, so I am going to press the
| | 06:02 | Escape key in order to interrupt it.
| | 06:05 | If you decide to interrupt a render
for some reason and then you want it to
| | 06:08 | start up again after the
interruption, go up to the 3D menu and choose
| | 06:12 | Resume Progressive Render.
| | 06:14 | Now if it's dimmed, it means you've
applied some major modification that
| | 06:17 | requires you to start the render all over again.
| | 06:20 | But if all you did was click to
interrupt, then you can choose this command to
| | 06:23 | resume the render process and
Photoshop will once again go about its business
| | 06:27 | and it will give you smoother shadows
and smoother reflections and so forth.
| | 06:32 | So we now have a scene
illuminated by a single point light.
| | 06:34 | In the next exercise we'll
see how to work with materials.
| | Collapse this transcript |
| Modifying the attributes of a material| 00:00 | In this exercise we're going to select
a different material and we're going to
| | 00:03 | modify few basic attributes of that material.
| | 00:06 | I've saved my progress
as Single point light.psd.
| | 00:09 | It's found inside the 05_materials folder.
| | 00:12 | And with my 3D panel open I am going to
click on Sphere_Material in order to select it.
| | 00:17 | And we're going to switch to a
different material in the list here.
| | 00:20 | I am going to click the
down-pointing arrowhead.
| | 00:22 | And materials by the way are a
combination of a bunch of different attributes.
| | 00:25 | Most notably we've got a diffuse
color or texture, which is a base color of
| | 00:30 | the object before its lit and before
we get the highlights and the shadows
| | 00:34 | and the reflections and the refractions and
everything else that adds to that base color.
| | 00:39 | Plus many of these materials include
bump maps, which are surface maps that
| | 00:43 | rough up the shape.
| | 00:45 | Anyway, I am going to select one that doesn't
have a bump map, which is this guy right here.
| | 00:48 | it's Gemstone Ruby.
| | 00:50 | And in my case, that's going to
re-invoke the ray tracing process.
| | 00:53 | And it's going to be pretty slow,
so we're going to speed it up here.
| | 00:56 | But I want you to see how the
program kind of hangs at this point.
| | 01:00 | The pop-up menu stays up on screen, you
have to click in order to get rid of it,
| | 01:05 | and if you do that you're going to
interrupt the ray tracing process.
| | 01:08 | Also, we don't see our values update
over here on the right side of the panel.
| | 01:12 | The Opacity of this effect is not a 100 %.
| | 01:14 | Anyway, I am going to click for a
second to interrupt the process.
| | 01:18 | Click again in order to hide that panel.
| | 01:20 | Now we can see the real values that are at work.
| | 01:23 | Now I am going to go up to the 3D menu
and choose Resume Progressive Render, so
| | 01:28 | I can continue from where it left off.
| | 01:30 | Now I want you to note this Opacity value.
| | 01:32 | it's not the same as the
opacity here inside the Layers panel.
| | 01:36 | Because the opacity is applied to the
front face of the sphere in this case as
| | 01:41 | well as the back face.
| | 01:42 | So the translucency levels are
building on top of each other.
| | 01:46 | And the effect gets even more
intense over here in the sides.
| | 01:49 | So the very edges where
the sphere is turning around,
| | 01:52 | that's where you're going to see the
biggest buildup of Opacity where as you'll
| | 01:56 | get your most translucent
areas in the center of the shape.
| | 01:59 | Anyway, I am going to go ahead and
click in order to stop this render process
| | 02:02 | because I am not thinking that this is the
most realistic Ruby effect I've ever seen.
| | 02:06 | But I do want you to
notice a couple of things here.
| | 02:09 | We've got a bit of reflection coming off
of the grass down here at the bottom of
| | 02:12 | the image, and from the sky as
well and we have some refraction.
| | 02:16 | Now refraction is the amount of
distortion applied to light as it passes
| | 02:20 | through the object.
| | 02:22 | So refraction only becomes
important at lower opacity levels.
| | 02:25 | In our case we're seeing the most
obvious refraction here in the form of
| | 02:29 | the ground level reflected at the top
of the object, and some of the clouds
| | 02:32 | down here at the bottom.
| | 02:33 | All right, what I am going to do though
just to get rid of the ray trace is I
| | 02:37 | am going to switch to Scene and I am
going to change the Quality back to
| | 02:39 | Interactive (Painting) so we can
make a few changes without having to
| | 02:42 | incessantly interrupt the ray trace.
| | 02:45 | And I am going to switch
back to Sphere_Material.
| | 02:47 | And I want this to be something of a
sapphire effect so I am going to click on
| | 02:50 | this diffuse color, because notice if I
hover over the word Diffuse I do not see
| | 02:54 | a pop-up texture, which
means there is no texture at work.
| | 02:56 | It's all about the color.
| | 02:57 | I am going to click on that and to get
sapphire I figure it should be a Hue value of 210.
| | 03:01 | I'll leave the Saturation and
Brightness alone. Click OK.
| | 03:05 | And I don't see any reason why the
Opacity should be this low. You can't see
| | 03:10 | through a sapphire or for that
matter a ruby like a pair of sunglasses.
| | 03:14 | So I am going to raise
the Opacity level to 88%.
| | 03:17 | We'll revisit Bump and Environment later
so I am going to skip ahead to Reflection.
| | 03:21 | Now if you want to turn that thing
into a blue colored mirror then you would
| | 03:25 | take this value up to 100%.
| | 03:25 | That's not what we want.
| | 03:27 | I do want some Reflection
though so I'll take this up to 35%.
| | 03:31 | Now Illumination is a little bit of a conceit.
| | 03:33 | It's the color of the light
that's put off by the object.
| | 03:37 | Now in real life that kind of
illumination only happens with light sources.
| | 03:40 | However, it's a great way by adding a
little bit of color illumination here,
| | 03:45 | it's a great way to make an object shine
which can be useful for gems and metals
| | 03:49 | and other shiny materials.
| | 03:51 | So I am going to go ahead and click on
this color swatch, change the Hue value
| | 03:54 | to 210, and click OK.
| | 03:56 | All right, Gloss and Shine you may
recall from the previous chapter.
| | 03:59 | Gloss is the size of the spread, if
you prefer, of the highlights that are
| | 04:03 | bouncing off the object.
| | 04:05 | Shine is the intensity of those highlights.
| | 04:07 | So I am going to take the
Gloss value up to a 100%.
| | 04:09 | A Shine value of 82% is just fine.
| | 04:11 | Specular is the color of the
brightest point in the highlight.
| | 04:16 | Generally, you want that to be white
but you can calm it down by dialing in a
| | 04:19 | darker color if you want.
| | 04:20 | Ambient light, that's the color of the
natural light that just surrounds the object.
| | 04:24 | So again it's another way for
the object to self illuminate.
| | 04:28 | I am going to click on Ambient and I am
going to change the Hue value to once again 210.
| | 04:32 | Uniform across the board.
| | 04:34 | Now regarding Refraction, the
Refraction index can vary from 1 to 3.
| | 04:38 | And just to give you a sense of what
that means, if the object were space,
| | 04:43 | if it were just a vacuum, then we would
have no refraction and as a result the
| | 04:47 | Refraction index would be 1.
| | 04:49 | If the object is supposed to be
water or ice, the Refraction index in the
| | 04:53 | real world is about 1.3.
| | 04:55 | If it's a sugar-based soft drink that's
translucent, anything from Gatorade to
| | 05:00 | Coca-Cola, then it's
going to be around 1.4 to 1.5.
| | 05:04 | If it's a glass, and this could be a
highball or it could be a wine glass,
| | 05:08 | something along those
lines, then it's 1.5 to 1.6.
| | 05:12 | If it's a gemstone, it's going
to be right around 1.77 typically.
| | 05:17 | So I am going to leave my
Refraction value exactly as it is.
| | 05:21 | And then finally, diamond has a
Refraction index of about 2.4.
| | 05:25 | So just a few examples to bear on mind.
| | 05:27 | Obviously, you want to change this
value to something that looks good.
| | 05:30 | All right, having dialed in a few
adjustments I am going to click on Scene
| | 05:35 | here at the top of the list and then I'll
change the Quality back to Ray Traced Draft.
| | 05:39 | And just for the sake of expediency
we're going to go ahead and super-speed
| | 05:43 | through this ray trace process.
| | 05:45 | But even as it works
check out those reflections.
| | 05:47 | You can actually see that seam right there.
| | 05:50 | That is not a seam in the object itself.
| | 05:53 | That's a seam in a larger panorama that
the sphere just happens to be reflecting.
| | 05:58 | And we'll ultimately have to take
care of that seam once we render out the
| | 06:01 | trio of chrome spheres.
| | 06:03 | But in the meantime this is good enough.
It gives you a sense of how materials work.
| | 06:06 | In the next exercise we're going to
create a little bit of surface texture
| | 06:10 | by adding a bump map.
| | Collapse this transcript |
| Designing a custom bump map| 00:00 | In this exercise, we're going to design
and apply a bump map to our spherical object.
| | 00:05 | I've saved my progress as Sorta sapphirey.psd.
| | 00:08 | It's found inside 05_materials folder.
| | 00:11 | And a bump map allows you to create
surface texture inside of an object.
| | 00:15 | Wherever the bump map is white, that
raises that portion of the object and
| | 00:19 | wherever it's black, that
sinks that area of the object.
| | 00:22 | So you end up creating ridges and valleys.
| | 00:24 | Now you can vary the Bump value here
inside of the 3D panel, assuming that the
| | 00:29 | material is selected.
| | 00:30 | So if it's not, go ahead and click on it.
| | 00:32 | You can vary that Bump value all
the way up to 10 in order to create a
| | 00:36 | deeply carved object, but first you need to
create a bump map for the value to work with.
| | 00:40 | So here is what we are going to do.
| | 00:42 | Click on the folder icon to the right
of the word Bump and choose New Texture
| | 00:46 | and then let's go ahead and call this
guy Sapphire bump map and I am going to
| | 00:50 | change the Width and Height
values to 128 pixels a piece.
| | 00:53 | The background content should be transparent.
| | 00:55 | The resolution does not matter.
| | 00:57 | Now why 128 pixels?
| | 00:59 | Well, we are going to be working with
the Clouds filter and the Clouds filter
| | 01:02 | seamlessly repeats every 128 pixels
automatically and so we are going to
| | 01:08 | exploit that feature.
| | 01:09 | Click OK and instead of opening the bump map
Photoshop starts re-rendering the scene.
| | 01:14 | Well, I don't want that so I am going
to press the Escape key and now go over here
| | 01:18 | to the Layers panel and you'll see
that Bump is set to Sapphire bump map.
| | 01:22 | Go ahead and double-click on Sapphire
bump map in order to open that image in
| | 01:27 | the new image window.
| | 01:28 | All right, the next thing I want to do,
because I want this bump map to actually
| | 01:32 | be bigger than this.
| | 01:33 | I want it to be four times as large
let's say, but I don't know what four times
| | 01:37 | 128 is and I will feel like
whipping out a calculator.
| | 01:40 | So I am going to go up to the Image
menu and choose Canvas Size or press
| | 01:43 | Ctrl+Alt+C, Command+Option+C on the
Mac and then here inside the Canvas Size
| | 01:48 | dialog box make sure Relative is turned off.
| | 01:51 | Change the Width setting here to
percent and that will change the Height value
| | 01:54 | to percent as well and then change the
Width value to 400%, press the Tab key a
| | 01:59 | couple of times, the change the Height
value to 400%, click OK, and you've just
| | 02:04 | increased the size of both the
height and width of this image by 4x.
| | 02:07 | All right, now let's double-click this
layer and we'll call it bump map and then
| | 02:11 | I want you to click on the flyout
menu icon for the Layers panel and choose
| | 02:15 | Convert to Smart Object in order to
convert this empty layer to a Smart Object
| | 02:19 | so we can apply some filters.
| | 02:21 | Make sure the foreground and background
colors are black and white which you can
| | 02:24 | do by pressing D for default colors.
| | 02:26 | Then go up to the Filter menu and
choose Render and then choose Cloud.
| | 02:31 | The whole reason we change the
foreground and background colors to black and
| | 02:33 | white is because those are the colors that
are ultimately employed by the Clouds filter.
| | 02:38 | All right, to build up a little more
contrast I will go to the Filter menu,
| | 02:42 | choose Render once again, and choose
Difference Clouds, and then you want to press
| | 02:45 | Ctrl+F on the PC or Command+F on the
Mac as many times as you see fit until you
| | 02:51 | get sort of this roiling
collection of black-and-white fractal noise.
| | 02:55 | Now I want to show you something here.
| | 02:57 | I am going to go up to the Filter menu
and I am going to choose Other and I am
| | 03:00 | going to choose Offset, a command
that allows you to gauge whether a pattern
| | 03:04 | really is seamless or not, and I'll
enter for example 256 and I am going to
| | 03:09 | change the Vertical value to 256 as well.
| | 03:11 | We've just gone ahead and rolled the
image around itself and there's not a
| | 03:15 | single seam at work.
| | 03:16 | So as I say, Clouds and Difference Clouds,
they always seamlessly repeat every 128 pixels.
| | 03:23 | All right, anyway I am going to cancel
out of there because there is nothing
| | 03:25 | else to be done, except one thing and
that is I am going to go up to the Filter
| | 03:29 | menu, choose Pixelate, and choose Crystallize.
| | 03:33 | That will give us this
sort of semi-gemstone pattern.
| | 03:36 | It's not really going to look
like cut gem, but it will provide a
| | 03:39 | interesting texture.
| | 03:40 | I am going to take this value
up to let's say 25 and click OK.
| | 03:45 | Now we've got ourselves a nice surface
texture. I am going to right click inside
| | 03:49 | this filter mask and choose Delete
Filter Mask to get rid of it, then I am going
| | 03:52 | to close this image and click the Yes
button here on the PC or the Save button
| | 03:57 | on the Mac and that applies our bump map.
| | 03:59 | Now we are not really seeing it too well
because we haven't ray traced the scene
| | 04:03 | and strangely Photoshop is not
automatically invoking the ray trace.
| | 04:06 | Now we could go up to the 3D menu and
force it to begin ray tracing by choosing
| | 04:10 | Resume Progressive Render.
| | 04:12 | But there's one more change I want to make.
| | 04:14 | I am going to double-click in the layer
thumbnail to bring up the 3D panel and
| | 04:17 | then I am going to click on Scene and
I'm going to click on Global Ambient Color
| | 04:21 | and right now it's 100%.
| | 04:22 | I am going to take that down to 65%
brightness and click OK and then that
| | 04:28 | should cause Photoshop to re-invoke the ray
tracing process and sure enough here comes the grid.
| | 04:34 | As usual, we're going to go ahead and
speed it up, so don't be frustrated by the
| | 04:37 | fact that it's happening much faster in
the video than it is on your screen, and
| | 04:41 | in time we are going to see that
surface texture, we're going to see the
| | 04:44 | reflections, we're going to
see the shadows, and so forth.
| | 04:47 | The only change I think I might make
here-- I am going to go ahead and click in
| | 04:50 | order to stop the render.
| | 04:51 | It seems to me we might have a little
higher impact of fact if I raise that Bump value.
| | 04:56 | So I'm going to click on Sphere_Material
again and I am going to take that value
| | 05:00 | up to something that's not the least
bit subtle, let's try 4, and then press in
| | 05:04 | the Enter key or the Return key
again to reinvoke that ray trace.
| | 05:07 | You can already see along the way
here that with the lower level of global
| | 05:11 | ambient light that the shadow is
much darker underneath the blue sphere.
| | 05:15 | All right, so there it is, the final ray
traced version of our cut sapphire sphere.
| | 05:20 | In the next exercise we're going to
introduce the two missing spheres into our scene.
| | Collapse this transcript |
| Adding precisely symmetrical spheres| 00:00 | All right now to introduce the
other two spheres into the composition.
| | 00:03 | I've saved my progress as Bumpy sphere.psd.
| | 00:06 | It's found inside the 05_materials folder.
| | 00:08 | Just so that we are not plagued by the
rendering, I am going to double-click on
| | 00:11 | the layer thumbnail for
scene to bring up the 3D panel.
| | 00:14 | Click on Scene up here at the top of
the list and then change the Quality back
| | 00:18 | to Interactive Painting.
| | 00:20 | And next, I'll create a new layer by
pressing Ctrl+Shift+N, Command+Shift+N on
| | 00:23 | the Mac and I'll name this
layer sphere 1 and click OK.
| | 00:28 | Next, go up to the 3D menu, choose New
Shape From Layer, and choose Sphere, and
| | 00:32 | that will introduce as big white sphere
into the middle of things. Shift+Click
| | 00:36 | on Scene so that both of the layers are
selected, then go up to the 3D menu and
| | 00:41 | choose Merge 3D Layers.
| | 00:43 | Now that will send that sphere who knows
where, presumably way to the back of the scene.
| | 00:47 | Let's go ahead and select Sphere, the
new sphere, double-click on it, name it
| | 00:52 | Sphere_1 or whatever you want to call
it, and now with that mesh selected go
| | 00:57 | ahead and choose the 3D Mesh Pan tool so
that we can modify the position of this mesh.
| | 01:03 | And I am going to enter those same
values that we applied to the middle
| | 01:06 | sphere, which are X: 600
| | 01:08 | and then for the Y value we want 420,
Notice that we've got this big sphere
| | 01:13 | coming into the scene.
| | 01:15 | And then finally for the Z value,
let's go ahead and change that guy to 100.
| | 01:19 | And the sphere is much too large of course.
| | 01:22 | So go ahead and select the Scale the
Mesh tool here inside the Options bar and
| | 01:26 | change every single one of these
values independently of course to 15.
| | 01:31 | So I'll change the X value to 15, the Y
value to 15, and finally, I'll click on
| | 01:35 | the Z value and change that to 15 as well.
| | 01:38 | And we have this fairly nondescript
sphere going on that is covering up
| | 01:43 | our previous sphere.
| | 01:44 | Now at this point I want to go ahead
and modify the location of that sphere.
| | 01:49 | I want to move it to the left and then I
want to move it backward a little bit as well.
| | 01:52 | So I am going to grab my Pan tool,
and I am going to drag the sphere to the
| | 01:57 | left while pressing the Shift key, but I went
ahead and grab the wrong sphere. That's a drag.
| | 02:03 | All right, let's press Ctrl+Z or
Command+Z on the Mac to undo that movement.
| | 02:07 | You know instead let's make sure that
Sphere_1 is selected here inside the
| | 02:10 | 3D panel, which it is.
| | 02:12 | and I am going to drag from that red
arrow over to the right and I would like
| | 02:16 | to move that sphere backwards as well.
| | 02:18 | So using the Pan tool I'll drag,
while I am pressing the Alt key or the
| | 02:22 | Option key on the Mac and that's going
to send that guy backward, and then I
| | 02:26 | could go ahead and drag it up while
pressing the Shift key to constrain the
| | 02:30 | movement of the sphere up.
| | 02:33 | Ultimately however, I am going to
give you some specific position values.
| | 02:36 | So I am going to change the X value to
0 and then I'll change the Y value to
| | 02:41 | -880, like so, and that's going to move
that sphere over to the left, and then I
| | 02:46 | am going to change the Z value to 700.
| | 02:47 | All right, let's back off the
scene by pressing Ctrl+Minus or
| | 02:51 | Command+Minus on the Mac.
| | 02:52 | All right, so remember a couple of
these values. X is 0 and Z is 700.
| | 02:58 | So the next sphere that we bring in
will mimic those exact same values.
| | 03:01 | However, we are going to change the Y
value to something different and I'll
| | 03:04 | explain why in just a moment.
| | 03:06 | To make the next sphere press Ctrl+
Shift+N, Command+Shift+N on the Mac, call
| | 03:10 | this guy sphere 3, go ahead and click
the OK button, then go up to the 3D menu,
| | 03:15 | choose New Shape From Layer, choose
Sphere, we'll have this big white sphere in
| | 03:20 | the center of things.
| | 03:21 | Go ahead and Shift+Click on Scene so
that you have both of the layers selected.
| | 03:25 | Go up to the 3D menu. So the exact same
stuff we did before. Choose Merge 3D layers.
| | 03:30 | That's going to send the
sphere way to the back once again.
| | 03:34 | Now I need to find this new
mesh here inside the 3D Panel.
| | 03:36 | It's called Sphere. I'll go ahead and
change its name as Sphere_3 and then
| | 03:41 | I'll dial-in some position values for
starters, and those values are 0 once
| | 03:46 | again for X and for Y we are going to
change the value to -880 and for Z we are
| | 03:52 | going to change the value to 700, and
of course this sphere is way too big so
| | 03:57 | we need to go ahead and switch over to
the Scale tool and I need to dial-in for
| | 04:01 | X, Y, and Z 15 apiece.
| | 04:03 | So 15 for X and then for Y go ahead and
change that guy to 15 and then for Z go
| | 04:09 | ahead and change that guy to 15 as well.
| | 04:12 | So that we have a spherical
object instead of a big huge ellipse.
| | 04:16 | All right, so there it is.
| | 04:17 | Now here is a deal. I want it to be
positioned symmetrically around Sphere_2, so
| | 04:21 | if I click on Sphere_2 and then we
switch over to one of the positioning tools
| | 04:26 | specifically in this case the Pan tool
then I can see that my Y value is 420.
| | 04:31 | All right, so bear that in mind, 420.
| | 04:33 | Now, I'll switch to Sphere_3. It's at -880.
| | 04:37 | What you do is you add 880 to 420,
and if you do the math, I am just going
| | 04:43 | to write it down here,
| | 04:44 | 880+420, then you end up getting a value
of 1300. Then you add that value to the
| | 04:51 | Y position of Sphere_2, which is 420,
and you end up coming up with 1720.
| | 04:57 | And so I am going to switch back to
Sphere_3 and I am going to change that Y
| | 05:01 | value to 1720 and that's going to
create an absolutely symmetrical position as
| | 05:07 | you see right there.
| | 05:09 | Now there's one more modification
that I want to make to this entire image.
| | 05:13 | It's too large and that's going
to interfere with our ray tracing.
| | 05:16 | So I'm going to go up to the Image menu
and I am going to choose the Image Size
| | 05:19 | command or press Ctrl+Alt+I, Command+
Option+I on the Mac and I'm going to change
| | 05:24 | the Width value to 1400 pixels.
| | 05:27 | That will automatically change the
Height value to 900 pixels, assuming that both
| | 05:31 | the Resample Image and Constrain
Proportion checkboxes are turned on.
| | 05:35 | Scale Styles does not matter for this.
Go ahead and click OK and that will go
| | 05:39 | ahead and downsample the entire scene
without moving a single one of those
| | 05:44 | objects, and now we have
all three spheres in place.
| | 05:47 | In the next exercise, we will design
and apply a custom chrome material.
| | Collapse this transcript |
| Designing and saving a custom material| 00:00 | In this exercise, we're going to design
and apply our own custom chrome material.
| | 00:05 | I've saved my progress as
Three symmetrical shapes.psd.
| | 00:08 | It's found inside the 05_materials folder.
| | 00:11 | I am going to double-click on the
thumbnail here inside the Layers panel for the
| | 00:14 | scene layer to bring up the 3D panel.
| | 00:16 | I am going to click in the Material
for Sphere_1 because I can best see that
| | 00:21 | sphere on screen here.
| | 00:23 | And then I'll drop down to this little
sphere icon in the bottom portion of the
| | 00:26 | panel, click the down pointing
arrowhead, scroll my way down the list until I
| | 00:30 | find this guy, Metal Chrome.
| | 00:32 | Now as soon as I click on it, it
seems to apply a kind of checkerboard
| | 00:35 | pattern to the sphere.
| | 00:37 | That happens to be the environment map, and
we'll come back to that in the next exercise.
| | 00:42 | But for now just go ahead and suspend
disbelief and trust me that things are
| | 00:46 | going to look nice here.
| | 00:47 | Alight, to get a sense of what that
chrome looks like, because it looks nothing
| | 00:51 | like that whatsoever, let's go ahead
and click on Scene and then change the
| | 00:55 | Quality to Ray Trace Draft.
| | 00:57 | Now we're just going to wait out the
render until we see what that chrome effect
| | 01:01 | looks like when it's applied to the sphere.
| | 01:03 | And that's good enough.
| | 01:04 | I am going to press the
Escape key to interrupt the render.
| | 01:07 | And you can see that this chrome item
right there is doing a terrific job of
| | 01:11 | reflecting the other two spheres.
Perhaps a little too good of a job.
| | 01:16 | Now, if you take a spoon, for example,
and you look at the back of the spoon and
| | 01:20 | even if it's a highly reflective
surface, it's not this reflective.
| | 01:24 | It has some sense of metal going on.
| | 01:26 | So we're going to make some modifications.
| | 01:28 | I am going to switch Quality back to
Interactive (Painting) and I am going to
| | 01:32 | click on that material for Sphere_1.
| | 01:34 | And a few modifications we want to make.
| | 01:36 | The Opacity value of a 100 % is fine.
| | 01:38 | That Diffuse color of gray is
just great because it's a gray metal.
| | 01:42 | We don't want any bump maps so
we're not going to create one.
| | 01:44 | We do want to take that Reflection value down.
| | 01:46 | That's part of the problem.
| | 01:47 | This is not a mirrored surface.
| | 01:49 | We should take the Reflection
down to about 50 % in my estimation.
| | 01:54 | Then I am going to increase the Gloss value
to a 100% so we have nicely spread highlights.
| | 01:59 | And I am going to reduce the
intensity of those highlights by changing the
| | 02:02 | Shine value to 50%.
| | 02:05 | The rest of the options
don't matter; they're fine as is.
| | 02:07 | Now let's run another ray trace by
going up to Scene and then changing the
| | 02:11 | Quality to Ray Trace Draft and letting it rip.
| | 02:13 | And you can see how this is a much better
chrome effect, at least it is in my opinion.
| | 02:17 | We have some sense of metal
going on inside of that scene.
| | 02:21 | Also notice that wicked highlight
that's coming out of the clouds and what
| | 02:25 | we're seeing there is that point
light at the very top of the scene.
| | 02:28 | That's good enough.
| | 02:29 | I am going to press Escape key once
again in order to stop the render.
| | 02:33 | But you can see that all of the
objects are now casting shadows even if the
| | 02:37 | shadows go up and beyond that grassy knoll.
| | 02:39 | All right, now what we need to do is
take that chrome material and apply it
| | 02:43 | across all three spheres.
| | 02:44 | And the wonderful thing inside Photoshop is
you can define and save your own materials.
| | 02:50 | So we've already defined it. Click on
Sphere_Material underneath Sphere_1.
| | 02:54 | And click on the down-pointing arrow
head next to the sphere and then click on
| | 02:57 | the right-pointing arrow head and
let's go ahead and choose New Material.
| | 03:01 | I am going to call this material
Better chrome and then click OK.
| | 03:05 | All right, now what I want you to do
is click on the Material under Sphere_2,
| | 03:10 | down here in the bottom portion of the
panel, scroll to the very bottom of the
| | 03:13 | list, and you'll find our
new material Better chrome.
| | 03:16 | Click on it to apply it to that shape.
| | 03:19 | That's going to re-invoke the ray tracing.
| | 03:21 | Click in order to interrupt that
process because we need to change the material
| | 03:25 | for Sphere_3 as well, so click on it.
| | 03:28 | Then click the down-pointing arrow head
and then go ahead and click on Better chrome.
| | 03:33 | And now you can let the ray tracing rip.
| | 03:35 | You can see that's going a lot faster
this time by the way, by virtue of the
| | 03:39 | fact that we reduced the size of the image.
| | 03:41 | All right, so I think a couple of
passes of ray tracing is plenty.
| | 03:44 | I am going to go ahead and press the
Escape key in order to stop the process.
| | 03:48 | These chrome spheres look great at
this point, except there's one problem.
| | 03:53 | I am going to go ahead and zoom in.
| | 03:54 | What's with the checkerboard?
| | 03:56 | The checkerboard is showing
up all over the place here.
| | 03:59 | All right, so what we're seeing is this
little guy right there that I am tracing.
| | 04:03 | That is the reflection of
Sphere_2 inside of Sphere_1.
| | 04:07 | But then this checkerboard pattern is a
reflection of Sphere_1 being reflected
| | 04:12 | in Sphere_2 and then back into Sphere_1.
| | 04:15 | So if you've ever seen a couple of
mirrors, one in back of you and one in
| | 04:18 | front of you, and the way they repeat
back and forth forever and ever, that's
| | 04:22 | what's happening here.
| | 04:23 | Only Photoshop stops the reflection
process for the sake of expediency, if
| | 04:27 | nothing else, after a couple of reflections.
| | 04:29 | We're seeing that checkerboard pattern
| | 04:32 | as it works inside of the chrome
material reflected back on the second pass.
| | 04:38 | And what that is, is the environment map.
| | 04:41 | So we need to swap out the environment map.
| | 04:43 | We need to get rid of the
checkerboard, replace it with a larger scene.
| | 04:47 | I am going to show you how to do
exactly that in the next exercise.
| | Collapse this transcript |
| Replacing an environment map| 00:00 | In this exercise I'm going to show you
how to swap out those little checkerboard
| | 00:03 | that are appearing inside the
reflections in each and every one of these spheres,
| | 00:08 | by replacing the environment map.
| | 00:10 | I've save my progress as Custom
chrome material.psd. It's found inside the
| | 00:14 | 05_materials folder and if I double
click on the thumbnail for the Scene layer
| | 00:18 | here inside the Layers panel.
| | 00:19 | that will bring up the 3D Scene panel.
| | 00:21 | Now I'll go ahead and click on any
one of these materials here that is
| | 00:24 | associated with any of the sphere
layers and you'll see right there is an
| | 00:28 | item called Environment.
| | 00:30 | The environment map is an image that's
automatically reflected inside of a 3D object.
| | 00:35 | Now you might think in this case we
don't need such a thing because after all
| | 00:39 | we're reflecting the overall scene, but
Photoshop at a point is wondering, "Well,
| | 00:44 | what am I supposed to reflect here, what
is this thing, what is the innate image
| | 00:49 | that's associated with the
object that I'm reflecting?"
| | 00:52 | And so we need to give it that information.
| | 00:54 | Right now it's this checkerboard
and we can see that checkerboard.
| | 00:58 | I'll go ahead and close the 3D panel here
| | 01:01 | by returning to the Layers panel. And
notice underneath the word Environment is
| | 01:05 | this item called 0 Default Material Map.
If you double click on it, you will
| | 01:09 | open that checkerboard pattern.
| | 01:11 | What I'd like you do is just go and turn it off.
| | 01:13 | Now that's not enough, because if we just
turned off the checkerboard, then all of
| | 01:18 | those little spheres would turn white
instead. We need to go ahead and add our
| | 01:21 | own image to this environment.
| | 01:23 | So first thing I'm going to do is go
up to the Image menu, choose the Canvas
| | 01:27 | Size command, and I'm going to change
the size of this environment map so it
| | 01:31 | matches the size of our overall
composition, which is you may recall-- make sure
| | 01:36 | relative is turned off-- is 1400 pixels
wide by 900 pixels tall. Then click OK.
| | 01:43 | Photoshop will tell you you're
clipping the image. It doesn't matter.
| | 01:45 | It's empty at this point, so click Proceed.
| | 01:48 | Then notice that I've already opened
Seamless scene.psd and I'm going to go
| | 01:52 | ahead and turn all of these layers on,
and I'll explain what's going on with
| | 01:55 | these layers in a future exercise.
| | 01:57 | But for now just go ahead and turn
every single one of them on, then press
| | 02:01 | Ctrl+A or Command+A on the Mac to
select the entire image, and then to copy a
| | 02:06 | merged version of those layers,
| | 02:07 | That is the composite view of all the
tayers together, press Ctrl+Shift+C or
| | 02:13 | Command+Shift+C on the Mac.
| | 02:14 | All right, then I'm going to switch
over to that 0 Default Material Map
| | 02:18 | window and I'm going to press Ctrl+V or
Command+V on the Mac in order to paste the image.
| | 02:23 | Now you probably get this
profile mismatch warning.
| | 02:26 | It does not matter.
| | 02:27 | We should not be seeing it because we
asked not to in our color settings way
| | 02:31 | long ago, but just click OK.
| | 02:33 | All right, now I need you to zoom out
so you can take in a lot of the pasteboard
| | 02:37 | and we need to scale this image, so
that it fits inside of its new home
| | 02:41 | by going up to the Edit menu and
choosing the Free Transform Command, by
| | 02:45 | pressing Ctrl+T, Command+T on a Mac and
then drag that bottom right handle until
| | 02:50 | it snaps into alignment with the bottom
right corner of the canvas and press the
| | 02:54 | Enter key or the Return key on the
Mac in order to accept that change.
| | 02:57 | All right, I'm going to zoom back in.
Now if you want to keep things tidy, you
| | 03:00 | might want to go ahead and rename that
layer and I'm going to call it Landscape.
| | 03:04 | This isn't essential by the
way, just good housekeeping.
| | 03:07 | And now I'm going to close the image
window and click Yes here on the PC or Save
| | 03:12 | on the Mac in order to save my changes.
| | 03:14 | Now I'm back in the Seamless scene.psd
document. Press F12 in order to revert
| | 03:19 | that image to its original appearance
and switch back to the image at hand and
| | 03:23 | we're not seeing a render.
| | 03:25 | So we're not seeing any of the
reflections or the shadows or any of that stuff.
| | 03:29 | So in order to re-invoke the
render, go up to the 3D menu and choose
| | 03:33 | Resume Progressive Render.
| | 03:35 | So Photoshop will once again go ahead
and ray trace that scene, and now you can
| | 03:39 | see that we have realistically
rendered double reflections inside of each and
| | 03:45 | every reflected globe.
| | 03:46 | All right, that takes care of that problem.
| | 03:49 | Now we still have a larger problem,
which is this big seam across the edges of
| | 03:54 | the various globes, and what's happening
here is these globes are reflecting the
| | 03:58 | scene that we can't see on the interior
of the spherical panorama. Also, we've
| | 04:04 | got something of a seam, sort of just
this general weirdness down here at the
| | 04:08 | bottom of the grass, and I'm going to
show you how to resolve both of those
| | 04:12 | problems in the next exercise.
| | Collapse this transcript |
| Resolving seams in a 3D panorama| 00:00 | In this exercise I am going to show you
how I resolved these various seams that
| | 00:03 | appear inside the
reflections in each one of the orbs.
| | 00:08 | I've saved my progress as Proper
orbs within orbs.psd, found inside the
| | 00:12 | 05_materials folder.
| | 00:14 | I want you to notice the two seams that we have.
| | 00:16 | First of all there is this big scene
seam where the left and the right hand
| | 00:21 | sides to of the seam are wrapping
around to touch each other and then we have
| | 00:24 | this other seam at the bottom of the
image, down here at the ground level, and you
| | 00:30 | can see it best inside of the left
hand orb and the right hand orb, but it
| | 00:34 | appears down here in the middle orb as well.
| | 00:37 | So we need to correct for all those problems.
| | 00:39 | Go to the Layers panel and notice
under the word Diffuse is the word scene.
| | 00:43 | I want you to double-click on it.
| | 00:45 | That is the scene that's being
wrapped around the interior of the
| | 00:48 | spherical panorama.
| | 00:49 | Now I am going to click on the
background layer to make it active.
| | 00:53 | I was telling you there is that Offset command.
| | 00:54 | I will go to the Filter menu, choose
Other, and choose Offset and it allows you
| | 00:59 | to gauge the seams across your image.
And I went ahead and changed the Horizontal
| | 01:03 | Value to 1166 because that happens to be
half the width of this image, and then I
| | 01:08 | clicked OK and I've got quite the seam going on.
| | 01:12 | Now normally if I were trying to do a
really good job, a really meticulous job
| | 01:16 | because the image had to stand on
its own, then I would spend probably 15
| | 01:20 | minutes to half an hour on this process trying
to get these two halves of this image to match up.
| | 01:26 | However, it's not worth that much work
when we are creating a spherical panorama.
| | 01:29 | You can get away with
some quick and dirty edits.
| | 01:32 | So here is what I did.
| | 01:33 | I went ahead and grabbed the
Rectangular Marquee tool and I selected a general
| | 01:36 | area around the scene.
| | 01:38 | Then I went up to the Edit
menu and chose the Fill command.
| | 01:40 | You can also get to it by pressing
Shift+Backspace or Shift+Delete on the Mac
| | 01:45 | and then inside the Fill dialog box
make sure Use is set to Content-Aware, which
| | 01:49 | is that Content-Aware Fill feature
that was introduced in Photoshop CS5, and
| | 01:53 | click OK and then you
let Photoshop do its thing.
| | 01:56 | It is going to integrate details outside
of the selection and repeat them inside
| | 02:00 | the selection and it's anyone's guess
whether your results will match mine.
| | 02:04 | Now in my case it has done an okey
-dokey job along the clouds here.
| | 02:08 | It has done a terrible job along the ground.
| | 02:10 | So I'll select this region and then I
will press Shift+Backspace or Shift+Delete
| | 02:15 | to bring up the Fill dialog box again.
| | 02:17 | Use is still set to Content-Aware.
I'll click OK. And basically it is just
| | 02:22 | a matter of doing that over and over again
until you get some fairly smooth results.
| | 02:26 | Now it may take a while.
| | 02:27 | It may take multiple passes, but
eventually you'll get something that
| | 02:31 | looks reasonably good.
| | 02:32 | This doesn't look good at all.
| | 02:33 | I'm not suggesting you stop here.
| | 02:34 | You would continue to select regions
press Shift+Backspace or Shift+Delete,
| | 02:39 | let the command do its thing, see
what it comes up with, and so forth.
| | 02:43 | Once you get a decent result, then you
go back up to the Filter menu, choose the
| | 02:48 | Other command, choose Offset, and
regardless of what Offset value you applied
| | 02:53 | before, just change it from Positive
to Negative and that will go ahead and
| | 02:57 | reset the image. Click OK.
| | 02:59 | All right, well here is what I came up with.
| | 03:02 | If you turn on the seamless layer and
click on it to make it active, I'll press
| | 03:06 | Ctrl+Alt+F or Command+Option+F on the
Mac to bring back up the Offset dialog box
| | 03:11 | with the last applied settings
and you can see there is my seam.
| | 03:15 | So it is by no means perfect.
| | 03:17 | I would never try to pass off this image
as something I was remotely proud of.
| | 03:20 | However, once again it's going to
work well enough for this 3D scene.
| | 03:24 | Anyway I am going to cancel out.
| | 03:26 | Now you're still going to have some problems.
| | 03:27 | For example, I am going to zoom in to
this lower left region of the image.
| | 03:31 | Notice that I have some regular grass
going on here and all of a sudden there is
| | 03:35 | this big huge grass showing up next-door.
| | 03:37 | Well, that huge grass was
created by Content-Aware Fill.
| | 03:41 | It is by no means a perfect feature.
| | 03:42 | it's just an easy one to use, and then
I've got this cloud that looks like the
| | 03:46 | silhouette of a lion and
it's repeated right over there.
| | 03:49 | Those kinds of problems you're going
to have to go ahead and solve manually
| | 03:52 | using the Healing Brush and that's
what I did to get this healing layer,
| | 03:56 | the next layer up in the stack.
| | 03:58 | So you can see I resolved the way that
grass looks a lot better. I still have a
| | 04:01 | couple of lions silhouettes. Who cares.
| | 04:03 | Anyway, I am going to zoom back out.
| | 04:05 | You could spend as much or as
little time on this project as you like.
| | 04:08 | All right, now I need to resolve that
pucker that was appearing at the bottom of
| | 04:13 | the grass and I'm going to do that
by adding this gradient layer and this
| | 04:17 | gradient layer is no great shakes.
| | 04:19 | I just selected a bright shade of green.
| | 04:20 | I said the Gradient tool to create a
foreground of transparent gradient and I
| | 04:24 | tried to create a very small
gradient at the bottom of the image, on an
| | 04:28 | independent layer by the way.
| | 04:29 | That's the best way to work.
| | 04:30 | But notice it is set to the Normal mode.
| | 04:32 | So I didn't even attempt to add any
blending. But that will ensure by the way
| | 04:36 | that we get no seam down here at the
bottom of the image and we get this
| | 04:40 | little bottom of the image and we get
this little bright spot that actually
| | 04:41 | looks pretty good. Then I decide to brighten
up the whole thing using an adjustment layer.
| | 04:46 | So go ahead and turn on all the
layers if you are working along with me.
| | 04:50 | Then go up to the close box and click on
it and click the Yes button here on the
| | 04:54 | PC or the Save button on the Mac in
order to update your larger composition.
| | 04:58 | Now of course the ray tracing has
abandoned us, but we can see that we have much
| | 05:02 | better seams going on. But what we're
seeing by the way here is the environment map.
| | 05:07 | This is not the true reflection.
| | 05:09 | So to see the reflection, what we
need to do is go up to the 3D menu and
| | 05:12 | choose Resume Progressive Render and then
wait for Photoshop to do its ray tracing pass.
| | 05:18 | Anyway as usual we're going to speed up
this process, but you can already see as
| | 05:22 | things are going by that we have much
less in the way of seams going on inside
| | 05:27 | of our image. We don't have nearly
that pucker going on at the bottom.
| | 05:31 | Now there are still a few little seams
but I doubt anyone but you is going
| | 05:34 | to notice that once you
complete the composition.
| | 05:37 | All right, so I am going to press
the Escape to interrupt that rendering.
| | 05:41 | Now we still got some problems going on.
| | 05:43 | Notice that the cast shadows along
the ground plane extend out beyond the
| | 05:48 | grassy knoll. We've got to fix that, and we
also have some pretty weak contrast going on.
| | 05:53 | We are going to resolve all those
problems the old-style Photoshop way with
| | 05:57 | layer masks and adjustment
layers in the next exercise.
| | Collapse this transcript |
| Masking aberrant shadows and adding contrast| 00:00 | In this exercise, we're going to trim
away these access shadows and bolster the
| | 00:04 | overall contrast of the scene, using
some old-school Photoshop features namely
| | 00:09 | layer masks and adjustment layers.
| | 00:11 | I have saved my progress
as Less apparent seams.psd.
| | 00:14 | It's found inside the 05_materials folder,
and you may wonder what's going on here.
| | 00:19 | Why do we have these
shadows above the grassy knoll?
| | 00:22 | Well, if I switch over to my Camera tool,
it doesn't matter which one, and then
| | 00:26 | I go up to the View menu and choose
Show and then choose 3D Ground Plane,
| | 00:30 | you can see that the ground plane
cuts through the surface of the larger
| | 00:35 | spherical panorama in this kind of arc.
| | 00:38 | That's described by the
shadow that you see there.
| | 00:40 | Now, you may wonder well, then why
didn't you take the ground plane down
| | 00:43 | just a little bit, so that it
intersected this kind of grassy knoll?
| | 00:47 | And the reason is well, we have a cut shadow.
| | 00:49 | Notice that it's a very sharp edge and it
doesn't match the softness of the grassy knoll.
| | 00:54 | So what I decided to do instead was
raise the ground plane slightly to give
| | 00:58 | myself some wiggle room, so that I can
mask away that extra shadow, and that's
| | 01:03 | what we're about to do now.
| | 01:04 | So go ahead and press the M key to
switch back to the Rectangular Marquee tool.
| | 01:08 | Go to the scene layer here inside the
Layers panel, drop to the bottom of the
| | 01:11 | Layers panel, and click on the Add Layer
Mask icon to create a layer mask. All right!
| | 01:16 | Now I'm going to zoom out and click
here, and I'm going to switch from the
| | 01:18 | Rectangular Marquee tool to the
Elliptical Marquee, and I'm going to drag like
| | 01:24 | so in order to select along that grassy
knoll, and I'm pressing the Spacebar in
| | 01:28 | order to more or less precisely
align my ellipse to the scene.
| | 01:32 | And this looks pretty darn
good to me about right there.
| | 01:36 | I think it's going to work.
| | 01:37 | And once you get an ellipse more or
less like this one here, then go to the
| | 01:41 | Select menu and choose the Inverse command.
| | 01:43 | You can also press
Ctrl+Shift+I, Command+Shift+I on a Mac.
| | 01:46 | Then, finally, go up to the Select menu,
choose Modify, and choose Feather, and
| | 01:52 | then enter a Feather Radius value of
3 pixels, and click OK. All right!
| | 01:56 | Now I'm going to go ahead and zoom
in so I can better see what I'm doing.
| | 01:59 | I'll switch to my Brush tool, which
you can get by pressing the B key.
| | 02:02 | Make sure the foreground color is black.
| | 02:04 | In my case, I have to press the
X key in order to swap my colors.
| | 02:08 | And if I right-click inside of the image
window, you can see that the Size of my
| | 02:12 | brush is 250 pixels.
| | 02:13 | That's not that essential.
| | 02:15 | It could be smaller than that.
| | 02:16 | Very important that the
Hardness, however, is 0. All right!
| | 02:18 | I'll press the Enter key or the Return
key in a Mac in order to hide that panel,
| | 02:22 | and then just brush those
extra shadows away like so.
| | 02:26 | Now, you might look at that
and say "Wow, that's great Deke.
| | 02:29 | Problem is you're revealing
transparency in the background.
| | 02:32 | This doesn't make any more sense than
some shadows that are leaping off the ground."
| | 02:36 | True enough.
| | 02:37 | So I'll press the M key a
couple of times to switchback to my
| | 02:40 | Rectangular Marquee tool.
| | 02:41 | I'll press Ctrl+D, Command+D on a Mac
in order to deselect the image and I'll
| | 02:46 | open this image here that I've prepared for you.
| | 02:48 | It's called flattened scene.jpg.
| | 02:50 | It's a flattened version of that
seamless composition once again inside
| | 02:54 | the 05_materials panel.
| | 02:56 | And I'm going to just go ahead and
press Ctrl+A, Ctrl+C or Command+A, Command+C
| | 03:00 | on the Mac in order to copy the image.
| | 03:03 | Switch back to my composition in
process. Press Ctrl+V or Command+V on a Mac
| | 03:07 | in order to paste that image in.
| | 03:10 | I'll go ahead and name it sky 1
here, but it doesn't belong on top.
| | 03:13 | So I'll drag it below the 3D layer, and
I'm going to turn off the 3D layer for
| | 03:18 | a moment, and Ctrl+Drag or Command+Drag
the scene around to about here, because
| | 03:24 | this is what I decided provided the best
match for this region of the composition.
| | 03:29 | However, that doesn't well suit
the left-side of the composition.
| | 03:32 | So I went ahead and made a copy of
this sky 1 layer by pressing Ctrl+Alt+J,
| | 03:36 | Command+Option+J on a Mac, and I'm
going to change this layer name to sky 2.
| | 03:40 | Click OK and I'll hide this 3D
layer again for a moment so I can better
| | 03:44 | see what I'm doing.
| | 03:45 | I'll go ahead and drag this guy down
just ever so slightly to about this
| | 03:49 | location here, and then I'll select this
region with a Rectangular Marquee tool.
| | 03:54 | Drop down to the Add Layer Mask icon at
the bottom of Layers panel,= and click on
| | 03:58 | it to add that layer mask.
| | 04:00 | So things look pretty bad
without the composition upfront.
| | 04:03 | But if I then turn on the composition,
you can see that I've got some pretty
| | 04:07 | reasonable transitions going on.
| | 04:10 | So you can play around as you see fit.
| | 04:11 | I just want to give you a sense of
how I was able to solve this problem.
| | 04:15 | Now we need to go ahead
and add the adjustment layer.
| | 04:17 | So I'm going to click on the top layer,
Scene, drop down to the Black-White icon
| | 04:22 | at the bottom of Layers panel, press
the Alt key or the Option key on a Mac,
| | 04:25 | click on it, and choose the Levels command.
| | 04:28 | I'll go ahead and call this layer contrast.
| | 04:31 | And then inside the Adjustments panel,
I've changed a black point value there to 12.
| | 04:36 | Press the Tab key to advance to the
gamma value and lower it to 0.7, and that
| | 04:39 | gives me much bolder contrast as you can see.
| | 04:43 | Problem is I'm not really in love
with the contrast inside of the spheres.
| | 04:48 | It's still a little lightweight and you
can see those shadows are pretty darn gray.
| | 04:51 | So, I decided to add yet another
adjustment layer just for the spheres.
| | 04:56 | I did that by pressing the Alt
key or the Option key in a Mac.
| | 04:59 | Clicking on that Black-White icon,
choosing the Levels command once again, and
| | 05:03 | this time I call the layer orbs. Clicked OK.
| | 05:07 | And I changed the black point
value to 35 this time, so I am really
| | 05:10 | darkening things up.
| | 05:12 | I went ahead and raise the gamma value to
1.1, just to brighten the orbs a little bit.
| | 05:16 | That's it.
| | 05:17 | I've brightened the entire scene.
| | 05:18 | What I need to do is create a
layer mask just to affect the orbs.
| | 05:21 | Now you might say, "Well, why wouldn't you
use a clipping group so you just affect
| | 05:25 | the orbs, or why don't you load a
selection from the orbs in the first place or
| | 05:29 | something along those lines?"
| | 05:30 | Well, that's because there is no way to do it.
| | 05:32 | The orbs are part of the overall 3D
scene and Photoshop doesn't allow you
| | 05:35 | to isolate them independently where
adjustment layers and other 2D effects are concerned.
| | 05:41 | So instead, I have to
generate a manual layer mask.
| | 05:44 | And I'm going to do that by Alt+
Clicking or Option+Clicking on this Add Layer
| | 05:48 | Mask icon, to change the layer mask to black.
| | 05:50 | Because generally speaking I don't
want this adjustment to affect the scene.
| | 05:53 | I need to isolate it to adjust the orbs.
| | 05:55 | So I'll grab my Brush tool once again,
and I'm going to right-click in the image
| | 05:59 | window, and I'm going to change the
Size value very specifically to 370 pixels,
| | 06:04 | and then I'm going to
change the Hardness value to 75%.
| | 06:06 | I press the Enter key a couple of
times in order to hide that panel.
| | 06:10 | Now, I'll press the X key, so that the
foreground color is white as you see here
| | 06:14 | down at the bottom of the toolbox.
| | 06:16 | I will click inside of the left-hand
orb and then I will click again inside
| | 06:22 | of the right-hand orb.
| | 06:24 | Now right-click inside of the image
window to bring back up the panel and
| | 06:28 | change the Size value to 425
pixels. Leave the Hardness to 75%.
| | 06:33 | Press the Enter key couple of times or
Return key in a Mac in order to hide that
| | 06:36 | panel and click inside of the
center sphere and we've now applied this
| | 06:40 | adjustment layer to all three of these
spheres and nothing more. All right!
| | 06:44 | One more adjustment layer. I just want
to increases the saturation a little bit.
| | 06:47 | So I press the Alt key, the Option key
on a Mac, click the Black-White icon,
| | 06:51 | choose Vibrance, change the name
to vivid or whatever you want to,
| | 06:55 | click OK, and then I took
the Vibrance value up to 45%.
| | 06:58 | It's a pretty subtle effect, but
meaningful I think, and then I'll go ahead and
| | 07:02 | zoom in on the scene.
| | 07:04 | And just to see what a
difference these changes made,
| | 07:07 | I'll press the F12 key in order to
revert to the saved version of the file.
| | 07:12 | So that's what it looked like at
the beginning of this exercise.
| | 07:15 | It looked terrible by comparison.
| | 07:17 | Now I'll press Ctrl+Z, Command+Z on
a Mac in order to restore the better
| | 07:21 | version of the scene.
| | 07:22 | So the moral of the story is
don't forget your 2D skills when you're
| | 07:25 | correcting your 3D images here inside Photoshop.
| | Collapse this transcript |
| Adding a person to a 3D scene| 00:00 | In his final exercise of the course, I
am going to show you how I added that guy
| | 00:04 | and that text in the middle of the scene,
so it's reflecting inside of each one
| | 00:08 | of the orbs, because my thinking was
that this front orb in particular, looked a
| | 00:13 | little bit flat without
something to reflect in the center of it.
| | 00:17 | Whereas, both the outer ones look
totally great. But even so, they are going
| | 00:21 | look even better with the
addition of a human being to that scene.
| | 00:25 | I've saved my progress as
Richly realized scene.psd.
| | 00:29 | It's found inside the 05_materials
folder, and what I'd like you to do is go
| | 00:33 | over here to the Layers panel and
locate the word scene under the word Diffuse,
| | 00:37 | and double-click on it in order to open
that embedded five-layer document inside
| | 00:42 | of an independent window.
| | 00:44 | Now then I have this other
image that I've prepared for you.
| | 00:46 | It's called Guy and text.psd again
found inside the 05_materials folder and it
| | 00:51 | includes a little bit of text as well as
this Smart Object version of this stock
| | 00:57 | photograph that comes to us from
Paulo Cruz of the Fotolia image library.
| | 01:02 | I want you to select both An age to reason,
this live text layer, and the guy layer.
| | 01:06 | So click on one, Shift+Click on the
other, go to the Layers panel fly-out
| | 01:10 | menu, and choose Duplicate Layers, and then
from Document go ahead and choose scene whatever.
| | 01:15 | It might be 1234 or what have you,
.psp, and then click OK so that we
| | 01:21 | are documenting these layers
into that embedded composition.
| | 01:25 | All right, now let's switch over to it
and you can see that we've got our new
| | 01:28 | layers ready to go, and I went ahead
and moved the scene layer, which is that
| | 01:33 | adjustment layer that's
brightening the entire scene.
| | 01:36 | I went ahead and moved it to the top
of the stack and then I selected the guy
| | 01:39 | layer and I set him to the Multiply
blend mode by choosing Multiply from the top
| | 01:44 | left corner of the Layers panel.
| | 01:46 | That's basically it.
| | 01:47 | Then I went ahead and clicked the close
box and I clicked Yes here in the PC,
| | 01:51 | the save button on the Mac in
order to update the larger composition.
| | 01:55 | We're done with Guy and text.psd,
so I am going to close it as well.
| | 01:58 | We need to reinitiate the ray tracing,
so I'll go to the 3D menu and choose
| | 02:02 | Resume Progressive Render, and then
we'll let the scene render a little bit.
| | 02:05 | In case you're having this problem,
we are at the lower right-hand corner, so if it
| | 02:09 | goes wonky on you, you just have to wait
for the ray tracing to do three or four
| | 02:13 | passes before it gets better.
| | 02:15 | But now at this point we're
saying what the problems are.
| | 02:18 | And I am just going to click in
order to stop the render here and zoom in
| | 02:22 | on this center sphere.
| | 02:24 | The guy's head is kind of squished.
| | 02:26 | And also notice that the
text is appearing at an angle.
| | 02:29 | Well, that's because my entire
scene is at a bit of an angle.
| | 02:33 | And what I notice is that the A
side needs to come down a little bit.
| | 02:39 | But that's after I get done flipping the text.
| | 02:42 | The text is getting reflected and
I didn't take that into account.
| | 02:45 | What we need to do is go
ahead and revisit that scene item.
| | 02:48 | So locate Scene under Diffuse here
inside the Layers panel, double-click on it
| | 02:52 | to open that composition once again,
and I'm going to zoom in on the bottom
| | 02:56 | right region of the image, and the
first thing I am going to do is select that
| | 02:59 | text layer and then go up to the Edit
menu and choose the Free Transform command
| | 03:03 | or press Ctrl+T, Command+T on the Mac.
| | 03:05 | I'll go ahead and right click and
choose Flip Horizontal, because we need to
| | 03:08 | flip that text, and then I also found
through trial and error that a Rotation
| | 03:13 | value of -3 degrees ended up doing the trick.
| | 03:17 | And then go ahead and press
the Enter key a couple of times.
| | 03:19 | That is the Return key on the Mac a couple
of times in order to apply that modification.
| | 03:23 | Now he is going to take a
little bit of additional work.
| | 03:26 | Click on the Guy layer. We need to stretch
his head and make his feet a little smaller.
| | 03:30 | Notice he's expressed as
Smart Object, so we can apply
| | 03:32 | nondestructive transformations.
| | 03:34 | So in other words, if you don't
get it right the first time, you can
| | 03:37 | transform again and again.
| | 03:39 | Anyway, with the Guy layer active, I'll
go up to the Edit menu and choose Free
| | 03:43 | Transform or press Ctrl+T, Command+T
on a Mac, and then up here in the Options
| | 03:47 | bar I am going to click on the Warp
icon in order to enter the Warp mode, and
| | 03:52 | we're going to apply a custom warp.
| | 03:54 | Let me zoom in another click here
so I could better see what I'm doing.
| | 03:57 | I am going to go ahead and drag down
like so around his neck and then drag
| | 04:01 | back up at the top of his head in order
to stretch that head region and I might
| | 04:05 | do it a little more. And this
looks ridiculous at this point.
| | 04:08 | But bear in mind he's getting distorted
around the spheres and this is going to
| | 04:12 | help him look a lot better.
| | 04:13 | All right, let's drag up on that foot
a little bit there and maybe drag in on
| | 04:19 | this foot and drag back again.
| | 04:21 | You can even drag on the control handles if you
want to, if you like that way of working better.
| | 04:26 | Then when you get something resembling
this, press the Enter key on the PC or
| | 04:29 | the Return key on a Mac to accept your changes.
| | 04:31 | All right, I am going to zoom in on this
bottom region right under his foot. Can
| | 04:35 | you see a little bit of shadow
showing up there? I don't like that.
| | 04:39 | So I'm good click on the Add Layer
Mask icon to add a layer mask to this Guy
| | 04:43 | layer and then I am going to grab my
Brush tool and if I right-click inside the
| | 04:48 | image window, I've set the size to
50 pixels, the hardness to 0%, very
| | 04:52 | important. We want a soft brush.
| | 04:54 | Make sure your foreground color is black.
If it isn't, press the X key and then
| | 04:57 | just paint along the bottom of
his foot a little bit like so.
| | 05:01 | And if you end up making his foot look a
little bit translucent, that doesn't matter.
| | 05:04 | It lands in this amazingly
shadowed region in the 3D composition.
| | 05:09 | All right, so let's go ahead and zoom
out here to take in this entire image
| | 05:13 | and I am going to close it and then
click the Yes button on the PC or the Save
| | 05:17 | button on the Mac in order to update the
composition that needs still to be rendered.
| | 05:22 | So I'll press Ctrl+0, Command+0 on
the Mac in order to fit the image in the
| | 05:25 | window. I'll press Ctrl+Plus or Command+Plus
just to zoom in slightly, and then here we go.
| | 05:31 | I'll go to the 3D menu and choose
Resume Progressive Render. Of course, we're
| | 05:34 | not seeing the reflections at this point;
We will as soon as Photoshop begins to
| | 05:39 | Ray Trace the scene and notice down
here in the center, that's the most
| | 05:43 | important thing, that we've got things
aligned properly inside of the center
| | 05:46 | sphere, and he looks absolutely great.
| | 05:49 | He doesn't have a squished head anymore
and his head doesn't look stretched either.
| | 05:53 | Also notice that the text is legible of course.
| | 05:55 | It's facing the right
direction and it's nice and straight.
| | 05:59 | It's got a little bend in it because
it's been distorted inside of a sphere.
| | 06:02 | However, it's balanced on both sides and
we just have these remarkable effects I
| | 06:07 | think inside of the alternate spheres,
where this guy appears to emerge from
| | 06:12 | back of the other reflective spheres.
| | 06:14 | I think it ends up looking great.
| | 06:16 | I am going to let the ray tracing do
its thing. We're going to go ahead and
| | 06:19 | speed it up of course.
| | 06:20 | You can expect it to take
a few minutes to complete.
| | 06:23 | So there is the final ray
traced version of the image.
| | 06:26 | I am going to go ahead and press the F
key a couple of times to switch to the
| | 06:28 | Full screen mode and zoom into
100%, so that we can see this world of
| | 06:33 | reflections inside of reflections.
| | 06:35 | Thanks to the power of 3D
materials inside Photoshop CS5 Extended.
| | Collapse this transcript |
|
|
6. Upsampling 3D ArtworkWorking low-res, rendering high-res| 00:00 | As you work with 3D in Photoshop,
your biggest delay will be ray tracing.
| | 00:05 | You can't predict cast shadows,
reflections, and some other more complex
| | 00:10 | material settings until you ray trace.
| | 00:12 | And ray tracing a scene can take several
minutes, even with at the Draft setting.
| | 00:17 | Two bits of good news. Once you get
a sense for how a scene looks you can
| | 00:22 | interrupt the ray tracing
process by pressing the Escape key.
| | 00:25 | And ray tracing at low resolutions takes
less time than ray tracing at high resolutions.
| | 00:31 | Now, that last item may seem obvious but
it can make a big difference in how you work.
| | 00:37 | As you may have noticed, we've been
working in files about 900 pixels tall, which
| | 00:42 | is only 3 inches when
printed at 300 pixels per inch.
| | 00:46 | What do you do if you want
to make something much larger?
| | 00:50 | My recommendation? Build your artwork
low res so you don't drive yourself
| | 00:55 | knots with endless ray tracing, and
then upsample at the end using Photoshop's
| | 01:00 | Image Size command.
| | 01:02 | If you've watched my standard Photoshop
CS5 One-on-One Fundamentals course, you
| | 01:07 | know that upsampling is a tragic idea
when you're working with pixel-based
| | 01:11 | photographs because it blurs details.
| | 01:15 | But this is Photoshop Extended and
upsampling is a wonderful idea when
| | 01:19 | you're working in 3D. Why?
| | 01:22 | Because Photoshop is capable of
rendering 3D objects in greater detail,
| | 01:28 | at higher resolutions.
| | 01:31 | Build small. Render big.
| | 01:32 | Here's how it works.
| | Collapse this transcript |
| Upsampling 3D objects| 00:00 | In this exercise I'm going to give
you a sense for what happens when you
| | 00:03 | upsample 3D objects inside of Photoshop.
| | 00:05 | And as you'll see, you get very
different results depending on whether you start
| | 00:08 | with a true 3D model, such as a sphere
or in our case a donut, or whether you
| | 00:14 | start with something that
you've extruded inside of Repousse.
| | 00:17 | So, here is how we're going to start.
| | 00:18 | I'm going to go out to the File menu
and choose New command and then inside the
| | 00:23 | new dialog box we're going to create a
Very tiny image that measures a mere 20
| | 00:27 | pixels by 20 pixels, as you can see
with the Width and Height values.
| | 00:30 | By the way the Resolution value only
applies to print, so it doesn't matter
| | 00:34 | in our case, which means that we have a
total of 400 pixels inside the entire image.
| | 00:38 | That's smaller than a typical desktop icon.
| | 00:40 | I'll also set the Background
Contents to White and click OK.
| | 00:44 | So this is an exaggerated example,
which is exactly what we need to truly
| | 00:48 | understand what's going on.
| | 00:50 | My foreground color is black, so I'll
press Alt+Backspace or Option+Delete to
| | 00:53 | fill the image with black.
| | 00:54 | Then I'll press Ctrl+0 or Command+0 on
the Mac to fill the screen with the image.
| | 00:58 | So I'm zoomed into 2840%, way zoomed in there.
| | 01:03 | If you're following along with me,
you're probably zoomed in even farther.
| | 01:06 | If you don't want to see that pixel
grid, press Ctrl+H or Command+H on the
| | 01:09 | Mac to turn it off.
| | 01:11 | And now I'm going to press the X key to
switch the foreground color to white and
| | 01:14 | I'm going to grab my Type tool,
and notice my formatting here.
| | 01:18 | I've set the type in Myriad Pro, style
is Bold, type size is a mere 2.5 points.
| | 01:23 | So some dinky type we're about to create.
| | 01:26 | Click about here in the center of the
image and enter 3D like so, and then I'm
| | 01:32 | going to click between the two letters
and press Ctrl+Alt+Left Arrow a couple of times,
| | 01:36 | that's Command+Option+Left+Arrow a
couple of times on the Mac, to bring that
| | 01:40 | text together so it's nice and tight,
and then I'll press the Enter key or the
| | 01:44 | Return key on a Mac in order to
accept my new dinky 3D text layer.
| | 01:49 | Now let's extrude it into 3D space using
Repousse, by going out to the 3D menu,
| | 01:54 | choosing Repousse, and choosing Text
Layer, and notice that Photoshop tells us
| | 01:59 | that it's going to rasterize the text.
| | 02:00 | Now we've been through this before,
but I'm going to repeat myself here.
| | 02:03 | It's not true rasterization. This
message isn't entirely accurate, because
| | 02:07 | it's not converting the text to pixels.
Rather it's going to convert this text to vertices.
| | 02:12 | The text will no longer be editable,
so that part of the message is true, but
| | 02:16 | it's not really a raster, and
thankfully it's something better than a raster.
| | 02:20 | So go ahead and click Yes.
| | 02:21 | I'm just going to drag the text around a
little bit to rotate it in 3D space and
| | 02:26 | I might also drag on this little cube
here in order to increase its size, so I'm
| | 02:30 | just scaling that text up a little bit.
| | 02:32 | Now it's not going to look
good, no matter what you do.
| | 02:34 | Don't worry about that.
| | 02:35 | That's a function of having too few
pixels to work with at this point.
| | 02:39 | Click OK in order to accept that 3D
text and then if you want to, you can
| | 02:43 | Ctrl+Drag it to a different
location in order to position it properly.
| | 02:47 | What we're going to do is having
created this text layer, I'm going to turn it
| | 02:51 | off and we're going to add a true 3D
shape layer by pressing Ctrl+Shift+N,
| | 02:55 | Command+Shift+N on the Mac.
| | 02:57 | And I'm going to call
this guy donut and click OK.
| | 03:00 | And now I'll go up to the 3D menu and
choose New Shape From Layer and choose
| | 03:05 | Donut, just so that we have a shape with
a lot of smooth arches associated with it.
| | 03:09 | So there is my donut now. I'm going to
switch to my Object Rotate tool and I'm
| | 03:13 | going to go ahead and drag
this donut around a little bit.
| | 03:16 | It's kind of hard to tell whether the
donut is upright or upside-down or
| | 03:19 | what's going on when it is this dinky,
but I'm thinking this is what I want.
| | 03:23 | And then I'll go ahead and increase its
scale as well, by dragging on that little cube.
| | 03:26 | Switch to the Marquee tool.
| | 03:27 | So here we have this incredibly low
resolution image. It looks terrible of
| | 03:33 | course, but it would ray trace very quickly, so
it's very convenient to work at low resolution.
| | 03:38 | Let's see what happens if we now decide, okay,
I've gotten everything the way I want it to be.
| | 03:42 | Now I want to upsample the image,
so that I can print it as poster art.
| | 03:46 | So let's go to the Image menu and
choose the Image Size command or press
| | 03:50 | Ctrl+Alt+I, Command+Option+I on the Mac.
| | 03:53 | And notice that the size of this
image when printed at a Resolution of 300
| | 03:57 | pixels per inch is a mere 0.067 inches
wide and tall. So it's just this dinky spot.
| | 04:05 | All right, well, let's go ahead
and increase the size of this image.
| | 04:08 | Make sure the Resample
Image checkbox is turned on.
| | 04:10 | You want Constrain Proportions
turned on as well. In our case Scale
| | 04:13 | Styles doesn't matter.
| | 04:14 | I'm going to change the Width value
to 12 inches. So that's massive by
| | 04:18 | comparison to how big it was before.
| | 04:20 | To get a sense for how massive, up here
at the top in Pixel Dimensions, switch
| | 04:24 | from Pixels to Percent,
| | 04:25 | and you'll see that we are scaling the
image by 18,000% in each direction, which
| | 04:32 | means that we're actually increasing
the size of the image by 18,000% by
| | 04:37 | 18,000%, which is three million
two hundred and forty thousand percent.
| | 04:42 | That is not something we would ever do
with the traditional pixel-based image
| | 04:46 | inside of Photoshop.
| | 04:47 | However, you can pull it off with 3D layers.
| | 04:49 | So I'll go ahead and click OK and a
few moments later Photoshop will go ahead
| | 04:53 | and finish the upsampling.
| | 04:54 | Press Ctrl++0 or Command+0 on the Mac
in order to zoom out from the image, and
| | 04:59 | I'm now zoomed out to 15.8%, so way
out by comparison to where I was before.
| | 05:04 | Notice how smooth that donut is.
| | 05:07 | It would not be any smoother if you had
created it at this resolution in the first place.
| | 05:11 | So these sorts of 3D objects, true
3D models upsampled, with no problem
| | 05:16 | whatsoever, no degradation at all.
| | 05:18 | Whereas, let's go ahead and turn that
layer off and turn on the 3D layer which
| | 05:23 | is a Repousse object, you can see
that it's not quite in as good a shape.
| | 05:27 | So I've zoomed in a little bit here.
| | 05:30 | Notice that we don't have pixels. I want
to make that perfectly clear. We're not
| | 05:34 | seeing big clunky pixels like
we were at the lower resolution.
| | 05:37 | Therefore, that whole note about
rasterizing is ultimately false.
| | 05:41 | Instead, we've got these big ginormous polygons.
| | 05:45 | Now if we created the Repousse object
at a high resolution in the first place,
| | 05:50 | we would see smooth edges instead.
| | 05:53 | So the moral of the story is you can
work lo-res and upsample your 3D objects
| | 05:58 | inside of Photoshop.
| | 05:59 | Now you're not really going to want to
upsample this dramatically, but you can
| | 06:03 | get away with it if you need to.
| | 06:05 | In the next exercise I'll
provide you with a more real world
| | 06:08 | upsampling scenario.
| | Collapse this transcript |
| Real-world upsampling| 00:00 | Just for the record, I've gone ahead and
saved the file from the previous exercise
| | 00:03 | as 32400x upsample.psd.
| | 00:07 | It's found inside the 06_upsample folder.
| | 00:09 | In this exercise, we are going to take
that image that we created in the previous
| | 00:13 | chapter and we're going to upsample it
to twice as wide and twice as tall as it
| | 00:18 | was before, so that it's 2 x 2, or four
times as big as it was overall, and the
| | 00:23 | reason for doing this is twofold.
| | 00:25 | First of all, it's great to work low-
res with 3D objects inside of Photoshop
| | 00:29 | because that decreases your ray
tracing times, and you are going to have to
| | 00:32 | ray trace your image so many times in
order to figure out where the shadows
| | 00:36 | and reflections are,
| | 00:37 | you want to keep that process pretty
quick as you're working along. And then at
| | 00:41 | the very end, once you get everything
exactly the way you want it, you go ahead
| | 00:44 | and upsample that image and
perform a final, albeit slower, ray trace.
| | 00:49 | I can't stress this enough.
| | 00:50 | Normally, I am not a proponent of
upsampling in Photoshop, particularly when
| | 00:55 | you're working with standard
photographic images, because all you're doing is
| | 00:58 | increasing the number of pixels inside
the image without increasing the clarity.
| | 01:02 | In fact, you're typically
increasing the softness of the image.
| | 01:06 | There are exceptions to that rule however.
| | 01:08 | When you're working with vector-based
shape layers, you can upsample as much
| | 01:10 | as you want, when you're working with
live editable text you can upsample, and
| | 01:14 | when you're working with 3D objects
inside of Photoshop you have some freedom
| | 01:18 | to upsample. And typically, increasing
an image to four times its previous size,
| | 01:23 | believe it or not, ends up working out just
fine, and that's what we are going to do now.
| | 01:27 | So I've saved this image, the exact
one we created in the previous chapter, as
| | 01:30 | Modestly sized orbs.psd.
| | 01:33 | I am going to go up to the Image menu
and choose the Image Size command, or press
| | 01:36 | Ctrl+Alt+I, Command+Option+I on the
Mac, and then I'll make sure that the
| | 01:41 | Resample Image and Constrain
Proportion checkboxes are turned on.
| | 01:44 | That's very important. Scale Styles in
our case doesn't matter because we don't
| | 01:47 | have any layer effects, and now I'll
change the Width option from pixels to
| | 01:52 | percent, and I am going to change the
Width value to 200%. And that increases the
| | 01:56 | height value automatically to 200% as
well because Constraint Proportions is
| | 01:59 | turned on. And because we're going to
200% as wide and 200% as tall, we are
| | 02:04 | creating four pixels in place of
every one previous pixel, so the image is going
| | 02:08 | to increase to 400% overall.
| | 02:11 | Notice, by the way, that it goes to
a width of
9.3 inches and a height of 6 inches as well.
| | 02:16 | You can go even larger than that if you want to;
| | 02:18 | however, this is going to
be enough for our purposes,
| | 02:20 | so I'll click OK in order to upsample
that image. And you will have to wait a
| | 02:25 | moment for Photoshop to do its thing.
| | 02:26 | When it first finishes, it's going to
provide a pretty disappointing result.
| | 02:32 | You are going to these big chunky
pixels around your spheres, and you are going
| | 02:36 | to lose your guy and the text in the
center of the sphere as well, and reason of
| | 02:39 | course is that Photoshop has
neglected to ray trace the image.
| | 02:43 | What you should be able to do is go to
the 3D menu and choose Resume Progressive
| | 02:47 | Render, but that doesn't
actually do anything in this case.
| | 02:51 | So instead, what we've got to do is
bring up the 3D panel, make sure that
| | 02:55 | Scene is selected here at the top of
the list, and then switch the Quality
| | 02:59 | back to Interactive (Painting), and
that actually, right away, is going to make
| | 03:02 | the image look better.
| | 03:03 | Now we are still not going to see the
reflections or the shadows or any of that stuff;
| | 03:07 | however, we are going to see more accurately
rendered edges around each one of the orbs.
| | 03:12 | Now, the next step is to go back to
Quality and choose Ray Traced Draft again and
| | 03:17 | then go ahead and let Photoshop do its thing.
| | 03:20 | Now the great thing about working this
way, it is going to take Photoshop four
| | 03:23 | times as long to ray trace the scene
as it would have previously because the
| | 03:27 | image is four times as large;
| | 03:29 | however you don't have to sit here and
wait for it this time. You can go ahead
| | 03:32 | and walk away from your computer
and go ahead and come back later.
| | 03:35 | I am going to just let the ray tracing
make one pass inside this image window,
| | 03:40 | and then I am going to click to stop the
process, because I've already gone ahead
| | 03:43 | and saved a fully ray traced version
of this scene as 5-megapixel orbs.psd.
| | 03:50 | So this is the larger version of the
image, and just to prove that, I'll press
| | 03:53 | Ctrl+Alt+I, or Command+Option+I on the
Mac, to bring up the Image Size dialog box
| | 03:57 | again, and you can see that
this is a 9.3 x 6 inch image.
| | 04:01 | All right, I am going to go ahead and
cancel out, and now I'll zoom in so that we
| | 04:05 | can see the amazing amount of
clarity that we have in the scene.
| | 04:09 | Now, Photoshop only upsampled the image
that we're working on, this composition.
| | 04:14 | All the other linked
images did not get upsampled.
| | 04:17 | So that means that scene image that's
getting reflected here with a guy and the
| | 04:21 | text in it, that did not get upsampled.
| | 04:24 | The nice thing is that it had a
fair amount of pixels in it already.
| | 04:27 | If I hover over the word Scene here in
the Layers panel, you can see that that
| | 04:30 | image measures 2332 x 1499 pixels,
| | 04:35 | so it's bigger than the overall composition,
which gave us some wiggle room for upsampling.
| | 04:39 | Problem is now it becomes all the
more apparent that those shadows that
| | 04:43 | are reflected inside of the orb are bad,
and of course that kind of thing might happen.
| | 04:48 | When you increase the quality of a
scene by increasing its resolution, you're
| | 04:51 | going to draw attention to defects that
were too small to be a problem before.
| | 04:56 | Now I went ahead and solved this problem by
creating this second version of the scene layer.
| | 05:00 | If I turn it on--it is right there inside
the Layers panel below the contrast layer--
| | 05:04 | you'll notice that those aberrant
shadows disappear, and they disappear across
| | 05:08 | the board by the way.
| | 05:09 | They disappear inside of the other orbs as well.
| | 05:12 | If you're wondering how in the world I
created this touch-up layer, because, by
| | 05:15 | the way, it's exactly accurate, I'll
show you exactly how I did in it in the
| | 05:19 | next exercise.
| | Collapse this transcript |
| Touching up 3D shadows| 00:00 | In this exercise I'm going to show you
how I created that touchup layer that I
| | 00:03 | used to cover up these aberrant
shadows that are showing up inside the
| | 00:07 | reflections that are projected onto the spheres.
| | 00:10 | Notice that I have two scene layers
here, one that's turned on, one that's
| | 00:14 | turned off. What you can do for now is
just go-ahead and grab the top scene
| | 00:17 | layer, the one that is turned off, and
throw it in the trash because we're going
| | 00:20 | to re-create it right now. And we're
going do it by making a copy of this
| | 00:25 | original scene layer, the one with
the shadows, by pressing Ctrl+Alt+J or
| | 00:29 | Command+Option+J on the Mac in
order to jump that layer and name it.
| | 00:33 | And I'm going to this guy touchup and then
I'll click OK to create a copy of the layer.
| | 00:37 | Now I'm going to right-click on the
layer mask thumbnail associated with this
| | 00:41 | layer and I'm going to choose
Delete Layer Mask, just to get rid of it.
| | 00:44 | Because we're not going to need that
specific layer mask; we're going to have
| | 00:47 | to create a different one.
| | 00:48 | And now I'm going to create a
version of the scene that has no shadows
| | 00:52 | whatsoever inside of it, by double-
clicking on the thumbnail that's associated
| | 00:56 | with this touchup layer, dropping down
to Point Light 1 right there, and turning
| | 01:01 | off the Create Shadows checkbox.
| | 01:04 | Now of course, that's going to force
Photoshop to perform another ray trace, and
| | 01:07 | this is going to be another slow ray
tracing process, because we're working on a
| | 01:11 | high-resolution file.
| | 01:12 | So feel free to take a break if you
need to or feel free to interrupt the ray
| | 01:16 | tracing after a couple of passes,
which is what I'm going to do just by
| | 01:19 | pressing the Escape key.
| | 01:22 | Now that we don't want to seem like
this with no shadows in it and just so we
| | 01:26 | have a sense for the big difference here
I'll turn off this touchup layer so
| | 01:29 | we can see down to the original scene
layer, which has the shadows, and now we've
| | 01:33 | got the touchup layer,
which doesn't have the shadows.
| | 01:36 | What we need to do is mask this touchup
layer, so it covers up those shadow blemishes.
| | 01:42 | Meaning that we really don't
need that much of the touchup layer.
| | 01:45 | So I'm going to start by masking the
whole thing away, which you do by pressing
| | 01:49 | the Alt key or the Option key on the
Mac and clicking on that Add Layer Mask
| | 01:52 | icon and that will
create a new black layer mask.
| | 01:56 | Then let's go ahead and zoom in so that
we can better see what we're doing and
| | 01:59 | I'm going to zoom in to 100% and then
I'm going to switch to my Brush tool,
| | 02:03 | which you can get by pressing the B key.
| | 02:05 | Make sure your foreground colors is white.
If necessary press the X key and then
| | 02:09 | of course, make sure the Mode is set to
Normal up here in the Options bar, the
| | 02:12 | Opacity is 100% so that we are painting
with white into the layer mask, and then
| | 02:17 | paint those shadows away.
| | 02:19 | Now if you paint too far into that
area, then press the X key in order to
| | 02:23 | switch back to black and click, for example
like so, in order to bring some of that shadow back.
| | 02:28 | Then I'll press the X key again to
switch back to white and paint around
| | 02:32 | this aberrant shadow.
| | 02:34 | Then I'll press the X key to switch to
black and click inside of that area to
| | 02:38 | fill the shadow back in, and I press the
X key in order to switch back to white,
| | 02:42 | and possibly click about right there
in order to bring that shadow down.
| | 02:46 | Then we've got these bad shadows in
the other orbs. I'm working inside of the
| | 02:50 | first sphere here over on the left hand
side. I'll go ahead and paint its shadow
| | 02:53 | away, press the X key and then paint
some of that shadow back, and then go ahead
| | 02:58 | and scroll over here to the right side
of the image, press the X key in order to
| | 03:01 | switch to white, paint this bit of
shadow away like so, and then press the X key
| | 03:06 | once again to switch to black
and paint the shadow back to taste.
| | 03:10 | So I'm just working back and forth to
try to get that shadow detail filled in
| | 03:14 | exactly the way I want it, and that's
the way you take care of that problem.
| | 03:18 | So you can paint shadows in and out
of a scene by rendering the scene in
| | 03:22 | two different ways.
| | 03:23 | Once with shadows, once without shadows,
and you set whether a scene has shadows
| | 03:29 | or not by clicking on its light, in our
case we just had one light source, and
| | 03:33 | then turning Create Shadows off for
No Shadows and on for Shadows, and that
| | 03:38 | works on a light by light basis.
| | 03:41 | And that in just three exercises is
how you upsample a 3D scene for greater
| | 03:46 | clarity, here in Photoshop.
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ConclusionUntil next time| 00:00 | As you've seen, Photoshop CS5 Extended
offers a wide array of 3D features that
| | 00:06 | you can use to augment your
photographic imagery or create photorealistic
| | 00:11 | artwork from scratch.
| | 00:13 | I hope you have a basic sense for how
you navigate 3D space as well as work with
| | 00:18 | Repousse, materials, lights,
cameras, meshes, and more.
| | 00:23 | But this is just the beginning.
| | 00:25 | I have three more courses in store for you.
| | 00:29 | In course number two, 3D Objects,
| | 00:31 | I explain the many ways to create and
import 3D objects into Photoshop as well
| | 00:36 | as more advanced ways to exploit Repousse.
| | 00:41 | In part three, 3d Scenes, we'll take a
more detailed look at object interactions
| | 00:47 | as well as ways to exploit the
full power of lights and cameras.
| | 00:51 | And in part four, 3D Type Effects, I'll
show you recipes for creating a handful
| | 00:57 | of different styles of 3D type.
| | 01:00 | If one or more courses aren't out as you
watch this, rest assured they will be soon.
| | 01:06 | In the meantime on behalf of lynda.com,
this is Deke McClelland, saying see ya!
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